I think I understand chords now. Tell me if this is right:

[HyperFocus]

Allrite, I think I get it now. Is this right (I know this is ridiculously simplified but I'm just now learning this stuff):


The scale tells which notes are available to create the 1ST note in a chord.

The chord intervals (1-3-5, for example) tell which other notes are used in addition to the 1ST note.


For example, the diatonic scale in the key of C uses the following notes:

C, D, E, G, A

but we could still build a minor chord off C which would use:

C, Eb, G


So, even though the Eb isn't part of the inital scale, we can still use it because it's part of a chord based off C - which IS used in the scale.




I think I was getting confused on how scales and chords relate to one another. You can use chord notes that AREN'T in the scale as long as the 1st note in them IS used in the scale...right?

 

[Bezo]

The scale tells which notes are available to create the 1ST note in a chord.

I suggest referring to those notes as root notes instead of the 1st notes. With inversions, slash chords, ect., the root will not always be the first/bottom note in the chord.

And the chords made from each degree of the scale are referred to as diatonic chords. So to ammend your statement to something more traditional...

Each note in a scale is the root of that scale's diatonic chords.

The chord intervals (1-3-5, for example) tell which other notes are used in addition to the 1ST note.

1-3-5 is the formula for the major triads built on the 1st, 4th and 5th degrees of the major scale.
1-b3-5 is the formula for the minor triads built on the 2nd, 3rd & 6th degrees of the major scale.
1-b3-b5 is the formula for the diminished chord built on the 7th degree of the major scale.

The diatonic chords for a major scale are always the same:
Imaj, iimin, iiimin, IVmaj, Vdom, vimin, viidim. The triad built on the 5th degree is major, but when extended to a 7th chord, it's dominant.

Another way to think about it is to use only the scale notes to build chords.
Start with C, skip a note to E, then skip a note to G = Cmaj.
Start with D, skip a note to F, then skip a note to A = Dmin.
Do that for each note in the C scale and you'll end up with the diatonic chords for C major.

For example, the diatonic scale in the key of C uses the following notes:

C, D, E, G, A

The C major scale is C, D, E, F, G, A, B

but we could still build a minor chord off C which would use:

C, Eb, G


So, even though the Eb isn't part of the inital scale, we can still use it because it's part of a chord based off C - which IS used in the scale.

You can use any chord you think sounds good, but a Cminor chord is not diatonic to the C major scale. You can use a C minor chord in a tune written in C major, but it would be considered a modulation into C minor or some other key where C minor is diatonic.

I think I was getting confused on how scales and chords relate to one another. You can use chord notes that AREN'T in the scale as long as the 1st note in them IS used in the scale...right?

You can use any chord that sounds good to you, but it's not because its root is in the scale you're using. It would take me a minute to explain how a Cmin chord is related to the Cmaj scale, and I think you should get this down before you get into the advanced stuff.

 

[HyperFocus]

Thanks, mang!

I see what you're saying.

Basically, diatonic chords refer to chords built using only notes from the scale you're in, right?

So no matter what the chord interval may be - as long the chord is ultimately formed using notes that are within the scale you're in, it's diatonic? For example, if we're in C Major we've got all "white notes" and, therefore, an E Major chord isn't diatonic since it uses a G#.

I mean, you can be in the Hungarian Gypsy scale and as long as you're forming chords that are made up soley of the notes in that scale, you're diatonic. At least that's how I'm understanding it..

Thanks again, Bezo.

 

[Bezo]

Basically, diatonic chords refer to chords built using only notes from the scale you're in, right?

Exactly.

Good to see people learning their craft.

 

[T.One]

**** learning ,ts all about natural ability and honing your EARS. I don't know **** about musical theory but if I hear something once or twice i can usaually pick it up. WHAT! lol.

 

[HyperFocus]

**** learning ,ts all about natural ability and honing your EARS. I don't know **** about musical theory but if I hear something once or twice i can usaually pick it up. WHAT! lol.

"**** learning"? Riiiiiight. Let me know how that works out for you.

Anyways, I agree that ear training is critical along with cultivating natural talents. But music theory is still important because:

1) it gives us a rough map for how to get musical ideas out of our head and into reality

2) it lays down certain principles of how and why things work and, from there, you can branch off and try new things with a sense of direction

But, hey...that's just me trying to be the best I can. You do whatever you'd like, homie.