Toneme System Part II -- The RELATIVE

In music there is the absolute and relative.

I can play three blind mice in the key of C ' E D C E D C G F E G F E ... '
Similarly I can play it in the key of Bb ' D C Bb D C Bb ... '

Musically it is the same.

The relationships are the same, but the absolute pitch of the notes is different.

The relative is a musical skill.
The absolute is a pre-musical skill.

In the last page, I focused on the absolute. This is the bedrock. This must be the foundation.
In this page I will introduce the relative, and combine both absolute and relative.

but a good musical system should illustrate that the above examples are in fact the same piece of music. Musically the same movement is occurring. the conventional musical system attempts to do this, but fails badly.

Music is always revolving around one particular note, the ' tonal centre ' or ' key '. A song may start by revolving around C, then it may modulate briefly to revolve around G, and then return to revolve around C, finishing on a C.

so let's represent every note by its relationship to the current tonal centre:


Do you see? I am using the vowels A E I O U, and then a couple more oe (as in French coeur, or English irk) and I (as in hit). This covers the seven ' scale notes '. _a will be the tonal centre, or tonic. _e will be the second note of the scale or supersonic. etc. For the remaining five notes (ie those not in the scale, referred to as ' accidentals '), I use a diphthong ( double vowel ).

Now, combine the wheels.

That's 144 possible combinations. Chinese works with a basis of thousands of symbols.

Now, if you train yourself to sing using this system then every single note you utter, you are reinforcing the absolute pitch of that note.

How could you fail to sooner or later develop a pitch-concept for each of these 12 colours?