Text: Subject: Re: [svpvril] Scale explanation for Mike Date: Mon, 25 Mar 2002 01:14:42 +0000 From: "Luigi Di Martino" Reply-To: svpvril@yahoogroups.com To: svpvril@yahoogroups.com Hi Mike Thanks for your interest. If you don't mind I'll start at der beginning!To understand this first diagram one simply needs to apply the Major scale formula in reverse. Any of the twelve chromatic notes can be made into a Major scale by applying the formula of tones and semitones as below. Doh, the root note, begins at C here: T = one Tone Movement S = one Semitone movement Doh Reh Meh Fah Sol Lah Teh Doh T T S T T T S C D E F G A B C A music theory book I read stated that scales were reckoned in an ascending order from a given root. So the clown in us all had a good laugh and reversed the logic. You have to read this same formula from right to left. It won't consist of the same notes even though the root axis is still C. S T T T S T T C Db Eb F G Ab Bb C This in effect makes the note C an axis point to two scales. The mirror scale is a Phrygian Minor scale, so the first relationship here is Major/Minor. Here are both scales joined together at the middle C axis point. C Db Eb F G Ab Bb C D E F G A B C Instead of playing a tune like Frere Jacques as C D E C, one can swap the mirror notes - C Bb Ab C. And instead of accampaniying that original melody with the two chords of C and G major, one can swap them for the mirror chords of F and Bb Minor. C is not the only axis point however. If we find the note D and reflect it through the mirror we find it equals the note Bb. Both are one tone movement away from C. This can be done with all the notes. All except one. There are eleven of the twelve chromatic notes available in the above grid. The missing note is F#. If this note is reflected across the mirror it equals F#, so it is another axis point. At this stage one can proceed as a musician and start composing music based on mirror logic, or one can start asking questions. The importance of F# as another axis point can be discovered by reversing the scale steps of all seven Modes of the C Major family. Then by reversing the logic of certain traditional rules , like the circle of 5ths , one sees that this central position either side of the mirror (at F#) conveys the same information as at the Root.

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