|
#C |
|
#D |
|
|
#F |
|
#G |
|
#A |
|
C |
|
D |
|
E |
F |
|
G |
|
A |
|
B |
1/1 |
bD |
2/2 |
bE |
3/3 |
4/4 |
bG |
5/5 |
bA |
6/6 |
bB |
7/7 |
|
#D |
|
|
#F |
|
#G |
|
#A |
|
|
#C |
D |
|
E |
F |
|
G |
|
A |
|
B |
C |
|
2/1 |
bE |
3/2 |
4/-3 |
bG |
5/4 |
bA |
6/5 |
bB |
7/6 |
1/-7 |
bD |
|
|
#F |
|
#G |
|
#A |
|
|
#C |
|
#D |
E |
F |
|
G |
|
A |
|
B |
C |
|
D |
|
3/1 |
4/-2 |
bG |
5/-3 |
bA |
6/4 |
bB |
7/5 |
1/-6 |
bD |
2/-7 |
bE |
|
#F |
|
#G |
|
#A |
|
|
#C |
|
#D |
|
F |
|
G |
|
A |
|
B |
C |
|
D |
|
E |
4/1 |
bG |
5/2 |
bA |
6/3 |
bB |
7/+4 |
1/5 |
bD |
2/6 |
bE |
3/7 |
|
#G |
|
#A |
|
|
#C |
|
#D |
|
|
#F |
G |
|
A |
|
B |
C |
|
D |
|
E |
F |
|
5/1 |
bA |
6/2 |
bB |
7/3 |
1/4 |
bD |
2/5 |
bE |
3/6 |
4/-7 |
bG |
|
#A |
|
|
#C |
|
#D |
|
|
#F |
|
#G |
A |
|
B |
C |
|
D |
|
E |
F |
|
G |
|
6/1 |
bB |
7/2 |
1/-3 |
bD |
2/4 |
bE |
3/5 |
4/-6 |
bG |
5/-7 |
bA |
|
|
#C |
|
#D |
|
|
#F |
|
#G |
|
#A |
B |
C |
|
D |
|
E |
F |
|
G |
|
A |
|
7/1 |
1/-2 |
bD |
2/-3 |
bE |
3/4 |
4/-5 |
bG |
5/-6 |
bA |
6/-7 |
bB |
I |
1234567 |
1234567 |
II |
12-3456-7 |
12-3456-7 |
III |
1-2-345-6-7 |
1-2°345-6°7 |
IV |
123+4567 |
1-2°3+45-6°7 |
V |
123456-7 |
1-2°3+45-6*7 |
VI |
12-345-6-7 |
1-2*3+45°6-*7 |
VII |
1-2-34-5-6-7 |
1°2-*3+4-5*6°*7 |
La gamme naturelle est soumise aux modèles diatoniques correspondants.
Elle a des notes qui vont être soumises aux modulations modales.
Si sa note est inchangée, sa nouvelle position diatonique lui donne l’altération.
La note est comme un objet sonore nuancé
TEL. DO MAJEUR. DEVENU DO MINEUR.