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Sunday, June 13, 2021

377 4 WAYS TO CREATE FULL CHROMATIC TONALITY

 As we have mentioned in the articles about chromatic toanlity, the full chromatic toanlity is created

when besides the 7 notes of the original diatonc scale 1,2,3,4,5,6,7, we also utilize the 5 chromatic or blue notes  1#, 2#, 4# , 5# , 6# .

The 4 methods are 


1) Utilizing the lower and upper relative major diatonic (6 major and 4 major) as in the post 373

2) By utilizing the harmonic minor which adds the blue note 5#, the double harmonic minor which adds the blue notes 2# and 5# and the 7b inverse harmonic minor or 1 blues heptatonic scale which adds the blue notes 2#, 4#, 6#. In total all 5 blue notes thus full chromatic tonality. It canbe done also by utilizing only the harmonic minor and the blues heptatonic scale without  the double harmonic minor. 

3) By utilizing the 1# diatonic scale or the 1b diatinic scale in addition to the 1 diatonic scale! Thus two diatonic scales with the  roots one semitone away.

4) By utilizing two cycles of 7 chords as connected arcs in the whell bu 4ths.  The first cycles is all the diatonic  7d-3m-6m-2m-5M-1M-4M 

The seconds 7-cycle turns some minors to majors and the 5m to 5m

It is the cycle  7M-3M-6M-2M-5m-1M-4M 

The melodies o play should be based on the middle 3rd notes of the chords. 

An alternative pair of 8-cycles of chords is the next

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

The seconds 8-cycle turns some minors to majors. 

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





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