Worked original progression: C → G

Roman numeral In C major Triad notes In G major Triad notes
I C C E G G G B D
vi Am A C E Em E G B
IV F F A C C C E G
V G G B D D D F♯ A

So the four original bars C | Am | F | G become G | Em | C | D. All four chord functions remain I–vi–IV–V. In this mapping, each root is moved up a perfect fifth in note spelling (equivalently down a fourth in pitch class); it is not a random move of the same keyboard fingering.

A worksheet for your own key

Write the starting key and its I, IV, V and vi chords. Name the new key. Fill in new roots from the scale's letter sequence, then write each chord as major or minor according to its Roman numeral. Check the thirds: G major uses B natural; D major uses F-sharp. Finally, play the two versions and confirm the overall shape sounds similar but higher/lower.

Singer check, without forcing range

Hum the highest melodic note in the original key and the transposed version. The comfortable key is not necessarily the one that looks easiest on the keyboard. Don't continue a note that feels strained; adjust the key or octave and try again. A songwriter should transpose melody and bass as well as harmony to preserve the relationship, not leave a sung tune unchanged.

For the basic numeral system use progressions and keys/scale degrees. For a voice-friendly arrangement see accompanying yourself.

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.