This is the more usual notation in the classical world, and it says that 3, 6 & 7 are flatted by comparison to the major scale. In minor, your melodic degrees are 1, 2, ♭3, 4, 5, ♭6 and ♭7 (with ♭6 and ♭7 often being raised to 6 and 7 in practice). The distance between 3 and 5 is a semitone plus a whole tone = a minor third, hence the chord is minor, so the harmonic degree on 3 is iii, i.e., a minor chord. So to ascertain the chord with 3 as the root, you build the chord by choosing 3, 5 and 7 (piling up thirds, yes?). In major, your melodic degrees are set relative to the tonic, and they are 1 through 7 (8 if you include the octave, but that is usually just considered a transposition of 1). The chords built on those degrees are major or minor or diminished, so the Roman numeral reflects that - it is not major or minor relative to the tonic, but to the root of the chord on that degree as created by using notes from that scale. Watch that you don't start confusing melodic degrees with harmonic degrees. The correct terminology is: Quality->Interval from 1 (in a single octave), which is useless and shouldn't be in such a table (also, the B above the A which you called P8 is called M9, not M2, as it is a M2 an octave up), and Roman Quality->Chord, which could be better described as the full 7 note chord (7th chord with extensions) - Imaj7(9,11,13) iim7(9,11,13) iiim7(b9,11,b13) IVmaj7(9,#11,13) V7(9,11,13) vim7(9,11,b13) and viim7b5(b9,11,b13). So when stacking the thirds from the 7th scale degree, we get 7-2-4, which is mm, thus a diminished triad. So the major chord is built by a stack of M3-m3, the minor is mM, the diminished being mm and augmented MM. ![]() By third we mean not the interval of either a M/m third, but x degree +2 (1->3, 2->4), which could result in diminished thirds (#2-4), augmented thirds (b2-#4) and double (and even triple) aug/dim intervals. The basic chords (Major, minor, diminished, augmented.) are built by stacking thirds (this is called tetrian harmony) on top of eachother, of course being in the scale. It is important to note that the chords come from scale degrees, not the other way round - so the scale degrees aren't "minor", just the chords built from them.Ī few more minor details (Pun not intended) - altered (not in the major scale) scale degrees are written with b and #, and the triads built from the scale degrees are upper case if major, lower case if minor, lower case with an o to the top right if diminished and upper case with a large + to the right if augmented. When talking about the basic triads, aka I ii iii IV V vi viio, we use the formula (1-3-5), and see that from the 1st, 4th and 5th scale degrees we get a major triad, from the 2nd, 3rd and 6th we get a minor triad and from the 7th scale degree we get a diminished triad. To find a chord built from the scale degree in a scale we need a formula - for example 1-3-5 (which doesn't exclusively mean the major third and perfect fifth, just the third and fifth of the note, regardless of their quality), 1-3-5-7, 1-2-5, 1-4-5-7. That's because those are the chords that are built from the scale. Ps, what's the correct terminology to use above where I've labelled it 'QUALITY' and 'ROMAN QUALITY'? P1, m2, M2.all the way up to.P8) I can see that 6 semitones would be an augmented/diminished quality A4/d5, but I can't see how that distance in semitones get's applied by counting semitone distances based on 3rds But what I don't understand is why the 7th is 'diminished' and not minor? As the semitones between the 7th degree and the degree a 3rd way from it (which would be a 2nd/9th) is 3 semitones suggesting a minor third.īy looking back at the full list of interval qualities (e.g. ![]() So I counted the semitones between the thirds and found the quality (minor/major) matched the harmonic degrees indicated by the roman numerals. The quality of the chord associated with a melodic degree is determined by these thirds. So to recap: a chord is typically built from thirds of the scale. I left the following comment on the top response so far: So in this ^^ example (in the key of A), instead of playing all major chords, I would play a mixture of major and minor chords: ![]() That all seems fine, but I noticed that there's a degree notation using roman numerals and even with the major scale it suggests that some of the degrees are actually minor? So in a minor scale, if you saw m3 it would mean a flattened 3rd degree in relation to the major scale defined semitones. So I've been learning about the scales (major, minor etc) and how all the scale degrees are related to the major scale.
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