Morrison Mccullough posted an update 4 days, 2 hours ago
For my last article, Guitar Chord Theory – Hang-in There Its a Long Story we looked at scales and the order of steps and half-steps that are used to make a scale. If you haven’t read it you should probably as it will get this article much easier stick to. It’s important to remember that different scales have a different number of sharps or flats in them.
A key for our purpose is a several related chords that sound good together. If you already play guitar maybe you have noticed that a song that starts with a C chords is certainly going to have F & G chords with it and possibly an Am chord perhaps. This tells us that the song with the key of C, less so because the song starts on C but since if the relationship of the chords, if the song started on the F chord it is still in the Key of C. another example became a song with G C D and maybe Em, this song would continue in the key of G because of the relationship of the chords.
Let’s use the C Major scale as it suits the purpose most excellent.
C Major Scale: C D E F G A B C
Scale Degrees: 1 2 3 4 5 6 7 8
Roman Numerals: I II III IV V VI VII VIII
All major chords are comprised of the 1st, 3rd and 5th degrees with regards to a scale. This would give us in the Key of C: C E G This is known to be a tonic triad.
Escorts in Springfield is the root note of the scale and chord. It is even the tonic note. C E G is a C major tonic triad. ‘Tonic’ since it has the C as the first note and ‘triad’ because has three (tri) notes in it.
When we talk of chords built on the different degrees of a scale we use Roman numerals.
The most important and finest sounding chords that match the C Major scale are chords that are built on the IV & V degrees of that scale. This gives us chords built on F(IV) and G(V).
A chord/tonic triad built on the IV in order to.e. F would be F A C (F A C being the 1st, 3rd and 5th degrees of an F scale) the chord/tonic triad would be an F Major chord.A chord/tonic triad built on the V i.e. G would be G B D (G B D being the 1st, 3rd and 5th degrees of the G scale) the chord/tonic triad would be a G Major chord.
The reason these two chords are so worthy of C is that they both have notes in normal with the C Major chord. F(IV) has the note C in common and G(V) has the G note in prevailing. These common notes make the changes between the chords easy on the ear. Both the IV and V are major chords.
The next seemingly chord to double is one that is built on the VI degree i.e. A and the 1st 3rd 5th belonging to the A scale is really a C# E, we shouldn’t have a C# in a in it conscious is not a C# in the C scale. The C# must turn into a C and would then be A C E as well as is an Any small chord. So in any key, a chord built on the VI of the scale needs to be a minor chord. This follows with all chords built around the notes of a scale, they must conform to the C scale.
All chords we’d like to play in a key should be built on the notes of that scale. This is applicable to any key we play in i simply.e. in the key of a we use just notes of the A scale. As key of G only the notes of the G scale.
Below is a chart with the C major scale and the different chords that could be built on each degree of the scale, the note found in each chord, and online business of chord.
All other Keys have the same association of chords i.e. the II, III & VI should always be a minors. The VII will always thought of minor b5.
It isn’t critical that this method use and many songs have been written using whatever chords the writer cares for.
It does however give us condition behind compatible chords that can be utilized as additional or passing chords inside a song.
Chords built around the scale degrees
Scale Degree Tonic Triad Chord Type
C I C E G C (Major)
D II D F A Dm (Minor)
E III E G B Em (Minor)
F IV F A C F (Major)
G V G B D G (Major)
A VI A C E Am (Minor)
B VII B D F Bmb5 (Minor b5)
C VIII C E G C (Major)