Spheres of Vicinity
Spheres of Vicinity
Spheres of Vicinity
RAÚL NOVOA CASTILLA The
first
sphere
contains
scales
that
differ
ID Music Institute from
the
scale
of
I
only
in
one
note.
The
second
sphere
contains
those
scales
that
Here
the
use
of
graphs
is
presented
as
a
tool
differ
in
two
notes,
and
as
can
be
seen
in
for
musical
analysis
with
applications
in
Graph
1,
these
two
notes
come
from
two
modal
improvisation
and
composition.
A
scales
within
the
First
Sphere
of
Vicinity.
data
treatment
according
to
Graph
Theory
allows
to
observe
structural
and
functional
relationships
that
are
not
evident
by
the
traditional
methods
of
analysis
Mixolydian IIm st
II VI7 1
b13 (Melodic)
Mixolydian IIIm nd
III VII7 2
b9, b13 (Harmonic)
st
IV I7 Mixolydian IV 1
st
V II7 Mixolydian V 1
Mixolydian VIm st
VI III7 1
b9, b13 (Harmonic)
Table
3.
Harmonic
analysis
of
the
piece
"All
of
me"
(part
2).
Notation
V
means
that
a
Dominant
chord
In
Graph
3
we
can
see
the
scales
used
for
resolves
to
the
next
chord;
II-V
indicates
improvisation
in
this
piece
and
its
location
in
a
secondary
cadential
progression
toward
the
system
of
Spheres
of
Vicinity.
the
degree
to
which
it
resolves;
II - V/n
indicates
that
this
cadential
progression
belongs
to
the
degree
"n"
(to
which
it
resolves
later);
II-(V/n)
indicates
a
cadential
progression
towards
the
degree
"n"
that
does
not
resolve.
Also,
for
reasons
of
space,
the
abbreviation
"Mixo"
is
used
to
refer
to
some
Mixolydian
mode.
Almost
all
scales
are
within
the
first
two
spheres
of
vicinity,
except
for
two
cases:
the
IIIx
as
the
extended
dominant
of
the
V/ii,
whose
scale
is
in
the
Third
Sphere
of
Vicinity,
Graph 3. Spheres of Vicinity for the piece "All of
and
IVm,
which
is
a
chord
of
modal
me"
interchange
and
its
scale
is
in
the
Fourth
Sphere
of
Vicinity.
The
analysis
of
examples
of
different
musical
genres
will
allow
to
verify
that
they
are
particular
cases
(subsets)
of
this
system.
_____________________
Composition
To
be
inclusive,
the
analysis
was
extended
to
So
this
simple
song
is
of
much
harmonic
contemporary
popular
music,
and
the
song
interest,
and
also
proposes
something
"Uninvited"
by
Alanis
Morissette
was
different
in
the
use
of
scales,
because
chosen.(4)
Mixolydian
b13
is
not
very
common
in
Rock,
while
in
Jazz
it
is
used
more
to
improvise
on
certain
chords
,
but
definitely
not
the
main
Chemistry,
to
solve
problems
of
scale
of
a
"standard".
nomenclature
of
isomers
(1857,
by
Arthur
Cayley)(7,8),
although
the
first
book
dedicated
Now,
these
scales
can
be
located
in
one
of
to
Graph
Theory
was
written
by
Dénes
König,
the
regions
of
the
model
of
the
spheres.
If
published
in
1936(9).
we
think
that
the
movement
of
tension
load
takes
us
in
the
climax
to
the
central
scale
A
graph
consists
of
two
elements:
a
group
of
(although
the
main
mode
is
clearly
the
most
nodes
or
vertices
(points)
and
edges
or
arcs
descended
scale),
we
can
locate
ourselves
in
(the
lines
that
join
them).
The
images
the
region
of
the
harmonic
major
(rIar)
since
presented
so
far
of
the
system
of
scales
with
its
scales
are
I,
Iar,
IV
and
IVmmel,
and
in
that
colored
circles
and
lines
joining
them,
are
case
the
harmonic
progression
or,
to
be
graphs.
precise,
the
tonal
plan
of
the
piece
would
be:
The
objective
of
this
part
of
the
work
is
to
I
Mixolydian
b13
I
Mixolydian
I
look
for
a
mathematical
foundation,
through
(Ionian)
I
Mixolydian
b13,
and
you
can
see
the
Graph
Theory,
for
the
relations
within
a
the
location
of
those
scales
in
Graph
5.
system
of
musical
scales,
such
as:
plurality
of
function,
close
relationships,
modal
color
notes
and
tonal
regions.
As
a
starting
point
it
can
be
said
that
Spheres
of
Vicinity
(when
necessary,
abbreviated
as
SV)
is
a
simple,
connected
graph,
non-‐
oriented
(although
it
may
be
in
certain
conditions),
with
strongly
connected
components
called
"regions"
of
length
4.
In
this
graph,
the
vertices
represent
heptaphone
scales
(both
known
and
Graph 5. Spheres of Vicinity for the song
theoretical)
for
different
musical
notes,
"Uninvited"
coded
with
respect
to
a
note
that
functions
as
a
tonic
of
the
main
tonality;
this
would
be
_____________________
the
central
vertex,
which
is
a
vertex
of
Graph
Theory
degree
or
valence
6,
because
it
is
connected
with
six
other
nodes,
as
shown
in
Graph
6.
Graph
Theory
is
a
branch
of
Discrete
Mathematics,
whose
origin
goes
back
to
the
The
other
vertices
represent
scales
that
eighteenth
century,
with
the
works
of
enrich
modal
improvisation
by
providing
Leonhard
Euler
on
the
problem
of
the
different
sonorities
(modes)
on
certain
bridges
of
Königsberg
(1736)(5),
and
although
chords,
whether
natural,
altered
or
auxiliary
it
is
currently
used
for
the
analysis
of
for
the
main
tonality.
computational
networks,
it
is
a
tool
that
was
The
heptaphones
scales
are
subsets
of
7
already
used
in
the
nineteenth
century
in
elements
of
the
Chromatic
scale
(ChS)
areas
such
as
physics,
to
analyze
electrical
resulting
from
the
twelve-‐tone
equal
circuits
(1847,
by
Gustav
Kirchhoff)(6),
and
temperament,
which
is
used
as
a
universe
of
vertex
includes
5
of
its
7
elements,
and
the
notes
in
Western
music
and
would
be
difference
or
subtraction
to
those
scales
of
defined
as:
the
central
scale
is
equal
to
the
color
notes
ChS
=
{0,
1,
2,
3,
4,
5,
6,
7,
8,
9,
A,
B}
that
are
required
in
the
improvisation
to
produce
the
desired
sonorities:
Where
the
duodecimal
notation
is
used
to
CN
=
{x ChS|x S\I,
S SSV}
denotate
the
sounds
no
matter
the
enharmonic
names.
Thus
it
is
possible
to
identify,
by
means
of
the
graph,
the
modal
color
notes
for
the
scales
of
the
system.
For
a
Math
definition,
First
Sphere
of
Vicinity
is
a
set
of
scales
adjacent
to
vertex
I,
excluding
I
itself,
so
it
is
actually
an
open
neighborhood
and
it
could
be
defined
as
follows(10):
𝐿𝑒𝑡 𝑆𝑉 = 𝑉, 𝐸 𝑏𝑒 𝑎 𝑔𝑟𝑎𝑝ℎ.
𝐿𝑒𝑡 𝐼 ∈ 𝑉 𝑏𝑒 𝑎 𝑣𝑒𝑟𝑡𝑒𝑥 𝑜𝑓 𝑆𝑉.
𝐹𝑆𝑉 = 𝑁! 𝐼 = 𝑆 ∈ 𝑉 | IS ∈ E
Graph 6. First Sphere of Vicinity (F. S. V.). SSV
is
an
open
neighborhood
of
FSV,
and
it
could
be
defined
as
follows:
The
vertices
are
distributed
in
circular
(2D)
or
𝐿𝑒𝑡 𝑆′, 𝑆" ∈ 𝑉 𝑏𝑒 𝑣𝑒𝑟𝑡𝑖𝑐𝑒𝑠 𝑜𝑓 𝑆𝑉, 𝑎𝑛𝑑 𝑆′, 𝑆" ≠ 𝐼
spherical
(3D)
layers
that
are
moving
away
𝑆𝑆𝑉 = 𝑁! 𝐹𝑆𝑉 ∖ 𝐼 =
from
the
center
according
to
the
number
of
notes
that
do
not
belong
to
the
central
node.
𝑆" ∈ 𝑉 | 𝑆′! S" ∈ E
The
First
Sphere
of
Vicinity
(FSV)
is
made
up
!´! ∈!"#
of
scales
(S)
that
differ
in
a
single
note
(X)
Now,
the
vertices
of
the
higher
spheres
lose
with
respect
to
the
central
scale
(I),
so,
the
their
practical
interest
in
modal
intersection
between
a
vertex
in
FSV
and
the
improvisation,
which
is
usually
confined
to
central
vertex
includes
6
of
its
7
elements,
the
Second
Sphere
of
Vicinity,
except
for
a
and
then,
the
difference
or
subtraction
on
a
few
exceptions
that
may
appear
in
the
Third
scale
of
FSV
of
the
central
scale
results
in
the
or
Fourth
Sphere
of
Vicinity.
color
note
(CN)
that
this
scale
contributes
to
produce
the
modal
sonorities
that
are
For
this
reason,
we
can
say
that
the
model
is
required
to
enrich
the
improvisation
on
the
a
weighted
graph,
in
which
the
most
useful
central
tonality(2):
scales
are
closer
to
the
center,
which
is
to
say
that
the
vertices
will
be
more
valuable
CN
=
{x ChS|x S\I,
S FSV}
(useful)
to
the
extent
that
its
closeness
value
In
the
same
way,
the
scales
in
the
Second
with
respect
to
the
main
node
(C/C(I))
tends
Sphere
of
Vicinity
(SSV)
differ
in
two
notes
to
1;
although
this
graph
allows
to
observe
with
the
central
scale,
so,
the
intersection
the
latter
visually.
between
a
vertex
in
SSV
and
the
central
The
edges
are
connecting
nodes
that
share
The
relation
in
Table
4
must
be
used
to
the
notes
that
do
not
belong
to
I
(the
central
interpret
the
information
of
the
matrices.
vertex),
so,
besides
providing
some
kind
of
Matrix
of
geodetic
paths.
Distance
or
symmetry
to
the
system,
the
degree
of
geodetic
path
is
the
length
of
the
shortest
closeness
in
the
graph
is
related
to
close
path
between
two
vertices.
Each
line
or
edge
relationship
in
music
(number
of
common
that
joins
two
vertices
is
one
unit.
chords
between
two
scales
to
facilitate
A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Q
R
S
T
U
modulation).
A
-‐
1
1
1
1
1
1
2
2
2
2
2
2
2
2
2
2
2
2
2
2
In
this
case,
we
are
interested
in
seeing
the
B
1
-‐
2
2
2
2
2
1
3
1
3
1
3
3
1
3
3
3
1
3
3
relationship
between
the
degree
of
closeness
C
1
2
-‐
2
2
2
2
3
1
3
1
1
3
3
3
1
3
1
3
3
3
D
1
2
2
-‐
2
2
2
1
3
3
3
3
1
3
3
3
1
3
3
3
1
with
the
plurality
of
function,
since
this
will
E
1
2
2
2
-‐
2
2
3
1
3
3
3
3
1
1
3
1
3
3
1
3
allow
us
to
understand
the
frequency
of
use
F
1
2
2
2
2
-‐
2
3
3
1
3
3
1
3
3
3
3
1
3
1
3
of
a
scale
when
working
in
the
main
key
and,
G
1
2
2
2
2
2
-‐
3
3
3
1
3
3
1
3
3
3
3
1
3
3
therefore,
its
importance
as
a
resource
to
H
2
1
3
1
3
3
3
-‐
4
2
4
2
2
4
2
2
2
4
2
4
2
modally
enrich
a
tonality,
either
in
I
2
3
1
3
1
3
3
4
-‐
4
2
2
4
2
2
2
2
2
4
2
4
improvisation
or
arrangement.
J
2
1
3
3
3
1
3
2
4
-‐
4
2
2
4
2
4
4
2
2
2
4
K
2
3
1
3
3
3
1
4
2
4
-‐
2
4
2
4
2
4
2
2
4
2
It
is
possible
to
rely
on
the
information
L
2
1
1
3
3
3
3
2
2
2
2
-‐
4
4
2
2
4
2
2
4
4
contained
in
two
matrices:
one
of
geodetic
M
2
3
3
1
3
1
3
2
4
4
4
4
-‐
4
4
2
2
2
4
2
4
paths
and
another
of
plurality
of
function.
As
N
2
3
3
3
1
3
1
4
2
4
2
4
4
-‐
2
4
2
4
2
4
4