Does a V grade Chord has the same role as a 5 note in a scale?

[mementus]

Hello my dear kvr people - sorry for the unclear title, now I am going to explain what I mean very clearly, I promise.

Ok, so I have "learned" that if you make a chords progression in a scale (let's say C Maj) then the I and the V of the scale (single notes) always sound "fine" within all chords of that scale(imagine having 2 tracks on piano roll, one for chords progression, the oher for the I or V single notes).

My question is: Is it the same also for the I and the V Chords?
i.e I write a Chord progression in C Maj and in a second track I play all the time an arpeggio of G Maj or C Maj.

Thank you in advance
M.

[Palestr1na]

Not sure what you're asking, but why do you think V should be Maj instead of a minor seventh? And FYI, CMaj is a rather modern development, I don't think Mozart ever used CMaj, he preferred using triads with the first degree.

[jancivil]

the I and the V of the scale (single notes) always sound "fine" within all chords of that scale(imagine having 2 tracks on piano roll, one for chords progression, the oher for the I or V single notes).

the Roman numbers denote harmony, the regular Arabic numbers suffice for scale degrees.

Where do you get this? What does "sound fine" mean? Sounds safe and not clashing?
Do you actually find that a C - any C, or up to the point where the C is so high it's hard to know what pitch really - sits on top of, amidst, below a B diminished harmony nice as can be, per se?

Without judging B D F C, or B C F D, or C F B D or what-have-you as 'bad', most people will call that dissonant and as a block chord difficult to argue is safe, or stable.

C over the iii chord might be a bit of a problem as well. In fact it's I7, if the bass is B it's 3rd inversion. But in a whole lot of contexts it's going to be unstable, in itself as a block even kind of unusual, wrong to a lot of people I'd suppose.But again, not going to judge it good or bad, all music works as it does in a context.

I think you want to test this carefully

[jancivil]

You're looking for theory as prescriptive, a recipe. Test it out, see what you find.
"Is it the same also to..." So far there's only you that is saying this is a principle to go by,
There are too many obvious problematic results really for this to be a guide.

You want to really know some things before deciding, 'here's an answer'. This forum is the first check of this hypothesis? Have you tested this really?

[jancivil]

If the musical idea is about a pandiatonic wash for a bit, all bets are off and these rather strong-smelling results amidst full-on.harmonic music would be passing little spicy moments possibly, I am not saying avoid dissonance or interest in sonority at all, but most eveybody that knows some harmony is looking and simply saying, 'wrong'. The most dissonant diatonic triad is made 'a lot worse' this way, first thought comes to mind.

[mementus]

Thank you for your answers and I apologize for the confusion.

I try to re-ask the question straight to the point:

** Does a V chord always sounds safe together with any chords progression of a given key?

[shawshawraw]

** Does a V chord always sounds safe together with any chords progression of a given key?

When you already have a chord progression, you do not consider the other part as another chord, but as an extension of the underpinned chord.

At least when you're doing harmonic analysis, you don't say OK we have a G chord over F chord, but you'll want to treat them together as an F chord with added 2 or 9 (G), 6 (D), #4 or #11 (B); especially when these notes don't appear on the accompaniment track, it's more suitable to consider them as melody notes.

So here's your question redacted: "Do the 2nd degree, 5th degree and 7th degree always sound safe together with any chords progression of a given key?"

It all depends! on the genre, on what the chord is in the chord progression, etc. Use ears and compare to decide if that's what you intend to sound. Maybe in Jazz it's oh yeah, in classical it's nay nay, in EDM maybe way too complicated and driving ppl off the dance floor, or not.,,

[jancivil]

"Does a V chord always sounds safe together with any chords progression of a given key?"
donno what 'together with any progression' means. You want to stick it in the throughline just anywhere and be guaranteed something? Do you want to overlay a V over other harmonies?

<What chord, when> is *strictly* a musical idea. There is no way to answer such a question.
You're looking for shortcuts. This won't work.

I'm out

[fmr]

My question is: Is it the same also for the I and the V Chords?
i.e I write a Chord progression in C Maj and in a second track I play all the time an arpeggio of G Maj or C Maj.

If you play just a C or a G, these may be regarded as pedal notes, and yes, they may sound OK with a chord progression over them. It depends on the style, but dominant pedal and tonic pedal notes are very common.

You may read more about pedal notes here: https://en.wikipedia.org/wiki/Pedal_point

An "arpeggio" of G Maj or C Maj (as in a broken chord) NO. I don't think they will sound OK.

[mementus]

If you play just a C or a G, these may be regarded as pedal notes, and yes, they may sound OK with a chord progression over them. It depends on the style, but dominant pedal and tonic pedal notes are very common.

You may read more about pedal notes here: https://en.wikipedia.org/wiki/Pedal_point

An "arpeggio" of G Maj or C Maj (as in a broken chord) NO. I don't think they will sound OK.

Exactly what I was looking for! Many thanks!