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Austinato

Saturday, 6 June 2015. Generic Shapes of 4 notes: item 9. Examining the span of the GS and associations between them. Generic Shapes of 4 notes: item 9. Examining the span of the GS and associations between them. When I looked at these 4 note GS ( 4GS. And the twenty Rotations ( R. To review: 4GS x 5 Primary GS have been outlined by:. B) These 20 4GS then are reckoned from a common root to reenforce the definition of each GS. Twenty 4GS: generated from the above process (Primary GS are in Bold). Se the m...

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Austinato | intuitivedynamotion.blogspot.com Reviews

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Saturday, 6 June 2015. Generic Shapes of 4 notes: item 9. Examining the span of the GS and associations between them. Generic Shapes of 4 notes: item 9. Examining the span of the GS and associations between them. When I looked at these 4 note GS ( 4GS. And the twenty Rotations ( R. To review: 4GS x 5 Primary GS have been outlined by:. B) These 20 4GS then are reckoned from a common root to reenforce the definition of each GS. Twenty 4GS: generated from the above process (Primary GS are in Bold). Se the m...

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Austinato | intuitivedynamotion.blogspot.com Reviews

https://intuitivedynamotion.blogspot.com

Saturday, 6 June 2015. Generic Shapes of 4 notes: item 9. Examining the span of the GS and associations between them. Generic Shapes of 4 notes: item 9. Examining the span of the GS and associations between them. When I looked at these 4 note GS ( 4GS. And the twenty Rotations ( R. To review: 4GS x 5 Primary GS have been outlined by:. B) These 20 4GS then are reckoned from a common root to reenforce the definition of each GS. Twenty 4GS: generated from the above process (Primary GS are in Bold). Se the m...

INTERNAL PAGES

intuitivedynamotion.blogspot.com

1

Austinato: November 2012

http://intuitivedynamotion.blogspot.com/2012_11_01_archive.html

Tuesday, 6 November 2012. Sound 3, Sound 4: Sound 5, Sound 6: Flexibility and Limitations. Sound 3, Sound 4, Sound 5, Sound 6: Flexibility and Limitations. Using the example of G7, this is the proposed order from Tonal through Chromatic. S1: FS1 = FMa7(b5). so FS1/G = G13. S2: FS2 = FdimMa7. so FS2/G = G13(b9). S3: FS3 = F7(b5). so FS3/G = G9(b13). S4: FS4 = Fmi7(b5). so FS4/G = G7(b9b13). S5: FS5 = FMa7sus4(b5). so FS5 = G13(#9). S6: FS6 = F7sus4(b5).so FS6 G7(#9#5) or (#9b13). S2 is the most versatile ...

2

Austinato: September 2013

http://intuitivedynamotion.blogspot.com/2013_09_01_archive.html

Monday, 9 September 2013. He paid homage to the light within him. The light within him shone brighter with that. The white all-colors opened up in welcome. The light was plain to see and peace. And recognition flowed still, in a greater. The light became an absorption and seemed. To envelope him with that. It seemed beckoning for more focus on it,. The light and it’s source being one that is. Only found there: within his consciousness. And being his consciousness with that. Subscribe to: Posts (Atom).

3

Austinato: Generic Shapes item 6: A New View Of Permutations of 4-Note GS.

http://intuitivedynamotion.blogspot.com/2015/05/generic-shapes-item-6-new-view-of.html

Monday, 25 May 2015. Generic Shapes item 6: A New View Of Permutations of 4-Note GS. Generic Shapes Item 6 is here just to point out the viewpoint of each GS from a single start. The five primary 4-note GS (A—E) x 6 BP. Or to put it in long hand: The five Primary 4-note Generic Shapes (as discussed in the previous blogs) or GS (A—E) times 6 Basic Permutations ( BP. Times 4 Rotations ( R. Times 4 Staggered Starts ( S. 4GSE: S1-R1 S1-R2 S1-R3 S1-R4 S2-R1 S2-R2 S2-R3 S2-R4. Subscribe to: Post Comments (Atom).

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Austinato: August 2012

http://intuitivedynamotion.blogspot.com/2012_08_01_archive.html

Monday, 27 August 2012. So I follow up with Timbao Vibe. 'We' have a new bass player Daniel from CUBA! He has helped me with the whole process and I gave him some help with the reading of charts in a rehearsal. It turns out that it's really a lot about dancing. I've thought about the timbao being in 2 but Daniel explained that. Subscribe to: Posts (Atom). Diminished Perspectives 4 Piano score, Symmetrical Dim. Bebop Cliché Lines Exploding From The 4 note 'Sound' Chord in V7 Chords. Diminished chord funct...

5

Austinato: October 2014

http://intuitivedynamotion.blogspot.com/2014_10_01_archive.html

Monday, 6 October 2014. Outlining Barry Harris' bebop scale tone 7th chords. The major bebop scale has been in common knowledge for decades. I have outlined the tonic/dominant (IMa6 iiDim) polarity in an earlier blog (Mar. 12, 2012). So check that out and you’ll see a few examples of some ideas for expanding upon that idea. OK, then comes Barry Harris. CMa7 Dmi7 Emi7 FMa7 G7 Ami7 Bmi7(b5) CMa7 and learning the modes that are often associated with those chords. How are these used? Featuring the Charlie Au...

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Saturday, 6 June 2015. Generic Shapes of 4 notes: item 9. Examining the span of the GS and associations between them. Generic Shapes of 4 notes: item 9. Examining the span of the GS and associations between them. When I looked at these 4 note GS ( 4GS. And the twenty Rotations ( R. To review: 4GS x 5 Primary GS have been outlined by:. B) These 20 4GS then are reckoned from a common root to reenforce the definition of each GS. Twenty 4GS: generated from the above process (Primary GS are in Bold). Se the m...

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