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8

Actually, a major chord is formed by using a root, a major third and a perfect fifth. Doesn't necessarily have to be the 1,3 and 5 of the scale. Let's take the C major scale and see for which root notes we have the major third and the perfect fifth: C; the third is E (major third), the fifth is G (perfect) -> Major Chord (I) D; the third is F (minor) E; ...


5

The first thing to note is that to specify a key, you need both a root note and a formula. A root note on its own is not sufficient. A minor and C major contain the same notes, so we can say they are different modes of the same scale. Another way of saying this is that A minor is the relative minor of C major, and C major is the relative major of A minor. ...


5

Dom's answer is of course correct, but I think there's a misunderstanding as to what is meant by 'pattern'. In Dom's answer, he refers to the interval structure of a scale as 'pattern'. In this sense he is of course right that the patterns of major and minor pentatonic scales are different. However, I believe that Chris refers to patterns on the neck of the ...


3

There's two things going on that you need to understand. The pattern for the major and minor scales are different. If you were to play a C major pentatonic scale you would play the notes C, D, E, G, A. If you were playing the C minor pentatonic you would play the notes C, Eb, F, G, Bb. Both are shown below: There are major and minor pentatonic ...


2

The thing is simply, that the structure of major chords and the harmonic pattern I IV V do not depend on the same laws of tonality. A major chord is built with the overtones 4, 5 and 6, and this comes out to be a structure depending on thirds. Meaning in overtone scale the overtones 4, 5 and 6 build up the major chord of the base tone. The harmonic ...


2

It is more like a preferred usage and style than being a rule. You can find cheerful songs in minor and dramatic songs in major especially in Baroque and some classical music derived from folk music. Lots of style elements and personal preferencese like harmonic progression, melody structure, use of intervals (especially minor 2nds and pentatonic modes ...


2

No. The definition of a major triad in canonical form (in practice it can be spaced out in terms of octaves, inverted and its members doubled, obviously, hence "canonical") is not 1-3-5 in terms of major scale degrees; it is 4 semitones (a major third) and 7 semitones (a perfect fifth) from a given root, any given root. In a major scale, it happens that ...


1

I would suggest Irving Berlin's "Blue Skies" as an example of a cheerful song in a minor key. However, it can also be viewed as an extended musical pun on the term "blue" as used in the linguistic phrase that is the title, an indicator of happy circumstances, contrasted with the term as a style of music. A masterful piece, it served as inspiration for Monk's ...


1

Just a brief meta-theoretical note: Rockin' Cowboy's answer above recapitulates a whole line of 19th-ct attempts to derive the basic functions of tonal music from the major triad (which at least one theorist called the "Chord of Nature" because of the way it follows the overtone series). In order to do that, they constructed a dualist system: that is, for ...


1

As others have pointed out, the "1, 3, 5" of a chord are relative to the root of the chord, not the key. It's important to realize that any note in the key (or even outside of it, but let's ignore that) can be the root of a chord. What these numbers mean, is that once you've picked some note of the scale as a root for your chord, you create the rest of the ...


1

One-Finger Soloing It's a very simple technique but I came across this recently. You literally choose one finger on your fretting hand - index most likely - and are only allowed to use this finger. The idea is it breaks your ingrained muscle memory of playing scale patterns. And also, following the scale is now no easier in terms of finger movement than ...



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