AGREEMENTS The 7 of the major key
In this first lesson of 2007 I would like to offer you one of my studies on the close link between music theory and the theory of color.
The chart will look by me was designed to highlight the "character" that has more shades of each agreement. I think that is very important to fully understand the role (or function tone) that the agreements in question 7 "interpret" in the same tone.
One of the goals I set myself the very beginning of my research was to groped to "materialize" the musical elements that they might be not only heard, but also "observed".
THE 3 STARS Diatonic
A brief introduction as "speculation" by the which have come to associate a certain way the colors of the prism with the Sounds of the 7 musical notes, are contained in my second instructional book.
Now you can read some details on the first lesson teaching written by me that you will find on the site Jazzitalia at the following link ...
Lesson 1: The Circle of Cadenze ("I Love You" by Cole Porter) Alberto Tebaldi http://www.jazzitalia.net/lezioni/albertotebaldi/at_lezione1.asp
Now before going further, I suggest you open the image below and download to your PC to be able to better follow the description below. Click
image to enlarge
The "diatonic 3 stars" are the elements that characterize the geometric and numerical structure this graph the function of which, I repeat once again, that will allow us to visually represent the seven tones of the agreements.
Each note was associated with a color like this:
C> D
blue> yellow
E> F Green
> neutral gray (brown)
G> A red
> arancio
B > viola
Se osservate attentamente noterete 2 triangoli di cui il primo (con la punta rivolta verso l'alto) collega tra loro i 3 accordi della Cadenza II-V-I maggiore (Dm7-G7-Cmaj7), mentre il secondo (con la punta rivolta verso il basso) collega tra loro i 3 accordi della Cadenza ii-v-i minore relativa (Bm7b5-E7sus4-Am7).
Le due Cadenze incrociate sono giustificate dalla "complementarità" delle note e dei rispettivi colori. Mi spiego meglio, per esempio:
la nota D (giallo) è diametralmente opposta alla nota B (viola); il giallo ed il viola sono 2 colori Complementari ed il II grado della Tonalità maggiore risulta così diametralmente opposto al ii grado della Relative minor key.
This applies for all other pairs, to note that a confirmation of the validity of this provision, including the C, level I of the major key, you will find diametrically opposite to A, the degree of the relative minor key.
go ahead, the fourth tonal degree Fmaj7 is the mediation (in the language of the neutral gray color ...) of the remaining six agreements.
The horizontal bar at the center of the graph represents the color shift that occurs between 7 degrees of the major key.
This graph and many others I have created over time have come to a first and important result: visually represent the tone major and minor keys on tearing both the sense of "abstraction" which for centuries artists and thinkers have attempted to solve.
One last point: the great 6-pointed star indicates the six agreements that make up the cadences II-VI, the average 6-pointed star touches the vertices of the hexagon that is created by the encounter between the two triangles ( 6 like colors), and finally, the small 12-pointed star of the encounter of the first two, confirms the "natural" link between the 12 notes of the tempered system with all the musical relationships discussed so far.
At this point it is finally possible to build and "observe" the seven tonal arrangements.
Click to enlarge
For the moment we stop here, but in the next lesson we'll see how this can be used for a creative learning jazz harmony.
the next episode!
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