The ♭VII chord appears in chord progressions in many ways. In the key of C major, a ♭VII chord would be B♭ (B♭-D-F) or B♭7 (B♭-D-F-A♭) borrowed from the parallel minor scale of C minor. And, sometimes, it causes heated debates. It is quite common, but it creates a lot of confusion and is easy to analyze incorrectly. While all of the borrowed chord possibilities do get used (including the i, iiº and v), most often you will encounter the minor iv, ♭III, ♭VI, and ♭VII chords borrowed from the parallel minor key. See also harmonizing minor scales into chords.The last common borrowed chord we will discuss in this lesson block is the ♭VII chord (“flat seven chord”). If you play in the A Minor you will get a gloomier and kind of melancholy sound compared to C Major. You don't need to memorize all relative keys, if you want to know the relative minor just go to the sixth degree in the major scale or, the other way around, to the third degree in the minor scale to identify the relative major.Īlthough the notes are the same, there is a difference between two relative keys: the tonic (first tone in the scale) is different and this leads to different sounds. G Major is relative with E Minor, F Major is relative to D Minor here are all relative keys listed: Relative keys have, as said above, the same notes and can be found for all major and natural minor scales. The Minor scales in graphic compilation are available in the member area.Ī collection of all Natural Minor scale charts can be downloaded as a PDF-file. Still, these names are not used adjacent to the diagrams to avoid confusions.įingering: 1 = Thumb | 2 = index finger | 3 = middle finger | 4 = ring finger | 5 = little finger.įormula: Whole, Half, Whole, Whole, Half, Whole, Whole This is theoretically correct since it is preferable to avoid the same letter twice. * Concerning the use of B#, Bbb, Cb, Ebb, Fb and E#.
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