DANCEMIX.COM - Learning Center: Music Theory (Page 4)

How It Works

This example shows that a major chord consistes of the 1st, 3rd, and 5th tones of the major scale, and that the common symbol for the C major chord is simply C (letter name alone indicates a major chord). It also shows three different scales, each of which harmonizes with the major chord in specific styles of music listed in the column on the right.

CHORDS FAMILIES

The Chord and Scale Table groups chords and scales into three basic families: major, minor, and dominant.
Almost all chords contain a root (1) and a fifth (5). THe characteristics of the 3rd and 7th notes give each chord family its unique flavor.
MAJOR CHORDS and SCALES are generally characterized by having a major third (3), and in the case of seventh and extended chords, a major seventh (7).
MINOR CHORDS and SCALES all contain the minor third (b3), and minor seventh and extended chords contain the flat seven (b7).
DOMINANT CHORDS all contain the major third (3) and the flat seven (b7).
OTHER CHORDS: AUGMENTED CHORDS belong, in a sense, to the dominant family (see sevn sharp five). DIMINISHED CHORDS are often used as dominant chords (seven flat nine with the root omitted is idenitcal to a diminished seventh).
CHORD VOICING: By definition, a chord contains three or more tones. Chords which have four or more notes often sound better when not all the notes are played. Notes which are often omitted are shown on the table in parentheses. The root and the fifth are also sometimes left out of a chord voicing. Because the 3rd and the 7th give each chord family its own unique flavor, they are almost never omitted in seventh and extended voicings.

CHORDS: ARRANGEMENT AND IMPROVISATION

In almost all styles of music it is useful to understand not only how chords move in progression, but how to vary each chord within a progression.
MAJOR and MINOR CHORDS can be varied by suspension. This is particularly useful where seventh and extended chords would be inappropriate, such as in many rock and country songs.
Example:
Progression: | G / / / | D / / / | C / / / | G / / / |
Variation: | G / / / | Dsus4 / D / | C / Csus2 | G / / / |
SEVENTH and EXTENDED CHORDS can be varied by substitution, i.e., using another chord with a somewhat similar sound in place of the original chord. By substituting chords from the same family, a progression can be given different tonal colors while retaining its basic movement. (The degree of simplicity or complexity in an arrangement is strictly a matter of personal taste.)
In the following example a progression is rearranged by substituting chords from the appropriate chord families.
Progression: | F / / / | Cm / F7 / | Bb / / / | Bbm / / / |
Variation #1: | FM7 / / / | Cm7 / F9 / | BbM7 / / / | Bbm7 / / / |
Variation #2: | FM9 / / / | Cm11 / F7b5 / | BbM9 / / / | Bbm9 / / / |

SCALES: MELODY AND IMPROVISATION OVER CHORDS

In order to play melodic lines successfully over the chords in a progression, it is important to understand the structure of chords and scales, and how their sounds interact. Scales played over a chord will almost always contain the chord tones, which provide points of resolution for the melodic line.
ONE-SCALE PROGRESSIONS: Many progressions are made up of chords whose notes are all derived from one scale.
Example: | G / / / | Em / / / | C / / / | D / / / |, etc.
All of the notes in these chords occur naturally in the key of G; therefore, the G major scale or the G major pentatonic scale will work well over all the chords in the progression. (Emphasis can be placed on the tones of each chord as it occurs; for example, during the E minor, the melodic player can emphasize the notes E, G, and B.) It would be possible to use different scales over each chord in the progression (example: G major pentatonic | E minor pentatonic | C major pentatonic | D major penatonic |).
PROGRESSIONS WITH MORE THAN ONE SCALE: When a chord contains notes outside the key of the progression, the melodic player must change scales to fit the notes of that chord.
Example: | G / / / | B7 / / / | Em / / / | C / Cm / |, etc.
By examining the notes in each chord we find that both the b7 and Cm contain notes which are not in the G major (D# in the b7 chord, Eb in the Cm chord). To avoid "wrong notes", the player should use different scales for each of these chords: B mixolydian will work over B7, and C minor pentatonic or C dorian will work over C minor. Many soloists use a different scale for almost every chord in a progression.

COMMON CHORDS AND SCALES

Many songs in almost any style (except jazz and jazz-influenced pop) can be played using only these five chords and six scales. Because most other chords and scales are variations of these common forms, learning them will help a musician play chords and solos in a wide variety of songs.

<< Previous | Menu