2 Instrumental Systems Piano lonian Pentatonic c Dh B D Bb EL A E G F Ab ch Heptagon Pentagon Pentatonie Crete T Addition + : TLL >. Chromatic ——______» Augmented ates ¢ Ls <>e ab E S Triangle Square Ma 3rd Ma 3rd Ma 3rd 1 6 & 7 € § 4 = 23 {4 Augmented ‘ peta [= ifs Multiplication jag 07 | lex patéh C_ e4ya Mi ard Mi ard Mi 3rd tiara Diminished ——_—___—_—— Chromatie. ————_____>Parental Variations a ' ¥ * Mi Augmented Ma Vi? Gb mi Ama E Eb? Bb mi Db ma AT 6 Bp Dri F ma ch Db Gb7 G Gmi | eb ma ET Bmi | 2 Dima Ab Bb? Eb mi Bp, | Gbma DoT ; B ADM) ¢ | Bma # Cmi Eb ma = Emi Gma Gb! B7 Ami Eb or AbT Dbmi F mi © 1972 Kitai MusicExample 1 i. Invs. IIT Inve. II Inve. [ When the same procedureis applied with the Diminished partner, the fingerboard divides inthe followin g way > Diminished ————— wou ge FB rt 7 eee Example 2 heen CT cs Inv. IY Inv. IIT Inve. IT Invs. I Wherthe complete 12 paints are graphically displayedas Augmented aa well as Diminished fonna; theyappearin thefalowing order DiminishedVertical & Horizontal Inversions & Positions B |Bb| 4 | Ab i \ Eb[ D [ca] ¢ Augmented SIT FLE 4 Yertical Inversions yey wii gg a 7 + 2 1 Positions Fe[F [Ee |« ¢ [e | Bb Diminished Eb! D | Db A [Ab] G 3 Vertical Inversions 2 ouom os a 7 4 6 4 a 2 t -——— 4 Horizontal Positions +--+ Db --------Bb - - E en soo 24 ta ¥ + + 7 : 2 4 3 2 1 PositionsNot oniy has anuinber of symbols been dram from various points in ourwestem culture; (eg. 12 perdozen; 12inches in foot; eventhe12apastles inthe Christian religion; etc. } butalso fromthe eastem culture as well, and one of the most interesting of those found were trom China, Thel Ching: otherwise known ag The Book of Changes. Itnat onlycontaires & timeless philosophy, but along with thetit also contains the exact blueprint for every possible combination of the guitars 6 strings, andin this pertic ular studyit all be used forthe latter purpase alone. 1 String 5 Strings 6 Strings Silence These hexagrams alle both of the “ parental jams“; augmented or dininishedte be spread ith precision across each ofthe 3 or4 sting groups; but before viewing these anangements keepin mindthal the numerical coluinns are identical ta thelineartest thet is seen above. In otherwords, when vewinathe guitars 6 strings theymay be ceunted inthe fallowing way [example #1 )this individual paltem cen bereadas achord ann thal’staking place on all 6 stings simultaneously. When any of thaselines are broken, thase patticularlines are silent andthe pattern wouldthen bereadasso :-4321 (exemple #2) Example #2 Example #1 ersThe followingtables are a numerical display of the 64 hexagrams viewed as anumetical arganizetion ofall of the guitars collective String Groups 6 Strings Full Use —® |6/5/4/3/2]1) = #1 5 Strings 4 Strings 3 Strings 654321 654321 654321 6(5/4[3]2 ‘esas 6/5/43, 6(5l4| [2 “ep 3 6(5/4) [ait 6|5[a|_| |i 6/5) |alaf 6/5] [32 Sat tft ABCHAD 65] 13) {1 Seca. 4[3[el 6 {5 2i1 4 6| [4{3|2|_| - s Z 6] lala] [i 8 4 1 e| [4{ [zit 6] isan 6 1 2 Strings * Slalsl2 7 7 654321 S4i3[ “BE 3/4] [2 ale 5, 13/2 si4{ | fa [5 2 re 6 3 > 6 6 5 : ats 1 String 5 Z 654521 5 i als é 4| {2 BE al a a2 : 3 Sti : 2 oT : 7 #64 = [Silence Take Nate: The 3rd and 4th sting columns have dots placedto position the most common adjacent and nan-adjacent string groups used for 3 and 4 voice hamanies,