chord quality in the major scale

In traditional Western music theory, depending upon the flat and sharp nature of the court scale degrees (357), then the different qualities are set up.  There are for qualities within the major scale: Maj., minor, dominant, half diminished.

The default quality is undoubtedly the major quality which is shared by the Ionian, mixolydian, and Lydian modes within the major scale.  we call this the default quality because when the 35 and the seven are in their natural states, that defines a major chord.

If we now flat the three, we obtained the minor quality which is seen as the natural complement to the major quality.

If instead of flooding the three we flat the seven, then we obtain what is known as the dominant quality.  This is a derivative quality off the major quality, that is to say dominance is major.

If we simultaneously flat the three and the seven, this default to a minor quality and is regarded fundamentally no different than just flooding the three.

On the other hand if all corneal scale degrees are flattened, so that you have a flat three, a flat five, and a flat seven, then you obtain the fourth quarter quality known as half diminished.  Given the propensity of the half diminished mode, by default we call this just the diminished mode.

chord quality in the other scales

with the major scale chord qualities as a template, we can now look to other scales and see what new qualities are created.  There are in fact three new qualities that emerge which are based off the major chord qualities.  These new qualities are: augmented, minor-major, and, full diminished

the augmented mode is achieved by sharpening the floor.  While this puts you in the same note and is an harmonically equivalent to a flat five, notice that sharpening the four keeps the five intact and thus you have a sharp for followed by a five where in the other case by flouting the five you keep the four and thus you have a natural for followed by a flat five”

The minor-major mode is interesting because it is the first mode of the melodic minor scale.  The melodic minor scale is structurally the most similar scale to the major scale and thus the fact that it’s first mode, ostentatiously its tonic, is of the minor major quality and not of major quality already showcases the differences between these two scales.

Finally, the full diminished modeis an extension on the half diminished (or diminished) mode.  It is a flatter than the half diminished and while by default we reserve the word diminished for the half diminished chord, to refer to this quality we use the full name and refer to it as fully diminished.