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Showing posts with label 367.ALL 2-chords HARMONICAS OF HEXATONIC SUBSCALES OF THE DIATONIC SCALE THE HARMONIC MINOR THE MELODIC MINOR AND THE 7-NOTES BLUES SCALE. Show all posts
Showing posts with label 367.ALL 2-chords HARMONICAS OF HEXATONIC SUBSCALES OF THE DIATONIC SCALE THE HARMONIC MINOR THE MELODIC MINOR AND THE 7-NOTES BLUES SCALE. Show all posts

Tuesday, April 20, 2021

367.ALL 2-chords HARMONICAS OF HEXATONIC SUBSCALES OF THE DIATONIC SCALE THE HARMONIC MINOR THE MELODIC MINOR AND THE 7-NOTES BLUES SCALE

 In  the next we will describe harmonicas with hexatonic scales and two only chords 


(See also https://simplerguitarlearning.blogspot.com/2020/01/291-hexatonic-scales-for-harmonica.html ) or posts 291   and 274


THESE 2-CHORD HEXATONIC HARMONICAS ARE NOT DESIGHNED SO MUCH TO PLAY ALL POSSIBLE MELODIES ON A SINGLE HARMONICA BY BENDING AND OVERBLOW BUT TO MAKE EASY IMPROVISATION ON HEXATONIC SUBSCALES OF  THE SCALES DIATONIC, HARMONIC MINOR, 7-NOTES BLUES (INVERSE HARMONIC MINOR) , DOUBLE HARMONIC MINOR, MELODIC MINOR ETC .


 SUCH 2-CHORDS IMPROVISATIONS ARE COMMON IN CUBA AND LATIN JAZZ FOLK MUSIC, GREEK ISLANDS MUSIC, IRISH MUSIC ETC


ALL OF THE HEXATONIC TUNING  IN THIS DISCUSSION HAVE A SINGLE CHORD AT THE BLOW ROW AND ANOTHER SINGLE CHORD AT THE DRAW ROW.


I  have ordered in Seydel company and play all of the next harmonicas of diatonic gendre  chromatic gendre and enharmonic gendre hexatonic sub scales of  the diatonic scale of the harmonic minor scale and invererse harmonic minor scale (Blues 7-tonic scale ) and when I will find time I  will upload sound files with improvisations of them. Of course I think it is much cheaper instead of ordering so many custom 2-chords hexatonic harmonicas as below, to just tune the digital harmonica Lekholm DM48 which I also have and it is fun to try these tunings and easy improvisations on them 


In the examples below for reasons of simplicity I use the C major scale and the A harmonic minor scale, but my hexatonic harmonicas are in many scales like Bb major , Fmajor G major , G minor etc


The best sounding are the next from the 3 list below

a) LOCRIAN:d1M    B-C-D-E-F-G-B  in semitones 1-2-2-1-2-4  and over the Blow-Draw 2 chords Bdim-Cmajor (also called enharmonic major) It is also called Genus Secundum 6-tonic scale.


b)  the 3.7) 7th mode   in semitones 1-2-1-2-2-4  based on the 2 chords 

G#dim-Amin  (hexatonic enharmonic minor)


c) the  IONIAN/MYXOLYDIAN: M2m       C-D-E-F-G-A-C in semitones 2-2-1-2-2-3 and over the Blow-draw 2 chords Cmajor Dminor

                                             or  G-A-B-C-D-E-G and over the Blow-Draw 2 chords Gmajor Aminor (also called Celtic minor hexatonic)


d) 3.5) 5th mode  E-F-G#-A-B-C-E  in semitones 1-3-1-2-1-4  based on the 2 chords 

Emajor-Fmajor  


and the 


e) 2.3) 3rd mode Eb-F-Gb-A-Bb-C    (or in semitones 2-1-3-1-2-3)  based on the 2 chords Ebmin-Fmajor (Erik Satie hexatonic scale)


ALL OF THE HEXATONIC TUNING  IN THIS DISCUSSION HAVE A SINGLE CHORD AT THE BLOW ROW AND ANOTHER SINGLE CHORD AT THE DRAW ROW.


ACTUALLY ANY TWO SUCCESIVE CHORDS IN THE DIATONIC SCALE (E.G. 7DIM-1M, OR 4M-5M, 3M-4M, 5M-6m , 6m-7dim) CAN BE USED FOR AN APPROPRIATE  TWO-CHORD HEXATONIC TUNING HARMONICA.


THUS WE WILL HAVE THE NEXT 6 TYPES OF CHORD PAIRS IN THE HARMONICA WHICH ARE CHORDS IN DIATONIC CHROMATIC RELATION (the roots are separated by an interval of 2nd) 


e.g. if the 7-notes diatonicscale is the C-D-E-F-G-A-B-C in semitones 2-2-1-2-2-2-1  then


M=MAJOR m=MIOR d=DIMINSIHED


1,2,3 etc =number of semitones that the roots are apart


1) IONIAN/MYXOLYDIAN: M2m       C-D-E-F-G-A-C in semitones 2-2-1-2-2-3 and over the Blow-draw 2 chords Cmajor Dminor

                                             or  G-A-B-C-D-E-G and over the Blow-Draw 2 chords Gmajor Aminor (also called Celtic minor hexatonic)


2) DORIAN: m2m                D-E-F-G-A-B-D in semitones 2-1-2-2-2-3  and over the Blow-Draw 2 chords Dminor-Eminor (also called Celtic major hexatonic)


3) FRYGIAN: m1M             E-F-G-A-B-C-E in semitones 1-2-2-2-1-4  and over the Blow-Draw 2 chords Fmajor-Eminor (also a hexatonic version of the 

                                              akebono 5-notes scale)


4) LYDIAN: M2M                     F-G-A-B-C-D-F  in semitones 2-2-2-1-2-3  and over the Blow-Draw 2 chords Fmajor-Gmajor (also called an alternative 

                                             version of Celtic major scale)


5) AEOLIAN: m2d                  A-B-C-D-E-F-A  in semitones 2-1-2-2-1-4  and over the Blow-Draw 2 chords Aminor-Bdim 


6) LOCRIAN:d1M                     B-C-D-E-F-G-B  in semitones 1-2-2-1-2-4  and over the Blow-Draw 2 chords Bdim-Cmajor (also called enharmonic major) 


But we also present many other non-diatonic chromatic pairs that involve also augmented chords and a re met in the harmonic minor (which apears also in the overtone sequence)  double harmonic minor, melodic minor (which apears also in the overtone sequence)  etc


E.G. 

m2M (Erik Satie hexatonic of the harmonic minor heptatonic)

M2dim (hexatonic from melodic minor)

m1m

M3m

M1M (Hexatonic from the harmonic minor)

aug2M

dim1m

m6m

aug3aug

dim1aug

etc


In the future I will upload sound files that show how such harmonicas sound as I have more  than 30 different such hexatonic scales 2-chords harmonicas  with different emotional moods. With a simple 2-chord backtrack they are an excelelnt simple way to learn and practice improvisations of any type of emotional mood.





2) ALL 7 HEXATONIC SCALES FROM THE 7 MODES OF THE 7-NOTES BLUES SCALE (OR INVERSE HARMONIC MINOR SCALE)


Some og these hexatonic scales of the inverse harmonic minor are also hexatonic scales of the diatonic scale or the melodic minor or the double harmonic minor!


7-NOTES BLUES SCALE C-D-Eb-F-Gb-A-Bb  (or in semitones 2-1-2-1-3-1-2) also inverse harmonic minor scale, with chords 


Cdim, Dminor, Ebminor, FMajor, Gb augmented , A diminished , Bb major


2.1) 1st mode C-D-Eb-F-Gb-A-C    (or in semitones 2-1-2-1-3-3)  based on the 2 chords Cdim-Dm


2.2) 2nd mode  D-Eb-F-Gb-A-Bb-D   (or in semitones 1-2-1-3-1-4)  based on the 2 chords 

Dmin-Ebmin (hexatonic caval double harmonic minor too)


2.3) 3rd mode Eb-F-Gb-A-Bb-C    (or in semitones 2-1-3-1-2-3)  based on the 2 chords Ebmin-Fmajor (Erik Satie hexatonic scale)


2.4) 4th mode F-Gb-A-Bb -C-D-F    (or in semitones 1-3-1-2-2-3)  based on the 2 chords 

Fmajor-Gbaug ( inverse hexatonic neapolitan )


2.5) 5th mode  Gb-A-Bb-C-D-Eb-Gb   (or in semitones 3-1-2-2-1-3)  based on the 2 chords 

Gbaug-Adim


2.6) 6th mode A-Bb-C-D-Eb-F-A    (or in semitones 1-2-2-1-2-4)  based on the 2 chords Adim-Bbmajor (hexatonic enharmonic major, or hexatonic Locrian mode) 


2.7) 7th mode  Bb-C-D-Eb-F-Gb-Bb   (or in semitones 2-2-1-2-1-4)  based on the 2 chords 

Bbmajor-Cdim (Hexatonic melodic minor too)



3) ALL 7 HEXATONIC SCALES FROM THE 7 MODES OF THE 7-NOTES HARMONIC MINOR SCALE .


Some og these hexatonic scales of the inverse harmonic minor are also hexatonic scales of the diatonic scale or the melodic minor or the double harmonic minor!


7-NOTES HARMONIC MINOR  SCALE A-B-C-D-E-F-G#-A  (or in semitones 2-1-2-2-1-3-1) with chords                               Aminor-Bdim-Caug-Dminor-EMajor-FMajor-G#dim-Aminor


3.1) 1st mode A-B-C-D-E-F-A   in semitones 2-1-2-2-1-4  based on the 2 chords 

Amin-Bdim  (Aelian diatonic too)


3.2) 2nd mode B-C-D-E-F-G#-B  in semitones 1-2-2-1-3-3  based on the 2 chords Bdim-Caug 


3.3) 3rd mode C-D-E-F-G#-A -C in semitones 2-2-1-3-1-3  based on the 2 chords Caug-Dminor (Neapolitan Hexatonic too)


3.4) 4th mode  D-E-F-G#-A-B-D  in semitones 2-1-3-1-2-3   based on the 2 chords Dminor-Emajor (Erik Satie hexatonic)


3.5) 5th mode  E-F-G#-A-B-C-E  in semitones 1-3-1-2-1-4  based on the 2 chords 

Emajor-Fmajor  


3.6) 6th mode F-G#-A-B-C-D-E-F   in semitones 3-1-2-1-2-3  based on the 2 chords 

Fmajor-G#dim  


3.7) 7th mode   in semitones 1-2-1-2-2-4  based on the 2 chords 

G#dim-Amin  (hexatonic enharmonic minor)



FROM THE 7-NOTES MELODIC MINOR THE HEXATONIC SUBSCALES NOT COVERED BY THE PREVIOUS ARE THE NEXT


E.g. let the 7-notes melodic minor A-B-C-D-E-F#-G#-A in semitones 2-1-2-2-2-2-1 and chords

m-m-aug-M-M-m-d the next are additional hexatonic


C-D-E-F#-G#-A-B-D in semitones 2-2-2-2-1-3 and 2 chords Caug-Dmajor


B-C-D-E-F#-G#-B  in semitones 1-2-2-2-2-3 and 2 chords Bminor-Caug


F-G#-A-B-C-D-F#  in semitones 2-1-2-1-2-4 and 2 chords F#minor-G#dim


THE WAY TO LAYOUT THE TUNING BASED ON THE HEXATONIC SCALE IS DIRECT BECAUSE 6 NOTES MAKE AN OCTAVE AND THEN WE REPEAT 3 TIMES. FURTHERMORE THE ODD OR EVEN NOTS MAKE THE ONLY 2 CHORDS 

E.g. for the LOCRIAN mode above (or Enharmonic major) which is  one of the best sounding hexatonic harmonicas 

6) LOCRIAN:d1M                     B-C-D-E-F-G-B  in semitones 1-2-2-1-2-4  and over the Blow-Draw 2 chords Bdim-Cmajor (also called enharmonic major)


We would chose the best sounding chord as blow and less good sounding chord as draw (as inhale drawing last in time less and is psychologically natural to resolve in the blow -exhale) thus the natural layout would be

[attachment=0]LOCRIAN_ENHARMONIC_MAJOR_1M_7dim_C3 (1).gif[/attachment]

In the table below valves are  at all notes but this is simply indicative and not optimal if you choose which notes you want to bend and overblow.