Scales – Chord Scales – Common Chordal Movement Pat Corn Maizeone Music 2002 Scale Construction

Scales, in any key, are constructed from a single scale formula. The “melody” of the major scale is always the same; commonly recognized as “Do-Re-Me-Fa-So-La-Ti-Do”. The only variable involved is the tone on which the scale begins. 

The “Do-Re-Mi” melody is accomplished by a consistent musical “distance” between each note. Musical distance is measured in half-steps and whole-steps (two half steps); C to C#  =  a Half Step  &  C to D  =  a Whole Step 

A clear understanding of chromatic movement is necessary for rapid and proper scale construction. 

 

The Major Scale Formula 

Start with any note and raise the notes by the proper distance in the formula  

[Note#1]  W  [Note#2]  W  [Note#3]  h  [Note#4]  W  [Note#5]  W  [Note#6]  W  [Note#7]  h  [Note#8]

 

Major Scale Construction  

C  w  D  w  E  h  F  w  G  w  A  w  B  h  C 

The “C” scale contains no sharps (#) or flats (b) and is the starting point for creating all of the other major scales. One series, The Cycle of 5ths, contains all of the scales that have sharps (#) in their scales and key signatures, and another, The Cycle of 4ths, contains the scales with flats (b) in their scales and key signatures.

Beginning with the C scale, and each subsequent scale thereafter, use the 5^th note of that scale to create the next scale in the series of The Cycle of 5ths. You will notice an increase of one sharp each time the next scale is completed.  The Cycle of 5th's and 4ths is simply a way to categorize the scale groups.

The Cycle of 5ths                                                                         Key Signature 

C  w  D  w  E  h  F  w  G  w  A  w  B  h  C                                              0 # 

G  w  A  w  B  h  C  w  D  w  E  w  F#  h  G                                            1 # 

D  w   E  w  F#  h  G  w  A  w  B  w  C#  h  D                                         2 #s 

A  w   B  w  C#  h  D  w  E  w  F#  w  G#  h  A                                       3 #s 

E  w   F#  w  G#  h  A  w  B  w  C#  w  D#  h  E                                    4 #s 

B  w   C#  w  D#  h  E  w  F#  w  G#  w  A#  h  B                                  5 #s 

F#  w   G#  w  A#  h  B  w  C#  w  D#  w  E#**  h  F#                           6 #s

C#  w   D#  w  E#  h  F#  w  G#  w  A#  w  B#**  h  C#                     7 #s

Beginning with the C scale, and each subsequent scale thereafter, use the 4^th note of that scale to create the next scale in the series of The Cycle of 4ths. You will notice an increase of one flat each time the next scale is completed.  

C  w  D  w  E  h  F  w  G  w  A  w  B  h  C                                              0 

Scale Tones Names

The key signature for the Relative Minor key is the same as Tonic

The ability to physically play these scales is not as important as developing the mental ability to construct a scale mentally quickly and accurately. Rapid mental scale construction aids in 

• 
  Identifying key signatures
  
• 
  Identifying the most common chords found in each key
  
• 
  Improvisation
  
• 
  Common chordal movement
  
• 
  Easily transposing from one key to another
  
• 
  Developing the ability to play by ear
  
  

In order to determine the chords found in any given key, the major scale can be “added” to the Chord Scale Formula to determine what chords are commonly found in that key.  

Converting the basic major scale to a chord scale opens a huge window of understanding of the musical use of a simple major scale through harmony.  

Let’s take the simple major scale of the key of C and add the Chord Scale Formula to determine the chords commonly found in that key. 

C scale:                                          C     D     E     F     G     A     B     C

Add the Chord Scale Formula         I      ii      iii     IV    V      vi     viiº   VIII/I

Apply the Chord Scale Formula to each of the scales found in the Cycle of 5ths and The Cycle of 4ths. There are attached worksheets.

If your instrument is chordal, then play each Chord Scale. If your instrument in a single noting instrument, then just ahead you will find a tremendous opportunity to play the chords as arpeggios (1^st, 3^rd, and 5^th notes of the scale). This is your introduction to chordal theory progressions leading to the exciting world of improvisation and rich chordal progressions. 

The above Chordal Scale Formula results are not set in stone. If you are trying to figure the chords out for a particular song, some variances may occur. Here are some very common examples

• 
  The minor chords found on the ii, iii, and vi could possibly be made as major chords with a flatted 7th…i.e.  as a  D7, E7, or A7  (as in the key of “C”)
   
  
• 
  The V might be a minor chord used to move from the I then to the IV
   
  
• 
  The IV might be also be played as a minor chord moving back to the I
   
  

There are four basic chord types that are constructed from the notes of the scale. Played simultaneously it is a chord, and played individually it is considered an arpeggio.

• 
  Major Chords- Constructed by playing the 1^st, 3^rd, and 5^th notes of the scale.  Commonly known as a "Basic Triad"..
  Example in “C”….. C  E  G     Written as: C
   
  
• 
  Minor Chords  ( m ) ( - ) - Constructed by playing the 1^st, **lowered 3^rd , and 5^th of the scale.
  Example in “C” ….. C  Eb  G     Written as: Cm or C-
   
  
• 
  Diminished Chords ( º ) (dim)- Constructed by playing the 1^st, lowered 3^rd, and lowered 5^th of the scale.
  

• 
  Augmented Chords ( + ) or (aug)- Constructed by playing the 1^st, 3^rd, and a raised 5^th of the scale by one half step.
  

 **Lowered by 1/2 step

To any chord, alterations may be added for tonal color, mood, and dynamics. These alterations are other notes common to the scale not used to create the basic chordal triads. These are the most common alterations…..

• 
  6^th  ( C6 )  Add the 6^th note of the scale to the basic triad….. CEG+A
   
  
• 
  maj7^th  ( Cmaj7 ) (C∆7) Add the actual 7^th note of the scale to the basic triad ….. CEG+B
   
  
• 
  7^th  ( C7) Add a flatted 7^th note of the scale to the basic triad ….. CEG+Bb
   
  
• 
  sus  (Csus)  Replace the 3^rd with the 4^th of the scale in the basic triad…CFG
   
  
• 
  9^th   ( C9)  Add the 2^nd note of the scale an octave higher to the 7^th chord
   
  
• 
  11^th   (C11)  Add the 4^th note of the scale an octave higher to the 7^th chord
   
  
• 
  13^th   (C13)  Add the 6^th note of the scale an octave higher to the 7^th chord
  

The 7^th (lowered 7^th type) chord is commonly referred to as a Dominant 7^th chord. It gets its “Dominant 7^th” name from the fact that the 5^th scale tone is named “dominant” and is usually played as a 7^th chord.

 

Common Chord Progression 

There is nothing mysterious about the movement of chords within a song. In fact, chord progressions are rather predictable. Below, you will find the common chord progressions that are used today. Granted, these are not etched in stone either, but they will give you a track to run on when trying to figure a song out by ear, improvising, arranging parts, composing, or playing accompaniment for a soloist.  

Chords have a tendency to move in certain directions creating a progression that is generally comfortable to the listener. Some chords create a sense of stability and others create tension from their instability from using tones that are not found within the key scale.

  

Chord	Generally Moves To	Sometimes	Rarely
I	IV or V	ii or vi	iii or vii
ii	V or I	iii or vi	IV or vii
iii	ii or vi	IV or V	I or vii
IV	I or V	iii or ii	vi or vii
V	I or IV	ii or vi	iii or vii
vi	IV or ii	iii or V	I or vii
vii	I	na	na

Again, these changes are not etched in stone and can experience some changes from minors to majors, but will still follow the progressions fairly closely. 
 

Test some of the songs that you might have previously played and see how closely they follow the Common Chordal Progressions. When the chord changes from I to IV drop down to the IV line and see if the next chord follows the chart. You may be surprised to know that this process has been around for centuries and was used to compose some of the greatest works in history. 

 

Chord Scales: Cycle Of 5ths complete the following chord

C  w  D  w   E   h      F   w   G  w    A  w    B   h   C

C   Dm  Em     F      G     Am   Bº    C 

G  w   A  w   B  h   C  w  D  w   E  w   F#    h    G

G    Am  Bm  C     D     Em  F#º   G 

D  w   E   w   F#  h  G  w  A  w  B  w  C#   h   D

A  w   B  w  C#  h  D  w   E  w   F#  w  G#  h      A

E  w   F#  w  G#  h  A  w  B  w  C#  w  D#   h     E

B  w   C#  w  D#  h  E  w   F#  w  G#  w  A#    h      B

F#  w   G#  w  A#  h   B  w  C#  w  D#  w   E#**  h   F#  

 Chords Scales: Cycle Of 4ths complete the following

C   w   D   w    E   h     F   w    G   w    A   w    B   h   C
I       ii        iii      IV     V       vi      viiº    VIII/I

C     Dm    Em    F      G      Am    Bº     C 

F   w    G    w     A   h    Bb    w    C   w    D   w    E   h     F

F       Gm    Am    Bb      C       Dm   Eº     F 

Bb    w     C    w     D    h     Eb    w     F    w    G    w    A    h     Bb

Eb    w    F    w    G    h      Ab    w    Bb    w    C    w    D    h    Eb

Ab    w     Bb    w    C    h     Db    w     Eb     w     F    w    G    h    Ab

Db    w     Eb    w    F    h      Gb    w    Ab    w     Bb    w     C    h    Db

Gb    w    Ab   w    Bb    h     Cb**  w    Db    w     Eb     w     F     h      Gb

 
Common Chord Progressions 

 

I – IV – V - I                            C – F – G – C

 

I – vi – IV – V - I                     C – Am – F – G - C

 

I – ii – V – I – I                        C – Dm – G – C

 

I – ii – iii – IV – V – I              C – Dm – Em – F – G – C

 

I – IV – iii – ii – V – I              C – F – Em – Dm – G – C

 

I – IV – iii – vi – ii – V – I      C – F – Em – Am – Dm – G – C 

More often times than not, the V, vi, ii, and iii chords will be played as 7^th chords  

The I and IV chords are best used as pure major, 6^th, or maj7th chords 

The vii° (diminished) chord almost always leads to the I and is effective between a V7 and the I chord