6th Dimished Scale

"There's still a lot of great music

to be written in C Major." - Schoenberg
Reggie Berg
(Feb. 4th, 2016)
(Major 6th Diminished Scale)

      

Piano
     
    
       
   
       
6
     
Pno.
     
   
       

             
     
11
 
Pno.
      
          

                  

      
16
 
       
Pno.
      
          
21 "George Shearing" Doubled soprano voice

                 

            
         


Pno.
            

Copy right © Beggie Rerg Music www.reggieberg.com

2
26 "Barry Harris" Outer Voices moving in 10ths and 9ths.
   
      
       
     
           
Pno.
                 

     

31 Interval of a 6th and 7th between Tenor and Bass Voice
   
             

     
          
Pno.
      

36 Two Voices. Contrary Motion.

         
       
Pno.          
       

41 Two Voices. Contrary Motion, beginning a 3rd apart.

              
  
       
Pno.
       
 
46 Two Voices. Contrary Motion, beginning a 4th apart.

         
       
     
Pno.
           

51 Two Voices. Contrary Motion, beginning a 6th apart.

         
       
Pno.
    
            
 3
56
   
Two Voices. Contrary Motion. 3rd apart.

             
Pno.          
       

       
61 Two Voices. Contrary Motion. 5th apart.

         

             
Pno.
   

66
    
Two Voices. Contrary motion. 6th apart.
       
    
Pno.          
       

71

Contrary Motion. Thin to Thick. (2 notes to 10 notes)

         


Pno.         

 


74 Dissonant Configuration position 2

              

   
           

Pno.
                 

79 "Closed" Dissonant Configuration position 1

               

 
                   
   
Pno.
       
      
4

        

84 Dissonant Configuration #1 position 3

          


   
        
Pno.
        

      
           
Dissonant Configuration #1 "open"
 
89

    
       
          
              

Pno.
        

94 Dissonant Configuration #1 secundal intervals in the bass and tenor

     
                 
        
Pno.
               
  

99 Less Dissonant Configuration position 3

                

    
       
Pno.
                 

104 Less Dissonant Configuration position 2

                
            
          


Pno.
                
 

      
109 Less Dissonant Configuration position 1 (Closed)
  
   
             
 
Pno.

          
       
 5
114 Innovation - (Inner voice movement in the Alto voice)

        
        
      
Pno.
       


116
 
          
         

     
Pno.
   


119 (Inner Voice Movement in the Tenor Voice.)

     
      
  
      
Pno.
         

 
121
   
      

  
        
Pno.
             



124 (Outer Voice Movement in the Bass Voice.)

   
       
   
Pno.
            
   

 
126
   
         
  
                
Pno.
  
6

      
129 (Outer Voice Movement in the Soprano Voice.)

      
   
Pno.

       

 

       
131
      
     

Pno.
 
      


         
134 Combination 1 (3rds in Soprano and Alto, 6ths in Tenor and Bass)
  
     
Pno.

       
    
      
              
136

         

Pno.

  
      
     
 
139 Combination 1 (Inverted - 3rds in Soprano and Alto, 3rds in Tenor and Bass)

       

 
Pno.

           

       
141
  
      

Pno.

        


        
     
 7

          

144 Thick (8 note voicings) (Dissonant Configuration combined with Consonant Configuration)

  
                 

    

         
     
            
Pno.
  

 
149 (Soprano I/Alto Doubled. Soprano II/Tenor Inner Voice Movement with Doubling.)
 
 
  
 
  
       
    
Pno.
        
       
   
   
151

       
       
  
     

               
Pno.

      
  
La Belle Rosette,
1 1 :1 5 a.m. - 1 2:41 p.m.
February 4th, 20 16.