Okay, firstly, the simple question: Are all chords formed from the major scale? I was reading a David Hodge article the other day, and he made it seem that way, but I had always assumed for a while that they could be derived from any scale, but be different chords; I then realized, that if this were true, it would sort of defeat the purpose of naming those chords according to interval steps in the major scale. So, basically, all I need on this is a yes or no.
Now, the other question has to do with chord progressions. All I basically want to know, is how they're determined. I've seen charts where they basically layout the major scale of, say A, and have all the notes with their roman numerals. Now, the thing that struck me as odd, was that they also had whether the chord would be minor, major, or diminished on these, too. Now, the chart I saw, went Maj, Maj, Min, Maj, Maj, Min, Dim. So, basically, what I got from that chart was that in that given scale, the first and second note's chord would be major, the third would be minor, the fourth and fifth's would be major, the sixth's min, and the 7 diminished. I was then prsented with basic progressions of I IV V I, which would be A, D, E7, A according to this chart.
( http://www.worldguitar.com/start.html If I'm prohibited from linking to a different site, sorry, but I'm sure that would help people to undrerstand what it is I'm talking about)
Now, I was just wondering, why that pattern of Maj, Maj, Min, Maj, Maj, Min, Dim, and is that the one single pattern tha tall progressions are based off?
1. Yes, all chords are based on the major scale (even minor chords)
2. Any scale can be harmonized by taking every third scale tone. The results you get will vary by the scale used. You're almost right in remembering the chart - the '2' chord is minor; other than that, you've got it right. That gives you the chords that are natural to a key - other chords ('borrowed' chords) can be used at the composer's discretion.
3. Chord progressions normally work by descending roots in fifths. If you want to arrange all the chords in a key so they sound pleasing, you'd get:
viiº-iii-vi-ii-V-I-(IV)
which is called the natural harmonic progression. The IV is in parenthesis because it's so closely related to I - you can move from V-I (the authentic cadence) or IV-I (the plagal cadence) to end a progression; pieces with plagal cadences often end I-IV-I.
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1. Yes, all chords are based on the major scale (even minor chords)
2. Any scale can be harmonized by taking every third scale tone. The results you get will vary by the scale used. You're almost right in remembering the chart - the '2' chord is minor; other than that, you've got it right. That gives you the chords that are natural to a key - other chords ('borrowed' chords) can be used at the composer's discretion.
3. Chord progressions normally work by descending roots in fifths. If you want to arrange all the chords in a key so they sound pleasing, you'd get:
viiº-iii-vi-ii-V-I-(IV)
which is called the natural harmonic progression. The IV is in parenthesis because it's so closely related to I - you can move from V-I (the authentic cadence) or IV-I (the plagal cadence) to end a progression; pieces with plagal cadences often end I-IV-I.
Hmm... That's pretty interesting. Something tells me I'm going to have to buy a book on theory soon, 'cause picking up bits and pieces of all this off the internet just ins't going as smoothly as I would've hoped.
Since Noteboat has chosen not to plug his own book here, I'll do it for him.
Tom Serb (aka Noteboat) has published a good theory book specifically for guitarists, strangely enough entitled" Music Theory for Guitarists". Plus you get the benifit of being able to ask him questions as he tends to be around here a fair bit. I would recommended it as a good start that will cover many of questions those begining to study theory would have. It has remained my desktop reading for quite a while (since I'm kinda thick at times).
Here's his site:
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