I realize that what I haven't mentioned so far is the application of 4-note-GS to chords/Scales/Improv. Suffice to say that for now that virtually any of 20 GS derived from the 4 Rotations of the 5 Primary 4GS can be adapted to fit over any chord scale from any note of that scale. There may of course for musical reasons, be necessary adjustments and even changing the GS itself or fragmenting it and so on. They can be made available in useful in creative ways. Things have to be worked out. To quote Hal Galper, 'you have to do the process in order to learn the process' (Yeah Hal). I will delve into some ideas on this in a later blog.
I would like to outline each of the 4GS (1—20) in R1, described in the last blog entry, through its 6 BP. I know this seems endless but there are quite a few avenues to explore in 4GS before going on to 5GS and 3GS. So there will be a few more entries coming up. I just remembered that we're talking about 96 GS x 5 Prime GS (A—E) = 480 GS in total. That is a high number on its own but when broken now into how each GS is created from these 5 Primary GS, clarity will emerge: and what fun to work with. I'm liking the idea !!
Taking each 4GS in R1 through 6 BP. Each Row is a 4GS from (1—20) and each column is a Basic Note-order permutation (BP (1—6). Each of the 5 Primary 4GS that the 20 GS are derived from through R1—R4 as described in the previous blog entry Item 7, are printed in Bold/Italics to make it little clearer where the 20 GS (shapes) are coming from. See Figure 1. below. I will put in a comparative set of musical examples below to illustrate further.
This will help to give some variety to each while allowing a connection with the previous GS across the Row. It might be a fun thing to go down the columns as well. Take a look at the same examples in the music graphics below in Figure 2.
The 20 GS in 4 Staggered Starts (or so informed by Lane A. as 'Internal Rotation') over each BP. This was outlined in full as 96 GS per Primary 4GS in Figure 8 of this blog dated April 16, 2015. The best way to link up BP and rotations is to take the GS in question say in BP1 and look down to the next BP which would be BP2 and this can be implied with any permutation of any GS there. Just look directly down the grid/matrix to the next BP in position to stagger the next GS. You'll find it.
Obviously the BP can be played in one position or in a sequence (see this blog for May 6 2015 Figure 2). However facilitating the idea of repeating BP in place (one position), requires a 'convenience' arrangement or an organizing of repeated GS through BP in an order that will ensure that there are no two adjacent notes repeated. This new order of BP follows the 3 prograde BP and then 3 Retrograde BP to achieve this. See Figure 3 below.
Figure 3. BP1 Prograde BP3 Progr BP5 Progr BP2 Retrogr BP4 Retro BP6 Retro
Continuing on with this connecting GS and BP without repeating any notes between GS. Here the reorganized BP sequence (as directly above), is given treatments with R (1—4) and S (1—4). The result seemed connected and is, but also has surprising wheels as Rotations (R) and Staggered Starts (S) (or now called Internal Rotations). See Figure 4 below where I have lined up the Staggered Starts.
I know it may seem like a lot but again, once the 6BP are learned and 4 Rotations and 4 Staggered Starts (internal rotation), the job of creating these 'creative' lines is made easier. Now learning 'S' can be practised away from the piano. It does take some drilling but working an succeeding with one 'BP' at a time can reap unexpected rewards. Here's some finger number games I played on my steering wheel (not recommended) while driving to Kelowna from Edmonton. This features staggering the starts sequentially.
Do the same for GSA—E
Comments ? welcome !!