158. SOME HARMONIC PERSONALITIES (SCALES OF CHORDS) MET IN GREEK REBETIKA SONGS

(This post has not been written completely yet)

The concept of harmonic personality is a concept of chromatic tonal music and not a concept of multi tonal or atonal music. (See post 263 )

It is usual to study the Greek rebetika songs through their scales , that almost all of them are modes of the harmonic minor (including its reverse order) and double harmonic minor scales.

But in practice something which is more stable in these songs is not the scale of the notes but scales of chords as alterations or perturbations of a diatonic scale of chords.

One of the most common such Rebetika harmonic personality is the next 7-steps scale of chords

D Minor reberiko 1st (harmonic) minor personality (3rd step chord is major instead of minor):

Dm , Edim, FM , Gm , AM , BbM, CM

6m , 7dim , 1M , 2m , 3M , 4M, 5M

(the roots have the interval distances 2-1-2-2-1-2-2 which is the minor mode of the diatonic scale still the chords in this harmonic personality is not that of the natural minor mode chords of the diatonic scale here it would be the D minor mode of the F major diatonic)


G Minor reberiko 2nd (double  harmonic ) minor personality ( 3rd step chord is major instead of minor, 7nth is major instead of diminished and 5th is minor instead of major):
:

Gm, AM, BbM ,Cm, DM, EbM, Fm
6m,  7M, 1M, 2m, 3M, 4M,   5m

(the roots have the interval distances 2-1-2-2-1-2-2 which is the minor mode of the diatonic scale still the chords in this harmonic personality is not that of the natural minor mode chords of the diatonic scale here it would be the G minor mode of the Bb major diatonic)

G Minor reberiko  3rd (double harmonic ) minor personality ( 3rd step chord is major instead of minor, 7nth is major instead of diminished)::

Gm, AM, BbM ,Cm, DM, EbM, FM
6m,  7M, 1M, 2m, 3M, 4M,   5M

(the roots have the interval distances 2-1-2-2-1-2-2 which is the minor mode of the diatonic scale still the chords in this harmonic personality is not that of the natural minor mode chords of the diatonic scale here it would be the G minor mode of the Bb major diatonic)

G Minor reberiko  3rd (double harmonic ) minor personality ( 3rd step chord is major instead of minor, 7nth is major instead of diminished)::

Gm, AM, BbM ,Cm, DM, EbM, FM
6m,  7M, 1M, 2m, 3M, 4M,   5M

(the roots have the interval distances 2-1-2-2-1-2-2 which is the minor mode of the diatonic scale still the chords in this harmonic personality is not that of the natural minor mode chords of the diatonic scale here it would be the G minor mode of the Bb major diatonic)


G Minor reberiko  3rd B   (  double harmonic) minor personality:

G(m or M), AM, BbM ,Cm, DM, EbM, FM
6(m or M)  7M, 1M, 2m, 3M, 4M,  5M

(the roots have the interval distances 2-1-2-2-1-2-2 which is the minor mode of the diatonic scale still the chords in this harmonic personality is not that of the natural minor mode chords of the diatonic scale here it would be the G minor mode of the Bb major diatonic)

G Minor reberiko  5th  (harmonic ) minor personality:

Gm, AM, BbM ,Cm, DM, Edim7, FM
6m,  7M, 1M, 2m, 3M, 4dim7,  5M


G Minor reberiko  6th  (double harmonic ) minor personality:

Gm, AM, BbM ,Cm, DM, Ebm, FM
6m,  7M, 1M, 2m, 3M, 4m,  5M

G Minor reberiko  7th  (double harmonic ) minor personality:

Gm, AM, BbM ,C#m, DM, Ebm, FM
6m,  7M, 1M, 2#m, 3M, 4m,  5M

G minor rebetiko 8th  (Neopolitan scale and also country Blues scale) minor personality 


Gm, AM, BbM ,Cm, Dm, EbM, FM
6m,  7M, 1M, 2m, 3m  4M,  5M


See also post 245 about the 4 Blue notes of the diatonic scale. Because the use of wind instruments in Bb, the minor scale is the G minor so the chromatic minor scales of G are where these rebetica ae played (Similarly for the New Orlean jazz which is in Bb major but utilizes the 4 blue notes ofthe Bb)

The first 4 blue notes of the diatonic scale are  by definition the neighboring by one semitone notes to the interval of 5th c-g thus g# f# around g and c# around c and the same with the best next interval of major 3rd c-e thus d# or c# again . This gives the maximum shift from an harmonic interval to one with dissonance thus chromaticity. 

There cannot be other as first 4 notes other than the above 4 blue notes for the first 2 bet intervals (5th and major 3rd) around the roor note .

Notice also the important fact that the 4 blue notes make the 4 nono-major chords of the scale major chords!

7dim 3m , 6m, 2m to major chords!

The 5# makes the 3m to 3M , 

the 2# makes the 7dim to 7M, 

the 4# makes the 2m to 2M and 

the 1# makes the 6m to 6M 

In general starting from a diatonic harmonic personality 

1M, 2m 3m 4M 5M 6m 7dim 1M

the next are the effects of turning the natural minor to harmonic minor or double harmonic minor.

The effect of the 1st blue note 5# of the harmonic minor on the harmonic personality is that 

the 3m  turns in to 3M and the 5M may turn  into  5b5  or better sounding  5#m or 5#dim or 5aug,  or  1dim  

Also the 7dim may turn in to 7m7b5 as 4 notes chord.

While the effect of  the 2nd blue note of the double harmonic minor 2# (or 3b) is that the 7dim turns in to 7M  or 7b5  and , the 1M may become 1aug and also the 2m may become 2#dimb3 or  better sounding 2#dim or 2#M. 


Notice that by accepting the 2nd blue note ofthe double harmonic minor d#=2# but not the first g#=5# we get a mode of the Neapolitan scale 

A-B-C-D#-E-F-G-A  (2-1-3-1-1-2-2) with corresponding harmonic personality


1M 2#m 3m 4M 5M 6m 7M 1M.


On the other hand an  inverse of  the harmonic minor having the 1-3-1 in the same place as the harmonic minor is the next (here starting from A)

A B C# D E F G# A with intervals 2-2-1-2-1-3-1 and harmonic personality


1#m 2m 3M 4aug (or 4M)  5#m 6M  7d 


While if we add the D# we get a mode of the inverse Neapolitan


 A B C# D# E F G# A with intervals 2-2-2-1-1-3-1 and harmonic personality


1#m 2#m 3M 4M 5#m 6M  7M 


And in Country music the next two harmonic personalities appear

1M7 2M7 3M7 4m7 5m7 6m7 7m7 1M7 

which comes from the chord progression of chord in successive harmonic relations and alternating minor and major character

7m7->3M7->6m7->2M7->5m7->1M7->4m7

and 

1m7 2m7 3m7 4M7 5M7 6M7 7M7 1m7

which comes from the chord progression of chord in successive harmonic relations and alternating minor and major character

7M7->3m7->6M7->2m7->5M7->1m7->4M7


MORE HARMONIC PERSONALITIES BY PERTURBING  THE DIATONIC HARMONIC PERSONALITY

Starting from the diatonic harmonic personality in a sequence of chords in harmonic transitions (as if an arc of the wheel by intervals of 4 )we may create more harmonic personalities e.g.

1M->4M
2m ->5M
3m ->6m
4M ->7dim
5M ->1M
6m ->2m
7dim ->3m

We substitute all seconds parts with all minors and diminished or all majors and diminished 
The general rule is that we change the major to minor (or vice versa) but if the sound is better with a diminished or #diminished we prefer the 2nd choice.
e.g

1M->4M
2m ->5M or 5#dim
3m or 3M  ->6M or 6dim
4M ->7dim
5dim  or 5M ->1M
6m ->2M (or 2dim)
7dim ->3M

or

1M->4dim (or 4m)
2m ->5#dim
3m ->6m
4M ->7dim
5M ->1#dim
6m ->2m or (2dim)
7dim ->3m or 3dim

Which is in accordance with what we wrote in post 148 ,145 etc ,to obtain new scales of chords from connected arcs in the wheel by intervals of 4 and changing minors to majors or vice versa. Here the first column of chords remain with choices minors or majors as in the diatonic scale.

Triads of chromatic tonality that are often met and are based in one of the chromatic 7-notes scales the harmonic minor, the meapolitan and the double chromatic minor are the next

3M7-6m-2m  (harmonic minor)

7M7-3m-6m (Neapolitian)

6M7-2m-5m (harmonic minor)

All the three above triads (double harmonic minor)

2M7-5m-1m

5M7-1m-4m

1M7-4m-7m

4M7-7m-3m

Chromatic shifts of them by an interval of 2nd are e.g. the next

7M7-3m-6m->
1M7-4m-7m

Or 

1M7-4m-7m->
2M7-5m-1m

Or 

6M7-2m-5m->
1M7-3m-6m

Etc

Cycles of 6 chords in harmonic relations are the next 7

1M7-4m-7m->
3M-6M-2M

2M7-5m-1m->
4M-7M-3M

3M7-6m-2m->
5M-1M-4M

4M7-7m-3m->
6M-2M-5M

5M7-1m-4m->
7M-3M-6M

6M7-2m-5m->
1M-4M-7M

7M7-3m-6m->
2M-5M-1M

WE MAY COMPARE THE ABOVE WITH WHAT HAPPENS IN JAZZ

IN SUMMARY BOTH EARLY WESTERN AND EASTERN (GYPSY) JAZZ MAY MAKE THE NEXT 7 TEMPORARY CHANGES IN THE CHORDS OF THE DIATONIC SCALE DUE TO THE 4 FIRST BLUE NOTES 

3m becomes 3M

7dim becomes 7M

5M becomes 5#dim

2m becomes 2M

6m becomes 6M

4M becomes 4m or 4dim

1M becomes 1#dim

Obviously not all of these changes occur necessarily simultaneously in a single song. maybe only few of them. And usually at least 50% of the time the chords are the normal of the diatonic scale. Other ways to organize them and perceive them are as triads of harmonic pairs of chords (see post 215  IMPROVISATION OVER A PAIR OF CHORDS . TRIADS OF HARMONIC PAIRS OF CHORDS. ). This awareness of these alterations of the normal chords of a diatonic scale (by blue notes) allows for a consistent and rich system of harmony for composing and improvising early jazz type of jazz.

1ST CHROMATIC TONALITY 7-CHORD-SCALE OR 7-CHORD CYCLE  

THEREFORE IT IS A VERY COMMON IN WESTERN JAZZ GYPSY JAZZ CLASSICAL MUSIC ANDEAN MUSIC ETC THE NEXT CYCLE OF CHORDS OR SCALE OF CHORDS THAT CAN BE CALLED  1ST CHROMATIC TONALITY 7-CHORD-SCALE OR 7-CHORD CYCLE  THE NEXT

6m->2m->5M->1M->4M->7M->3M->6m

or with 7nths in Jazz

6m7->2m7->5maj7->1maj7->4maj7->7M7->3M7->6m7

There are even pocket chord-harmonicas (e.g. tombo pocket-chord harmonica) designed to play exactly this cycle of chords

AS WE MAY NOTICE THIS SYSTEM OF HARMONY WITH THE FIRST 4 BLUE NOTES (AND  5TH BLUE NOT 6#=7b  MAY BE ADDED) IS ESSENTIALLY A METHOD TO PLAY SOONER OR LATER IN THE MELODY ALL THE 12 NOTES OF THE FULL CHROMATIC SCALE STARTING FROM THE 7 NOTES OF THE DIATONIC SCALE AND RETURNING TO THEM AGAIN.

Steps of the chromatic scale/Harmonic Personality

1

1#

2

2#

3

4

4#

5

5#

6

6#

7

JAZZ PERSONALITY

1M(ajor) or 1m

1#Dim or 6M

2m(inor) or 2M(ajor)7

7M

3m or 3M(ajor)7

4M or 4m or 4Dim

2M7

5M7 or 5m

5#Dim or 3M7

6m or 6M7

5m

7Dim or 7Major7

157. 8 OVERTONE SEQUENCE MESMERIZING MELODIC THEMES OF 4 OCTAVES WITHIN CHORDS

(this post has not been written completely yet).



 Once the composer has determined a chord progression ,there is a simple and nice determination of nice and mesmerizing melodies over the chord progression defined by the overtones of the root of the chord.

E.g. if the underlying chord is Cx , that is a C major with an extension e.g. 6th, or 7nth or 4th etc,
then there is an 8-notes overtone melodic theme by overtones as follows

 1      2   3    4   5   6        7
[c ]  [c'  g ] [c"  e   g  x] [c''']
1       1   5    1    3   5        1


usually x=Bb because 7/4 = 1.75  is about equal to 2^(9/12)=1.681 in which case it gives the  4 notes scale or chord C7 , c e g Bb c. Within one octave probably the  scale c d e g bb c  (in semitones 2-2-3-3-2) is a mimic of the higher 8  harmonics .

See also acoustic scale   https://en.wikipedia.org/wiki/Acoustic_scale
and harmonic series

https://en.wikipedia.org/wiki/Harmonic_series_(music)


     12-7--5---4--3------5----(.....12----)

The primes over c symbolize higher octaves c. The melodic theme is of 8 notes. The x is the extension note of the chord which is placed in the 3rd octave.  The brackets symbolize the octaves. As we see the melodic themes is extended over at least 4 octaves.  The numbers above the notes symbolize the order of the overtone or harmonic. The 1st row of number below the notes symbolize the position in the chord, the 2nd row the distances in semitones

We may repeat the same for the other chords and change slightly only the melodic themes to make a nice over all melody. In string instruments like a guitar this can be played only with harmonics of the strings outside the fretboard. But it is easy to program in a digital instrument like a midi editor.

A very convenient tuning for such melodies is  of course the overtones tuning (see post 191 ) and the octaves tuning (see post 210)

156. THE MOST CONVENIENT CORRELATIONS OF CHORD RELATIONS AND MELODIC THEMES VARIATIONS

(This post has not been completely written yet)

There are most convenient correlations among the basic 4 variations of melodic themes (translation, simplification, inversion, expansion) with the basic 4 relations of chords (chromatic, melodic harmonic, emotional [which is transitioning from a major to a minor or diminished or augmented]) .

For the basic relation of chords see e.g. the post 30

1) The variation of melodic themes inside the chord is usually the expansion  or rotation

2) The variation of melodic themes at a chromatic transition of the chord is translation by interval of 2 (2nd). The variation of melodic themes at a melodic transition of the chord is inversion. The variation of melodic themes at an harmonic  transition of the chord is mutation.

.

3) The variation of melodic themes at an emotional chord transition (change of minor to major or vice-versa) as it essentially a melodic transition is usually the inversion. 


For improvisational solos, that fit harmonically to each such 3-notes minimal number of fret chords, in the guitar (mainly 4-courses string guitar), the simple rule of 2 only notes outside the notes of the chords plus all notes of the triad chord and duration of the note in the average about equal is a rule that works very well.


MORE ONCHORD RELATIONS AND THEIR PSYCHOLOGICAL MEANING HERE

M symbolizes major chord m the minor chord and the number in between the distance of their roots in semitones

https://www.youtube.com/watch?v=YSKAt3pmYBs

155. PERTURBATING WITH AUGMENTED AND DIMINISHED CHORDS A DIATONIC SCALE OF CHORDS

(This post has not been written completely yet)

See also posts 36 and  153 for other types of perturbations of a diatonic scale of chords called harmonic personalities.

The concept of harmonic personality is a concept of chromatic tonal music and not a concept of multi tonal or atonal music. (See post 263 )

The resolution relation of two chords e.g. G7->C (or Bdim->C) suggests a general method of creating waves of tension with diminished or augmented chords  and relaxed resolution to minor or major chords. And this is done in a most familiar way with a scale of chords of a diatonic scale.

I, ii, iii, IV, V vi, vii I or 1M, 2m 3m 4M 5M 6m 7dim 1M

The perturbation is the next scale of chords



7dim 1M, 1# dim
2b dim 2m 2#dim
 3bdim 3m 3#dim
 4bdim 4M 4#dim
 5bdim 5M 5#dim
6bdim  6m  6#dim


or

7aug 1M, 1# aug
2baug 2m 2#aug
 3baug 3m 3#aug
 4baug 4M 4#aug
 5baug 5M 5#aug
6baug  6m  6#aug

and in general

7x 1M, 1# y
2bx 2m 2#y
 3bx 3m 3#y
 4bx 4M 4#y
 5b x5M  5#y
6bx  6m  6#y

with Abx=Abdim or Abaug and  A#x=A#dim or A#aug  for A=1,2,3,4,5,6 

Actually when for two successive chords X1 X2 with roots one tone apart in the diatonic scale of chords,one of them is minor, then the intermediate chord X2b  sounds better if it an augmented chord. While if both X1 X2 and major chords then  it sounds better if it is an diminished chord

This creates an abundance of alternatives in a improvisation in the "flow".

But we must not forget that the time spent in tension chords of diminished or augmented should in general be less than the time spent in the relaxing major or minor chords.

And we even may use as relaxing chords the power chords, that  are even more harmonic.

For improvisational solos, that fit harmonically to each the 3-notes minimal number of fret chords, in the guitar (mainly 4-courses string guitar), the simple rule of 2 only notes outside the notes of the chords plus all notes of the triad chord and duration of the note in the average about equal is a rule that works very well.

MORE HARMONIC PERSONALITIES BY PERTURBING  THE DIATONIC HARMONIC PERSONALITY

Starting from the diatonic harmonic personality in a sequence of chords in harmonic transitions (as if an arc of the wheel by intervals of 4 )we may create more harmonic personalities e.g.

1M->4M
2m ->5M
3m ->6m
4M ->7dim
5M ->1M
6m ->2m
7dim ->3m

We substitute all seconds parts with all minors and diminished or all majors and diminished 
The general rule is that we change the major to minor (or vice versa) but if the sound is better with a diminished or #diminished we prefer the 2nd choice.
e.g

1M->4M
2m ->5M or 5#dim
3m or 3M  ->6M or 6dim
4M ->7dim
5dim  or 5M ->1M
6m ->2M (or 2dim)
7dim ->3M

or

1M->4dim (or 4m)
2m ->5#dim
3m ->6m
4M ->7dim
5M ->1#dim
6m ->2m or (2dim)
7dim ->3m or 3dim

Which is in accordance with what we wrote in post 148 ,145 etc to obtain new scales of chords from connected arcs in the wheel by intervals of 4 and changing minors to majors or vice versa. Here the first column of chords remain with choices minors or majors as in the diatonic scale.

Triads of chromatic tonality that are often met and are based in one of the chromatic 7-notes scales the harmonic minor, the meapolitan and the double chromatic minor are the next

3M7-6m-2m  (harmonic minor)

7M7-3m-6m (Neapolitian)

6M7-2m-5m (harmonic minor)

All the three above triads (double harmonic minor)

2M7-5m-1m

5M7-1m-4m

1M7-4m-7m

4M7-7m-3m

Chromatic shifts of them by an interval of 2nd are e.g. the next

7M7-3m-6m->
1M7-4m-7m

Or 

1M7-4m-7m->
2M7-5m-1m

Or 

6M7-2m-5m->
1M7-3m-6m

Etc

Cycles of 6 chords in harmonic relations are the next 7

1M7-4m-7m->
3M-6M-2M

2M7-5m-1m->
4M-7M-3M

3M7-6m-2m->
5M-1M-4M

4M7-7m-3m->
6M-2M-5M

5M7-1m-4m->
7M-3M-6M

6M7-2m-5m->
1M-4M-7M

7M7-3m-6m->
2M-5M-1M

According to musicologists of Jazz and Ethnic music (as appearing e.g. in music arrangement software like the music machines of Microsoft), the next scales of chords (that cover the steps of the chromatic 12-tone scale) correspond to the next harmonic personalities.

I BELIEVE THAT THE MAIN USE OF THIS CONCEPT IS IN JAZZ WHERE THE ROLE OF  THE DIATONIC SCALE (TONALITY) IS RATHER LOOSE,IN THE SENSE THAT IT IS REQUIRED AT LEAST 50% OF THE TIME THE NOTES OF THE MELODY AND CHORDS TO BE IN THOSE OF THE DIATONIC SCALE AND THE REST OF THE TIME IN THE 12-NOTES FULL CHROMATIC SCALE. THUS THE TYPES OFTHE CHORDS WITH ROOTS ON THE REST OF THE NOTES OF THE 12-NOTES CHROMATIC SCALE COMPARED TO THE 7-NOTES DIATONIC SCALE IS SO AS TO APPLY FOR THE REST OF THE MELODY AND ITS CHORDS. E.G. THE SOFTWARE MIDI-GUITAR ALLOWS WITH AN ARPEGGIATOR TO ACCOMPANY AUTOMATICALLY ANY MELODY WITH CHORDS OVER THE MELODY'S NOTES, THAT IN PRACTICE ARE CHORDS THAT  SOUND ONLY FOR THE CENTERS OF THE MELODY THAT ARE NOTES THAT SOUND LONGER. 
THERE ARE THOUGH OTHER USES OF THIS 12-NOTES SCHEME OF HARMONIC PERSONALITIES.

As we see in the harmonic personality of Righteous(Major) and Honest (major) the perturbation of the 7-notes  diatonic scale to the 12-notes fully chromatic scale is by diminished 7nth chords.

Steps of the chromatic scale/Harmonic Personality

1

1#

2

2#

3

4

4#

5

5#

6

6#

7

Righteous(Major)

M(ajor)

Dim7

m(inor)

Dim7

m

M

Dim7

7

Dim7

m

4,2

Dim7

Honest (major)

M

Dim7

m

Dim7

m

M

Dim7

7

Dim7

m

M

dim

Hopeful (Mixolydian)

M

M

m

M

dim

M

m

m

M

m

M

dim

Serious (Phrygian)

m

M

6,3

M

6,3

m

6,3

dim

M

6,5

m

6,5

Upbeat(Mixolydian)

M

M

m

M

m

M

M

M

M

m

M

dim

Searching(Dorian)

m

M

m

M

dim

M

dim

m

M

dim

M

dim

Lonely (major)

7

Dim7

m7

Dim7

7

7

Dim7

7

7

7

7

7

Funky(Mixolydan)

7#9

7

m7

9

m7

9

7

7

7

m7

6,3

7

Sad(minor)

m7

M

6,3

M7

6,3

m7

6,3

m7

M7

6,5

M

6,5

Romantic(major)

M

6,3

m7

6,3

m7

M7

6,3

9s

6,3

m7

M

m7b5

Boogie(major)

7

Dim7

7

Dim7

7

7

Dim7

7

Dim7

7

7

7

Noble(major)

M

6,3

m

6,3

6,3

M

6,3

M

4,3

6,3

4,2

6,3

Bittersweet(Harmonic minor)

m

6,5

m7b5

M

Dim7

m

Dim7

7

M

m7b5

M

dim7

Adventurous(H-minor)

m

M

6,3

M

6,3

m

6,3

m

M

6,5

M

6,5

Striving(minor)

M7

M

6,3

M7

6,3

m7

6,3

m7

M7

6,5

M

6,5

Sophisticated(major)

6,9

Dim7

m11

Dim9

m7

M9#11

Dim7

13

Dim7

m11

9#11

Dim9

Miserable(mixolydian)

13

Dim7

m11

Dim9

m11

13

Dim7

13

Dim7

m11

9#11

Dim9

Complex(major)

2

6,3

m11

Dim7

m6,7

2M7

6,3

9s

2M7

6,3

2

6,3

We may compare it with the standard Jazz harmonic personality with the 5 blue notes that complement the 7 notes diatonic scale to the 12-notes full chromatic scale

Steps of the chromatic scale/Harmonic Personality

1

1#

2

2#

3

4

4#

5

5#

6

6#

7

JAZZ PERSONALITY

1M(ajor) or 1m

1#Dim or 6M

2m(inor) or 2M(ajor)7

7M

3m or 3M(ajor)7

4M or 4m or 4Dim

2M7

5M7 or 5m

5#Dim or 3M7

6m or 6M7

5m

7Dim or 7Major7

IN SUMMARY BOTH EARLY WESTERN AND EASTERN (GYPSY) JAZZ MAY MAKE THE NEXT 7 TEMPORARY CHANGES IN THE CHORDS OF THE DIATONIC SCALE DUE TO THE 5  BLUE NOTES 

3m becomes 3M

7dim becomes 7M

5M becomes 5#dim or 5m 

2m becomes 2M

6m becomes 6M

4M becomes 4m or 4dim

1M becomes 1m or 1#dim

Obviously not all of these changes occur necessarily simultaneously in a single song. maybe only few of them. And usually at least 50% of the time the chords are the normal of the diatonic scale. Other ways to organize them and perceive them are as triads of harmonic pairs of chords (see post 215  IMPROVISATION OVER A PAIR OF CHORDS . TRIADS OF HARMONIC PAIRS OF CHORDS. ). This awareness of these alterations of the normal chords of a diatonic scale (by blue notes) allows for a consistent and rich system of harmony for composing and improvising early jazz type of jazz.

1ST CHROMATIC TONALITY 7-CHORD-SCALE OR 7-CHORD CYCLE  

THEREFORE IT IS A VERY COMMON IN WESTERN JAZZ GYPSY JAZZ CLASSICAL MUSIC ANDEAN MUSIC ETC THE NEXT CYCLE OF CHORDS OR SCALE OF CHORDS THAT CAN BE CALLED  1ST CHROMATIC TONALITY 7-CHORD-SCALE OR 7-CHORD CYCLE  THE NEXT

6m->2m->5M->1M->4M->7M->3M->6m

or with 7nths in Jazz

6m7->2m7->5maj7->1maj7->4maj7->7M7->3M7->6m7

AS WE MAY NOTICE THIS SYSTEM OF HARMONY WITH THE FIRST 4 BLUE NOTES (AND  5TH BLUE NOT 6#=7b  MAY BE ADDED) IS ESSENTIALLY A METHOD TO PLAY SOONER OR LATER IN THE MELODY ALL THE 12 NOTES OF THE FULL CHROMATIC SCALE STARTING FROM THE 7 NOTES OF THE DIATONIC SCALE AND RETURNING TO THEM AGAIN.