All 24 keys, in every notation DJ software uses — sortable, copy-friendly, and live with track counts from the Mixgraph catalog. Click a row to expand and see which keys mix safely with it. Then look at what those moves are actually worth: across 445,891 tracks, the richest move out of a key holds a median 2.8× the material of the thinnest one.
Track counts from 445,891 scored tracks in the Mixgraph catalog.
| View | |||||
|---|---|---|---|---|---|
| 1A | 6m | A♭ Minor(G♯ minor) | minor | 15,313 | Compatible1A tracks → |
| 1B | 6d | B Major | major | 7,336 | Compatible1B tracks → |
| 2A | 7m | E♭ Minor(D♯ minor) | minor | 18,810 | Compatible2A tracks → |
| 2B | 7d | F♯ Major(G♭ major) | major | 11,566 | Compatible2B tracks → |
| 3A | 8m | B♭ Minor(A♯ minor) | minor | 17,579 | Compatible3A tracks → |
| 3B | 8d | D♭ Major(C♯ major) | major | 7,611 | Compatible3B tracks → |
| 4A | 9m | F Minor | minor | 26,810 | Compatible4A tracks → |
| 4B | 9d | A♭ Major(G♯ major) | major | 11,446 | Compatible4B tracks → |
| 5A | 10m | C Minor | minor | 25,224 | Compatible5A tracks → |
| 5B | 10d | E♭ Major(D♯ major) | major | 13,670 | Compatible5B tracks → |
| 6A | 11m | G Minor | minor | 29,026 | Compatible6A tracks → |
| 6B | 11d | B♭ Major(A♯ major) | major | 10,365 | Compatible6B tracks → |
| 7A | 12m | D Minor | minor | 27,411 | Compatible7A tracks → |
| 7B | 12d | F Major | major | 23,442 | Compatible7B tracks → |
| 8A | 1m | A Minor | minor | 36,192 | Compatible8A tracks → |
| 8B | 1d | C Major | major | 16,660 | Compatible8B tracks → |
| 9A | 2m | E Minor | minor | 26,605 | Compatible9A tracks → |
| 9B | 2d | G Major | major | 20,602 | Compatible9B tracks → |
| 10A | 3m | B Minor | minor | 17,891 | Compatible10A tracks → |
| 10B | 3d | D Major | major | 18,341 | Compatible10B tracks → |
| 11A | 4m | F♯ Minor(G♭ minor) | minor | 18,963 | Compatible11A tracks → |
| 11B | 4d | A Major | major | 16,365 | Compatible11B tracks → |
| 12A | 5m | C♯ Minor(D♭ minor) | minor | 13,152 | Compatible12A tracks → |
| 12B | 5d | E Major | major | 15,511 | Compatible12B tracks → |
Click any row to see safe matches, energy shifts and advanced moves for that key. Click a column header to sort. Hover any cell to copy its value.
Every move in the rules table further down is one step on the wheel, and every guide treats them as interchangeable in size. They are not. Out of 8A — the busiest key we hold, at 36,192 tracks — a high energy drain to 6A lands on 29,026 tracks while a tonal shift to 8B lands on 16,660. Same single step, 1.7× the shelf.
It is not a quirk of one key. Across all 24 the richest available move holds a median 2.8× the thinnest, peaking at 3.7× out of 7B. And the usual advice comes out backwards. The tonal shift — the same-root major-to-minor swap every beginner is taught first — is the thinnest move available out of 7 of the 24 keys, because minor carries most of the catalog and half those swaps land on the major side. The tritone, which every guide tells you to save for a planned moment, is the richest move out of 5.
| Key | Tracks | Richest move | Thinnest move | Spread |
|---|---|---|---|---|
| 8A | 36,192 | High Energy Drain → 6A 29,026 | Tonal Shift → 8B 16,660 | 1.7× |
| 6A | 29,026 | High Energy Boost → 8A 36,192 | Tonal Shift → 6B 10,365 | 3.5× |
| 7A | 27,411 | Simple Mix Upper → 8A 36,192 | Tritone Jump → 1A 15,313 | 2.4× |
| 4A | 26,810 | High Energy Boost → 6A 29,026 | Tonal Shift → 4B 11,446 | 2.5× |
| 9A | 26,605 | Simple Mix Lower → 8A 36,192 | Tritone Jump → 3A 17,579 | 2.1× |
| 5A | 25,224 | Simple Mix Upper → 6A 29,026 | Tonal Shift → 5B 13,670 | 2.1× |
| 7B | 23,442 | Tonal Shift → 7A 27,411 | Tritone Jump → 1B 7,336 | 3.7× |
| 9B | 20,602 | Tonal Shift → 9A 26,605 | Tritone Jump → 3B 7,611 | 3.5× |
| 11A | 18,963 | High Energy Drain → 9A 26,605 | Simple Mix Upper → 12A 13,152 | 2.0× |
| 2A | 18,810 | Tritone Jump → 8A 36,192 | Tonal Shift → 2B 11,566 | 3.1× |
| 10B | 18,341 | Simple Mix Lower → 9B 20,602 | Tritone Jump → 4B 11,446 | 1.8× |
| 10A | 17,891 | High Energy Drain → 8A 36,192 | High Energy Boost → 12A 13,152 | 2.8× |
| 3A | 17,579 | Simple Mix Upper → 4A 26,810 | Tonal Shift → 3B 7,611 | 3.5× |
| 8B | 16,660 | Tonal Shift → 8A 36,192 | High Energy Drain → 6B 10,365 | 3.5× |
| 11B | 16,365 | High Energy Drain → 9B 20,602 | High Energy Boost → 1B 7,336 | 2.8× |
| 12B | 15,511 | High Energy Drain → 10B 18,341 | Simple Mix Upper → 1B 7,336 | 2.5× |
| 1A | 15,313 | Tritone Jump → 7A 27,411 | Tonal Shift → 1B 7,336 | 3.7× |
| 5B | 13,670 | Tonal Shift → 5A 25,224 | High Energy Drain → 3B 7,611 | 3.3× |
| 12A | 13,152 | Tritone Jump → 6A 29,026 | Simple Mix Upper → 1A 15,313 | 1.9× |
| 2B | 11,566 | Tonal Shift → 2A 18,810 | Simple Mix Lower → 1B 7,336 | 2.6× |
| 4B | 11,446 | Tonal Shift → 4A 26,810 | Simple Mix Lower → 3B 7,611 | 3.5× |
| 6B | 10,365 | Tonal Shift → 6A 29,026 | High Energy Drain → 4B 11,446 | 2.5× |
| 3B | 7,611 | Tritone Jump → 9B 20,602 | High Energy Drain → 1B 7,336 | 2.8× |
| 1B | 7,336 | Tritone Jump → 7B 23,442 | High Energy Boost → 3B 7,611 | 3.1× |
Counted across every public track carrying a detected key, refreshed daily. Compared moves are the six in the rules table below — tonal shift, ±1, ±2 and the tritone — scored purely on how many tracks sit in the destination key. It is a statement about stock, not about how good the move sounds: a thin move into the right record still beats a fat one into the wrong one.
The 24 rows are the 12 chromatic keys, each appearing twice — once in major (Camelot B side, Open Key d side) and once in minor (Camelot A side, Open Key m side). The wheel position is encoded in the Camelot number: 1 through 12, ordered so adjacent numbers are perfect-fifth neighbours on the circle of fifths.
The chart’s real value is the expand interaction. Click any row and the bottom of the table shows which keys fall into the three compatibility tiers for that source: safe matches that share most of their pitches, energy shifts that sound like deliberate lifts, and advanced moves that include the dramatic tritone jump. The full mix-rule set is captured in the Camelot wheel if you prefer to see it visually rather than as a table.
The Tracks column reflects the live Mixgraph catalog — refreshed daily — so you’re looking at where actual modern dance music sits, not a theoretical even distribution. Patterns emerge: minor keys dominate, particular Camelot numbers cluster around dancefloor-favourite atmospheres, and certain “edge” keys (like 2A / E♭ minor) are notably under-used despite being harmonically rich.
| Move | Camelot rule | Effect |
|---|---|---|
| Perfect Harmony | same key | Seamless overlay — used for layered intros |
| Tonal Shift | same number, A↔B | Mood swap (minor ↔ major), same root |
| Simple Mix Upper | number +1, same letter | Clockwise step — subtle energy lift |
| Simple Mix Lower | number −1, same letter | Counter-clockwise — gentle ease |
| High Energy Boost | number +2, same letter | Stronger lift — pair with a small BPM bump |
| High Energy Drain | number −2, same letter | Stronger drop — for breakdown phases |
| Tritone Jump | number ±6, same letter | Maximum drama — plan as a moment |
Each row is one of the 24 keys. The Camelot column shows DJ-software notation (1A through 12B), the Open Key column shows Mixed In Key's alternative shorthand (1d through 12m), and the Musical column shows the traditional name. The Mode column tells you whether the key is major or minor. The Tracks column shows how many tracks in the Mixgraph catalog are tagged in that key — useful for spotting which keys are over- or under-represented in modern dance music.
Camelot is engineered to make compatible keys look obviously related: 8A and 9A are adjacent on the wheel and they share four pitches, so they sound good together. In musical notation those keys are A minor and E minor, which look unrelated unless you know the circle of fifths. The chart shows both views so you can pick whichever notation makes the relationship clearest in your head — and copy the right format for whichever software you're working in.
Yes, dramatically. Sort the chart by Tracks (descending) and you'll see a strong skew toward minor keys at certain Camelot numbers — particularly 8A (A minor), 11A (F♯ minor), 6A (G minor) and 1A (G♯ minor). These are the "cinematic" keys most associated with darker, atmospheric dance music, and producers gravitate toward them by default. Major keys with bright timbres (5B / E♭ major, 8B / C major) also show up well because they suit uplifting trance, festival anthems and pop crossovers.
It depends on the key you're in, and not in the way the rules imply. Every move in the table is one step on the wheel, but the shelf you land on is a different size every time — across the 24 keys the richest available move holds a median 2.8 times the material of the thinnest one. The stock table above works it out per key from the live catalog. Two patterns are worth internalising: the tonal shift (same number, flip the letter) is the thinnest move available out of 7 keys, because most dance music is minor and half those swaps drop you onto the major side; and the tritone, which everyone treats as a special-occasion move, is the richest option out of 5 precisely because it launches from a thin key onto a fat one. None of that says which move sounds best — it says which one gives you something to play.
Yes — the table scrolls horizontally on narrow screens, and the expand-row interaction works with taps. For a one-page printable version designed specifically for phone screens or a clipboard reference, check the Camelot wheel cheat sheet linked below.
A "safe match" relationship — same number, ±1 number same letter, or A↔B at the same number — shares four out of seven pitches with the source key, so chord-bearing layers from the two tracks rarely clash. An "energy boost" (number +2 same letter) shares three out of seven pitches, which sounds like a deliberate lift in mood and tension. Advanced moves like the tritone share only two pitches and are inherently dramatic — they work as planned moments rather than seamless blends. Click any row in the chart above to see exactly which keys fall into each tier for that source.
Plan a harmonically compatible set