Conference napalm::guitar

523.0. "Guitar Column 1" by JACKAL::MURRAY () Tue Mar 08 1988 12:11

        Well, I got a few replies to my offer for a column, both in
    the mail and in Notes, so here goes!
        Most of the replies concerned keys, scales, and so forth.
        So, with that in mind, I thought we'd take a look at how the
    scale of a key relates to the chords used in that key. As usual,
    we'll look at the key of C.
        The scale: C    D    E    F    G    A    B    C
        The chords:C    Dm   Em   F    G    Am   Bdim C
    
        Simple, right? Right. We all know the "whole-step, whole-step,
    half-step..." routine. (If you don't, send me mail and I'll send
    you that procedure.) And we also know that the 1st, 4th, and 5th
    chords are major, the 2nd, 3rd, and 6th are minor, and the 7th
    diminished. But one thing that people often overlook(I do, at
    least), is the theory behind how the chords are determined and
    how they fit into the key.
        One thing to keep in mind: in this discussion, chords will not
    be broken down with respect to themselves; they will be broken down
     and analyzed with respect to the key in which they're being applied,
    in this case the key of C.
        Chords are built in intervals of thirds. Let's look at a C major.
    We start with a C note, go up two notes(a third) to E,and go up
    another two notes(again, a third) to G. Those three notes combine
    to make a C chord.
        If we look to see how this relates to the C scale, we see that
    a C major chord is made up of the 1st, 3rd, and 5th notes of the
    C scale.
        Still simple, right? Well let's look at chords of the key of
    C, breaking them down into three note form. Remember, the chords
    will be broken down with respect to the C scale, not with respect
    to the root of the individual chord.
    
        Notes in the C scale:
     C=1   D=2   E=3   F=4   G=5   A=6   B=7
     
        Chords in the key of C, followed by break-down of each chord
     Chord      C    Dmin    Emin    F    G    Amin    Bdim    C
    1st note    1    2       3       4    5    6       7       1
    2nd note    3    4       5       6    7    1       2       3
    3rd note    5    6       7       1    2    3       4       5
    
        Does that make any sense? For example, look at the notes in
    a G chord, G, B, and D. If you look at them with respect to the
    G scale, they are the 1st, 3rd, and 5th notes. BUT, if you look
    at those same notes in respect to the C scale, they become the 5th,
    7th, and 2nd notes.
        See how we end up with three scales running side by side, the
    only difference being their starting points? You can really see
    the "mathematical" patterns that develope. Look at the 3rd note
    of the C chord, the 5. Go up two chords(a third, remember?) and
    that same note, the 5, is the second note of the Emin chord. Go
    up another third, to G, and the 5 note is the 1st note of that chord!
    
        Looking at chords this way opens your mind to the relationships
    that exist between chords in a scale, and also to why certain chords
    go well together. It can also open new doors to you as far as soloing
    and improvision.
    
        I'm by no means a great player, and I don't want to come off
    sounding like some fat-head. i learn something everytime I talk
    with another musician, and this discussion is only meant to be my
    two cents. So, with that in mind, I'd like to share what I am working
    on now, but I don't want people to think I'm a (*&^% who thinks
    he can "assign" a lesson to anyone. This is the progression:
    
          |C    |B7   |Em7  Dm7|G7    |
    
        A simple, commonly-used jazz progression. I've been fooling
    around with it, experimenting with solos and bass lines. I came
    up with some fun leads by using the notes of each chord as I play
    over that chord, with thought to where I am going next. I made a
    table on the same idea as the one above, listing the notes of each
    chord with respect to the key of C. Using it as a guide, I've been
    experimenting, seeing how certain notes sound over certain chords,
    and how certain notes lead into the next chord.
    
        Lunch time. Let me know if it makes any sense.
    
    
    

    Thank you for taking this on.  I just gave it a quick glance, realized
    that I can use the theory, and printed it out to read on the train
    (train reading being a major life support element for New York
    commuters).
    
    - Evan
    (He who sight reads without knowing why it works.)