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  • Harmonising a Scale - NOT for beginners

Ok, this is where it gets fun (imo)

A harmonised scale simply means a scale where you have built a chord on each scale note. For understanding this, you need to know how a scale is constructed.

I am only doing a short simplified explanation right now, cause I don't want to confuse everyone.

When we play ANY scale, it has intervals as explained in my previous lesson (Phrygian mode 3). If you don't understand, go read the modes from Ionian to Dorian to Phrygian.

You need to aquaint yourself with Roman Numerals to fully understand all of this, but it's really basic. I II III IV V VI VII VIII is all you need to know from 1 - 8. When you see them in small case (i ii iii iv v vi vii viii) that means Minor. Large case is Major.

Lets take the simple C Major Scale as usual, just to keep sharps and flats out of the equation (tho in theory, it's all the same, and neither is more or less difficult than the other on a guitar anyways)

We have C D E F G A B as our C Major Scale. A basic triad consists of 3 notes (usually 1 3 5)played together to form a chord. A 1 3 5 without any alterations yields a Major triad (chord). A 1 3 5 with a FLATTED 3 gives us a Minor Triad (Chord).

If we move one step up the scale, and build a new chord the same way, we get the notes 2, 4 and 6 from whatever scale we're using. In this case it's the C Major scale, so we get D F and A. Because it's built on the second note of the scale, it's called the II chord, whereas before we had our I chord which gave us C E G being the 1st, 3rd and 5th notes from the C Major scale. IF we continue building onto the next group of 3 notes, we are harmonising the scale. The important thing to remember is the formula of each chord. This is where we get our Major, Minor, Augmented, Diminished etc... chords from in our harmonised scale. When we refers to notes in a chord, we count from the root of the chord, not from the root of the scale. So when we played the 2 4 6 (D F A) we consider D as the root,. Do NOT take the root from the scale u uare harmonising, but the first note of the CHORD!!! Super important that....

I will go into further detail tomorrow when I have a bit more time on my hands. Right now I wanna play some GUIIIIIITAR!
    Thanks Meir, you have a great way of simplifying stuff that's otherwise pretty damn complex. I love it. Great lesson ?
      9 months later
      So, following on from this post (and our lesson on Sat ?), next you take E. You take E, G & B (3, 5, 7 of C) which gives you Em. I always wondered why certain chords in a key were minor while others where major and the last one diminished. Makes perfect sense now.

      So, to harmonise a scale, all you do is:

      - Take each interval of the scale and
      - Form a triad using that note as the root note
      - Skip a note and take the next one as the 3rd
      - Skip another and take the next as the 5th
      - Then go to your major scale for the root note of your harmonised chord and work out what sort of chord it is. If it's a flat 3rd, you have a minor, etc.

      Right?

      PS: Where's part 2 of this lesson? I'd like to know why some chords are called augmented while others are diminished? Did I miss it?
        Don't have much time to reply cause I'm on my way out, but Diminished and augmented are worlds apart in sound and structure.

        Diminshed = 1 b3 b5
        Augmented = 1 3 #5
          I understand the formulas now (thanks to you ?) but I don't get why they're called that. Will any chord with a flatted 5th be diminished and raised 5th be augmented?

          What if you took Asus2 (1, 2, 5) and augmented the 5th to a #5, is it then called: Asus2 augmented? Is there a common rule that can be applied here depending on whether the 5th is sharped or flatted?

          Thanks much ?
            A diminished chord in the right place gives me goosebumps 8)
              21 days later

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              • Post #7
              This is where theory can slip itself up in my opinion. If you were to take the chord Asus2 #5, then you end up with the notes A B and F. In that case you end up with Fflattened 5(first inversion). I think it depends on how many other notes you add to the chord to help define it. If you had assumed you would have your C# in your Asus2(or 9 )#5 then you would have the notes A B C# F, which is C#7aug (second inversion). Luckily no one will know the difference while you're playing it.

              To answer your question about chords with flattened and raised fifths, the chord is based in TWO intervals piled on top of one another(okay you can get fancy and add other notes, but work around the two intervals for now). Depending on the size of the first interval, (ie. 4 semi-tones makes a major interval, three semi-tones makes a minor interval) you will determine the aug, dim status.
              Two minor intervals on top of one another makes a diminished chord, two major intervals on top of one another makes an augmented chord.
              A normal major chord is built up from a major interval and a minor interval on top of it.
              A normal minor interval is built up from a minor interval with a major interval on top of it.

              It all gets easier when you're not afraid to count the semi-tones.
                Squonk wrote: A diminished chord in the right place gives me goosebumps 8)
                In olden days, if you played that, you were burnt alive, no jokes dude. You where not allowed to play evil sounding chords etc, if you did you where accused of witchcraft. Just something interesting to think about ?
                  Really well put, Viccy. You've been Karma'd :goodtimes:
                    Ok, some of that I got, some of it I was lost with...but nice post anyway...I find it interesting. ?

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                      • Post #12
                      Thanks Arjun. Francis, it's actualy a good sign that you're lost. Not to be funny or anything, but theory can give you a headache and to remember that everything works around the semi-tone is about the best favour you can do yourself. Not only that, if you can train your ear to recognise the semi-tone your theory will fall into place a lot faster. And if you think that's difficult just remember that some music styles add even more intervals into our one semi-tone.
                        Viccy wrote: And if you think that's difficult just remember that some music styles add even more intervals into our one semi-tone.
                        Too true. You only have to look to the east for that.
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