We remind the reader that in the online notes here we call a sequence of 7 interval that sum-up to 12 semitones a mode and all cyclic permutations of it as the scale that the mode belongs.
As it was mentioned in post 40 the order of how much harmonic is an interval (and interval is more harmonic than another means that the two notes have a greater number of common harmonics or overtones) the order of "harmonicity" is
8th>5th>4th> major 3rd>minor 3rd
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.
As it was mentioned in post 40 the order of how much harmonic is an interval (and interval is more harmonic than another means that the two notes have a greater number of common harmonics or overtones) the order of "harmonicity" is
8th>5th>4th> major 3rd>minor 3rd
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.
It is important to realize that these blue notes of a diatonic scale are already suggested by the series of overtones, because the exact overtones have cases that are outside the equal tempered Bach scale.
THE 9NTH HARMONIC SUGGESTS THE D#
THE 7NTH HARMONIC SUGGESTS THE A#
THE 11TH HARMONIC SUGGESTS THE F#
THE 13NTH HARMONIC SUGGESTS THE G#
There cannot be other as first 4 notes other than the above 4 blue notes for the first 2 best intervals (5th and major 3rd) around the roor note .
Notice of course that all the 5 blue notes 2b 3b 5b 6b 7b make a major pentatonic scale with root 5b and main chords 5b major and 3b minor.
Notice also the important fact that the 4 blue notes make the 4 non-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
On the other hand e.g. the 1st blue note (5#) may make also the 4M chord 4m, so making the basic triad 5N 1M 4M, to 5M 1M 4m. Also the 2nd blue note 2# allows, for a 1 minor chord too. making therefore the triad 5N 1M 4M to 5M 1m 4M or 5M 1m 4 m.
Converselly when improvsing with the 3 basic major chords of diatinic scale 1M, 4M, 5M, then the most natural blue notes are those 3 blue notes that make them minor chords, thus
3b=2# which makes 1M to 1m
7b=6# which makes the 5M to 5m
6b=5# wchich makes the 4M to 4m
The scale 1,2,3,4,5#,6,7 is an harmonic minor scale. The scale 1,2,3,4,5,6#,7, is the Neapolitan scale (a permuted harmonic minor) The scale 1,2#,3,4,5,6, 7, is again the Neapolitan scale.
We may combine now the lue notes per two.
The scale 1,2#,3,4,5# 6, 7, is the double harmonic minor scale.
The scale 1,2,3,4,5#,6#,7, is the Mela Namanarayani, Raga Narmada, Pratapa, Harsh Major-Minor scale.
The scale 1,2#,3,4,5,6#,7 is the inverse double parachromatic Byzantine scale.
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.
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.
CONVERSELY ANY MELODY WHICH STARTS AS MELODY OF A DIATONIC SCALE AND THEN EVOLVES WITH ANY TURN AND ANY MOVE INSIDE THE 12-NOTES FULL CHROMATIC SCALE CAN BE COVERED OR ACCOMPANIED WITH THE NEXT ALTERNATIONS OF THE CHORDS OF THE DIATONIC SCALE. IN WESTERN JAZZ IT IS CONCEIVED AS ALTERATIONS DUE TO THE BLUE NOTES WHILE IN EASTERN JAZZ AS ALTERATIONS DUE TEMPORARY CHANGE OF THE NATURAL MINOR TO ONE OF THE CHROMATIC MINORS (HARMONIC, DOUBLE HARMONIC , NEAPOLITAN , PARACHROMATIC MINORS ETC)
As an harmonic personality as in post 36 with the chords that cover all notes of the 12-notes chromatic scale here si the table
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
|
Now there are the next ways to chromatize these best two intervals of 5th and major 3rd
A) Chromatizing the 5th:
1) By using the 1s blue not 5# instead of g.
This gives the harmonic minor in steps 6-7-1-2-3-4-5#-6 or in c major a-b-c-d-e-f-g#-a and in semitone intervals 2-1-2-2-1-3-1
2) By using the 4#= f#=gb instead of g=5:
This gives in steps 6-7-1-2-3-4-4#-6 or in c major a-b-c-d-e-f-f#--a and in semitone intervals 2-1-2-2-1-1-3 which may be called Byzantine simple parachromatic scale. It has as 6-notes subscale the Blues scale 1-1-3-2-3-2.
3) By using the 4th blue note 1#=c#
This gives the melodic minor in steps 6-7-1#-2-3-4-5-6 or in c major a-b-c#-d-e-f-g--a and in semitone intervals 2-2-1-2-1-2-2
B) Chromatizing the major 3rd
1) By using the 2nd blue note 2#=d# which gives the Neapolitan scale in steps 6-7-1-2#-3-4-5-6 or in c major a-b-c-d#-e-f-g-a and in semitone intervals 2-1-3-1-1-2-2.
It contains the chromatic 5-chord 3-1-1-2 known also as Huzam
2) By using both the 1# and 5#
in steps 6-7-1#-2-3-4-5#-6 or in c major a-b-c#-d-e-f-g#-a and in semitone intervals 2-2-1-2-1-3-1
which is again the inverse harmonic minor .
3) By using both the 1# and 4# and keeping the 1
C) Chromatizing both the 5th and major 3rd.
1) By using both the 1# and 4# and not keeping the 1
In steps 6-7-1#-2-3-4-4#-6 or in c major a-b-c#-d-e-f-f#-a and in semitone intervals 2-2-1-2-1-1-3 which has as 6-notes subscale the Blues scale 1-1-3-2-3-2.
It contains the chromatic 5-chord 2-1-1-3 known also as Samba
2) By using the 2# and the f#
In steps 6-7-1-2#-3-4-4#-6 or in c major a-b-c-d#-e-f-f#-a and in semitone intervals 2-1-3-1-1-1-3 which is the Byzantine 2nd double parachromatic .
3) By using both the d# and g#
which gives the double harmonic minor
In steps 6-7-1-2#-3-4-5#-6 or in c major a-b-c-d#-e-f-g#-a and in semitone intervals 2-1-3-1-1-3-1 .
We comment moreon the above:
The Byzantine parachromatic minor utilizes the 3rd blue note f# if it would be a modification of the a natural minor In other words it would use f# instead of f and as a parachromatic minor it would be a b c db e f gb=f# a or in semitone intervals 2-1-1-3-1-1-3 . The 3rd blue note f# is utilized also in 6 notes blues scales and country jazz music 2-1-1-3-2-3 or in notes a, b, c , c# , e , f# , a . The harmonic minor uses the 1st only Blue note that is g# instead of G in a natural minor and the double harmonic minor both 1st and 2nd blue notes the g# instead off g and D# instead of d. The Byzantine parachromatic minor scale is slightly less chromatic compared to the double harmonic minor and it was used in cosmic celebrations while the harmonic and double harmonic minor in Religious hymns. The scale that would use only the d# blue note therefore the a-b-c-d#-e-f-g-a, in semitone intervals is the 2-1-3-1-1-2-2 is nothing else than the Mela Sulini, Raga Sailadesakshi, Raga Trishuli, Houzam: (Greece) or Neapolitan (Italy) scale. The scale that would use both the c# and d# blue notes would be the a-b-c#-d#-e-f-g-a, in semitone intervals is the 2-2-2-1-1-2-2 which is the double melodic minor or Arabian scale also known as Kokilapriya, Raga Kokilaravam, or Heptatonia tertia. The 7-notes scale as variation of the a natural minor that would use both the f# and d# blue notes would be the a-b-c-d#-e-f#-g-a, in semitone intervals is the 2-1-3-1-2-1-2 which is nothing else than the Bayat-e-Esfahan, Sultani Yakah, Zhalibny Minor, Armoniko minore: (Greece) or the 4th mode of the harmonic minor. The 7-notes scale that would use only the f# blue note is the a-b-c-d-e-f#-g-a, in semitone intervals is the 2-1-2-2-2-1-2 which is nothing else than the dorian mode of the G major scale. Notice also that the Ney flute scale when converted to the equal tempered 12-notes scale would be an 8-note scale 2-1-1-2-1-1-3-1 or a-b-c-c#-d#-e-f-g#-a , and it contains the 3 blue notes c#, d#=eb and g# . The Ney 8-notes scale resembles a combination of the melodic minor and the harmonic minor.
We remind the reader that in the online notes here we call a sequence of 7 interval that sum-up to 12 semitones a mode and all cyclic permutations of it as the scale that the mode belongs. Thus any cyclic permutation of the 2-1-1-3-1-1-3 is considered again as the parachromatic Byzantine scale but at a different mode of it.
