Symmetrical Movement Concept

Introduction: Balance

We live in a world of immense beauty. There are a multitude of forms with

countless variations on simple themes. I want to speak here about
balance and make some comments about how balance can be achieved
musically. There are countless ways that architectural balance can be
musically achieved from the micro to macro level. Since attention to detail
has always been an important factor for me, and these things are not
usually discussed, I would like to initiate some dialog on this subject. The
most obvious kinds of balance that come to mind are the various forms of
symmetry (i.e. bilateral, etc.) that can be applied musically, using intuitive
and logical methods. Symmetry is a fact of nature and one of the oldest
fascinations of humanity. Some of the more obvious ways in which
symmetrical musical balance could be realized are through melody,
rhythm, tonality, form, harmony and instrumentation. As well as the
structural considerations of symmetrical musical forms I will also discuss
these structures from a dynamic point of view, i.e. as they progress
through time.

Melodic material generated by symmetrically derived laws of motion

This theory was originally a melodic theory. I named it Symmetry because

the motion of the melodies involves an expansion and contraction of tones
around an axis tone or axis tones (i.e. around a center point). The
expansion and contraction involved is almost always equal on both sides
of the axis, hence the term Symmetry. This is basically a melodic system
that obeys its own laws of motion. It moves according to the gravity of
this motion more than anything else but it can also be adapted to deal
with the gravity of other types of tonality such as cells or the traditional
dominant-tonic harmonic system. When I first started dealing with
symmetry I only dealt with the laws of motion produced by the system
without any regard for other types of tonality. This is how I would suggest
others to learn the system to get a feel for thinking in these terms. Also a
complete knowledge of intervals and their relationships (always thinking in
terms of semi-tones) would be extremely helpful.

I began by writing symmetrical exercises for myself. Then I practiced

these exercises to get my fingers and ears used to moving and hearing
these ideas. It was only after doing this that I practiced improvising within
these structures playing at first in an open manner (not based on any
outside structure such as a song). Later I adapted these improvisations to
structures and forms. I did this by slowly integrating the ideas with the
more traditional improvisational style I was already playing. My goal was
not to play in a totally symmetrical style (as this would be as boring as
playing all major scales) but to integrate the style and give myself more
options when I improvise.

The basic system involves what I call two spirals. They are tones that
move out equally in half steps from an axis (which is always at least two
tones).

If the axis of the first spiral is the two tone C-C unison (one octave above
middle C, it could be in any octave) then from that unison C, you move out
(spiral out) each tone in a different direction in half steps, i.e. C-C, then B
on the bottom and C sharp on the top; B flat on bottom and D on top; A on
bottom and D sharp on top; A flat on bottom and E on top; G on bottom
and F on top; G flat on bottom and F sharp on top (at this point you are at
the beginning of the spiral again, or the symmetrical mirror image of the
spiral); F on bottom and G on top; E on bottom and G sharp on top; E flat
on bottom, A on top; D on bottom and A sharp on top; D flat on bottom
and B on top; C on bottom and C on top (this is your starting point one
octave above and one octave below your original tones). Youre thinking
two tones at a time and theyre spiraling out together. This I call spiral
number one.

As you spiral out from C-C (the axis) and you think of the interval between
the tones then C to C is a unison. The next tones in the spiral are B and C
sharp, the interval between B and C sharp is a major second. Next in the
spiral is B flat on bottom and D on top, thats a major third. Then A on
bottom and D sharp on top, thats an augmented fourth or a tritone.
Continuing, A flat on bottom and E on top, thats an augmented fifth
(could also be thought of as a minor sixth). Then G on bottom and F on
top is a minor seventh. The next tones are G flat on bottom and F sharp on
top, these tones are an octave apart and are really the same as the
beginning of the spiral. All symmetry has two axis and in this system they
are always a tritone apart from each other, more on this later. As you keep
spiraling out until you reach the two Cs two octaves apart the important
thing about the spiral is not the tones themselves, but the intervals
between each of the tones as you spiral out each half step. It is these
resulting intervals that are formed in spiral number one (Unison, Maj 2nd,
Maj 3rd, Tritone, min 6th and min 7th) that I call Symmetrical Intervals
(see example 1). This is important to remember as it forms the foundation
for the laws of melodic motion. Note that beginning with the tones G flat
on bottom and F sharp on top, the intervals of the spiral repeat
themselves if you perform octave reduction on the intervals.

Example 1 [Spiral # 1]

In spiral number two, you have two different tones as the axis starting
point instead of a unison. Instead of C-C as the axis, you have C and D flat
together as the axis (C is under D flat). And then you spiral out the same
as you did in spiral number one. So to begin with, you have the C and the
D flat right above, then B on bottom and D on top; then B flat on bottom
and E flat on top; A on bottom and E on top; A flat on bottom and F on top;
G on bottom and F sharp on top; G flat on bottom and G on top (the
beginning of the spiral); F on bottom and A flat on top, E on bottom and A
on top; E flat on bottom and B flat on top; D on bottom and B on top; Db
on bottom and C on top; finally C on bottom and Db on top. So again
youre spiraling up in half steps but youre getting completely different
intervals between the tones in the spiral. To start off, you have the minor
second between the C and the D flat. When you spiral out with the B on
the bottom and the D on top, you have the interval of the minor third; with
an B flat on the bottom and E flat on the top the interval is a perfect
fourth. With an A on the bottom and an E on top the interval is a perfect
fifth. A flat on the bottom and F on the top produces a major sixth. G on
the bottom and F sharp on top, a major seventh; then the axis again, etc.
and you just keep spiraling out. Again, its not the tones that are important
in spiral number two but the intervals between the tones which are formed
as you spiral out. These intervals formed in spiral number two are a
different set from the intervals formed in spiral number one, as a matter of
fact they are all the intervals missing from spiral number one. I call the
intervals in spiral number two (min 2nd, min 3rd, Perfect 4th, Perfect 5th,
Maj 6th and Maj 7th) Non-Symmetrical Intervals (see example 2).

Example 2 [Spiral # 2]

The basis of the laws of movement are as follows. Thinking

monophonically if you have an initial tone which you mentally consider to
be the axis, when you move in one direction from this axis then generally
you must move the same distance in the opposite direction from that
same axis. For example, you play a C, then the next tone you play is a D
above the C , which is a major second away from C, then the following
tone you must play is the tone a major second below C, which would be B
flat. In other words, for the same distance that you moved above C you
must play the tone that is that same distance below C (see example 3
measure 1 beats 1 and 2, in these examples the axis are circled). Actually
it doesnt matter whether the D is above or below the C as long as you
remember which direction you moved to get to the first tone, so that you
move in the opposite direction (the same distance) to reach the second
tone (see example 3 measure 1 beats 3 and 4). Obviously, you must
know your intervals very well to think like this quickly in an improvisational
context. For another example if you played G and consider the G as an
axis and then play B flat as your next tone, then the following tone you
play must be E. With G being the axis, B flat is a minor third above G and E
is a minor third below G (see example 3 measure 2 beats 1 and 2). Now
you do not have to play the E a minor third below G, you could play the E
or the B flat in any octave. But you need to be thinking in terms of G being
the axis and the other tones surrounding the axis (see example 3
measure 2 beats 3 and 4).

One of the exceptions to this rule is when the interval that you play is one
of the Symmetrical Intervals in spiral number one, those intervals being a
major second, major third, tritone, minor sixth, minor seventh, octave etc.
Then you dont have to make the equal movement in the opposite
direction. You can chose to, but you dont have to. For example if you play
the tone C as the axis, and the you play the tone D, you dont necessarily
have to play B flat after that. You could pick any tone at that point. But if
you play one of the Non-Symmetrical Intervals in spiral number two, for
example, axis C to the tone F (an interval of a perfect fourth), then you
must play a G after that, according to these laws of movement (actually it
would be more accurate to say that after playing the tone F you must then
complete the symmetrical motion, more on this below). In this example
the tone G can be in any octave, but you need to play a G because F is a
perfect fourth above C and G is the perfect fourth below C (see example 3
measure 3).

Example 3

There are many variations to the above laws of movement that are still
considered symmetrical movements according to this theory. For
example, instead of moving away from an axis you can do the reverse and
move towards an axis. You can play the tone F, then the tone G, and then
play the axis tone C (see example 3 measure 4 beats 1 and 2). Or you
could think of the axis as two tones further apart than a unison or a minor
2nd (actually, to be technically correct, even when it seems like there is
only a one tone center all axis are two tones as in the initial axis of spirals
one and two, and they are all either a unison or a minor second as in
examples 1 and 2). So you could initially play C and E flat. Now, logically,
you might think that the next tone you have to play is A, because if C is
the axis and if the E flat is a minor third above C then you would think you
have to play an A because A is a minor third below the axis tone C. But
you can play C and E flat and then play B and E natural! This is because
you can think of the C and E flat together as an axis. Then you can expand
out a half step on either side of this axis and play B and E natural (the true
axis in this situation are the tones D flat/D or G/A flat). This movement
would still be within the rules because mentally youre using C and E flat
together as an axis (see example 3 measure 4 beats 3 and 4). So there
are many variations depending on what you mentally think of as the axis.
Some sample symmetrical movements are listed in example 4, try and
follow the logic of the movements. Example 5 is a symmetrical melody
which connects different movement logics in one idea, demonstrating
how the movement laws can flow together. The circles will give you some
hints on where to look for the axis. This is a more complex example, notice
the nested axial movements (nested meaning some tones of one axis
overlap and share tones with adjacent axis). It is possible to generate
shapes that contain an entire chain of nested axial movements, however
the resulting melodies would be extremely jagged and not necessarily
sound musical, unless of course that is the desired effect.

Example 4

Example 5
All of the examples above are written in atonal space. The analysis of the
axial progression can be thought of in any number of different ways. In
other words it is possible to analyze these same passages differently and
still be well within the given laws. Notice that the above examples require
thinking in small cells of ideas, at least initially. However there is a linear
gravity involved in the thinking which requires that the improviser become
fluent in thinking in two directions simultaneously. It should be clear from
Example 5 that it helps to be able to think at least two or three tones
backward and forward in time. This is a different skill than the normal way
of thinking as retention of individual tones, as well as phrases, needs to be
practiced. For instance, in Example 5 at the end of measure 2, the tones F
and E are the axis, not only of the tones immediately following (A and C)
but also of the preceding tones (Db and Ab)! Overall this produces a sort
of accordion effect in time. Not that this will be heard by the average
person, especially given the speed of execution, but it will be felt and it
does have an effect.

After this what has to be obtained is fluency in progressing from one idea
to the next in seamless motion, building up to higher levels of complexity
in the communication of ideas. This is similar to the progression from
words, to sentences, to grammar, and finally to communication of
conceptual ideas in linguistic expressions. Also, with some imagination,
the same ideas could be merged with any other logic. It is not my goal
here to write down ideas for others. I simply want to demonstrate that
there are many possibilities to be explored, definitely more than have
already been explored. I have been working with the ideas above for at
least 22 years now and I still have not found any end in sight!

Harmonic material generated in symmetrical space

Over the years I have been exploring several ideas which could be
expansions of the symmetrical laws of motion mentioned above. Most of
these ideas are based on the various concepts of gravity and what can
be generally called binding and unbinding (i.e. different types of laws of
attraction). The melodic concept discussed above and other related
harmonic concepts all deal with tonal centers in terms of spatial geometry,
as opposed to the standard tonality which deals in tonal key centers in
terms of tonics. These different approaches can be looked at as different
types of gravity. Here we could borrow two terms coined by music
theorist Ernst Levy, calling the concept of gravity that results in the
traditional tonic-based tonality Telluric Gravity or Telluric Adaptation
and the concept of gravity that is at the basis of centers of geometric
space Absolute Conception. In Telluric Adaptation out perception of
gravity is based on laws of attraction that are influenced by our sense of
up and down. Thus we tend to look at the harmonic series only from the
bottom-up perspective, with the fundamental on the bottom. This is a
terrestrial mode of thinking influenced by the fact that we live on Earth
and tend to localize our concept of space according to our everyday
situation. In Absolute Conception what is important is the position of the
tones in space and their distance. Here the harmonic series is seen as
spiraling out from a generator (as opposed to a tonic or fundamental)
so as to produced both an Overtone and Undertone series (see
example 6-a)! Absolute Conception is based on a universal mode of
thinking that results when you look at the Earth, other planets, satellites
and stars from the point of view of how they relate to each other in space.
So the difference is the way the gravity operates from a terrestrial or
telluric perspective (on Earth we tend to think of the gravitation pull in
one direction, down) and how gravity operates from a universal or
absolute perspective (in space we tend to think of objects orbiting
around a gravity source or being pulled towards the source from a
multidirectional perspective). In the absolute conception partials are
thought of as orbiting around a generator tone producing both overtone
and undertone energy. These two different concepts of gravity, telluric
and absolute, will be explored in more detail below.

Example 6-a
Absolute conception of the Harmonic Series based on the generator tone
C

Overtone Series

Undertone Series

I just want to say a few things about the information series above. The
tones shown are the closest equal temperament equivalents to the actual
tones that are in the series. In some books the 11th partial is listed as F
natural instead of F sharp. However I believe that this is technically wrong
as the ratio 11a8 is closer to F# by a very small amount (if C is generator).
There are 100 cents to an equal temperament half step (for example
between F and F# there are 100 cents). The ratio 11a8 (which is 11a1
sounded in the same octave as the generator) is 551 cents above the
generator. An equal temperament perfect 4th is 500 cents above the
generator and an equal temperament augmented 4th is 600 cents above
the generator. Since 550 cents would be an exact quarter tone between a
perfect 4th and an augmented 4th then 11a8 is closer to F# as the
distance between 11a8 and F natural is 51 cents and the distance between
11a8 and F# is only 49 cents. The tone is actually closer to F# and books
that list F natural as being the 11th partial in a harmonic series with C as
generator are not correct. Of course this means that the corresponding
tone, the 11th partial in the undertone, series is Gb. However since most
books do not deal with the undertone series we dont have to worry about
that.

Also the 13th partial is listed as being A natural instead of A flat. Again this
is technically wrong as the ratio 13a8 is definitely closer to Ab (again if C is
generator). The ratio 13a8 is 841 cents above the generator (13a8 is 13a1
octave reduced). An equal temperament minor 6th is 800 cents above the
generator and an equal temperament major 6th is 900 cents above the
generator. So the ratio 13a8 is closer to being Ab because the distance
between 13a8 and Ab is 41 cents and the distance between 13a8 and A
natural is 59 cents. The tone is closer to Ab and books that list A natural
as being the 13th partial in a harmonic series with C as generator are not
correct. This also means that the corresponding tone, the 13th partial, in
the undertone series is E natural.

In terms of the nomenclature that can be used to express the actual tones
which act as axis (melodic) or generators (harmonic) in the Absolute
Conception I propose using Sum Notation as the main terminology. So
when I speak of improvising with regard to a sum 11 tonal center I am
speaking of an Absolute tonality that has an axis (or spatial center) of sum
11. Sum 11 means that the tones B-C (also F-G flat) are the spatial tonal
centers of this section of the composition. For the improviser this means
improvising with this spatial tonality in mind.

One necessary skill required for this mode of thinking would be to learn
how to hear spatially with the mind as well as with the ears (actually it is all
in the mind). In other words learning to construct mental images of the
geometric space and to be able to hear inside of that space.

The reason for using the term sum comes from the concept of adding
note numbers. If tones C through B chromatically are represented by the
numbers 0 through 11 respectively, then it is possible to add tones
together to arrive at their sums. The sums represent the axis (or center
point) between the two tones being added together. For a sum 8 axis,
any two tones that add up to the number 8 would be considered a sum 8
interval. For example D sharp and F (3+5) would add up to 8. The center
(or axis) of D sharp and F is E and E (which is also sum 8 or 4+4, an axis
always implies at least four tones, in this case the E-E unison represents
two tones but if thought of from another perspective B flat and B flat is
also the axis, i.e. 10+10=20 minus 12 = 8). The same goes for C sharp and
G (also sum 8). So the axis of a sum 11 interval would be B and C (i.e. 11 +
0 = 11. Since we are dealing with 12 tones the entire tonal system then ,
for the purposed of octave reduction, you can continually subtract the
number 12 from any sum that is 12 or greater until the sum is below 12).
Notice that all of the even sums are the result of any interval in spiral
number 1 above and all of the odd sums are the result of intervals from
spiral number two. Example 6-b is a table that is a summary of the
relationships between spirals, axis and sums:

Example 6-b

Spirals number one & two

AXIS SUM AXIS SUM

TONES # TONES #
SUM SUM
C-C C-Db
0 1
SUM SUM
C#-C# C#-D
2 3
SUM SUM
D-D D-Eb
4 5
SUM SUM
Eb-Eb Eb-E
6 7
SUM SUM
E-E E-F
8 9
SUM SUM
F-F F-F#
10 11
SUM SUM
F#-F# F#-G
0 1
SUM SUM
G-G G-Ab
2 3
SUM SUM
Ab-Ab Ab-A
4 5
SUM SUM
A-A A-Bb
6 7
 Bb-Bb SUM Bb-B SUM
8 9
SUM SUM
B-B B-C
10 11

This may initially be a little confusing but many things that are unfamiliar
are confusing at first. With a little work it can be as natural as any other
internalized system.

A theory of harmony

The book A Theory of Harmony by Ernst Levy deals with a different

approach to harmony and voice leading coming from a standpoint of
using perfect 5ths, major 3rds and their reciprocals (perfect fourths and
minor 6ths) or Polarity Theory. The book talks a lot about upwards perfect
5ths and downward perfect 5ths (or an upward perfect 5th) or
dominants. It then uses the same approach with major thirds (which Levy
calls determinants), using upward major thirds ( ) and downward major
thirds ( ). Levy then derives all of his harmonic and voice leading theory
from these two concepts, the only exception being his inclusion of the
importance of the natural 7th of the ratio 7a4. In Levys view the natural
7th is important for several reasons, The seventh partial appears in the
same octave within which the triad is completed by the introduction of the
determinant. It is Levys view that the natural 7th reveals the latent
dynamism of the triad.

Levy speaks of a senarius, i.e. the first six ratios, as forming two mutually
exclusive triads, one major and the other minor. If unity is C ( Levy prefers
to use the term generator which has a broader meaning that unity, I
agree with him) then the upward triad is C-E-G (C representing the
numbers 1 and 2, G representing the number 3 and E representing the
number 5). The downward triad would be C-Ab-F, (again C representing
the numbers 1 and 2, F representing the number 3 and Ab representing
the number 5). The seneric intervals are the octave, perfect fifth and
major third, corresponding to the numbers 2, 3 and 5. In other words the
octave is associated with the prime 2 since it is a doubling, the perfect 5th
with the prime 3 and the major third with the prime 5. Also note that this is
the first numbers of the Fibonacci sequence. When Levy includes the
natural 7th then this senarius is extended to an octarium or comprising
the first eight ratios.

Levy also speaks a lot in psychological and sometimes almost mystical

terms about music and music theory. In this way you can see the influence
on Ernest McClain who is I believe one of Levys students and also his
colleague. It is a combination of Levys Harmonic Polarity Theory and his
philosophical and psychological point of view that I find useful. His book
of course has no mention of rhythm where the concepts of balance and
form are even more important.
What I find useful is the extreme symmetry that Levy is dealing with which
reminds me of some of the work Ive done as well as elements of Bartoks
work, Henry Threadgills work, W.A. Mathieu, Howard Boatwright,
Schwaller de Lubicz and ancient Egypt, Pythagoras, Plato and the work of
the ancient Greeks, Babylonian ideas of reciprocity and the work of
Umayalpuram Sivaraman and other related Vedic symmetrical ideas. I am
especially attracted to the idea that Levy has introduced of the upward
and downward determinant being of equal importance as the upward
and downward dominant. He then links these concepts dynamically and
show how they work in progressions of triads, after which Levy introduces
his concept of consonance and dissonance, temperament, tonal function
of intervals, triads, non-triadic and compound chords. Levy summarizes
the discussion in his book as follows:

1. Tone has a structure. Its validity can be tested on the physical-

acoustical level division of the string as well as on the musical-
esthetic level (fertility and musical adequacy of application).
2. Major and minor are manifestations of the general principle of
polarity.
3. The triad being the norm of our tonal system, the third has a direct
function within the tonality, equal in dignity to the fifth. Parallel to the
term dominants for the upper and lower fifths, the term determinants
will serve for the functions of the third.
4. A major triad tends to function as dominant, a minor triad as
subdominant.
5. A chord is a conglomerate organized by one or several generators.
6. To distinguish natural from psychological consonance and
dissonance, the concept pair of words ontic-gignetic will designate
the latter.
<by the term ontic Levy means the state of being or what I call
stationary and by the term gignetic he means the state of becoming.
By psychological consonance and dissonance Levy is referring to our
active mental participation in the concepts of consonance and
dissonance, which is a little different for each person, as opposed to
what he refers to the natural concept of consonance and dissonance
which is inherent in the phenomenon. He sums these ideas up as
follows:>The triad is consonant.
All other chords are dissonant.
The triad may be used as a dissonance.
Other chords maybe all of them may be used as consonances.
<The first two statements of the above summation reflect the natural
concept of consonance and dissonance. The last two statements of
the summations reflect the concept of consonance and dissonance
from a psychological point of view. For the psychological conception
of consonance and dissonance Levy calls this ontic and gignetic, in
order to differentiate from the terms consonance and dissonance
(which refer only to the natural conception). Levy notes that if a
consonant character could be described as an impression of
restfulness and in musical terms, we can say that a consonant
chord is apt to be used as a closing chord, the triad represents that.
However, sometimes we can observe that chords which are not
perfect triads and therefore do not posses that naturally consonant
character are yet being used as closing chords and do give us an
impression of restfulness. On the other hand, triads may be used in
a way as to produce an impression of tension hence of imperfection,
as in a half-cadence. Elsewhere Levy states that the progressing
psychologization of music had reached a culmination point in the
 period after the first world war, when the existence of consonance
and dissonance was largely disregarded or even denied, and when
solely the ontic-gignetic concept pair was relied upon for producing
the desired effects of binding and unbinding. That leads to the
summation above about consonance and dissonance. I intuitively am
attracted to this way of looking at things as it makes room for both
the idea that there are universal qualities that are inherent in a
phenomenon and that these qualities can change according to the
perspective of the observer and the observers active mental
participation. Also I think that the introduction of a concept of
binding and unbinding that is not necessarily connected to
traditional concepts of consonance and dissonance is very
important as this makes room for radical extensions of previous
ideas>
7. The seventh in the dominant seventh chord is the natural seventh
(i.e. the 7th partial).
8. In analogy to calling the fourth the complement of the fifth in the
octave, the minor third is recognized as the complement of the
determinant in the fifth.
9. Temperament arises from the necessity to represent the infinite
within the definite.
10. Traditional and newly introduced nomenclature is indicated by
shorthand symbols. <in my opinion some of these shorthand
symbols go too far>

Levy also talks about two types of gravity, telluric gravity or telluric
adaptation meaning the normal bottom to top gravity that we all know (the
term telluric means terrestrial or earthly, which I take to mean from the
ground) and absolute gravity or absolute conception which looks at things
symmetrically being generated from a center. Generally when Ernst Levy
discusses traditional concepts and names such as major and minor triads,
etc. then he is speaking in telluric terms. Otherwise this entire conception
is basically an absolute conception dealing with generators and polarity.
For upward thinking (major tonality) there is no difference between telluric
adaptation and absolute conception. Therefore, for all intents and
purposes, when we are referring to absolute conception we are talking
about downward symmetrical thinking and this will be designated by the
symbol o (there is no need to designate telluric symbols but in his book
Levy sometimes uses the = symbol for telluric adaptation.

The table below (Example 7) is in shorthand symbolism and shows the

progressions of triads and the change of function of the common tones.
According to Levy:
The general tendency of both triad inversions is that of the sixth to
become a fifth as part of a new triad in fundamental position. The
transformation hinges on one or two tones of the chord. There are six
possible solutions for each inversion. A certain order of precedence
exists, based in the first place on the greater magnetizing power of the
exterior tones, in the second place on the normal hierarchy of the
functions tonic, dominant, and determinant.
In the sixth chord, C outranks E. Hence the primary tendency: C tends to
become generator, t + t o .

In the four-six chord, G outranks E. Hence the primary tendency: G tends

to become generator, d t .
For clarification I would add the following. Even though there are six
possible solutions for each of the two inversions (sixth chord and four-
sixth chord with each solution yielding two variations), this only results in
20 different progressions (instead of 24) because four of the progressions
are identical to others (see below). Following what has been quoted by
Levy above the order reflects the following hierarchy (the direction of the
tones are shown by the or symbols):

Since in the sixth chord in telluric adaptation (major triad), of the two
exterior tones C outranks E (C being the tonic and E being the
determinant), then the progression with C becoming the absolute
conception tonic is first. This in effect determines the triads to be:

() E:G:C () C:Ab:F

The other exterior tone (i.e. E) becoming a tonic function is then listed
next:
() E:G:C () E:G#:B

Next would be these same exterior tones becoming a dominant function,

beginning with C:
() E:G:C () F:A:C

Then E:
() E:G:C () B:G:E

Finally the middle tone of this triad (i.e. G, being the dominant) would
become a determinant, first becoming the telluric adaptation determinant
(i.e. upward major third):
() E:G:C () Eb:G:Bb

Then becoming the absolute conception determinant (i.e. downward

major third):
() E:G:C () B:G:E
(note that this progression is a repeat of one of the others above)

Also in the sixth chord in absolute conception (minor triad), of the two
exterior tones C outranks Ab (C being the absolute conception tonic and
Ab being the absolute conception determinant), then the progression with
C becoming the telluric adaptation tonic (the opposite of the above case)
is first. This in effect determines the triads to be:

() Ab:F:C () C:E:G

The other exterior tone (i.e. Ab) becoming a tonic function is then listed
next:
() Ab:F:C () Ab:Fb:Db

Next would be these same exterior tones becoming a dominant function,

beginning with C:
() Ab:F:C () G:Eb:C

Then Ab:
() Ab:F:C () Db:F:Ab

Finally the middle tone of this triad (i.e. F, being the absolute conception
dominant) would become a determinant, first becoming the absolute
conception determinant (i.e. downward major third):
() Ab:F:C () A:F:D

Then becoming the telluric adaptation determinant (i.e. upward major

third):
() Ab:F:C () Db:F:Ab
(note that this progression is a repeat of one of the others above)

Since in the four-six chord in telluric adaptation (major triad), of the two
exterior tones G outranks E (G being the dominant and E being the
determinant), then the progression with G becoming the telluric
adaptation tonic is first. This in effect determines the triads to be:

() G:C:E () G:B:D

The other exterior tone (i.e. E) becoming a tonic function is then listed
next:
() G:C:E () E:C:A

Next would be these same exterior tones becoming a dominant function,

beginning with G:
() G:C:E () D:Bb:G

Then E:
() G:C:E () A:C#:E

Finally the middle tone of this triad (i.e. C, being the tonic) would become
a determinant, first becoming the telluric adaptation determinant (i.e.
upward major third):
() G:C:E () Ab:C:Eb

Then becoming the absolute conception determinant (i.e. downward

major third):
() G:C:E () E:C:A
(note that this progression is a repeat of one of the others above)

Also in the four-six chord in absolute conception (minor triad), of the two
exterior tones F outranks Ab (F being the absolute conception dominant
and Ab being the absolute conception determinant), then the progression
with F becoming the absolute conception tonic (the opposite of the above
case) is first. This in effect determines the triads to be:

() F:C:Ab () F:Db:Bb

The other exterior tone (i.e. Ab) becoming a tonic function is then listed
next:
() F:C:Ab () Ab:C:Eb

Next would be these same exterior tones becoming a dominant function,

beginning with F:
() F:C:Ab () Bb:D:F

Then Ab:
() F:C:Ab () Eb:Cb:Ab

Finally the middle tone of this triad (i.e. C, being the absolute conception
tonic) would become a determinant, first becoming the absolute
conception determinant (i.e. downward major third):
() F:C:Ab () E:C:A

Then becoming the telluric adaptation determinant (i.e. upward major

third):
() F:C:Ab () Ab:C:Eb
(note that this progression is a repeat of one of the others above)

Keep in mind that what is normally called a minor triad is treated, in Levys
theory, as a major triad generated from the top down. In other words there
are only unisons, perfect fifths and major thirds in this theory. What would
normally be called an F minor triad is a triad in absolute mode (designated
by the symbol o ) generated by C. This would be spelled C-Ab-F (thinking
downward from the generator C) and has the same interval structure as a
C triad in telluric adaptation (i.e. C-E-G thinking up from C), so
symmetrical reasoning is necessary for thinking in absolute conception.
So in absolute conception C-Ab-F (thinking downward) is a triad in
absolute conception generated by C but thinking in telluric adaptation
this same harmonic cell is a minor triad with F as the tonic. As I
mentioned before all major telluric adaptation cells produce the same
result as upward absolute conception so the generator C would be
identical with the tonic C in this case (i.e. C-E-G thinking upward).

In all of the symbol sets below the top line of each set of symbols shows
the function of the common tone within each harmonic cell. These triadic
harmonic cells are referenced from a generator (not a tonic). If there are
more than two lines of symbols, meaning there are two common tones,
then the top two lines of symbols show the common tone functions and
the top symbol line would be what is referenced in the headings above the
table row (i.e. Exterior tones to tonic, Exterior tones to dominant and
Middle tones to determinant). In all the symbol sets the first symbol of the
bottom line shows if the first triadic cell is in telluric adaptation (major) or
absolute conception (minor, or upside-down major), and the second
symbol of the bottom line shows the relationship of the generator of the
second triadic cell to the first triadic cell. In other words the second
symbol of the bottom line shows which part of the first triadic cell (tonic,
dominant, determinant or some other relation to these three functions)
the second triadic cell is generated from (i.e. which part of the first triadic
cell is the same tone as the generator of the second triadic cell).

Similar to the conception in Mathieus book Harmonic Experience the

only intervals that are used in this thinking are powers of 2 (unison and
octaves here called tonics or generators), powers of 3 (perfect 5ths, here
called dominants), powers of 5 (major thirds, here called determinants),
and later powers of 7 (dominant 7ths, here called natural 7ths). All other
tones are derived from some combination of these four functions.

Using the second symbol group in the first line group below as an
example (Four-Six triads Exterior tones to tonic Minor side second
group) the translation would be as follows:

[ Keep in mind that all of the symbols in the first three line groups have a
four-six triad, either in absolute conception or telluric adaptation, as their
first cell. This means that, in the key of C, the telluric adaptation for this
cell would be identical with a standard triad in four-six inversion spelled G-
C-E (upward thinking). Again in the key of C, the absolute conception of
the four-six inversion is F-C-Ab (thinking downward from F). Note that this
is the structure described by the first symbol in the last line of the second
group (in the first line group below), however the generator of this cell is
the tone C! The absolute conception may be slightly confusing at first. In
terms of the four-six interval structure the cellular structure is designed
thinking downward from F (i.e. F-C-Ab), however the root position triad is
C-Ab-F (again thinking downward). Note that if you think of this same
triad (i.e. Ab-C-F) in telluric adaptation you will find that it is a sixth chord
(thinking upward from Ab), i.e. an F minor triad in second position. So this
cell is a minor triad in telluric adaptation and that is why this symbol group
falls on the Minor side ]

In the first line o t describes a common tone that changes in function.

The meaning is that the same tone that is the absolute tonic of the first
triad (i.e. the generator of a downward triad) becomes the upward
determinant (major third) in the second triad.

n the second line t describes a second common tone that changes in

function. The meaning here is that the same tone that is the absolute
downward determinant in the first triad (i.e. a major third down from the
generator) becomes the tonic (i.e. the generator) of the second telluric
adaptation triad (which is an upward constructed triad).

The first symbol of the third line (i.e. o T ) describes the first triad, in this
case it is a triad in absolute conception. The second symbol tells us that
the second triads generator is the same tone as the absolute downward
determinant of the first triad, however since there is no absolute
conception symbol present here this alerts us that the second triad is built
upward (i.e. in telluric adaptation). This describes the following
progression (the direction of the tones are shown by the or symbols):

() F:C:Ab () Ab:C:Eb

Using the fourth symbol group in the first line group below as an
example (Four-Six triads Exterior tones to tonic Major side second
group) the translation would be as follows:

In the first line o t describes a common tone that changes in function,

the tone that is the upward determinant of the first triad (i.e. the upward
major third) becomes the absolute tonic (i.e. the generator) of the second
absolute conception triad (i.e. the generator of a triad constructed
downward).

In the second line t describes a second common tone that changes in

function. The same tone that is the tonic (i.e. the generator) in the first
triad becomes the absolute downward determinant (i.e. a major third
down from the generator) in the second triad, which is an triad in absolute
conception (i.e. constructed downward).

The first symbol of the third line (i.e. T ) describes the first triad, in this
case it is a triad in telluric adaptation (i.e. a normal upward triad). The
second symbol o tells us that the second triads generator is the same
tone as the upward determinant of the first triad. However since there is
an absolute conception symbol, in front of the upward determinant
symbol, this alerts us that the second triad is constructed in absolute
conception (i.e. constructed downward). This describes the following
progression (the direction of the tones are shown by the or symbols):

() G:C:E () E:C:A

Using the first symbol group in the sixth line group below as an
example (Sixth triads Middle tones to determinant Minor side first
group) the translation would be as follows:

In the first line o d describes a common tone that changes in function,

the tone that is the absolute downward dominant of the first triad (i.e. the
subdominant) becomes the absolute downward determinant (i.e.
downward major third) of the second triad.

The first symbol of the second line (i.e. o T ) describes the first triad, in
this case it is a triad in absolute conception. The second symbol o s tells
us that the second triads generator is the same tone as the upward
determinant of the subdominant of the first triad (i.e. the absolute
downward dominant). So the second triads generator is minor third below
the first triads generator. Since there is an absolute conception symbol in
front of the upward determinant symbol, this alerts us that the second
triad is constructed in absolute conception. This describes the following
progression (the direction of the tones are shown by the or symbols):

() Ab:F:C () A:F:D

In Example 7 the table is divided into two progressions each beginning

with a minor triad (absolute conception) on the left side and two
progressions each beginning with a major triad (telluric adaptation) on the
right side.

Example 7
The standard notation for the symbolic expressions above are as shown in
Example 8 below in the same format, i.e. the first chord (four-six or sixth)
of the first and second measures are in absolute conception (minor) and
the first chord (four-six or sixth) of the third and fourth measures are in
telluric adaptation (major):

EXAMPLE 8

Standard musical notation for Harmonic Voice-Leading Progressions

using telluric adaptation and absolute conception.
On The Natural Seventh

On page 45 of A Theory of Harmony Levy states for nearly three

hundred years the interval of the minor seventh has been recognized as a
dissonance different from all other dissonances. Whereas dissonances in
general are produced by a tone or tones disturbing a chord, and may
therefore be resolved within that chord, the seventh is an integral part of a
chord to be resolved as a whole into another chord. A dissonant tone is
understood as a function of a chord; a dissonant chord, as a function of
another chord. The seventh confers a definite function to the chord of
which it is a part.

Here Levy makes two statements that set up the rest of his discussion on
natural sevenths:

a) the minor seventh added to a major triad characterizes it as a

dominant;
b) the minor seventh added to a minor triad in absolute conception
characterizes it as
a subdominant:

As an example I used saxophonist Charlie Parker as my model when first

learning how to improvise. Being basically self-taught I remember the
initial steps that I took in learning how to distinguish tonal functions. I
generally recognized chords as having one of two functions, stationary
and changeable (or fixed and mutable). Chords that had a dominant
function I considered changeable, they sounded like they were going
somewhere. For example I looked at the fourth measure of a blues as
going to IV (the IV referring to the dominant seventh chord based on the
fourth degree of the key of the blues). Then there were certain melodic
sounds that I would hear Charlie Parker play that I associated with going
to IV. I also remember other sounds that I called minor iv to I, minor vi
to I and so on. These sounds were based on, respectively, a minor
seventh chord built on the subdominant degree of the destination tonality
and a minor seventh chord built on the flatted sixth degree of the
destination tonality.

I instinctively knew that all of these sounds could be played in place of a

normal dominant to tonic chord progression. I also knew that there was
something different in the feel of minor iv to I and minor vi to I. Even
though I could see that it was a substitute for a dominant function I also
knew that the normal dominant sound was bright and the minor iv to I
and minor vi to I sounds were darker functions. Not because there was
minor tonality involved, the progression itself was dark in relation to the
tonic tonality. I realize now that what I was hearing was the difference
(implied by the equal temperament tuning system) between overtones
and undertones, the latter being darker in sound in relation to the
generator tonality or fundamental tonality. The minor seventh chord in
absolute conception definitely has an undertone quality to it, despite
equal temperament tuning as our ears tend to compensate for this
anyway (more on this later). We will see that it is the dominant seventh
chord in absolute conception with the tonic of the key as generator
which can be substituted for the dominant 7th chord in telluric
adaptation built on the fifth degree of this same tonic. In other words, in
the key of G, G:Eb:C:A (in absolute conception , i.e. thinking downward)
can be substituted for D:F#:A:C (in telluric adaptation, i.e. thinking
upward). In the case of the G7 chord in absolute conception the
undertones represent the fundamental (or generator), 5th partial, 3rd
partial and 7th partial respectively. In the case of the D7 chord in telluric
adaptation the overtones represent the 3rd partial, 15th partial (i.e. 3
times 5), 9th partial (two fifths up) and the 21st partial (i.e. 3 times 7). So
one chord is all undertone energy and the other is all overtone energy.
This may be apparent in this case but things go much farther, as will be
seen later. As will be discussed later the overtone energy can generally
be associated with the Sun and with brightness, the undertone energy
with the Moon and with darkness.

Ernst Levy then goes on to prove how the minor seventh tone that he is
referring to represents the seventh partial of the harmonic series (in other
words representing the ratio 7a4 as opposed to the ratios 9a5 or 16a9,
which are also minor 7ths. Conversely the undertone minor 7th is
represented by the ratio 4a7, or 8a7 octave reduced). To keep things
moving I will skip this discussion of the tuning of the natural seventh,
interested readers will find this discussion on pages 45 and 46 of Levys
A Theory of Harmony. What I am going to discuss is what is happening
from the standpoint of progressions using these symmetrical ideas.

On page 48 of A Theory of Harmony Levy shows the following

progression (Examples 9 through 13):
From this point on I will use the negative sign when speaking of chords in
abosolute conception, e.g. G7 in absolute conception will be written as -
G7.

In example 9 we are in the key of Bbmaj. Here the three chords function
as positive secondary dominant, negative dominant, positive tonic (C7 to -
Bb7 to Bbmaj).

In example 10 we are in the key of -Dmaj. Here the three chords function
as negative secondary dominant, positive dominant, negative tonic (-C7
to D7 to -Dmaj).

In example11 we are in the key of -Cmaj. Here the three chords function as
positive dominant, negative dominant, negative tonic (C7 to -F7 to -Cmaj).

In example 12 we are in the key of Cmaj. Here the three chords function as
negative dominant, positive dominant, positive tonic (-C7 to G7 to Cmaj).

In example 13 different dominant 7th chords are shown, C7, -F7, -C7, G7. It
can be seen that each of the negative chords represent an extension or
top part of the positive chords. Each absolute conception dominant 7th
chord is the negative counterpart of a telluric adaptation dominant 7th
chord and you can see that both negative and positive chords are part of
the same dominant complex. For example the positive = C7 while the
negative = -F7. Both dominant 7th chords share two tones, G and Bb. The
-F7 can be thought of as an upper extension of the C7. In fact this entire
dominant 7th complex would be traditionally called a C11 b9 chord. Both
dominant chords most naturally go to a tonic chord with F as the root, C7
-> Fmaj and -F7 -> -Cmaj, so they both progress to parallel tonic chords,
e.g. they both progress to tonic chords which have the same root but
different polarities! I call the chords parallel tonic chords because they
sound out parallel worlds of tonality and we know that in traditional music
theory F minor is the parallel minor to F major. The -C7 and G7 chords are
in the same relationship to each other.