Chords

For years I've been playing major seventh chords in a cycle of major thirds as a kind of "atonal major tonality". I talked about that here and in other places on this blog. But lately I've been trying major sixths as well, and they produce something similar but different. In fact it's the negative image of something very familiar.

The all-but-six (ABS) chords are Forte 6-1, 6-8, 6-14 and 6-32. They're all six-note chords that contain every interval except the tritone. Of these, I think 6-8 and 6-14 are particularly promising.

This little cluster of four notes can expand your vocabulary and open the door to exotic scales and chords, including both conventional jazz stuff and more far-out weirdness. I find this especially useful for finding things on piano (which I'm not very good at) but it applies to anything really.

This is a continuation from an earlier post that looked at All Interval Tetrachords. Here we look at some recipes for building their bigger siblings, the All Trichord Hexachords, on the fly and some ideas for using them.

The Lulu Chord is what I call a chord formed by playing a perfect fifth with a perfect fourth nestled inside it: for example, C-C#-F#-G. The outer notes, C-G are the fifth and the inner ones, C#-F#, are the fourth. This chord is non-diatonic and, as far as I know, unknown in tonal music. But it was very popular with the Second Viennese School and is a good thing to get a handle on if you're looking for some modernist vocabulary.

I was told something today that surprised me and sent me scurrying off to try it: Any non-overlapping combination of a minor third interval and a tritone interval contains all the possible intervals. Such chords are known as all-interval tetrachords (AITs). I've heard of them for years but never saw how to use them; as usual, it was just a matter of someone showing me the "right" way (for me) to look at them.

Recently I've been returning to early 20th century piano music. The stuff I like often features elements from tonal harmony (such as triad-based chords) combined in non-functional ways. These are also easy to think about and find when improvising. This post started off being about playing seventh chords separated by a semitone but ended up summarizing the wider context of this in my own music.

In the previous ii-V-I post I outlined what I take to be the most standard, well-known ways to play a ii-V-I. This is a quick note of a well-known fact about them.

I guess everybody knows the ii-V-I is the most important chord sequence in jazz. A lot of folks also know that there are about a million ways to play it that aren't, in fact, ii-V-I at all. So what's going on with that?

We have been thinking about dividing the 12 notes of our ordinary tuning system (12-EDO) into two distinct regions, each of which is a whole-tone scale. Each region can be thought of as a tuning in itself, 6-EDO, the equal division of an octave into six notes. In this post we consider how the Augmented Hexatonic can help us bridge the gap between these two regions.