minor colortones

Chart # 2. Creating the core arpeggio based in D minor using the minor third / major third cycle of pitches within the consistent intonation of equal temper, looping at 24 pitches, thus twice through the chromatic looping of pitches. Example 1.

continuing upward...

continuing upward...

Here is the sound of the above pitches. Example 1a.

Here is the sequence of pitches created by the intervalic motion of minor 3rd / major 3rd taken from the arpeggio in example 1 above. And although only presented in one occurrence below due to space limitations, try to think of it as a continuum of pitches.  Example 1b.

Notice the motion by perfect fifth between every other pitch, creating the cycle of fifths.

Running the core arpeggio group of pitches through the triad filter. Example 2.

Ran out of space at the end, sorry, software limitations. The triads emerge. Note the minor / major cycling in their quality. Here is the sound of the above 24 triads. Example 2a.

Creating four note groups brings forth the 7th chord. Example 3.

These 24 alternating minor / major 7th chords find their way onto the tonal convergence chart #6. Here is the sound of the above sequencing of seventh chords. Example 3a.

By looping this group seven times and then extracting groups of 7 pitches, each of the 12 minor and 12 major key centers emerge. The following chart again uses 5 different colors to help separate the scales and reads left to right, top to bottom. Example 4.

Extracting the groups of seven pitches, creating the 12 Dorian minor and 12 Lydian major scales, we again create the major / minor sequencing. Here we weave the tonalities together as the occur on the chart. Example 4a.

Could we reverse the direction of the evolving tonal centers, or move backwards? C to B etc? Of course, but you knew that right? Chart 1a. Here are the above scale pitches written out by letter names. Example 4c.

Well, perhaps it is like comparing the resource potential associated with our brains? Out of the total resource of my personnel hard drive, my average i.q. is supposed to mean that I am using about 10 to 15% of what's available. So, same with my music? Out of 24 key centers, if I play a folk, blues or rock tune, I'm generally going to hang in one key, or about 4% of the available resource. In jazz tunes I like to play, visiting four or five key centers is not that uncommon, although two or three keys is more the norm, so between 4 and 18% or so. So even with visiting 5 key centers in one song, that still leaves 19 tonal destinations or about 80% of the resource untouched? Exactly.

Music is your own experience, your own thoughts, your wisdom. If you don't live it, it won't come out of your horn. They teach you there's a boundary line to music. But, man, there's no boundary line to art. Charlie Parker