“Enharmonic properties of chord voicing’s”.
I am doing a new section for the Book 2 of interlock.
Enharmonic possibilities of chords 3 notes and higher. I will do some graphics for this so look farther on with this blog it will be more extensive.
I always start my students on “The seven spellings”
From there most all teachers will talk about the different families and how the spellings are affected by the “Chord Formulas” I have a chart of 105 spellings for 4 note chords. This is a fundamental piece of theory, it’s like knowing your times tables in math. You will need to get a serious grasp of the basic spellings in order to even think about this blog’s original intent. “Enharmonic properties of chord voicing’s”. We will start with the 7 spellings.
Chords are built in 3rd intervals so we start with C.
A major 3rd above is E, A major 3rd above is G A major 3rd above is B so the spelling looks like this.
Built from the bottom up. This is a C Major 7.
B C D E F G A
G A B C D E F
E F G A B C D
C D E F G A B
Now if I stack D in 3rds with “NO SHARPS OR FLATS”
I get a different set of 3rds D to F is a min3 rd, F to A is a Maj 3rd, A to C is another min 3rd. look
If you remember or have looked at the Diatonic sequence.
The chords automatically become specific families of sound.
We are not too concerned with that right now.
On the next page
I will display the spellings in grids of 5 each with 5 specific chord formulas. “A little math here”.
7 letters natural then all flat then all sharped.
3 x 7 is 21.
Then each of the 21 built with 5 formulas
5 x 21 = 105. That is where were headed.
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