A System of Tonal Convergence

CIRCI,E OF GRAVITIES(CHORD AND SCAI,E ) FOR F M.{,JORTOIIALITY

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Three trltoncr ( c-"# ) , (c-* t&( E- gf ) en lnvolvcal. Eech chord corcr f ror r c r l a ( o n s a n . l i n c ) r n d cLthcr ern convergr or borbrrd thc F r | jor to n l i t y . h o r d .

Foreword

I f

I ..?

) : .l

I I

A si n g l e

n o te re mo ved fr om the chr or natic scale has a r ela ti on_ ! : : : f t o e ve ry re ma i d i n g tone. If the tode r epr esents a tonali ty : : { e v ce n te r, a l l re ma i n ing inter vals chor ds and scales have a : = : : a i n typ e o f co n ve rg i n al r elationship in a cadential r notion : a : s e t o th i s ke y ce n te r. Each r em aining tone is a constituent of : : : , : - e t g e n t sca l e s a n d th e i r chor ds that ar e embodied an the chr om ati c a::-e. In n y co n ve rg e n ce system I use 24 scales on var ious tonal i _ :::: a n d o f va ri o u s co l o rs ( B1ues, dininish, augnented, pentatoni c , = _ - . : _ : i a r , d e sce n d i n g , sp a n i sh, m odal & dor ian Jazz minor ) , to - - : - - : _ < a r a te th e ma n y p o ssi b i .lities of use in com posing, inpr ovisi ng : _ - - s c r arra n g i n g . E a c h sca l e rn a y b e u se d as taw nater ial for convergent ideas : ' : : : 1 1 a p i e ce o f mu si c a s well as m any chor dal s o u n d s e x t ra c ted T h e s e sca l e s & th e i r :: : e ; n e r ) : :: e r e s t i n g

chor ds r nay be combined ( sever al

i n se ve ra l to ta s var ying mu si ca l u su a g e of color

their ( Ar *,

of th er n

or der and making m or e +, o, 7th) .

The i s th e e xp anding of hear iing toler ance incr easing ::e 9usicians ear a\rareness to the entire tonal resources of the : ::: c:itat i c s ca1e. -: : c i t a n t

fa cto r

The usuage of these scales in turnbacks , c a d e n c e s and cyc 1es ;: 1 i c h c o mp ri se a l l mu si c) i n Jazz yields a rrider source of ideas :a: the inprovisor _conpos er_ arranger .

H

S e t t in g A tonal ::

gravity

a key).

:::er

The key of

chords

= .a zz

no natter

inprovisors

:::1va 1

energy

a:::oa ch ment

c re a t e d

th e n u s ic

e x e rt s

the overa ll

finality

mo me n t o f

- ;:- - a:e the

process ( 1yr.

;

:::;

see d hopefully

r J:

Da n e Rudhyar in

::a:es

"the

:::e g r e a test

alt

of

of

all

Eve r ything = sig n ifi cant It

v a rio u s

is

:a :r al

: ld

cycle is

this

bringing

the

in t o

of

t rd e lf t h

for

c re a E e d u n de r

h o u s e in

a s t ro log y

c o me s c o a c lo s e ,

a n e rd c y c le

of

e x p e rie n c e

Ho u s e s

t o a c re a E a v e e n d i s

arts. came b e f o re

ma y b e 1 a r: g e 1 y f o rg o rt e n

but

system.

e n d , , t o wh ic h

To end mu s ic a lly variety

for

of

s c a le

I h a v e c o mp ile d

: :r r on e .

a rn a j o r c a d e n c e o r c o lo r

an unfo rg e t t a b le

planes

approach

A kiDg walks

Wine is

& t h e ir

c o n s c io u s

V convergent

New york

do1'n the

a convergent

a r:e p r e - g a me convergent s :a n d a r d

such

t h is

le s s e r

c o n s E rE u e n t e n d , wh e le v e r

r o a y l i e.

the world.

a

g ro wt h .

b o o k o n T h e A s t ro l' g ic a l

e v e ry

t h is

g ro p in g

f o rmu la s

h u ma n e x p e rie n c e

poe t ic

"significant

of plane

)Iady air

H

of

to

consolid a t e d

his

that

cad ence with

' .'at:ie ty

equiva le n t

by

end 1,r'i11 be un f o rg e t t a b le . , ,

:a:\'e r g e n ce

:.

is

anassed in

T h e we ig h t f u rio u s

mu s i c

o n a ll

re le a s e d

t:essu r e . This

p u ll

T h e e n e rg y

k e y c e n t e r.

th ro u g h

t o p la y

a g ra v it y

ha s t o b e c lima t ic a lly

causes a la s t

to

o n c e y o u s t a rt

wha t t h e y rn a y b e .

solo

',Horne" to

::- e a se d

1aw is

t h e Mo o d

chord

aisle

p re _ d in n e r

exerc is e s

to

from many convergent and converges b e v e ra g e .

f o o t b a ll

th a t

cities

on his

Ca lis t h e n ic s

p la y e rs .

t o E b min o r & ma jo r

chords

t o n a lit ie s

g ll

is

a

a s rr e l l

1

t

I

I

is

:a:lv

other

chords

a n d their

par ent scaLes in this

convergent

The Effect

rhe Lydian Concept l{ad On Me

: iras exposed to the Lydian Concept around 1963 by Dawid :i::=:. ::

T h i s vi e \n p o i n t o f the chr omatic scale opened m y hear ing

::e

:-:::s

toint

i nte rva l s

:-=r-€:

o r sca l e s became useful

g i ve n ch ro ma ti c fa br ic

a:,'.' design (riith

::at

taste).

I

to .

Ma j o r:, mi n o r,

: i t e g re e n , b l u e ,

-:.::

!:..;-:ig :::--

A11

to me in any fune I

could be woven into I immediately

: : . - e s o f th e co n ce p t n o ti c ing :.

in music becam e useful.

)Jy h e a ri n g e d u ca tion gr ew consciously ,vher e the entir e

-:.::a: ::

w h e re e ve ry i nter vaL

L i s t en i n g

the sound "color "

that David pul l ed

r ed & yeLLow of the color

a n d par allelism

to Jo h n C o l tr ane,

= : : c Er y u si n g ma n y d i ffe rent -:.-).

experimented 1,/ith the

augmented, dom inant & diminish beca m e

b l a ck ,

a n a n i fe sta L i o n

m usicaL fas hi ons

of two ar t

speccr um

for m s.

This ,

yusef Lateef and other s cause d

scale "co1or " types on one chor d

T h e 7 th ch o rd h a vi ng the all

inDor tant

tr itone

host the

of all the choid types. ( 7thb5,7b9, - a : : e s t a n d rn o st fl e xi b l e Ll - : - - . . 5 , 7th 1 .9 , l rh # 9 0 5 , ltnb 9 D5 ect) . This in ir setf show ed --:r_,' interval

coLors l,lithin

I n oti ce d

th e cl o si n g

one chord. cadence of a tune wher e a1l the pr io r

t h a t ca me b e fo re su b jugated itself for the ar r ival -::slc : : e G r e a t T o n a l i ty, th e d o or closing on that octave. It :lis

j u n ctu re

final

:roticing

all

(II-V )

"hom e,, to was at

wher e my conver gence system was con c ei v ed,

rh e ch o rd p o ssibilities

on r he final

5th chor d in r he

ca d e n c e . I rernember the recordings II-V's) :or

and listened

t h e s e tu rn b a cks.

rhere Miles

Davis used tags ( doub 1e

to Heribie Hancock cr.eate ne\n,harmontc pallettes T h i s cr eated the em otional stimulus

I

for me

I I

t I I

r I I 1 I I

:_ ::

,::- :.1:19 a molecule

a n e we n L t o

lo o k

::--a _',.dian Concept opened an organized r ::::::- :.e

connector

:- ::13 :::

with

: i::a :!ive :

increased

conductor

:::.:::s:.

(B alance

world

use of

"chance

of

c o lo r

t a k in g , ,

suDstitution

type

s u b s t it u _

a c c o mo a n ie d v i t h

ene rg y .

at of

in t o .

a n d p e rmit t e d

how to prolon g

::=::=:.

l .e

trito n e

rhythmic

:earned

the

t e n s io n

b y b e in g

a n imp ro v is o r,

s a me t in le re me mb e rin g

lengt h

of

t e n s io n

t h e p o la r

la i. v o f

& re le a s e ).

l_ydian Concept mad e n e a wa re o f

p la n e s _

V e rt ic a l

&

-,i=:;..="r shoriinggeonetry& music. r sa\./& see lfil"lf).r..r" _- :.::se

as being

n :- ::- - i :- : ::

:- - a vettical =:i : e :i ment :.e

all .

alr

types of

o f mu s ic a l

other

convergence

iL \,7ith 24 scaLes,

ltis

containing,'

has this

the

g re a t

mu s ic a l

t o n a lit y

,'tonal

a mix t u re

The najor

the

(or

7th c h o rd

dominant

Th is.c onvergence

of

p la n es

t o n a lit ie s

of

t h e m,

, , T ON E L

the

bombar:dment of

s ig n if ic a n c e , ,

and minor

a n d it s for

q u a lit ie s

system is

emergency of

convergence)

q u a lit y

fleeting

Th a n k you God, Gurdjieff, i1c:her,

T h e h o ri z o n t a l

& Lesser

system sho\rs a fixed

bombardment process

':liton e

:o reet

g e o me t ric

a t mo sp h e r e s

t h e ir

to

id e a s

t h en

and

chords.

..

:usic --: eie a se .

f o rms .

Concept expo s e d me t o g re a t e r

became humble u n d e r

This

:::,s:1 :ue n t

a n d a lL

!,/ith.

:_ .'- e chor:d thaL we \,/ant t o g iv e

::::::c

:..:

a s o u r a t mo s p h e re s

made me thin k

Lydian

- - .::ci

:- _

as manifes t

:o be shaped into

-:::_I

of

one of

b ig

b u ilt

has more usuage on f a n ily

up enetgy

re p re s e n t in c re a s in g

Dad and rnany nalty more. 3

c h o rd s . t e n s io n

for

re la x e d n e s s . your

tempo to meet tonal

c e o ig e

of

Ru s s e 1 1 , Da v id

t e c h n iq u e deadlines

t s a k e r, J o y ce ,

conceiving

this

convergence sys tem

occuring devices the most regllary of one ls cadence 2-5 The tonalit i es in music in assum ing m ain p a rri ci p a ted h a s It in music. a n d l e s s e t to n a l i ti e s& to p ro p e l musicalm otion.Thecentr alinbeen the of the 2-5 cadence has signficance harmoflic of :erval "nysterious"

I a

Ia

,l

I I l

"

The flastet

given special signifirn Jazz bave ahntays a double 2-5 sequence) (which is basically

players

cance to turnbacks . ) e c a u s e th i sg a ve th e mth e o Ppor tunityr oapploachfinalityan different :he fact

j

t

interwal '

has alvays caused or minor tonality major a to approach The '\tays of to think about different musician (Jazz) ahe improvising to make more or minor chord in order maJor final the a?Proaching C:raft of Musical states in his book Lhe flindeninth Paul :irsic. the cadence sub\thich evely elemenL in to extent "The Conposition is shown drive to\rards fioality srructural the to itself oldinates the highest making up a cadence ewen chords the in that fact :y rhe parallels disobeyed' an'l consecutiwe often are writang lavs of cleao other chr omatic slides' an d ' : o t h o p e n & co ve re d ' u g l y nelodic leaps' reserve be used only \tith greatest ordinarily I'ould cevices which effects are enployed without exPxessive particular and only for lesitation

J

tritone

:urnbacks

Montgonery melrtion to \^'ays. I have had lies of the improvisation that most Eltrles the meat in tunes '

me about is in the

Stel1a BYe Star light playing while cooceived I This sYstem V chord found that on the final lurnback chord one and using a

i t.

s

!

m an y c hords th e m usic

could

ft6 1 '

act

ih a

^f

-h^r.l

rl:cinc

cli Fferent

iin d in g

these

the

rriarls

chords

.h^ 7d it

scale

*., 'rl

AL every

.[

I I

t t I

c o n v e rg e n t

o we ra ll

c h o rd

key of

in t o

last

t he

fo u n d

ro o t

o f mo s t o f

- 4 .. ''' Loo --" ( t:+r' r

on

t h e p a re n t

)

s c a le s

these

c h o rd s

and

n-nnocs

nf

ln

che

of

them and this

a me mb e r c h o rd

sound of

the modes

one of

comes from

a varyinq

:l-cI.l- - h

I

ect

rpnraqcnt s

of

these

amounL o f

0n the foLlowing .

as a c a d e n c e o r

the

f,r n a )

The connection :e r :i l s

in

n e c e s s a ry

system \.Ias born.

convergence

.:

not

i:he 5th as the p e d a l

Using

Fa.h

ro o t s

on various

-Lc ^: L. L^,r uL r

of

lesser

.:e a ter

& lesser

or

in

many permutative

a P p ro a c h e s

ro

F in a liL y

pag e s a re e x a mp le s o f u! ^F

moment in

::::.e n ts

24 scales

of

the actual

\,/ays

t o n a lir v . me t h o d o f

!^u^n. V e r g e n c e

lif e

grea t e r

signfican c e

we a re

c o n v e rg in g

s ig n f ic a n c e in mu s ic )

o r k e v in P

on oEher

(a s ! . 7 it h t o n a lit ie s

of

I concelved thie

convergence system by using a one chord tas & very e1rd of ',Stella Bye Starlite.,, Ttre first chord (nu[bered) erch of the forrord"ing group of 43 chords & .cares yierd a different Y chord (function) and its parent scale, yielding several con_ acales & their chords for tonal convergence. Eia of that : il

fev

ot tbe

process rrorked out around the keys gives a iomplete "closing end," "Bonrbarding,, or ',Converging,, on a tonality has significance (in other r^7o!dsa chold change that measures or has some lesser inportance than the overall Dusic) as well as the overall key of the nusic.

I I I

I I I I I

T l I I I I I I T I I

: c.1a

Character

!::1e.,

Sheet

and Justification

S ca L e D e scri p ri o n

1r-uirbered According

to numbers on chart)

A p e n ta to n i c

scale having a sbor

1.

in it

7th ( of C7 chor d) into

w h i ch r esolves voice leadingly

Also contains A

3r d of F m ajor )

A (T h e vi ta l

(c-D b ) T ri tone

the n ote

\^7hichthe note ob r esolves

( as

I

D g th o f c 7th) To the 5th ( c) and the note G r eTaking both the Bb ,

so l ve s L o F the r oot note.

as a part

it

G-Db and interPrieting

of the C 7th a

chord (A V chord) These three notes represent c 7 1 9 ch o r d- which is the sound of scale /f l. A 1 1 th e n o Les of this E th e th i rd ).

chor d ar e in the scale ( ex c ept

Another factor

is that

the entir e

d e sce n d i n g weight of the scale ends on Blwhich re l i e ve s

tension

i ts

3 rd A n a tu ral.

load by r esolving

Befor e playing

to the v i tal

each scale in thi s

sysLem, you should brainwash your ear vith

i n ro I-

rh e key.

V I-

II-

( Ex. G- 7- c7 FA)

G l-

cadences

c L3 p 9 r A)

V- T ect. Scale li 1 gives an Exotic

The Pentatonic

Descendence Angular into chord vithin

the

case) \ntith several

(F major in this

tonality

it

this

scale has a cadence quality

b e u se d to get into

S c a l e S o u n d= sb -

the F major tonality

F major .

Exper im ent I

e , c.d , r ' b n 1B

"Color" Every & may

I

,+

SCII'

S:ale + 2.

#2 PENTATONIC

le-

, ?tr3,

Chps.ct.r rhorderd-69,

A p e n L a to n i c scale having a coi0plete E- B btr itone (of the cTth & F/17 doninant th u

familys)

b 9 th o f the v chor d ( c7) .

to th e a L L i mpor tant

This

b 9 r esolves

5Lh of F major the noLe C.

n o te of the scale( Df) could

T h e l a st

and endio€i on

ri

belong to a G

5 chor d acting as the flat 5, or it p n a y b e th e ro o1- of a D - 69 chor d or a 5th of th e rn i n o r 7 th fl a t

FllT chord.

Each one of these chords has through

Ja zz & o th e r l^Jester nm usic Pr accice been used for I

p u rposes ( also the BDm inor 7th flat

ca d e n ti a l

of its

T h i s sca l e a l so has alt

tension weight fal l i ng

on the D 9th \dhich has to Sive in releasing o n th e sh o u l der s of r he 5th ( C) r eptesenting najor

tonality.

u se fu l B A for

t I I

fo r

cadences into

the F

sever al

tonalities

( epAor

exanple) .

given Raw Mater ial.

s c al e S ound= Db - 6 9

I I I

the tension

This scale & the two (/11 & /f3), are

Jazz music has given the world Creator

fi v e) .

19

another vieitpoint

of our

ll

I

I I

I I 1 1

Scal-e ll 3

I

t I I

(c 13, E I

and. G- 69).

L o n a l i ty.

The note E is

to C) .

Thj- s sc al e

3 (and rnore) chords

A11 lead into

the F major

the 3r d of the V or C 7th

chord (the Stallrart

Chord for

i n We ste r n music) .

The note n b is the 7th of thi s

same C7 dominant family

6 th o f the c- 69 chor ds. Ed

E xtra ct

all

five

cadences

& the E is

and the minor

r he llis

a n d xhe 3r d of the G- 69.

note reaction

cadential

as the tritone

the r.oot of E minor 7th flat

i

an E- Bbtr itone

I

to F, Btr esolves

conLains the notes of at least

I

I

scaLe containing

(E re so l ves

I I I

II

A p e n ta tonic

tne b sth of

This sho\,r s separ ate

under the sound law (tonality)

possible

chor ds fr om all

and

scales for

r a.^l1,fi^h

t'hen converging on a tonality it

already

project

having youri attention

Tension

P oint of Convergence from S cale

F maj or

Release

Point of a^na,a?oan.a

f^

( des tination) Sound = G- 69

20

sound vise

(sound attention)

o n th e ch o rd o r scale you ar e using.

c L3

yourself

on it

to and

c?+5b9

S cale #4

:.aie

.. 4 .

scale on the tonic

T h i s sca l e is a dininish It

h a s a n inter wal

h a l f,

into

factors

ur l g-gb tti -

a number .of c on-

it

giving

to n e a l so a G- Dbtr itooe

major ol minol

The

tonality

D) . sca l e h a s a major 3r d & r ninor 3r d ( E & E

p o ssi b l e tonalities.

to stoP off

i mp o rta n t

an octave

in Lerms of the sacred

(8 notes)

5th ( C) of F major .

it

dimini€h

quality

impor tance. (color)

- 3 rd & 7 th quality,

in

The scale has an ov el al l

as well

as a combined blues

& blues cadential

(This scale combines Lwo color

under one r:oof.) sca l e S o und = 91 b9o5

t t

or colols

This scale gives the qual i ti es

of ascendence, diminish tonality.

ends on the

This scale Pr oduc es

a1l the basic nameable chord qualities mu si c h e n ce,its

has

or set up cadences for r n any

Hor.Teverrhinking

law of 7 after

It

slnfitretry \thich makes it

interval

an indifferent

w hol e,

whole, half,

Ihe scale n."

w h o le, haLL, v/hole.

vergent

half,

str uctute

"C" '

2I

Eotion factors

into

I I

seale #5

I

I T I

T h i s sca l e i s a second type diminish

diminish this

case).

It

permits

ascending

has the same s)'nrnetrical

to be used ( st ar ti ng

it

coDvetging cadeoces t-o sevelal

notes)

E o n a l i ti e s.

The r epr esentative

sca l e g i vi n g

the com plete scale sound is cl bg b s .

D g th B D )A , (Point

c-rF ,

DD) c)

( E- 'E,

Lhe F major chor d & LonaL i Ey

of convergence destination).

Any permutation

from any of the scales will the scale in itself.

the scales

T he

I

(D D ) conver ge or voice lead sm oothly into

re p l a ce me n t for

or half

chor d coming fr om the

r he D 5r h ( G D) and Lhe

rh e sevenr h ( Br )

or patterns

of all

for

indifference

on different

Jrd (E ),

in this

work as a The last

n ote

system are onlY a whole

sL e p ainay fr om the 1st,

o f th e d e si red Eonal destination.

S c al e S ound= x 7 b 9 b 5 , g b

I

IL has

of conwergence (E major in

to a point

color

a s th e l l 4 scale which per m its

I I I

It

a W, H , W, H , I,I, It , U , H step sylltrlletry.

scale.

o

3r d. or 5th or root

I

I

I S:ale ;:6

This is a Jazz r'i,elodic minor scale. asendance into

minor color-quality it i ts

is irnportant because of its D b sta rti ng

note,

(c , 9 + 1 1 ,

pi oduc es .

E+47, Bb5,

color

system is about how to get into

.-.-.' i'ariating

different

chor ds i t

Y ' b l + Db - A point

to tonal

a major or minor

& chord inversions . scale is o b( tltubgth

of cT th)

T h e l a st

n o te of this

re so l ve s

to the 5th ( C) of the F m ajor tonality'

I

g i vi n g the lst

7).

(24) and chords (many) and their

scales

The G D9+11 is the chalacter a h a lf

step r esolution

scale of its

b e o th e rs o f this

chord sound of the scale into

tyPe in this

type on differ ent

s c a l e s o u n d= c b g + r l

I

syrl[retry

spectr um & mood sp ec tl um '

-1==e:'ler this

--:-:-';erable permutation

a

(F majol)

tonality

and the differ ent

incr easing

permits

intervallic

These chords give another departing d e sti n a ti o n ,

It

23

Th i s i s

F najor ' system

There \til1

tonalities'

I I

Serl-c #7

t S:ale

This scale is a major scale rnith the 4th degree a n d 5 th d e g r ee r aised. It contains tbt:bS "., ch o rd w h i ch is the sound of all the scale noEes sounded together s ix0ultaneous ly . This is the lst sca l e o f i ts type in this system . It ends on a o D 1 l 9 s6 o f C7) and r esolves nicely r o c the 5 th o f F ma jor tonality.

g b o b > , sb - A7 , & th e Db

r h e G . { d o o r d . ( cr +4 7

ch o rd s, all

This scale ploduces

of which r esolve

This convergence system permits th e ch ro n a ti c

scale,

to F major .

complete use of

chor d l,ise and line

wise.

T h e ve ry 1 st chor d pr oduced ( Db + A7)

on r he lst

mode & last

triad

mode contains

the F najor

a D b o n th e bor tom , giving fo r

i ts

u sa ge and ( r esolving

sh i p to F maj or .

s c a l e s o u n d= n b r : b s

liith

m or e justificar ion tendency) r elation_

I

J

Sc e1 e

I Sc a l e # 8 .

ra i se d

scale \^' ith its

a najor

T h i s sca l e ,

on ao E.

sta rts

a s seale il 7.

stru ctu re

4th & 5th de gr ee

is the sam e inter val

lt It

ends ofl E which r esol v es

-!

a

a half

ste p to E the note E acting

o n th e se co nd scale degr ee ( G, ) it

t

cb l b s

as a leading pr oduces the

of chor ds which have been used fre-

n ^i ty

This is ev en

q u e n tl y i n J azz as a cadentiaL device.

a

_l ,

in E o

d e ! 4 rt u ie

stru ctu re

but differ ent

tonalities

c l bg

b s , c l- s ,

I

s D. 6 .

s c a l e s o u n d= cb r :| s

I r-t

a I

t I

)

J

with tonality

other chor ds on this

system maY be connected

J

of

\-ow you have 2 scales \,rith the same interval

- a l,

I

rh e L o n a lit y

F majot.

- o b to n a l i ty) .

L

-

of

chords (7 in each) to !9gg into

-l

I

p o in t

a different

-l

tone'

25

14 diffe tent (E tonality

scale ar e D b

A I L t h e s c a le s in th i s

S.::e

+ 9-

scale of the previous

This is a third

(l t 7 & 8 ) o n a differ ent

i s a b S !4 Ig

This

r esolves

to Ah lt

3rd of F naj or tonality

important

the all

( Ab) .

tonalitv

sca l e e n d s o n the note llr "' nicn

two t)?es

uhe t- onic ( eb)

p rocess of r esolving

of the scale lrhich is also a ninor

3rd.

chord is the E + 7.

imporLant linking

The all Also

produced by the scale is the E 7il 9/l 5, & the c + 7 ivhich gives Vth resolution whole idea of this tonal,

chordal,

svsLem is to have endless

g-Sale routes

be the overall

of varyi

This tonal

destination.

a tonal

Rememberthe

key or any lesser

destination key vithin

the

This whole Process is one of the ear becorning

orusic.

accustomed to hearing new harmonic & lineal until

may

it

is completely

p ro ce ss i n to

a tonal

fantitiar

destination

or chord in the chromatic

s c a l e S o u n d= s b r : b s

26

scale

with

motion

a Plunging

fr om any note' (Universe) '

sc al e

lcrle

* I0 .

T tri s sca l e i s the \a,hole tone scale ( gb) . It ha s i ts p e rfe ct rn h o l e, bold steps which leads also anto F ma j o r. T h e l inklng chor d is the cbl b, ,nr "n r e s ol v es n i ce l y i n to F najor . Other chor ds which h

t e n d e n c i e sa re r h e c+ 7 , cb g + r t,.r t;.

l st

;;"

::":;:'"-

sca l e o f chis type in the system . Its conplete w h o l e ste p str uctur e allows the student to boldly earch into the t

ofit (Br, ,]tii"';i:t:;"t;"::I:::;:", "rr., resolves one half

F najor' sca l e fo r

step to the note A, the najor 3rd of you may use any whole tone patterns fro' thie re solution into F x0ajor .

scale sound= sblbs

27

da!c cnd 1

tritonc

S: : l e

t . 11 .

My o rn p e rso nal scale containing

'l & th e n o re D Dall 9 sound.

into

to this

of which gives the scale a C7s

This scale descends there by giving

student vatiety lov)

an E- Bftr itone

of plane

tonality.

system.

the

(or coming fron high to

This adds another dimension I

The linking

chords are the C7D

t,tt

g, DDL7,

b s,

have been already

EF13,

BD- Dg

e c.6m ost

produced on other prior

01 r ^' hi c h scales.

T h i s sca l e e nds on C Lhe 5th of F major Eonality. The scale has an overall

dininish

sca l e b e g i n s on r h.bgth

of the v ( c7th)

n o te D D .

of Lhe V chord.

1 a stl y

This chor d th e

T he second note is the tonic

ch o rd (o f F ur ajor ) .

V chord,

quality.

The thir d

The next note

then follows

of the V L nor e is Bqthe 7r h (c) is

the 5th of the

the 3rd the b 9th again u

th e 5 th.

S ca L e S o u n d = C7 6 9

28

Sc.La #t2

D IMIN IS H

Scale /l 12. This scale is

rhe lst

ends on the note B

of its

type introduced.

which resolves

the 3rd of F major.

The linking

a r e t h e c 1 3 b g , sb - a 7 ,

Ir

to the note

(A),

chords produced

A7 + g , e b ts,

c; b g , e.t.

This scale has a di.fferent

syfltrnetry than the previous

2 types of dinlnish

(lt

a ratsed scale for a d d i ti o n a l

4th).

Ir

scales

has a rninor 3rd &

is an additional

convergence into

tonaLity.

scale color usage with

S c a l e S o u n d= sb - a t

,o

dirninish

this

quaLity

This pernits sysr em.

# 13. This is another personal on C which is

scale of Bine which ends

the Vch of F najor

c; bg bs cnora. -.,-L - -Eo- ar e F 1 !1 9 ^ 9 ul 5- &

and contalns

also chor ds of this

scale.

the

Thi s

scale ends on the Vth of the F major tonality. It

is possibl-e to use thls

lrithin

it.

A11 scales

nected together into

a tonal

scale from any note

in this

in different

center.

IL S ca l e S o u n d = g7 b9D5

30

system may be conorders

for

cgnvergence

I I I I

I I

I ]

h r

Sc a l . # 1 4

al, nbD, gt7$5,

frdzbs

c ;f-€F

.::a 1 e r r 1 4 . T h i s sca l e i s

a pentatc

5th or,rhe v chordor ; ;:::t"rr"t:":,:

i s th e b 9 1 6 o f the v ch E o n i c (F ) o f F m ajor to

:.:: ;T

The 3r d note is the

T h e n e xt n o r e ( c) i s r h e 5 r h o f th e v fo llo we d u y r 1 1 6 " 7 1 1, o f t h e v c h o r d . ,n " "n o lu ttr " lle "",t0 ' e n d s o n c t h e 5 t h o f the F major

may not

realize

function, ce'ter

ton a lit y .

of

"" no t e s

(F majo').

factors

tt

this

na,r" in

re

point s p e a k in g

you nay or o f me lo d ic

t o a f ix e d

T h e re are no liiong

notes

such as fixation

tonal when

poinr,rnrerval rr*r, _.:.;:"1"".ij'"".ffi a l o n g w i th h i mse l f.

a ce rtain T h e e ntir e

Confidence within chr o tutt"

d i sp o sa r th a n ks to a.uua

the ar tist

scale is at our .

to use ir wirh a certain J::::;.r.:::"ir::"::;:, b e l i e f, S cale

it

i s R aw M ater ial.

S ound = D

bo,b,

Scale # 15. This scale is another tlpe natural

starting

& ending notes !,rhich at the end

of the scale functions (E h e d e si re d to n a l one half

as the leading

destination) .

l e ngth yielding

o f i ts

sFEnetry.

This gives yet anothe!

for

yields

F

dir ninish color

lqe

lt4lq

tone into

The scale has

& the qt!C!

color

a whole to!!e scale type of scale

convergent usage.

Eeery living

thing

r particular

long range aim.

ce

scale which has the E

in life

is in notion Alorg

headed (converglng)

the \'ray certain

achieved through consciousness.

short

to airns

(Law of octaves and lnner

octaves (overtones) this scale /l 15 produces chords such as a G D9 + I 1 , C 7 + 5 , c9 +1 1 . A II h a ve been discussed in pr ior sheets B o th e i r

c o n ve rg e n t ca p a b i l i ti e s I

Scale sound = c P 9+11

into

F m ajor .

Scal-c #16

t{lJoR (#4th drgrca)

scale' scale Jr 16. nris :":r:;. 4tl in it.

The

*",::

,:.J;;:'"t""':'

of _ *.::: -r-- 'rh besins scare also the :::;'.;"" -

the v chord '

t""

makinP a cooPleLs of F major mode of this by another ptolotta E'6 c.notd!" j-t naturally degree so oo esals (najor) "o "" t:;::^":": 'rhe last *t: F Lt"Jo: leads into L" last note Dits fr oto b a ck i s " ro cke d " 3rd of F najor' imPortant najor

rou oishr calr rhis

::'"x:::"":"

::=:

i::

360" tt;:" the ^svsres:: upoo' or key acted cenre! because pelson .;" which rep!esc-]", niddle key center at the ," this case this Pe ", you are borobarding chords ' constltuent their & gcales sith 24

= G-9 Scale Sound

-e-

E#6?b5, , F#?b5 ^b?

sca l. #17 SPANISH

quality in that different a has nine 6ca1e of scale /l 17' This vltal scale embodying sounding lt is a sPani6h causing a tension p 6 6l tonality 31tu of note6 Its begin8 one roof' under all feeling relaxation desired tonal & ends on F' our F note the on *

desrinarion. g+Albs' abtbt

.rhesound *: "t p r o d _'-l:t:'"b^l'or" u ce sa s- '

Th e sca le a lso c/' & o lh e r s' ttto 3t hearlng

to knit

together

& u6e any

cleative to Iou have to use lglgg musiclan gives meaning The for corwergence ' of these scales for identity ' in his eearch way' olJn his in this natellal

= s c ale s o u n d F # A 1 b 5

34

sca l e # 1 8 MEIODIC MINOR

E+z, Bb rs, EZ+g , E+?

t r it o n e

I )

S:aIe

i t 18 . T h i s i s

th e thir d

scale of this

type however

o n a d i ffe re n t

tonality.

(rn e l o d i c j a zz)

which at the end pr opels

It

is an F m inor towar d

the note G of F rnajor (G functioning as A 9th o f F A 9 th ch or d) . The 1sr tetr achor d is F mi n o r & th e l ast tetr achoid ( C D E F) is F m ajor . T h i s d e n o te s m inor & m ajor color under one r oof o f th e sa me tonality. Also the scale at the note A.biahiqh is the minor 3lid of F minor tonality

function

in an all

impottant

\day as

th e +5 o f th e V chor d ( C7th +5) naking it m or e to n a l l y p a l a ta ble. The sane note Abfinds its p a rti ci p a ti o n as the 3r d of r he E7 + 5 chor d Dr o_ d L rce d o n rh i s s ane scate. & che eb_ A7 ( C4 A l 1 o f these chor ds voace ). lead sm oothly Lo r

mal or.

s c al eS ound:l bs + f t

bl.

tr9

JAZZ }EI,ODIC MINON

tono l'cde

* 19 . T h i s sca 1 e , a nelodic

I T;";Trds

m inor scale has a Bbtonality.

suchas theG-€4ct b g nb g*n" '

.ave been used to move into a najor o r n i n o r ke y center . The last note is,the 7th of the V chord (C7) i,rhich resolves to the note A the 3rd & ir0portant note of F najor. This entire scale has been used many times for convergence into tonal ce n te rs. T h e l ast tetr achor d of this scale r s an F ma j o r sca l e The entir e scale in chor ds will harmonically lead into F major. Their is (c-nb) " tri to n e w i th vo ice leadsto the r oot & 5th o f F trEjor. S ca l e S o u n d = t Dg*ff

36

|

20. This scale is sinply sca l e .

a dorian oode of the F aajor

It

co ntaina C7, G_j, E.g. This scaLe , contains the E-B Atritone which belong to the C7 & F/17 chords which lead ro F ma.ior. this

scale is an exanple of being lrlthln

scale of

(F najor)

however starting

the eane

the key you are converging on a different

Scale Sound = c-7

-e-

37

node of it.

S.r1.

f,21

BLUES SCAI,E

trltonc

ScaLe 11 2L. This is a blues color a key.

It

scale for

lends another

color

convergence into to covergence into

,

F ma j o r.

It

contains

an E- BDtr itone.

The chor ds

c7 , c7 b 5 , F # 7 b5, c- 7 Fil13 have been used many ti me s to g e t i nto maj or ' & r ninor keys. T h i s i s th e 1 st scale of its F u n ky co n ve rg e nt feeling

kind in this

to tonal

s c a l e s o u n d= c7 l5

3B

destiny.

systen.

!IAJoR( #lrth & #5th dcgrccr)

#22

Gb?rs

'&''la

ScaLe 11 22. This scale, th e c7 b 5 ,

a 4th of its c- A7, El

kind

ar Ldir

the C7 or V chord of F najor, It

a l so p ro duces the C13 05,

in ny system producee has Ehe E- Bbtr itone our desired an. chor d,

of

tonality,

that lepr es ents

the scale sound being produced on the second mode of the scale. Irl l

The scale has convergent notes in it

as 8 2, c 9,

6 D- > e , cD- + ty.

Also the c Jazz qlelodlc minor scale has the sane notes as this

scale so it

convelgence scale. I

s c al e s ound = c l3 I 5

39

may be used as a II

such

J

I

I

J I

This is yet another Blues Scale on the G btonality. The starting

f,

note is a half

pr oduces r he c7 b 5.

rt

d e si re d to nality.

step away Jrom F the cbl

bS *

"-'

E

other it

cadence chords leading

co n ta i n s an E- Bbtr itone

to F najor 6, 9ba

tonality,

bsan of the c T th

chord.

This scale gives a blues convergent feeling

(color)

into

a key center,

permutaEed from this 'l

s c al e s oun d = c b l

scale.

Os

40

nany Funky ideas may be

Sc a 1 . # 2 4

triton.

scale.

T h i s sca l e i s a diminish

3caLe l! 24.

^l

It

c7 Dg,

c.6,

E DL 3 D9 c h o rd s

convergence

into

major

E u,

last

ol

has an E -B b t rit o n e

scale

note

woice

of

leads

contains C7+5,

rl

s c a le

the

minor

for

c a d e n t ia l This

tonality.

& a G -D b t rit o n e . bsttr

lo Dt t re

s mo o t h L y t o

of

7th chord)

c (t h e

the note

The

f if t h

of

F maj or) .

-t

I

'1

::,i s

:e a p p L ied

cl ea se

I I

I I I I

to all

si'stem does not

)

J

justification

theoreticaL

his

a e so u r ces

:oilent - - ee d e d . :e :fe ct

in

there

desired

with

something is

the

of

s y s t e m ha s t o

t h is

\that

to

This

s c a le .

c h ro ma t ic

do ocher

than

in

a readiness

sPontaneously

a n e w f ie ld ,

would be no mo t io n

in

I d o n o L b e lie v e

a ne\"i ocLave. (t h e

1aw of

p e rf e c t i o n

or no\tness to prepared

lif e )

If

inor

Y o u s h a p e t h e 1 : a v ma t e lia l

needs.

I do believe

A mistake

student

the

consciou s n e s s

to your

time

to

dictate

e a c h s c a le in

other. t o n a lit ie s

o! her

ai- the moment.

of

at

fill

a

the momenl

e v e ry t h ing

was

Chord On Chord Convergence 1te Eain chords in tunes may be converged on or embellished d.lt

other

chords that

you are leading

&rd

caded by a five b

five

tbis

ciord

up to

chold wilh

(rnain chord) a tritone.

5th from its

For example if t he fi ve

t&7

you are ernbellishing

ch o rd p re ceding ir

th e n b -7

s o s..ru ra l

E $b5,

This interval

as we1l.

pre-

participates

as anoLher seventh

root.

Atso,

or converging

would te sb I .

r D r: 6s, sb g+fl, sbg , s b: br , Fecede

Whatever

is or can be usually

or dominant- s eventh chord as well

a flatted

&rd

may precede or lead up to them.

Ther efor e s b t b S.

ubt * s . s ! 7+ 5 c o u l d

"br * r bs ,

E7 contains

E 7 typ e chor ds lr ith

on an Eb-7

the sam e tr itone

as

tensions added such as E j b5,

E 9 +1 1 , E 9 , E 1 3 m ay be used as chor d conver ger s in addi ti on

t o Bb 7 . Al so th e d i mi n i sh

ch or d D@7 has the saBe tr itone

as the Bb7

(D-At). It

s l n o oth l y vo i ce l e a d s i nto L F --:l C v B

Dt'

the Ub- 7.

L

A D._B b

D_Eb T h is ma ke s i t The D

p o ssi b le

r o use FO l,

7+5 also works beaurtfully

as welr

lb

Ol

& gO7 also.

as f;54/

c#-D b

x-s b F+-c b D _E b This yields

21 convergent chor d possibilities 61

into

r

b- 7.

*i

EXAi'PI,ES OF MINOR KEY CONVERCENCE F nlnor dc! cff.ct or

Xtt+f;be

rrito::c (c-Df ) ntt t G/ o r C7 b 9 r c la t io n t h ip

t o t h ' F r ln o r ch o r d .

F linor

t:aLa

ht-

tccn!

to anbracc the 5th of thc F tinor

F nlnor

+j:

ibl,. tl ilr! rI rbllieh

5!c

ehord.

a najor Jrd alrcrdy in it thc 5th of th c F n in o r .

s o it h a s t o u s . d a s a b o v"

rr

ta .1!o

cuddlG! thc 5th of thc F rinor.

15

rib

a-

on tha 5th of thc F rinor rlrrd. .J3 j.er to b a se your resolution stand out as nuch howcvar it ed " and doetn' i 1 'lotr k

70