Spheres of Vicinity

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Spheres of Vicinity: Graphs in Musical Analysis.

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  

The  main  objectives  of  this  work,  in  terms  of  


its   application,   includes:   1)   to   show   the  
relationship   between   the   melodic   resources  
used   in   improvisation   and   to   present  
systematic   options   for   the   incorporation   of  
common   use   resources   and   unorthodox  
options;   2)   analyze   musical   works   that   use    
different   scales   in   their   arrangements   to  
Graph 1. Original model of the Spheres of
justify  them  within  the  system,  and  propose  
Vicinity in Major Tonality, 1996.
it  as  a  tool  for  tonal  /  modal  development  in  
composition;   3)   by   itself,   the   system   is   an  
The   other   spheres   (third,   fourth,   etc.)   have  
original   interdisciplinary   proposal   of   musical  
been  ignored  because  the  plurality  would  be  
theory   that   turns   out   to   be   a   practical  
almost  null,  and  serve  only  for  the  analysis  of  
application   of   certain   mathematical  
altered,   chromatic   or   modal   interchange  
concepts.  
chords  in  the  main  tonality.  
Keywords:   graph   theory,   musical   analysis,  
As  can  be  seen  in  Graph  1,  circles  within  the  
modal  improvisation.  
First   Sphere   of   Vicinity   (blue)   have   two  
_____________________   annotations:  one  is  the  type  of  scale  and  the  
The  model   degree   that   functions   as   a   tonic   for   it;   the  
other,  in  parenthesis,  is  the  note  that  makes  
Spheres   of   Vicinity(1)  is   a   system   of   scales   that  
the  difference  with  respect  to  the  scale  of  I.  
bring   modal   richness   to   improvisation   on   a  
All   these   scales   differ   in   one   single   note,   so  
tonality,  and  where  the  concept  of  'spheres'  
they   are   attached   to   the   central   circle   by   a  
is   a   graph   that   explains   the   relationship  
single  (red)  line.  
between   scales.   The   concepts   of  
improvisation   accustomed   in   different   The   circles   of   the   next   sphere   of   vicinity  
musical   genres   are   particular   cases   or   (green)   have   only   the   first   annotation,   since  
approaches  to  the  system.   the  notes  that  differentiate  these  scales  from  
that   of   I,   are   those   of   the   two   circles   (blue)  
with   which   they   are   united.   A   circle   in   the   Modal  Improvisation  
Third   Sphere   of   Vicinity   would   be   united   to  
It   will   be   shown   that   the   concepts   of  
three  scales  in  the  first  sphere,  or  one  in  the  
improvisation   currently   used   consist   of  
second  and  one  in  first  sphere.  
subsets  of  this  system.  
However,   before   thinking   about   the   Third  
In   Table   1   the   sonorities   that   correspond   to  
Sphere   of   Vicinity,   we   should   consider   all   the  
the   secondary   dominant   chords   (V/n)   in   a  
options  available  to  the  Second  Sphere,  as  it  
major   tonality   can   be   observed,   indicating  
also   provides   more   scales,   and   some   of   them  
the   relative   scale   and   the   sphere   of   vicinity  
are   not   even   defined   in   Western   music.(2)  
to  which  they  belong  within  the  system.  
Graph  2  shows  all  scales  of  the  system  to  the  
Second   Sphere   of   Vicinity   with   the   six   n V/n
Chordal Relative Sphere of
Scale Scale Vicinity
chromatisms  originally  considered.  
I V7 Mixolydian I C

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 1. Dominants in major tonality.


Graph 2. Spheres of Vicinity in Major Tonality,
As   can   be   seen,   all   chordal   scales   belong   to  
2011.
work   scales   (ie,   the   scales   that   gave   us   the  
There   are   scales   not   found   in   Graph   2,   musical   culture   of   the   West)   within   the   first  
because   not   all   chromatisms   were   two  spheres  of  vicinity,  which  is  logical  since  
considered   or   because   all   the   scales   that   secondary   cadences   are   being   considered  
existed   in   each   sphere   were   not   included.   towards  chords  of  the  main  tonality  (with  the  
The  study  of  analysis  and  characterization  of   exception   of   the   VIIØ),   so   we   did   not   expect  
these   scales   and   many   others   is   found   in   the  emergence  of  very  distant  scales,  but  this  
another  work.(3)   is   not   always   the   case,   and   we   can   find   the  
use  of  scales  in  Third  or  even  Fourth  Sphere  
For  a  proper  visualization  of  the  system,  it  is   of   Vicinity,   so   we   will   now   analyze   a   Jazz  
recommended  to  work  with  3D  models,  since   standard   and   the   chordal   scales   assigned   to  
its  projection  on  a  plane  would  be  confusing   follow   the   harmonic   progression   according  
and   the   2D   graphics   do   not   allow   to   to  its  current  theory.  
appreciate   its   spatial   conformation   as   well   as  
its  symmetry.   The   piece   chosen   is   "All   of   me",   and   for  
reasons   of   space   it   shows   its   harmonic  
_____________________   analysis   in   two   parts,   Tables   2   and   3.
 
Table  2.  Harmonic  analysis  of  the  piece  "All  of  me"  (part  1)  

 
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  

Now,   on   the   side   of   Composition   and  


Arrangement,   the   harmonic   analysis   of   a  
piece  is  presented.  

The   so-­‐called   'Classical   music'   has   a   huge    


amount  of  small  pieces  that  can  work  for  this   Graph 4. Spheres of Vicinity for the piece
analysis,   so   it   was   chosen   Inventio   1   "Inventio 1"
(BWV772)  by  J.  S.  Bach.  
The   piece   starts   with   an   ostinato   that  
The   piece   begins   in   the   main   key   (I)   of   C  
suggests   the   minor   mode   (1–5–b6–5,   with  
major   with   expositions   in   the   tonic   and  
respect  to  the  tonic),  however,  a  trained  ear  
dominant,   to   continue   with   a   series   of  
realizes   that   this   is   not   the   case   as   soon   as  
progressions  by  descending  thirds  that  finally  
the   voice   enters,   for   the   first   note   is   the  
modulate   to   the   key   of   G   mayor   (V).   After  
major  third  (3)  instead  of  the  expected  minor  
some  measures  there  is  a  modulation  to  Dm  
third  (b3).  
(ii)   where   the   use   of   the   harmonic   minor  
scale  is  evident  (IImar).  In  bars  12  and  13  the   It   is   when   the   melodic   line   sounds   on   the  
use   of   the   melodic   minor   scale   of   Am   ostinato,   in   which   the   tonal   plan   of   the   piece  
(VImmel),  as  well  as  the  harmonic  minor  scale   is  revealed,  through  the  scales  that  are  used  
(VImar)  in  bar  14,  is  seen,  to  resolve  to  Am  in   as  a  'harmonic  progression':  Mixolydian   b13  
bar  16.  A  final  modulation  occurs  in  bar  18  to   (fifth   mode   of   the   melodic   minor   scale)   for  
the  key  of  the  subdominant,  F  major  (IV),  to   the   verses;   a   note   in   the   chorus   ascend   to  
return   at   the   end   to   the   main   key   (I)   by   a   reach   the   Mixolydian   mode   (fifth   mode   of  
cadence  IV-­‐V7-­‐I.   the  major  scale),  and  just  before  finishing  the  
chorus   the   Ionian   mode   (or   Major   scale)   is  
Graph  4  shows  the  work  scales  used  by  J.  S.  
used,   to   start   again.   The   interesting   thing   is  
Bach   in   only   22   measures.   It   must   be  
that   only   two   notes   change   to   generate   the  
remembered  that  IImnat  is  a  relative  mode  of  
harmonic  movement,  from  b6  to  6  and  from  
the  IV  scale,  and  VImnat  is  a  relative  mode  of  
b7   to   7,   but   that   is   enough   to   feel   how   the  
the  central  scale  (I).  
tension   is   loaded   in   the   chorus   to   then   be  
_____________________   released  and  return  to  the  verses.  

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  

the   matrices   would   be   very   large   for   the   O   2   1   3   3   1   3   3   2   2   2   4   2   4   2   -­‐   4   2   4   2   4   4  


P   2   3   1   1   3   3   3   2   2   4   2   2   2   4   4   -­‐   2   2   4   4   4  
space   available   in   these   pages,   they   will   be  
Q   2   3   3   1   1   3   3   2   2   4   4   4   2   2   2   2   -­‐   4   4   2   2  
presented   as   a   table,   and   it   will   be   necessary  
R   2   3   1   3   3   1   3   4   2   2   2   2   2   4   4   2   4   -­‐   4   2   4  
to  assign  a  letter  to  identify  each  scale,  thus   S   2   1   3   3   3   3   1   2   4   2   2   2   4   2   2   4   4   4   -­‐   4   2  
reducing  the  size  of  the  cells.     T   2   3   3   3   1   1   3   4   2   2   4   4   2   2   2   4   2   2   4   -­‐   4  
U   2   3   3   1   3   1   3   2   4   4   2   4   2   2   4   2   2   4   2   4   -­‐  
ROW  /   ROW  /  
SCALE   SCALE  
COLUMN   COLUMN   Table 5. Matrix of geodetic paths.
I   A   Vm  mel   L  
The   value   obtained   by   summing   the  
IV   B   Im  ar   M  
distances  of  one  vertex  to  all  others  (a  row  in  
V   C   VI  ar   N   the  table)  is  called  the  farness  degree  (F).  To  
Im  mel   D   IIm  ar   O   calculate  the  closeness  degree  (C),  we  obtain  
IIm  mel   E   V  ar   P   the   inverse   of   that   number   (C   =   1/F).   The  
I  ar   F   IIm  mel  (b9)   Q  
farness   degree   for   each   scale   is   obtained   by  
summing   the   values   of   its   row,   as   can   be  
VIm  ar   G   V  (b9)   R  
seen  in  Table  6.  
bVII   H   IV  (#9)   S  
By  definition,  the  center  of  the  system  is  the  
II   I   IIm  mel  (b5)   T  
scale  I.  When  dividing  all  values  of  closeness  
IVm  mel   J   Im  mel  (#5)   U  
degree  by  that  obtained  for  the  central  scale,  
VIm  mel   K   it   will   be   noted   that   the   numbers   for   the  
Table 4. Relation code for system scales. vertices   in   the   FSV   are   closer   to   1   (the  
center)  than  those  for  the  vertices  in  the  SSV.  
SCALE   FARNESS   CLOSENESS   C  /  C(I)   but   this   was   not   the   case   with   diminished  
chords.  Triads  with  3  and  #5  or  3  and  b5  will  
I   34   0.029   1  
only  be  considered  if  they  have  b7  as  a  four-­‐
IV   43   0.023   0.79  
note  chord.  
V   43   0.023   0.79  
A   B   C   D   E   F   G   H   I   J   K   L   M   N   O   P   Q   R   S   T   U  
Im  mel   45   0.022   0.76  
A   -­‐   4   5   4   5   4   5   2   4   1   3   3   2   4   2   2   3   4   4   3   3  
IIm  mel   43   0.023   0.79  
B   4   -­‐   3   3   3   2   4   4   3   4   3   5   1   3   5   2   4   3   5   1   2  
I  ar   45   0.022   0.76   C   5   3   -­‐   1   3   3   2   0   5   1   5   4   1   2   1   4   3   5   2   2   0  
VIm  ar   47   0.021   0.72   D   4   3   1   -­‐   4   3   3   4   3   1   1   2   4   2   2   5   4   3   3   2   4  
E   5   3   3   4   -­‐   3   3   1   5   0   2   1   2   4   4   2   4   3   2   4   3  
bVII   52   0.019   0.66  
F   4   2   3   3   3   -­‐   1   0   3   4   1   2   4   1   0   2   1   5   0   4   1  
II   49   0.020   0.69  
G   5   4   2   3   3   1   -­‐   2   1   0   4   1   1   5   2   0   2   0   5   1   4  
IVm  mel   54   0.018   0.62   H   2   4   0   4   1   0   2   -­‐   2   3   1   3   2   2   4   4   4   3   4   2   3  

VIm  mel   54   0.018   0.62   I   4   3   5   3   5   3   1   2   -­‐   0   3   1   1   2   2   3   4   4   1   3   0  


J   1   4   1   1   0   4   0   3   0   -­‐   1   4   3   0   3   2   1   4   3   2   1  
Vm  mel   52   0.019   0.66  
K   3   3   5   1   2   1   4   1   3   1   -­‐   3   0   3   1   3   2   1   2   0   1  
Im  ar   58   0.017   0.59   L   3   5   4   2   1   2   1   3   1   4   3   -­‐   1   2   3   3   2   3   2   1   0  
VI  ar   58   0.017   0.59   M   2   1   1   4   2   4   1   2   1   3   0   1   -­‐   1   0   4   2   3   1   3   1  

IIm  ar   54   0.018   0.62   N   4   3   2   2   4   1   5   2   2   0   3   2   1   -­‐   3   0   3   0   2   1   3  


O   2   5   1   2   4   0   2   4   2   3   1   3   0   3   -­‐   1   4   1   2   1   1  
V  ar   54   0.018   0.62  
P   2   2   4   5   2   2   0   4   3   2   3   3   4   0   1   -­‐   4   3   0   1   1  
IIm  mel  (b9)   52   0.019   0.66   Q   3   4   3   4   4   1   2   4   4   1   2   2   2   3   4   4   -­‐   3   2   2   1  
V  (b9)   54   0.018   0.62   R   4   3   5   3   3   5   0   3   4   4   1   3   3   0   1   3   3   -­‐   0   2   0  
S   4   5   2   3   2   0   5   4   1   3   2   2   1   2   2   0   2   0   -­‐   0   2  
IV  (#9)   54   0.018   0.62  
T   3   1   2   2   4   4   1   2   3   2   0   1   3   1   1   1   2   2   0   -­‐   1  
IIm  mel  (b5)   54   0.018   0.62  
U   3   2   0   4   3   1   4   3   0   1   1   0   1   3   1   1   1   0   2   1   -­‐  
Im  mel  (b5)   54   0.018   0.62  
Table 7. Matrix of plurality of functions.
Table 6. Closeness degree of system scales.
Something  that  is  expected  to  be  observed  in  
The   scales   in   FSV   have   the   value   of   C/C(I)     in   this   matrix   is   that   the   plurality   decreases   as  
the   range   [0.72,   0.79],   instead,   that   value   in   the  sphere  of  vicinity's  number  grows,  but  a  
the  scales  of  the  SSV  is  included  in  the  range   detail  is  found  that  conditions  it,  and  will  be  
[0.59,  0.69].   explained   next   taking   as   reference   to   the  
Matrix   of   plurality   of   functions.  The  plurality   central   vertex   and   analyzing   the   first   row   of  
of   function   can   be   measured   as   the   number   the   matrix:   the   FSV   scales   that   differ   from  
of   triads   common   between   two   scales.   A   the   central   vertex   by   having   more   'ascended'  
value   of   zero   would   indicate   that   one   scale   notes   (with   respect   to   the   position   of   the  
can   not   enrich   the   other,   unless   in   the   notes   of   the   central   vertex   in   the   Chromatic  
progressions,  when  working  on  one  of  them,   scale),   and   that   are   on   the   side   of   the  
appear   altered   chords   or   modal   interchange   Dominant,  share  more  chords  than  the  scales  
chords   on   which   the   other   scale   has   a   on   the   side   of   the   Subdominant   (with   notes  
function.   Triads   were   used   to   increase   the   more  'descended').    
plurality   of   function.   Major   triads   that   may  
In   SSV,   the   scales   that   connect   with   those   on  
be   secondary   dominants   were   considered,  
the   Dominant   side   have   more   common  
chords  than  those  that  do  not,  even  if  a  scale  
from   each   hemisphere   is   connected,   so   the  
plurality   of   functions   is   not   only   dependent  
of  the  length  of  the  path  (in  inverse  relation),  
but   also   the   location   in   the   graph   with  
respect   to   the   dominant   of   the   central  
vertex.  

Scales   that   are   closer   to   the   main   tonality  


and   related   to   their   Dominant,   will   have  
more  options  available  to  modulate,  and  will    
have   a   more   frequent   use   as   an  
Graph 7. Variation of the plurality of functions
improvisation   resource.   Graph   7   shows   the  
with respect to the central node.
variation   of   the   plurality   of   function   with  
respect   to   the   central   vertex   depending   on  
the   connections   with   the   hemisphere   of   the  
Dominant   or   Subdominant,   coloring   the  
nodes   with   greater   intensity   towards   red  
(when  there  is  more  plurality  of  functions)  or    
toward  yellow  (when  the  plurality  of  function   Graphs 8a-c. Cycles of the Tonic (rT),
is  smaller).   Subdominant (rSD) and Dominant (rD) regions.

It   could   be   distinguished   in   the   graph  


T SD D
undirected   cycles   of   length   4,   called  
"regions",  representing  groups  of  scales  that   rT 4 2 1-2
have   function   on   certain   chords   related   by   rSD 2 4 1-2
the   concept   of   tonal   functions,   exploiting   rD 2 1-2 4
acoustic  options  (modes)  for  the  members  of  
rI 1-2 2 4
those   functions.   Three   of   these   cycles   can   be  
seen  in  Graphs  8a-­‐c.   Table 8. Values of Plurality of functions in
regions rT, rSD, rD and rI.
Table   8   presents   the   plurality   of   the   scales   of  
four   of   the   regions   on   each   tonal   function.   This   is   not   the   case   in   other   regions,   so   it   is  
There   are   cases   in   which   all   the   scales   of   a   not  possible  to  speak  of  a  pattern  of  general  
region   produce   some   modal   sonority   on   the   behavior  within  the  system.  
chords   of   the   tonal   function,   either   Tonic   (I-­‐ _____________________  
VI),   Subdominant   (II-­‐IV),   or   Dominant   (V-­‐III   in  
rD   or   V-­‐   VII   in   rI).   In   cases   having   a   plurality   Conclusions  
value   of   4,   it   will   be   possible   to   move   freely   At   the   outset,   some   objectives   were  
on   the   tonal   function   according   to   the   mentioned   for   this   work   in   terms   of   its  
auditory  criterion.   application.  

  It   is   evident   that   the   model   allows   to   relate  


the   melodic   resources   currently   used   in  
improvisation  for  analysis  purposes  or  to  find   _____________________  
options   in   the   choice   of   modal   sonorities,   References  
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