331. THE ONLY 3 SCALES IN MUSIC

THE SCALES IN MUSIC ARE TRULY ONLY 3:

(Here we shift the meaning of the term scale.....)


A) The scale of the musical experience on the existential individual level. It is healing, it changes the emotions and therefore the habits of thoughts. It also includes ultrasounds from the bodies of the musicianswe do not hear and define how the musician experience the  music that he is playing .


B) The scale of the musical experience of the small group that plays and sings music (2-20 people) Creates deep subconscious bonds either for sadness or for joy. It also includes ultrasounds from the bodies of the members of the group that we do not hear.

C) The scale of the musical experience of the very large audience in society through the internet or recorded media . Does not include ultrasound of the bodies. But it continues to act on emotions and sets standards for us to feel, perceive and think.

330. THE PRINCIPLE OF OPTIMAL SPECIALIZED PARTIAL USING AND PLAYING OF MUSICAL INSTRUMENTS FOR THOSE THAT PLAY MANY MUSICAL INSTRUMENTS

(see also post 271)
This is principle is an example of a principle where it is proved that the method of learning something is more important than the object ogf learning itself. It is also relevant to the concept of  distributed cognition

Brilliant examples of musicians that play many musical instruments (from 5-6 to 10-12 musical instruments) is the  Caling family. Ecah mamber of this family plays at least 5-6 musical instruments, and Gunhild Carling (https://www.gunhildcarling.net/)is playing 10-12 musical instruments.
Obviously this also proves that the method of learning many musical instruments is  radically different from the traditional in Scolls of music and Universities.
And by this we do not mainly  mean that the technique is different.

When learning a musical instruments five areas of the human subjectivity are involved

1) The sense of hearing
2) The sense of seing
3) The kineasthetics of the fingers (fingering)  and/or the mouth (embouchure)
4) The feelings and emotinal percepton of the music
5) The mental images and intellectual perception of the music (musical ontology)

So when we say radically different method we mean that the combination of the previous 5 factors is radically different

The next are 6 principles that are involved in learning many musical instruments

1) Principle of learning as new self creation
2) Principle of least time of  playing while learning
3) Principle of most easy method as far as the memory and practice of fingers/mouth is concerned
4) Principle of most smart intellectually perception of the learning material  desired to learn
5) Principle of maximum pleasure while learning (so that serotonin and dopamine are created in the nervous system so as to have the creation of nerve synapses that is the subconsious ability and memory and desire for more learning)
6) Principle of optimal socialization of the process and result of the learning.


Under the above principles it is derived that for a musician that is playing many musical instruments it holds that
(see also post 275, 128)

FOR MUSIC:

1) Each instrument is NOT used so as to play all possible melodies and songs. Instead it is used and it is learned only as far as this instrument is specializing to allow playing an area and type of music that with the other musical instruments is not done so easily , efficiently and desirebly. There are though among the many insyruments at least one wich can be used the musician to play all possible melodies or songs. But most of the many instruments is  learned and played only in the area and specialization which is concidered best (e.g. a cello  might be learned to play only bass lines at the 2nd octave and a Bb/F trombone,  overtones improvisations only with 2nd overtone root , over a chromatic base 2nd octave Bb1-Bb2. See also post 332 about the esay mode of playing the brass winds, with a) independent vertical overtones large range melodic themes and b) independent horizontal by the slide short range melodic themes within a diatonic tetrachord )

2) At least one midi controller is used that can emulate all 3 generations of musical instruments  (see post 329, chromatic, diatonic,overtones musical instruments) and helps to learn but also to conduct the music of all other musical instruments.

3) The musician is focusing in learning a repertoire of music and songs with its musical theoretical ontology rather, than particular instruments. Thus when learning and spent some hours per day or week we learn a new song, and we learn its harmony (chord progression) melody and parallel simplicial counter melody (bass lines) etc on many instruments one after the other rather than spending these hours on particular instrument. In this way the same hours spent for the musical ontology of a song (chords, melody, countermelody, bass lines, rhythm  etc) will be used for learning more than one instruments, This reduces dramatically the memory and time spent in learning and shifts the subconcious memory to the abstract musical ontology rather than particular material particularities of the instrument which is more spiritual , and which memory and time is utilized for all instruments simulteneously. (see also post 271) 

4) It is by far more efficient when learning to utilize improvisation rather than tedious practice excercizes from musical sheets, for many raesons. One is that the improvisation is forgiving in "mistakes" that turnout to be innovations in melodic improvisation. Another reason is that it activates more deeply the various nervous system centers that are relevant to the 5 subjectivity areas  mentioned previously, therefore it is more thorough learning. Still another rason is that improvisation is  more pleasant than tedious excercises of practing therefore we have more serotonine-dopamine inthe nervous system, which are utilized in creating new nerve synapses valuable in the subconcious memory and desire for more learning in the future.

THE ADVANTAGES OF IMPROVISING A MELODY VERSUS PLAYING A MELODY

PLAYING THE MELODY

DISADVANTAGES: 1) No sufficient space to interpolate  your own feelings parallel to the melody
                                   2) Rigid stereotypic repetition  , that the slightest deviation will cause the                                                feeling of an "error" or "bad sound". This will create fear and will "slauter" the "wings" to add your own "signature" to the melody. It will stop  also and suppress the ability to compose your own melodies.

ADVANTAGES: 1) You do not have to involve much of your emotions and creativity , after learning it it seems easier to repeat it each time and if the melody is played correctly it is expected by the audience to to appreciate it.


IMPROVISING THE MELODY:

ADVANTAGES:1) Plenty of free  space to interpolate  your own feelings parallel to the melody
                                   2) No rigid stereotypic repetition , each time played it is somehow different . The randomness of the decorative notes of the improvisation allows for searching the appropriate melodic center that corresponds to the intended emotion or for gradual correcting till the melodic center of the original melody is found  (in the scale stepwise glissando as default movements) This will create an euphoria of abundance of creativity and will multiply the ability to compose your own melodies in later times.

DISADVANTAGES: 1) It requires listening to your own mood (or the mood of the  audience) when improvising the  melody, and there is always the risk that the current version of the improvisation of the melody is not good enough compared maybe to previous improvisations or that the audience will not appreciate it enough as you appreciate it when your are improvising it.



IN OVER ALL IT IS OBVIOUS THAT IMPROVISING A MELODY IS BY FAR MORE ADVANTAGEOUS THAN JUST PLAYING THE MELODY.

FINALLY A VERY USEFULL TECHNIQUE TO HAVE UNIFIED CONCEPT AND SYSTEM OF MENTAL IMAGES WHEN YOU  PLAY MANY MUSICAL INSTRUMENTS  IS TO HAVE ISOMORPFC LAYOUTS OF NOTES ON THEM. E.G. TUNE THE STRING INSTRUMENTS BY OVERONES TUNINGS SYSTEM (EACH CHORD AN OVERTONE, AS SOMETOMES JONY MITCHELL HAS DONE WITH HER GUITAR) SO THAT THE STRING INSTRUMENTS HAVE ISOMORPHIC LAYOUTS OF NOTES WITH THE VALVED OR SLIDER BRASS INSTRUMENTS (TRUMPET, TROMBONE, HORNS ETC) SEE ALSO POST 329

329. THE 3 GENDRES OF MUSICAL INSTRUMENTS: CHROMATIC, DIATONIC, OVERTONES AND THE MIDI/MPE CONTROLLER ARTIPHONE. THAN CAN EMULATE THE NOTES LAYOUTS OF ALL OF THEM

We may simplify the classification the various musical instruments to 3 gendres according to the way that the notes are basically and initially arranged.

A) THE CHROMATIC GENDRE OF MUSICAL INSTRUMENTS

Such instruments have basically from their hardware a full 12-notes chromatic scale arrangement ofthe notes. E.g. the fretboard of the guitar, but also all other similar instruments like

Strings by plectrum like Mandolin, Greek and Irish Bouzouki, ukulele, charango, cuatro, Saz etc

Bowed strings like , violon, viola, cello, bowed dulcimer, Greek lyra, etc

B) DIATONIC INSTRUMENTS
Such instruments originally are designed with a diatonic scale of notes arrangments, although they may have extensions to p lay also all sharpsand flats

E.g. Irish whistles, clarinets without keys (chalumeau, xaphoons) , the piano, the accordion, the celtic harp, harmonicas, panflutes, saxophone, old medieval wooden cornett etc


C) OVERTONES HARMONIC SERIES INSTRUMENTS,
Such instruments are desined initially with notes arranged by the overtones harmonic series  , but later they may have extensions tO play all sharps and flats

E.g. Overtone flutes, fujara, natural trumpet (which evolved in the modern valved trumpet) , All brass winds like , French horn, tuba, melophone, euphonioum, etc

The advantages and disadvantagesa re somehow known.

1) The chromatic instruments are very convenient to change scales and play in many scales. But in order to play and improvise even in a single scale special skills must be acquired, to seorate this diatonic scale from all possible notes.

2) The diatonic instruments are simpler and the best to improvise on a single diatonic scale , but in order to extend the tonality to a the chromatic tonality or to multi tonality extra design is required to support all flats and sharps which is usuallynot as well as the initially diatonic scale. Thus usualy it requires to have many different such instruments for different diatonic scales.

3) The overtones harmonic series instruments have a beatifull magic, that of the overtones that create and enforce for improvisation directly and simply ,  happy melodies. But also highly chromatic   harmonic minor scale and melodic minor scale are directly derived from the overtones series of the first 13-15  overtones. An very beatiful advantage is that when we make translation-variations of small melodic them across the overtone series of notes it imediatly is also variated by elongnation or contraction-expansion. It exaonds as we goto the lower harmonics and it contracts as we goto higher harmonics which makes the variationseasier and less boring in pitch-variation translations. The disadvantage of such nstruments is that that cannot even play even a full diatonic scale unless we extend the design to play sharps and flats, or aplay all the flats and sharps. 

By favorite gendre is that of the diatonic instruments, and 2nd best that of the overtones series instruments, because of the easiness of improvisation. Neverthless Learned initially  the string chromatic instruments that somehow I play better. Actually by marking the fretboards and fingerboards of such string chromatic insttuments (guitar , violin etc) to a single prefered diatonic scale I have converted them to diatonic instruments.


If we tune the string instruments with overtone tunings, in other words with connected parts of the sequence of t he overtones, then the layout of the notes onthe fretbaord or fingerboard is identical with the layout of the notes in a brass instrument with 3-4 valves or a hybrid Bb/F trombone with a slide and one valve etc. And this is what I have done tome string instriuments. I have set then overtone tunings due to the advantages of such tunings. In such a case and from the point of view of notes layout scheme we therfore get that we have only 2 gendres of musical instruments A) THE DIATONIC B) THE OVERTONES-CHROMATIC This is a great advantage for those that play many instruments and inparticular both string instruments and brass instruments as they have isomorphic pitch layouts of notes and the mental images to play notes and arpeggios are identical. 
If furthermore we apply a   marking scheme on such overtones tuned string instruments , that exhibits the prefred diatonic scale, with its root and dominat note on the fretboard or fingerboard, then all 3 gendres of musical instruments a) chromatic b) diatonic c) overtones combine on each such single instrument.  This is done of course easier on digital instruments as applications in ipad, compared to traditional hardware analogue string instruments.

THE NEW APPLICATIONS FOR DIGITAL MUSIC IN THE IPAD OR IN THE DESKTOP VERY OFTEN EXHIBIT A HIGHER SPIRITUAL  FUNCTION AND A BETTER MUSICAL ONTOLOGY ORGANISATION AND COMPARED TO TRADITIONAL HARDWARE MUSICAL INSTRUMENTS. 

THE ALSO HAVE A UNIQUE UNIFYING POWER  FOR MANY DIFFERENT TYPES OF MUSICAL INSTRUMENTS AND TYPES OF MUSIC THAT IS VERY USEFUL FOR TALENDET MUSICIANS THAT ARE MULTI INTRSUMENT PLAYERS AND WANT TO COMPOSE MUSIC.

 THIS NEW GENERATION OF MUSICAL INSTRUMENTS  SHIFT THE MUSICIAN FROM AN INSTRUMENT PLAYER TO A MUSICAL COMPOSER.  

THEY SHOULD BE  COMBINED WITH TRADITIONAL HARFWARE ANALOGUE MUSICAL INSTRUMENTS TO GIVE THEIR FULLEST VALUE. 

In the next we discuss how the midi controler and digital fretbaord artiphone can emulate by appropraite tuning of the digital fretboard which is a 2-dimensional arrangment of the notes on the fretboard to play the notes arrangments all the 3 gendres of instruments , guitars, violin, harmonica, celtic-chromatic harp, overtone flutes, natural trumpet, modern chromatic trumpet, diatonic trumpet etc and ofcourse with all available colors of sounds from any type of instrument.

https://www.youtube.com/watch?v=dHwiJTay6GI

See alsp post 315
https://simplerguitarlearning.blogspot.com/2020/05/314-digital-fretboard-midi-controller.html

328. ONE CENTER AT EACH TIME MELODIC IMPROVISATIONS. THE INDISPENSABLE SIMPLICITY LAYER OF A MELODY.

This concept of perceiving melodies is probably the best, and we discussed it qute extensively in previous posts under therms like simplicial submelody, dolphin words etc. See e.g, posts 72, 282 etc. This technique  provides  a simplicity layer in  the melody , as simple as the chord progression of the song.

In this  concept of melodic improvisations, we conduct a simple sequence of notes of a scale as centers of the improvisation (e.g. 1-4-5-1) , with rather at will and by the feelings decided transitions, so that each note lasts quite long, but we also move much faster with rather random fluctuations with notes of the scale close to each center. The center though sounds much more than 50% of the time that all other embelishment notes close to it.
The transition from one melodic center to the next, has been called elsewhere as Dolphin word (see e.g. posts 72, 282) or melodic simplicial vector interval, or simplicial (sub)melody theme, or simplicial subtheme etc. In classical music it might be called the starting and ending notes of a melodic phrase, as , the melodic phrase isperceived as a little melodic journey which starts and ends in these two notes. Again the total duration ofthe starting and ending centers of a melodic phrase are supposed to last more than 50% of the intermeniate notes in total.
The group of transformations of melodic themes, does apply to the simplicial melodic themes (Dolphin words) , as translation, inversion, contraction-expansion or elongnation (dilation) and mutation.

This perception of the melody, is used also in an excellent way to write the basic bone-structure of the improvised melody without a pentagram, with as high simplicity as the chord progression. We simply chose one of the closest 7-notes diatonic scales, and we indicate the sequence of the melodic centers as ordinal numbers of the diatonic scale. The rhythm is based on the main rhythm of the song and it may vary as well.

327. THE BEST WAY TO LEARN THE GUITAR FRETBOARD IN THE STANDARD TUNING: THROUGH 3-NOTES CHORDS MAJOR-MINOR-DIMINSHED (SHAPES D A E SYSTEM) ON THREE CONSECUTIVE STRINGS OF THE MARKED DEFAULT DIATONING G-SCALE . THE 4 MODES OF CHORDS THAT ARE CREATED AEOLIAN ,IONIAN, AEOLIAN, FRYGIAN.

(This post has not been written completly yet)

THE BEST WAY TO LEARN THE GUITAR FRETBOARD IN THE STANDARD TUNING: THROUGH  3-NOTES CHORDS MAJOR-MINOR-DIMINSHED (SHAPES D A E SYSTEM) ON THREE CONSECUTIVE STRINGS OF THE MARKED DEFAULT DIATONING G-SCALE . THE 4 MODES OF 3-NOTES CHORDS THAT ARE CREATED AEOLIAN ,IONIAN, AEOLIAN,  FRYGIAN.


This method to learn the guitar fretboard in the stanrd tuning is best for melodic-and-chord improvisations.

We enrlarge below in more details with charts of the 3-notes chord-shapes of major-minor-dimished on three consecutive strings thata re created by the marked on the fretboard default for the stanrd tuining G-major scale.

326. HOW THE BLUES HEXATONIC SCALE FITS WITH THE 12-BARS BLUES? CHROMATIC TONALITY IN IMPROVISATION IN 12-BARS BLUES.

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) 

For the definition of the chords see e.g. www.all-guitar-chords.com, or the internet.

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. .