Is it correct to say that all common chords are built using the major scales?

Question

I'm creating an abbreviated music theory course for a guitarist buddy of mine. At this point, we're covering chord formulas, e.g., 1-3-5 in the C Major scale = C-E-G.

I found myself about to write a sentence (marked in bold below) in the lesson I'm working on:

"To determine the notes within a chord, we need two pieces of information: 1) the chord formula (e.g., 1-b3-5 for the minor chord), and 2) the key of the scale from which the chord is drawn (e.g., the C Major scale). All chords, by the way, are drawn from the major scales, versus from the minor, pentatonic, blues, or diminished scales.

Thus, the notes for the minor chord in the C Major scale are........"

Answer 1

Good question, but your assertion is entirely incorrect. Chords are derived from intervals, not particular scales. Your presented definition of chords would not hold up under 12-tone theory, chromaticism, clusters, pandiatonicism, non-functional harmony, or a host of other theoretical contexts.

In addition, different chords are considered "common" in music theory during different time periods. Major, minor, and diminished chords have been common for the past few hundred years (about 600 or so,) but many other chords are now considered common. For this reason, it is also good to specify which time period your talking about, or at least clarify which common chords you're going to discuss.

Therefore, it is for the above reasons that it would be incorrect to say that "all common chords are built using the major scales" as it is non-specific and would only hold up under the umbrella of functional harmony.

Hope that helps!

Answer 2

I would reword your statement to say "Since all chords are organized collections of tones, all chords can be associated with a scale within the modern diatonic & chromatic systems of harmony. Major triads, for example, can be associated with the major scale since both collections contain a root, major 3rd and fifth. Although there are many scales which align themselves with a major triad, the major scale is a more well-known choice and therefore a more digestible association for beginning instrumentalists."

Although there are many theories in music and a whole host of nomenclature and syntax that exist, it all boils down to the same set of 12 tones (in modern Western diatonic & chromatic harmony, that is.) I have found that the easiest way to chords, arpeggios and improvisation to students is to associate the chords with common scales. For example:

CHORD => SHARED TONES => ASSOCIATED SCALE(S)

C Major Triad => 1, 3, 5 => Major, Lydian

C Minor Triad => 1, b3, 5 => Natural Minor (Aeolian), Dorian

C Diminished Triad => 1, b3, b5 => Whole/Half Diminished, Half/Whole Diminished

C Augmented Triad => 1, 3, #5 => Augmented, Whole Tone, 3rd Mode Melodic Minor

C Dominant 7 => 1, 3, 5, b7 => Mixolydian, 5th Mode Harmonic Minor, Super Locrian

These are just a few examples. Every scale contains hosts of possible chord combinations, just as every 3 or 4-note chord is contained within several scales. These simply serve as mechanisms to associate chords with a set tonality and provide a degree of functionality for beginning & intermediate students of music. I hope this helps!

Answer 3

Nate gave a great answer, though if we're thinking of only chords that can be built from the major scale, the augmented triad (C, E, G#) doesn't fit. It can be constructed from the minor scale, for instance, in C-minor, the notes, Eb-G-Bnatural are available. However, it is a rare chord so maybe should not count. (It gets more acknowledgment mainly because it forms a natural parallel with the diminished triad, which IS in the major scale).

The (fully-)diminished seventh chord (C, Eb, Gb, A-natural) is however a pretty common chord that can only be formed with minor mode scales, not major. For instance, in C-minor, B, D, F, Ab.

Then there are chords that are less common than the diminished-seventh, but still more common than the augmented triad, that cannot be formed from either the major or minor scale. For instance, the ("Italian") augmented sixth chord, Ab, C, F# isn't available in either the notes of the major or minor scale. Nor are the "French" (add D) or "German" (add Eb) or "Swiss/Alsatian/etc." (add D#) versions of the same chord.

Answer 4

I suspect that you are talking more about the way were refer to the notes within a chord or scale, such as 1, 3 and 5 make up a major chord and 1, b3, and 5 make up a minor chord or 1, b2, b3..... make a Phrygian scale. If this is the case I would word it so that you're saying the nomenclature is derived from its relationship to a natural major scale (Ionian). Using accidentals (#/b) to describe a note shows how it is different from Ionian or a major triad.

When intervals are referred to as major or minor they draw their name in relation to a major scale as well. 2, 3, 6 and 7 can be referred to as major or minor but you should be careful to notice that not all the minor intervals apply to the minor scale (Aeolion), because it has a major 2. This is for the same reason as with the earlier example, it is based on major and declaring it minor designates that it is a half-step lower than the interval would be in the major scale. 4 and 5 have been deemed perfect for their consonant qualities and are deemed augmented (#) or diminished (b). All naturally occurring modes but Lydian and Locrian have perfect 4 and 5 and they both have one or the other.

I'm glad to see that you want to word things properly for your students!

Answer 5

There's a shred of truth in there. The chord 'C' means C major, the 1st, 3rd and 5th notes of a C major scale. If we want something different - Cm, Cdim, Caug (and that's just the triads) - we have to say so. And when we name intervals, our basic framework is the major scale starting on the lower note. Whatever key or mode a piece is in, D to A is a Perfect 5th, because A is the 5th note of D major scale. It's also the 5th note of D minor scale, but that doesn't change its name.

Guitarists often seem interested in what scale 'goes with' a chord. That's looking at chord theory from another angle.