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Showing posts with label 145. THE SCALE OF NOTES AS INADEQUATE CONCEPT FOR MELODIES COMPOSITION. BEAUTY OF MELODIES BASED ON SCALES OF CHORDS AND PITCH DYNAMICS OF THEIR MELODIC THEMES. Show all posts
Showing posts with label 145. THE SCALE OF NOTES AS INADEQUATE CONCEPT FOR MELODIES COMPOSITION. BEAUTY OF MELODIES BASED ON SCALES OF CHORDS AND PITCH DYNAMICS OF THEIR MELODIC THEMES. Show all posts

Monday, November 26, 2018

145. THE SCALE OF NOTES AS INADEQUATE CONCEPT FOR BEAUTIFUL MELODIES COMPOSITION. BEAUTY OF MELODIES BASED ON SCALES OF CHORDS AND PITCH DYNAMICS OF THEIR MELODIC THEMES (TRANSLATION, INVERSION, EXPANSION/CONTRACTION , ROTATION ,MUTATION OR HOMEOMORPHISM)

(This post has not been written completely yet)

THE KEY-WORD HERE INTHE 4TH GENERATION DIGITAL MUSIC FOR THE MUSICAL-THEORETIC IDEAS OF THIS   POST (AS FAR AS MORDEN SOFTWARE FOR MUSIC MAKING IS ) IS CHORD-SEQUENCERS AND BACKING-TRACK BUILDERS.

THE TERM  SEQUENCER MEANS HERE A LOOP OR RHYTHMIC CYCLE OF ACHORD PROGRESSION (LIKE  AMELODIC THEME THAT VARIES IN A MELODIC SEQUENCER).

THERE MANY GOOD SOFTWARE PROGRAMS FOR THIS LIKE CHORDBOT, NAVICHORD , ETC



In post 83 we mentioned that in musical practice a more general approach is taken that improvising within a single scale, which involves more than one scale and relevant modulations.  This is determined from the harmony rather than from the melody. We mentioned also the concept a set of chords as scale of chords rather than a particular chord progression, which is different in the same way that a scale differs from a melody in it.

Usually, the improvisation in Jazz, is melody-oriented in the sense, that it usually has a predetermined chord progression and based on that many melodies are improvised. We described in detail the composition and improvisation method that starts with the chord progression at first and then composes the melody in post 9. 
We will develop here a second level of the improvisation where we improvise at first on the chord progression and parallel to it, based on the melodic centers we improvise on melodies. The melodic centers (simplicial sub-melody)  are not too much more complicated than the chord progression.

For this end, we describe in post 83  the 3 wheels of chords, the chromatic, the one by intervals of 3rds and the one by intervals of 4ths, and 3 types of chord cycles from them, the short (3-chords), the middle (6-8 chords) and the full cycle (12-15 chords). In the wheel by 3rds there are 2 medium size sub-cycles (See below)    These subcycles of chords, for the chord progressions improvisation, play the roles that scales play for the solo improvisations!
(see also post 17 and post 32)

The most common scale of chords is a connected arc of chords in the wheel by 4ths. That is 3 or 4 or 5 or 6 chords , that each is a pure 4th (or pure 5th) away from the previous and it  is either major or minor chord. Two such successive chords have one end-note in common. This is the equivalent of  the traditional scale, and because the chords may turn from minor to major and vice versa, it is in fact a bundle of different scales with modulations between them. A simple way to improvise over such a "scale" of chords is to play the melody, go up and down according to the demands of the emotions, and then use the chords as areas around the main and more permanent notes of the melody (simplicial sub-melody or centers of the melody) , but putting these centers of the melody as middle notes usually (but not only) of the chords of the chord-scale. To be more certain for the good result we may alternate the melody with the chords, but use only chords of the predetermined scale of chords. (See also post 147 for combining melodic themes with chords).


One of the simplest scale of chords is 3 consecutive chords in the cycles of 4ths.

E.g. in the C major diatonic scale

Dm->G->C  (Western Jazz)  (m-M-M) (happy)

G->C->F  (Irish folk)  (M- M- M) (happy)

Em->Am->Dm (Eastern folk)  (m-m-m)  (sad)

Bdim->Em->Am  (Eastern Jazz) (d-m-m)  (sad)

other combinations of major M, minor m, diminished d and augmented aug are

d-M-M  (happy)

aug-M-M  (happy)

aug-m-M  (sad)

aug-m-m  (sad)

M-m-m  (sad)

d-m-M (sad)

d-d-M (sad)

d-d-m (sad)

aug-aug-M (sad)

aug-aug-m (sad)

d-aug-M (sad)

d-aug-m (sad)

d-aug-d (sad)

aug-aug-d (sad)

etc

We may start with a sad triad of chords and end with a happy one shifting by an interval of 3rd or even with the same roots but changing the type of the chord.

Other example is the next scale of chords

 Bdim->Em->Am->Dm->G->C->F 

is a scale of chords of the simple type, that is a connected arc in the wheel of chords by 4ths, and the specifications of diminueta, minor or major are set so that the particular scale of chords is also the chords of the major diatonic scale of notes!

Nevertheless we can alter that specification of the chords in which case more than one scale are produced:

B7->Em->A7->Dm->G7->Cm->F  or 

Bm7->E7->Am7->D7->Gm7->C7->Fm or 

B7->E->A7->Dm->Gm7->Cm->F  etc

Or 

B7->E(m)->A(m)->D(m)->G(m)->C->F

The E(m) means either major chord E or minor chord Em etc

The next scales of 7-chords have only two minor chords which complies with a desired ratio of minor chords not more than 1/3 of all chords

B7->E(m)->A(m)->D->G->C->F

B(m)7->E(m)->A->D->G->C->F

B7->E->A(m)->D(m)->G->C->F

B7->E->A->D(m)->G(m)->C->F

B7->E->A->D->G(m)->C(m)->F

B7->E->A->D->G->C(m)->F(m)


Or we may alternate minor major once at odd chords and once at even chords e.g.

B7->Em->A->Dm->G7->C->F->Bb->B7->E->Am->D7->Gm->C7->F->Bb->B7->E 
Larger scales are from 12-chords 


G#->C#->F#->B->E->A->D->G->C->F->Bb->Eb

or 


G#->C#->F#->B->Em->Am->Dm->G->C->F->Bb->Eb



Other simpler scales from chords are of 4 only chords e.g.


G->C->F ->Bdim7 etc

or 

G->C->F ->Caug(or G#aug) etc

or they can be based on wheel by 3rds and alternating minor major relative chords 
e.g. 

G->Em->C->Am->F >Dm->G etc




THE GENERAL PATTERN OF PROGRESSIONS WITH ALTERNATING CHORD-RELATIONS OF 
CHROMATIC-MELODIC ,CHROMATIC-HARMONIC , HARMONIC-MELODIC , HARMONIC-HARMONIC, MELODIC-MELODIC, CHROMATIC-CHROMATIC CHORD-TRANSITIONS.

This is a progressions X1->X2->X3->...->Xn  where the Xi->Xi+1  and Xi+1->Xi+2 is an alternation of chord relation and  transitions of the chromatic-melodic   , chromatic-harmonic,  melodic-harmonic,  chromatic-chromatic, melodic-melodic or harmonic-harmonic relations. 
Such constant alternating patterns of chord relations somehow determine also that the melodic themes (either within a single chord or within a chord transition), are structured and translated or inverted or expanded with similarly alternating intervals of 2nd, 3rd or 4th/5th. 



THE GENERAL PATTERN OF A CHROMATIC DOUBLE SCALE OF CHORDS 

Here is an alternative way to produce not harmonic scales of chords (based on the harmonic relation of chords) but chromatic scales of chords based on the harmonic relation of chords but which still involve the other two chord relations the melodic and the harmonic 


WE START WITH A CHROMATIC CADENZA OR ASCENZA  in semitones 2->2->1  or 1-3-1 or 1-3-1-1-3-1 in harmonic and double harmonic minor scales,   and we paralel chords rooted on such notes X1->X2->X3->X4 with chords 

Y1->Y2->Y3->Y4, such that the relation of Xi with Yi is either in a relation of being  relative chords (melodic relation of chords) or a 4th apart (harmonic relation of chords

Of course the less total number of different chords that we may use is better and it sounds more familiar if such chords belong to an harmonic personality (diatonic or harmonic minor or double harmonic minor etc).We may use either minor or major chords. 

TRIPLE ALTERNATION OF CHORD-TRANSITIONS

More generally   and we paralel chords  X1->X2->X3->...->Xn  that are in  one of the relations chromatic, melodic harmonic , with chords X1->X2->X3->...->Xn so that the relation of Xi with Yi is always constantly in one of the 3 basic relations  relative chords (melodic relation of chords) or a 4th apart (harmonic relation of chords) .

When playing the scale as progression X1->Y1->X2->Y2->... it is equivalent with having a triple alternation of chord relation and  transitions of the chromatic-melodic   , chromatic-harmonic,  melodic-harmonic,  chromatic-chromatic, melodic-melodic or harmonic-harmonic relations and a third which is variable. 

Such constant alternating patterns of chord relations somehow determine also that the melodic themes (either within a single chord or within a chord transition), are structured and translated or inverted or expanded with similarly alternating intervals of 2nd, 3rd or 4th/5th. 

PRODUCING CHORD PROGRESSIONS FROM CHORD-SCALES

Now when we want to improvise based on such a scale of chords (harmony first), we may start with one such chord from this scale and play a melodic theme that fits it. Then we move to the next melodic theme, with all the know so far rules of good melody composition (e.g. variations of translation, inversion, homeomorphism) and try to fit it also to one of the chords of the previous scale of chords. If we succeed in this we repeat it , with the next melodic theme, and appropriate chord from this set of chords or scale of chords, and so on. In this way we have an inter play with harmony and melody at the very process of improvisation or composition. 

This method of composing a melody, is more general and more comprehensive than composing a melody within a single scale of notes. It results composing melodies in many different scales and modulations between them, but the simplicity is still kept as set of chords (scale of chords) rather than scale of notes.

Here is a way when the scale of chords is identical with the chords of diatonic scale of notes.


An relatively easy and safe way to produce such  mesmerizing  monotone but beautiful flows of improvisation , is to use scale of chords as in post 148. And in particular a very familiar  scale of chords that are the chords of diatonic scale:

I , ii, ii, IV, V vi, vii, I' (=1M, 2m, 3m, 4M, 5M, 6m, 7dim 1'M)


and in addition to an instrument tuned by the harmonic tuning (see post 90) so that there is a densest possible opportunity of major or minor chords per number of frets.


Some of the variation techniques to walk this scale of chords are


1) Walk in the chromatic order up and down (all then only odds then only even) 


2) Walk in the relative chords order up and down


3) Walk in the resolution or harmonic order by 4ths or 5th order up and down


4) Walk only the minor chords first descending and then the major chords ascending 

5) Walk in the 4-notes chords (major 7nth extension of the chords) up and down, all then only even then only odd


6) Walk in a half scale (in the chromatic order) up down then other half  up and down.



7) Walk in a random way either 3-note chords or 4 notes chords


8) Alter some chords to include the 5#, or 2# of the harmonic minor or double harmonic minor, or other like 6#. E.g. alter the 3m to 3M7 or 3dim etc