The Diatonic Scale - Transposing 

The Diatonic Scale Matrix below set out for a Major Key progression aids in transposition, that is the art of changing music

from one key to another.

The chart is based on the notes C--D --E-F--G--A--B-C (" - "equals a semitone) 

Further below, for clarity, another table shows all of the notes chromatically.

In order for the correct intervals to be heard in other keys some notes need to be sharpened

or flattened depending on how you want to look at it.

I have put the sharp or flat keys (C#, D3 etc) in a smaller case only to make the chart easier to read.

The I column shows the name of the key.

The VI is the relative minor.

The 2 is the semitones or frets between.

Between III and IV and VII and VIII (VII is the same as I) there is one semitone or fret.

The second row indicates chords types.

So, try it out play these chords in the key of C major : C, Dmin, Emin, Fmaj7, G7, Amin, Bdim.

Now play these chords in the key of D major : D, Emin, F#min, Gmaj7, A7, Bmin, C#dim.

You should hear the same progession transposed to another key.

The Cmajor scale has no sharps or flats a fact that allows understanding the conventions that govern transposition.

From the Cmajor key
 
C - - D - - E - F - - G - - A - -B - C ('-' equals one semitone or fret)  

we can extract the pattern of semitones between the notes:

2 2 1 2 2 2 1 between each note.

So if we apply the pattern to the notes of the Gmajor key

G - - A - - B - C - - D - - E - - F# - G

2 2 1 2 2 2 1 between each note.

So the Cmajor chord progression - C Dm Em F G has the same intervals as

The chord progression in Gmajor - G Am Bm C D

and in Amajor

A - - B - - C# - D - - E - - F# - - G# - A

The chord progression becomes A Bm C#m D E

Construct the notes from left to right and apply the pattern.

 

© Copyright 2002-2013 Ian McGowan