CHAPTER 2
KEY CONSTRUCTION
CHORD/KEY RELATIONSHIPS

In Chapter 1 (TheCircle Of Fifths), instruction was given on how to construct Major Scales. In this chapter I will demonstrate just one of the many ways of putting these scales to work. As previously discussed, there are 12 Major scales, each one of these is representative of a key. So, therefore, there are 12 Major keys in the Western system. The name of the key (i.e. the key of C major) is derived from the root (or first) note of the major scale from which it was constructed. So how is a key constructed? Constructing a key is done by building the chords relative to the major scale you are working with. There are many ways to do this but I will discuss only two :- The first way is, in my opinion far and away the simplest method for determining the chords of any given key. The second method will be discussed also because it better explains the theory behind the outcome. Method 1: This method uses a very simple formula which is applied to the Major scale.

Using this formula is simple.

Step 1: Write out the notes of any Major scale and the Chord symbol underneath the Scale tones as in the formula. This determines the type of chord that is applicable for each of the scale tones.

i.e. C major scale

Now you can write the chords of the key (remember - no symbol is required next to a note if the chord is a Major chord) :-
 

Let’s try another, for instance, Bb Major :-

Apply the formula to the scale :-
 

Put the chords to the scale :-

The second part of this method is the Extended formula. This formula shows us the four-note chords relative to any given key.

The Extended formula is :-

This formula is applied to the Major scale in exactly the same manner as the previous formula :-

C Major scale

Apply the formula to the scale -

Apply the chord symbols to the scale :-

N.B. The chords discussed thus far are not the only chords that can be used to constitute a key. They are merely a guide, the chords discussed thus far only use notes from the scale they are relative to for their construction. Any alterations of the chord must be made keeping the chords original nature intact , i.e. the altered chords must still be Major, minor or diminished in nature dependant upon their relationship to the key. Altered chords and a list of possibilities will be examined after the second method for Key construction is explained.

Method 2:

This method is used in most recognised theory books but I don’t believe the principle of the theory can be fully grasped whilst one is concentrating on the motions that must be carried out to reach the desired result. It is for this reason that I discussed the formula method first, allowing the reader to see the desired result before working through this method.

Method 2 involves the use of standard notation, something many guitarists often neglect. Other instrumentalists may understand this section more clearly.

The first step is to write out the Major scale you wish to construct the chords of in standard notation. We will work with the C major scale first :-

Step 1:

Step 2: "Stack" the notes on top of these scale tones to construct each chord. If a scale tone is on a line, place one note on each of the two lines directly above the scale tone, using scale notes only, (i.e. naturals, sharps or flats as the major scale dictates). If a scale tone is in a space, place one note in each of the two spaces directly above the scale tone (again - naturals, sharps or flats as the major scale dictates).

Step 3 is where the difficulty lies in this method. A good knowledge of chord construction is required to now work out the names of each of these chords you’ve built, or "stacked". The theory of chord construction would requires a whole other lesson, one which I will cover in the near future.

For now, unless you are adept at chord construction, you’ll have to take my word for the chord names. They are as follows :-

So, therefore, to use Method 2 to determine the chords of any given key, one would need to write out the major scale in question in standard notation, then "stack" the notes, and then determine the nature of each of the chords using a less than simple chord construction theory.

The second part of Method 1 ( the four-note or extended chords) can also be built using Method 2.

For this example I’ll build the chords of the Key of E major.

Step 1: The E Major scale

Step 2: Now 3 (not 2) notes are "stacked" on the scale tones by the same method as the basic or triad chords.

Step 3: Use chord construction theory to determine the names of the chords built.

Let’s work on the same scale using the second formula of Method 1 :-

E Major scale :

The formula :

Apply the formula to the scale :

Compare the chords of the Key of E Major just determined with the result for the Key of E Major obtained using Method 2. Same result? Yes!

Which method do you prefer?

So I’m guessing Method 1 is the preferred method for most of you. However, you should have learnt from studying Method 2 that the basic or the four-note chords are constructed using notes solely from the major scale they are relative to. Many other chords can be substituted for those, but the chords you’ve determined using either method are the chords you refer to when selecting a possible substitute.

The following is a list of just a few of the possible substitutes you can choose from. They are listed relative to the scale tone they can be built on as in the Method 1 principle. The first two lines are the chords from the two formaulae from Method 1.
 

Here are each of the 12 Major keys with their basic chords. They are set out in the same order as the 12 Major scales at the end of the Circle of Fifths chapter. Build each key using that list then compare your results to the following:
 

If you can now determine the keys quite comfortably you have a great strength of knowledge. Firstly, you can compose your own songs with a great foundation to work from. Chances are, anything you come up with will be related to a key either strictly or broadly anyway. You could save time trying to find the "next chord" by having options in front of you either on paper or in your head. The time saved can be put to better use working on the finer points of your composition. But I must say at this point - All I’ve explained thus far are Rules. Rules can be broken. For instance, if the theory says you should play a D minor chord for the key you’re in but you like the sound of the D major chord in your song, use it! After all, anyone can use the chord they are supposed to use.

The second valuable tool you should now have is the ability to determine the key(s) of songs. This is fantastic for transcribing songs or solos and melodies. For example, if you know 3 or 4 of the chords in the song you may be able to isolate the key it is in then, using your formula, you can see what other chords may be in the song. If the chords sound like they fit together comfortably they are chord keys or alterations thereof. If they sound odd or out of place, they are chords "out of key". This has to help you work out the chords of the song. If you know the key of the song you will also have a fair chance of working out any solos or melodies. The solos or melodies follow the same principle as the chords. If the notes sound comfortable they are in the key, if they sound odd or out of place they are out of key. The only thing that should hinder your ability to transcribe these sorts of things is the speed at which they are played.

The third tool you should now possess is the ability to transpose chord progressions. This is the process of taking a song in one key and playing it in another. Let’s say, for instance, that the song you are playing is in the key of C major but you would like to play it in the key of Eb Major because your singer finds that key easier to sing in.

This is the chord progression in the key of C :-

These are the chords of the key of C :-

So the chord progression in C uses the 1st, 4th(as a Major seventh), 2nd and 5th chords of the key.

If you write out the chords in the key of Eb Major :-

Now you take the same chords (numerically) as in the key of C.

You’ll then have the following chord progression :-

This is the same chord progression but in a different key.

You should always experiment with different keys when writing your own material. Some keys may be difficult for you to play in or for someone to sing to. Some keys might just sound better to you.

For those of you who play saxophone, clarinet, or any other single note instrument for that matter, an intimate knowledge of keys is vital not only for improvisation (soloing etc.), but also for transposition. "let’s do "Fly Me To The Moon" in Bb guys", the band leader says. What do you do? You not only have to change the melody notes but you also have a solo you have to improvise over the middle eight bars. You need to transpose everything from the key you learnt it in. Ask yourself if you could do that.

The same goes for those of you who play chordal instruments. The guitarist is quite possibly the most fortunate of all as guitar playing is often a matter of mere shapes. But, hopefully after reading this lesson, guitarists should appreciate that to extend ones ability as far as possible you need to know more than just shapes. (Refer to the Steve Morse article, "The Composer Within" from Guitar magazine, November 1997).