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C Major scale {|! Chord # !! Chord !! C !! D !! E !! F !! G !! A !! B !! C |- | I || C major chord || C || || E || || G || || || C |-| vi || A minor chord || C || || E || || || A || || C |-| IV || F major chord || C || || || F || || A || || C |-| V7 || G dominant 7th || || D || || F || G || || B|| |- | I || C major chord || C || || E || || G || || || C|}
→Current Chord
In the example below, we can see that all of the notes from the chords belong to C Major. However, rather than playing all of the notes from C Major over each chord, we can limit ourselves to or emphasize those that belong to the current chord.
Progression - I vi IV V7 I
In particular, we want our tension and release to align with the harmony. A phrase that ends on the tonic note will be less effective over the vi and IV chords than the I. It will be confusing and conflicting to play that phrase over the V{{7}}. We can also emphasize the harmonic movement by moving from mutually exclusive notes between adjacent chords. For example, playing G on the last beat of the C major chord, then playing A on the downbeat of the A minor chord. Then E -> F for A minor -> F major, A -> B for F major -> G major 7, and B -> C for G major 7 -> C major.