Twelve decoding cards

Symbol Notes (root-position chord tones) What changes
C C E G Major triad
Cm C E♭ G Minor third
F F A C Major triad
Fm F A♭ C Minor third
G G B D Major triad
G7 G B D F Dominant seventh
Dm D F A Minor triad
D7 D F♯ A C Dominant seventh
Am A C E Minor triad
Am7 A C E G Minor seventh
Cmaj7 C E G B Major seventh
C/E C E G; E in bass Bass choice, not a new triad

These note spellings are presented for keyboard verification, not as a requirement to play every note with one hand. In a fuller arrangement, the chord may be divided between left and right hands.

Slash versus inversion

C/E usually results in C major first inversion when E is the lowest sounding note. C/G places G in the bass, often second inversion. But a slash chord can specify a bass note outside the triad (for example, C/D), so “every slash means a conventional inversion” is false.

Self-quiz: decode before peeking

Write the bass and right-hand tones for G/B, Am/C, D/F♯ and F/A; then compare with the key below.

Answer key

G/B: B bass, G–B–D chord; Am/C: C bass, A–C–E chord; D/F♯: F♯ bass, D–F♯–A chord; F/A: A bass, F–A–C chord.

If you mix up C7 and Cmaj7, remember that a dominant seventh lies ten semitones above the root, while a major seventh lies eleven. Explore four seventh chords and moving bass with slash chords after the root/quality distinction is secure.

Sources and scope

Source and topic references checked 28 October 2026. The linked articles/course outlines substantiate the indicated general principles and coverage, not our precise original exercise, performance effectiveness, or a first-hand review. Music studies here were independently composed for this site; external musician review before publishing is still outstanding.