What is the Blues Chord?

-On the COUNTER-DOMINANT chord, F⁶,
          if we replace Orbit line 1-1 by the Fundamental Bass (orbit line 1-0),
     it is possible to diminish the chord only partially
          by chromaticizing Orbit 3 (D#--), in the Soprano voice,
          without touching Orbit 1 (in the Bass voice),
     because the movement of Orbit 1 is not parallel with that of Orbit 3.

This is what is called the Blues Chord sound (sonority 3-3-1) and
     it is usually, and erroneously, labeled F⁷ rather than F⁺⁶.

Bluesing the TONIC chord

-If this sonority can be used on the COUNTER/TONIC progression,
     why not also apply it to the TONIC/DOMINANT progression
          (as we did for the fully diminished seventh sonority)?

A blues and dominant mix

-Not only is it possible to make the F⁺⁶/C⁺⁶/G progressions directly,
     but one can use dominantized chords to return (F⁺⁶/C⁺⁶/G⁷/C⁷)
          (as we did for augmented triads when we alternated them with diminished sevenths).
The dominant look/sound is all the more appropriate to mix with the blues chord
     because the two have the same enharmonic sonority (3-3-1) and
          are often mistaken for each other.

The tuning - surprise!
Concerning the functional tuning of the ⁺⁶, it is interesting to note that,
     being 2 commas lower than Trunk Tuning, it ends up lower than the seventh.
If we compare the chords of C⁺⁶ and C⁷,
     we find that the A#-- (on C⁺⁶) is 19.55 cents lower than the Bb (on C⁷).
          This is almost a full comma lower (9/10 of 21.5 cents).

The inverse blues 74 chord pattern

-In the key of C major, the “normal” 74 chord pattern consists of C⁽⁺⁾⁷/ F⁽⁶⁾/ G⁷/C .
Inverting this pattern around the TONIC chord of C, we get C⁺⁶/G/F⁺⁶/C,
     a very “bluesy” sound with a classical structure.

Mounting 74 on 74
The 74 pattern, inverted or not, lends itself to a unique form of development.
It may be “squared”, multiplied by itself, in a most unusual fashion.
Here is what happens -

-In bars 1-4, we have the inverted blues 74 pattern in C - C⁺⁶/G/F⁺⁶/C.
In bars 5-8, we have the same pattern in G - G⁺⁶/D/C⁺⁶/G.
In bars 9-12, we have the same pattern in F - F⁺⁶/C/Bb⁺⁶/F.
In bars 13-16, we have the same pattern in C - C⁺⁶/G/F⁺⁶/C.
     If we follow the succession of the four keys (C, G, F, C)
     we have the same pattern as that of the chords within the original pattern,
     but at a larger rhythmic level.
You might feel like hearing one of the clips.