The following three music books written by Chuck Metcalf
are available for free downloading:
 

THE COMPLETE CATALOG OF CHROMATIC COMBINATIONS

A Handbook of Tonal Relationships for Composers, Improvisers, and Musicologists

© Chuck Metcalf, 2007

 
 
 
“The tuition of the various musical traditions centers on what the ear hears, the mind understands, and the heart embraces. The tonal aspect underlying the great musical traditions relies on a set of mathematical possibilities and limitations inherent in the medium of sound. It is these finite, math-based considerations the CCCC sets out to explain and catalog.”

Chuck Metcalf

 
 
 
CCCC THE BOOK
 

The CCCC is based on the several thousand combinational possibilities afforded by the 12 tone chromatic scale that are contained within one octave, based on one tone.

In addition to this basic data-base, the CCCC CD provides musical examples in all keys, all registers, in all inversions, and all spread voicings for each combination.

All combinations are accessible on the CD both as chords and scales. The CD sends MIDI information to your computer so that selected combinations may be sounded.

For the purpose of cataloging, all combinations from 3 to 7 in number are given chord names according to the chord symbol system in common use. These are then categorized by the 9 most common 6, 7, and 8 tone scales of which they are constituents.

The text provides further inrormation relating intervals to triadic formations, triadic formations to four-tone combinations and so forth up to their constituent scales.

In addition the text gives valuable information on the mathematical and acoustical properties of tonal combinations when actually sounded as well as laying out the difference between the circle of 5ths and the overtone series. The CCCC text shows clearly the simple mathematical roots of the overtone series, the just intonation scales, and the tempered chromatic scale.

Appendix I shows scale-tone to scale relationships for 3, 4, 5, and 6 tone combinations for nine 6, 7, and 8 tone scales.

Appendix II lists the CCCC data-base in numerical form.

Appendix III is a 4 page fold-out graphical representation of the entire data base.

As an added bonus the text provides graphic versions of musical examples in the circle-of-5ths-based Lyrichromatic color-tone analogy.

The CCCC contains many colored illustrations and diagrams utilizing the Lyrichromatic tone-color analogy.

 

TABLE OF CONTENTS

FORWARD
INTRODUCTION TO THE TONAL COMBINATION DATABASE
ACCESSING AND USING THE DATABASE
COMBINATION/CHORD RELATIONSHIPS AND CROSS-RELATIONSHIPS
DIADS/INTERVALS
TRIADS
QUATRADS
PENTADS
HEXTADS
HEPTADS
MODES
OCTADS

NINE, TEN, AND ELEVEN TONE SCALES, AND TWELVE TONE PATTERNS
PLACING THE COMBINATIONAL DATABASE IN A MUSICAL CONTEXT
PSYCHOLOGY & MATHEMATICS
ACOUSTICS
PUTTING THE CCCC TO MUSICAL USE
THE LYRICHROMATIC ANALOGY: COLOR WHEEL/CIRCLE OF 5THS
BIBLIOGRAPHY
APPENDIX I
APPENDIX II
APPENDIX III

 

JAZZ HARMONY FROM THE BOTTOM UP , CHUCK METCALF, 2011

I am placing the following manuscript, "Jazz Harmony from the Bottom Up," on the Net in the hope of getting feedback from interested readers—particularly about errors and typos, as well as the inevitable disagreements with my point of view. I thank you in advance for your input, whether negative or positive. With the aid of your help I hope to be able to put this piece into final publishable form.

 

BASIC EXERCISES, CHUCK METCALF, 2011

I have used these exercises over the years to accomplish the goals of an automatic negotiation of the accidentals in all keys, the negotiation of alternate scale formations, and a gradual gain in velocity by combining them with gradually higher metronome settings. I strongly recommend their practice in conjunction with a metronome.

I have also included a Musical Taxonomy to assist the bassist in defining exercises in relation to personal artistic goals. These exercises are slanted toward the needs of an improvising jazz bassist. Bassists with other artistic goals may therefore find some of the exercises without practical use and decide to avoid them. Others may find them incomplete and wish to add others to them such as the Harmonic Minor scale, the Byzantine scale, or various atonal formations.

In any case, you need not feel compelled to practice all of them every day, or memorize them all, but occasional exposure to less crucial areas will pay dividends over the long term.

Spending practice time with the music you love should be your first priority.

 

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