Minor Key Cheat Sheets

♫ Need a refresher? Read more on key signatures here.

Click on a minor key below to get everything you need to know at a glance—including minor scales, key signatures, intervals, diatonic chords, diatonic seventh chords, inversions, and more.
Click on a key below to get started!

A Natural Minor Scale

A B C D E F G A

Formula: 1 - 2 - b3 - 4 - 5 - b6 - b7 - 8

  • To understand the natural minor scale, it's helpful to first identify its relative major scale.

    To find the relative major of a natural minor scale, you can locate the note that is a minor third (3 semitones) above the starting note of the minor scale. For example, if we take the A natural minor scale, its relative major would be C major. This means that A natural minor and C major both use the same notes and share the same key signature, despite starting on different notes.

    The natural minor scale follows a specific pattern of whole tones (T) and semitones (S). The formula looks like this:

    T - S - T - T - S - T - T

    Applying this formula starting on any note will yield its corresponding natural minor scale.

A Harmonic Minor Scale

A B C D E F G# A

Formula: 1 - 2 - b3 - 4 - 5 - b6 - 7 - 8

  • The harmonic minor scale is a variation of the above natural minor scale. It shares the same pattern of tones and semitones but with one notable difference: the seventh note of the harmonic minor scale is raised by a half step compared to the natural minor scale.

    The purpose of raising the seventh degree in the harmonic minor scale is to create a “leading tone”, which is a note that creates a more compelling pull towards the tonic note, enhancing the sense of tension and resolution in melodies and harmonies.

A Melodic Minor Scale

⬆ A B C D E F# G# A

⬇ A G F E D C B A

Formula: 1 2 b3 4 5 6 7 8 - 8 b7 b6 5 4 b3 2 1

  • The melodic minor scale is another variation of the natural minor scale, and it introduces different alterations to the scale depending on whether it is ascending or descending.

    When ascending, the melodic minor scale raises both the sixth and seventh notes of the natural minor scale by a half step.

    When descending, the melodic minor scale reverts back to the natural minor scale, going back to the lowered sixth and seventh notes.

    The purpose of the raised 6th and 7th in the melodic minor scale is two-fold:

    1. The raised sixth degree enhances melodic flow and avoids the dissonant augmented second interval that happens in the harmonic minor scale (between the lowered 6th and raised 7th).

    2. The raised seventh degree allows for a stronger leading tone towards the tonic.

    The practice of the melodic minor scale helps musicians and composers achieve greater melodic flexibility and expressiveness. It allows for more varied and fluid melodic lines that can touch on the brighter raised 6th and 7th sound, or the darker lowered 6th and 7th sound.

⬆


⬇

A Minor Diatonic Chords

“Diatonic” means “Within the key.” Below are the chords that naturally belong to the key of A minor.

Common major chord symbols: m, maj, △ Common minor chord symbols: m, min, -

Chord #

Chord Type

Rom. #

Chord

Notes

Chord #

Chord Type

Rom. #

Chord

Notes

1

minor

i

Am

A C E

2

diminished

ii°

Bdim

B D F

3

Major

III

C

C E G

4

minor

iv

Dm

D F A

5*

Major*

V

E

E G# B

6

Major

VI

F

F A C

7

Major

VII

G

G B D

A Minor Diatonic 7th Chords

These are the same as above, but in the form of 7th chords.

Common major chord symbols: M7, maj7, +7, △7 Common minor chord symbols: m7, min7, -7

1

minor 7

i7

Am7

A C E G

2

halfdim 7

iiø7

Bø7

B D F A

3

Major 7

IIImaj7

Cmaj7

C E G B

4

minor 7

iv7

Dm7

D F A C

5

Dominant 7*

V7*

E7*

E G# B D

6

Major 7

VImaj7

Fmaj7

F A C E

7

Dominant 7

VII7

G7

G B D F

A Minor Intervals

“Interval” refers to the distance between two notes. Below are the scale degrees and intervals in the key of A minor.

Major 2nd

B

Minor 3rd

C

Perfect 4th

D

Perfect 5th

E

Minor 6th

F

Minor 7th

G

Octave

A

Unison

A

A Minor Chord Inversions

“Inversion” describes the relationship of a triad’s lowest note to the other notes in the chord.
Choosing the right inversion will help to smooth out motion from chord to chord.

Root

A C E

1st Inversion

C E A

2nd Inversion

E A C

A Minor 7th Chord Inversions

“Inversion” describes the relationship of a chord’s lowest notes to the other notes in the chord.
It is common for the left hand to play octaves or fifths, while the right hand plays the chord in part or in full.

Root

A C E G

1st Inversion

C E G A

2nd Inversion

E G A C

3rd Inversion

G A C E

  • The highest note of a chord is naturally more noticeable to the human ear, making it useful when selecting chord inversions for song beginnings or endings.

    The root position chord provides a stable and solid sound, serving as a strong foundation for harmony. However, since the top note is the 5th of the scale, it may leave listeners with a sense of incompleteness or anticipation of further musical development.

    The 1st inversion chord, with the top note being the tonic note of the key, is the most suitable inversion for concluding a song, establishing a new key center, or signaling the end of a piece.

    The second inversion chord has a more open and expansive sound, emphasizing the third note of the home key. It is a pleasant choice for both song beginnings and endings due to its emphasis on the chord's minor tonality.

  • Inversions allow for smoother voice leading and create more fluid chord progressions. When moving from one chord to another, inversions help minimize large jumps or leaps between chord tones. This makes it easier to play chords and contributes to a more seamless and connected sound, enhancing the overall musical flow.

  • When playing 7th chords on the piano, it is important to understand that not all notes of the chord need to be played with one hand. You can disperse the notes between both the left hand and the right hand. Here is our recommended structure:

    Left Hand - 1, 5, (optional 8)

    Right Hand - 3, 5, 7, (optional 2 for flavor)

    Note: This is just a recommendation. The notes do not have to be played specifically as shown. You can choose your own voicing.

  • Here's how you can use the circle of fifths to determine minor key signatures:

    1. Look at the inner circle:
      The inner circle with lowercase letters refers to all the minor keys. The outermost circle refers to all the major keys.

    2. Start at the top of the inner circle:
      The top of the inner circle represents the key of A minor, which has no sharps or flats in its key signature.

    3. Moving clockwise:
      Moving clockwise around the inner circle, each minor key is a fifth higher than the previous one. As you move around the circle, each clockwise movement adds one sharp to the key signature. For example, the first key after A minor is E minor, which has one sharp (F#). The next key, B minor, has two sharps (F# and C#), and so on. To know which notes are sharp, use the following mnemonic: Father Charles Goes Down And Ends Battle.

    4. Moving counter-clockwise:
      If you move counterclockwise from A minor, each key is a fifth lower than the previous one. As you move around the inner circle, each movement adds one flat to the key signature. For example, the first key after A minor is D minor, which has 1 flat (Bb). Followed by G minor (Bb, Eb), and then C minor (Bb, Eb, Ab), and so on. To know which notes are flat, use the previous mnemonic but in reverse: Battle Ends And Down Goes Charles’ Father.

    Note: Minor keys and their relative major keys share the same key signature. For example, C major and A minor have no sharps or flats, while G major and E minor have one sharp (F#), and so on.

  • Use the following mnemonic to help you remember:

    Order of Sharps - Father Charles Goes Down And Ends Battle

    Order of Flats - Battle Ends And Down Goes Charles’ Father

    Note: In both cases, the first letter of each word in the phrase corresponds to the order of sharps or flats.

A Minor Key Signature

0 Flats or Sharps

Order of Sharps: F C G D A E B
Order of Flats: B E A D G C F

  • In a minor key, the fifth chord is theoretically expected to be a minor chord. However, in most instances, it is altered to become a major chord by raising the third of the chord by a semitone. This modified chord comes from the harmonic minor scale variation (raised 7th), and is commonly referred to as the "dominant" or "V" chord, distinguishing it from the minor 5 or "v" chord.

    By raising the third of this chord by a half step, it transforms into the "leading tone" of the minor scale as a whole. This alteration intensifies the harmonic tension, resulting in a significantly stronger pull back to the home/tonic chord.

  • The Roman numeral system in diatonic chords is a way to represent chords based on their position within a major or minor key. It provides a standardized method to notate chords regardless of the key in which they are used. Here's how the Roman numeral system works for diatonic chords:

    Uppercase Roman numerals represent major chords.

    Lowercase Roman numerals represent minor chords.

    A lowercase Roman numeral with a degree symbol (°) represents a diminished chord.

  • To our knowledge, the Nashville number system was developed for major keys. If you are playing in a minor key and would like to use numbers, you must think of the song as if it was based in its relative major key (3 semitones up).

  • The perfect intervals consist of the unison (P1), fourth (P4), fifth (P5), and octave (P8). They are highly stable, possessing a strong, pure, and distinct sound. These intervals are often associated with resolution and stability, contributing to consonance and harmony in harmonic contexts.

    In a minor key, there is only major interval—the major 2nd (M2). The 3rd, 6th, and 7th intervals all get lowered to become minor (m3, m6, m7) because of the minor scale’s tone/semitone formula.

  • Practice singing or playing the intervals of a minor scale without relying on a reference pitch. For example, play the first note of the scale, and then sing or play the second note using the correct interval (e.g., a minor third). Continue this exercise for each subsequent note in the scale. Here are some reference points from familiar melodies to help you:

    Major 2nd: Happy Birthday

    Minor 3rd: Greensleeves (first two notes)

    Perfect 4th: Amazing Grace

    Perfect 5th: Twinkle Twinle Little Star

    Minor 6th: The Entertainer (first two notes)

    Minor 7th: Somewhere from West Side Story

    Perfect 8th: Somewhere Over the Rainbow

  • In diatonic 7th chords of minor keys, the fifth chord is theoretically expected to be a minor 7 chord. However, in most instances, it is altered to become a dominant 7 chord by raising the third of the chord by a semitone.

    By raising the third of this chord by a half step, it transforms into the "leading tone" of the minor scale as a whole. This alteration intensifies the harmonic tension, resulting in a significantly stronger pull back to the home/tonic chord.

  • Half Diminished 7th Chord (ø7):

    • Interval Structure: A half diminished 7th chord consists of a root, a minor third, a diminished fifth, and a minor seventh.

    • Symbol: The symbol used to denote a half diminished 7th chord is "ø7" or "-7(b5)".

    • Example: In the key of C major, the half diminished 7th chord built on the seventh degree (Bø7) would contain the notes B-D-F-A.

    Diminished 7th Chord (°7):

    • Interval Structure: A diminished 7th chord consists of a root, a minor third, a diminished fifth, and a diminished seventh. It is essentially a stack of minor thirds.

    • Symbol: The symbol used to denote a diminished 7th chord is "dim7" or °7.

    • Example: In the key of C major, the diminished 7th chord built on the seventh degree (Bdim7) would contain the notes B-D-F-Ab.

    Note: The diminished 7th chord is known for its symmetrical structure, as each interval between its notes is a minor third. It creates a highly dissonant and unresolved sound and can be used as a passing chord or for chromatic movement in chord progressions.

Are you accessing this page from a mobile device? Unfortunately, this page can only be viewed on desktop.