CPS Epi 1-3 "CheatSheefMark Rhodes

. The major scale is what we sing when we sing "Do re mifa so la ti do.'

. The chordal scale results from building a triad on eac"h note of the maior scale; thetriads are built in "thirds" and the easy way to remember this is either "skip a note" or"every other note." Thus,for example, start on C skip D, keep E, skip F, keep G, andvoila, you've made a drord! (C major = CE,G) Theru start on D skip E, and $o on...

r ( D E F G A B C make up the C major scale. (Cis'do',D is're', and so on.)r ( major, D minor, E minor, F major, G majoq,Aminor, and B minor-flat-fivemake up

the C chordal scale. For convenience, a triad, is assumed to be maior unless otherwiseindicated. (C is assumed to be C major.) Minor triads may be indicated by a small letter"m" far minor. (Cm means C minor.) Thus, we can grve the triads for the C chordalscale as C Dm, Em, F, G Am, Bmb51, and C

. The notes of a triad are referred to as Root, Third (3), and Fifth (5) For a C triad thosenotes would be C, E, and G. C is the root, E is the 3'd, and G the Sft. (Later we will add7th+ and other extensions, but we'll stick with triads for now.)

. The chords of the chordal scale are also referred toby Roman numerals. AII majorscales have the same series of Roman numerals; I, ii, iii, ry V vr, vii. The "capital"numerals (I, ry, V) refer to major clords, while the dotted numerals 1ii, iit vi, vii) referto minor chords. The value of this will become apparent in due time.

. Key principle: Chord.s sharingtwo notesmay substitute for each othq. Here are thefamilies of chords (or, "diatonic substifutes") from the drordal scale:

I (C: C,EC) = iii (Em: E G,B) and vi (Am: A,C,E'1ii(Dnt: D,BA) = !Y (F: F,A,C)

vii(Bmb5:B,DF) =i(Dm: Df,A) & Y (G: G,B,D). The rycle is the "holy graty'of chord movement. (The rycle is also known as the "circle

of fourths" ot "citde of fifths." |ust say 'the cycle' and musicians will know what youmean.)

. C, B Bb, Eb, Ab, Db, Gh B, H, A, D, G,C,.. The cycle remains the same wherever youstar! practice starting on notes other than C!

' Common chord movementsinjazz: fi-V-I (in C: Dm, G7, C) n I -vi'ii-V (in C: C Am,Dm, GZ) iii-vi,ii-V (in C: Em, Am, Dm, G7) Note how much of this movement is cyclic(ie, follows the rycle)

. Picture the cycle as a clock face with letters (C, f, 8b...) for numbers (1,2,3). C is 12o'clock, Eb is 3 o'cloc-k, Gb is 6 o'clock, and A is 9 o'clock. Notes opposite each other (Cand Gb, A and Eb) are b5 substitutes for each other. (See pdf "Cycle w b5 arrow")

1- Bmbs could al-so be cafled B diminished (R,b3,b5). That usage is correct but I amsticking with Carol Kaye's usage out of deference to her.