![]() The G Major chord is also simply called the G chord since being a major chord is implied. An upper case “M” stands for major, lower case “m” stands for minor, and a lower case “d” stands for diminished.Īll this means we can now match the notes in the G major scale to the chord tonality pattern to determine which types of chords are included in the key of G. Written another way using shorthand it might look like this: M, m, m, M, M, m, d. Major, Minor, Minor, Major, Major, Minor, Diminished. Now, we’re going to use yet another pattern (again, no math involved) that simply tells us which chords are major, minor, and diminished in a major key. Augmented chords are the only ones that do not occur naturally in major scales (using only the notes in the key), so we won’t be seeing any augmented chords here. The available base chord tonalities include: major, minor, diminished, and augmented. However, when we go deeper into the individual chords, their tonality references the way they sound and function within the key. ![]() ![]() This one note is how we identify the key (i.e. This key has one root note that holds the group of notes together musically, and in turn these notes are related back to the root note (G). This scale corresponds to a key and contains the same notes. The groups of notes we found following the major scale formula make up a scale. The next question we need to ask is, “What are the chord tonalities of each of these chords?” In other words, how do we know which ones are major, which ones are minor, and which ones are diminished? Now that we know the notes, G A B C D E F# G, we know that each of these notes has a corresponding chord. They follow the pattern of the major scale formula and we end up at G again on the 12th fret. Notice the distances between each of the notes as we continue up the fretboard. Finally, we need to return to the same note that we started with, which is a half step up from F#, ending in G. We also know that F to G is a whole step, so the answer is the note in between F and G, which we call F#. But instead of a half step, we need a whole step. We know that this note should be an F# because a half step (1 fret) up from E is F. Beginning with the open G string, we go up a whole step (2 frets) to A. Let’s start with G and follow the pattern to make sure we select the correct notes. If you’re looking for a more in-depth explanation, feel free to read this detailed post on the major scale formula, complete with diagrams, examples, and practice questions, before continuing. The major scale formula is simply a pattern of whole and half steps (2 or 1 frets respectively) that help us choose the correct notes to include in the key.Īs a reminder the major scale formula is: Whole, Whole, Half, Whole, Whole, Whole, Half.Ĭounting the number of frets, it would be: 2, 2, 1, 2, 2, 2, 1. Don’t worry, it doesn’t involve any math. This means we can start on G and follow the major scale formula. When we play in the key of G, the starting note of the corresponding scale if G. To play chords in the key of G, first we need to know what “key of G” even means. You’ll also learn some useful patterns to add to your musical tool belt. If you’re not quite familiar with what chords are included in the key of G or how to play them, this is the perfect starting point. This post will help expand your chord vocabulary to include chords in the key of G major.
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