From my current working knowledge of theory these comments are a tad over my head,
the concept you first need to grasp is harmonizing the major scale
the pdf in my signature explains it
In short:
Every major Key uses 7 of the 12 notes
(which notes are flat /sharp are in the key signature)
If you build triad chords with roots on each of the 7 notes
(and only use those 7 notes to build the chords)
You get a harmonized major scale
For example C major would have triads built on the root notes C, D, E, F,G A, and B
some of those triads are major, some are minor, some diminished.
there is pattern to this which is universal ( to any major key ):
- I major
- ii minor
- iii minor
- IV major
- V major
- vi minor
- vii diminished
( but not all materials/TB posts adhere to this )
in the key of C for example:
- C major
- D minor
- E minor
- F major
- G major
- A minor
- B diminished
Thus the triads C A D G are not (strictly speaking) C major
because that requires A minor and D minor
However that root motion outlines a I-vi-ii-V chord progression
which is very common in western music
If you played C Am Dm G you'll hear it, and recognize it as many tunes
seeing chord progressions as these "roman numerals" relative to the key
(aka functional harmony)
is fundamental to understanding chord progressions.
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