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Scale Relationships and Musical Interval Ratios
If you then do exactly that, progress from the G major chord back to the C major chord, the same interval dynamics apply as if you were progressing from C major to F major. When you move from G major to C major ...
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The scale relationship of the note B in the G major chord (the chord being left behind) with respect to the root note C (the foundation note) in the new chord, C major, is 7 – 1 (8).
So, your brain feels a strong sense of satisfaction when the note B in the G major chord resolves to the root note C in the new chord, C major.
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Similarly, the scale relationship of the note D in the G major chord (the chord being left behind) with respect to the root note C in the new chord, C major, is 2 – 1.
Your brain feels a strong sense of satisfaction when the note D in the G major chord resolves to the root note C in the new chord, C major.
These two simultaneous moves—B moving up to C (7 – 1) and D moving down to C (2 – 1) combine to provide your brain with a feeling of assured, inevitable harmonic motion. Just like moving from the C major chord to the F major chord. Again, resolution from complex to simple frequency ratios has taken place.