Part IV

Actual application .


Let's take a common progression of a song in the Key of Cmaj A relative minor .

Cma7,A7,Dmin7,G7,Cmaj,Emin7,A7,Dmin7,G7,Cmaj

This progression is 162536251

For the first chord we use Cmaj6th scale of chords .

But let's zero in on the next portion

Cmaj7,A7,Dmin7,G7,.....

You see A7 is the V7 of Dmin7.

Dmin7 DFAC= F6.FACD

So we can use the F6 scale of chords to cover the A7,Dmin7 portion of the progression .
Let's see how.
EGA#C# ...Edim7 =A7b9 no root
FACD........Fmaj6 = Dmin7 DFAC
GA#C#E
ACDF
A#C#EG
CDFA
C#EGA#.....A7
DFAC..........Dmin7
EGA#C#
FACD

You see with this one scale of chords we can
Navigate the music structure of A7,Dmin7

Let's look back at our structure once more

Cmaj7,A7,Dmin7,G7,Cmaj

So far we have C6 scale of chords
Going into F6 scale if chords
Now we have left
...G7,Cmaj7
That's easy right back what we began with
C6 scale of chords .
( Remember the V7 Bdim7 contained inside of the Cmaj6 scale of chords outlines the G7 structure.

Now we have

Cmaj7,A7,Dmin7,G7,Cmaj7

Structure being navigated by
C6 scale of chords ( Cmaj7
F6 scale of chords (A7,Dmin7
C6 scale of chords (G7,Cmajor

Now the second portion is 3625
Emin7,A7,Dmin7,G7,Cmaj7

We can use what we already have here because the Emin7 is only a substitution for Cmaj7.

But you can also use the Emin7 (G6 scale of chords

G6 GBDE = Emin7 EGBD

The dim7 semitone below is
F#dim7 F#ACD#

So

F#ACD#...B7b9
GBDE........Emin7
ACD#F#
BDEG
CD#F#A
DEGB
D#F#AC.....B7b9
EGBD........Emin7
F#ACD#
GBDE

 

What should be taught when:

The diversity of style in the music of the twentieth century requires more than one system of analysis. Several systems have been proposed, but none appears to be useful for all styles of music.

 

come on radioactive.....its not rocket science ...its art.....ears open have a jolly time

 

This is correct, there are several languages.(for 12tone e.t.)

Tonal language.
Modal language
Polytonal language
Atonal language.

I have focused mostly on Tonal language .
And have talked some about modal language also
Polytonal language uses multiple different keys at once , and is less commonly enjoyed by the public but good to learn and get into later on for study if you want.
Atonal language is a arbitrary man made system
Which has non musical made rules which when developed was just an attempt at innovation
However , the sound is despised by most people most of the time ( I enjoy a lot of it actually )
It's good for musical scholars to learn that's about it.
There are several languages outside of equal temperament.
This systems are based on geography and culture . These are mostly significant to native people's as cultural and historical study.
They have made little impact in musical taste and music culture ( other then small communities)
For instance microtonal language ( and it's subcategories)

When we take all of that into account there is a highest percentage of impact placed on Tonal language and modal language of 12tone e.t.
Therefore that's is what I have discussed.
( These are the most significant impact on the music from around the world.)
I personally believe if you can though ,
Please take time to study these others less impactful languages .
.

 

Secrets of the scales
Part I
Shape movement .

We take C major key break it down to diatonic chords and modes .

1.CEGB.......CDEFGABC
2.DFAC........DEFGABCD
3.EGBD.........EFGABCDE
4.FACE..........FGABCDEF
5.GBDF..........GABCDEFG
6.ACEG..........ABCDEFGA
7.BDFA..........BCDEFGAB

Now we are going to focus on navigating the C major scale , from the perspective of each chord .
By following a specific shape .

( This helps us to be able to outline the chords with melody and move in ways other than most basic.
By getting used to several ways to move around we develop our ability to create more original music .)

We begin with this pattern which we then take through each mode . The pattern outlines the chord through melody.

Pattern is 12345431
And the pattern showing strong beats
12345431
Can you see how it uses the diatonic scale while outlining the chord?

Let's use it
1.CEGB..........CDEFGABC

Here is what we get .
CDEFGFEC

2.DFAC......DEFGABCD

DEFGAGFD

But watch adding both of them together.

CDEFGFECDEFGAGFD

You see they connect to create an Ascending
Melody which outlines the chord while climbing to the next chord up.
Let's now see all the ascending patterns .

3.EGBD.....EFGABCED

EFGABAGE

4.FACE.......FGABCDEF

FGABCBAF

5.GBDF.....GABCDEFG

GABCDCBG

6.ACEG.......ABCDEFG

ABCDEDCA

7.BDFA.......BCDEFGAB

BCDEFEDB

Now we have done each one on its own,
Let's combine them all into one pattern which ascends the c major scale outlining the chords melodically with this ascending pattern.

CDEFGFECDEFGAGFD.EFGABAGE.FGABCBAF
GABCDCBG.ABCDEDCA.BCDEFEDBC long

 

Part II ( descending

Now we have seen ascending the scale with this pattern 12345431

Now for descending our pattern is
12343216
And here is the strong beats
12343216

Remember this pattern is for descending
( CBAGFEDC)

1.CEGB.......CDEFGABC

CDEFEDCA


7.BDFA........BCDEFGAB

BCDEDCBG

Now, before moving on to the rest let's first see both of these connected .

CDEFEDCA.BCDEDCBG.ABC.........

you see , the pattern outlines the chord with a Melody while descending the c major scale.

Let's now continue with the pattern for the rest of them and then see them all connected .

6.ACEG.............ABCDEFGA

ABCDCBAF

5.GBDF................GABCDEFG

GABCBAGE

4.FACE..........FGABCDEF

FGABAGFD

3.EGBD.............EFGABCDE

EFGAGFEC

2.DFAC.............DEFGABCD

DEFGFEDB

1.CEGB........CDEFGABC

CDEFEDCA

There is each one outlining the chord .

Now let's combine them into one melody which descends through the C major scale while outlining the chord . Here is the whole thing.

CDEFEDCA.BCDEDCBG.ABCDCBAF.GABCBAGE.
FGABAGFD.EFGAGFEC.DEFGFEDB.CDEFEDCAC.

Now we have seen the ascending pattern and the descending pattern
Please go slow at first take your time and let it flow naturally.

 

Maybe @23322332 could explain it better.
It's so complicated that I don't know from where I start.

 

incomprehensible........ careful radioactive.... you begin to sound as gratuitous as our old friend FOSTER....!!!! mmmwwwwaaahhhhhhh

 

Are we going off topic again?

 

apologies......

 

OK, guys, let's play the same game again. Next off topic comments got a 2 point warning each.
You decide.

 

great stuff MMJ ...one question...do you present these scales as a means to access fragments and phrases of melodic material......while the chord sounds?

 

Yes, that is right .
There is a hierarchy of.
1.form ex.AABA
2.KEY...ex C major
3.progressions ex Cmaj, Fmaj7,Fmin6,Bb7,C6
4.Chord ex Fmin6 FAbCEb
3.scales ex Fmelodic minor FGAbBbCDE
4.individual notes. Ex melody Ab C E Down F
This level is what gets heard as sound.

So when using as scale you are basically zoomed inside of form, inside key, inside Progressions, inside chord.
That is the level of detail which the scale you are using exists at.

In this example you are in the key of Cmajor .
Then accessing the IVminor progression
Cmaj,Fmin6,Cmaj

You outline the chord tones then use the F melodic minor scale which resolves back to Cmajor.
Everything exists inside key of C major .
Even though you use a subdominant
Category progression C major is the key and focus .
Try this .

Dmin7,G7,Cmaj,Amin7
Cmaj,Fmin6,C6

You always have a scale for each chord in the progression.
The initial key lays out the tonal focus
( But does not)
Have anything to do with scales over chords.
The scale of the key is zoomed out level compared to the zoomed in level of using a scale over a chord
( Some people don't know this.
I'm not acussing anyone in particular )

Here's another example though.
This melody

D down C down B up C up E up G

Represents.
Dmin7,G7, Cmaj


Now you have several scales to choose from.
You choose based on the function.

If we have a turnaround in C major .
Cmaj,A7,Dmin7,G7,Emin7,A7,Dmin7,G7

See the Emin7?
It's a tonic chord in C major same as using C major .
So you wouldn't use a subdominant scale like Dorian you would use Cmajor scale , or Clydian , or C6 scale of chords
Take A7
That's A V7 ( dominant ) of Dmin7
A cadence .
So you use D Lydian dominant, or G harmonic minor scale
Take the Dmin7 , that's a subdominant function ( cadence to Cmajor
You use D Dorian scale there.

After explaining that
You always are able to use the chromatic scale where chromatic notes are in the off beat for Any chord.
Ex.
A part of song is Dmin7,G7,Cmaj
So a cadence in C Maj
Now let's zoom in
Only taking about Dmin7 chord portion.
And going to create a Melody
Based on that subdominant function .

E C# D F A C

The E and C# notes represent the V7 of Dmin7
So A7b9 to Dmin7

You always can add a Cadence to any chord in the progression
If you have Dmin7,G7,C6
You can always have
A7,Dmin7,G7,C6
Now if you turn it around
C6,A7,Dmin7,G7,

 

Last edited: Jul 29, 2019

If we take key of C major.
The Bdim7 chord.
BDFG#
Expand it's 4 dominant 7th chords.

Bb7,C#7,E7,G7

Take G7 our V7 of C6

So you have a Dmin6 with G root
DFAB
Over
G
Well Dmin6 used D melodic minor scale
DEFGABC#D
If we look at fourth mode
GABC#DEFG. G Lydian dominant

It's GBDFAC#E G13#11
All the notes in the scale are extensions that work on a G7 chord.
We know G7 is V7 of C6 the I tonic in Cmaj KEY
What about the other 3 dominant chords that come from Bdim7?

Look at Bb7

Bb7 = Fmin6 over Bb
Well F min6 = Fmelodic minor scale
( This our IV minor progression )

FGAbBbCDEF F melodic minor look at
It's 4th mode
Bb Lydian dominant Bb CDEFGAb Bb

What about our other 2 dominant chords which cone from Bdim7?

Take E7.
EG#BD
Bmin6
Over E
Bmin6 = B C#D E F# G# A#
The 4th mode is
E Lydian dominant E F# G# A# B C# DE
All 7 notes fit over E7 ( V7 of A relative minor .
And in C major E7 is the III7 progression
Cmaj,E7,Cmaj
You just use the E Lydian dominant scale over that chord .
( Note can also play it as
C6,Fdim7,C6 ( Fdim7 is rootless E7b9

That leaves our last dominant chord which comes from Bdim7 BDFG#

C#7
C#FG#B
G#min6 over C#
G#min6 = G# melodic minor
G# A# B C# D# F G G#
The 4th mode is C#
C# Lydian dominant .
C# D# F G G# A# B C#
All 7 notes fit over C#7
( C#7 is the G7 altered.
So 4 dominant chords stem from Bdim7
They are all tied into C major and A relative minor
In C major G7 is V7, C#7 is tritone sub
In Amin E7 is V7 ,Bb7 is tritone sub
The Bdim7 BDFG#
The Ddim7 DFG#B
The Fdim7 FG#BD
The G#dim7 G#BDF
Are all representing all this based on what you add to the one Dim7 chord you can break it out in all those ways and situations and the scales which fit with those progressions and chords.

This information I'm describing is built into the fabric of music itself.
It's not man-made fabricated .
This is how all the progression and substitutions for a key works.
How scales and what scales for chords.

This works same for all keys.

But it goes so much further I just described Bdim7 related to 1 key Cmaj A rel min.
But i
Look

Cmaj key Eb Maj key F# Maj key , Amaj key
All use Bdim7
And what I just described holds true for these 4 keys .
This is because there is a larger structure than a key.
A " key collection "
Just like a note collection is called A scale
There is a key collection also
( All a key is a link between a major and minor cadence that's all )
Key of C major and A relative minor is linked by Fmaj7
And same for all keys.
Then a key collection is 4 keys linked by 1 dim7 master chord.
Bdim7 BDFG#
Is linked to 4 major keys.
Cmajorkey
D#najorkey
F#majorkey
Amajorkey

And everything I described in the beginning about c major holds true for the other 3 keys related to Bdim7
As well.
Once you learn this information.
You will know every progression , substitution, scales for keys , then what keys are related .

All this is built into music itself .
It's how music works.
The " secrets of music"

 

Last edited: Jul 30, 2019

Let's zero in on the fabric of music some more.
If we look at the G whole tone scale
G A B C# D# F G
All notes are a whole step apart
This is symmetrical.
This means what ever form we find in there is applicable to each note in the scale because they all are equally important .
It is a package of information just like A Dim7 chord is .

G wholetone GABC#D#FG
If we think key of C major , V7 G7
We can build this chord
GBD#FAC#
G9#5#11
However look at this .

GBD#FAC#
AC#FGBD#
BD#GAC#F
C#FABD#G
D#GBC#FA
FAC#D#GB

Each one of these chords is a V9#5#11
Yet ,
All these notes are in one scale
The
G wholetone scale.

Let's look at the other ( only 2 wholetone scales)

C D E F# G# A# C

Think the secondary dominants ( In Cmajor)
C7
D7
E7
DF#A#CEG#
D9#5#11
But as before look
DF#A#CEG#
EG#CDF#A#
F#A#DEG#C
G#CEF#A#D
A#DF#G#CE
CEG#A#DF#

Each one is a V9#5#11 chord,
Yet all these chords use the notes and only the notes in C wholetone scale
C D E F# G# A# C

This is a way to package a lot of information about the chromatic scale broken into 2 symmetrical equal scales , then related to a key .
Symmetrical shapes in 12 tone et are the key to packaging the way music works into your subconscious to use on the fly using
Psychological " chunking"
To avoid the limitations of the small number of objects we can fit in short-term memory .

 

Last edited: Jul 31, 2019

hi MMj thanks for a great inspiration mate.....could you elaborate on real world use of this info when composing melodies and harmony please??

 

Deleted!
Sorry. I found the answer to my question.

 

Last edited by a moderator: Aug 1, 2019

Hello my friend, thank you.
Yes you got it

Let's say you are in the KEY of C major .

Let's say your structure is

Cmaj7/ A7/ Dmin7/ G7/ Emin7/A7/ Dmin7/ G7/

So we have 1625,3625
The 3 in the 3625 is a substitute for 1 so we essentially have the same progression twice.
Let's take the first half.

Cmaj7/ A7/ Dmin7/ G7/

We can see that in our 1625

Our 6.ACEG Amin7 has been changed.
It is turned into
5.AC#EG A7
It is a V7 of Dmin7 .
This strengthens the landing in Dmin7.
Then we have our G7 V7 of Cmaj7.

So
Cmaj7/ A7/ Dmin7/ G7/

Two are dominant chords.

If we look at our G wholetone scale.
G A B C# D# F G

We have GBD#FAC# G9#5#11
And we have
AC#FGCD#
A9#5#11

So we can see a dominant chord
Which shares all the same notes
As the other dominant chord.
However sometimes the #5 can be pretty harsh.
Maybe we want to remove that.
GBFAC# ( G9#11 no 5th
AC#GBD# ( A9#11 no 5th

Now keep in mind we will keep in back of our head
To use the sharp 5ths on the "off beat" just not on the strong beat which defines our harmony.

So in our 4 chord progression .
2 of the chords are 7th chords.
Cmaj7/ A7/ Dmin7 G7/

It is during that time period we can use this information about the symmetrical wholetone scale
.
Now before we write what to play on the 2 other chords , let's just look at our options for the 2 dominant chords which we are applying this wholetone scale.

A7 then G7

G7 is GBD#FAC# with D# only used on off beat
A7 is AC#FGCD# with F only on off beat

So F augmented over G augmented .
Then same thing in inversion

Check this out .
For A7 that comes first in progression
The chord which comes after it is DFACE ( Dmin7
So the A7 is going to resolve to DFAC
AC#GC..D#
13...79#11

We can have the #5th F on the off beat
Now because we can think of Faug over Gaug
For both chords look
GBD#FAC# Faug over Gaug
13#579#11

AC#FGBD#
13#579#11 Gaug over Faug first inversions

We just have to take care in not putting the #5ths on the beat ( if we want less crunchy sound)

So first let's skip our Cmaj7/ for now and just create the melody for
....A7/ Dmin7.....

AFC#D#GBC#ADACFEC
.that gives us the A7/ Dmin7 portion
Now let's
Write the melody for the G7 portion
As before think Faug over Gaug ( D# on off beats

DACFEC.BD#GFC#A

Now we have the G7 portion of the melody.
Let's make the first portion Cmaj7/
Lead nicely into the A7 which comes after it .
But also keep in mind the G7 which comes before it.
EGCBEC.AFC#D#GBC#A.DACFEC.BD#GFC#A

There is our Cmaj7/ A7/ Dmin7/ G7

We can slightly change around things if we want for the second portion
Emin7/ A7/ Dmin7/G7
But we don't have to, we can simply repeat our melody twice to have some repetition in a good sense. ( Maybe changing couple tiny parts second time through)

In summary we looked a the Key of C major a
Common 1625,3625 progression .
We took the 2 dominant chords A7 and G7
And then, using the previous information about the symmetrical wholetone scale which connects dominant chords a wholetone apart ,
We used that information to think of and use
Faug and Gaug as the basis for A7 and G7
( While being careful the #5ths on the beat)
We used this to create the melody for them 2 chords to be able to move the melody in more musical way .
Finally we added in the other 2 chords to complete the whole progression , by constructing their melodies to make sense with the melodies which came from the Faug Gaug which we began with.
( We made sure at the point of chord changes the melodies are seamless and represent the resolutions well.)

 

Secrets of the Wholetone scale.

We looked at G wholetone

G A B C# D# F G

We seen how we can make this
GBD#FAC# ( Faug over Gaug )
13#579#11

We can even leave out some notes
GBFAC#
1379#11
GBFA
1379

Now we can build these chords for each note in the whole tone scale .

GBD#FAC# ( G9#5#11
AC#FGBD# (A9#5#11
BD#GAC#F (B9#5#11
C#FABD#G (C#9#5#11
D#GBC#FA (D#9#5#11
FAC#D#GB (F9#5#11

Now a version with no #5
GBFAC# ( G9#11 no 5th
AC#GBD#( A9#11 no 5th
BD#AC#F (B9#11 no 5th
C#FBD#G (C#9#11 no 5th
D#GC#FA (D#9#11 no 5th
FAD#GB ( F9#11 no root

Now a version with no #11
GBFA.....(G9 no 5th
AC#GB ( A9 no 5th
BD#AC# ( B9 no 5th
C#FBD# ( C#9 no 5th
D#GC#F ( D#9 no 5th
FAD#G ( F9 no 5th

Now a version with no 9th.
GBF ( G7 no 5th
AC#G ( A7 no 5th
BD#A ( B7 no 5th
C#FB ( C#7 no 5th
D#GC# (D#7 no 5th
FAD# ( F7 no 5th.

Now a version with no root. ( Tritones)
BF
C#G
D#A
FB
GC#
AD#
BF

 

 

Last edited: Aug 1, 2019