Once you know the idea of any piece of music, let us say that you are in the key of C, let us all start in C, it is pretty easy key to understand it as in. Here is the notes in C. C, D, E, F, G, A, B and then the active C. If I were to write this out as the actual chords, if I were to harmonize it in key of Cmaj, C would be major, D would be minor, E would be minor, F would be major, G would be major, A would be minor, D would be diminished and then C would be major.
Now, what do I mean by that. Well, let us play this. Cmaj, Dm, Em, Fmaj that is a big M, Fmaj, Gmaj, Em, B diminished and then Cmaj. Now, how all that works here is that the reason why that is because if I take the group three and five of every note here within my scale, that is how they all line up. So, what is the group three and five? Let us build this up. C, E, G. Okay, let us not worry about the key of Cmaj. Let us go to everything up with 3, 5. A, B and C. All right, so now the way that this works here is here is my, these three notes create my Cmaj chord. These threes notes create my Dmaj chord but I am staying within the key, right. And we will come and get that; can everyone see that or no?
So here we have Cmaj, Dm, Em, Fmaj, Gmaj, Am, B diminished and Cmaj. The reason why this is B diminished and not Bm, because look at the notes. The three notes here are B, D and F. I know that my Dmaj chord is B, D#, F#. So continue this right here, we know that are these plan and our FS plan here. The F# goes F natural; the D# goes to D natural. Well, if I have here have group b3, b5 which I do. See that they set this plan and the thirds plan. Here we have group b3, b5, to continue this, we know that a group Bb, 5b in the key of Cmaj or in a chord or whatever is diminished. So check it out. No matter what key I am in, if I change to the key of B. B, C#, D#, E, F#, G#, A#, B. If I were to play this, the reason why these are harmonized, one major, two minor, three minor, four major, five major, six minor, seven diminished and 8 major again is because I am saying everything within the key. It is a pattern. No matter what key you are in, it is always going to be the same exact concept. This will be always be major, the second one will always be minor, third will always be minor, fourth is major, fifth is major, six will always be minor, seventh will always be diminished, that is the circle and of course this is major because you are back at your octave there.
So, that is how the notes are harmonized in the key of Cmaj and that is why your chord functions, looks the way they do. That is why fourth chord in any key of Cmaj to the rest of your life went time stamped to that key will always be major because when you build up these notes, E, G#, B in the key of B. The three notes, group three, five, there you have it. Do not worry about this part up here. This part is nothing. With these three notes E, G#, B. That is my Emaj chord. Group 3-5 here, F#, A#, C#. That is an F#maj chord and it will always, always be like that. So, if you do not know, then now you know.
So what kind of scales that Jimmy kind of use do in tuning? That is a good a question, we will answer in a minute. Minor keys a lot, what about semi tone, what about semi tones. If you want to do semi tones in they key of Cmaj like this then you are actually kicking it outside of the key of Cmaj. So, if you go with the C#, D#, E, F natural then F#. The F natural obviously is in this key. I am picking outside of that key before I go inside or before I continue back into the key. It just refers you as in out note, just like anything. Music is a lot more than this, but it is pretty much as a serious of tension and release. So, when you understand and tension and release in music, how to create emotion and feeling in it, you will see that playing outside of the key of Cmaj. It is actually very, very effective to do. Nothing you have to do, this time you will not do this or not. So that is the idea there. So, if you are creating a solo and specific like say B. You could technically use a Cmaj. You could use Cmaj if that is the sound you want to go on. Listen, if I am playing these two chord right here, this Bmaj chord and you are playing your Cmaj scale, it is going to sound like this.
It is not going to sound that good. And now, what if I play this, it works a lot better but listen, do not learn from me, learn from yourself and try out new things. That is how you get it guys. So, write a song in the key of B and play a Cmaj scale over the top of it, will it work? Sometimes, most it is possible but you only from doing. Also is it is going to be any different if you are playing bar chords all the time it is in the middle of note. It is absolute the same, whether I am playing B chord or my B scale here or up here or up here or maybe if I break it apart like this. Okay, like that. It does not matter. It is all the same. You have only need three notes to make a chord. Group 3, 5 and when you build that group 3, 5 up on every key in its respective key of Cmaj that is in and that is when you get major, minor, minor, major, major, minor, diminished, major, one, two, three, four, five, six, seven and then eight. Seven, remember what I said yesterday in the modes, my seventh mode is diminished and it has a quality sound to it. Well check it out; my seventh chord in the major scale is diminished too. So, we will start to C, how it is ovulated. It is pretty cool.
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