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Brent - Modalogy: Scales, Modes & Chords: The Primordial Building Blocks of Music

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Brent Modalogy: Scales, Modes & Chords: The Primordial Building Blocks of Music
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Modalogy: Scales, Modes & Chords: The Primordial Building Blocks of Music: summary, description and annotation

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Primarily a music theory reference, Modalogy presents a unique perspective on the origins, interlocking aspects, and usage of the most common scales and modes in occidental music. Anyone wishing to seriously explore the realms of scales, modes, and their real-world functions will find the most important issues dealt with in meticulous detail within these pages. Logical illustrations accompany in-depth examinations of chordal harmonies, cadential motions, and progressions. This book is perfect for both music students and teachers, as either a course in itself or to augment any theory curriculum.;Relationship of the fundamental to the P4 and P5 -- Evolution of the pentatonic scale -- Root tendencies in the pentatonic minor -- Root tendencies in the pentatonic major -- Evolution of the major scale -- Ionian set modes tables -- Ionian sets triad studies -- Modal cadences and progressions (Ionian set) -- Derivation of radially symmetrical altered scales -- Dorian centric alterations -- The minor scales -- Melodic materials -- Harmonic environments -- Chromatic modes -- The chromatic cube -- Radial symmetry : the bright colors -- Radial symmetry : the dark colors -- Cubic symmetry -- The chromatic cube planes -- The chromatic molecule -- Enharmonics and the circle of fifths -- Other forms of symmetry -- Chromatic cube accidentals -- Perfect chords (Type 1) -- Radial symmetry type 2 -- Perfect chords (Type 2) -- Appendices. Circle of fourths ; Altered 7th chords ; Approaching chord tones ; Harmonic rhythm ; Inversions of Type 1 perfect chords ; Minor scales chord tables ; Cross-referenced minor scales chord tables ; Jazz minor modes ; Harmonic minor modes ; Harmonic major modes ; ModeChords ; Tetrachord nomenclature ; Octatonic scale nomenclature ; Quartals ; Pentatonic chord structures ; Tritone substitutes ; Chromatic cube tables -- Glossary of terms.

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Table of Contents Acknowledgements The authors would like to thank all of - photo 1
Table of Contents

Acknowledgements

The authors would like to thank all of those that in some way or another helped to make it possible for this book to see the light of day:

Paris Rutherford III, William L. Fowler, Nor Eddine Bahha, Robert Rawlins, Mark Levine, Adam Neely, Randa Lee, Dave Frank, Vic Juris, Tim Richards, Scot Ranney, Jerry Campbell, Stephen James, Sid Thomas, Rick Zelle, Barry Dallman, Alberto Betancourt, Jon Riley, Brian Prunka, Phil Kelly, Randall Carlson, Jerry Engelbach, The Bakers, Sidney G. Liddle, Mr & Mrs Yves Rue Dieu, Yvon Les Halles, Michael P. OReilly, Linda and Janice Weech, Cornelia Lauber, John Signer, John Greet, Hannah Harrison, Brigitte Wolf-Juif, Kimberlee Nicole, Denise Culp, Mark DAmato, Alfredo, Caleb Lim, Walter Piston, Alex Ulanowsky, Steve Rochinski, Mike Critch, George Russell, Robert Appleton, Sandy Williams, Jason Rogers, Bob Budny, Borys Pomianek, Peter Blommers, Mollie Maillard, Dylan Knutson, and Patricia Ann Phillips.

visit www.modalogy.net

Appendices

Circle of Fourths 108

Altered Dominant chords 109

Approaching Chord Tones 135

Harmonic Rhythm 139

Inversions of Type 1 Perfect Chords 140

Minor Scales Chord Tables 142

Cross-Referenced Minor Scales Chord Tables 150

Jazz Minor Modes 155

Harmonic Minor Modes 157

Harmonic Major Modes 158

ModeChords 159

Tetrachord Nomenclature 190

Octatonic Scale Nomenclature192

Quartals 200

Three-Note Pentatonic Structures 213

Tritone Substitutes 214

Chromatic Cube Tables 216

Circle of Fourths
Altered 7th Chords The notes most likely to be altered are the 9ths and the - photo 2
Altered 7th Chords

The notes most likely to be altered are the 9ths and the 5ths.

When playing a 7alt chord, the defining tones of the chord ( 3rd & Picture 3 7 ) are not the object of any alterations.

A natural 4th (11th) note is not considered altered because
its the natural extension of tertian harmony.

The Picture 4 11 ( Picture 5 4) note is the same as a Picture 6 5. In general, the 4th (11 th) is not altered in a 7alt chord (although the
notations 7 Picture 7 4 and 7 Picture 8 11 are frequently found).

Lowering the thirteenth is equal to sharping the five.
(Flat 13th also shows up in charts from time to time.)

With the 9th you have two possible alterations: sharp and flat ( Picture 9 & Picture 10 ).
Same with the 5th: diminished & augmented.

That yields four basic possible combinations:

7 Picture 11 5 Picture 12 9
7 Picture 13 5 Picture 14 9
7 Picture 15 5 Picture 16 9
7 Picture 17 5 Picture 18 9

There doesnt necessarily need to be a minimum of 2 alterations. Often one alteration is enough. This yields
another 4 choices:

7 Picture 19 5
7 Picture 20 5
7 Picture 21 9
7 Picture 22 9

If we choose to alter the tonic note, its substitute is the Picture 23 IV.

With pianists, the rootless chord crowd uses two voicings as a typical LH accompaniment when encountering a 7alt chord in a chart:

7 Picture 24 5 Picture 25 9 chord
voiced as:
7 Picture 26 9 3 Picture 27 5
or
3 Picture 28 5 7 Picture 29 9.

Notice that the above jazz piano voicings are the standard rootless ones for the tritone substitute dominant 13th (no 11) chord.

For those unfamiliar with the Evans rootless system, heres an example of this variation of G7alt:

G7 Picture 30 5 Picture 31 9 = F[ Picture 32 7th] A Picture 33 /B Picture 34 [ Picture 35 9th] B/C Picture 36 [3rd] D Picture 37 /E Picture 38 [ Picture 39 5th]

An analysis of G7s tritone substitute [ D Picture 40 7 ] yields
(using the same exact notes):

D Picture 41 13 = F [3rd] B Picture 42 /A Picture 43

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