Construction
| Note | Interval | Degree |
|---|---|---|
| C♭ | Root | 1 |
| E♭♭ | Minor 3rd | ♭3 |
| G♭ | Perfect 5th | 5 |
Fingering
| Note | Key color | Right hand | Left hand |
|---|---|---|---|
| C♭ | white | thumb (1) | little finger (5) |
| E♭♭ | white | middle finger (3) | middle finger (3) |
| G♭ | black | little finger (5) | thumb (1) |
Right hand: thumb (1) on C♭, middle finger (3) on E♭♭, little finger (5) on G♭.
Left hand: little finger (5) on C♭, middle finger (3) on E♭♭, thumb (1) on G♭.
C♭ Minor Inversions
- Root positionC♭ – E♭♭ – G♭
- 1st inversion (C♭m/E♭♭)E♭♭ – G♭ – C♭
- 2nd inversion (C♭m/G♭)G♭ – C♭ – E♭♭
Key Signature
A chord has no key signature of its own, but the C♭ Minor is the tonic (i) chord of C♭ Minor, which shares the signature of its relative major, D Major: 2 sharps (F♯, C♯).
Order of sharps
Sharps are added to a key signature in a fixed order. Each new sharp key adds the next sharp on the list.
Mnemonic: Father Charles Goes Down And Ends Battle
Chords in the Key of C♭ Minor
These are the triads built on each degree of C♭ Minor:
| Degree | Numeral | Chord | Quality |
|---|---|---|---|
| 1 | i | C♭ Minor | Minor |
| 2 | ii° | D♭ Diminished | Diminished |
| 3 | III | E♭♭ Major | Major |
| 4 | iv | F♭ Minor | Minor |
| 5 | v | G♭ Minor | Minor |
| 6 | VI | A♭♭ Major | Major |
| 7 | VII | B♭♭ Major | Major |
Scales That Include the C♭ Minor
C♭ Minor : Frequently Asked Questions
What is the C♭ Minor chord on piano?
What notes make up the Cb Minor chord?
Is Cb Minor used in practice?
What is the relationship between Cb Minor and B Minor?
What songs are in B Minor / Cb Minor?
What chords pair well with Cb Minor / B Minor?
Should I practise Cb Minor separately from B Minor?
C♭ 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 | C♭3 E♭♭4 G♭4 | 7 | 96 mm | none | identical | |
| Close, first inversion | E♭♭4 G♭4 C♭4 | 9 | 124 mm | none | identical | |
| Close, second inversion | G♭4 C♭4 E♭♭5 | 8 | 110 mm | none | identical | |
| Open, fifth on top | C♭2 G♭3 E♭♭4 | 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 | C♭3 E♭♭4 | 3 | 41 mm | omits G♭ | 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 | C♭ | C♭3, E♭♭4, G♭4 | 5/3 | 7 | 96 mm |
| First inversion: C♭m/E♭♭ | E♭♭ | E♭♭4, G♭4, C♭4 | 6/3 | 9 | 124 mm |
| Second inversion: C♭m/G♭ | G♭ | G♭4, C♭4, E♭♭5 | 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 | D major | vi | Bm to G to D to A | C♭m opens the phrase |
| I, vi | D major | vi | D to Bm | 2 tones held from D |
| v, i | E minor | v | Bm to Em | C♭m opens the phrase |
| ii°, v, i | E minor | v | F♯dim to Bm to Em | 1 tone held from F♯dim |
| iv, v, i | F♯ minor | iv | Bm to C♯m to F♯m | C♭m opens the phrase |
| i, iv | F♯ minor | iv | F♯m to Bm | 1 tone held from F♯m |
| iii, vi, ii, V | G major | iii | Bm to Em to Am to D | C♭m opens the phrase |
| I, iii | G major | iii | G to Bm | 2 tones held from G |
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 |
|---|---|---|
| D major | vi | Tonic substitute |
| E minor | v | Minor dominant |
| F♯ minor | iv | Subdominant |
| G major | iii | Tonic substitute |
| A major | ii | Predominant |
| B 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 |
|---|---|---|---|
| C♭m7 | adds B♭♭ | 1 ♭3 5 ♭7 | 3 |
| C♭mMaj7 | adds B♭ | 1 ♭3 5 7 | 3 |
| C♭m6 | adds A♭ | 1 ♭3 5 6 | 3 |
| C♭ | E♭♭ becomes E♭ | 1 3 5 | 2 |
| C♭dim | G♭ becomes G♭♭ | 1 ♭3 ♭5 | 2 |
| C♭sus2 | E♭♭ becomes D♭ | 1 2 5 | 2 |
| C♭sus4 | E♭♭ becomes F♭ | 1 4 5 | 2 |
| C♭maj7 | E♭♭ becomes E♭, B♭ | 1 3 5 7 | 2 |
| C♭7 | E♭♭ becomes E♭, B♭♭ | 1 3 5 ♭7 | 2 |
| C♭m7♭5 | G♭ becomes G♭♭, B♭♭ | 1 ♭3 ♭5 ♭7 | 2 |
| C♭dim7 | G♭ becomes G♭♭, B♭♭♭ | 1 ♭3 ♭5 ♭♭7 | 2 |
| C♭7sus4 | E♭♭ becomes F♭, B♭♭ | 1 4 5 ♭7 | 2 |
Frequencies
| Note | MIDI | Frequency |
|---|---|---|
| C♭3 | 59 | 246.94 Hz |
| E♭♭4 | 62 | 293.66 Hz |
| G♭4 | 66 | 369.99 Hz |
Reference pitch A440, 12-TET, close root position.
Set theory: prime form, Forte number, interval vector
- Absolute pitch class set
- {11, 2, 6}
- Normal order
- [11, 2, 6]
- Prime form
- (037)
- Forte number
- 3-11
- Interval vector
- <001110>
| Pair | Interval | Semitones | Interval class |
|---|---|---|---|
| C♭ to E♭♭ | Minor third | 3 | 3 |
| C♭ to G♭ | Perfect fifth | 7 | 5 |
| E♭♭ to G♭ | 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 C♭, 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.