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Home Tutorials Music Production MUSIC THEORY FOR PRODUCERS - HARMONIC FIELD - PART 3

MUSIC THEORY FOR PRODUCERS – HARMONIC FIELD – PART 3

In the previous lesson, we learned how to create 7th chords from a major harmonic field. All we need to do is to overlap another third to the existing triad, and it will result in a 4-note chord (or tetrad) as shown in the image below:

Notice that we are just using notes from the given major scale.

If you’re not comfortable with 7th chords, I recommend you to read the corresponding lesson about it. A 7th chord will add a ‘tension’ in the chord, which will be responsible for creating interesting chord progressions.

Today we will learn that by adding a 7th to the harmonic field, each scale degree will result in a specific chord type. To better understand that, let’s review the resulting triads from a C Major harmonic field:

So, each scale degree will create a specific chord type:

– Degrees I, IV, V and VIII will always result in a major triad.

– Degrees II, III, and VI will always result in a minor triad

– Degree VII will always result in a diminished triad.

When we adding a 7th in the harmonic field, we create more specific chord types, as seen below:

– Degrees I, IV and VIII will always result in a major 7th chord;

– Degrees II, III and VI will always result in a minor 7th chord;

– Degree V will always result in a dominant 7th chord;

– Degree VII will always result in a half-diminished 7th chord.

Let’s now build the harmonic field for G Major scale:

And for F Major scale:

Notice that, although the chords are different, their types are the same. Your homework for this week will be to build the harmonic fields for D Major and Bb Major scales (all with 7th chords).

Each chord type will have an important role in a song. That will be the subject of our next lesson.

Happy productions!

 

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FrancisHamzagichttp://www.francishamzagic.com%20
Pianist, keyboardist and music producer.
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