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
