Scales are strange beasts. History shows us that the practicing of scales consists of playing the same notes in the same order while a ruler-armed teacher barks “Faster! FASTER!” at us all the while assuring ourselves that the study of scales builds character, and one day it will all be worth it
Wait, I am already learning chords and scales… you’re telling me there are also things called Chord Scales? Yes! Chords scales are not only useful when composing, but also in improvisation. When harmonizing a melody we can make our music more rich, have more twists and turns, and break us out of the riff-based power chord rut we have been in for far too long. This article will explain a basic harmonization of the major scale, using movable chord shapes on the four smallest strings of our guitars – all while sounds sophisticated, complex, and completely irresistible to the opposite sex.
If you had checked out any of my previous articles about the modes, you are starting to hear the unique sounds they have. In most of the other articles I went through the modes of the C Major scale. Here, I take a different approach. Keeping C as our ‘root’, I divide the seven modes into major modes and minor modes. In other words, we take each mode, and compare it to the C Major scale. Some modes will sound better over minor chords and some with major chords. Don’t worry though, it isn’t as complicated as it seems. This article will compare the C Major scale with the modes that have an inherently major, or bright & happy sound.