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Chord-Scale relationship in major
Chord-Scale relationship in major SUMMARY
SUMMARY
The concept of 'Chord-scale'The describes of! 'Chord-scale'
concepthow a melody can be deployed
describes how over a particular
a melody can be chord, whether
deployed over ainparticular
major, cho
minor or other contexts. Here are the chord-scale relationship in major keys, represented in the key of C
minor or other! contexts. Here are the chord-scale relationship in major keys, represented in major,
along with the names of thealong modes associated
with the names with eachmodes
of the degree. Chord-scale
associated with also
eachdescribes, note-by-note,
degree. Chord-scale alsohowdescribe
each note can be used in melody design, be it absolutely freely (i. e. as principal or secondary note), or be
each note can !be used in melody design, be it absolutely freely (i. e. as principal or secondarit only
as a secondary note; the formeras a are called 'chord-tones'
secondary or 'available
note; the former are calledtensions' (if tensions'
'available they are non-chord tones)
and the latter andnotes'
'avoid the (or ob
latter 'avoid notes' (or obligatti notes).
!
When non-chord tones are used as principal notes, they make us hear chords of more than 4 notes, deployed with
IMaj7 isIonian
their upper-structure, like 9th chords, 11th, etc. But when dissonance too hard (mainly because of the 9
interval) the non-chord tone that creates this dissonance against a chord-tone cannot be used as a deployment of
the upper-structure, thus being its only possible use as a secondary note. Such is the case with the perfect 4th over
a major 3d (F over E in the example).
For that reason! the 4th degree is considered an 'avoid note' in Ionian. This is expressed by saying 'secondary 4', or
just 's4' when referring to that note. IIm7 Dorian
! IMaj7 Ionian
IIm7, and the Dorian mode, present another type of problem. There is a tritone created between the 3 of the
chord, and its 13th (B over F in the example). This wouldn'tIIIm7 Phrygian
be a big problem if not was for the tonal function of
IIm7 (SD) and the fact that the conflict is created with a guide-tone. When the 13th is too prominent it tends to
sound as another guide-tone, and we hear the Dominant function instead of the Subdominant. That's why, despite
being a note widely used nowadays, certain care must be taken with the treatment of this note.
IIm7 Dorian
IVMaj7 Lydian
... and so on with the rest of the modes. Locating the non-chord tones that create 9 intervals with chord tones we'll
be able to identify the 'avoid notes' for each mode, as well as knowing which ones will be treated as 'available
tensions’.
IIIm7 Phrygian
V7 Mixolydian
Enric Alberich Artal
HR-511 Chord-scale summary p. 2
Note that there's also a tritone in Lydian, between the root and the 11th. However, the problem is not created with
a guide-tone (it's neither 3d nor 7th). Thus the note (B in the example) is considered an available tension and it’s
perfectly correct to use it as a principal note over this chord.
!ET-511 Advanced Ear-Training. Questionnaire!!!!!!!!!!p. 2
IVMaj7 Lydian
!ET-511 Advanced Ear-Training. Questionnaire!!!!!!!!!!p. 2
!ET-511 Advanced Ear-Training. Questionnaire!!!!!!!!!!p. 2
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V7 Mixolydian
VIm7 Aeolian
VIIm7( 5) Locrian
The concept of Chord-scale becomes also an "ID" for the chord, and goes associated with harmonic analysis.
Thus, every time we say 'IMaj7' this means: first degree; tonal function Tonic; chord with major 3d, perfect 5th and
major 7th; mode Ionian; and "1-9-3-s4-5-6-7"
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VIm7 Aeolian
HR-511 Chord-scale summary p. 3
!ET-511 Advanced Ear-Training. Questionnaire!!!!!!!!!!p. 2
EXCEPTION: V7sus4 may take different note-by-note analysis than a 'regular' V7. This is due to the change of
category of notes, the 4th becoming a chord-tone and the 'third' becoming an available tension, a note from the
upper-structure, thus being called 10th, or 'tension 10'.
!! !
!!
VIIm7( 5) Locrian
VIm7 Aeolian
If the 3d is a chord-tone, then the 4th above it becomes an avoid note, whereas if the 4th becomes a chord-tone,
then the 3d becomes a possible available tension (the interval created with the 4th is a major 7th).
'7Sus4' chords respond to a different way of chord construction. Instead of being constructed by superimposing
thirds, sus4 chords respond VIIm7( 5) Locrian
to a construction of chords by fourths.
... that's why Mixolyidian can take two different note-by-note analyses. If they are to be used over V7 they would
be:
V7 Mixolydian
... whereas if they are to be used over a V7sus4, then they would become:
V7sus4 Mixolydian
