According to the wikipedia (https://en.wikipedia.org/wiki/Blues_scale), a 6-notes version of the major country-blues scale is e.g. the
C, D, D♯/E♭, E, G, A, with interval structure 2-1-1-3-2-3. Or if we prefer a root at D, then D-E-F-F#-A-B-D. While if we prefer the root A it will be A-B-C-Db-E-Gb-A .
In general 6-7-1-2b-3-5b-6 We notice that we utilize the 2b and 5b blue notes of the diatonic scale only in place of the 2 and 5 and we omit the 4 note.
On the other hand historically the Byzantine emptire was utilizing many 7-notes scales, not possible to include in the Bach equal tempered 12-notes chromatic scale. But 3 chromatic scales of them are possible more or less to include, Two of the chromatic such scales are the harmonic minor (e.g. from the A natural minor we derive the harmonic minor by giving a sharp at G, thus A B C D E F G# A , with interval structure 2-1-2-2-1-3-1) and the double harmonic minor (an additional sharp to d thus A B C D# E F G# A , with interval structure 2-1-3-1-1-3-1). They where used mainly in religious hymns in the Churchs. But the 3rd such chromatic scale was used mainly in the Emperors palace and other cosmic events and was called parachromatic (see e.g. http://www.huygens-fokker.org/docs/modename.html http://www.huygens-fokker.org/scala/ ). The Byzantine parachromatic scale is called also inverse Persian or Purvi Theta scale. The part 2-1-1-3 is also known as samba pentachord in arabian culture, while the part 1-1-3 is known since ancient Greece time as the tonal tetrachord of the chromatic family. The interval structure of the parachromatic Byzantine scale is 2-1-1-3-1-1-3 . Thus starting from D , it would be D, E, F, Gb ,A, Bb, B , D While if we prefer the root A it will be A-B-C-Db-E-F-Gb-A or 6-7-1-2b-3-4-5b-6. We notice that we utilize the 2b and 5b blue notes of the diatonic scale only in place of the 2 and 5 . We may observe that it is a 7-notes version of the Blues scale, and a tuning table for a harmonicas at the D4- major 6-notes Blues-country scale and a D4- parachromatic 7-notes scales are given below. (see also article https://simplerguitarlearning.blogspot.com/2019/06/235-parachromatic-byzantine-overtone.html )
On the oter hand the 12-bars blues is aparticular chord progression over the main major triad of hords ofthe diatonic scale 1-2-3-4-5-6-7-1
1M, 4M, 5M.
We must remember that because these 3 chords cover all 7 notes ofthe diatonic scale any melody over them can be harmonized with these 3 chords.
But as in practice jazz music follows the rule that to accompany a piece of melody with achord it is sufficient at least 50% of the time that they sound notes of the chord it is obviousuthat we may have melodies with notes over the 5 blue notes or chromatic notes 2b, 3b, 5b, 6b, 7b as well provided tthat at least 50% ofthe time sound notes of the diatonic scale.
Therefore we may utilize the harmonic minor= 6-7-1-2-3-4-5#-6 , double harmonic minor= 6-7-1-2#-3-4-5#-6 , byzantine parachromatic=6-7-1-2-3b-4-5b-6, or blues hexatonic scale=6-7-1-2-3b-5b-6. Below is a video that goes even further allowing chromatic notes to sound 100% ofthe time during one of the chords 1M, 4M, 5M.
PIZZA BLUES METHOD (=CHROMATIC IMPROVISATION IN BLUES)
https://www.youtube.com/watch?v=IzWEyHTu_Zc
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.
This concept also can be considered as chromatic wheels of chords or chord-scales as described in post 83. They can be considered either as 12-cycle of chords or only as 7-cycles of chords. Such 12-steps scales of chords can be considered also as scales of chords derived by perturbation a diatonic scale of chords (see also post )
It gives also a system to create chords that cover any scale ( but not necessarily belong to it too ) , including of course the diatonic scale modes.
But it is also a system to adopt and re-harmonize a song from its original chord progression to another that has the particular personality (as we may change a song from a minor mode to a major mode and vice-versa) or asit it ususal in swing Jazz and Gypsy Jazz to re-harmonize songs.
HOW IT APPLIES TO SONGS
RE-HARMONIZATION TO AN PARTICULAR HARMONIC PERSONALITY
1) The way that the table below can be used on an existing song with melody written say on a known particular diatonic scale and mode (at least in its musical score) is the next.
2) Take the known chord progression of the song, and substitute, each chord of it with root R with the corresponding chord of root R in the table below.
3) The step 2) applies to all possible roots R in the 12-notes chromatic scale, and in the 7 tone scale of the song too (covering the case of chords outside the 7-notes scale in the case of multiple modulations to different scales during the song). We may consider the 12-notes redundant and use only the 7-notes. But if we would start from a song not written on single diatonic scale, but in many scales with modulations, and still inside the 12-notes scale, the step 2) can still apply. Notice that the this re-harmonization is not a 1-1 correspondence of chords , and two different chords with the same root at different times may result to the same chord of the 12-notes personality scale of chords.
4) The result is that there is a change in the "personality" of the sound of harmony of the song. By changing the chord-type we may need to change some of the notes of the melody to fit in the new type chord as it was flitting to the old type of chord. This is in accordance to our philosophy which in general defines the harmony of a song not through a single scale but throughout chord progression (see post 49)
M symbolizes major, m symbolizes minor, dim=diminshed, aug=augmented.
For example C63=CEA, C65=CGA, C42=CDFG, C43=CEFG, C7#9=CEGBbD#, Cm7b5=CEbGbBb, Cm11=CEbGBbDF, Cdim9=CD#F#A#D, C9#11=DF#CEBb , Cm67=CEbGAB
C2=CDEG,
One particular more familiar way to utilize this table for a song already written in one of the scales major, minor, harmonic minor, or the modes Mixolydian, Phrygian, Dorian , so as to give it the corresponding jazz personality, is to alter a major or minor chord of the song and at any root, with the attributes below (dim, ,7, 63, 65, 9, 11, 7#9 etc) and making it thus sound with a different personality. This concept is based on tonality but it is actually beyond one only scale and tonality, it is different than the substitutes the concept of modulation, it is re-harmonization and is based rather on the concept of covering sets of chords of all possible steps of any melody.
The set of chords of a personality, is indeed based on tonality, but only at the level of the chords. Not at the level ofthe melody. The melody need not be within a diatonic scale. The fact that personality chords are defined even for steps outside a diatonic scale makes it clear.
COMPOSITION IN A PARTICULAR HARMONIC PERSONALITY
Another way to utilize it, is to compose songs regardless of scale, but utilizing the chords of a particular personality , and as the chords of a personality have roots all the 12 notes, one has all possible roots for chords of the song over a melody with all possible notes. This concept resembles tonality but it is actually beyond one only scale and tonality. It substitutes the concept of modulation and is based rather on the concept of covering sets of chords of all possible steps of any melody, creating so composite chord-melodies (see also post 11).
ALTERNATIVELY, the table below can be used as a guide of the kind of chord we would choose in the maximal correspondence of each note of a melody with a chord with the root on it before we simplify the chord progression to one with fewer chords.
Still, ALTERNATIVELY we may use the corresponding chord types as in the table when the underlying note of the simplicial sub-melody (see post 65 ) is the one in the corresponding position in the full 12-notes scale.
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
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
An alternative way of course would be to correspond personalities only to the 7 modes, and then besides the 3-notes chords with roots one every note of the 7-tone mode, add all the other notes to make 12-notes of the chormatic scale, and extend, the triads to 4-notes chords making sure the added note (that would be of the melody) is always the highest. In this way 5 mores composite chords (for chord-melodies) are added to the mode which is now the chromatic 12-tone scale.
Still an alternative and simple way is to consider the above table only at the 7 steps of a diatonic scale, and use it to adopt the chord progressions of single diatonic scale harmony songs , to a new one (the roots of the chords are kept the same) but the harmony of the song changes and possible and some of the notes of its melody.
Such personalities therefore is a generalization of the 7 modes of the diatonic scale , to any scale of any number of notes and in a different way..
We may compare the above method of personalities with the Personalities of the modes of the as it was traditional to define in older music but which cannot be played anymore in the 12-equal semitones of Bach. .
