However, the idea of the Septimal 7th. of the Reciprocal 3rd. of the Tonic (b5th, in Intervallic Space. Correct Terminology here?), and yet no appearance of the Reciprocal 3rd. of the Tonic itself, is kind of surprising.
Sorry I didn't see that sooner Swain, the "Where's the "F" in A7" answer in terms of the overtone series is it's the product of the tonic, b3 and b5.
A, C, Eb?
Right? Rootless F7 chord?
Right? The blue notes plus the A tonic are 3, 5, b7, 9 of F.
Not a tonic "splitting into overtones", overtones combining to a pitch.
Just like F generating C!
Or, in the E Blues examples you wrote in the earlier post, C generates G.
Flipping those TriTones shows the other side of the coin.
E C# A E B G# E, a big fat A triad with an E triad on top with the tonic in the center. Right?
A generates E just as D generates A.
You get that, right? If adding 7th's is creating tri-tones, and the resulting scale tonality is "Blues Scale in E", the result of flipping those tri-tones (which is the operation that transforms interval space to harmonic space) gets you a lower A triad and an upper E triad.
Is that a home run or a foul?
I think I'm getting it.
Is this just two sides of that same coin, as I described? Or, as you've described. Repeatedly....... And as I've tried to regurgitate here?
I think maybe. It does seem to flow into that continuous sheet, in my mind. _________________ "Real Tomato Ketchup, Roy?"
Something you wrote (SK) from an older thread on TGP:
"I deleted all the good stuff!!
The exceptions to the chord tone approach are as follows.
1. The "inside/outside" note hierarchy will often be counter to the vocal melody which in a lot of cases uses the second level choices as principle melody tones, so as always, don't paint yourself into a corner with an improvisational concept that doesn't allow the melody to come first.
2. The chord tones obviously don't fit into the bar lines, so don't think your "A sounds" start on the downbeat of the bar.
Whatever you're doing, you want the tonality you're heading for to land on the downbeat, to resolve into it.
The tonality of the chord tone line precedes the chord it names.
If you look at it like that, there's less fuss about what's in or out, you're always going to be playing some kind of "A7 sound" while that bar of E7 is running out, you'll always be playing some kind of D7 sound over the end of that A7 chord etc.
Everything's a pickup, so don't get stuck with the chord tones inside the barlines, that's gonna sound like poop!"
"Y'know, I really think you can satisfy a lot of the non-diatonic note choice stuff in the blues if you pay attention to the tonality preceding the change pick-up "forward motion" routine. Not everything obviously, and I'm usually pretty down on the C/S program, but it does work rather well with the blues if you apply that displacement. What do you think?
Those have stuck with me, so I wanted to dig them back up and place them in this thread.
And this big, continuous sheet seems to keep unfolding. One thing leads to another....... _________________ "Real Tomato Ketchup, Roy?"
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