Literature talk:Little Red Riding Hood: Difference between revisions
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Coincidentally, the major third was a leading tone to F and the major seventh was a major third to G! Thus exploiting this fact, leading tones were successively added under each note of the equal pentatonic scale, eventually resulting in: | Coincidentally, the major third was a leading tone to F and the major seventh was a major third to G! Thus exploiting this fact, leading tones were successively added under each note of the equal pentatonic scale, eventually resulting in: | ||
C D F G A C | |||
D\| E\| G\| A\| B\| | |||
Later, more dense orchestration increased the demand for chromatic movements. Thus eventually the full 15-tone gamut was completed: | |||
C/| D/| F/| G/| A/| | |||
C D F G A C | C D F G A C | ||
D\| E\| G\| A\| B\| | D\| E\| G\| A\| B\| | ||