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In both C major and the natural scale of A minor, the minor seconds are found between E and F, and B and C. In C Major, when you move from a G Maj chord to a C Maj chord, you have not only got a strong root movement (establishing a fundamental of C), you've got the B in the chord of G (the third of the chord) pushing into the note of C in the ...
The modes of C are the 7 arrangements you get from starting the C major scale from its 7 different root notes. You only think of parrallel modes like you have described as a harmonic / composition technique to slide around keys or add interest to a piece.
But C major, the scale with no sharps or flats, emerged victorious as the central scale/tonality/modality, a role it had first been cast in by Zarlino. French theorists who had been influenced by his numbering system, notably Rameau, would ultimately place the major scale on a supposed "natural" basis by expanding Zarlino's ratio arguments to ...
For a simple five-note traversal of either a major or minor pentatonic, the fingerings. RH: 1-2-3-4-5; LH: 5-4-3-2-1; are sufficient. Multiple octaves, same fingering for every scale. For multiple octaves, I find it most comfortable to use fingers 1 and 2 for the "skips" in the scales. Using this approach, every major pentatonic can be played ...
The C major scale is identical to C Ionian. A piece in C Ionian will tend to restrict itself to the notes of the scale. A piece in C Major would be considered very simplistic if it did that! A mode is monochrome. A key can be coloured in. Modes are great. But they're self-contained, walled gardens.
If C is X (Hz) then the notes of the scale are (1, 9/8, 5/4, 4/3, 3/2, 5/3, 15/8, 2)*X. In the 12 tone equal tempered system these are a root of 2. The half step is defined as the 12th root of 2 and the other notes are just a certain number of half steps. In 12TET the notes would be determined by these powers, p = (0, 2, 4, 5, 7, 9, 11, 12).
If you are in C major and playing E to E you are still using a C major scale. There is a name for what you are more or less describing, explore “modes”, which is the process of creating 7 different scales from one scale, say a C major scale, by using the 7 different starting notes, i.e. D to D, E to E, etc.
The triads that start with D, E, and A have flattened thirds, and are consequently minor chords. This is how a major key comes to contain minor chords. In any major key, the 1st, 4th and 5th chords will be major. In the example given here, the C chord was the 1st chord and the D chord was the second chord of the C major key.
scale degree names: tonic, supertonic, mediant, etc; permutations (modes) of a scale, ex. dorian mode is the second mode of the major scales, altered scale is the 7th mode of the melodic minor scale, etc. various position on the guitar neck, tonic note (starting note) located on the various strings
Thus, the C Major Chord has the notes: C - E - G. So, my question is: Isn’t it just as correct (and, if not, why not), to simply know the notes in the C Major Scale and take the 1st, 3rd, and 5th notes to arrive at the same chord? And doesn’t the latter method work for all scale types: major, the minors, the pentatonics, blues, and diminished?