This listing of concepts does not mean that these words are wrong and should be discarded. Rather, they out of context in KCM theory and add nothing new to it’s design. As such, these words can and should continue to have musical value but keep in mind that they have no place in KCM.
- Good
- Bad
- Happy
- Sad
As is the general philosophy in KCM theory, we emphasize the objective and minimize the subjective. As such, expressions such as “the tritone is bad” or “the minor chords make you feel sad” should be taken in the personal context that they are given and not be interpreted as absolutes. It is perfectly fine to interpret the minor chord as a sad but realize it is only an interpretation and does not reflect an inherent property of the minor chord.
KCM positions itself as an outstanding tool for theoretical analysis and composition but does not promote itself as a performance notation. On the other hand Staff and Tablature notation are outstanding tools for performance but not so good for analysis and composition. As such, KCM makes no use of either notation playing instead to it’s strength at theory and composition.
KCM views a scale as a collection of seven modes and as one entity. We do not ascribe a different scale to each mode of the Major Scale. As such, to call the 6th mode of the major scale, the Aeolian Mode, a “relative minor scale” is not done in KCM. Instead, the Aeolian Mode is recognized as a minor tonic center in the major scale.
There is no reason for the augmented and diminished system of scale references given that the accidental system of flats and sharps is enough. Thus ideas such as an augmented second are not used as it should be a minor third consistently.
As can be seen through our exploration of accidental space, we can reference all scales using a single flat or sharp notation. As such, double flats and double shorts are seen to be artificial constructs of the chosen origin. In a way, double flats and double sharps are artificial singularities of a musical mapping system much like the North and South Pole are artificial singularities of the earth mapping system in longitude and latitude.
These are terms historically derived from wanting to describe ways in which major and minor thirds could fit within one octave. In KCM theory, our chords are 13th chords and thus two octaves in size. As such, the seventh chord, the triads, and the tetrachords are all considered partitions of the larger 13th chord. Thus to understand the full dynamics of cords within music, in KCM we use as our basis the larger structure of the 13th chord and consider all the other structures as derivative of its dynamics.
Except for setting up the importance of the octave and the perfect fifth interval, the harmonic series and the related concepts of harmonic ratios, the overtone series, and the Pythagorean concept are not in any way shape or form used in KCM theory. Likewise, the rules of counterpoint can be explained as avoiding cycle acoustical discomfort in music and thus the rules of counterpoint are needed as well since we can axiomatically derive them from much simpler concepts.
Viewing as our fundamental structure the 13th chord brings along with it an expanded view of what a chord is. As such, historical 6th chords are discarded as they can be recast within established scales. As well, the idea that chords have extensions or alterations betrays the notion that the fundamental structure for a chord is one octave and thus everything must fit within one octave. Because in KCM our fundamental court structure is the two octave 13th chord, we do not view the extensions or alterations as anything of the sort but rather a natural part of the chord construct. Finally, the popular chord-scale system is replaced by the more efficient accidental networks which shows exactly which chord belongs with each scale.
- Reimannian Theory
- Neo-Reimannian Theory
- Euler’s Tonnetz
- Schenker’s Auskomponierung
- Schoenberg’s TTT
- (Diatonic) Set Theory
- Russel’s LCC
- Lewin’s GMIT
- Mazzola’s Topos
- Tymoczko’s Geometry
- Cran’s Dihedral
- Poppoff’s Monoids
- Hook’s UTT
- Lerdahl’s GTTM
We do not use any of the conclusions or results from any of these theories in KCM theory. Thus while it is inevitable that there will be overlap in the concepts discussed, our conclusions and their conclusions are different enough to position KCM theory completely on its own.
these words may or may not still have use within KCM theory. The notion of the super tonic, subatomic, etc. with the tonic in the middle and then the degrees up and down from it is more in line with the visual for how we see the scale in KCM theory. As well, it is easy and attractive to speak of dissidents as the tritone and the beats and everything else as consonant but we are weary due to the overuse of these words and the fact that they are over defined throughout history. Thus an alternative to these words is sought.