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Geez. Your example is absolutely nothing like the changes for Blues For Alice in any key. It's usually in F and the changes are: Fmaj7 / / / |Em7 / A7 / |Dm7 / G7 / |Cm7 / F7 / | Bb7 / / / |Bbm7 / Eb7 / |Am7 / D7 / |Abm7 / Db7 / | Gm7 / / / |C7 / / / |Fmaj7 / D7 / |Gm7 / C7 / || Your changes are al...

Joe, my example is example #23 from Jerry Cokers "Improvising Jazz" Blues for Alice if I'm not mistaken, Why don't you try it with Giant Steps or something a little more complicated?

I'll remind you of the Mr Nelsonsprime form calculator - saves a lot of time.

I greatly appreciate the thought you have given to this thread and hope my replies here will get my point over. You have used quotes around "root" and "tonic" implying that you are using the terms in varying ways. I am using the term tonic in the way Paul Nelson defines it. tonic...

OK. Look. You said that "A C E G *reduces* to 0358", right? [Your html smiley was supposed to be an 8, right?] 0358 in this system is C Eb F Ab, which is a 2nd inversion Fm7 chord. So in order to "reduce" A C E G to 0358 first you have to reorder the notes in the chord to so to ...

Even with your own methods, F#-C could go either way, no? Absolutely not F# -C is (6,0) C is the tonic But if F# is taken as the "tonic" it's 06. (6,0) = (0,6) 0,C is therefore the tonic. I haven't read Allan Fortes book so I can't help you with that. My information is for the most part f...

Regarding the intervals formed by the tones of C lydian with the tonic: • C-D Russell sees the "tonic" as C. Hindemith sees the root as D. Delamont sees the root as D. • C-E They all see the root and/or the "tonic" as being C. • C-F# Russell simply declares that C is the &...

joegold wrote:
Even with your own methods, F#-C could go either way, no?

Absolutely not F# -C is (6,0) C is the tonic

If it were true, then, for example, the chord, A C E G (9047), which compacts to E G A C (4790) would have a "tonic" of E, and that simply is not the case in any theory of harmony that I am aware of. A,C,E,G reduces to (0,3,5,8) please excuse the smiley it's an artifact of using PC notati...

Any arbitrary set of notes, when expressed in their prime form (i.e. their most compact inversion) will have the tonic as the first note in that set.

For example
All the notes from C to C, F to F etc
or
E,G,C
or
C# and C,
or
G and C
or
F# and C

And you've even got two chords in there that don't contain the tonic. I must be missing something here. Those two chord are my point. They are merely inversions and when they are (sorry) reduced to their prime forms it looks like this (047E) | (047E) | (0459) | (0459) |_______(0 2 4 5 6 7 9 E) {sub...

OK. Let me put it this way. If it is possible to do so without getting into subsets, supersets or pitch axis theory, please try to explain how your progression "confirms" Tonal Gravity? Thanks. Ok saying one progression proves it is an exaggeration. But if you reduce any chord progression...

I have posted the details on three other forums. http://forum.ableton.com/viewtopic.php?f=1&t=163541 http://www.kvraudio.com/forum/viewtopic.php?t=317952&highlight= http://www.idmforums.com/showthread.php?p=679589#post679589 I'll post them here if anyone wants me to. Interesting the way peop...

Interval Vectors An "Interval Vector" is a list of six numbers which summarizes the interval content in a PC Set. With a little experience, you will be able to get a sense for how a PC Set sounds when you see its interval vector. Further, once you know the interval content of a PC Set, you...

I think the pitch class theory provides confirmation of George Russells concept of tonal gravity. I wrote a little song to prove it. (C)=(0) (C C# D D# E F F# G G# A A# B) (0 1 2 3 4 5 6 7 8 9 T E) Blues For Heather I7 I7 IVM7 IVM7 II7 II7 V7 V7 Vm7 I7 IVM7 IVM7 VIm7 II7 IIm7 V7 C7 C7 Fmaj7 Fmaj7 D7...

In "From Polychords to Polya" Michael Keith uses the term thusly - K-atonic interval sets. An interesting type of interval set is one in which all intervals between 1 and k (inclusive) are represented, for some k. Such a set is referred to as ^-atonic, after the musical term diatonic which...