Eb is Eb, G and Bb. The is the note that makes the triad major.
uses the instead. To hear the difference, raise that note one fret and let become Eb.
The minor third rises by one fret to become the major third. Every other note stays the same.
The same half step gives Eb an important job in a minor key. It can lead to , with its 3rd rising one fret to the new root.
Also written Ebmaj, EbM or Eb major.
Root, 3rd and 5th on three adjacent strings. Thin alone, great over a bass line, which decides what the chord becomes.
The chord a minor scale builds on its fifth degree is minor, but Eb is what gets played there. Its major third is the leading tone, a half step below the root of Abm; without it the chord doesn’t sound like a dominant.
Listen for: The leading tone rises a half step to the root of the i. On the minor v the same string is a whole step below it, and the pull is gone.
Eb is the IV of Bb, which is the IV of F: two plagal steps in a row, each a fourth up. The same pair of neighbour notes falls in each step, a rock staple since the mid-sixties.
Listen for: One voice steps down twice, a half step and then a whole step, from the flat seventh of the key to its fifth.
Heard in“Gloria”“I Can’t Explain”“Hey Jude” (coda)
In which keys. Every note of Eb belongs to C minor, Eb major, F minor, G minor, Ab major and Bb major.
Contains Eb and adds second and sixth.
Contains Eb and adds second, fourth, sixth and major seventh.
Contains Eb and adds second, sharp eleventh, sixth and major seventh.
Adds second, fourth, sixth and flat seventh. The flat seventh pushes the sound toward a dominant chord.
Adds second, sharp eleventh, sixth and flat seventh, for a dominant sharp-eleventh color.
The common shapes and the derived voicings come from different places, and both are explained in how this site is built.
Shows each chord the way this style would voice it, and marks which of its alternatives belong to the idiom.