Beyond this, I wondered what else could possibly happen. To do this, I used a four-note chord based on C Major, and then went to town on the possible step-motions that could occur. Using computer software to analyze perceptual data, this was its find:
(NOTE: As of right now this is preliminary analysis, but I will edit some over the next few days to confirm any more common analyses.)
ALWAYS, the bottom note is C. Period! Analysis may not show inversions yet. Will get those later. A (b) next to a number or letter in analysis means a flat.
C - F - C7- Am - A(maj/mi) split - C#m(ma7)- C+ - C
C - G# - Ab - Cm(b9) - C(b9) - Csus4(b5) - Cma7sus4(#11) - Cma7sus4 - Cma11 - C11 - Cm11 - Dm7 - Am11 - A(maj/mi) split - Am - F - C
NOTE: The Cm11 here was actually a 3x4 quartal chord based on C...will look into this.
C - C13 - E#m6 - C#ma7 - C
C - C(b5) - Cdim - B(b2) - Ebm6 - Cdim13 - F7 - Cdim13 - Fma7 - Fm(ma7) - C11 - C
C - Cm - Cdim - C(b5) - C(#11b9) - C9(#11) - C
C - C+(#11)[It+6]- C+9(#11)[Fr+6] - Ab7[Ger+6] - C11 - C(#11) - Cm(#11) - Cm11 - Cdim11 - C11(b5) - C9(b5) - C(b9b5) - C(b5) - Cma7 - C(ma7)(#9) - C7(#9) - END
As of right now that is what I have found...one thing of note, it is feasible to go from the It+6 straight through all the augmented sixth chords to a C11 very easily through stepwise motion IF the bass note stays exactly the same and only the top note changes. Interesting find, and may be useful for some of you who need to write music in stepwise motion, but do not expect this to be considered a "strong motion" since most of these sound quite odd to me. As promised, I'll look into this more, now that I have some interesting things to look at, especially some of the more...interesting spellings. For example, the C9(#11) is actually D7 chord in third inversion missing the A and the D doubled...Although this does prove that the Ger+6 is IN FACT the same sonority as a Mm7 chord! Brilliant!
I'll keep you posted.
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