Chords from Scales

L L ø
Deltadiatonics Twenty-First Century Harmony
Ron Di Salvio

Ñ ±Ñ
© 2013 Meadow Run Music ASCAP
All Rights Reserved

1 b3 b5

∆ ∆ ±±∆
Diminished

±
Augmented
1 3 5

1 b3
Minor
Arabic Numerals 5
(Alterations Major
to Scale) 1 3 5 7
1 #1 b 2 2 #2 b3 3 4 #4 b5 5 #5 b6 6 b b 7 #6 b 7 7

w #œ bœ w #œ bœ w
Chromatic

& w #œ bœ w #œ bœ w w #œ bœ
Scale

EE
Major Scale

#I b II #IIEE bIII #IV bV # V bVI # VI b VII

(all white keys) I II III IV V VI VII

±
Pentatonic

±∆ ∆L ∆± ±∆ ±∆ ∆± L±
Scale (all
black keys)

∆∆
Roman Numeral Model for the Diatonic Sequence of Triads in Major and all forms of Minor

∆∆ ∆L ÑÑ ±∆ ±± L± LL
(Function Position
in Scale)
Major

∆
N This model is realized on the staves
Natural Minor
M
below. Practice the block chord
Melodic Minor qualities in sequence with both the
H LH and RH separately as well as
Harmonic Minor together.
Function in Scale I II III IV V VI VII
Write in the lette names and quality symbol above each chord. Using the Diatonic Seqence Model

± & œœœœœœ œ œ œ œ œ œ
Block & Arpeggio and the block and arpeggio template practice the triadic harmony of the scales in all 12 keys.
Template

www
1 3 5

ww www ww ww
RH

ww w w w
Major

w
∆ ±
∆&
L Eb
b www
LH

bw
5 3 1

b ww bw b www b www b ww
Natural

b www b ww
Minor C D

w
N

∆& b www
ww ww b ww ww
w
Melodic

b www ww w w w
Minor

w
M

∆& b ww b www b www ww b b www

ww
w
Harmonic

b www w
Minor

w
H

I II III IV V VI VII
 2
The first example shows the seven pitches of the C major scale notated in whole notes and using the Arabic
numerals 1-7. These notes use only white keys on a piano and employ another style of numbers, the Roman
numerals I-VII. These numbers describe the position, or function, of a chord within the key. In between the whole
notes we have the black keys notated as quarter notes. When combined with the white notes, and played from
C to C an octave above, they form the twelve tone chormatic scale made up entirely of half steps. I have placed
function numbers ( #I , b II etc.). This theoretical event is called enharmonic equivalence, (EE). The same
the black key tones in a large circle so we can readily see that there are two names for the same key as well as two

sound or pitch written two different ways is said to written enharmonically. Walter Piston, in his book "Harmony"

for example, the seventh degree of the G major scale is F# and not G b ". We will also encounter enharmonic key
describes this as follows; "Whether it is proper to use one or the other is of grammatical significance; obviously

signatures like Db major and C# major. In general the composers of today try to steer away from double flats and
double sharps and try to notate music in the simplest way.

±
Therefore to eliminate confusion the number 7 is never used to represent a major or minor seventh chord.
These two qualities contain perfect fifths (P5) and perfect fourths (P4) whereas the dominant contains the
P5 and the tritone 5th (T).
Look at the number 7 in the circle in the first example. This 7 is represented by the Delta symbol , the fourth
letter of the Greek alphabet. Its intervalic distance from the tonic note C is a major seventh. When figured
as a chord of the seventh it uses the Arabic figures 1, 3, 5, 7. In both classical analysis and jazz chord symbology
an interval, is a minor seventh and when figured uses a flat seven, as in 1, 3, 5, b 7. In DELTADIATONICS© the
the dominant chord is followed by the same Arabic numeral 7 ie. V7 or G7. However this seven, when viewed as

use of the numeral 7 is reserved exclusivley for the dominant. This reinforces Schoenberg's statement; " upon the
potency of the dominant is based the interchangeability of major and minor." In other words it is the dominant
that moves us to other regions in the circle of fifths therefore when we see that number we are alerted to an ever
important harmonic change whether it be it modulatory or tonicizational.

± ±Ñ ±∆ ∆ ø L
The Seven Foundational Chords of the Seventh on "C"
These chord qualities can be found on the following diatonic scale degrees listed below.

7
& ww # www w b ww bw b b b www b b ∫ www
ww w b www ww b www w w

± ±∆ ∆ L
±Ñ
I & IV in Major I in Melodic Minor II, III & VI in Major VII in Harmonic

ø
III & VI in Natural Mnor I in Harmonic Minor I, IV & V in Natural Minor Minor
VI in Hamronic Minor II in Melodic Minor
IV in Harmonic Minor

7
III in Melodic Minor V in Major VII in Major
III in Harmonic Minor VII in Natural Minor II in Natural Minor
IV & V in Melodic Minor VI & VII in Melodic Minor
V in Harmonic Minor II in Harmonic Minor
 3

The grid below reveals and compares the harmony of our entire diatonic system in one simple chart. You should
apply your knowledge of the chords of the seventh and practice each sequence of chords found in major, natural
minor, melodic minor and harmonic minor in all 12 keys using both block chord and arpeggio exercises. This study
will build a solid technique, expand your knowledge of harmony, assist you in the analysis of most diatonic
music and help you in your own compositional endeavors. The symbols, sequences, functions apply to all major
and minor keys. Write the letter names and quality symbol above each chord. Using the Diatonic Sequence
Model, practice the chords of the sevenths in all 12 keys. Use the Block & Arpeggio Model, of the first measure,
and play all qualities in sequence with both the LH and RH separately as well as together.

Model for the Diatonic Sequence of Chords of the Seventh in Major and all Forms of Minor

±∆ ±∆ ∆ø ∆± ±∆ 7∆ ±∆ ø
∆ ±±∆∆ ∆ ±Ñ 7 7 ø ø7
Major

∆ ø ±Ñ ∆ 7 ± L
N
Natural Minor
M
Melodic Minor
H
Harmonic Minor

Function (position) in Scale I II III IV V VI VII

Block & Arpeggio

±
Template
RH 12 3 5

œœœ œ œœ ww www ww ww
œ œ www ww ww ww
& œœœœœ œ œ œ w ww ww w

∆& b wwww b www bw

b www
w
b www b ww
b ww
b ww
b ww
LH 5 3 2 1

bw
b www bw
N

∆&
M w
b www
www
w
ww
b ww
b ww
ww
www
w
b www
w
ww
ww

∆&
H

b wwww b www
w
w
b www
bw
b www
ww
ww b www
bw
b ww
ww

I II III IV V VI VII