CHROMATIC TONAL MUSIC COMPARED TO MULTI-TONAL MUSIC OR ATONAL MUSIC.
Let us start with:
THE DIFFERENCE OF USING MINOR CHORDS (SADNESS THROUGH BLUE NOTES) IN EARLY WESTERN JAZZ COMPARED TO OTHER POP AND FOLK MUSIC AND EASTERN (GYPSY) JAZZ.
Incorporating minor chords in major chords is of course the way that we feel sadness after or before we feel happy.
Obviously a way to add all the 5 chromatic notes to a diatonic scale is to alter some major chords to minor with the same root or vice versa.
Then the order of the chromatic notes 5#, 4#, 1# , 2#, 6# would give the next order of altering majors to minors or vice versa
3 minor ->3 major or 4 major->4 minor (for 5#)
2 minor-> 2 major (for 4#)
6 minor -> 6 major (for 1#)
1 major-> 1 minor (for 2#)
5 major-> 5 minor (for 6#)
or in symbols
3m->3M
4M->4m
2m->2M
6m->6M
1M->1m
5M->5m
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# or 3b allows, for a 1 minor chord too. making therefore the triad 5N 1M 4M to 5M 1m 4M or 5M 1m 4 m. This is met quite often in Early jazz as method to add sad minor chords to the main happy triad of major chords.
The 5# makes the 3m to 3M ,
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
We may notice that it resembles a change of tone from the 1 major to 3 major (e.g. C major to E major) but the details are be far different.
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.
There are musicians that consieve these changes as modulations say from the C major scale to th Fmajor scale and/or to the A major scale. But the above approach based on the harmonic minor and double harmonic minor seems more correct.
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
1ST CHROMATIC TONALITY 7-CHORD-SCALE OR 7-CHORD CYCLE
THEREFORE IT IS A VERY COMMON IN WESTERN JAZZ GYPSY JAZZ (e.g. "For Wesley") CLASSICAL MUSIC (e.g. "Moon light sonata" of Beethoven) 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.
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) THIS MAY BE CALLED CHROMATIC TONAL MUSICAS CONTRASTED TO MULTI-TONAL MUSIC OR ATONAL MUSIC.
THE JAZZ AND CHROMATIC TONAL MUSIC, HARMONIC PERSONALITY
IN THIS ARRICLE WE DISCUSS HOW STARTING FROM A DIATONIC SCALE
WITH CHORDS IN STEPS 1M-2m-3m-4M-5M-6m-7d-1'M WE PASS TO ALL THE 12-TONES SCALE (WHICH IS AN ADDITIONAL MAJOR PENTATONIC SCALE OF BLUE NOTES 5b-6b-7b-2b-3b) BY A) CHANGING THE MAJOR CHORDS TO MINOR CHORDS AND VICE-VERSA B) BY ADDING MAJOR OR MINOR OR DIMINISHED CHORDS ON THE CHROMATIC OR BLUE NOTES: 2bM 3bM 5bM 6bM 7bM OR 2bm 3bm 5bm 6bm 7bm OR 2bdim 3bdim 5bdim 6bdim 7bdim.
THIS PASSAGE FROM THE TONAL MUSIC TO AN HARMONY AND MELODY OF ALL 12 NOTES IN A SONG WILL BE CALLED CHROMATIC TONALITY . IT IS THE FULL CHROMATIC TONALITY IF IT PASSES TO ALL12 NOTES OR PARTIAL CHROMATIC TONALITY IF IT ENHANCES TO ONLY SOME OF THE 5 CHROMATIC OR BLUE NOTES
THIS PASSAGE FROM THE TONAL MUSIC TO AN HARMONY AND MELODY OF ALL 12 NOTES IN A SONG WILL BE CALLED CHROMATIC TONALITY . IT IS THE FULL CHROMATIC TONALITY IF IT PASSES TO ALL12 NOTES OR PARTIAL CHROMATIC TONALITY IF IT ENHANCES TO ONLY SOME OF THE 5 CHROMATIC OR BLUE NOTES
Let us start with:
THE DIFFERENCE OF USING MINOR CHORDS (SADNESS THROUGH BLUE NOTES) IN EARLY WESTERN JAZZ COMPARED TO OTHER POP AND FOLK MUSIC AND EASTERN (GYPSY) JAZZ.
Incorporating minor chords in major chords is of course the way that we feel sadness after or before we feel happy.
POP OR OTHER FOLK MUSIC METHOD
In most of the usual pop and folk music in various cultures , the use of minor chords ,in a song e.g. which jas as part of major chords the main triad 5M-1M-4M of a diatonic scale (e.g. in C major G major-C major-F major) is to shift the triad of the lower relative minor chords in the same diatonic scale 3m-6m-2m (e.g. shifting from the triad of G major-C major-F major to the triad E minor A minor D minor).
EARLY WESTERN JAZZ METHOD
But in early jazz the incorporation of minor chords e.g. in a song which is utilizing the triad of majors 5M-1M-4M of a diatonic scale (e.g. in C major G major-C major-F major) is by shifting to the same root minor chords 5m-1m-4m (e.g. G minor-C major-F minor). It is not necessary that the are used all 3 minor chords maybe only one or oly two of them. This essentially means that instead of the middle notes of the major chords: B for G major E for C major and C for F major they are used the
Bb, Eb , Ab (which by the way are all notes of the Eb major scale). Which is equivalent to the notes
Bb, Eb G#. Notice that two of them the Eb and G# are 2 of the first 4 Blue notes of the C major scale as described in post 245.
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 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.
We repeat here the main definitions and concepts of Blue notes which are in total 5 notes and make by their own a pentatonic scale (in the case of the C major scale the black keys of the piano )
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.
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 .
Obviously a way to add all the 5 chromatic notes to a diatonic scale is to alter some major chords to minor with the same root or vice versa.
Then the order of the chromatic notes 5#, 4#, 1# , 2#, 6# would give the next order of altering majors to minors or vice versa
3 minor ->3 major or 4 major->4 minor (for 5#)
2 minor-> 2 major (for 4#)
6 minor -> 6 major (for 1#)
1 major-> 1 minor (for 2#)
5 major-> 5 minor (for 6#)
or in symbols
3m->3M
4M->4m
2m->2M
6m->6M
1M->1m
5M->5m
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# or 3b allows, for a 1 minor chord too. making therefore the triad 5N 1M 4M to 5M 1m 4M or 5M 1m 4 m. This is met quite often in Early jazz as method to add sad minor chords to the main happy triad of major chords.
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).
EASTERN (GYPSY) JAZZ METHOD
In this type of jazz, there also used 2 of the 4 first Blue notes of the diatonic scale which are the 2# or 3b and 5#, in other words the same two blue notes of the early Western jazz. Nevertheless the way that they are used is by substituting the 2 with 2# and 5 with 5# , thus creating the double harmonic minor scale 6-7-1-2#-3-4-5#-6 . Therefore they are introduced as a new chromatization of the natural minor scale, which goes with further changes inthe chords of the original diatonic scale.
The 5# makes the 3m to 3M ,
the 2# makes the 7dim to 7M,
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
We may notice that it resembles a change of tone from the 1 major to 3 major (e.g. C major to E major) but the details are be far different.
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.
There are musicians that consieve these changes as modulations say from the C major scale to th Fmajor scale and/or to the A major scale. But the above approach based on the harmonic minor and double harmonic minor seems more correct.
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
1ST CHROMATIC TONALITY 7-CHORD-SCALE OR 7-CHORD CYCLE
THEREFORE IT IS A VERY COMMON IN WESTERN JAZZ GYPSY JAZZ (e.g. "For Wesley") CLASSICAL MUSIC (e.g. "Moon light sonata" of Beethoven) 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.
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) THIS MAY BE CALLED CHROMATIC TONAL MUSICAS CONTRASTED TO MULTI-TONAL MUSIC OR ATONAL MUSIC.
THE JAZZ AND CHROMATIC TONAL MUSIC, HARMONIC PERSONALITY
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
|
Another way to order the chords is as an arc in the wheel by 4ths
1) 7Dim or 7Major7
then
2) 3m or 3M(ajor)7
then
3) 6m or 6M7
then
4) 2m(inor) or 2M(ajor)7
then
5) 5M7 or 5m
then
6) 1M(ajor) or 1m
then
7) 4M or 4m or 4Dim
Then based on the above we may have chord progressions in the chromatic tonality E.G. as following:
(a) 5M 1M 2m 5M 1m 4M 7dim 3M 6M 2m 5M 1M....etc
IF THE CENTRAL ENTITY IN HARMONY IS THE TRIAD CHORD THE CENTRAL ENTITY IN MELODY IS THE MELODIC THEME AND IN PARTICULAR THE OVERSIMPLIFIED VERSION OF SIMPLE MELODIC MOVE BY AN INTERVAL AS TRACED IN SIMPLIFIED WAY BY THE SIMPLICIAL SUBMELODY.
Based on the above, the themes in the simplicial sub-melody as simple moves are of two polarities up (+) or down (-) and of three sizes Chromatic (symbol C) by intervals of 2nds, Melodic (symbol M) by intervals of 3rd and Harmonic (symbol H) by intervals of 4th, 5th, 8th or higher. Then the progression of the simplicial melodic themes in the song will have a symbolic form like E.g.
(b) H(+)M(-)H(-)M(+)C(-)M(+)H(+).......etc
E.g. if we take one note the middle note of each chord in the chromatic tonality chord progression (a) above, and take as simplicial melodic themes the moves created by the chord transition, then we may produce such a progression of melodic moves as following
H(e) M(e) H(e)H(e)C(e) H(e) H(e) H(e) H(e) C(e) He() ......etc
where e=+ or -
See also about the 4 basic minor scales
https://www.youtube.com/watch?v=kobgAsDZxsw
HARMONIZING ALL 5 BLUE NOTES OR CHROMATIC NOTES (2b 3b 5b 6b and 7b) FROM THE 7 NOTES OF THE DIATONIC SCALE TO THE 12 NOTES OF THE FULL WESTERN MUSICAL (CHROMATIC) UNIVERSE
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.
Examples of chord progressions in chromatic tonality in Portugues guitar folk music (E.g. Jorge Fontes https://www.youtube.com/watch?v=A6c34JP3JsE&t=150s&ab_channel=tbanjotbanjo)
Then based on the above we may have chord progressions in the chromatic tonality E.G. as following:
(a) 5M 1M 2m 5M 1m 4M 7dim 3M 6M 2m 5M 1M....etc
IF THE CENTRAL ENTITY IN HARMONY IS THE TRIAD CHORD THE CENTRAL ENTITY IN MELODY IS THE MELODIC THEME AND IN PARTICULAR THE OVERSIMPLIFIED VERSION OF SIMPLE MELODIC MOVE BY AN INTERVAL AS TRACED IN SIMPLIFIED WAY BY THE SIMPLICIAL SUBMELODY.
Based on the above, the themes in the simplicial sub-melody as simple moves are of two polarities up (+) or down (-) and of three sizes Chromatic (symbol C) by intervals of 2nds, Melodic (symbol M) by intervals of 3rd and Harmonic (symbol H) by intervals of 4th, 5th, 8th or higher. Then the progression of the simplicial melodic themes in the song will have a symbolic form like E.g.
(b) H(+)M(-)H(-)M(+)C(-)M(+)H(+).......etc
E.g. if we take one note the middle note of each chord in the chromatic tonality chord progression (a) above, and take as simplicial melodic themes the moves created by the chord transition, then we may produce such a progression of melodic moves as following
H(e) M(e) H(e)H(e)C(e) H(e) H(e) H(e) H(e) C(e) He() ......etc
where e=+ or -
See also about the 4 basic minor scales
https://www.youtube.com/watch?v=kobgAsDZxsw
HARMONIZING ALL 5 BLUE NOTES OR CHROMATIC NOTES (2b 3b 5b 6b and 7b) FROM THE 7 NOTES OF THE DIATONIC SCALE TO THE 12 NOTES OF THE FULL WESTERN MUSICAL (CHROMATIC) UNIVERSE
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 chromatic 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
| |
Examples of chord progressions in chromatic tonality in Portugues guitar folk music (E.g. Jorge Fontes https://www.youtube.com/watch?v=A6c34JP3JsE&t=150s&ab_channel=tbanjotbanjo)
1)
triad of major chords=5M 1M 4M
cycle of chords with minors=1M-4m-7bm
2)
triad of major chords=5M 1M 4M
cycle of chords with minors=6M-2m-5M
3)
triad of major chords=5M 1M 4M
cycle of chords with minors=5M-1M-4m
4)
triad of major chords=5M 1M 4M
cycle of chords with minors=5M-1m-4m
5)
triad of major chords=5M 1M 4M
cycle of chords with minors=2M-5m
6)
triad of major chords=5M 1M 4M
cycle of chords with minors=3M-6m-2m
7) The 5) and 6) together
1st triad of major chords=5M 1M 4M
1st cycle of chords with minors=7M7-3M-6m-2m (double harmonic minor)
2nd triad of majors 7M7-3M7-6M (shifts in the upper relative major scale)
2nd cycle of chords with minors=4#M7-7m (as if harmonic minor in in 2 major scale)
8)
triad of major chords=5M 1M 4M
cycle of chords with minors=6m-2m-5M
9)
1st triad of major chords=5M 1M 4M
1st cycle of chords with minors=3M-6m-2m
2nd triad of major chords=7M7 3M7 6M (upper relative major scale)
2nd cycle of chords with minors=4#m-7m-3M-6M
10)
1st triad of major chords=5M 1M 4M
1st cycle of chords with minors=1M-4m-7bm
2nd cycle of chords with minors=2M-5m
