Theory Question regarding the C Major Scale...

You're right on track. The approach you're taking is called 'harmonizing the scale', and it results in:

C
Dm
Em
F
G
Am
Bº

You can even go a step further and use four-note harmonies, like C-E-G-B. Then you get these chords from harmonizing the scale:

Cmaj7
Dm7
Em7
Fmaj7
G7
Am7
Bm7b5 (or B 'half-diminished')

Thanks for the confirmation...only been at this for less than 3 months so I'm trying very hard to understand what's really going on! Again...I thank you!

Mike

I don't understand why the D, E, and A chords must be minor and the B diminished (if that's what that symbol means).

So if you were to play D, E, and A chords (all major) over a C major scale, would it sound wrong? ...they should/must be minor?

Because the C major scale has no sharps or flats.
The D, E, A and B major chords do.

I don't understand why the D, E, and A chords must be minor and the B diminished (if that's what that symbol means).

So if you were to play D, E, and A chords (all major) over a C major scale, would it sound wrong? ...they should/must be minor?When you harmonize the major scale, minor and dimished chords are part of the result. This is not to say that you can't use major chords over a melody in that scale, or even that it would sound bad, it's just the way it works out. All of the notes in C major scale are represented in the chords.

An A-minor chord consists of A, C, E, an A-major chord consists of A, C#, E. And since C# isn't part of C-major A-minor 'belongs' to C and A-major doesn't. An Asus2 (A, B, E) would be another option that 'fits' C-major, as is Asus4 (A,D,E). It doesn't mean A-major is forbidden, it just means that you'll be using a ntoe that isn't part of the C-major scale. For what it's worth, the band I'm in hasn't written a single song where the chords never contain a note outside the key being used.

For what it's worth, the band I'm in hasn't written a single song where the chords never contain a note outside the key being used.

Assuming I'm parsing that correctly and he's saying "Every song we right contains at least one outside note," he's right -- being so conforming that you never use discordant notes results in bland music.

Okay, some of the seven chords have to be made minor or diminished in order for their constituent notes to match the C major scale. Got it.

About writing songs using outside notes; are there any rules dictated by music theory, or is it just a subjective matter of using outside notes sparingly and with good taste? ...like a chef who just knows from experience (rather than from a cook book) when, which, and how much spice should be added, or like the blues scale's flatted fifth.

The latter: cayenne pepper may be a little overpowering, but that doesn't mean you don't use it in moderation.

If you click here, you'll see how each of those chords is arrived at.

King: yeah, that 's what I was trying to write.

Pattrick: There are *NO* rules in music. Theory cannot ever command or forbid you to do anything. If your song consists mostly of notes of the C-major scale, you could say you wrote a song in C-major. But if you feel like playing a melody using non C-major scale notes then that is perfectly possible. And if you suddenly use a lot more non C-major notes then chances are you switched key. If you look at jazz you sometimes see two 'modulations' (key changes) in a single measure! You should play whatever is in your head, and theory will then stick labels on it.

Some things to try, if you want to play with discordant music.

Say you like a chord progression involving

Em - Am - Em - Am

Well, you realize that Em6 is the same notes as a C#m7b5, so you change the second chords accordingly:

Em - Am - C#m7b5 - Am

But you keep the melody notes the same, you very likely will create a bit of tension in the song because the melody notes probably won't quite fit the chord if they're all in the key of Em.

Other things you can try is adding some passing tones in between notes.

Instead of your meldoy going C - E - E - D - G maybe you can go C - E - E - D - (F F#)G

Great. Just great. So I spend half the day trying to make something of an Am-Em-Am-Em progression our vocalist gave me. I come up with a C#m7b5, feel might brilliant, only to see some dude on the internet post the exact same thing as a standard trick everyone should know. How awesome... :?

Of course, you can always solo over a C Major accompaniment in the C blues scale, which consists of C, Eb, F, Gb, G, Bb, (C).

Or the C "Major Blues Scale" or "Traditional Blues Scale." C, D, Eb, E, G, A, (C).

Both contain notes not found in the C Major scale, but work fine over it with no "sour notes." In fact, you can combine the notes of those two scales and use 'em all over C Major.