pmnog-011
DESCRIPTION
musicTRANSCRIPT
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1324
E7
1324
E7
1324
E7
2314
G7(b5)
2 341
G7(b5)
9fr
2314
G7
10fr
1324
G7(b5)
10fr
1324
G7(b5)
2 341
G7(b5)
1324
E7
2314
G7(b5)
1324
E7
1312
C7(b5)
4fr
1324
C7(b5)
4
4
4
4
5
4
4
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5
4
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4
&
0:12 0:24
0:36
0:52
0:55
&
1:01
1:22 1:39
1:48
&
Played Rubato
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Diminished Parental Form: min7b5Demonstration
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1324
E7
1333
E7(b5)
7fr
1324
E7(b5)
5fr
01243
A13(b9)
2134
D9
1324
E7
1333
E7(b5)
1324
E7
1214
B7(b5)
1324
B7(b5)
1214
B7(b5)
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4
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4
&
2:02 2:06
&
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#
b
2:10
&
2:18 2:22
2:27
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4fr
231
C
231
C A
1324
E7
1324
E7
1324
E7
2314
G7(b5)
5
4
4
4
5
4
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&
b
n
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#
2:28
&
2:43 2:56
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b b b b b
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The final series of the diminished transformations has the parental form transformed into!!its second sibling, (the Mi7b5 chord) by raising any of its singular tones " step.
THE DIMINISHED TRANSFORMATIONSinto Mi7b5 Forms
eg. 11 b
V!E!R!T!I!C!A!L
HORIZONTAL
12345678910111213
4th string3rd string 2nd string
12345678910111213
2nd string 4th string3rd string
= the position of the Root
654321
12345678910111213
2nd string 4th string 3rd string
654321
654321
1st string
1st string
1st string
12345678910111213
3rd string2nd string 4th string 1st string
654321
E, A#, C#, or G DimSource
234654321
Gmi7b5234
654321
C#mi7b5234
654321
234654321
C#mi7b5Emi7b54 Mi7b5 key centers
234654321
Gmi7b5
C#mi7b5
Emi7b5
A#mi7b5
-
4321
CC7D#7 A7 F#7E Bb C# DimG
II
6 5 4 3 2 1
II
6 5 4 3 2 1
6 5 4 3 2 1
I
6 5 4 3 2 1
I
II
6 5 4 3 2 1
5432
B
III
II
III6 5 4 3 2 1
6 5 4 3 2 16 5 4 3 2 1
C7 D#7A7F#7G C# E DimBb
III
6 5 4 3 2 1
III
6 5 4 3 2 1
6543
A
I
IIII
6 5 4 3 2 1
II
6 5 4 3 2 16 5 4 3 2 1
6 5 4 3 2 1II
6 5 4 3 2 1
C7 D#7 A7F#7G C# E DimBb
These particular string groups provide what's needed to create a practical library of chord !!forms, along with their alterations, and inversions.!
eg. 23
V7th (tones in descent)
Transformations of the Diminished Form!to V7th and Mi7b5 Clusters
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II5321
ED#7A7C# Bb E DimG C7
IIIIII
6 5 4 3 2 1 6 5 4 3 2 1
6 5 4 3 2 1
III
6 5 4 3 2 1
F#7
II
6 5 4 3 2 1
6432
DA7D#7 C7F#7
I II I
G E Bb DimC#
6 5 4 3 2 1 6 5 4 3 2 1 6 5 4 3 2 1II
6 5 4 3 2 1
II
6 5 4 3 2 1
II
6543
AE Bb C# DimG Bbmi7b5
II IIII
Mi7b5 (tones in ascent)
6 5 4 3 2 1 6 5 4 3 2 1
6 5 4 3 2 1
6 5 4 3 2 1
Emi7b5 Gmi7b5 C#mi7b5
II
6 5 4 3 2 1
III
5432
BC#mi7b5Bbmi7b5 Gmi7b5Emi7b5
IIIIII
III6 5 4 3 2 1 6 5 4 3 2 1
6 5 4 3 2 1 6 5 4 3 2 1
C# G Bb DimE
IV
6 5 4 3 2 1
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C#mi7b5Gmi7b5 Gmi7b5Bbmi7b5G E Bb DimC#
II
6 5 4 3 2 1 II
6 5 4 3 2 1
6 5 4 3 2 1II
II
6 5 4 3 2 1
II
6 5 4 3 2 16432
D
Gmi7b5C#mi7b5 Bbmi7b5Emi7b5C# Bb E DimG
III
6 5 4 3 2 1
III
6 5 4 3 2 1
III
6 5 4 3 2 1
III
6 5 4 3 2 1
III
6 5 4 3 2 15321
E
4321
CEmi7b5C#mi7b5 Bbmi7b5Gmi7b5
II
6 5 4 3 2 1
II
6 5 4 3 2 1 II
6 5 4 3 2 1
E Bb C# DimGII
6 5 4 3 2 1 II
6 5 4 3 2 1
!Finally, prior to an introduction for basic linear studies, it's important to add another !!consideration based upon the intervals of the guitars normal tuning: E, A, D, G, B, and E. The!!intervals between these tones are as follows. E to A, (perf 4th) A to D, (perf 4th) D to G, !!(perf 4th). It's here, (between G to B) that the interval changes to a ma 3rd, then continues with!!B to E once again as a perf 4th. So far, (throughout these studies) the movement of single !!tones, (either in descent, or ascent) has proved successfull as a formula. It holds true when it's !!applied in vertical manipulations as well. A demonstration unfolds in the following examples. !!
!
!