Here we discuss the idea of harmony based on a connected arc of 6 , 7 or even 8 chords in the cycle of 5ths, with mutations from major to minor on it and the involved multi tonality and chromatic tonality .
The concept of chromatic tonality is to enhance the melodiy from the 7 notes of a diatonic scale to the 12 notes of the chromatic.
The concept of multi tonality can do the same but it is done usally here by shifting from the initial diatonic scale e.g. C major here to the A major and E major (notice that the relative chords in melodic relation of the root C major chord is the Am and Em) . All these three major scales are included as triads of major chords in an a connected arc of 7 or 8 chords in the cycle of 5ths (or 4ths). And in particular they are the triads 3M-6M-2M (6 major) and 7M-3M-6M (3 major).
We must also notice that in such a connected arc of chords not only the harmonic relation of chords occurs (chords a 5th or 4th apart) but also the melodic and chromatic relation of chords occurs.
The corresponding psychological feelings are
1) Harmonic relation of chords=resolution and nice shift of the melodic theme by a 4th or 5th
2) Melodic relation of chords=ususlly a transition of a major chord to same root minor or upper or lower relative minor , thus a mutation of a happy feeling to a sad and vice versa
3) Chromatic relation of chords=translation of the same feeling a semitone or tone higher or lower
All the above techniques are very common in harmonies and melodies of Gypsy Jazz , Latin Jazz, traditional Brazilian music etc.
The connected arc of chords in the wheel of 4th or 5yh as we said contains pairs of chirds chromatically or melodically related.
The concept of chromatic tonality is to enhance the melodiy from the 7 notes of a diatonic scale to the 12 notes of the chromatic.
The concept of multi tonality can do the same but it is done usally here by shifting from the initial diatonic scale e.g. C major here to the A major and E major (notice that the relative chords in melodic relation of the root C major chord is the Am and Em) . All these three major scales are included as triads of major chords in an a connected arc of 7 or 8 chords in the cycle of 5ths (or 4ths). And in particular they are the triads 3M-6M-2M (6 major) and 7M-3M-6M (3 major).
E.g. A characteristoc example is a well known tarditional song Brazilian song in G major with the arc of chords F#7-B7-Em-Am-D7-G7-C , or in the G major diatonic 7M7-3M7-6m-2m-5M7-1M7-4M where in the refrain from the more sad to more happy part of the song, the Em (6m) becomes E7 (6M7) and the Am (2m) becomes A (2M) . When from the sad part of the song (3M7-6m-2m) it goes to the happy part with triad of majors 1M7-4M-5M7 , the song it falls the 4M to 4m (to do so the common pair of relative chords 2m-4M is inverted to 2M-4m) which also gives it the chance to translate to 3m (which so far it was 3M7) and thus all 12 chords 7M7-3m7-6m-2m-5M7-1M7-4M and 7M7-3M7-6M-2M-5M7-1M7-4m occur in the song which also gives all 12 notes in the melody when starting with only the 7 notes.
We must also notice that in such a connected arc of chords not only the harmonic relation of chords occurs (chords a 5th or 4th apart) but also the melodic and chromatic relation of chords occurs.
The corresponding psychological feelings are
1) Harmonic relation of chords=resolution and nice shift of the melodic theme by a 4th or 5th
2) Melodic relation of chords=ususlly a transition of a major chord to same root minor or upper or lower relative minor , thus a mutation of a happy feeling to a sad and vice versa
3) Chromatic relation of chords=translation of the same feeling a semitone or tone higher or lower
All the above techniques are very common in harmonies and melodies of Gypsy Jazz , Latin Jazz, traditional Brazilian music etc.
The connected arc of chords in the wheel of 4th or 5yh as we said contains pairs of chirds chromatically or melodically related.
So a simple method to compose a song is to start with melodic themes within one chord or a pair of chords which are not in the major triad of the default diatonic scale 1M 4M 5M , e.g. 2m or 3m or 3M or 6m or 7M or pairs (1M-2m) (1M-6m), (3M-6m) , (4M-7d) , (3m-4M) , (5M-6m) etc Notice that a intense oppositions song would start in the chords 2m, 3m ,3M 6m , 7d etc and end in the triad of majors (1M, 4M, 5M) while a more soft song would start with pairs (X1,X2) with X1 in (2m, 3m, 3M, 6m ,7d) and X2 in (1M, 4M, 5M ) and and then in the happy part of the song shift to the triad of majors (1M, 4M, 5M). In the melody we translate the melodic themes of one or pair of chords to the next or we invert them. As alternative and even simpler method we start with melodies in one chord or pair of chords in the triad of majors 1M 4M 5M and we substitute one only chord each time with its corresponding lower relative minor or even the same root major hord converted to minor (e.g. instaed of 5M the 5m etc) and also we modify the melodic theme. This is the couple (sad) part, Then we return to the happy refrain part in the (1M, 4M, 5M) or in the ( 3M, 6M, 2M) or in the (7M, 3M, 6M).
As we mentioned in the full chromatic tonality the major chords 1M 4M 5M may turn to minor chords
1m, 4m, 5m and good ways to do it are the next 1) we may turn the 4M to 4m as invesions of the resulotion 1M->4M, thus 1M-4M->4m->1M (see also post 29) . Similarly the 1M to 1m atthe inversion of the resolution 5M->1M->1m->5M. Finally the 5M is turned to 5m in agood way if we temporarily shift to the 7b major diatonic scale which will turn the 5M to 5m (as 6m in 7b major) and also turn the 1M to 1m (as 2m in 7b major).
