Harmonizing The Major Scale and The Natural minor Scale In Other Chord Types

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## Introduction

The true study of harmony begins when chords are placed one after another to form ***Progressions***.While in the past, melodies were usually the essential ingradient around which a song would be built,today Chord Progressions and their related rhythms provide the basic structure of a great deal of ***Popular Music***.

**Popular Music** is still fairy conservative in its use of harmony.The diatonic system was mostly discarded years ago by classical and avant-garde jazz musicians.but it is still the main fundation of Popular Styles.The introduction of Blues added elements that have bent the diatonic rules of harmony considerably,but the diatonic system remains the most important structure for understanding how chords are put together.

Other Variations have developed in how the chords themselves are structured,with notes being added or altered within the basic qualities to form richer and often more dissonant sounds without going outside the diatonic system.Understanding this system is the key to understanding Popular Music,both as a player and as a writer.

## **Harmonizing The Major Scale**

The diatonic Major scale still provides the basis for how we construct and understand melodies in Major Keys.Likewise, the Major scale is the basis for constructing and understanding Major Chord Progressions.when harmonies are built by stacking the notes of the major scale in intervals of a third.the result is an organized system of chords called "***The Harmonized Major Scale***".also known as ***Diatonic Harmony***.many of the chord progressions heard in Popular Music are Diatonic and an understanding of diatonic harmony is the basis for understanding the harmony of all types of music.

## **Harmonizing The Major Scale In Triads**

Step 1: Write out the scale,note for note

we'll look at the C Major scale as an example.

Step 2: Above each scale tone.write the scale tone that is a third interval higher in pitch.that is,above C,write E, Above D, write F, and so on through the scale.The scale is now :Harmonized in thirds",resulting in a set of intervals in which all of the notes belong to the C Major scale.Since the Scale tones are not all the same distance apart,the third intervals very in quality.with some major thirds and some minor.Beneath the intervals,write the qualities of the thirds.

Step 3: Above each third Interval,add the scale tone a fifth Interval above the lowest note.This is,above C and E, write G; above D and B, write A; and so on.This is method for harmonizing the Scale in Triads.as you complete each triad.determine its quality and write it underneath the staff.

## **Numbering Chords**

It should be apparent that the order of chord qualities in each key is the same; only the names of the roots are different.Since all major scales are built in the same way, the same order of chord qualities will apply in every key.This allows us to derive a Formula for chord qualities,eliminating the need to build harmonized scales one at a time.

As we have already used numbers to describe the position of single notes in a scale or chord.it is necessary to have a different type of numbering system when referring to complete chords.Scale degrees identified by Arabic numbers(1,2,3,...). Chords,however,are identified by ***Roman Numerals, (I,ii,iii,...).*** notice that ***Capitalized Roman Numerals*** represent the Major Triads and Chords and ***Lowercased Roman Numerals*** represent the minor Triads and Chords,other special characters indicate whether the chord is diminished (o) add the Lower-cased Roman Numerals or augmented(+) add the Capitalized Roman Numerals.For example,the note E is the third degree(or simply "3rd") of the C Major scale or a C Major triad,while the E minor triad is called the "iii chord"(pronounced "three chord") of the C Major harmonized scale.Applying this system of chord numbering to the harmonized Major Scale yield the following formula:

***Note: One system of chord numbering uses upper-case and lower-case Roman Numerals to indicate chords and their qualities(e.g., I,ii,iii,IV,etc.).another system uses all upper-case numerals followed by the chord quality.such as I,IImi,IIImi,IV,etc.***

## **Harmonizing The Major Scale in added Diatonic Sevenths**

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### Diatonic Seventh Chords

Diatonic triads have a direct emotional quality that makes them very well suited for much of Popular Music Harmony,especially ***Rock.***When a fourth diatonic note,the seventh,is added to each of the diatonic triads,a more complex sound is created that is both more dissonant and more emotionally subtle.The resulting chords,called ***"Diatonic Seventh Chords"***,define the fundamental harmony of styles such as ***Blues*** and ***Jazz.***

### Building Diatonic Seventh Chords

The first step in learning to build diatonic seventh chords is to expand the harmonization of the Major and minor scales by adding a diatonic seventh interval to each of the diatonic triads.

When the results of harmonizing the C Major scale in sevenths are analyzed,there are four(4 types) different seventh chords qualities that result:

1. **The I and IV** chords are both ***Major triads*** with the addition of a ***Major seventh*** degree above the Root(the intervals C-B and F-E).They are Called ***"Major Seventh Chords".***
2. **The ii,iii and vi chords** are all ***minor triads*** with the addition of a ***minor seventh*** degree above the root(the intervals D-C,E-D and A-G).They are called ***"minor seventh chords".***
3. **The V Chord** is a ***Major Triad*** with the addition of a ***minor seventh*** degree above the root(the interval G-F).It is called a ***Dominant Seventh Chord.***
4. **The VII Chord** is a ***Diminished Triad*** with the addition of a ***minor seventh*** degree above the root(the interval B-A).It is called a ***minor seventh flat five(diminished fifth) chord.***sometimes its called ***Half Diminished Seventh chord.***

Compare the construction of the diatonic seventh chord and triad qualities when based on the same root.This will show how the differences in interval quality within each chord affect the overall chord structure.

When the C Major scale is harmonized in sevenths,the result is a certain order of chord qualities.Since all Major scales are built according to the same formula,this order will be the same in all keys,just as it was for diatonic triads.

Notice that the names ***"Major Seventh"*** and ***"minor Seventh"*** are nearly same as the names of triad qualities built on the same scale degrees.The other two seventh chord names,**The V7("Dominant Seventh")** and ***The vii7(b5) ("minor seventh flat five")*** , are different from those of the triads built on the same degrees.Simply remembering which chord names are similar to those of the diatonic triads and which are different makes it unnecessary to create a table of all of the seventh chords in every key.

## **Harmonizing The Natural minor Scale in Triads**

As we have seen in previous chapters,the natural minor scale serves as the source of diatonic melodies in minor keys just as the Major scale is the source of diatonic melodies in Major keys.Likewise,The ***Harmonized Natural minor scale*** is the source of diatonic harmony in minor keys.minor and Major scales are harmonized using exactly the same method,illustrated here:

**Step 1: Write out the scale,note for note.**

we'll look at the A natural minor scale as an example.

**Step 2: Above each scale tone that is a third interval higher in pitch.**

That is,above A,write C; above B,write D; and so on through the scale.The scale is now ***"harmonized in thirds",*** resulting in a set of intervals in which all of the notes belong to the A minor scale.Since the scale tones are not all the same distance apart,the third intervals very in quality,with some minor thirds and some Majo thirds.Beneath the Intervals,write the qualities of the thirds.

**Step 3: Above each third Interval,add the scale tone a fifth above the lowest note.**

That is,above A and C,write E ; above B and D,write F; and so on.The scale is now harmonized in triads.As you complete each triad its quality and write it underneath the staff.

Based on harmonizing these two scales,it is clear that the same idea that applied to harmonizing the Major scale also applies to harmonizing the minor scale: The chord qualities occur in exactly the same order regardless og key.As a result,we can derive a formula for chord qualities that will be the same for all harmonized natural minor scales.

*Note(System 2): when numbering scale tones in minor keys,it is common to compare them to Major scale tones,in other words,the third degree of the A minor scale,C,is typically called "**b3"("flat three").**while the third degree of A Major Scale,C#,is called simply **"3".**the same practice applies to numbering chords.The third chord in the harmonized A minor Scale,C Major,is labeled **"bIII"("flat three Major"),**while the third chord in the harmonized Major Scale ,C# minor,is labeled **"IIImi"("three minor").**Keep in mind that the terms **"flat"** and **"sharp"** are used here in the general sense of **"lowered"** and **"raised"** ---whether or not an actual flat or sharp sign is appropriate will depend on the key signature.*

Just as each minor scale has a relative major scale that shares the same key signature,minor and Major scale harmonies are also relative.The same triads that are found in the key of A minor are also found in the key of C Major.This does not mean that two keys are "The same" except that they share the same key signature;each is a complete system built around its own tonic.Since they do share the key signature,however,some time can saved at first in locating the specific names of notes and chords in minor keys by comparing them to the relative major.Once you have gained some experience with minor keys,it will become easier to see them on their own,apart from Major.

## **Harmonizing The Natural minor Scale in added diatonic Sevenths**

Adding sevenths to each of the diatonic triads in the harmonized natural minor scale is done by the same procedure that was applied to the Major scale.

There are four seventh chord qualities,just as in the harmonized Major scale,but in a different order.Since all natural minor scale are identically constructed.the same order of qualities will result for any key,allowing the creation of a formula.

Again, as in the comparison of the diatonic triads and seventh chords in Major keys,remembering which names are similar and which are different eliminates the need to list all seventh chords in all keys seperately.To name any seventh chord in any key,Major or minor:

1.Use the key signature to identify the root.

2.Add th chord quality that belongs with that scale step.

## **Harmonizing the Major and the Natural minor Scales in Other Chord Types**

### **Other Chord Types**

The one constant in Popular Music is change,and the harmony of popular music is changing just as constantly as any other element.Chord Structure and movement in Popular music is for the most part still surprisingly conservative,based on principles that have been around for hundreds of years,new combinations of these underlying themes are continually being created.with the result that the ***Theory of Popular Music \_\_***The

explanations for why things work and what names to give them---is regularly evolving as well.

With respect to Chords,continual change is reflected in the varieties of "new" or recombined sounds that evolve and the chord symbols that are used to represent them. A glance at any book of popular song charts will reveal a number of chord symbols that dont seem to fit into any of the categories that have been described so far.They are not Triads,Sevenths,extended,or altered chords,yet they are certainly common in even the simplest-sounding tunes.These Other Chords Types can be grouped into three new categories: ***Variations on Triads***,***"Slash"*** Chords(non-root position,non-inverted chords), and ***Poly chords***.In this chapter,we'll look at each of these categories of chords to learn their ***Structure,Application, and Symbols.***

### ***Variations on Triads***

All of the chords in this category are based on the sound of triads,yet they contain more or fewer tones than the standard root,third, and fifth.Because thery contain no seventh,they are not truly extended chords,so they may generally be described as ***"Triads with added Color".*** New variations on these chords become popular from time to time,resulting in new chord names and symbols being invented to describe them.It takes a while for any one name or symbol to become universally recognized, and sometimes what emerges as the most popular name is not logically consisitent with other chord names.The best approach to learning chord symbols is to maintain a logical system for naming chords while knowing the traditionally popular names as well,however inconsistent the may be.

## **Chord Type 1: Power Chords(Open Fifths)**

***"Power chord"*** or ***"open fifth chord"*** is the typical name given to chord containing only a root and perfect fifth degree,the third being omitted.(As with all chord voicings,the root and/or fifth may be doubled in different octaves).

The Power comes from the neutral clarity of the perfect interval, without the eomtional quality introduced by the presence of a Major or minor third.Although it does not sound Major or minor by itself,the quality of a Power chord is implied by the overall tonality of the progression in which it is used.The Symbol for a Power chord is the letter name of the chord followed by the number ***"5"*** as in ***"C5".***

## **Harmonizing The C Major Scale in Open Fifths or Power Chords**

like befor steps,in first write the Major scale on the staff and build triad on the root notes of the Major scale then omit the chord third on each of diatonic triads.There are two ways:

First way:

**Write out the C Major scale note for note,above each tone,write the scale tone that is a fifth(perfect 5th) interval higher in pitch.**

That is:above C,write G;above D,write A, and so on through the scale.

Second way:

**Step 1: Carry out 1,2,3 steps for harmonizing the Major scale in diatonic triads**

**Step 2: Then elimante the chord third(Mediant interval) from each of diatonic triads in the Major scale.**

Note: all of the result chords have a ***perfect fifth***, except The vii chord that has a ***diminished fifith.*** as in figure 2.

## **Harmonizing The C Parallel minor key in Open Fifth**

Note:in C Major scale and parallel minor key,the Tonic,Sub-dominant and Dominant step chords sound the same quality,for example: the I5 and i5 chords,the IV5 and iv5 chords,V5 and v5 chods.

Although Power chords(Open Fifths) comes from the neutral clarity of the perfect interval and not sepecified it is minor chord or major triad,(neutral chord),but usually we define **Capitalized(UpperCased)-Lowecased Roman Numerals** for these chords,thats means: when we write the I5 power chord,that is:The chord was before a Major Triad,and it has lost its ***Major third interval,***and so when we write the iv5 chord,thats means: The chord was once a minor Triad,and we omitted its ***minor third interval.***

## **Suspended Fourth Chords:**

Commonly called ***"sus4"*** or simply ***"sus"*** chords,these are triads in which the fourth scale step replaces the third.because the third is the strongest marker of chord quality,replacing the third with the fourth creates a feeling of being ***suspended***,waiting for a resolution to return the chord to its original quality.The symbol for a sus4 chord is the letter name of the chord followed by "sus4",as in "Csus4".

## **Harmonizing the Major scale in Sus4 chords**

**Step 1: write out the scale ,note for note.**

**Step 2: Above each scale tone,write the scale tone that is a Fourth(Perfect 4th) higher in pitch.That is: above C,write F; above D,write G, and so on through the scale.notice that perfect fourth of F note(scale tone) is *Bb* that it is a chromatic tone.**

**Step 3: Above each scale tone(root),add the scale tone a fifth(Perfect 5th) interval above lowest note.That is, above C,write G; above D,write A; and so on.This is the method for harmonizing the scale in sus4 chords.**

*Note:in the Major key,all of sus chords are Diatonic chords except **The IVsus chord(Fsus4 chord)** that it is a **Chromatic chord**.Although not sepicified the sus4 chords are Major or minor chord but we usually determine Capitalized-Lowercased Roman Numerals for these chords.when write: **Vsus**,thats means, the chord was a Major chord before and a Major Triad has a **"Major third Interval"(Mediant step)**.now the chord third has been suspended.and so when write **iiisus**,its means,the chord was a minor triad before and minor triad has a **"minor third interval"(Mediant step)**,and now the chord third has been suspended.*

Note 2: **The VII step chord** hasn't sus4 chord,in general,dissonant Triads are unable to suspend

## **Harmonizing The minor Scale in sus4 chords**

Note: the ii step chord is unable to suspend.all the suspended fourth chords are Diatonic chords except the VIsus(Fsus4 chord),it is a Chromatic Suspended fourth Chord.

## **Chord Type 3**

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### Add2 chords

"Add2" chords are major or minor triads,or power chords,with the addition of a Major Second Interval above the root.These chords are often called "add9" chords("add2" is applied for ***Close Positions*** and "add9" is used to ***Open Positions***).but since there is no seventh present in the chord,the use of the "2" is more accurate.(The octave in which the second is played is not relevant to the name of the chord.)The chords symbol for a major triad with an added second is the letter name of the chord followed by the number 2,as in "C2".A minor triad with an added second is "Cm2" or"Cmadd2".and a Power chord with an added second is "C5/2",that it is called "Suspended Second Chords",as in "Csus2".

## **Harmonizing The Major Scale in "Add2" chords**

**Step 1:write out the scale,note for note.then build triad on each scale tone.**

**Step 2: Above each scale tone,write the scale tone that is a "Major Second Interval" higher in pitch.That is,above C,write D; above D,write E,and so on through the scale.Notice that all of the created "add2" chords are diatonic chords except the iii2(Emadd2),it is a chromatic add2 chord in the C Major scale.The vii step chord hasn't add2 chord.**

## **Harmonizing The minor scale in "add2" chords**

Note: all of created chords are ***Diatonic add2*** chords except The **v2(Eadd2)** that it is a **Chromatic add2 chords.**

The ii step chord is unable to suspended.

## **Harmonizing The Major Scale in "sus2" or "5/2" chords**

**Step 1: write out the scale,note for note.**

**Step 2: Above each scale tone , write the scale tone that is a "Major Second Interval" higher in pitch.**

That is,above C,write D; above D,write E, and so on.

**Step 3: Above each scale tone ,write the scale tone that is a "Perfect Fifth Interval" higher in Pitch.**

That is, above C,write G; above D,write A,and so on.

Note: all of created chords are ***Diatonic suspended Second*** chords except The **iii5/2(Esus2)** that it is a **Chromatic suspended Second chords.**

The vii step chord is unable to suspended.

## **Harmonizing The minor scale in "sus2" or "5/2" chords**

Note: all of created chords are ***Diatonic suspended Fourth*** chords except The **v5/2(Esus2)** that it is a **Chromatic suspended chords.**

The ii step chord is unable to suspended.

## **Chord Type 4**

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### **Sixth Chords**

A Major or minor triad with the addition of a ***"Major Sixth Interval"*** above the root is called ***"Sixth Chord".***

The sixth interval may be voiced next to the fifth,in a different octave than the fifth, or replacing the fifth altogether.The chord symbol for a sixth chord is the letter name of the chord followed by the number 6,as in "C6" or "Cm6".

## **Harmonizing The Major Scale in "Sixth Chords"**

**Step 1: Carry out 1,2,3 steps for harmonizing the Major scale in diatonic triads**

**Step 2: then above each of the Chords Fifths(Perfect Fifths) Tone.Write the scale tone that is "a Major Sixth Interval" higher in perfect Fifth pitch.**

That is:

in I6(C6) chord: above G,write A;

in ii6(Dm6) chord: above A,write B;

in iii6(Em6) chord: above B, write C#;

in IV6(F6): above C, write D;

in V6(G6): above D, write E;

and so in vi6(Am6): above E, write F#.

Notice that all of created chords are ***Diatonic Sixth Chords*** except two chords including ***iii6(Dm6)*** and ***vi6(Am6)*** chordsthat they are ***Chromatic SIxth Chords.***

Note: The vii step chord hasn't Sixth chords and if we add it a "**Major Sixth Interval", *The G7( V7)*** Chordis made with ***state of First Inversion.***

## **Harmonizing The Natural Minor Scale in "Sixth Chords"**

**Step 1: Carry out 1,2,3 steps for harmonizing the minor scale in diatonic triads**

**Step 2: then above each of the Chords Fifth(Perfect Fifth Intervals) Tone ,Write the scale tone that is "a Major Sixth Interval" higher in perfect Fifth pitch.**

That is:

in i6(Am6) chord: above E,write F#;

in III6(C6) chord: above G,write A;

in iv6(Dm6) chord: above A, write B;

in v6(Em6): above B, write C#;

in VI6(F6): above C, write D;

and finally in VII6(G6): above D, write E.

Note: All of Created chords are ***Diatonic Sixth Chords*** except the ***i6(Am6)*** and ***v6(Em6),***They are ***Chromatic Sixth Chords.***

Notice that The ***ii step Chord*** is unable to make sixth chord because of to be diminished(dissonant) chord.

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