1st part: Introduction

 

Welcome on harmoniedesspheres.com, a site dedicated to all music lovers. Take a few minutes to discover one of the greatest inventions based on a new musical perception that rely on the chromatic scale and the diatonic scale by using number to indicate each degree (see Fig. 1). By looking at the numbers that correspond to the intervals that constitute a Perfect Major Chord, you can see the legendary Fibonacci sequence (the divine proportion). With the discovery of a “Musical Universal Key”, M. Lalonde, the inventor, demonstrates where this revolutionary easy approach method starts.

To understand this approach, we have to recognize scales on a 360 degree platform as shown on Fig. 1. We used to have a limited perception to see it as a whole, we have to look at the12 intervals of the chromatic  tempered scale, in fact, scales are only intervals that answer to harmonic established norms. The chromatic scale is the foundation on which these scales are leaning on.

 

Let’s look at the same graphic on 360 degree. The use of black and white is used to represent the notes of a piano, to help understand this new perception.

« If you don’t already have the Musical Universal Key – Discs® »

Print and cut the two discs shown on Fig. 3, then cut down the 7 windows that correspond to the intervals on disc 1 (Item 32). Overlap disc 1 over the second disc (Item 30) and then position the 1st degree (“Tonic”) on C, you’ll get the “C-D-E-F-G-A-B” sequence.

 

Fig3

Now move the “Tonic” on the “Fifth”, the G, this way you obtain the alterations that constitutes the key frame of our tonal system and so on. We call this: The Cycle of the Fifths.

The Cycle of the Fifths

 

(Ascendant = Sharp order = F#, C#, G#, D#, A#, E#, B#)

 

 

(Descendant = Flat order = Bb, Eb, Ab, Db, Gb, Cb, Fb)

 

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2nd part: Understanding the playing system of music

 

“We cannot name two intervals of the same name”

 

Example: Position the 1st degree (tonic) of your

« Musical Universal Key – Discs® »

on Do (C), you will get: C-D-E-F-G-A-B.

 

Now turn the disc clockwise half a tone, i.e. place the tonic of the disc on Do# (C#). Physically, there are only five possible alterations; we have to recognize nuances between theory and practice to understand this principal.

 

Theory teaches us that there are 7# (in C#):

C#-D#-E#-F#-G#-A#-B#.

 

But if you play the Do# (C#) scale on your musical instrument, you actually play:

C#-D#-F-F#-G#-A#-C.

 

 

Both sequences are good. The first respects musical rules (theory), the second is not, but it reflects reality. Play an E# or a B# on your instrument, you will play a F and C; or play a Cb or a Fb, in fact you play a B and an E, aren’t you?

 

 

Notice: Even if the end results with the disc tally with traditional music teaching theory,  the intention here is not to teach music but to change its perception. 

3rd part: The Harmonics

« the Third circle »

C, E, G, B, D, F, A

I degree                        C, E, G                  Majeur chord

II degree                       D, F, A                  mineur chord

III degree                      E, G, B                  mineur chord

IV degree                      F, A, C                  Majeur chord

V degree                       G, B, D                  Majeur chord

VI degree                      A, C, E                  mineur chord

VII degree                    B, D, F                         diminish

What is important here is that no matter the tone (tonal height) in which we play, the intervals will always be the same: either major (which constitute the key frame of our tonal system) or minor. 

 

 

 

More to come…