Cordoba, Sunrise in Orange and Costa Blanca

OK, this Suite has many more pieces, but to show what can be done with exotic scales (and much more if they were in the hands of an expert) this three (short) are enough.

Jewish scale, Romanian scale, Harmonic-Ionian and Harmonic-Eolian scales, "Bizantina" scale, Lydian-eolian scale and Locrian (yes, it is present in our folk music). Some of them will semm odd to you. All are here:

4. Handled mM chords very well. I see no reason to go into 4/8 in the one section. I also found the last half-step interval unnecessarily jarring, regardless of whatever scale it was based on. 
5. This one hit its stride more as it went along. I was not convinced by the beginning very much.
10. Very, very nice. It handled itself very well harmonically and structurally. 

Nifty! This hits me almost as an exotic kind of jazz in terms of how you worked your harmonic progressions.

I'm definitely not familiar with this kind of harmony and these modes, but would love to explore it! Any suggestions for artists/composers to listen to and study this sort of material? Thanks!

Gustav Johnson

I wrote a book about exótico scales. I explain how to make a harmonic sistem out of any scale. And also how to work with the melody, etc... even how to combine tío scales at a time.

I compose about 100 examples, todo. 

I'm trying to translate it unto English. Spanish is my language...

I wrote this because there is no much information about how to manage these modes.

Wow that's awesome! I'd love to take a look at it sometime.

Gustav Johnson

Really enjoyed each of them. I love any music that explores scales that aren't common in western music. I wish more composers advocated strongly for these kinds of scales. 

I feel the same as monarcheon about the interval at the end of Cordoba. I think I may have gotten it if it were written as an open maj7 interval instead, but a min2 in the extreme high range just isn't my thing. Mostly as a matter of personal taste, I felt like the passage in m. 29-32 of Costa Blanca interrupted the flow a little bit. 

Thanks. I agree about the use of the "exotic" scales. I use them all the time.

I don't think there is anything intrinsically wrong in music. Surely, that min2 in the high register in the end of one piece has the effect I wanted. Yes, I know that opening the interval or, simply, not using them, would have been more relaxing. But I didn't want it.

In "Cordoba" m. 20-32 are the stretto of the fugue.

Best.

I agree with Monarcheon regarding the metre: I would have left it in C, if I were you.

I like very much the blend of Preludio and Fuga (and Postludio) in a unique, continue unit!