pmnog-004
DESCRIPTION
musicTRANSCRIPT
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4
3
5
3
w
w
w#
w
w
w
#
w
w
wb
w
w
w
#
8
7
6
7
6
5
6
5
5
5
5
4
16
°
¢
°
¢
6fr
3 1 4
Cæ
5fr
3 1 4
Eæ
5fr
A¨æ
190
2 4 1 3
G‡…‹7
3fr
2 3 1 4
D¨‡…‹7
1 3 2 4
E‡…‹7
2 1 3 1
G‡…‹7
3fr
2 1 3 1
D¨‡…‹7
193
&
⁄
&
11:24
⁄
w
w
w
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w
w
w
#
w
w
wb
8
6
9
7
5
9
6
5
8
w
ww
wb
b w
w
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wb
b
b
w
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b
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w
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wb
b
w
w
w
w
b
b
3
4
2
3
4
5
3
5
2
3
2
3
3
2
3
2
4
3
5
3
17
The Augmented Form!!!!!!!
As part of a chromatic infrastructure, each of these particular inversions when placed horizon – !!tally across any chosen string group, (as 3 augmented triads in successive order) divide the!!guitar fingerboard into 3 active zones, each of these areas containing all twelve keys, (of either!!major, or relative minor triads) available in any of the 7 common string groups.!!
!
The augmented interval is the Third Primary appearing on the circumference of the circle at!!three points. When in symmetry with each other they form an equilateral Triangle.!
EF
F#
G
G#
ABb
B
C
C#
D
D#
eg. 14
7 Vertical Augmented Inversions!!(Commen Groups)
!Non-Adjacent String Groups
6 5 4 3 2 1 6 5 4 3 2 1
II I
G# E CC G# E
!Adjacent String Groups
6 5 4 3 2 1 6 5 4 3 2 1
IVI
G# CE C E G#
6 5 4 3 2 1
II
C EG#
6 5 4 3 2 1
I
C E G#
6 5 4 3 2 1
I
E C G#
The Diminished Form!!!!!!!
Some of the most valuable elements found within the common groups are based upon !!opposition.!!!The third primary, (the augmented triad) reveals itself horizontally within two types of inverted!!alterations. One of them, (major) being the result of any singular descending tone, while the!!other, (minor) is the result of an ascending tone. ! !
The diminished interval is the Fourth Primary appearing on the circumference of the circle at!!four points. When meeting in symmetry with each other they form an equilateral Diamond.!
5 Vertical Augmented Inversions!!(Commen Groups)
!Non-Adjacent String Groups
!Adjacent String Groups
eg. 15E
F
F#
G
G#
ABb
B
C
C#
D
D#
6 5 4 3 2 1
II
G E BbC#
6 5 4 3 2 1
III
C# EBb G
6 5 4 3 2 1
III
C# E BbG
6 5 4 3 2 1
II
G C# E Bb
6 5 4 3 2 1
II
E BbC#G
Both the augmented, and the diminished forms organize themselves into adjacent, or non- !!adjacent sets. Let's briefly look into another facet of this study, once again based upon the!!opposites.
eg. 16
Examples 16a, b, and c seen above show the same effect taking place. Eg.a proceeds by!!either lowering, or raising the selected tone, while vertically the augmented triad when !!dispursed using the same fingering below itself in four adjacent string groups produces a!!natural reoccurrence of the same types of opposite siblings, (one Aug., and two Major, and
!
!Minor triads). !!
!Non-Adjacent String Groups
6 5 4 3 2 1 6 5 4 3 2 1 6 5 4 3 2 1
G# Aug A Ma
(Vertical)
IIII
F# Mi
II
c.
!Adjacent String Groups
(Vertical)
6 5 4 3 2 1 6 5 4 3 2 1
G# Aug
II II
C# Aug
6 5 4 3 2 1
II
F# Ma
6 5 4 3 2 1
II
B Mi
b.
Horizontal vs. Vertical Alterations!!
(Horizontal)
6 5 4 3 2 1
IIIB, D#, G Aug
6 5 4 3 2 1
II
B Ma
6 5 4 3 2 1
G# Mi
IV
a.
6 5 4 3 2 1
II
6 5 4 3 2 1II
C Ma
6 5 4 3 2 1
II
E Ma
I
6 5 4 3 2 1
G# Ma
654
AC G# E Aug
I
C Ma
I
E Ma G# Ma
6 5 4 3 2 1 6 5 4 3 2 1
C G#E Aug
0
6 5 4 3 2 1
I
6 5 4 3 2 1543
B
C Ma E Ma
I
G# Ma
0 0
6 5 4 3 2 1 6 5 4 3 2 1
I
432
C
6 5 4 3 2 1 6 5 4 3 2 1
G# E C Aug
eg. 22
MAJOR (tones in descent)
Transformations of the Augmented Form!
to Major and Minor Triads
E MaII
6 5 4 3 2 1
G# Ma
I
6 5 4 3 2 1
C Ma
II
6 5 4 3 2 1
E G# C Aug
II
6 5 4 3 2 1
6–43
E
C G#E Aug
6 5 4 3 2 1
IV
E Ma
6 5 4 3 2 1
IVG# Ma
6 5 4 3 2 1
IV
C Ma
III
6 5 4 3 2 1321
D
5–32
F
G# C E Aug
6 5 4 3 2 1
I
E Ma
6 5 4 3 2 1
I
C Ma
0
6 5 4 3 2 1
G# Ma
6 5 4 3 2 1
I
F MiC# MiA MiE G# C Aug
654
A
MINOR (tones in ascent)
II
6 5 4 3 2 1 6 5 4 3 2 1II
6 5 4 3 2 1
I
III
6 5 4 3 2 1
4–21
GB Ma C Ma
06 5 4 3 2 1
I
E G#C Aug
I
6 5 4 3 2 1
6 5 4 3 2 1
G# Ma
6 5 4 3 2 1
I
G# C E Aug
543
B
I
I
I
II
6 5 4 3 2 16 5 4 3 2 1
6 5 4 3 2 1
6 5 4 3 2 1
C# Mi F Mi A Mi
C# Mi
321
D IV
G# C E Aug
6 5 4 3 2 1
IV
6 5 4 3 2 1
A MiV
6 5 4 3 2 1
IV
6 5 4 3 2 1
F Mi
A Mi C# MiG# C E Aug
432
CF Mi
I
6 5 4 3 2 1
I
6 5 4 3 2 1
I
6 5 4 3 2 1 I
6 5 4 3 2 1
F Mi
6–43
E
G# CE Aug C# MiA Mi
II
6 5 4 3 2 1
6 5 4 3 2 1
II
II
6 5 4 3 2 1
I
6 5 4 3 2 1
I
6 5 4 3 2 1 I
6 5 4 3 2 1II
6 5 4 3 2 16 5 4 3 2 1
I4–21
G
E G#C Aug F Mi C# Mi A Mi
5–32
F
I
6 5 4 3 2 1
C# MiI
6 5 4 3 2 1
A Mi
II
6 5 4 3 2 1
F Mi
I
6 5 4 3 2 1
C EG# Aug
As witnessed, the movement of any single tone, (in ascent, or descent) produces a series of!!valuable major, and mnor effects with the Augmented parental form. Likewise, when the!!same procedure is applied to the Diminished intervals a similar result takes place. In this !!case the series unfolds V7th, and Mi7b5 clusters. Take note that although there are in total!!15 four string groups, (as opposed to the 20 of the augmented group) the next series is !!focused solely upon 5 common string groups. Also keep in mind that what's referred to as!!"common groups", or specific sets of strings, are solely based upon the natural adjacent and!!non-adjacent groups.!!!