Construction
| Note | Interval | Degree |
|---|---|---|
| G♭ | Root | 1 |
| B♭♭ | Minor 3rd | ♭3 |
| D♭ | Perfect 5th | 5 |
Fingering
| Note | Key color | Right hand | Left hand |
|---|---|---|---|
| G♭ | black | thumb (1) | little finger (5) |
| B♭♭ | white | middle finger (3) | middle finger (3) |
| D♭ | black | little finger (5) | thumb (1) |
Right hand: thumb (1) on G♭, middle finger (3) on B♭♭, little finger (5) on D♭.
Left hand: little finger (5) on G♭, middle finger (3) on B♭♭, thumb (1) on D♭.
G♭ Minor Inversions
- Root positionG♭ – B♭♭ – D♭
- 1st inversion (G♭m/B♭♭)B♭♭ – D♭ – G♭
- 2nd inversion (G♭m/D♭)D♭ – G♭ – B♭♭
Key Signature
A chord has no key signature of its own, but the G♭ Minor is the tonic (i) chord of G♭ Minor, which shares the signature of its relative major, A Major: 3 sharps (F♯, C♯, G♯).
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 G♭ Minor
These are the triads built on each degree of G♭ Minor:
| Degree | Numeral | Chord | Quality |
|---|---|---|---|
| 1 | i | G♭ Minor | Minor |
| 2 | ii° | A♭ Diminished | Diminished |
| 3 | III | B♭♭ Major | Major |
| 4 | iv | C♭ Minor | Minor |
| 5 | v | D♭ Minor | Minor |
| 6 | VI | E♭♭ Major | Major |
| 7 | VII | F♭ Major | Major |
Scales That Include the G♭ Minor
G♭ Minor : Frequently Asked Questions
What notes are in G♭m?
How do you play G♭m on piano?
What are the inversions of G♭m?
What keys contain G♭m?
What is the difference between G♭m and G♭m7?
What is an easy G♭m for small hands?
What are the frequencies of G♭m?
What is the set class of G♭m?
How do I transpose G♭m to another key?
Is F♯m the same as G♭m?
G♭ 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 | G♭3 B♭♭3 D♭4 | 7 | 96 mm | none | identical | |
| Close, first inversion | B♭♭3 D♭4 G♭4 | 9 | 124 mm | none | identical | |
| Close, second inversion | D♭4 G♭4 B♭♭4 | 8 | 110 mm | none | identical | |
| Open, fifth on top | G♭2 D♭3 B♭♭3 | 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 | G♭3 B♭♭3 | 3 | 41 mm | omits D♭ | 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 | G♭ | G♭3, B♭♭3, D♭4 | 5/3 | 7 | 96 mm |
| First inversion: G♭m/B♭♭ | B♭♭ | B♭♭3, D♭4, G♭4 | 6/3 | 9 | 124 mm |
| Second inversion: G♭m/D♭ | D♭ | D♭4, G♭4, B♭♭4 | 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 |
|---|---|---|---|---|
| iv, v, i | C♯ minor | iv | F♯m to G♯m to C♯m | G♭m opens the phrase |
| i, iv | C♯ minor | iv | C♯m to F♯m | 1 tone held from C♯m |
| iii, vi, ii, V | D major | iii | F♯m to Bm to Em to A | G♭m opens the phrase |
| I, iii | D major | iii | D to F♯m | 2 tones held from D |
| ii, V, I | E major | ii | F♯m to B to E | G♭m opens the phrase |
| ii°, v, i | F♯ minor | i | G♯dim to C♯m to F♯m | 1 tone held from C♯m |
| iv, i | F♯ minor | i | Bm to F♯m | 1 tone held from Bm |
| i, ♭VI, ii°, v | F♯ minor | i | F♯m to D to G♯dim to C♯m | G♭m opens the phrase |
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♯ minor | iv | Subdominant |
| D major | iii | Tonic substitute |
| E major | ii | Predominant |
| F♯ minor | i | Tonic, home |
| A major | vi | Tonic substitute |
| B minor | v | Minor dominant |
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 |
|---|---|---|---|
| G♭m7 | adds F♭ | 1 ♭3 5 ♭7 | 3 |
| G♭mMaj7 | adds F | 1 ♭3 5 7 | 3 |
| G♭m6 | adds E♭ | 1 ♭3 5 6 | 3 |
| G♭ | B♭♭ becomes B♭ | 1 3 5 | 2 |
| G♭dim | D♭ becomes D♭♭ | 1 ♭3 ♭5 | 2 |
| G♭sus2 | B♭♭ becomes A♭ | 1 2 5 | 2 |
| G♭sus4 | B♭♭ becomes C♭ | 1 4 5 | 2 |
| G♭maj7 | B♭♭ becomes B♭, F | 1 3 5 7 | 2 |
| G♭7 | B♭♭ becomes B♭, F♭ | 1 3 5 ♭7 | 2 |
| G♭m7♭5 | D♭ becomes D♭♭, F♭ | 1 ♭3 ♭5 ♭7 | 2 |
| G♭dim7 | D♭ becomes D♭♭, F♭♭ | 1 ♭3 ♭5 ♭♭7 | 2 |
| G♭7sus4 | B♭♭ becomes C♭, F♭ | 1 4 5 ♭7 | 2 |
Frequencies
| Note | MIDI | Frequency |
|---|---|---|
| G♭3 | 54 | 185.00 Hz |
| B♭♭3 | 57 | 220.00 Hz |
| D♭4 | 61 | 277.18 Hz |
Reference pitch A440, 12-TET, close root position.
Set theory: prime form, Forte number, interval vector
- Absolute pitch class set
- {6, 9, 1}
- Normal order
- [6, 9, 1]
- Prime form
- (037)
- Forte number
- 3-11
- Interval vector
- <001110>
| Pair | Interval | Semitones | Interval class |
|---|---|---|---|
| G♭ to B♭♭ | Minor third | 3 | 3 |
| G♭ to D♭ | Perfect fifth | 7 | 5 |
| B♭♭ to D♭ | 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 G♭, 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.