If I were to pull the 1st, 3rd, and 5th scale degrees from this scale, I would have myself a minor triad. If you wind up trying to improvise an idea or compose a melody over a C Major triad, for example, you can use any of the scales pictured to create ideas which include those tones (and introduce new ones).Īnd doesn’t the latter method work for all scale types: major, the minors, the pentatonics, blues, and diminished? I'll expound upon this in a moment.Īlso, you should understand that this is not the exclusive relationship that the root, major 3rd, and perfect 5th combination have to a scale.
The 3rd degree of this scale happens to be a major 3rd, and the 5th degree happens to be a perfect 5th. It works for major scales, yes, because the major scale is such a scale that the interval relationships line up with the scale degrees. Isn’t it just as correct (and, if not, why not), to simply know the notes in the C Major Scale and take the 1st, 3rd, and 5th notes to arrive at the same chord?
As an example, here are several chords that can be derived from the C Major Scale:Īnd, similarly, several scales which include a C Major triad: In our chromatic system of harmony, there exists a scale (or many scales) for every chord, and there exists a chord (or several chords) for every scale.
The relationship of chords to scales is an important one to understand, as it serves as a foundation for songwriting, composition, and improvisation.
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