You are absolutely correct as to scale/chord degrees. It seems to me then, in answer to the OP's question that "The most common harmonies are thirds and fifths", since those are the two harmonies found in a major triad: 1-3-5, no matter in what register they are voiced-or am I missing something? When I hear someone talk about harmony with a 6th, that would imply something very different to me, since (counting upward) a 6th chord consists of 1-3-5-6 C-E-G-A in the key of C. And if you label the scale degrees in an inversion such as G-C-E-G', it would be 5-1-3-5, even though the first 5th degree (G) is an octave below the second 5th degree (G')-isn't that also correct?.And no matter how you invert C-E-G to E-G-C or G-C-E, or repeat certain notes: G-C-E-G or E-G-C-E, it is still a C major triad-isn't that correct?.It's always been my understanding that scale degrees are always counted upwards: 1, 2, 3, 4, 5, 6, 7.įor example, a major triad consists of scale degrees 1, 3, and 5 in the key of C, that would be C-E-G. Perhaps there is a new way of counting scale degrees that I am not aware of, so perhaps one of you folks who are more steeped in music theory than I am can please help me understand it. I'm confused by what seems to be some different concepts or terminology being used here than what I have read in various music theory books. Those who produce Tablature did never use it. The uses of Tablature is addictive and has been linked to reduced musical fertility. He was known to do concerts ALONE, on a 6 string guitar. Jazz guitarist Joe Pass stated that he alternates bass line fragments with single note playing, harmony and chord melody to give "the IMPRESSION" of playing solo and accompaniment at the same time. His rendition of Danny Boy is a text book demonstration thereof. When you analyze JB's solo albums, you'll find that in most tunes he uses EACH technique: Single notes, a section with hammer-ons-&-pull-offs, playing in 3rds & 6th, a run in 4ths/5ths and then some chord melody. Evidently, that takes a solid bass and accompaniment structure behind the soloist, not to sound "eerie" or "hollow". Byrd and Emmons are noted to also play very neatly in "4ths", which are inverted 5ths extensively sometimes. When you listen to Jerry Byrd, then Lloyd Green and BE, you hear that they alternate every so many "picks" from 3rds to 6ths and back. But, just like everything in music appearing to "be the same" however, they sound very differently. 3rds and 6ths are the same, just inverted.
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