The Keyboard Models

I do not think in terms of jazz voicings or altered scales but instead grab groups of tones from different wave sets to support the melody. For more tension, I use the Chromatic Keyboard model while for resolution I switch to the double-time Diatonic Keyboard model. Often, I will use both in rapid alternation and superposition, letting rhythm drive the harmonic progression.

The color mapping indicates the direction of diatonic energy flow either side of indigo (supertonic) at the top of the circles. The cooler the color, the more resolved the music sounds. To change keys I simply shift the wave matrix to align the anti-node with the supertonic (or ninth) of the new key.

Harmonic Interference Theory proposes that human recognition of 7-step diatonic scales and harmony is the result of an underlying recognition of a standing wave oscillation between two 6-step whole tone scales. This is due to a coherent pathway forming along a 7-step diatonic scale corresponding to a frequency doubling of the 12-step chromatic scale. That is, we organically recognize diatonic harmony as a frequency doubled (i.e., first harmonic octave) standing wave oscillating within a periodic 12-step standing wave lattice.