Hey fellow mod. If you mean the one we've been talking about, I think I pretty much explained it. If you mean the one dave first asked about Amaj to E(+5)/B. To me, it sounds sort of Hungarian since I know Hungarian music usually sharps the 5th in there fifth chord. The Hungarian major scale is 1, #2, 3, #4, 5, 6, b7. If you build a triad with the first note and the fifth note you end up with, Imaj and Vaug. In daves case Amaj is the root of the scale and E is the fifth. Another thing that separates this from a diatonic system is that the 5th is not a dominant chord, the #4 would have to be natural for it to be a b7 from the 5th.
explained: 5, b7, #2, #4 is the triad for the fifth, now convert it so you can see a chord spelling. 5 becomes 1 and we scale the intervals from there. So it's 1, 3, #5, 7, the spelling of a maj7#5 chord. This keeps the Hungarian scales from become diatonic.
The only abnormality in the whole equation that still ponders me is the inversion of the E augmented chord. B is not part of the Hungarian major scale, its B#. But having a 5th and a #5th in a chord is an abnormality in itself. In my view this may be a case of balancing the systemic sequence much like we raise the 6th in the melodic minor to make up for the intervallic distance in the harmonic minor, b6-1. In the Hungarian, it's 1-#2. Both minor 3rds, placing a 2nd in there will resolve this. The 2nd being B. Why not have it A#? Because that would create 2 tonics. In musical science a big no no, there can only be one home base.
You can even add a 2nd in the scale and play it without changing much of the texture. The 2nd acts as a natural tone and the #2 sort of becomes the blues tone of the major scale, b3. A cool addition but as for daves chord going, it’s an abnormality in musical science. I would search for a perfect equation but I am hungry. :)
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