Music Theory Cheat Sheet

Guitar Geometry

Harmonies of Important Seven-Note Scales

Scale Intervals Tone & Semitone Chords I/i II / ii III / iii IV / iv V/v VI / vi VII / vii Three Chord Triad Cadences

Major (Ionian) 1234567 TTSTTTS I, ii, iii, IV, V, vi, viiø M7 m7 m7 M7 7 m7 m7♭5 IV-V-I, ii-V-I, V-ii-I, V-IV-I, iii-ii-I, iii-IV-I

Minor (Aeolian) 1 2 ♭3 4 5 ♭6 ♭7 TSTTSTT i, iiø, bIII, iv, v, bVI, bVII m7 m7♭5 M7 m7 m7 M7 7 v-iv-i, bVII-iv-i, bVI-bVII-i, iv-bVII-i, bVI-v-i, iv-v-i

Harmonic Minor 1 2 ♭3 4 5 ♭6 7 T S T T S T+S S i, iiø, bIII+, iv, V, bVI, vii° mM7 m7♭5 M7+ m7 7 M7 dim7 iv-V-i, V-iv-i, bVI-V-i, V-bVI-i

Harmonic Major 1 2 3 4 5 ♭6 7 T T S T S T+S S I, iiø, iii, iv, V, VI+, vii° M7 m7♭5 m7 mM7 7 M7+ dim7 iv-V-I, V-iv-I, iii-iv-I

Melodic Minor asc 1 2 ♭3 4 5 6 7 TSTTTTS i, ii, bIII+, IV, V, viø, viiø mM7 m7 M7+ 7 7 m7♭5 m7♭5 IV-V-i, ii-V-i

Other Important Scales For Improvising

Major 1234567 Minor (Aeolian) 1 2 ♭3 4 5 ♭6 ♭7 Mixolydian 1 2 3 4 5 6 ♭7 Dorian 1 2 ♭3 4 5 6 ♭7 Lydian 1 2 3 #4 5 6 7 8 Melodic Minor asc 1 2 ♭3 4 5 6 7 Phrygian 1 ♭2 ♭3 4 5 ♭6 ♭7 Locrian 1 ♭2 ♭3 4 ♭5 ♭6 ♭7

Maj6, Maj7, Maj11, (avoid 4) Min7, Min9, Min11 Dom7, Dom9, Dom11, Sus2, (avoid 4) Min6, Min7, Min9, Min11 Maj7, Maj7#11 mM7, m6, mM9 Min7, Min7♭9, Sus4(♭9) m7♭5

Minor Pentatonic 1 ♭3 4 5 ♭7 Chords: m, m7, 7sus4 Minor Blues 1 ♭3 4 ♭5 5 ♭7 Chords: m, m7, m7♭5, 7#9 Major Blues 1 2 ♭3 3 5 6 Chords: ∆, 6, 7, 9, 13 Mixo-blues 1 2 ♭3 3 4 ♭5 5 6 ♭7 Chords: Mostly over dominant blues chords Pentatonic Major 12356 Chords: 6, ∆, ∆9, 7

Altered Scale 1 ♭2 ♭3 ♭4 ♭5 ♭6 ♭7 Chords: 7+, 7♭9, 7#9, 7♭5, 7alt Lydian Augmented 1 2 3 #4 #5 6 7 8 Chords: Maj7#5, Maj7#11 Half-Whole Scale 1 ♭2 ♭3 3 #4 5 6 ♭7 Chords: 7, 7#9, 7♭9 Whole-Tone 1 2 3 #4 #5 ♭7 Chords: 7+, 7♭5, 9(♭5 or #5) Dominant Bebop 1 2 3 4 5 6 ♭7 7 Dom7, Dom9, 7sus

Triad and Tetrad Structures M inversion m inversion

M: 135 (M3-m3) Major M7: 1 3 5 7 (M3-m3-M3) Major 7th Intervals 3 and 7 are a P5 apart M7+: 1 3 #5 7 (M3-M3-m3) Major Augmented 7th Intervals 3 and 7 are a P5 apart mM7: 1 ♭3 5 7 (m3-M3-M3) Minor Major 7th Intervals ♭3 and 7 are an A5 apart 7sus4: 1 4 5 ♭7 (P4-M2-m3) Dominant 7th sus4 1st: m3, m6 1st: M3, M6

m: 1 ♭3 5 (m3-M3) Minor m7: 1 ♭3 5 ♭7 (m3-M3-m3) Minor 7th Intervals ♭3 and ♭7 are a P5 apart m7+: 1 ♭3 #5 ♭7 (m3-P4-M2) Minor Augmented 7th Intervals ♭3 and ♭7 are a P5 apart m7♭5 (ø): 1 ♭3 ♭5 ♭7 (m3-m3-M3) Minor 7th ♭5 Half-dim Intervals ♭3 and ♭7 are a P5 apart 7sus2: 1 2 5 ♭7 (M2-P4-m3) Dominant 7th sus2 2nd: P4, M6 2nd: P4, m6

dim (°): 1 ♭3 ♭5 (m3-m3) Diminished 7: 1 3 5 ♭7 (M3-m3-m3) Dominant 7th Intervals 3 and ♭7 are a TT apart 7+: 1 3 #5 ♭7 (M3-M3-M2) Dominant 7th #5 Intervals 3 and ♭7 are a TT apart dim7 (°7): 1 ♭3 ♭5 ♭♭7 (m3-m3-m3) Diminished 7th Intervals ♭3 and ♭♭7 are a TT apart aug (+): 1 3 #5 (M3-M3) Augmented Triad Notes counted from bass note

Triad: Three notes Triads Name C C# D E♭ E F F# G A♭ A B♭ B Chord Mood

Tetrad: Four notes M: 1 3 5 Major triad CEG C# E# G# D F# A E♭ G B♭ E G# B FAC F# A# C# GBD A♭ C E♭ A C# E B♭ D F B D# F# happy, neutral, clear

Pentad: Five notes m (‒): 1 ♭3 5 Minor triad C E♭ G C# E G# DFA E♭ G♭ B♭ EGB F A♭ C F# A C# G B♭ D A♭ C♭ E♭ ACE B♭ D♭ F B D F# sad, mysterious, dark

Hexad: Six notes dim (°): 1 ♭3 ♭5 Diminished triad C E♭ G♭ C# E G D F A♭ E♭ G♭ B♭♭ E G B♭ F A♭ C♭ F# A C G B♭ D♭ A♭ C♭ E♭♭ A C E♭ B♭ D♭ Fb BDF suspenseful, edgy

Heptad: Seven notes aug (+): 1 3 #5 Augmented triad C E G# C# E# G## D F# A# E♭ G B E G# B# F A C# F# A# C## G B D# A♭ C E A C# E# B♭ D F# B D# F## movement, suspenseful

Half Steps Between Notes Triad Note relative to Bass C: I bII II bIII III IV #IV V bVI VI bVII VII
Cmaj/C D♭maj/C Dmaj/C E♭maj/C Emaj/C Fmaj/C F#maj/C Gmaj/C A♭maj/C Amaj/C B♭maj/C Bmaj/C Triad
Major 4-3 maj/C Cmaj C7sus4(♭9,#5) Cmaj13(#11) Cm7 Cmaj7(#5) F Major (2nd Inv.) C7(♭5♭9) Cmaj9 Cm(♭6) C13(♭9) C13sus4 C°M7
C: Major, Lydian C: Phrygian, Locrian C Lydian C Dorian C Lydian Aug F Major C Altered Scale C Major A♭ Major C HW Diminished C Mixolydian C WH Diminished
Cm/C D♭m/C Dm/C E♭m/C Em/C Fm/C F#m/C Gm/C A♭m/C Am/C B♭m/C Bm/C
Triads with Minor 3-4 min/C C minor C7(♭9,#5) F6/C Cm7(♭5) Cmaj7 F Minor (2nd Inv.) C13(♭5,♭9) C9 Cm(maj7)(#5) C6(no 5) C7sus4(♭9) Cmaj7(#11) Chord
bass note C
C Aeo, Dor, Phr C Altered F Ionian, Lydian C Locrian C Ionian, Lydian C H. Min, Phrygian C HW Diminished C Mixolydian C Harm. Min C Ionian, Lydian C Phrygian C Lydian
C°/C C#°/C D°/C E♭°/C E°/C F°/C F#°/C G°/C A♭°/C A°/C B♭°/C B°/C
Diminished 3-3 dim/C C°7 C7(♭9) Fm6/C C°7, A°7, D#°, F#° C7 Cmaj7sus4(#5) Am6/C C7(♭9) Cmaj9(#5) Cm6 C7(♭9) Dm6/C
C WH Diminished C Mixo ♭9 (♭13) F Melodic Minor C WH Diminished C Mixolydian C Harm. Min. A Melodic Minor C Mixo ♭9 (♭13) C Harmonic Major C Melodic Minor C WH Diminished D Dorian Scale

Chord Moods ∆7: thoughtful, soft, nostalgic m7: moody, contemplative 7: strong, powerful, adventurous M6: fun, playful, warm m6: mysterious, dark, creepy sus4: majestic, proud, open-ended m7♭5 and dim7: mysterious, unresolved aug: movement, suspenseful

I bII II bIII III IV bV V bVI VI bVII VII VIII

Roman Degrees Sharps & Flats Intervals Tonic: I / i Supertonic: II / ii Mediant: III / iii Subdominant: IV / iv Dominant: V / v Submediant: VI / vi Leading Tone: VII / vii Tonic: VIII/viii
Major Chords b = flat, # = sharp On piano in the key of C 1/8 ♭2 / ♭9 2/9 ♭3 / #9 3 / 10 4 / 11 ♭5 / #11 5 / 12 ♭6 / ♭13 6 / 13 ♭7 / ♭14 7 / 14 8 / 15
I II III IV V VI VII Notes major, the intervals without C#/D♭ D#/E♭ E F#/G♭ G#/A♭ A A#/B♭ B C
C D F G
sharps or flats are the white
Minor Chords Fixed Do keys, and the black keys have Do Do#/Reb Re Re#/Mib Mi Fa Fa#/Solb Sol Sol#/Lab La La#/Sib Si Do
i ii iii iv v vi vii Semitones sharps or flats 0 / 12 1 / 13 2 / 14 3 / 15 4 / 16 5 / 17 6 / 18 7 / 19 8 / 20 9 / 21 10 / 22 11 / 23 12 / 24
P1 m2 M2 m3 M3 P4 TT P5 m6 M6 m7 M7 P8
P = Perfect, M = Maj, m = min, A = aug, D = dim, TT = Tritone
D2 A1 D3 A2 D4 A3 A4/D5 D6 A5 D7 A6 D8 A7

P1 P8 P5 P4 ** M3 M6 m6 m3 TT m7 M2 M7 m2
Interval Quality Consonance Rank
Consonant Dissonant
** The P4 sounds consonant in dissonant surroundings, and dissonant in consonant surrounding (Vincent Persichetti). In common practice the P4 is consonant when supported by a lower third or perfect fifth.

Addition Perfect ⇧ # = Augmented Perfect ⇩ b = Diminished Major ⇧ # = Augmented Major ⇩ b = Minor Minor ⇧ # = Major Minor ⇩ b = Diminished
Interval Math
Inversion Major ⬌ minor Perfect ⬌ Perfect Augmented ⬌ Diminished Tritone ⬌ Tritone Unison ⬌ Octave 2nd ⬌ 7th 3rd ⬌ 6th 4th ⬌ 5th

Circle of Fifths
Circle of Fifths Major / Minor Key Sample Modes Order of # / b Major Scale Notes No # b C Root M: I M: ii M: iii M: IV M: V M: vi M: vii° (DARK) Circle of Thirds CEGBDFA

B B maj / G# min A# Locrian / E Lydian F# C# G# D# A# B C# D# E F# G# A# 5 7 B∆ C#m D#m E∆ F#∆ G#m A#dim C Locrian F 4
E E maj / C# min G# Phrygian / D# Locrian F# C# G# D# E F# G# A B C# D# 4 3 E∆ F#m G#m A∆ B∆ C#m D#dim C Phrygian D 2
A A maj / F# min F# Aeolian /C# Phrygian F# C# G# A B C# D E F# G# 3 6 A∆ Bm C#m D∆ E∆ F#m G#dim C Aeolian B 7
D D maj / B min E Dorian / B Aeolian F# C# D E F# G A B C# 2 2 D∆ Em F#m G∆ A∆ Bm C#dim C Dorian G 5
G G maj / E min D Mixolydian / A Dorian F# G A B C D E F# 1 5 G∆ Am Bm C∆ D∆ Em F#dim C Mixolydian E 3
C C maj / A min C Ionian / G Mixolydian CDEFGAB 0 1 C∆ Dm Em F∆ G∆ Am Bdim C Ionian C 1
F F maj / D min B♭ Lydian / E Locrian B♭ F G A B♭ C D E 1 4 F∆ Gm Am B♭∆ C∆ Dm Edim C Lydian A 6
A#/B♭ B♭ maj / G min D Phrygian/ C Dorian B♭ E♭ B♭ C D E♭ F G A 2 ♭7 B♭∆ Cm Dm E♭∆ F∆ Gm Adim (BRIGHT) Seventh Chords (Stacked 3rds)
D#/E♭ E♭ maj / C min B♭ Mixolydian / A♭ Lydian B♭ E♭ A♭ E♭ F G A♭ B♭ C D 3 ♭3 E♭∆ Fm Gm A♭∆ B♭∆ Cm Ddim More b or # scale CEGB (CM7) EGBD (Em7)
G#/A♭ A♭ maj / F min C Phrygian / B♭ Dorian B♭ E♭ A♭ D♭ A♭ B♭ C D♭ E♭ F G 4 ♭6 A♭∆ B♭m Cm D♭∆ E♭∆ Fm Gdim intervals generally GBDF (G7) BDFA (Bø)
C#/D♭ D♭ maj / B♭ min A♭ Mixolydian / F Phrygian B♭ E♭ A♭ D♭ G♭ D♭ E♭ F G♭ A♭ B♭ C 5 ♭2 D♭∆ E♭m Fm G♭∆ A♭∆ B♭m Cdim means darker DFAC (Dm7) FACE (FM7)
F#/G♭ G♭ maj / E♭ min B♭ Phrygian / F Locrian B♭ E♭ A♭ D♭ G♭ C♭ G♭ A♭ B♭ C♭ D♭ E♭ F 6 ♭5 G♭∆ A♭m B♭m C♭∆ D♭∆ E♭m Fdim Anton Schwartz (2012) ACEG (Am7) CEGB (CM7)
Chords: M: I, ii, iii, IV, V, vi, vii° m: i, ii°, bIII, iv, v, bVI, bVII Scale Chords m: bIII m: iv m: v m: bVI m: bVII m: i m: ii° Scale Darkness Flatten or sharpen notes to produce others

Triad Structure and Tension & Release Triad Tension-Release Cycles -1 semitone / +1 semitone -1 semitone / +1 semitone -1 semitone / +1 semitone The sequence continues indefinitely
Release Tension Major Minor Tension Major Minor Tension Major Minor Tension
Some possible triad alterations with +1 or -1 semitone changes between chords
(3-3) (4-3) (5-3) (6-3) (5-4) (4-5) (3-6) (3-5) (3-4) (4-4)
Min triad (The examples use C as the common tone in the figured bass notation)
C°: C E♭ G♭ Cmaj: C E G Fm: F A♭ C G♭°: G♭ A C Fmaj: F A C Am: A C E A°: A C E♭ A♭maj: A♭ C E♭ Cm: C E♭ G C/E/A♭ aug: C E A♭
By shifting one tone from a tension chord with
equidistant intervals, you can usually produce a
⬆ minor triad by raising one tone and by lowering one
Gradational Modulation
Raise tone tone you can create a major or dominant triad.
Raising or lowering a tone from a tension chord Scale - 1 b Away C Melodic Minor C Harmonic Major F Ionian B♭ Ionian C Harmonic Minor C Neapolitan Major E♭ Ionian C Neapolitan Minor A♭ Ionian E♭ Melodic Minor D♭ Ionian #6
In 'gradational' modulation closely related scales are chosen
releases the tension. which have one note from the parent scale sharped or flattened C Major C Melodic Minor C Harmonic Minor C Harmonic Major
Parent Scale
Tension Norman D. Cook (2012) Adam Neely (2010)
Scale - 1 # Away A Harmonic Minor D Melodic Minor G Ionian C Ionian G Harmonic Major F Hungarian Major C Melodic Minor C Harmonic Major E Harmonic Major A Major E Melodic Minor
Dim (m3-m3)
Examples with figured bass notation:
Aug (M3-M3)
maj (4-3) ⇄ dim (3-3) ⇄ min (3-4)
Chord Substitutions For Common Progressions
Sus4 (P4-P4) Original Progression Substitution C C# D E♭ E F F# G A♭ A B♭ B Scale
maj (5-4) ⇄ aug (4-4) ⇄ min (4-5)
Tritones (A4-A4) I-IV-V I-IV-V C F G7 C# F# G#7 D G A7 E♭ A♭ B♭7 E A B7 F B♭ C7 F# B C#7 G C D7 A♭ D♭ E♭7 A D E7 B♭ E♭ F7 B E F#7 Major
maj (8-7) ⇄ sus4 (7-7) ⇄ min (7-8) i–iv–v i–iv–v Cm Fm Gm C#m F#m G#m Dm Gm Am E♭m A♭m B♭m Em Am Bm Fm B♭m Cm F#m Bm C#m Gm Cm Dm A♭m D♭m E♭m Am Dm Em B♭m E♭m Fm Bm Em F#m Minor
Lower tone
ii replaces IV - in a Major Key: ii-V-I, in a Minor Key: iiø-V-i: (V with ♭9 or #9) From the ii chord to the V7 chord is a P4 and the V7 to the I is also a P4
⬇ maj (10-9) ⇄ dim (9-9) ⇄ min7 (9-10)
IV-V7-I7 ii7-V7-I7 Dm7 G7 C∆7 D#m7 G#7 C#∆7 Em7 A7 D∆7 Fm7 B♭7 E♭∆7 F#m7 B7 E∆7 Gm7 C7 F∆7 G#m7 C#7 F#∆7 Am7 D7 G∆7 B♭m7 E♭7 A♭∆7 Bm7 E7 A∆7 Cm7 F7 B♭∆7 C#m7 F#7 B∆7 Major

Maj triad iv-V-i7 iiø-V7♭9-i7 Dø G7♭9 Cm7 D#ø G#7♭9 C#m7 Eø A7♭9 Dm7 Fø B7♭9 E♭m7 F#ø B7♭9 Em7 Gø C7♭9 Fm7 G#ø C#7♭9 F#m7 Aø D7♭9 Gm7 B♭ø E♭7♭9 A♭m7 Bø E7♭9 Am7 Cø F7♭9 B♭m7 C#ø F#7♭9 Bm7 Harmonic Minor

Dom triad Secondary Dominants for M (add a ♭7) and m (raising the 3rd) chords - V/V, V/IV, V/ii etc, but not dim or aug chords (e.g. no V/ii°, V/vii°).
Release I-ii-V I-II7-V7 C D7 G7 C# D#7 G#7 D E7 A7 E♭ F7 B♭7 E F#7 B7 F G7 C7 F# G#7 C#7 G A7 D7 A♭ B♭7 E♭7 A B7 E7 B♭ C7 F7 B C#7 F#7
Tritone Substitution / Flat 5 Substitution (♭5 inverts to ♭5, 3rd inverts to 7th, and 7th inverts to 3rd)
Chord Function IV-V-I IV-bII7-I F D♭7 C F# D7 C# G E♭7 D A♭ F♭7 E♭ A F7 E B♭ G♭7 F B G7 F# C A♭7 G D♭ A7 A♭ D B♭7 A E♭ C♭7 B♭ E C7 B
Function Dissonance Tritone Subs with Secondary Dominants

Tonic (Stability) II7-V7-I II7-bII7-I D7 D♭7 C D#7 D7 C# E7 E♭7 D F7 F♭7 E♭ F#7 F7 E G7 G♭7 F G#7 G7 F# A7 A♭7 G B♭7 A7 A♭ B7 B♭7 A C7 C♭7 B♭ C#7 C7 B
M: I, iii, vi V (if VI exists), VII
m: I, bIII Rules for Dom7 Chords and Dim7 Substitutions in Major or Minor Keys Dominant Diminished Key

Sub-dom (Change) If you find a dom7 chord without alterations it generally means that you’re in a major key down a perfect 5th, e.g. V7-I C7 E♭7 F#7 A7 Over any given root,
D♭°7 / E°7 / G°7 / B♭°7 F∆7 / A♭∆7 / B∆7 / D∆7

M: IV, ii I (if II exists), III If you find a m7♭5 chord it generally means that you're in a minor key down a major 2nd, e.g. ii7(♭5)-i C#7 E7 G7 B♭7 forming a D°7 / F°7 / A♭°7 / B°7 F#∆7 / A∆7 / C∆7 / E♭∆7
m: iv, bVI, ii° If you find a dim7 chord it generally means it resolves up a minor 2nd, e.g. vii°7-I D7 F7 A♭7 B7 diminished triad on E♭°7 / G♭°7 / A°7 / C°7 G∆7 / B♭∆7 / D♭∆7 / E∆7
its third tone will
Dominant (Tension) If you find a dom7 chord with ♭9, #9 and ♭13 it generally means that you’re in a minor key down a perfect 5th, e.g. V7(♭9)-i If you find a dom7 chord with a min chord it will generally be: C7♭9 E♭7♭9 F♯7♭9 A7♭9 produce a dominant D♭°7 / E°7 / G°7 / B♭°7 Fm / A♭m / Bm / Dm

M: V, vii° IV, VI If you find a dim7 with the bass note up a major 2nd it generally means that it is a dom7(♭9) chord, e.g. iv°7/V Up a major 2nd: bVII7-i7 C#7♭9 E7♭9 G7♭9 B♭7♭9 seventh chord with D°7 / F°7 / A♭°7 / B°7 F#m / Am / Cm / E♭m
m: v, bVII ♭9
Down a perfect 5th: V7-i7 D7♭9 F7♭9 A♭7♭9 B7♭9 E♭°7 / G♭°7 / A°7 / C°7 Gm / B♭m / D♭m / Em

V7♭9 replaces V7 in iiø-V7-i Minor Dø7 G7♭9 Cm7 E♭ø7 A♭7♭9 D♭m7 Eø7 A7♭9 Dm7 Fø7 B♭7♭9 E♭m7 F#ø7 B7♭9 Em7 Gø7 C7♭9 Fm7 A♭ø7 D♭7♭9 G♭m7 Aø7 D7♭9 Gm7 B♭ø7 E♭7♭9 A♭m7 Bø7 E7♭9 Am7 Cø7 F7♭9 B♭m7 C#ø7 F#7♭9 Bm7 Minor
Reharmonisation ii7-#v°7-I∆7 Major Dm7 A♭°7 C∆7 D#m7 A°7 C#∆7 Em7 B♭°7 D∆7 Fm7 B°7 E♭∆7 F#m7 C°7 E∆7 Gm7 D♭°7 F∆7 G#m7 D°7 F#∆7 Am7 E♭°7 G∆7 B♭m7 E°7 A♭∆7 Bm7 F°7 A∆7 Cm7 G♭°7 B♭∆7 C#m7 G°7 B∆7 Major

Key / Chord Purpose ii7-#v°7-i7 Minor Dm7 A♭°7 Cm7 D#m7 A°7 C#m7 Em7 B♭°7 Dm7 Fm7 B°7 E♭m7 F#m7 C°7 Em7 Gm7 D♭°7 Fm7 G#m7 D°7 F#m7 Am7 E♭°7 Gm7 B♭m7 E°7 A♭m7 Bm7 F°7 Am7 Cm7 G♭°7 B♭m7 C#m7 G°7 Bm7 Minor

I Resting chord #v°7 (enharmonic) Diminished D°7 / F°7 / A♭°7 / B°7 E♭°7 / G♭°7 / A°7 / C°7 E°7 / G°7 / B♭°7 / D♭°7 F°7 / A♭°7 / B°7 / D°7 G♭°7 / A°7 / C°7 / E♭°7 G°7 / B♭°7 / D♭°7 / E°7 A♭°7 / B°7 / D°7 / F°7 A°7 / C°7 / E♭°7 / G♭°7 B♭°7 / D♭°7 / E°7 / G°7 B°7 / D°7 / F°7 / A♭°7 C°7 / E♭°7 / G♭°7 / A°7 D♭°7 / E°7 / G°7 / B♭°7 Diminished

M: ii, m: ii° Move away from I

M: iii, m: bIII Resting chord V7(♭9) without tonic = vii°7 Substitution C C# D E♭ E F F# G A♭ A B♭ B Scale
M: IV, m: iv Move away from I vii°7-i replaces V-I ii-vii7(♭5)-i Dm7 B°7 Cm E♭m C°7 D♭m Em7 C#°7 Dm Fm7 D°7 E♭m F#m7 D#°7 Em Gm7 E°7 Fm A♭m7 F°7 G♭m Am7 F#°7 Gm B♭m7 G°7 A♭m Bm7 G#°7 Am Cm7 A°7 B♭m C#m7 A#°7 Bm Minor Type

M: V, m: v ** Move towards I V7♭13 replaces V7

M: vi, m: bVI Resting chord ii-V7-I ii-V7♭13-I Dm7 G7♭13 C∆7 D#m7 G#7♭13 C#∆7 Em7 A7♭13 D∆7 Fm7 B♭7♭13 E♭∆7 F#m7 B7♭13 E∆7 Gm7 C7♭13 F∆7 G#m7 C#7♭13 F#∆7 Am7 D7♭13 G∆7 B♭m7 E♭7♭13 A♭∆7 Bm7 E7♭13 A∆7 Cm7 F7♭13 B♭∆7 C#m7 F#7♭13 B∆7 Major Type

M: vii°, m: bVII Move towards I Median substitution: ii-V of bIII replaces ii-V of I
First inversion bVII triad often replaces ii° ii-V-I iv7-bVII7-I Fm7 B♭7 C∆7 F#m7 B7 C#∆7 Gm7 C7 D∆7 A♭m7 D♭7 E♭∆7 Am7 D7 E∆7 B♭m7 E♭7 F∆7 Bm7 E7 F#∆7 Cm7 F7 G∆7 D♭m7 G♭7 A♭∆7 Dm7 G7 A∆7 E♭m7 A♭7 B♭∆7 Em7 A7 B∆7 Major Type
First inversion V triad often replaces vii°

** Also in raised 7th minor keys Modal interchange Substitution C C# D E♭ E F F# G A♭ A B♭ B Scale

I-IV-V7 I-iv-V7 C Fm G7 C# F#m G#7 D Gm A7 E♭ A♭m B♭7 E Am B7 F B♭m C7 F# Bm C#7 G Cm D7 A♭ D♭m E♭7 A Dm E7 B♭ E♭m F7 B Em F#7 Ionian-Mel.Min-Mixo
Cadences bVII replaces IV
Perfect (V➡I): V-I, V-i, V7-I, V7-I I-IV-I I-bVII-I C∆7 B♭∆7 C∆7 C#∆7 B∆7 C#∆7 D∆7 C∆7 D∆7 E♭∆7 D♭∆7 E♭∆7 E∆7 D∆7 E∆7 F∆7 E♭∆7 F∆7 F#∆7 E∆7 F#∆7 G∆7 F∆7 G∆7 A♭∆7 G♭∆7 A♭∆7 A∆7 G∆7 A∆7 B♭∆7 A♭∆7 B♭∆7 B∆7 A∆7 B∆7 Lydian-Ionian

Imperfect (?➡I): V46-I, vii°6-I, II-V, VI-V, IV-V VI-bII-I-V replaces vi-IV-I-V
Half (Any➡V): I-V, IV-V, ii-V, i-V, iv6-V, iii-V vi-IV-I-V VI-bII-I-V A D♭ C G A# D C# G# B E♭ D A C Fb E♭ B♭ C# F E B D G♭ F C D# G F# C# E A♭ G D F A A♭ E♭ F# B♭ A E G C♭ B♭ F G# C B F# Major Type
Plagal (IV➡I, II➡I): IV-I, ii-I, iv-i, ii-i Tritone substitution for V7/vi
Deceptive (V➡not I): V7-vi,V7-VI, V-IV6, V-IV ii-V7/vi-vi ii-subV7/vi-vi Dm7 B♭7 Am7 D#m7 B7 A#m7 Em7 C7 Bm7 Fm7 D♭7 Cm7 F#m7 D7 C#m7 Gm7 E♭7 Dm7 G#m7 E7 D#m7 Am7 F7 Em7 B♭m7 G♭7 Fm7 Bm7 G7 F#m7 Cm7 A♭7 Gm7 C#m7 A7 G#m7 Dominant 7th
* PA = Chords in root pos + soprano on root of I bV7sus4 replaces V7 in I V IV7
IA = Chord in inversion or soprano is not I I-V-IV7 I-bV7sus4-IV7 C G♭7sus4 F7 C# G7sus4 F#7 D A♭7sus4 G7 E♭ A7sus4 A♭7 E B♭7sus4 A7 F C♭7sus4 B♭7 F# C7sus4 B7 G D♭7sus4 C7 A♭ D7sus4 D♭7 A E♭7sus4 D7 B♭ F♭7sus4 E♭7 B F7sus4 E7 Dominant 7th

Chord Upper Structure Triads Scales * i#dim replaces IV in I-IV-ii-V Substitution C C# D E♭ E F F# G A♭ A B♭ B Scale
∆7: 1 3 5 7 ∆7 from the 5 Ionian from 1 and 5 I-IV-ii-V I-i#dim-ii-V C∆7 C#°7 Dm7 G7 C#∆7 C##°7 D#m7 G#7 D∆7 D#°7 Em7 A7 E♭∆7 E°7 Fm7 B♭7 E∆7 E#°7 F#m7 B7 F∆7 F#°7 Gm7 C7 F#∆7 F##°7 G#m7 C#7 G∆7 G#°7 Am7 D7 A♭∆7 A°7 B♭m7 E♭7 A∆7 A#°7 Bm7 E7 B♭∆7 B°7 Cm7 F7 B∆7 B#°7 C#m7 F#7 Various Scales
C∆7 + G∆7 = C∆7#11 Harm. Min from 3 bIV replaces I
m7: 1 ♭3 5 ♭7 m7 from the 2 and the 5 Ionian from ♭3, 6, ♭7 ii7-V7-I ii7-V7-bIV Dm7 G7 G♭ D#m7 G# G Em7 A7 A♭ Fm7 B♭7 A F#m7 B7 Bb Gm7 C7 C♭ G#m7 C#7 C Am7 D7 D♭ B♭m7 E♭7 D Bm7 E7 E♭ Cm7 F7 E C#m7 F#7 F Major Type
Cm7 + Dm7 = Cm13 Harm. Min from 5 ii-V of iii resolving to I (Shelton Berg's backdoor progression)
Cm7 + Gm7 = Cm11 Mel. Min from ♭7 #iv7-VII7-iii #iv7-VII7-I F#m7 B7 C∆7 Gm7 C7 C#∆7 G#m7 C#7 D∆7 Am7 D7 E♭∆7 B♭m7 E♭7 E∆7 Bm7 E7 F∆7 Cm7 F7 F#∆7 C#m7 F#7 G∆7 Dm7 G7 A♭∆7 D#m7 G#7 A∆7 Em7 A7 B♭∆7 Fm7 B♭7 B∆7 Major Type

7: 1 3 5 ♭7 m7 from the 5; Maj triad from 2 Min. Pent from 5 Tritone substitution with related ii7
C7 + Gm7 = C11 Mel. Min from 4 and 5 ii7-V7-I bvi7-bII7-I A♭m7 D♭7 C∆7 Am7 D7 C#∆7 B♭m7 E♭7 D∆7 Bm7 E7 Eb∆7 Cm7 F7 E∆7 D♭m7 G♭7 F∆7 Dm7 G7 F#∆7 E♭m7 A♭7 G∆7 Em7 A7 A♭∆7 Fm7 B♭7 A∆7 F#m7 B7 B♭∆7 Gm7 C7 B∆7 Major Type
C7 + D = C7#11 Ionian and H.M from 4 Tritone substitution of II7
o7: 1 ♭3 ♭5 ♭♭7 Maj triad from 2, 4, ♭6 and 7 M. Min ♭5 from 1, 3, 4, 6 II7-V7-I bVI7-V7-I A♭7 G7 C∆7 A7 G#7 C#∆7 B♭7 A7 D∆7 B7 Bb7 Eb∆7 C7 B7 E∆7 D♭7 C7 F∆7 D7 C#7 F#∆7 E♭7 D7 G∆7 E7 E♭7 A♭∆7 F7 E7 A∆7 G♭7 F7 B♭∆7 G7 F#7 B∆7 Major Type

C°7 + D = C°9 C°7 + F = C°7(11) Harm. Min from 5, ♭7 Approach chord to I replaces V7 C C# D E♭ E F F# G A♭ A B♭ B Scale
C°7 + A♭ = C°(♭13) C°7 + B = C°∆7 Ionian ♭6 from 3, 5, ♭7 ii7-V7-I ii7-VII-I Dm7 B∆7 C∆7 D#m7 B#∆7 C#∆7 Em7 C#∆7 D∆7 Fm7 D∆7 E♭∆7 F#m7 D#∆7 E∆7 Gm7 E∆7 F∆7 G#m7 E#∆7 F#∆7 Am7 F#∆7 G∆7 B♭m7 G∆7 A♭∆7 Bm7 G#∆7 A∆7 Cm7 A∆7 B♭∆7 C#m7 A#∆7 B∆7 Dorian-Lydian-Ionian

ø7: 1 ♭3 ♭5 ♭7 Maj triad from ♭7 and 7 Minor from ♭7 iii7 replaces I

Cm7♭5+B♭=Cm11♭5 C + B = CmM7♭5 Harm. Min from 5, ♭7 ii7-V7-I ii7-V7-iii7 Dm7 G7 Em7 D#m7 G#7 Fm7 Em7 A7 F#m7 Fm7 B♭7 Gm7 F#m7 B7 G#m7 Gm7 C7 Am7 G#m7 C#7 A#m7 Am7 D7 Bm7 B♭m7 E♭7 Cm7 Bm7 E7 C#m7 Cm7 F7 Dm7 C#m7 F#7 D#m7 Dorian-Mixo-Ionian

Aug from ♭5 Cm7♭5 + G♭aug = Cm9 ♭5 Mel. Min from ♭3 bIII replaces I
-(∆7): 1 ♭3 5 7 Maj triad from 4 and 5 Harm Minor from 1 ii7-V7-I ii7-V7-bIII Dm7 G7 E♭∆7 D#m7 G#7 E∆7 Em7 A7 F∆7 Fm7 B♭7 G♭∆7 F#m7 B7 G∆7 Gm7 C7 A♭∆7 G#m7 C#7 A∆7 Am7 D7 B♭∆7 B♭m7 E♭7 B∆7 Bm7 E7 C∆7 Cm7 F7 D♭∆7 C#m7 F#7 D∆7 Dorian-Mixo-Lydian
Cm∆7 + F = Cm∆13 Cm∆7 + G = Cm∆9 Melodic Minor from 1 bVImM replaces V7
∆7#5 from ♭3 Cm∆7 + E♭∆7#5 = Cm∆9 Ionian ♭6 from 5 ii7-V7-I ii7-bVImMaj7-I Dm7 A♭mMaj7 C D#m7 AmMaj7 C# Em7 B♭mMaj7 D Fm7 C♭mMaj7 E♭ F#m7 CmMaj7 E Gm7 D♭mMaj7 F G#m7 DmMaj7 F# Am7 E♭mMaj7 G B♭m7 FbmMaj7 A♭ Bm7 FmMaj7 A Cm7 G♭mMaj7 B♭ C#m7 GmMaj7 B Dorian-Mel.Min-Ionian

7(#11): 1 3 5 7 (9) #11 Maj triad from 2 Ionian #2 from 5 vii°7/V7 replaces V7/V7 Substitution C C# D E♭ E F F# G A♭ A B♭ B Scale
C7 + D = C13#11 Mel. Min from 5 II7-V7-I vii°7/V7-V7-I F#°7 G7 C∆7 G°7 G#7 C#∆7 G#°7 A7 D∆7 A°7 B♭7 E♭∆7 A#°7 B7 E∆7 B°7 C7 F∆7 C°7 C#7 F#∆7 C#°7 D7 G∆7 D°7 E♭7 A♭∆7 D#°7 E7 A∆7 E°7 F7 B♭∆7 F°7 F#7 B∆7 WH Dim-Mixo-Ionian
∆7#5: 1 3 #5 7 Dom 7th from 3 Ionian ♭2 from 7 Tritone substitution of II7 and V7
Cmaj7#5 + E7 = Cmaj9#5 Ionian ♭6 from 3 II7-V7-I bVI7-bII7-I A♭7 D♭7 C∆7 A7 D7 C#∆7 B♭7 E♭7 D∆7 B7 E7 Eb∆7 C7 F7 E∆7 D♭7 G♭7 F∆7 D7 G7 F#∆7 E♭7 A♭7 G∆7 E7 A7 A♭∆7 F7 B♭7 A∆7 F#7 B7 B♭∆7 G7 C7 B∆7 Mixo-Ionian
7(#5): 1 3 #5 ♭7 Aug from 1 and 2 Whole-Tone from 1 Median substitution with secondary dominant
Caug + Daug = C9#5#11 Mel. Min from 4 iv7-bVII7-I IV7-bVII7-I F7 B♭7 C∆7 F#7 B7 C#∆7 G7 C7 D∆7 A♭7 D♭7 E♭∆7 A7 D7 E∆7 B♭7 E♭7 F∆7 B7 E7 F#∆7 C7 F7 G∆7 D♭7 G♭7 A♭∆7 D7 G7 A∆7 E♭7 A♭7 B♭∆7 E7 A7 B∆7 Mixo-Ionian
7alt: 1 3 #5 ♭7 #9 Maj triad from ♭5 and ♭6 Mel. Min from ♭2 Median substitution with related II tritone substitution
C7 + G♭ = C7♭5♭9** C7 + A♭ = C7#5#9 Ionian ♭2 from ♭3 IV7-bVII7-I VII7-bVII7-I B7 B♭7 C∆7 C7 B7 C#∆7 C#7 C7 D∆7 D7 D♭7 E♭∆7 D#7 D7 E∆7 E7 E♭7 F∆7 F7 E7 F#∆7 F#7 F7 G∆7 G7 G♭7 A♭∆7 G#7 G7 A∆7 A7 A♭7 B♭∆7 A#7 A7 B∆7 Mixo-Ionian

7sus4: 1 4 5 ♭7 ∆7 from ♭7 Ionian from ♭7 bVII7sus4 replaces iv7

∆ from 4 C7sus4 + B♭∆7 = C13sus4 Mel. Min from 4 iv7-V7-I bVII7sus4-V7-I B♭7sus4 G7 C∆7 B7sus4 G#7 C#∆7 C7sus4 A7 D∆7 D♭7sus4 B♭7 E♭∆7 D7sus4 B7 E∆7 E♭7sus4 C7 F∆7 E7sus4 C#7 F#∆7 F7sus4 D7 G∆7 F#7sus4 E♭7 A♭∆7 G7sus4 E7 A∆7 A♭7sus4 F7 B♭∆7 A7sus4 F#7 B∆7 Mixo-Ionian

7sus(♭9): 1 4 5 ♭7 ♭9 Aug from ♭2 Phrygian from 1 Scale quality substitution in upper structure terminology (ii7 in Phrygian and V7 in Lydian Dominant)
C7 + D♭aug = C13sus4(♭9) Mel. Min from ♭7 ii7-V7-I bIII/ii-VI/V-I E♭/D A/G C∆7 E/D# A#/G# C#∆7 F/E B/A D∆7 G♭/F C/B♭ E♭∆7 G/F# C#/B E∆7 A♭/G D/C F∆7 A/G# D#/C# F#∆7 B♭/A E/D G∆7 B/B♭ F/E♭ A♭∆7 C/B F#/E A∆7 D♭/C G/F B♭∆7 D/C# G#/F# B∆7 Phr-Lyd-Ionian
Damian Erskine (2014)
* Scale positions are indicated relative to the chord root Copyright © 2017 Steven Muschalik
** C7alt chord is simplified to avoid too many chord tensions