The theory tips presented thus far are objective by nature, that is they haven’t required a great deal of remedial knowledge prior to practical application. That may not always be the case in the future. Quite soon these Tips will cover a number of scale types (if you are unfamiliar with major and minor pentatonic scales as well as the Blues scale, Google them now), but first make certain you have a clear understanding of these rules describing chord qualities: All triads are assumed to be Major unless the chord symbol suggests otherwise- minor, suspended, augmented, diminished, or in rare cases the M3rd is lowered twice known as a Retardation (resulting in a major 2nd ). The 7th is always lowered ½ step unless the chord symbol specifies MAJOR 7, thus the term ’Major’ refers only to the 7th, because the tonality of the triad is again assumed Major unless otherwise specified. Get It??? So then, the term Minor refers only to the 3rd, because the triad ONCE AGAIN is assumed Major unless specified minor, and the 7th is always lowered unless specified Major. Read the above over and over until you get it. It’s all there and it’s that simple. Tomorrow’s tip will finish the remaining rules describing all qualities of 1-3-5-7.