6 thoughts on “Seven Chords Moving Up in Scales, in All 12 Keys

  1. This way of naming the chord qualities generically with an X … Xm7 etc. is neat and tidy.

    I am thinking how one might actually work with this. Choose one, practise it at the piano, also naming the chords as you go along, and use the PDFs as reference? Any writing out for the other side of it, maybe?

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    1. X works because it forces students to think. If you see C7 on a page, you just know that that chord symbol is there. You may or may not think about it. But if it says X7, you have to look at the bottom note to find the name. You might think that if you have a simple C chord, any student will know that it is C major. But students do NOT know this. When I put in X, they will also guess E major or G major. They are new at chords. So this starts them thinking. It is a different way of processing. Later, when they see C7 in a lead sheet, they will know that C7 really means C E G Bb. It will not be passive.

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  2. You are so thorough. So many details. 7 seven chords, 12 keys: Each key labeled with its key signature, each chord labeled. This makes it easy to play the chords and check them with what you have shown. Starting with no #’s or b’s and ending with 6 b’s.

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    1. There are two versions in there now. P1-6 has no key signatures, more for beginners. Then P7-12 used key signatures. I suppose some well prefer one style, while others will prefer the second one.

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      1. I’m thinking it might be useful to print out both versions and go back and forth.

        I like that the version with key signatures also lists the sharped or flatted notes.

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        1. Key signatures come later. Beginning students have problems processing them. Key signatures are nothing but trouble in the beginning because it is way more info to process. It slows down the reading process. Later it is the reverse. All the accidentals become a problem because the page is littered with info you no longer need. It is a matter of level.

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