The Relationship Between Keys & Chord Forms

In my last article, Guitar Chord Theory – Hang-in There Its a Long Story we looked at scales and the order of steps and half-steps are actually used to make a scale. If you haven’t read it you probably should as it will turn this into article much easier adhere to. It’s important to remember that different scales have a different number of sharps or flats in them.
A key for our purpose is a ton of related chords that sound good together. If you already play guitar feasible have noticed that an audio lesson that starts with a C chords is quite possible to have F & G chords with it and maybe an Am chord also. This lets us know that the song is in the key of C, not so much because the song starts on C but because if the relationship of the chords, when the song started on the F chord it holds in the Key of C. another example would be a song with G C D and maybe Em, this song is often in the key of G because of the connection of the chords.
Let’s use the C Major scale as it suits the purpose advisable.
Manchester Escorts : C D E F G A B C
Scale Degrees: 1 2 3 4 5 6 7 8
Roman Numerals: I II III IV V VI VII VIII
All major chords produced up of the 1st, 3rd and 5th numbers of a scale. This would give us in the Key of C: C E G This is because a tonic triad. The C is the root note of the scale and chord. It additionally be the tonic note. C E G is a C major tonic triad. ‘Tonic’ since it runs on the C as the first note and ‘triad’ likewise sips gas has three (tri) notes in it.
When we talk of chords built on the different degrees of a scale we use Roman numbers.
The most important as well as sounding chords that merge with the C Major scale are chords that are built on the IV & V degrees of a scale. This gives us chords built on F(IV) and G(V).
A chord/tonic triad built on the IV when i.e. F would be F A C (F A C being the 1st, 3rd and 5th degrees of an F scale) the chord/tonic triad would be an F Major chord.A chord/tonic triad built on the V i.e. G properly G B D (G B D being the 1st, 3rd and 5th degrees of the G scale) the chord/tonic triad would be a G Major chord.
The reason these two chords are so worthy C is that they both have notes in normal with the C Major note. F(IV) has the note C in accordance and G(V) has the G note in routine. These common notes make the changes between the chords easy on the ear. Their IV and V are major chords.
The next most likely chord to be used is one that is built on the VI degree i.e. A and the most important 3rd 5th of the A scale is A C# E, well we shouldn’t have a C# in a in it as there is not a C# in the C scale. The C# must become a C and would then be A C E and action an A minor guitar chord. So in any key, a chord built on the VI of the scale has to be a minor guitar chord. This follows with all chords built on the notes of your scale, they must in accordance with the C scale.
All chords we wish play in a key should be built on your notes of that scale. This applies to any key we play in i.e. a key of A we use only the notes of the A scale. In the key of G exactly the notes of the G scale.
Below is a chart with the C major scale and the different chords that can be built on each degree of the scale, the note found in each chord, and structure of chord.
All other Keys have the same association of chords i.e. the II, III & VI should always be described as a minors. The VII will always perceived as minor b5.
It isn’t crucial that this method be used and many songs have been written using whatever chords the writer looks forward to.
It does however give us entirely behind compatible chords that can use as additional or passing chords within a song.
Chords built around scale degrees
Scale Degree Tonic Triad Chord Type
C I C E G C (Major)
D II D F A Dm (Minor)
E III E G B Em (Minor)
F IV F A C F (Major)
G V G B D G (Major)
A VI A C E Am (Minor)
B VII B D F Bmb5 (Minor b5)
C VIII C E G C (Major)
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