XenosX

Finally finished this piece. Piano and Guitar were recorded live on a keyboard into midi (not at the same time, obviously), then cleaned up (voices changed). Drums and bass are added in FL Studio.

Basically, it's a Cm chord followed by a Dbmaj7 in the main section. But on top, I play in the Ebd7 scale, sometimes going to the C blues scale, which seems to fit for some reason. The chorus is as follows...

Bbm7 - Ebd7 - Bbm7 - Ebd7 - Bbm7 - Bbm7+A - DbM - Gm5bd7

A song dedicated to the four "musical" Johns in my life: John Coltrane, John Lennon, John McLaughlin, and my dad. Nice rock chord progression, but also note the time signature, 15/8.

Nice bluesy song using the lydian mode with a flatted seven.

Whenever I upload a song, it loads onto my music page, but displays the following:


Warning: move_uploaded_file({$DOCUMENT_ROOT}/amp_files/957.mp3) [function.move-uploaded-file]: failed to open stream: No such file or directory in /web/bandamp.com/users.php on line 353

Warning: move_uploaded_file() [function.move-uploaded-file]: Unable to move '/var/tmp/phpwBu7T7' to '{$DOCUMENT_ROOT}/amp_files/957.mp3' in /web/bandamp.com/users.php on line 353

Warning: update_xml(/scripts/getid3/getid3.php) [function.update-xml]: failed to open stream: No such file or directory in /web/bandamp.com/z_functions.php on line 776

Fatal error: update_xml() [function.require]: Failed opening required '/scripts/getid3/getid3.php' (include_path='.:/php/includes:/usr/local/share/pear') in /web/bandamp.com/z_functions.php on line 776


It refuses to play. What could be the problem?

I have a new music theory that I want to share with the world. First, let's start off by defining a musical scale. The first rule that we can agree on is that it must have seven notes. But it cannot just have any notes. The notes must be regulated. This is the second rule, that no three notes can be semitones apart, ie three notes in a row. The third rule, just to make this simple, is that no scale can have a fifth that is not natural. Okay, now that we have this, we can proceed.

Think of the most simple musical scale, the C major scale.

C - D - E - F - G - A - B

To prevent confusion, the notes of any scale can be labeled as such:

1 - 2 - 3 - 4 - 5 - 6 - 7

The C scale has all natural notes. The is always natural, and defines the rest of the scale. The 2 is two semitones away from the one. This is the natural two. The three is two semitones away from the two. This is the natural three. The four is one away, the five is two away, the six is two away, and the seven is two away. So it could look like this:

1 - 2 - 3 4 - 5 - 6 - 7

Note how there is no dash after the 7, as the 7 and the 1's octave above have no separating tone. There are many coordinations of this particular arrangement of intervals. If we start at the 2 instead, we get:

2 - 3 4 - 5 - 6 - 71 -

If we move all the notes down two semitones on the 1's major scale, we get:

1 - 2 3 - 4 - 5 - 67 -

Compare this two the 1's original major scale, and we see that the 2 and the 7 have been moved down a step. This flatting of the notes creates a minor seventh scale. If we do this to all the numbers of the scale, we find:

1: 1 - 2 - 3 4 - 5 - 6 - 7
2: 1 - 2 3 - 4 - 5 - 67 -
3: 1 2 - 3 - 4 - 5 6 - 7 -
4: 1 - 2 - 3 - 4 5 - 6 - 7
5: 1 - 2 - 3 4 - 5 - 6 7
6: 1 - 2 3 - 4 - 5 6 - 7 -
7: 1 2 - 3 - 4 5 - 6 - 7 -

Notice how the places where the intervals are one semitone move to the left as the number increases. We can discount the 7 scale as a true scale, because the 5 is flatted. All others are true scales. They are the typical greek musical MODES.

Ionian (All natural)
Dorian (3b, 7b)
Phrygian (2b, 3b, 6b, 7b)
Lydian (4#)
Mixolydian (7b)
Aeolian (3b, 6b, 7b)
Locrian (2b, 3b, 5b, 6b, 7b)

If you arrange these starting with the lydian, and then go to the scale's fifth, you see that the change is a flat of a single note. First the 4, then the 7, then 3, then 6, then 2, then 5. The one never changes because it is a root note. Also, the order of the note flatting follows fourths in the same direction. Wierd, no?

Now, you might realize that they scales do not encompass all the scales. Take for example, a scale with just a flatted 3, or a sharp 4 and a flatted 7. To ascertain these scales, you could change the root scale. But how can you arrange it so all of the three primary rules stay intact? Notice the distance between the one semitone intervals of the C major scale. If you move them one closer, it creates a scale not known above. If you move them apart, however, it is really a reflection of the original scale, just a different orientation. Any closer, and the rules will be broken (rule 2). So similarly, you can make new modes with the new scale. These do not have names though.

Also, we haven't considered the possibility of having scales with 3 semitone gaps. these are possible, and to save trouble for anyone reading this, they are:

1 - 2 3 - 4 - 5 6 - - 7

and

1 - 2 - 3 4 - 5 6 - - 7



An entire listing of legal modes is below:

NATURAL MODES
1 2 3 4 5 6 7
1 2 3b 4 5 6 7b
1 2b 3b 4 5 6b 7b
1 2 3 4# 5 6 7
1 2 3 4 5 6 7b
1 2 3b 4 5 6b 7b

MINOR 3 MODES
1 2 3b 4 5 6 7
1 2b 3b 4 5 6 7b
1 2 3 4# 5 6 7b
1 2 3 4 5 6b 7b

MINOR 6 MODES
1 2 3 4 5 6b 7
1 2b 3b 4b 5 6b 7b
1 2 3b 4# 5 6 7
1 2b 3 4 5 6 7b

MINOR 3, 6 MODES
1 2 3b 4 5 6b 7
1 2 3b 4# 5 6 7b
1 2b 3 4 5 6b 7b
1 2# 3 4# 5 6 7

My favorites of these new scales are 3rd MINOR 3 MODE, the 4th MINOR 3 MODE, and the 4th MINOR 3, 6 MODE.

These are all the possible scales ever. Please comment on this theory.