When you click with your mouse on the music example, you will hear a midi-file of this piece.

For the melody we use the triads a, b, c and d. a and c are minor triads (1+5), b and d are major ones (5+1).

The triads a’, b’, c’ and d’ are transposed a major third higher than the melody-triads.

a’’, b’’, c’’ and d’’ are transposed a minor sixth higher than the melody triads.

We also avoid doublings of notes. The notes of a do not occur in the accompaniment-triads a', d' and c', the notes of b do noet occur in chord b', etcetera.

As you can see, we have coloured each first note of each triad red. These notes are the steering-notes. The steering-notes formed a second hour tetrad, 2+1+2, or 0,2,3,5 in Alan Fortes notation. In this tetrad there is no major third, so you can transpose this tetrad 3 times a major third to get all the notes of the chromatic scale.

This is what we did to create this piece.

You can carry out this principle to another level. The tetrads are steered by the 12th hour! The 12th hour is steered by the first hour. The 12th hour you can transpose 4 times to get all the notes of the chromatic scale.

If this principle is audible? We don’t think so, but Mrs. McLeod is very enthusiastic about this principle.