This is some playing around in C minor. I'm laying a chord in my LH down and you can hear the sympathetic vibrations resonating with the notes I play with my RH. It's kind of drone effect as the harmonics activate and ring. It's subtle so you might have to really listen for it. This effect gets picked up nicely while recording the instrument I'm using at this time.
Now to the RH. I'm riffing around with mainly the C harmonic minor scale. The few non-scale tones I gravitate to, and use here are the raised fourth, minor seventh and sometimes the minor second. Added to the original scale you get a ten note scale. It probably has a name but I don't know what it is. Given a long enough time to weave melodically I would probably use all twelve tones before too long.
Of note - these extra notes added to the harmonic scale have one thing in common that I think is interesting - I use them in this piece today as leading tones. The flatted second can resolve to the two as can the flatted third creating double leading tones, one moving up and one moving down, both to the same note. The same thing with the raised fourth and lowered sixth leading to the fifth, and the flatted seventh leading to the seventh then strong gravity pulling you home to the root. Secondarily: the flatted second gives you chromatic freedom from the root to the minor third; the raised fourth gives chromatic freedom from the fourth to the flatted sixth; and the minor seventh clears the way for full chromaticism from the flatted seventh all the way up to the flatted third.
Wow, and I thought I was just playing around in C minor. Sorry if the last paragraph is like eating a block of cheese!
Now to the RH. I'm riffing around with mainly the C harmonic minor scale. The few non-scale tones I gravitate to, and use here are the raised fourth, minor seventh and sometimes the minor second. Added to the original scale you get a ten note scale. It probably has a name but I don't know what it is. Given a long enough time to weave melodically I would probably use all twelve tones before too long.
Of note - these extra notes added to the harmonic scale have one thing in common that I think is interesting - I use them in this piece today as leading tones. The flatted second can resolve to the two as can the flatted third creating double leading tones, one moving up and one moving down, both to the same note. The same thing with the raised fourth and lowered sixth leading to the fifth, and the flatted seventh leading to the seventh then strong gravity pulling you home to the root. Secondarily: the flatted second gives you chromatic freedom from the root to the minor third; the raised fourth gives chromatic freedom from the fourth to the flatted sixth; and the minor seventh clears the way for full chromaticism from the flatted seventh all the way up to the flatted third.
Wow, and I thought I was just playing around in C minor. Sorry if the last paragraph is like eating a block of cheese!