n00b Theory Question

[MalcolmAmos]

Originally Posted by Rutherford_Fan

:

C-D-Eb-F-G-Ab-Bb

Next, harmonize the scale. That is, using only scale tones, stack thirds on each note as its own root. So for C, you will get CEbG, a C Minor chord. For Eb, you will get EbGBb, which interval-wise, is a Eb Major Chord.

Good point - and brings us to stacking 3rds to get the chords to use with that, or any, scale.

Go stack some scales if you have not done so already, guarantee it will open all kinds of doors. Was a hugh WOW for me the first time I did it. Here is the C major scale stacked. Use it as a Rosetta stone for stacking the C natural minor scale (Aeolina) listed above.

C Major Scale stack in 3rds (every other note) = the notes and chords made from the C major scale:

Notes	   Degree	Spelling		  Chord name      Function
C		R	CEGB     R-3-5-7 	     Cmaj7		 I  (tonic)
D		2	DFAC 	 R-b3-5-b7	     Dm7		 ii
E		3	EGBD 	 R-b3-5-b7	     Em7		 iii
F		4	FACE     R-3-5-7	     Fmaj7		 IV (subdominant)
G		5	GBDF 	 R-3-5-b7	     G7		         V  (dominant)
A		6	ACEG 	 R-b3-5-b7	     Am7		 vi	
B		7	BDFA 	 R-b3-b5-b7          Bm7b5	     	 vii (diminished)

Notice we have taken this stack out to the 7th note.

Why is the D chord minor? If you compare the DFAC to the notes in the D major scale the D major scale will have an F# and a C#. Your DFAC has the 3 and 7 flatted for a spelling of R-b3-5-b7 and that spelling makes a Dm7 chord. All minor chords will have a b3. All major chords will have a natural 3. Stacking the scale in 3rds automatically build the correct major, minor and diminished chords for that scale.

Might come in handy. http://www.smithfowler.org/music/Chord_Formulas.htm

[Definitely]

Wow, no Internet for a week and look what I missed! I'll take a bit to read through this and see what I can figure out, and I'll get back to you guys, thanks!

[davidhilton]

You would move to the Eb ionian/major scale.

[Sni77]

Originally Posted by Rutherford_Fan

There are three common minor scales. I suggest using the Aeolian Minor in this case, as it provides a better chord on the third:

C-D-Eb-F-G-Ab-Bb

Next, harmonize the scale. That is, using only scale tones, stack thirds on each note as its own root. So for C, you will get CEbG, a C Minor chord. For Eb, you will get EbGBb, which interval-wise, is a Eb Major Chord.

You usually approach the III Major chord in minor scales by the VII major chord, so BbDF in this case (Bb Major Chord). However, in uncommon circumstances, since the III can be thought of as the secondary dominant of the sixth (Ab), written as V7/VI, you can use it right after the V chord. Why? Because normally, it only sounds good to follow a five chord with a six chord (normally - we are not talking really exotic stuff here). And a secondary function chord can substitute for the original for flair.

So here is a good chord progression (I will omit the words "major chord" and "minor chord"):

c - Eb - f - G - Eb - f - G7 - c

Uppercase is major, lower is minor. This gives a symmetric (almost) eight chord progression to play with. Note, I borrowed the G7 from the Harmonic Minor scale because a minor five is a poor dominant. You could use the non-dominant "G" as a "g" however since it is not resolving to the tonic.

Feel free to PM me to clear any of this up. I skimmed over a lot of explaining of things for the sake of brevity.

Now this is what I love talkbass for. +1 and my thanks for this answer!