TM

Universal Chord Method For Tonal Navigation

Developed by Ashby Anderson

4
&4 ∑ The Universal Chord Method for Tonal Navigation is a chord substitution method
based on quartal voicings. Below is an example of how this method can aid in
creating chords for music composition and improvisation This method creates a
very flexible approach to harmony, melodic development and improvisation

wwww w # wwww
# # wwww
F Major 7 #11 A Major 7 b6 D- Maj.6/9

w
This example outlines one

w
of three universal chords
avialable to navigate
tonalities within the Western
Tonal System. IVof C I of A Harmonic Major i of Dmelodic Minor

ww
w
As you can see there are
seven distict scales that can
be accessed from chords or F Universal Chord: is a tri-tone and
scales that have these three Perfect 4th forming a three tone chord
tones in common. Five of
these are from the
www ww ww www
traditional scale systems E susb9 A-6/9 Db7 #9 Bsus7 b5

ww w b ww ww
Major, Minor, Harmonic

w
Minor, Melodic Minor,
Harmonic Major and two are
symmetrical scale systems
i.e. Octatonic Scale and a 9
tone symmetrical scale. V of A Harmonic Minor i of A natural Minor VII of E hw Diminished III of Ab 9 tone Symmetrical Scale
Scale ( Ab,A,B,C,Db,Eb,E,F,G)

Using this method, well worn progressions like

ww ww
# # wwww b # wwww
C#-7b5 / F#7 Alt are transformed to Eb7 #5#9/ G-6/9

w w
b ww
# w # # ww bw
34

ww
# # www bw
41 G Universal Chord Bb Universal Chord
G Universal Chord is the common chord between Bb Universal Chord is the Common Chord Between
C#-7 b5 and Eb7#5#9 F#7#5#9 and G-6/9

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 Universal Chord Exercises
Ashby Anderson
4
Ex. 1 Eb 6/5 Universal Chord:

& 4 b www Universal Chords or quartal voicings consisting of a P4ths, P4th and a
Tritone or a Tri-tone and P4. These Quartal Voicings exist in all scales and are basis
of modern chord contruction in Jazz music.These Quartal Voicing can be used to

?4
voice any type of Chord. In these examples they are labled using their interval

4 ∑
structure in half steps i.e. Eb:6/5 is Eb a tritone (A) and a P4(D). Using the Universal
Chord in Example 1. Write out the various scales that contain this Universal Chord
and its modal placement in the scale i.e. "3rd mode/ C Melodic Minor " or 4th mode /
Bb Major

& œ œ bœ œ œ œ œ œ ∑ ∑
œ b œ œ œ œ bœ
bœ œ
8

ww ww ww ww
? bw bw bw bw
3rd / C Melodic Minor / HW Diminished / Harmonic Minor 4th / Bb Major

& ∑ ∑ ∑
12

w ww ww
? b ww bw bw
/ Harmonic Major / Natural Minor / D, Eb F F# G A Bb B C#

9 Tone Diminished Augmented Scale

NOTES

© 2019 MOTUS LLC

4
Ex 4 Various Universal Chord Substitution Approaches
D-6/9 F Maj7#11
& w ww
Approach A: Universal Chord
ww w
Substitution is from the same Scale; D
83 Dorian and F Lydian. In addition, the
F:6/5 Universal Chord same chords can be developed from D
? ww
w
Melodic Minor.
w
D-6/9 ( D Melodic Minor) AMajb6

& # ww # wwww
Approach B: Universal Chord
ww Substitution is from another scale that
87
shares the same Universal Chord.
#w
F:6/5 Universal Chord
?
Here, both D Melodic Minor and A
w w
Harmonic Major share the F: 6/5
w Universal Chord ( F,B and E).

A-9b6 ( C:5/6 Universal Chord) Approach C: Universal Chord

D-6/9 ( D dorian) Substitution is developed using
ww
A Natural Minor

& w another Universal Chord in the same

ww w scale. Here both Chords can be
91
C:5/6 Universal Chord developed from the C Major Scale

? w
F:6/5 Universal Chord

w w Approach D: Similar to approach B and

w C except the Universal Chord
Substitution is developed using other
G7b9 , Bb7b9, Db7b9, E7b9 modes/chords from scales that contain

b œœ b b œœœ n œœœœ
D-6/9 the same Universal Chord. By
& w œœ œœ œ
exploiting the symmetrical
ww b œœ transposition qualities of the
95 Diminished Scale (AKA Minor 3rd
œ
Ab, B, D, F.: 6/5 Universal Chords

œ bœ œ
F:6/5 Universal Chord Substitution. Here The F, Ab, B and
? bœ œ
w œ bœ
Db: 6/5 Universal Chords are also
w members of the G HW Diminished
Scale: Typically musicians exploit this
on dominant chords but in this
example These b9 voicings could be
used in various ways instead of D-6/9
voicing since the F:6/5 Universal
Chord is part of the Minor 3rd
transposition series in the G HW
Diminished Scale. *In this example Approach B is
applied first (Universal Chord Substitution is from another
scale that shares the same Universal Chord). Then
Approach C ( Universal Chord Substitution is developed
Ex. 4 APPROACH E: Similar to approach B and C except the Universal Chord Substitution is developed by
exploiting the symmetrical transposition qualities of the C Half-Step Whole-Step Diminished Scale Augmented 5
Scale. Ex 4E illustrates substituting the Esusb9 Chord for the D-Maj6/9 Chord. In this method the symmetrical
transposition occur in Major 3rd intervals. In Ex. 4E the C#, F and A: 6/5 Universal Chords are all members of the

œœœ œœœœ # # ## œœœœœ Œ

C HWDA Scale.

bœ nœ œ œ #œ œ œ Œ
3

& #w
3 3

www www œ bœ b œœ œ
99 w
Csusb9, Esusb9 , G#susb9
D- Major 6/9 Esusb9 C HWDA Scale
? w ∑
w
w
above chords are constructed
using:
Db: 6/5, F: 6/5, A: 6/5
F:6/5 Universal Chord Universal Chords From
C HWDA Scale
D Melodic Minor Esusb9 is the 4th Mode of the C Half-Step
Whole-Step Diminished Scale ( Nine Tone
Symmetrical Scale w/ Four Transpositions) It is
constructed using thd F: 6/5 Universal Chord
which is a member of both D Melodic Minor and
C HWDA Scales. A Harmonic Minor could also
be a another choice as in Approach B.

Excercise 4: Using G-6/9 and the Bb: 6/5 Universal Chord, create chords substitutions using
appproaches A, B, C, D, and E
Approach A Approach B
& ww
bw
109
G-6/9
? w
w
Bb: 6/5 Universal Chord
Approach C Approach D Approach E
&
112

?
 Ex2. I MEAN YOU by THELONIOUS MONK W/ UNIVERSAL CHORDS And UNIVERSAL CHORD SUBSTITUTIONS
2
A F6
b7 G -7 C sus7
F6 D D7 C7
b www b www
Original Chords
F6 1, 2. 6
F
& www ww
w
b ww # www b ˙˙ ˙˙ ww
w
..
w ˙ b˙
Universal Chords

b
19

Bsusb9 D -6add9 b
?
7
D -11 Asusb9 D-b6 add9 E maj
..
D -11 Bbsusb9 A maj7
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Substitutions
Derived From
Universal Chords

b7 b7
B E E
F6 F6
b7 b7 C7 C7
Original Chords
D D
& b www ww
bw
ww
w
ww
w
b ww b ww ww ww
w w bw bw
Universal Chords

b b b b
27
Substitutions
D Maj7#11 D Maj7#11 D sus9 D sus9 A -9add6 A -9add6
?
Asusb9 Asusb9
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Derived From
Universal Chords

A' b7
ww
F6 F6 D D7 G -6add9 C 13 F6
b www b www
Original Chords
F6
& www ww
w
b ww #w ww ww
w bw bw
Universal Chords

35
Substitutions #
?
D -11 D -11 Bbsusb9 F Maj7#11 Asusb9 A 7#5#9 D-9b6
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Derived From D-9b6
Universal Chords

Example 3: In this example the universal chords from " I Mean You" are used to create and entirely new set of chords and scales than
the original. In the Exampe 2, Universal Chords are chosen from the original chord or from the scale of the original chord. In some
instances adjustments may have been made for the sake of musicality. Parent scales are also listed for the new chords in Example 3.
These scales will be used to develop the melodic content of the composition.

To practice this concept, take a tune that is familiar and outline the various Universal Chords from the original, then create your new
set of chords per the examples provided.
 Ex3. New Composition Entitled "MENSA" Developed From Universal Chords Composer Ashby Anderson 3
A
Bbsusb9 Bsusb9 b
D-b6 add9 A maj7 Asusb9 D-b6 add9 E maj7
b
D -11
& .. ∑ ‘ b b wwww # www w ∑ ..
b www b ˙˙˙ ˙˙˙ ww
w
b wwww
52

? .. wwww bw bw www
2x D-6 add9
b ˙˙ n ˙˙ ww ..
ww ‘ bw w b˙n˙ w b
Eb Harm. Min. E Harm. Min D Natural Minor
w bw
D Dorian D Harmonic or Natural Minor Eb Ionian

B D bMaj7#11 b
D sus9 A -9add6 Asusb9
& ww ‘ ∑ ‘ b b wwww ‘ ‘
w b www
60

? wwww bw ww
‘ ‘ ‘ ‘
bbw
w w bw w
w
Db Lydian D mixolydian Ab Dorian D Harmonic Minor

A' Bbsusb9 G Maj7#11

b Asusb9 A 7#5#9
D -11 D-b6 add9
∑ b b www
& ‘ w
b www b www # # www b wwww
68

? wwww bw b ww ww w
w ‘ bw bw w w œ œ bœ œ œ
w Eb Harmonic Minor Gb Lydian D Harmonic Minor Bb Melodic Minor
œ
D Dorian D Harmonic or Natural Minor

A 7#5#9
& Œ ‰ œj ˙
75
# # œœœ ˙˙˙

? œ œ œ ˙
Bb Melodic Minor

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