I deleted the text file I had for that but let me know if you'd like to see it as it would be easy to do again!Īs the scale has both elements of high symmetry and also large gaps that impede symmetry it ends up with a curious combination of quartal chords and I loved the sound (on guitar, for me, but bass is my main instrument so I'm not so quick at seeing equivalent chords I may be oultlining on guitar).įor useage, I was thinking along the same lines as jdjazz. Which would end up giving all the modes of the scale in the extended quartal chord form. I was first occupied with getting away from the chord naming's from the auto program and instead focused on expressing each degree of the scale as a quartal 1, 4, 7, 3 (13, 9, 5) chord, with alterations. How might I use these quartal voicings as substitutions for derivative scale-chords harmonized in has given a better answer than I could, but I thought I'd add a few thoughts I had with this great question. So, can I go about writing music with this as if it were a C major scale harmonized in thirds, playing ii V I, or ii VI IV I, or what have you? (The parenthetical names are the results attained by entering these sequences into an online chord-identification engine.) Quartal harmonization of this scale renders these note sequence: The E double harmonic major scale contains these notes: E F G# A B C D# I also like the intervalic pattern of the double harmonic major scale, so I figured I could combine the two and achieve an outside type of sound, but I'm not exactly sure how to go about implementing this. Context: I'm a guitarist teaching myself music theory and am experimenting with quartal harmonization to achieve the open sound that I desire.
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