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Future Theory, Future Practice

The Grand Unified Field Of Harmony Part 1

By Published: July 7, 2011
We know this system is sound, as it is derived from the actuality of the harmonic overtone series found in nature. It is the inherent instability of the harmonic series, namely the diminished fifth interval from any given root, that gives rise to key center ambiguity that composers have taken advantage of—consciously or not—and remains a central and primary means to advance new forms of music-making. Derived from the harmonic series, we see an actual truncation, or simplification, of our known 12-key centric system of dividing harmonic centers used in Western music, that I call the Grand Unified Field.

We also have another fail-safe method to test this theory: We use our ears. Musical results follow the application of a theory or tool that is provable and transportable, and can be reliably trusted, while ones bearing dubious musical fruit—no matter how strongly argued for—will remain suspect.

Coming up next: Analysis of harmonically challenging jazz standards, beginning with John Coltrane
John Coltrane
John Coltrane
1926 - 1967
saxophone
's "Giant Steps," using the Grand Unified Field Theory of Western Harmony; an analysis of soul/R&B standards, Occidental Art Music ("classical"); and how To use The GUFT to generate new musical idioms.


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