Consequently, in the absence of a natural minor perturbation regime, it has led to the densification of these forests in recent decades, resulting in the reinforcement of density-dependent factors and low canopy structural diversity at the stand level.
All this is well-known in the twelve-tone system, but in N-fold systems with higher N the Balzano diagram is very useful in figuring out the chordal progressions which tell us, for example, which mode should be considered major and which natural minor.
I now use the Balzano diagram, as described at the end of Section I, to identify the major and natural minor modes of our diatonic scale.
Some of these gems include: no three-note arpeggio combines fingers 3 and 4, charts of scales and arpeggios that use the same fingering (1 octave), the "as a rule" boxes, hints about the last added accidentals in major key signatures, a comparison of the whole- and half-step relationships of the major, natural minor, and harmonic minor scales, arpeggios in the left hand whose first two notes are white are played with 5-4-2-1, and her summary statements about economy of motion.
Through my teaching experience, I have determined that if you can play Bach Inventions or Clementi Sonatinas, and if you know all 12 major and 12 natural minor scales, and all 12 major and minor triads, you are probably ready to begin jazz study.