Progressions in F# — Oud

F# major harmonises to F# – G#m – A#m – B – C# – D#m – E#°; F# minor to F#m – G#° – A – Bm – C#m – D – E. Each chord links to its Oud voicings, so a change in F# becomes a short list of positions rather than a search.

This diatonic table is Western tertian theory, laid over an instrument whose own repertoire leans on maqam more often than on chord changes — a useful map when the oud sits in a mixed ensemble, and honestly labelled as a borrowed lens rather than the instrument's native one.