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Yes, by George I think you've got it. You had my head spinning since there are so many ways to think about this stuff. grin

To move a major scale up a half step (C to C#) every note in the triad moves up a half step and likewise to move the scale down a half step every note in the scale goes down a half step (C - Cb). Then, just like you did you have to clean up the accidentals. for example. (F## = G).


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Originally Posted By: MusicStudent
Yes, by George I think you've got it. You had my head spinning since there are so many ways to think about this stuff. grin


I just have 1 bone to pick.
We need to change your name from MusicStudent to MusicTeacher ! smile
The mark of a good teacher is to recognize what his students don't know and you have that skill my friend!

Here are the major chord spellings with sharp root notes.
I think I can produce the corresponding table for the flat root notes.

So for the rest of the list in my original post should I use one of the websites you provided?

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Originally Posted By: Bass Thumper
I think a light bulb went off.
If F Major is F-A-C and F# Major is F#-A#-C#
Then is C# Major C#-E#-G# = C#-F-G#?

And D# Major D#-F##-A# = D#-G-A#?

If so, does the same work Xb Major? Just flatten the notes of the natural major chord notes?

Yes, it works exactly like that.
What's important is the intervals between the notes .. the intervals are always the same on and same type of chord, no matter on what note they start. It's true of all the notes in a chord, including the various 9ths and so on. Notes may sometimes be moved to the same note in a different octave.
Learning how to find them quickly and easily is part of the challenge.


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Actually, technically, there is no key of D#. It'd be Eb. Comprised of Eb, G, Bb. (The 1-3-5 of the Eb scale. Reference back to the "counting" method and the 'wwhwwwh' scale structure I shared in that PM.)

Familiarize yourself with this.



C is "neutral". As you move left, you add a flat. As you move right, you add a sharp.

Also note that as you move left you move from the root note to the 4th of that scale. As you move right you move from the root note to the 5th of that scale.

When you hear that the progression is "1-4-5" from whatever your start key is, 4 is one to the left, 5 is one to the right.

The green letters in the inner circle are the 6th step of the scale, called the relative minor. The famous "Don't Stop Believing" chord riff is 1-5-6m-4, lifted from Pachelbel's Canon in D. Using that Circle of 5ths chart you can wing that song in any key. Or play at any blues jam, which are mostly going to be some variation of 1-4-5 with that occasional 6m tossed in.

It's all about repetitions. The more golf balls you hit or rounds you fire, the better you become at whatever the skill is. If you want it, you'll get there.

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Thanks to all for helping me. Especially MusicStudent (aka MusicTeacher).
Going back to my original post, here is the 1st of 15 tables I was hoping to find in a book or website. Clearly it took some effort to build this table but I find this table very easy and fast to read.

At some point, I'd like to build the other 14.

Some of the motivation behind this endeavor is that the currency that BiaB uses is the chord. So I'm thinking that it might pay dividends for me to know how these chords are constructed and spelled. This table does exactly that and it was fun to build.

Am I barking up a wrong tree here?
Is this table useless for the theory newbie?

AudioTrack, hopefully you see now what I was trying to say in my original post regarding sharps and flats. I apologize for not having the necessary music vocabulary to express all my thoughts crystal clearly.

Unless I have a typo, I think you can confirm in this table that the 4 enharmonics are maintained at the chord level.
FbMaj = EMaj
E#Maj = FMaj
CbMaj = BMaj
B#Maj = CMaj

I realize that all of these chords (and others) may not be used in making music, but as an educational exercise I wanted to be complete and understand how note and chord names work. Eddie points out that technically the key of D# doesn't exist. OK, but I'm interested in chords because BiaB uses chords. The relationship between chords and keys will be a subject in the future. I'm just trying to understand chords at this time.

I really appreciate all your help. And I know I need a Music Theory course at a local Community College but that's not possible at this time.

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Though this is an old video it may be useful to you



Here’s a newer Backing track creation video


You would mute the bass track and any others that you didn’t want

You may also want to become familiar with band in the box’s Guitar window options

https://www.pgmusic.com/manuals/bbw2022full/index.htm 2022 online manual


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Originally Posted By: Bass Thumper
This table does exactly that and it was fun to build.

Am I barking up a wrong tree here?
Is this table useless for the theory newbie?



You already acknowledged "it was fun". Can't ask for anything more. An by the way, making this table is essential for a theory newbie!

So now keep moving forward. You will discover that after a while you will not need this table since you will now understand how the table is made. I suggest you now pick up your instrument (Bass?) and find all these notes (apreggios) on the neck. You will discover these all have the same pattern up and down and across the neck (major triads). This will provide a new reference point for you in identifying the intervals which will reinforce what the tables have told you. Then yes, Scales next! grin


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Originally Posted By: MusicStudent

You already acknowledged "it was fun". Can't ask for anything more. An by the way, making this table is essential for a theory newbie!

Thanks "Teacher" wink


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Just Google "Piano chord charts". Lots of charts available.


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Drowning in information but starving for knowledge. The yin and the yang of Google. crazy


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FWIW, I searched for "bass guitar chords", rather than piano.
Much of the time a bass player will play arpeggios, rather than chords, but as arpeggios comprise the notes from the chords, that's fine. It also fives the opportunity to see helpful fingerings/voicings.

This seemed to me to be quite useful: https://ebassguitar.com/chords-on-the-bass-guitar/
YMMV.

Incidentally, I note he refers to the 10th. That's a little unconventional, at least when referring to piano chords, but it's just another way of describing the 3rd and octave up.

Last edited by Gordon Scott; 09/10/22 01:56 AM. Reason: added note about the 10th.

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Originally Posted By: Gordon Scott
...............

Incidentally, I note he refers to the 10th. That's a little unconventional, at least when referring to piano chords, but it's just another way of describing the 3rd and octave up.


FYI - Around here the 10th is quite common among pianists.


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Originally Posted By: MarioD
FYI - Around here the 10th is quite common among pianists.

Oh, OK. Unknown to me. Nothing really wrong with it, anyhow, I guess.

Does it follow the other usual convention and imply also the dominant-7th and 9th, or is it just a voicing guide?


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The old conventions are less important to the younger newer musicians who never learned them. In this information society, anyone can setup a website or contribute to a forum and then pass on information which is limited to the knowledge they possess. Kinda what I do.... grin


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Originally Posted By: Gordon Scott
Originally Posted By: MarioD
FYI - Around here the 10th is quite common among pianists.

Oh, OK. Unknown to me. Nothing really wrong with it, anyhow, I guess.

Does it follow the other usual convention and imply also the dominant-7th and 9th, or is it just a voicing guide?



As far as I know it is just a voicing guide. JonD's father was a music professor at a local university and he always talked about the 10th. JonD also talked about the 10th as well as the guy whom tunes our piano. I take to mean any chord that has the third an octave over the last note of the chord. As a guitarist I don't worry about those kind of things.


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Originally Posted By: MarioD
Originally Posted By: Gordon Scott
...............

Incidentally, I note he refers to the 10th. That's a little unconventional, at least when referring to piano chords, but it's just another way of describing the 3rd and octave up.


FYI - Around here the 10th is quite common among pianists.


Martin Taylor teaches finding the 10th when he teaches fingerstyle jazz guitar.


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Get to Know Mel Bay. He is your friend. I learned an awful lot of theory from those Mel Bay Modern Guitar method book. As well as how to read music.


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Originally Posted By: etcjoe
Originally Posted By: MarioD
Originally Posted By: Gordon Scott
...............

Incidentally, I note he refers to the 10th. That's a little unconventional, at least when referring to piano chords, but it's just another way of describing the 3rd and octave up.


FYI - Around here the 10th is quite common among pianists.


Martin Taylor teaches finding the 10th when he teaches fingerstyle jazz guitar.


Interesting. Thanx for the info.


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It was the best game of Hungry Hippos I've ever seen!


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Originally Posted By: etcjoe
Get to Know Mel Bay. He is your friend. I learned an awful lot of theory from those Mel Bay Modern Guitar method book. As well as how to read music.


The Mel Bay guitar method was how I started learning guitar some 62 years ago!


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From what I remember from college, the 10th falls in a symmetrical line of semitones. Don't quote me though. College was almost 50 years ago and I am having more and more days when I don't remember where my car is when I come out of Walmart.

My BRIGHT ORANGE car!!

Parked right by the door in a handicapped space!!

Yet I remember the house phone number from when I was a little kid. And that was back when there were "word" exchanges rather than all numbers. Our area had EXpress, ENdicott, GArfield and many more.

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