Music Theory Mindmap & Cheat Sheet

Musical Alphabet

A B C D E F G

Chromatic Scale

All 12 notes in music (semitones):

  • C - C# - D - D# - E - F - F# - G - G# - A - A# - B
  • C - Db - D - Eb - E - F - Gb - G - Ab - A - Bb - B

Each note is one half-step apart

Enharmonic Equivalents

Different names for the same note:

  • C# = Db
  • D# = Eb
  • F# = Gb
  • G# = Ab
  • A# = Bb

Same pitch, different context!

Intervals

The distance between two notes:

  • Minor 2nd (m2)1 semitone
  • Major 2nd (M2)2 semitones
  • Minor 3rd (m3)3 semitones
  • Major 3rd (M3)4 semitones
  • Perfect 4th (P4)5 semitones
  • Tritone (TT)6 semitones
  • Perfect 5th (P5)7 semitones
  • Minor 6th (m6)8 semitones
  • Major 6th (M6)9 semitones
  • Minor 7th (m7)10 semitones
  • Major 7th (M7)11 semitones
  • Octave (P8)12 semitones

Circle of Fifths

The most important diagram in music theory - shows key relationships and accidentals

C G D A E B F# C# G# D# A# F Am Em Bm F#m C#m G#m D#m A#m Fm Cm Gm Dm 0 1# 2# 3# 4# 5# 6b/6# 5b 4b 3b 2b 1b

How It Works

  • Clockwise - Move up a Perfect 5th (add sharps)
  • Counter-clockwise - Move down a 5th (add flats)
  • Inner circle - Relative minor keys
  • Opposite side - Tritone relationship

Key Signatures

  • Sharps: C(0) → G(1) → D(2) → A(3) → E(4) → B(5) → F#(6)
  • Flats: C(0) → F(1) → Bb(2) → Eb(3) → Ab(4) → Db(5) → Gb(6)

Order of sharps: F# C# G# D# A# E# B#

Order of flats: Bb Eb Ab Db Gb Cb Fb

Major Scale

Formula: W-W-H-W-W-W-H

(W = Whole step/2 frets, H = Half step/1 fret)

Example: C Major

  • C - D - E - F - G - A - B - C
  • Intervals: 1 - 2 - 3 - 4 - 5 - 6 - 7 - 8

Natural Minor Scale

Formula: W-H-W-W-H-W-W

Example: A Minor

  • A - B - C - D - E - F - G - A
  • Intervals: 1 - 2 - b3 - 4 - 5 - b6 - b7 - 8

Relative to C Major (same notes!)

Pentatonic Scales

Major Pentatonic

Formula: 1 - 2 - 3 - 5 - 6

Example in C: C - D - E - G - A

Minor Pentatonic

Formula: 1 - b3 - 4 - 5 - b7

Example in A: A - C - D - E - G

Blues Scale

Formula: 1 - b3 - 4 - b5 - 5 - b7

Example in A: A - C - D - Eb - E - G

The 7 Modes

Built from each degree of the major scale:

  • Ionian (I) - Major scale (bright)
  • Dorian (ii) - Minor with raised 6th (jazzy)
  • Phrygian (iii) - Minor with b2 (Spanish)
  • Lydian (IV) - Major with #4 (dreamy)
  • Mixolydian (V) - Major with b7 (bluesy)
  • Aeolian (vi) - Natural minor (dark)
  • Locrian (vii) - Diminished (unstable)

Triads

  • Major C 1 - 3 - 5
    (C - E - G)
  • Minor Cm 1 - b3 - 5
    (C - Eb - G)
  • Diminished Cdim 1 - b3 - b5
    (C - Eb - Gb)
  • Augmented Caug 1 - 3 - #5
    (C - Eb - G#)

7th Chords

  • Major 7 CMaj7 1 - 3 - 5 - 7
    (C - E - G - B)
  • Dominant 7 C7 1 - 3 - 5 - b7
    (C - E - G - Bb)
  • Minor 7 Cm7 1 - b3 - 5 - b7
    (C - Eb - G - Bb)
  • Minor 7b5 Cm7b5 1 - b3 - b5 - b7
    (C - Eb - Gb - Bb)
  • Diminished 7 Cdim7 1 - b3 - b5 - bb7
    (C - Eb - Gb - Bbb)

Extended Chords

  • 9th
    7th chord + 9 (2nd octave up)
  • 11th
    9th chord + 11 (4th octave up)
  • 13th
    11th chord + 13 (6th octave up)

Often voiced selectively (not all notes played)

Diatonic Chords in Major Keys

Chords built from each scale degree:

I - Maj7
ii - m7
iii - m7
IV - Maj7
V - 7
vi - m7
vii - m7b5

Example in C: Cmaj7 - Dm7 - Em7 - Fmaj7 - G7 - Am7 - Bm7b5

Major 7

Notes: Root (1), Major 3rd (3), Major 7th (7)

Type A - Root on E

E
B
G
D
7
A
3
E
R

Type B - Root on A

E
B
G
7
D
3
A
R
E

Type C - Root on D

E
B
7
G
3
D
R
A
E

Type D - Root on G

E
7
B
3
G
R
D
A
E

min 7

Notes: Root (1), Minor 3rd (b3), Minor 7th (b7)

Type A - Root on E

E
B
G
D
b7
A
b3
E
R

Type B - Root on A

E
B
G
b7
D
b3
A
R
E

Type C - Root on D

E
B
b7
G
b3
D
R
A
E

Type D - Root on G

E
b7
B
b3
G
R
D
A
E

Dominant 7

Notes: Root (1), Major 3rd (3), Minor 7th (b7)

Type A - Root on E

E
B
G
D
b7
A
3
E
R

Type B - Root on A

E
B
G
b7
D
3
A
R
E

Type C - Root on D

E
B
b7
G
3
D
R
A
E

Type D - Root on G

E
b7
B
3
G
R
D
A
E

6

Notes: Root (1), Major 3rd (3), 6th (6)

Type A - Root on E

E
B
G
D
6
A
3
E
R

Type B - Root on A

E
B
G
6
D
3
A
R
E

Type C - Root on D

E
B
6
G
3
D
R
A
E

Type D - Root on G

E
6
B
3
G
R
D
A
E

Shell Voicings Explained

Shell voicings are simplified chord voicings that include only the essential notes: Root, 3rd, and 7th. The 5th is omitted because it doesn't define the chord quality.

Why use them?

  • Less finger stretching - easier to play
  • Clear harmonic definition with minimal notes
  • Perfect for comping in jazz and more
  • Easy to move around the neck
  • Leave space for bass and other instruments

Practice Tips for Shell Voicings

  • Learn the patterns: Memorize the shapes for each chord type on both string sets (6-5-4 and 5-4-3)
  • Practice ii-V-I: Move through common progressions using only shell voicings
  • Add extensions: Once comfortable, add 9ths, 11ths, or 13ths on higher strings
  • Voice leading: Move with minimal finger movement between chords
  • Rhythm practice: Focus on comping patterns and rhythmic variety

Common Chord Progressions

The Three Chord Wonder

I
IV
V

In C: C - F - G (Used in countless rock, pop, and blues songs)

Pop Progression

I
V
vi
IV

In C: C - G - Am - F (Extremely popular in modern pop music)

Jazz Standard

ii
V
I

In C: Dm7 - G7 - Cmaj7 (The most important progression in jazz)

50s Progression

I
vi
IV
V

In C: C - Am - F - G (Classic doo-wop and early rock)

12-Bar Blues

I
I
I
I
IV
IV
I
I
V
IV
I
V

In A: A7 (4 bars) - D7 (2 bars) - A7 (2 bars) - E7 - D7 - A7 - E7

Advanced Chord Progressions

Cycle of 4ths

iii
vi
ii
V
I

In C: Em7 - Am7 - Dm7 - G7 - Cmaj7

Rhythm Changes (A Section)

I
vi
ii
V

Based on "I Got Rhythm" - foundation of countless jazz standards

Chord Functions

  • Tonic (I, vi) - Home base, stable, resolution
  • Subdominant (ii, IV) - Moves away from tonic, builds tension
  • Dominant (V, vii°) - High tension, wants to resolve to tonic

Flow: Tonic → Subdominant → Dominant → Tonic

Common Substitutions

  • Relative minor/major
    I ↔ vi (C ↔ Am)
  • Tritone substitution
    V7 ↔ bII7 (G7 ↔ Db7)
  • Secondary dominants
    Any chord can be preceded by its V7
  • Borrowed chords
    Use chords from parallel minor