Cool with the numbers?

Yep, cool with the numbers. Nice title huh? The gist of this discussion is based on simply turning lettered musical pitches into numbers. So, that in thinking of the key of C major, the pitch C can also be referred to as the number one ( 1 ) ? Yep. So, does being "cool with the numbers" facilitate for theory ideas to be quickly and confidently projected from any of the 12 pitches of our chromatic scale? Yes, it definitely can. Is this "cool with the numbers" where the musical intervals can organically begin to emerge? Yep. Is the 7 / 5 / 12 thing part of this coolness also? Can we apply this number coolness to scales, arpeggios and chords? Yep. Any of the musical styles? But of course!

Must we know the "numbers?" Of course not, there endless paths to arrive at the central pillars of enlightenment of our equal tempered system. Pour moi, as a lover of numbers early on, applying the numbers to music theory was such an exciting re-discovering of my early love of learning math. Fortunately for me today, the musical numbers top out at 15 or so and there is no real complex formulas or manipulations, but simply to use the numbers as a way to label and identify musical sounds and colors. as well as check our musical math. Here is a chart matching up the numbers with the C major scale, we commonly call these numbers scale degrees. Example 1.

So, the pitch C is # 1 or the first degree of the scale? D is # 2, the second and so forth? What if it was a G major scale. Then G would be # 1 eh? How about Db minor? Then the pitch Db is #1, the first scale degree of the Db minor scale. Cool? So, the first pitch of any scale is one? Yep. Major, minor, pentatonic whatever group? Yep. Easy enough eh? So, with this in mind...

If it is always the 3rd scale degree which determines whether a scale is major or minor, can we apply this rule to any of the 12 major scales? Exactly. Lower the 3rd scale degree of any of the 12 major scales and it becomes a minor scale. Can we raise the 3rd scale degree of any of the minor scales to make it major? Yep, but you knew that right? So learning music theory can become a numbers game as opposed to letters? Totally.

So, we can basically learn any theoretical concept with the pitches of one key, then translate the idea into a numerical representation of the idea? Yep. Can we then project the same numerical theory from each of the 12 pitches of the chromatic scale by applying the pitches / key signatures of any of the 12 major or 12 minor keys? That's the idea, cool with this?

What about the harmony / chords? Can we build and name chords on each of the scale degrees of the major scale with numbers? So thinking C major, is the One chord built on the root C? Is the Four chord on the root F in the key of C? G is the root of the Five chord? Yep, yep, yep and yep to the last four questions. It really is that simple n'est pas? Example 1a.

Can we apply numbers to the pitches that make up a chord or it's arpeggio? Of course, but you knew that right? Here we apply the numbers to the pitches of the C major arpeggio. Example 2.

So, if C is the root, is E the major 3rd of the chord? G is the 5th? Is B the 7th of a C major 7 chord? Tis is. Easy enough eh? Is the flatted 5th simply Gb? Yep. Really? For sure, check out the common alterations as often applied to the more complex colors of jazz harmony. Example 3.

Sharp 15? What in the world is that? Well, ya didn't think the arpeggio just ended did ya? Is that like thinking that the world is flat? Na, not really, but our equal tempered way of tuning is a closed loop of pitches yes?

What about the labeling of chord progressions within a tonal center? Do the numbers apply? Why, absolutely! Although we get a bit more sophisticated in labeling chord progressions. Theorists like ourselves often use Roman numerals to designate the various chords within a chord progression. Here's the idea. Motion between One and Four in the C major tonality. Example 4.

So, simply apply the appropriate Roman numeral to a chord's position within the progression? Yep. So, C is the first scale degree, the chord built on the first scale degree is the One chord yes?, so we can identify it within a chord progression as an upper case, Roman numeral One ( I )? Easy enough eh? Why upper case? What if the chords are minor?

In designating minor chords using Roman numerals within chord progression, theorist use the lower case version of the symbol. Examine the numbers as applied to harmonic motion using One and Four in the minor tonality. Example 5.

Can we use the upper and lower case Roman numerals together? Of course, we do it all here. Example 6.

In this last idea, we identified each of the diatonic chords within the major tonality with it's proper Roman numeral. So, the Two, Three, Six and Seven chords are minor triads within the major tonality? Yep. Only the One, Four and Five chords are major? Absolutely.

So, although the concept is pretty simple, the ramifications in regards to learning the theories of equal temper are potentially pretty giant. A musical element as designated by a letter, can also be numerically identified by it's position within a tonality, thus allowing for it's numerical theory to be projected from any of the keys of like tonalities. Cool with this? Is this being "cool with the numbers" important to your music? So simple yet so cool is the magic of the equal tempered world yes?

So, are you "cooler with the numbers" after reading this page? As one of the central ideas of this text, projecting the same numerical theory from each of the 12 pitches of the chromatic scale is simply one way to understand the theory. O.K. with this?

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review new ideas

Other artistic concepts? How about artistic techniques?

Knowledge is the most precious treasure of all things because it can never be given away, stolen or consumed. Sanskrit proverb