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Showing posts with label 135. WHY ANY NOTE OF THE DIATONIC SCALE FITS TO ANY MAJOR OR MINOR CHORD OF THE SAME DIATONIC SCALE IN IMPROVISATION. Show all posts
Showing posts with label 135. WHY ANY NOTE OF THE DIATONIC SCALE FITS TO ANY MAJOR OR MINOR CHORD OF THE SAME DIATONIC SCALE IN IMPROVISATION. Show all posts

Saturday, September 15, 2018

135. WHY ANY NOTE OF THE DIATONIC SCALE FITS TO ANY MAJOR OR MINOR CHORD OF THE SAME DIATONIC SCALE IN IMPROVISATION

(This post has not been written completely yet)


In the next we will show that any note of the diatonic scale fits harmonically with any major of minor chord of the same diatonic scale because the number of harmonic  mutual intervals created (that is intervals of 3rds, 6ths, 45ths, or 4ths) is greater than the number of chromatic intervals created (that is intervals of 2nds or 7nths).

Of course this does not mean that a note fits the same well with any of the chords of the same diatonic scale. Not at all!

This is mild statement to that claim of jazz that any note of the 12-notes chromatic scale fits in improvisation with any major or minor chords as long as the type and number of created intervals chromatic  or harmonic dissonant or consonant is desirable as musical and expression effect.
See e.g. https://www.youtube.com/watch?v=IzWEyHTu_Zc&t=102s

Based on this remark we may understand better , why playing constantly a single but any chord of a diatonic scale, and then melodies over the chord-courtyard mode of the scale of it (see post 103) we result with a valid and beautiful sounding improvisation.
Many happy dancing  Irish songs that have only one or only two chords are based in this. Similarly many Greek Cretan folk dancing songs with a bowed string instrument called lyra or flutes (spyrohaviolo, thiampoli , bagpipe etc) area also based on this, as all the song  again has only one chord or two chords, while the melodies over this simple harmony  are fast , dense , happy and with many embellishments.