There are thee ways to change the pitch of notes :

• Alterations to modify degrees of any Chords in a Cell .
• Modulation of the tonality to change the diatonic scale used in the chords.
• Chromatic approach to make easily a "chromatic scale", up to a pre-defined chord

Alteration

An alteration is linked to a Cell. It changes the pitch of degrees which are in the chords of the Cell ( chords of the Cell itself, chord in Sequence, Mapping, .. ).

To make a degree altered :

• The degree must exist in the chord. Example : D7 does not "create" the 7th if this degree does not exist in the chord. To "add" the 7th, this degree must be already set in the chord, with the parameter optional.
• This degree is not not modifiable ( option in the Note of the Chord )
• For the specific change of fundamental (e.g. %7), the note must be the tonic, and must have the option Fundamental.
• A suppression of a degree is not effective when the degree is the only note of the Chord ( to avoid "blank" in a scale).

When a degree is optional, you can set an alternate pitch, using character | between the two pitches.
Example : inside a C chord ( C3-E-G), adding a note as optional with pitch Bb3|C4. The 7th of C, Bb, is played when 7th alteration is asked ( example : C7 => C3-E-G-Bb ) . When alteration does not require the 7th, the C4 is played ( example : Csus4 => C3-E-A-C4 ).

List of alterations :

• b : half-tone lower for the whole chord
• # : half-tone upper for the whole chord
• m ( or - ) M sus4 : change the 3rd ( minor, major , or 4th )
• 6 7 7M 7N : change the 7th ( 6th, 7th minor, 7th major, 7th natural )
• (x) : suppress the degree. Example : (5) suppress the fifth
• bx ( or x- ) , #x ( or x+ ) : change the degree ( exception 7+ = 75+ ). Example : #4 = 4th half-tone upper
• dim : diminished ( same as mb5 )
• aug : augmented ( same as #5 )
• 7+ : 7th augmented ( same as #57 )
• o7 ( or o ) : semi-diminished, "small" o ( same as mb56 )
• 0 : diminished, O with a "bar" ( same as mb57 )
• 9 : add 9th - 2nd - and 7th is not previously mentionned ( same as 7.9 )
• 13 : add 13th - 6nd - and 7th & 9th is not previously mentionned ( same as 7.9.13 )
• {#4} : change the fourth in the mapping only. Applicable to : b4 b2 #2 b9 #9 b11 #11 b6 #6
• %x : change the fundamental with x half-tones, lower or upper ( only on last position of alterations )
• . : optional dot to separate alterations, to avoid misunderstanding
• NC : No chord

Warning : if pitch of the chord does not exist in the Translator, use correct alteration.
e.g. with F tone, if you want B chord, and only Bb ( IV ) and C ( V ) are defined in the Translator, you should specify Bb.# ( IV.# ) or C.b ( V.b )

Examples :

• G%7 : G chord with fundamental on D
• G7sus4 : 7th minor, 3rd replaced by the 4th
• A(3) : suppress 3rd from the chords ( with more than one note )
• Am.b.b9.#4.#5.#6: Accord A minor, half-tone lower, 2nd minor, 4th 5th 6th half-tone upper

Modulation

The Modulation changes the tonality of the diatonic scale used in the chords, setting right notes for an improvisation.
The Modulation can be set in the Event of a Score, or inside the compilateur (e.g. writing the tone before the chord, with a * between ).

Example of modulation in the compilateur :
grid I_got_rythm Bb 4/4
A Bb|Cm7//F7|Bb|Cm7//F7|Bb//Bb7|Eb//Ebm
A1 Bb//F7|Bb//F7
A2 Bb//F7|Bb
B G*D7||G7||C7||Bb*Cm7|F7
C Bb//F7|G*G7|C7//Bb*F7|Bb
loop A,A1,A,A2,B,A,C

Chromatic approach