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Those familiar with my old site perhaps remembered that its main purpose was to host my compositions.  Well!  Those are all back!  There’s more work to be done in the design, and there are updates to be made as well: links to more recordings, etc.  The important bit, though, is that the music page is online.  And I even think it looks pretty, but what do I know.  The rest of the site will get a makeover soon (where “soon” doesn’t mean what you think it means — it actually means “eventually”).


  1. Hello, Mauro—
    I’m just surfing the web about music theory.
    Just was wondering if you have discovered this yet—it’s something you have to “hear” instead of analyze mathematically.
    Only consider the first 4 harmonics of C. 3 of the pitches are the same tone C. The 3rd pitch, G, sprang up from C, and wants to go back home to C. Play G’s triad G-B-D, then C’s triad C-E-G.
    To make a long story short, C goes home to F, and G goes home to C. C is a family of 3 triads, which make the 7 notes of the C scale.
    It seems so simple, yet I’ve only found it one place on the internet.

    Have a nice day.
    Thomas Hopwood

    • Sure! C, F, and G are the primary triads for C major; we call them I, IV, and V. And if you vary the flavor of those triads, you get different scales. You could tie them from end to end like this:

      F A C E G B D

      If we make them all minor instead of major, we get the C minor scale: C D Eb F G Ab Bb C. If we make F major but C and G minor, we get the C dorian scale: C D Eb F G A Bb C. If we make F and C major but G minor, we get the C mixolydian scale: C D E F G A Bb C. If we make F and C minor but G major, we get the C harmonic minor scale (that’s why we have the harmonic minor scale, actually): C D Eb F G Ab B C. If we make F major, C minor, and G major, we get the C melodic minor scale’s ascending form: C D Eb F G A B C. If F is minor, C major, and G minor, we get this, which we could call minor dominant: C D E F G Ab Bb C. If F is minor but C and G are major, we get this, a harmonic minor dominant that doesn’t make a lot of sense: C D E F G Ab B C.

      Of course, we can use diminished triads as well, but if the F is diminished, it must be F# instead, and if C is diminished, the G chord must be Gb instead. If both F# and C are diminished, it’s clear that we repeat a note (enharmonically). You could even use augmented triads or more exotic triads like major b5 (for example, C E Gb). For example, if F is minor, C is major, and G is diminished, we get the phrygian dominant scale: C Db E F G Ab Bb C.

      I’m not sure whether this is the most effective way to build 7-tone scales, but it does allow you to pick the mood of the primary chords, which is useful. Of course, when you use microtonal music, this could be even more useful and open more possibilities. Good catch!

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