Degree

Contents 1 Definition of degree 2 Degree as chord 3 Degree as scale 4 Basic degrees as triads 4.1 Basic degrees in major 4.2 Basic degrees in minor 5 Basic degrees as seventh chords 5.1 Seventh chord degrees in major 5.2 Seventh chord degrees in minor 6 Advanced construction of degrees with fourths 7 See also 8 Notes

Definition of degree

A degree is a harmonization of a particular scale-step, indicated by a Roman numeral.

A degree exists in relation to an audible harmonic center, called the Tonic, symbolized by a I. Relative to this I, other degrees are numbered around it. If another degree than the I forms a temporary harmonic center, this is created by at least one Secondary degree, usually a Dominant sometimes accompanied by a Subdominant degree.

Degree as chord

Any scale can be harmonized by forming triads, seventh- or other chords on its steps. The harmony thus obtained is proper to that particular scale itself and can be modal or tonal, depending on its use.

Mostly, degrees are formed by a construction of thirds, but this can also be done with other intervals.

Degree as scale

New scales or modes can be derived from any particular scale, by using the scale on a degree of another scale. Thus the church modes, the harmonic minor modes and the melodic minor modes can be found.

Basic degrees as triads

Basic degrees in major

The basic major scale (in c consisting of basic tones) generates the degrees below.

(The symbols used are explained in Triad#Symbols_for_triads)

Basic degrees in minor

There are several basic minor scales, these generate the degrees below:

Basic degrees as seventh chords

Seventh chord degrees in major

The major scale generates the degrees below:

Seventh chord degrees in minor

There are several basic minor scales, these generate the degrees below:

Advanced construction of degrees with fourths

A scale can be harmonized with degrees constructed from fourths, which could also theoretically be considered to be "incomplete seventh sus4 chords". Paul Hindemith maintains that when using exactly 2 perfect fourths ^[1], such chords can be considered to be separate sounds in their own right, which only acquire harmonic determination by their environment, and are, just like the augmented triad (and the diminished seventh chord) without any fundamental tone.^[2]

Thus without any clear fundamental, it remains to be seen which is the real I here, as the following examples demonstrate, "in g":

or "in b":

When listening closely, it seems that the highest tones assume dominance (whereas with the triads in thirds it is the lowest), and thus the scale of c-major is clearly audible and would logically lead to "fourths harmonization in d":

Chords like this are often used in Jazz, yet then they are usually accompanied by lower tones, at least in the bass. In these cases, the resulting chords can usually be analyzed as seventh-chords with one or two added non-harmonic tones in the fourths-construction:

See also

• Outline of basic music theory
• Special:Browse/Degree - browse this page to find whiteboards treating triads.

Notes

1. ↑ this is in the given examples true for all chords except those on c and f, which contain a tritone
2. ↑ Paul Hindemith - Unterweisung im Tonsatz (section III, end of chapter 10)