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This is Keshar (Keshy). He is a very big boy because he is a Maine Coon. This music tries to represent what "he" makes me feel. The work has two parts and it is an approximation to create harmonic systems from exotic scales, which are non functional as we are accostumed to with tonal music. The first part has three sections: ABA Sections A are using a Gypsy scale in C: C - D - Eb - F# - G - Ab - Bb From this scale, the following chords (built in thirds) are obtained, with variants: Cm7 - D7(b5), Ebmaj7, ¿? (F#-Ab-C), Gmin(maj7), Abmaj7, Bb7(#5) Section B (which includes a fugatto) is using the Jewish scale in C: C - Db - E - F - G - Ab - Bb The chords are: C7, Dbmaj7, E¿?, Fmin(maj7), Gmin7(b5), Ab+, Bbmin7 --------------- What I do here is to develop a melodic and harmonic system using ONLY the notes of each scale. What matters is to establish the cadential chords. In the first case (Gypsy in C) the tonic chord is Cm / Cm7. The cadentials chords are hard to find in this case because the characteristic note is F# (the others are present in C minor scale), and the chords that include this note are not stable: D(b5) / D7(b5) has a b5, Bb7(#5) has a #5.... These are altered intervals. Gm7(maj7) can also work as cadential. Anyway, one has to manage this, and I used all these chords as cadentials. In the second case (Jewish), the characteristic note is Db, and also Ab and Bb (with these alterations the scale is major, to be minor the third degree should be E flat). Now it's easy: Dbmaj7 and Bbmin7 include the notes and are stable chords. Besides the are a step from the tonic chord (C or C7) which is a strong point to be a cadential chord in modality. When building a system like this, sometimes even the tonic chord is not stable, and the harmony is difficult to make it sound as a unique scale-mode, because the tendency will be to skip to other tonal center (more stable). Other times, the scale gives so odd chords that they cannot be used and it is better trying to use it as we do in atonality. On the other hand, we must always avoid progressions that can be typical of major/minor mode, this would destroy the sonority of the scale. Well, the universe of scales is infinite, and information about it is scarce. It is easy to find the description of the scales, but no one explains HOW to use them. So..., I did my own research and wrote a book explaining how to work with any scale (from unitonal to dodecaphonic), with lots of examples. In the second part the approximation is different. It is planned using different scales y several tone centers at the same time. That's why no chords are notated. This is also a choice, I mean, use two scales (even in different centers) at the same time... The thing is to make them sound good together. For example, in the first part there are two scales: Right hand: G - Ab - Bb - C - D - Eb - F = G phrygian Left hand: G - Ab - B - C - D - Eb - F = unnamed KESHAR I.pdf KESHAR I.mp3 KESHAR II.pdf KESHAR II.mp3