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Showing posts with label 374 THE MIRACULOUS TETRACHORD: HOW 3 4 AND 5 NOTES SUBSCALES OF THE DIATONIC SCALE IN THE MELODY COMBINE WITH CHORDS IN THE CHORD PROGRESSIONS. Show all posts
Showing posts with label 374 THE MIRACULOUS TETRACHORD: HOW 3 4 AND 5 NOTES SUBSCALES OF THE DIATONIC SCALE IN THE MELODY COMBINE WITH CHORDS IN THE CHORD PROGRESSIONS. Show all posts

Monday, June 7, 2021

374 THE MIRACULOUS TETRACHORD: HOW 3,4 AND 5 NOTES SUBSCALES OF THE DIATONIC SCALE IN THE MELODY COMBINE WITH CHORDS IN THE CHORD PROGRESSIONS

 HOW 3,4 AND 5 NOTES SUBSCALES COMBINE WITH CHORDS IN CHORD PROGRESSIONS

 If we want to correspond simple patterns of harmony with simple patterns of melody then

1) Threechords in other words 3 consecutive notes subscales correspond to triads of chords that have distance of roots an interval of 2nd. And there are so many such 3-scales as are the notes of each chord. Furthermore threechords  occur externally as linking bridges  to consecutive  chords of the chord progression, when the chord progression have roots that have a distance an interval of 3rd. 

2) 5-chords in other words 5 consecutive notes subscales with total length an interval of 5th  occur internally to each chord of the chord progression

3) tetra-chords in other words 4 consecutive notes subscales with total length an interval of 4th occur externally as linking bridges  to consecutive  chords of the chord progression, when the chord progression is an arc of the wheel by 4ths or more generally the roots of the consecutive chords differ by an interval at most of 4th. 

THE MIRACULOUS TETRACHORD:

The previous explains why when improvising over a diatonic scale and a chord progression by chords of it, each time the chord changes, it is at most within a tetrachord that contains the last "staying"  note (melodic center)  of the last chord that we find the next "staying" note (melodic center) of the next chord.