dominant colortones

Chart # 3. Creating the core arpeggio based on G 7, within the consistent intonation of equal temper, looping at 24 pitches to include each pitch twice. Example 1.

continuing upward...

continuing upward...

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

Extracting the dominant arpeggio core and highlighting the pitches that create the convergence area from within the entire arpeggio. Example 1b.

Interesting that the disruption within the major / minor third cycle created by the minor 7th pitch F natural is "corrected" as we move up into the arpeggio. Compare the three cores of One / Two and Five chord types. Here we highlight the pitches of a 7th chord from the root G, the dominant or 5th degree of C. Example 1c.

Again the idea that the consistent cycling of major and minor 3rd's is "broken" only to accommodate the minor 7th / tritone of the dominant chord coloring, F# lowered to F natural.

Running the dominant core arpeggio group of pitches through the triad filter, reading gradually down and to the right, following the different colored three note groupings. Example 2.

Ran out of space at the end, sorry, software limitations. E G B are the pitches. The triads emerge. Here is the sound of the above 24 triads. Example 2a.

Creating four note groups brings forth the 7th chord. The first 8 of which create the convergence chart. Example 3.

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

Trying to loop this group and extract groups of 7 pitches as with the One and Two chord types goes a bit goofy because of the tritone. Again, the initial area of the dominant core arpeggio with the tritone disrupts the major 3rd / minor 3rd cycle, so no clear cycling of scale colors. Example 4.

Here is a chart of the scales that emerge from perfect repetition of the dominant arpeggio. Example 4a.

Well, most of the diatonic modes of C major appear, although no Phrygian, Mixolydian or Locrian modes directly emerge, mostly Dorian and Lydian. The Ionian / major scale appears though, finally. And these missing modes could be diatonically created from within the Ionian mode yes? Here is the sound of the above chart. Example 4b.

Quite a colorful, dominant extravaganza eh? Here any coolness for your music?

Even if your on the right track, you'll get run over if you just sit there. Will Rogers