(In this way it differs from a time signature, which need be written only once). Try to also refer to them as 'first degree, 2nd, 3rd.' etc. The key signature determines the pattern of accidentals - sharps and flats - to be played, and reappears at the beginning of each staff. Try to put all of them together in this key (C major) to hear how they work together. 1st Flat on ' B ' 2nd Flat on ' E ' 9 ( 1b ) key of F MAJOR D minor 3rd Flat 4th Flat on ' A ' ' on 5th Flat on ' G ' 6th Flat on ' C ' 7th Flat on. To help you put this into practice, in the fretboard diagrams is a common way to play all 7 chords on the guitar. The B half diminished seventh Chord for Piano has the notes B D F A and interval structure 1 m3 b5 b7. Once we have been through the process we are left with another formula to remember, which is as follows: This step shows the B-flat minor-major 7th chord in root position on the piano, treble clef and bass clef. The F# is clearly not in the C major scale and therefore cannot be used.

On the other hand, D7 wouldn't work here because it has D, F#, A & C. b) They do know how to play a basic version but they dont know any cool chord voicings to play when the voicing comes up in a chord chart. So, for example, when looking at D (The second degree of the scale) we know that a Dm fits in (using the notes D, F & G) and now we can use Dm7 as well because that has D, F, G & C in it, which are all notes from the C major scale. The process is the same, you create the chord using just the notes in the C major scale.

Just as we did when we harmonised the key of C major to triads, we can now dot the same with 7th chords.

B minor 7 flat 5