Main page

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This page is for various music theory related charts and things that I've made over the years, and I've done what I can to convert them to html tables with minimal formatting. To keep consistency with other charts I have on this site, maj/min triads are assumed to have their respective 7ths unless specified otherwise (7 is min for dominant, ^7 is maj for min-maj). Also, since the distinction is now necessary, ° chords are fully diminished 7th and ø are half-diminished.

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The chords of each diatonic scale can be derived from the same repeating (vertical and horizontal) pattern shifted diagonally on a chain of fifths. This pattern (d-m-m-m-M7-M-M) can be extrapolated to reach all regular triadic non-diatonic chords. It repeats every 12 cycles, always returning to either Lydian or Locrian depending on the direction. The two sections between the diatonic set contain the exact same chords, just written differently.

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d5 (a4)

m2 (a1)

m6 (a5)

m3 (a2)

m7 (a6)

4 (a3)

1 (a7)

5

M2

M6

M3

M7

a4 (d5)

V

II

VI7

iii

vii

iv

iø (Loc)

V

IV

I

V7

ii

vi

iii

viiø

IV

IV

I7

v

ii

vi

iiiø

VII

IV

IV7

i

v

ii

viø

III

VII

IV7

iv

i

v

iiø

VI

III

VII7

iv

iv

i

vø

II

VI

III7

vii

iv

iv

iø

V

II

VI7

iii

vii

iv

ivø

I (Lyd)

V

II7

vi

iii

vii

ivø

IV

I (Maj)

V7

ii

vi

iii

viiø

VII

IV

I7 (Mix)

v

ii

vi

iiiø

III

VII

IV7

i (Dor)

v

ii

viø

VI

III

VII7

iv

i (Min)

v

iiø

II

VI

III7

vii

iv

i (Phr)

vø

V

II

VI7

iii

vii

iv

iø (Loc)

V

V

II7

vi

iii

vii

ivø

I

V

V7

ii

vi

iii

viiø

IV

I

V7

v

ii

vi

iiiø

VII

IV

I7

v

v

ii

viø

III

VII

IV7

i

v

v

iiø

VI

III

VII7

iv

i

v

vø

II

VI

III7

vii

iv

i

vø

ivø

I (Lyd)

V

II7

vi

iii

vii

ivø

d5 (a4)

m2

m6

m3

m7

4

1 (d2)

5 (d6)

M2 (d3)

M6 (d7)

M3 (d4)

M7 (d1)

a4 (d5)

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Same chart, instead with chords relative to tonal center. An extended view of this would have all keys with their parallel modes visible, but for now this will be only be centered on D.

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d5 (a4)

m2 (a1)

m6 (a5)

m3 (a2)

m7 (a6)

4 (a3)

1 (a7)

5

M2

M6

M3

M7

a4 (d5)

Ab

Eb

Bb7

Fm

Cm

Gm

Dø (Loc)

Ab

G#

D#

A#7

E#m

B#m

Fxm

Cxø

G#

G#

D#7

A#m

E#m

B#m

Fxø

C#

G#

G#7

D#m

A#m

E#m

B#ø

F#

C#

G#7

G#m

D#m

A#m

E#ø

B

F#

C#7

G#m

G#m

D#m

A#ø

E

B

F#7

C#m

G#m

G#m

D#ø

A

E

B7

F#m

C#m

G#m

G#ø

D (Lyd)

A

E7

Bm

F#m

C#m

G#ø

G

D (Maj)

A7

Em

Bm

F#m

C#ø

C

G

D7 (Mix)

Am

Em

Bm

F#ø

F

C

G7

Dm (Dor)

Am

Em

Bø

Bb

F

C7

Gm

Dm (Min)

Am

Eø

Eb

Bb

F7

Cm

Gm

Dm (Phr)

Aø

Ab

Eb

Bb7

Fm

Cm

Gm

Dø (Loc)

Ab

Ab

Eb7

Bbm

Fm

Cm

Gø

Db

Ab

Ab7

Ebm

Bbm

Fm

Cø

Gb

Db

Ab7

Abm

Ebm

Bbm

Fø

Cb

Gb

Db7

Abm

Abm

Ebm

Bbø

Fb

Cb

Gb7

Dbm

Abm

Abm

Ebø

Bbb

Fb

Cb7

Gbm

Dbm

Abm

Abø

Ebb

Bbb

Fb7

Cbm

Gbm

Dbm

Abø

G#ø

D (Lyd)

A

E7

Bm

F#m

C#m

G#ø

d5 (a4)

m2

m6

m3

m7

4

1 (d2)

5 (d6)

M2 (d3)

M6 (d7)

M3 (d4)

M7 (d1)

a4 (d5)

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A vertical pattern like this doesn't exist for other heptatonic scales since they have a few breaks in the circle of fifths, but symmetrical scales such as the melodic minor scale and its modes still maintain the property that opposite modes have inverted scale degrees.

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d5	m2	m6 (a5)	m3	m7	4	1	5	M2	M6	M3 (d4)	M7	a4
		vø				I+		II7	vi^7	III7	vii	ivø
				VII+		I7 (Acu)	v^7	II7	vi	iiiø		ivø
			III+		IV7	i^7 (Mlm)	V7	ii	viø		viiø
		VI+		VII7	iv^7	I7	v	iiø		iiiø
	II+		III7	vii^7	IV7	i	vø		viø
V+		VI7	iii^7	VII7	iv	iø		iiø
V7	ii^7	VI7	iii	viiø		iø (Alt)				IV+

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Non-symmetrical scales only have a consistent horizontal structure. The first set has the modes of harmonic minor, second has harmonic major. Instead of having an inverse within the set, each mode of one scale has an inverse that belongs to the other (For instance, Phrygian dominant and harmonic major).

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d5	m2	m6 (a5)	m3 (a2)	m7	4	1	5	M2	M6 (d7)	M3 (d4)	M7	a4
			ii°			I	V+		vi	iii^7	VII7	ivø
		v°			IV	I+		ii	vi^7	III7	viiø
			III	VII+		i	v^7	II7	viø			iv°
		VI	III+		iv	i^7 (Hrm)	V7	iiø			vii°
	II	VI+		vii	iv^7	I7 (Ph7)	vø			iii°
V	II+		iii	vii^7	IV7	iø			vi°
v	ii^7	VI7	iiiø			i°			VII	IV+

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d5	m2	m6 (a5)	m3 (a2)	m7	4	1	5	M2	M6 (d7)	M3 (d4)	M7	a4
		v	ii°			I+			vi^7	III	VII7	ivø
			III+			i^7	V	II7	viø		vii	iv°
		VI+			iv^7	I (Hrj)	V7	iiø		iii	vii°
	II+			vii^7	IV	I7	vø		vi	iii°
V+			iii^7	VII	IV7	iø		ii	vi°
	ii^7	VI	III7	viiø		i	v°			IV+
v^7	II	VI7	iiiø		iv	i°			VII+

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Acu: Acoustic / Lydian dominant
Mlm: Melodic minor
Alt: Altered
Hrm: Harmonic minor
Ph7: Phrygian dominant
Hrj: Harmonic major

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These could probably be extrapolated to another EDO tonal system, but that's out of my depth tbh.
Ian Ring's music theory site was a very helpful resource for the non-diatonic scales.

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