Harmonic function of chords - How do we use chords and scales in songs? Part I

The most common technique for creating chord progressions:

1. Diatonic scale and diatonic chord progressions:

Take one scale /mode at a time, create it's family of chords and all its diatonic substitutions. 

Example D minor, G seventh and C major are the ii, V, I of the C major scale. 

Create a melody or solo idea using the C major scale. Later learn and apply the 3, 4, 5, 6, and 7 note diatonic chords and their arpeggios for each scale / mode. 

(scale and mode mean the same thing) 

Assignment 1. Record ii, V, I for all twenty eight modes and all scales covered then create a melody or solo idea using each scale / mode. 

2. Another way to view a minor chord: 

When you see a minor or minor seventh chord it usually can be thought of as the following:

Using A minor it is the sixth chord of C major, it also the two chord of G major and the three chord of F major. So experiment using these three scales to solo over this one chord! 

This is sometimes called multiplicity. The C major scale played over the A minor chord is the Aeolian mode. G major scale played over the A minor chord is the Dorian mode. F major scale played over the A minor chord is the Phrygian mode. Also figure out the 3, 4, 5, 6 and 7 note diatonic chords and their arpeggios for each of the three keys for the minor chord. 

Later do this for all keys: Bbm, Bm, Cm, C#m, Dm, Ebm, Fm, F#m, Gm, Abm.

Remember there are three major scales for each minor chord.

Assignment 2. Record the A minor chord (using quarter note strums) for twenty minutes and then play each of the three major scales for the one minor chord. As always use quarter then eight notes with a metronome when playing the three major scales. Also if you do not own a metronome go to: metronome on line.com. 

Listen to how each scale brings out a different feel (mode) over the same minor chord. 

3. The next technique is when the root note of a chord is within the family of chords but the rest is not. Example given in key of C major:

Regular diatonic chord progression -  Dm7 //// G7 //// C //// Am7 ////     (ii7, V7, I, vi7)

Diatonic root non diatonic chord -      Dm7 //// G7 //// C //// A7 ////        (ii7, V7, I, VI7)

The Am chord is the sixth of C major the A dominant seventh is not within the 

C major scale. This is sometimes called a Partial Diatonic chord. That means the lower tones of the chord in this case A and E are the same. The top part of chord C sharp is non diatonic or not within key. This is a common technique for giving a temporary lift to a progression. Also called tonicization.

A dominant seventh is the V7 of D major. This is also called a secondary dominant, or the dominant from a second key. The dominant chord is always the fifth chord from any major scale. When we play the A dominant seventh chord we temporarily go in the key of D major. This is done to add flavor and a brief lift to a regular diatonic chord progressions. The Beatles used this technique many times in there song writing. 

When on the A7 chord play the D Major Scale. So start by playing the C major scale starting on the A note then when the chord is A7 play the D major scale starting on the A note. You have to learn to change to each new key by playing the closest scale note of the new key.

So you will have to be aware of where the new note or notes are in relation to the notes of the original key.

Assignment 3. Record the following chord progressions from the C major family of chords and practice temporally going into each new major scale key and then back again to the original key.

Am7 //// E7 //// F //// G7 ////   (on the E seventh chord you play the A major scale for one bar)

(vi, III7, IV, V7)

Am //// F7 //// C //// G ////  (on the F seventh chord you play the B flat major scale for one bar)

(vi, IV7, I, V)

Em //// Am //// F //// B7 ////   (on the B seventh chord you play the E major scale for one bar)

(iii, vi, IV, VII7)

Remember to transpose to all keys, at least one new key a week.