Sort by newest | oldest

12 Archived Comments


  • Robert Bush wrote on July 07, 2011 report

    Congratulations on getting GUFT published, Catrina. I actually tried some of these progressions out ( I like Fmin7/Db7/ Cmaj7). I will endeaver to understand what this all means.

  • Catrina Daimon Lee wrote on July 07, 2011 report

    Dear Robert, for the key of C, when you try out the cadences, try to vary them by ending on Eb, F#, or A as well. You will notice they are also perfect cadences, while not the standard V-I cadence is to the ear, just as complete in their sense of resolution. Then you can transpose them for the other two key groups or polykeys.
    Even for many Just Intonations schemes I found by experimentation, with the exception of the really exotic ones, this is an understanding of key resolutions that solves many unsolvable musical puzzle (speaking in terms of diagnosis), and often aids me in my compositional process (generative). I have started on Part II which will explore, simplify and expand the harmonies of John Coltrane's 'Giant Steps' by quantum leaps.

  • Britt Reed wrote on July 08, 2011 report

    Hi Catrina. The concept you speak of has been floating around for a long time. Jack Zucker published a book about it. It is all part of his "Sheets of Sound" concept. He calls this formula "Dodecaphonics". It is an excellent organizational template and indeed is a songwriter/ improvisationist /analyst's best friend.

    The system is indeed a very unique form of unification. It has opened my eyes quite a bit. Amazing what quartering an octave can do.

    Good luck to you.

  • Catrina Daimon Lee wrote on July 08, 2011 report

    Dear Britt,
    thank you for your informative input. "Thoughts have wings' and 'great minds think alike' might be two possible responses - even if it was not completely original in concept (how could anything in music ever be?) I can only say that I arrived at these conclusions entirely on my own after reading about Pat Martino's Twelve-Point Star concept. I read jazz didacts ponder endlessly over musical puzzles that can be easily understood using this GUFT idea, but if you are right and it has been 'floating about' all this time, I now wonder why they do so - on internet forums like AAJ which attract very credible, highly educated (in the musical sense) teachers and players.
    Also to google the term 'dodecaphonics' I got the wiki entry for Schoenbergian serialism, which is not what my system entails. And the Jack Zucker site I found now that you bring him up says he has studied with Pat Martino. I suggest that it was Martino who first came up with the system. However, again only to my knowledge, he has not 'gone public' with it, but it appears he shared it with his personal students.
    I also recall when I attended a Ronald Shannon Jackson workshop some 25 years ago, with his 'harmolodic' ensemble, and they were talking around the idea of establishing patterns in minor third sequences as an exercise in learning to understand and play their music - again, harmolodics = 'dodecaphonics'(if it indeed that)= GUFT.

  • Catrina Daimon Lee wrote on July 08, 2011 report

    And an aside - players and teachers like Zucker share their information in formats that are commercial in nature- i.e. they will only teach it to you for a price. In fact I have not been able to engage any professional player or teacher to discuss this(one of the few last secrets in music perhaps). They are very taciturn about imparting information of this level or quality.
    But for the sake of 'spreading the word', I am offering it here entirely free of charge.
    It is a consideration that may occur to the reader as you investigate this article and the ones to follow in the next few months. It is my wish to share and discuss this GUFT system. It is a great, great aid to me, and I hope it will also be to the reader who might be a musician as well.
    One has to bear in mind that neither this nor any other system can actually create in you the true spark of inspiration. Everyone knows of music created out of the simplest elements, perhaps using only one diationic scale, no key changes, a smple melody, elementary rhythms- which utterly transcends the limitations of its parts. Genius is not bound to systems.

  • Tim Finoulst wrote on July 08, 2011 report

    Hey Catrina. Good job! This concept reminds me a lot of the axis system of Lendvaï, which he developed to analyze some of the music of Bela Bartok, I don't know if you know it?
    Anyway, thanks for sharing and keep up the good work.

  • William Stewart wrote on July 08, 2011 report

    Are you familiar with the Barry Harris idea of the 6th diminished concept?
    [e.g. C,E,G,A/D,F,Ab,B

    Great article! Thank you for sharing this.

  • Catrina Daimon Lee wrote on July 08, 2011 report

    You mean:

    Wonderful, Tim! Now I can 'market' my albums as being Lendvai-Bartokian in nature. But seriously I have not heard of Lenvai nor his Axis System til now; it really does appear that thoughts do have wings. You see, aside from ex-students of the afore-mentioned jazz guitarist Pat Martino who may have taken the master's system and passed it on to the greater public as their own invention, I had pretty much developed this concept entirely on my own. Martino's twelve-point star system only dealt with modifications of chordal shapes on the guitar neck using a diminished chord as a 'parent' shape to draw from. He stopped there. If he taught private students more, I do not know of it. I can guess that he most likely have. I did not hear of it, but only knew of the 12 point star- and took it to its most logical conclusions via my own explorations.
    That being the case if the students then went on to tell others it was their own discovery, it would then simply be untrue (and outrightly unethical).

    It is a very rich system capable of drawing forth astonishing analyses, and equally capable of generating what now appears to me, an inexhaustible range of possibilities for composition. Now that we know it is good for Brazilian and bossa nova and Bartok, is it as good for standard jazz, jazz-rock fusion, and other genres? I think so.
    Keep you posted in upcoming months.

  • Catrina Daimon Lee wrote on July 08, 2011 report

    Hi William. No I am not familiar with Mr. Harris' idea of the diminished 6th. Tell us about it, please.

  • Catrina Daimon Lee wrote on July 10, 2011 report

    New Note: What will set the GUFT system apart from the similar ones is the set of applications that it can be used for- conclusions have been reached here that are not reached in the Lendvai Axis System nor in Martino-derived guitar books. In upcoming installments the reader can peruse and explore with me the direct and radical application of generating everything from idiom-specific compositions to highly musical methods of bi- and polytonalities.Stay tuned!

  • glavina wrote on January 30, 2012 report

    Hi Catrina. Thank you for all the above. Please let me know if I'm barking up a wrong tree.

    Martino's system provides a fresh paradigm. New harmonic perspective that gives piano a run for it's money. Cold simmetry is just a wire frame accesable to all. After all, people will add their influences and emotions.

    Unashamed to say it's all very visual. Want to drill it in! Is there an iphone app? Next best thing? Many thanks

  • Steve Gallagher wrote on December 17, 2012 report

    Instead of 3 groups of 4 rootless 7b9 chords a minor third apart, you could apply the same logic to 4 groups of augmented triads a major third apart. How does your Grand Unified Theory explain that? Parallel universe? :-)