colortone series experiment / results

Chart # 4. Convergence "area" of the dominant / Five chord type creates the following harmonic pathways towards the major tonic.

The extending of each of the chord type arpeggios based on the equal tempered colortone series can potentially expand the resource. The overall concept here, as previously stated, is to view possible scale choices associated with various chord types as a group of pitches to create melodic ideas from over that particular harmonic color. If one was to apply this concept to the major scale, the melodies created with this group have warmed the hearts of endless generations and today continues to yield new, interesting and important combinations. For instance, the American classic "Home On The Range" and Charlie Parker's bebop classic "Confirmation" are two melodies created from the pitches of the major scale that tell two very different stories.

From charts #4 and #5 below, the polytonal implications are obvious. E maj / G, A maj / G etc. Perhaps these chordal possibilities will yield new directions for scale choices and voicings, whether accompanied with a Two (ii-7) chord or not. The scale choices are pretty generic, George Russell's book, The Lydian Chromatic Concept of Tonal Organization thoroughly outlines further concepts in scale choices.

Chart #5. Pitch analysis of each of the chords within the chart in regards to G dominant harmony converging towards C major.

Results. A musical realization of each of the above colors using a dominant pedal underneath and a bit of the color in the chord then resolving. Watch for enharmonic spellings in a few of the following ideas.

So, have a sense of what might be "out there" from the upper part of the dominant colortones? Find any convergence lines you dig? Maybe run that color through the other 11 major keys? Any of the above ideas sound tempting towards the minor tonality? Can we simply apply any convergence color that utilizes pitches of the natural minor environment?

Chart #6. Can we combine each 4 note segment from each of the charts into Two / Five / One groupings of seventh chords? That if sequencing the first 4 pitch grouping from each chart creates the diatonic D -7 / G 7 / Cmajor 7, what Two / Five / One grouping is created by sequencing the next 4 note segments of each of the three charts together in this fashion? Thus, each of the seventh chord entries actually correspond to one another as we move step by step through the interval charts? Do these pairings constitute possible substitutions for that particular harmony? Can we define tonal proximity by degree of diatonicism? That's a yes. One way into this is to examine the tritones in each of the groupings and look for numerical patterns. Can we create cycles of chords that we dig and substitute them into jazz standards? Perhaps write our own compositions based on our discoveries? Potentially some important questions for the creative musician.

Here are the systematic Two / Five / One groupings from each of the three interval charts with a description of each entry. As cool ideas emerge, perhaps write them out. Click printable manuscript for musical scratch paper.

Profile of Experiment. When a player expands their tonal resources to include the upper structure components of the naturally occurring overtone series of the equal tempered system of tonal organization, the tonal gravity of their melodic and harmonic lines potentially takes on a "softened", less "tonally" centered or directed character. Jazz legend Charlie Parker described his experimentation with these same upper structure components while shedding over the changes to "Cherokee" as one of the "turning points" in his artistic growth. It usually takes time to assimilate and accept these upper extensions as sounding "correct." The execution of the arpeggios from their fundamental pitches provides the "springboard" into the their upper structure components. This kind of approach to creating lines is all over The Charlie Parker Omnibook, one of our American music bibles. This may be especially true when initially addressing dominant seventh harmony and its myriad of potential upper structure alterations and configurations and voicings. As artistic strength is gained with these resources, the necessity of always outlining the entire arpeggio to clarify the upper partials is gradually reduced, freeing up the player to potentially create melodic and harmonic lines that encompass a wider range of "colortone colors", while reducing the dictating force of their usage, i.e., tonal gravity. Thus, a potentially "freer" and more colorful aural and tonal palette to create from. This level of understanding and execution, whether cognitive or intuitive, is generally indicative of a thorough grasp of the tonal resources provided by the equal tempered system. Depending on your artistic goals, this "level" can become a very cool place to hang out. One aspect of this artistic freedom I term tonality without a tritone, check it out if you are curious. With this in mind, here are links to the other arpeggio experiments and topics in this section.

The secret of success is constancy to purpose. Benjamin Disraeli