Simplified Harmony Exercises
Use these examples to hear the simplified approach from the last lesson: one major scale for the whole song, versus switching scales on every chord.
We will use a classic I–IV–V–I in C—C, F, and G (the backbone of countless blues and rock tunes):
X:1
T:I-IV-V-I in C Major
K:C
M:4/4
L:1/4
"C" C E G c | "F" F A c f | "G" G B d g | "C" c e g c' ||
Ex. 1 — One Scale for the Whole Progression
Play C major over every chord:
X:2
T:C-Major Scale Over I-IV-V-I
K:C
M:4/4
L:1/8
"C" C D E F G A B c | "F" C D E F G A B c | "G" C D E F G A B c | "C" C D E F G A B c ||
Same notes throughout—the key never changes. It usually sounds fine here because C, F, and G all belong to C major.
Each example is playable in Music Buddy. Turn on Tab for fretboard positions. Use Chords on the progression so you see C, F, and G shapes while you play.
Ex. 2 — A Different Major Scale on Each Chord
Now match each chord with its own major scale—C major over C, F major over F, G major over G:
X:3
T:Different Major Scales Per Chord
K:C
M:4/4
L:1/8
"C" C D E F G A B c | "F" F G A _B c d e f | "G" G A B c d e ^f g | "C" C D E F G A B c ||
Listen at the chord changes. Over F you get Bb (not in C major). Over G you get F#. Sometimes that color works; often it fights the song's home key of C.
Takeaway: The band is still in C major even when the F or G chord sounds. You are usually better off staying in one key and landing on chord tones (from the scales-and-harmony lesson) than re-keying your melody every bar.
(Desi Serna) shows when to stay in one key and when to adjust.
Practice tip: Play Ex. 1 and Ex. 2 back to back over the progression. Your ear will learn which approach fits.
Further viewing
- (Creative Guitar Studio)—landing on chord tones without switching keys
- —melody that follows the chords in one key
Next: why chords built from the major scale have specific roles (functional harmony).
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