Blumberg’s Music Theory Cipher forë컣羦ὁ䲁⊞䪳ٛഽ慚沢韛斑 ⥐ᅃ … · 4 Blumberg’s Music Theory Cipher Intervals Interval Number-Name Translation Tables Table

Blumberg's

Music Theory Cipherfor Guitar

and other stringed instruments

Musical Number Formula Translation Tables:Intervals, Scales, and Chords

Roger Edward Blumberg© Copyright 2002

Complements of www.TheCipher.com

or)

Musical Number Formula Translation Tables:

Intervals, scales, and chords

Master Chart Summary Table One (materials of Major and min

Universal Speller Transposer

. . . and more . . .

Roger Edward Blumberg© Copyright 2002

Complements of www.TheCipher.com

Blumberg's

Music Theory Cipherfor Guitar

and other stringed instruments

© Copyright 2002 Roger Edward Blumberg Musical Number Formula Tanslation Tables 3

IntervalsInterval Number-Name Translation TablesTable One: Standard word-prefixed interval number-names to

Cipher (or Chromatic) equivalents.

Figure 1-1

P 1st / dim. 2nd . . . . Unison . . . 0° - 0°min. 2nd . . . . . . . . . . . . . . . . . . . . . . . 0° - 1°Maj. 2nd / dim. 3rd . . . . . . . . . . . . . . 0° - 2°min. 3rd / Aug. 2nd . . . . . . . . . . . . . 0° - 3°Maj. 3rd . . . . . . . . . . . . . . . . . . . . . . . 0° - 4°

P 4th / Aug. 3rd . . . . . . . . . . . . . . 0° - 5°Aug. 4th / dim. 5th . . . . . . . . . . . . . 0° - 6°

P 5th . . . . . . . . . . . . . . . . . . . . . . . 0° - 7°Aug. 5th / min. 6th . . . . . . . . . . . . . . 0° - 8°Maj. 6th / dim. 7th . . . . . . . . . . . . . . 0° - 9°min. 7th . . . . . . . . . . . . . . . . . . . . . . . . 0° - 10°Maj. 7th . . . . . . . . . . . . . . . . . . . . . . . . 0° - 11°

P 8th . . . . . . . . . . . . . Octave . . . 0° - 12°min. 9th . . . . . . . . . . . . . . . . . . . . . . . 0° - 13°Maj. 9nd . . . . . . . . . . . . . . . . . . . . . . . 0° - 14°min. 10th / Aug. 9th . . . . . . . . . . . . 0° - 15°Maj. 10th . . . . . . . . . . . . . . . . . . . . . . 0° - 16°

P 11th . . . . . . . . . . . . . . . . . . . . . . 0° - 17°Aug. 11th / dim. 12th . . . . . . . . . . . 0° - 18°

P 12th . . . . . . . . . . . . . . . . . . . . . . 0° - 19°min. 13th / aug. 12th . . . . . . . . . . . . 0° - 20°Maj. 13th . . . . . . . . . . . . . . . . . . . . . . 0° - 21°min. 14th . . . . . . . . . . . . . . . . . . . . . . 0° - 22°Maj. 14th . . . . . . . . . . . . . . . . . . . . . . 0° - 23°

P 15th . . . . . . . . . . . . Octave . . . 0° - 24°

Standard Cipher *

Intervals

P = PerfectMaj. = Majormin. = minor

Aug. = Augmenteddim. = diminished

distance or chromatic-position of the upper tone from zero (the tonic/root).* 0° = Tonic or Root. The numbers to the right of the dash represent the half-step

Italicized interval names are less common. They could be indicated in the second octave of tones as well

4 Blumberg’s Music Theory Cipher www.TheCipher.com

IntervalsInterval Number-Name Translation TablesTable Two: Standard accidental-mark prefixed interval number-names,

to Cipher (or Chromatic) equivalents.

Figure 1-2

1 = 0° �2, 1 = 0°�2 = 1°

2 = 2° �3, 2 = 2°�3, �2 = 3°

3 = 4° 3 = 4°4 = 5° �3, 4 = 5°

�5, �4 = 6°5 = 7° 5 = 7°

�6, �5 = 8°6 = 9° �7, 6 = 9°

�7 = 10°7 = 11° 7 = 11°8 = 12° 8 = 12°

�9 = 13°9 = 14° 9 = 14°

�10, �9 = 15°10 = 16° 10 = 16°11 = 17° 11 = 17°

�12, �11 = 18°12 = 19° 12 = 19°

�13, �12 = 20°13 = 21° �14, 13 = 21°

�14 = 22°14 = 23° 14 = 23°15 = 24° 15 = 24°

Standard Cipher

Major scale only All intervals

Standard Cipher


IntervalsInterval Number-Name Translation TablesTable Three: Summary Table. Standard word and formula-numeral interval number-

names, to Cipher (or chromatic) equivalents.

Figure 1-3

Perfect First . . . . . . . . . . 1 . . . . . . . . . 0°Diminished Second . . . . . . . . �2 . . . . . . . . . 0°

Minor Second . . . . . . . . �2 . . . . . . . . . 1°Major Second . . . . . . . . 2 . . . . . . . . . 2°

Diminished Third . . . . . . . . . �3 . . . . . . . . . 2°Augmented Second . . . . . . . . �2 . . . . . . . . . 3°

Minor Third . . . . . . . . . �3 . . . . . . . . . 3°Major Third . . . . . . . . . 3 . . . . . . . . . 4°

Augmented Third . . . . . . . . . �3 . . . . . . . . . 5°Perfect Fourth . . . . . . . . 4 . . . . . . . . . 5°

Augmented Fourth . . . . . . . . �4 . . . . . . . . . 6°Diminished Fifth . . . . . . . . . . �5 . . . . . . . . . 6°

Perfect Fifth . . . . . . . . . . 5 . . . . . . . . . 7°Augmented Fifth . . . . . . . . . . �5 . . . . . . . . . 8°

Minor Sixth . . . . . . . . . . �6 . . . . . . . . . 8°Major Sixth . . . . . . . . . . 6 . . . . . . . . . 9°

Diminished Seventh . . . . . . . �7 . . . . . . . . . 9°Minor Seventh . . . . . . . �7 . . . . . . . . . 10°Major Seventh . . . . . . . . 7 . . . . . . . . . 11°

Perfect Eighth . . . . . . . . 8 . . . . . . . . . 12°Minor Ninth . . . . . . . . . �9 . . . . . . . . . 13°Major Ninth . . . . . . . . . 9 . . . . . . . . . 14°

Augmented Ninth . . . . . . . . . �9 . . . . . . . . . 15°Minor Tenth . . . . . . . . �10 . . . . . . . . . 15°Major Tenth . . . . . . . . . 10 . . . . . . . . . 16°

Perfect Eleventh . . . . . . 11 . . . . . . . . . 17°Augmented Eleventh . . . . . �11 . . . . . . . . . 18°Diminished Twelfth . . . . . . �12 . . . . . . . . . 18°

Perfect Twelfth . . . . . . 12 . . . . . . . . . 19°Augmented Twelfth . . . . . . �12 . . . . . . . . . 20°

Minor Thirteenth . . . . �13 . . . . . . . . . 20°Major Thirteenth . . . . 13 . . . . . . . . . 21°

Diminished Fourteenth . . . �14 . . . . . . . . . 21°Minor Fourteenth . . . �14 . . . . . . . . . 22°Major Fourteenth . . . . 14 . . . . . . . . . 23°

Perfect Fifteenth . . . . . . 15 . . . . . . . . . 24°

formula digit formula digitinterval number-nameStandard Standard Cipher


IntervalsInterval Number-Name Translation TablesTable Four: Octave Equivalents. Associating simple and compound intervals. First-octave

and equivalent second-octave number-names of tones, standard and Cipher, (Major scale intervals only).

Figure 1-4

1st 2nd 3rd 4th 5th 6th 7th 8th| | | | | | | |

8th 9th 10th 11th 12th 13th 14th 15th

Major scale First Octave

Major scale Second Octave

Standard (plus or minus 7)

Octave equivalents(Major scale only)

0° 2° 4° 5° 7° 9° 11° 12°| | | | | | | |12° 14° 16° 17° 19° 21° 23° 24°

Major scale First Octave

Major scale Second Octave

Cipher (plus or minus 12°)


ScalesScale Formula Translation TablesTable One: The Major and three minor scales. Standard scale-formula to Cipher (or chro-

matic) equivalents. Scales are spelled in parallel from a C tonic.

Figure 1-5

C, C�/D�, D, D�/E�, E, F, F�/G�, G, G�/A�, A, A�/B�, B, C

0° 1° 2° 3° 4° 5° 6° 7° 8° 9° 10° 11° 12°

C chromatic scale reference

C D E F G A B C

1 - 1 - ½ - 1 - 1 - 1 - ½

1 2 3 4 5 6 7 8

0° 2° 4° 5° 7° 9° 11° 12°

Major Scale

spelling

whole-steps

standard numbers

chromatic numbers Cipher

C D E� F G A� B� C

1 - ½ - 1 - 1 - ½ - 1 - 1

1 2 �3 4 5 �6 �7 8

0° 2° 3° 5° 7° 8° 10° 12°

Natural minor

spelling

whole-steps

Cipher

C D E� F G A� B C

1 - ½ - 1 - 1 - ½ - 1½ - ½

1 2 �3 4 5 �6 7 8

0° 2° 3° 5° 7° 8° 11° 12°

spelling

whole-steps

Cipher

C D E� F G A B C

1 - ½ - 1 - 1 - 1 - 1 - ½

1 2 �3 4 5 6 7 8

0° 2° 3° 5° 7° 9° 11° 12°

spelling

whole-steps

Cipher

Harmonic minor

* Melodic minor

The Major and three minor scales

Note, the melodic minor in the descending direction reverts to natural minor.

*


ScalesScale Formula Translation TablesTable Two: Modal scales; the modes of Major (ecclesiastic or medieval church modes).

Standard scale-formula to Cipher (or chromatic) equivalents.

Figure 1-6

1 2 3 4 5 6 7 8

0° 2° 4° 5° 7° 9° 11° 12°

Ionian

Cipher

Modes of Major

(Major)

1 2 �3 4 5 6 �7 8

0° 2° 3° 5° 7° 9° 10° 12°

Dorian

Cipher

1 �2 �3 4 5 �6 �7 8

0° 1° 3° 5° 7° 8° 10° 12°

Phrygian

Cipher

1 2 3 �4 5 6 7 8

0° 2° 4° 6° 7° 9° 11° 12°

Lydian

Cipher

1 2 3 4 5 6 �7 8

0° 2° 4° 5° 7° 9° 10° 12°

Mixolydian

Cipher

1 2 �3 4 5 �6 �7 8

0° 2° 3° 5° 7° 8° 10° 12°

Aeolian

Cipher

1 �2 �3 4 �5 �6 �7 8

0° 1° 3° 5° 6° 8° 10° 12°

Locrian

Cipher

(Nat minor)


ScalesScale Formula Translation TablesTable Three: Miscellaneous scales. Standard scale-formula to

Cipher (or chromatic) equivalents.

Figure 1-7

C D E� F� G A� B C

1 - ½ - 1½ - ½ - ½ - 1½ - ½

1 2 �3 �4 5 �6 7 8

0° 2° 3° 6° 7° 8° 11° 12°Cipher

Gypsy minor

C D E F� G� A� C

1 - 1 - 1 - 1 - 1 - 1

0° 2° 4° 6° 8° 10° 12°Cipher

Whole-tone

Other scales

C D E G A C

1 - 1 - 1½ - 1 - 1½

0° 2° 4° 7° 9° 12°Cipher

Major Pentatonic

1 2 3 5 6 1

C E� F G B� C

1½ - 1 - 1 - 1½ - 1

0° 3° 5° 7° 10° 12°Cipher

minor Pentatonic

1 �3 4 5 �7 1


ChordsChord Formula Translation TablesTable One: Chords grouped by family. Standard root-position chord-formula to Cipher (or

chromatic) equivalents. Not exhaustive, few altered chords.

Figure 1-8

Major Triad R 3 5 0° - 4° - 7°Sixth R 3 5 6 0° - 4° - 7° - 9°

Seventh R 3 5 7 0° - 4° - 7° - 11°Ninth R 3 5 7 9 0° - 4° - 7° - 11° - 14°

6/9 R 3 5 6 9 0° - 4° - 7° - 9° - 14°Eleventh R 3 5 7 9 11 0° - 4° - 7° - 11° - 14° - 17°

Thirteenth R 3 5 7 9 11 13 0° - 4° - 7° - 11° - 14° - 17° - 21°

Minor Triad R �3 5 0° - 3° - 7°Sixth R �3 5 6 0° - 3° - 7° - 9°

Seventh R �3 5 �7 0° - 3° - 7° - 10°Ninth R �3 5 �7 9 0° - 3° - 7° - 10° - 14°

6/9 R �3 5 6 9 0° - 3° - 7° - 9° - 14°Eleventh R �3 5 �7 9 11 0° - 3° - 7° - 10° - 14° - 17°

Thirteenth R �3 5 �7 9 11 13 0° - 3° - 7° - 10° - 14° - 17° - 21°

Dominant Seventh R 3 5 �7 0° - 4° - 7° - 10°Ninth R 3 5 �7 9 0° - 4° - 7° - 10° - 14°

Eleventh R 3 5 �7 9 11 0° - 4° - 7° - 10° - 14° - 17°Thirteenth R 3 5 �7 9 11 13 0° - 4° - 7° - 10° - 14° - 17° - 21°

Diminished Triad R �3 �5 0° - 3° - 6°Half-Dim Seventh R �3 �5 �7 0° - 3° - 6° - 10°Diminished Seventh R �3 �5 �7 0° - 3° - 6° - 9°

Augmented Triad R 3 �5 0° - 4° - 8°Seventh R 3 �5 �7 0° - 4° - 8° - 10°

Major Suspended R 4 5 0° - 5° - 7°Dom. 7th Suspended R 4 5 �7 0° - 5° - 7° - 10°Min./Maj. Seventh R �3 5 7 0° - 3° - 7° - 11°

Chord Name Standard FormulaCipher Formula

R 3rd 5th 6 or 7 9th 11th 13th


ChordsChord Formula Translation TablesTable Two: Chords grouped by size. Standard root-position chord-formula to Cipher (or

chromatic) equivalents. Not exhaustive, few altered chords, etc.

Figure 1-9

Major Triad R 3 5 0° - 4° - 7°Minor Triad R �3 5 0° - 3° - 7°Augmented Triad R 3 �5 0° - 4° - 8°Diminished Triad R �3 �5 0° - 3° - 6°Major Suspended R 4 5 0° - 5° - 7°

Major Sixth R 3 5 6 0° - 4° - 7° - 9°Minor Sixth R �3 5 6 0° - 3° - 7° - 9°Major Seventh R 3 5 7 0° - 4° - 7° - 11°Minor Seventh R �3 5 �7 0° - 3° - 7° - 10°Dominant Seventh R 3 5 �7 0° - 4° - 7° - 10°Augmented Seventh R 3 �5 �7 0° - 4° - 8° - 10°Half-Dim Seventh R �3 �5 �7 0° - 3° - 6° - 10°Diminished Seventh R �3 �5 �7 0° - 3° - 6° - 9°Min./Maj. Seventh R �3 5 7 0° - 3° - 7° - 11°Dom. 7th Suspended R 4 5 �7 0° - 5° - 7° - 10°

Major Ninth R 3 5 7 9 0° - 4° - 7° - 11° - 14°Minor Ninth R �3 5 �7 9 0° - 3° - 7° - 10° - 14°Dominant Ninth R 3 5 �7 9 0° - 4° - 7° - 10° - 14°Major 6/9 R 3 5 6 9 0° - 4° - 7° - 9° - 14°Minor 6/9 R �3 5 6 9 0° - 3° - 7° - 9° - 14°

Major Eleventh R 3 5 7 9 11 0° - 4° - 7° - 11° - 14° - 17°Minor Eleventh R �3 5 �7 9 11 0° - 3° - 7° - 10° - 14° - 17°Dominant Eleventh R 3 5 �7 9 11 0° - 4° - 7° - 10° - 14° - 17°

Major Thirteenth R 3 5 7 9 11 13 0° - 4° - 7° - 11° - 14° - 17° - 21°Minor Thirteenth R �3 5 �7 9 11 13 0° - 3° - 7° - 10° - 14° - 17° - 21°Dominant Thirteenth R 3 5 �7 9 11 13 0° - 4° - 7° - 10° - 14° - 17° - 21°

Chord Name Standard FormulaCipher Formula

R 3rd 5th 6 or 7 9th 11th 13th


Figure 1-10

C� D�

min

2

aug

1

CP 1s

t

DE

FG

AB

C

M 2

M 3

P 4

P 5

M 6

M 7

P 8

D� E�

min

3

aug

2F� G

�d

im 5

aug

4G

� A�

min

6

aug

5A

� B�

min

7

aug

6

dim

6A

�d

im 7

B�

CC

one

octa

ve(t

wel

ve h

alf-

step

s)

D�

min

9

DE

FG

AB

C

M 9

M 1

0P

11P

12M

13

M 1

4P

15

D� E�

min

10

aug

9F� G

�d

im 1

2

aug

11G

� A�

min

13

aug

12A

� B�

min

14

aug

13

Con

e oc

tave

(tw

elve

hal

f-st

eps)

Com

poun

d in

terv

als

seco

nd o

ctav

e

Sum

mar

y o

f in

terv

al n

um

ber

-nam

es —

tw

o o

ctav

es, s

imp

le a

nd

co

mp

ou

nd

(all

deg

rees

: Maj

or

and

ch

rom

atic

)

Not

e; s

ome

less

com

mon

enh

arm

onic

inte

rval

nam

es a

re

omit

ted

from

thi

s ch

art,

e.g

. dim

2nd

, dim

3rd

, aug

3rd

.

min

= m

inor

aug

= a

ugm

ente

dd

im =

dim

inis

hed

M =

Maj

orP

= p

erfe

ct

0˚1˚

2˚3˚

4˚5˚

6˚7˚

8˚9˚

10˚

11˚

12˚

13˚

14˚

15˚

16˚

17˚

18˚

19˚

20˚

21˚

22˚

23˚

24˚

chro

mat

ic n

um

ber

s 0°

– 2

4° a

dd

ed


Master Chart Summary — Table One — The Cipher

The Cipher System’s user-friendliness results from extricating music theory from the staffand standard notation. The Master Charts further that operation. The Master Charts are theCipher System’s comprehensive number-formula translation tables. There the eight total Mas-ter Charts in the book. The following two-plate chart is one of two summary charts.

The Master Charts are a catalogue of number formula, both standard and Cipher. Theycontain diatonic to chromatic number translations of all basic harmony-in-thirds (chord for-mula) taken directly from the staff, plus all indigenous modes (scales) of all degrees of the fourprimary scales. Charts are included for the Major and three variations of Minor scales (Natu-ral, Harmonic, and Melodic), using both standard (diatonic) and chromatic (Cipher) num-bers. The Master Charts reveal all of the stock harmonies and formula natural to all scaledegrees of those scales

From every scale degree of each of the four scales covered, you’ll find formula numberscorresponding to (and up through) the seven-tone thirteenth chord that stacks naturally (inthirds) above those degrees. Each thirteenth chord contains within it all other smaller chordsnatural to the given degree. That is, each thirteenth chord (also) contains the triad, seventh,ninth, and eleventh chord, natural to the degree. So the Master Charts are indeed exhaustive— as far as the stock, unaltered, natural materials of (tercian) Western music theory go.

The Master Charts are a literal Rosetta Stone, an alpha-numeric translation of ancientmusical formula rendered in two languages side by side, one of which nearly everyone onearth can understand, counting numbers. It might sound silly, but if some cataclysmic eventever befalls the earth (and it will someday), leaving only a small global population and few ifany people who can read music, the kernel of Western musical heritage might survive at least.But we’d still have to write it in stone somewhere, and have a copy “off world“ to be safe. ;’)


Figure 1-11

The Cipher — Summary Master Chart One — diatonic numbers

Natural Chords and Arpeggios Indigenous Modes

Major

Melodic minor

Harmonic minor

Natural minor

Major

Melodic minor

Harmonic minor

Natural minor

R 3 5 7 9 11 13

I

II

III

IV

V

VI

VII

RT

R

R

R

R

R

R

�3

�3

�3

�3

3

3

2

�5

5

5

4

�7

�7

�7

�7

�7

7

7

6

9 11

�11

�13

�13

�13

13

5 9 11 13

5 �9

�9

11

3 5 7 9 13

3 5 9 11 13

11

5 9 11

R 3 5 7 9 11 13

I

II

III

IV

V

VI

VII

T

�3

3

�3

�3

�3

�3

2

�5

5

5

4

7

�7

�7

�7

�7

7

7

6

9 11

�11

13

�13

�13

13

5 �9 11 13

�5 9

�9

�11

3 5 �7 9 13

3 5 9 11 �13

11

�5 9 11

R 3 5 7 9 11 13

I

II

III

IV

V

VI

VII

T

�3

3

3

�3

�3

�3

2

�5

5

5

4

7

�7

7

�7

�7

7

7

�6

9 11

�11

13

13

�13

�13

�5 �9 11 13

�5 9

�9

11

�3 5 �7 9 13

3 5 �9 11 �13

�11

5 �9 �11

R 3 5 7 9 11 13

I

II

III

IV

V

VI

VII

T

�3

3

3

3

�3

�3

2

5

5

5

4

7

�7

7

�7

�7

�7

�7

�6

9 11

11

13

13

13

�13

�5 �9 11 �13

5 9

9

11

�3 5 �7 9 13

�3 5 �9 11 �13

11

5 9 �11

T 2 3 4 5 6 7

I

II

III

IV

V

VI

VII

1T

1

1

1

1

1

1

�3

�3

�3

�3

3

3

2

�5

5

5

4

�7

�7

�7

�7

�7

7

7

6

2 4

�4

�6

�6

�6

6

52 4 6

5�2

�2

4

3 5 72 6

3 52 4 6

4

52 4

I

II

III

IV

V

VI

VII

T

�3

3

�3

�3

�3

�3

2

�5

5

5

4

7

�7

�7

�7

�7

7

7

6

2 4

�4

6

�6

�6

6

5�2 4 6

�52

�2

�4

3 5 �72 6

3 52 4 �6

4

�52 4

I

II

III

IV

V

VI

VII

T

�3

3

3

�3

�3

�3

2

�5

5

5

4

7

�7

7

�7

�7

7

7

�6

2 4

�4

6

6

�6

�6

�5�2 4 6

�52

�2

4

�3 5 �72 6

3 5�2 4 �6

�4

5�2 �4

I

II

III

IV

V

VI

VII

T

�3

3

3

3

�3

�3

2

5

5

5

4

7

�7

7

�7

�7

�7

�7

�6

2 4

4

6

6

6

�6

�5�2 4 �6

52

2

4

�3 5 �72 6

�3 5�2 4 �6

4

52 �4

T 2 3 4 5 6 7

T 2 3 4 5 6 7

T 2 3 4 5 6 7

8

8

8

8

8

8

8

8

8

8

8

8

8

8

8

8

8

8

8

8

8

8

8

8

8

8

8

8

1

1

1

1

1

1

1

1

1

1

1

1

1

1

1

1

1

1

1

1

1

8

8

8

8

R

R

R

R

R

R

R

R

R

R

R

R

R

R

R

R

R

R

R

R

R


Figure 1-12

Natural Chords and Arpeggios Indigenous Modes

Major

Melodic minor

Harmonic minor

Natural minor

Major

Melodic minor

Harmonic minor

Natural minor

The Cipher — Summary Master Chart One — chromatic numbers

R 3 5 7 9 11 13

I

II

III

IV

V

VI

VII

0°0°0°0°

0°0°

0°

3°3°

3°

3°

4°

6°

7°

10°

10°10°

10°

10°11° 14° 17°

18°20°

20°

20°

21°7° 14° 17° 21°7° 13°

13°

17°4° 7° 11° 14° 21°

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17°

7° 14° 17°

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7°9°

11°

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II

III

IV

V

VI

VII

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0°

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III

IV

V

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VII

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III

IV

V

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VII

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II

III

IV

V

VI

VII

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3°

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4°

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II

III

IV

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II

III

IV

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8°

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5°

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II

III

IV

V

VI

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6°

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1°

5°

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2°

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8°10°

T 2 3 4 5 6 7

T 2 3 4 5 6 7

T 2 3 4 5 6 7

T 2 3 4 5 6 7

8

8

8

8

12°12°12°

12°12°

12°12°

12°12°12°

12°12°

12°12°

12°12°12°

12°12°

12°12°

12°12°12°

12°12°

12°12°


Universal Speller-Transposer — The Cipher

The Cipher’s Universal Speller-Transposer is meant to help you do two separate things,spell and transpose:

• Take any number formula (standard or Cipher) for any interval, scale, or chord, and you'llbe able to find the correct letter-spelling for it in any key (i.e. from any tonic or root).

• or you can transpose (change) the letter spelling of any musical material from one key,tonic, or root, to another.

The Speller-Transposer works even if you ignore the chromatic numbers, (the Cipher spe-cific content) and use only standard diatonic formula numbers.

At first glance the Speller-Transposer might make your head spin a bit. It’s not a prettysight as they say. But I didn’t create that spelling system. That’s how it is. Hopefully though,you’ll get a feel for it after a few minutes of explanation. You’ll probably only need it on occa-sion. [Note; the book contains explanatory text and illustrations.]


Figure 1-13

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scale degreesChromatic (Cipher)

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T/Rscale degreesDiatonic (or Major)

(standard numbers)

Universal Speller/Transposer — The Cipher

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Triads of Major — Data

Figure 1-14

========÷t

C Maj /A minKey signature

(no � 's or � 's)

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Triads of Major

I ii iii IV V iv vii˚ I

C D E F G A B CMaj min Majmin Maj min dim

I = C, E, G . . . Major . . . . R 3 5 0˚ 4˚ 7˚

ii = D, F, A . . . minor . . . . R �3 5 0˚ 3˚ 7˚

iii = E, G, B . . . minor . . . . R �3 5 0˚ 3˚ 7˚

IV = F, A, C . . . Major. . . . . R 3 5 0˚ 4˚ 7˚

V = G, B, D . . . Major . . . . R 3 5 0˚ 4˚ 7˚

vi = A, C, E . . . minor . . . . R �3 5 0˚ 3˚ 7˚

vii˚ = B, D, F . . . diminished . R �3 �5 0˚ 3˚ 6˚

I = C, E, G . . . Major . . . . R 3 5 0˚ 4˚ 7˚

Maj

0˚

2˚

4˚

5˚

7˚

9˚

11˚

12˚

C Major

0˚ 2˚ 4˚ 5˚ 7˚ 9˚ 11˚ 12˚

Documents

Blumberg’s Music Theory Cipher forë컣羦ὁ䲁⊞䪳ٛഽ慚沢韛斑 ⥐ᅃ … · 4 Blumberg’s Music Theory Cipher Intervals Interval Number-Name Translation Tables Table