BASIC CHORD BLILOING 4 HowoneD $040 C Matte SeuLe 4 t $ 4 5 é 1 4 THE CONCEPT OF CHORD/SCALE THEORY |S TO HAVE AMATCHING SCALE FOR EACH CHORD WE PLAY WHICH WILL GIVE US THE NOTES AVAILABLE FOR CONSTRUCTING MELODIES. IN SOME CASES THERE ARE MORE THAN ONE SCALE THAT WILL FIT OVER A CERTAIN CHORD. IN BASIC DIATONIC HARMONY (HARMONY BUILT OFF THE MAJOR SCALE), THE CHORDS ARE DERIVED BY STACKING INTERVALS OF 3RDS, ‘THAT IS, AS WE WALK UP THE SCALE EACH 3RD NOTE REPRESENTS A CHORD TONE. 3 NOTE CHORD IS CALLED A TRIAD. ABASIC MAJOR TRIAD IS CONSTRUCTED BY STACKING ‘THE 1ST, 3RD AND 5TH NOTES IN THE SCALE. EACH CHORD TONE IS 3 SCALE STEPS AWAY FROM THE PREVIOUS CHORD TONE, COUNTING THE PREVIOUS CHORD TONE AS "1". CHATOR TRIAD 4 5 5 USING THIS METHOD OF STACKING INTERVALS OF 3RDS TO COSTRUCT CHORDS, WE CAN CREATE MORE COMPLEX CHORDS BY STACKING 3RDS BEYOND THE 5TH DEGREE. EACH ADDITIONAL CHORD TONE ADDED WILL CREATE A DIFFERENT SOUND "COLOR" AND IS REFFERRED TO AS THE CHORD'S "QUALITY". THIS METHOD CAN BE APPLIED TO ANY SCALE TO CREATE NEW CHORDS. BELOW IS THE CMAJOR SCALE EXTENED OVER 2 OCTAVES; e ° € Fo] A 6 t o ¢€ ' a A $6 6 1 ¢ $$ 4 $5 © 7 8 9 HH H # BH wos oe * — ¢@ ° o *¢ — ¢@ ‘THE DIAMONDS SHOWALL OF THE CHORD TONES GENERATED BY STACKING 3RDS OVER TWO OCTAVES. WE CAN SEE THAT CHORDS CAN HAVE A*QUALITY” OF A "13TH" BEFORE THE SEQUENCE REPEATS ITSELF. ALSO NOTICE THAT THE FULLY EXTENDED 13TH CHORD CONTAINS ALL OF THE NOTES OF THE MAJOR SCALE WITH THE STH, 11TH AND 13TH TONES BEING THE SAME AS THE 2ND, 4TH AND 6TH TONES PLAYED. AN OCTAVE HIGHER, co 4 $ 0 f A 4 $ $ 7 4 4 6 ety