Construction
| Note | Interval | Degree |
|---|---|---|
| A | Root | 1 |
| C | Minor 3rd | ♭3 |
| E | Perfect 5th | 5 |
Fingering
| Note | Key color | Right hand | Left hand |
|---|---|---|---|
| A | white | thumb (1) | little finger (5) |
| C | white | middle finger (3) | middle finger (3) |
| E | white | little finger (5) | thumb (1) |
Right hand: thumb (1) on A, middle finger (3) on C, little finger (5) on E.
Left hand: little finger (5) on A, middle finger (3) on C, thumb (1) on E.
A Minor Inversions
- Root positionA – C – E
- 1st inversion (Am/C)C – E – A
- 2nd inversion (Am/E)E – A – C
Key Signature
A chord has no key signature of its own, but the A Minor is the tonic (i) chord of A Minor, which shares the signature of its relative major, C Major: no sharps or flats.
Chords in the Key of A Minor
These are the triads built on each degree of A Minor:
How A Minor functions in a key
The same chord takes on a different harmonic role depending on the key it appears in. Here is where A Minor sits diatonically across the common keys:
- In C major, A Minor is the vi chord — the tonic.
- In A minor, A Minor is the i chord — the tonic.
- In G major, A Minor is the ii chord — a predominant.
- In E minor, A Minor is the iv chord — a predominant.
- In F major, A Minor is the iii chord — a mediant / color chord.
- In D minor, A Minor is the v chord.
Scales That Include the A Minor
A Minor : Frequently Asked Questions
What notes are in Am?
How do you play Am on piano?
What are the inversions of Am?
What keys contain Am?
What is the difference between Am and Am7?
What is an easy Am for small hands?
What are the frequencies of Am?
What is the set class of Am?
How do I transpose Am to another key?
A Minor in detail
Exact
Every pitch class is present and nothing outside the chord is added.
| Type | Notes | Semitones | Span | Omissions and additions | Set relation | Fit |
|---|---|---|---|---|---|---|
| Close, root position | A3 C4 E4 | 7 | 96 mm | none | identical | |
| Close, first inversion | C4 E4 A4 | 9 | 124 mm | none | identical | |
| Close, second inversion | E4 A4 C5 | 8 | 110 mm | none | identical | |
| Open, fifth on top | A2 E3 C4 | 15 | 206 mm | none | identical |
Reduced
A subset of the pitch classes: the identity is incomplete rather than altered.
| Type | Notes | Semitones | Span | Omissions and additions | Set relation | Fit |
|---|---|---|---|---|---|---|
| Root and third only | A3 C4 | 3 | 41 mm | omits E | subset |
Spans are measured centre to centre at a 165 mm octave (standard keyboard geometry).
| Position | Bass note | Notes in order | Figured bass | Semitones | Span |
|---|---|---|---|---|---|
| Root position | A | A3, C4, E4 | 5/3 | 7 | 96 mm |
| First inversion: Am/C | C | C4, E4, A4 | 6/3 | 9 | 124 mm |
| Second inversion: Am/E | E | E4, A4, C5 | 6/4 | 8 | 110 mm |
One position per chord tone in the bass. Spans are for close position: voiced inversions appear under Voicings.
| Progression | Key | Role | Sequence | Voice leading |
|---|---|---|---|---|
| vi, IV, I, V | C major | vi | Am to F to C to G | Am opens the phrase |
| I, vi | C major | vi | C to Am | 2 tones held from C |
| v, i | D minor | v | Am to Dm | Am opens the phrase |
| ii°, v, i | D minor | v | Edim to Am to Dm | 1 tone held from Edim |
| iv, v, i | E minor | iv | Am to Bm to Em | Am opens the phrase |
| i, iv | E minor | iv | Em to Am | 1 tone held from Em |
| iii, vi, ii, V | F major | iii | Am to Dm to Gm to C | Am opens the phrase |
| I, iii | F major | iii | F to Am | 2 tones held from F |
Root motion, common tones and voice displacement are computed from pitch class sets. Roman numerals follow common practice functional harmony.
Which keys it belongs to
| Key | Roman numeral | Function |
|---|---|---|
| C major | vi | Tonic substitute |
| D minor | v | Minor dominant |
| E minor | iv | Subdominant |
| F major | iii | Tonic substitute |
| G major | ii | Predominant |
| A minor | i | Tonic, home |
Classification system: common-practice functional harmony.
Change one note
Chords a single note away, and what moving that note does.
| Chord | Change | Formula | Common tones |
|---|---|---|---|
| Am7 | adds G | 1 ♭3 5 ♭7 | 3 |
| AmMaj7 | adds G♯ | 1 ♭3 5 7 | 3 |
| Am6 | adds F♯ | 1 ♭3 5 6 | 3 |
| A | C becomes C♯ | 1 3 5 | 2 |
| Adim | E becomes E♭ | 1 ♭3 ♭5 | 2 |
| Asus2 | C becomes B | 1 2 5 | 2 |
| Asus4 | C becomes D | 1 4 5 | 2 |
| Amaj7 | C becomes C♯, G♯ | 1 3 5 7 | 2 |
| A7 | C becomes C♯, G | 1 3 5 ♭7 | 2 |
| Am7♭5 | E becomes E♭, G | 1 ♭3 ♭5 ♭7 | 2 |
| Adim7 | E becomes E♭, G♭ | 1 ♭3 ♭5 ♭♭7 | 2 |
| A7sus4 | C becomes D, G | 1 4 5 ♭7 | 2 |
Frequencies
| Note | MIDI | Frequency |
|---|---|---|
| A3 | 57 | 220.00 Hz |
| C4 | 60 | 261.63 Hz |
| E4 | 64 | 329.63 Hz |
Reference pitch A440, 12-TET, close root position.
Set theory: prime form, Forte number, interval vector
- Absolute pitch class set
- {9, 0, 4}
- Normal order
- [9, 0, 4]
- Prime form
- (037)
- Forte number
- 3-11
- Interval vector
- <001110>
| Pair | Interval | Semitones | Interval class |
|---|---|---|---|
| A to C | Minor third | 3 | 3 |
| A to E | Perfect fifth | 7 | 5 |
| C to E | Major third | 4 | 4 |
Where these facts come from
Every value on this page is derived from the note formula for a minor applied to the root A, using standard music theory. Nothing here is hand-entered per chord, so the notes, intervals, inversions and frequencies cannot drift out of agreement with each other. Pitches assume 12-TET at A440.