Every chord is based on at least one scale and every scale has multiple possible chords.
Theoretically, any three or more notes when taken together and played constitute a chord. To compound this prodigality of production, any set of notes chosen from the chromatic scale may constitute another scale. This is, fortunately, just theory; "survival of the fittest" has been dictum for selection here too. Most of the scales and chords so formed will not sound too musical; some will be downright terrible. So, by the process of “aural selection” elimination of the poor sounding scales and chords has left us with handfuls that do sound proper. A list has been provided in the chapter concerning chords.
Now: Why are some notes chosen in a scale? Why aren't all notes of a chromatic scale chosen in a scale? To answer this such questions -
Just imagine a scale composed of the following intervals – U, m2, TT and M7 (and back to unison). The notes for the scale with C as tonic, will be – C, C#, F#, B, c. Try and play it and you will clearly understand why only some notes are chosen to be in a scale and not others. One of the most dissonant sounds is produced by the interval m2.
Again, we must note that a scale may produce more than one chord; again, a chord may belong to more than one scale.
Most chords we encounter fall within the major and natural minor scales. These chords are basically composed by picking and choosing particular notes from its mother scale.
To clarify the concept, please refer to the section on the guitar chords. More coming soon.
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