CW7

I improvised this cadence the other day while playing “All the Things You Are”:

I played it while resolving to the Cmaj7 in measure 7. I think of it, loosely, as a G7 to a C.

Both chords are all-interval tetrachords, AITs. (My introduction to AITs can be found in “Consistently Weird Experiences With Dice,” my post from two weeks ago.)

It’s nice to sing along with the voice leading of the cadence in key solfège. (More on this type of thing last week, in “Terminal Dice.”)

I have what I call an “everything and its opposite” philosophy of chord/scale relationships: I’m willing to go hard into that kind of thinking because I also go hard against it. (As opposed to getting stuck in the middle, staring in perplexity into the abyss.) These chords immediately suggest a move from G half-whole (symmetrical diminished) to C lydian to my eye, but first let’s just try a melodic cadence with the pitches that are already here:

And now something with the half-whole to lydian:

I was surprised to see that all the half-whole pitches missing from the Open Darkness chord formed a G major (#4)—not just another AIT, but the same type of AIT that I had improvised a resolution to originally! I have no idea where this will lead us, but I have a definite feeling it will be a place both wonderful and strange.