3 Diatonic scales in harmonic relation e.g.
G, C F.
Chords from the 3 diatonic scales the numbers are the notes of the middle diatonic scale
G 7m 2M 4#M
C 1M 2m 3m (3M7) 4m 5M 6m
F 5m 7b M
Thus 6 chromatic chords
3M7, 5m, 7b M, 7m, 2M 4#M
2 ofthem are with roots outside the middle diatonic scale.
There are mainly 3 rules for the creation of melodic themes
1) Utlize 2 or 3 consecutive chords for none melodic theme
2) Make it connected by 2nds inside the main scale to give it naturality of singing
3) If one more of the 2 pr 3 chords are chromatic relative to the main scale make the melody pass from the external to the diatonic scale chromatic notes of the chords.
Basic Jazz Chord
Progressions
·
Major ii-V-I (2m-5M-1M) . The major ii-V-I is easily the
most important chord progression to get a handle on when it comes to jazz. ...
·
Minor ii-V-i.
This chord progression has the same function as the previous major ii-V-I, but
of course is in a minor key. ... (In 6 Aeolian mode would give the chords 7m 3M
6m and in the Ionian mode it would be 2m 5M 1m )
·
Major I-vi-ii-V.
...(1M-4m-2m-5M)
·
Minor i-vi-ii-V.
(In 6 Aeolian mode would give the chords 6m 2m 7m 3M and in the Ionan mode it would be 1m 4m 2m 5M)
The next is an example of a chord progression for a song with full chromatic harmony based on 3 diatonic scales in harmonic relation e.g. G major C major F major
Here is an example of a paritioned chord progression with chords from 3 tonalities related harmonically (this is common inthe harmony of brazilian songs) e.g. C-F-G.
I have improvised at first these chords inthe ukulele,soI that i like them and make the necesary corections
The melodic phrase chords are 3 , and I write the chord progression so that each line is a traid of melodic phrase chords.
For simplicity all chords have the same duration
1st verse minor feeling, the translation of t he melodic theme is upwards. It is inthe tonalitis C and F (with harmonic minors)
Dm E7 Am
Gm A7 Dm
1st chorus resolution to a major triad, which is alower shift ofthe melodic theme
Bb C7 F
Here the next verse moves to the tonality G
E7 Am Am
B7 E7 Am
Again a chorus resolution to major triads of the toanlity G
C B7 G
Am D7 G
Chromatic shift to the 7nth degree of the toanlity G as a new verse
F#7 Bm Bm
B7 Em Em
And a resolution to tonal of G tonality
D7 G G
Now we add the simplicial submelody notes of the melody , one note per chord
We try it in a convenient instrument . I did so in the ukulelel and also on the digital ukulele (Geoshred) in the tablet. I try to whistle also threr simplicial submelody
1st verse minor feeling, the translation of t he melodic theme is upwards. It is inthe tonalitis C and F (with harmonic minors)
Dm (f5) E7 (g#4) Am (c5)
Gm (Bb5) A7 (c#5) Dm (f5)
1st chorus resolution to a major triad, which is alower shift ofthe melodic theme
Bb (d5) C7 (e5) F (a4)
Here the next verse moves to the tonality G
E7 (e5) Am (a5) Am (a4)
B7 (f#5) E7 (g#5) Am (e6)
Again a chorus resolution to major triads of the toanlity G
C (e5) B7 (d#5) G (b4)
Am (c5) D7 (f#5) G (g5)
Chromatic shift to the 7nth degree of the toanlity G as a new verse
F#7 (F#5) Bm (b4) Bm (b4)
B7 (f#5) Em (b5) Em (B5)
And a resolution to tonal of G tonality
D7 (d5) G (g4) G (g4)
Finally we write all these in a midi editor and and we enhance the simplicial submelody to an actually rhythmic melody with transition notes also outside the chords.
In this way it is as if we write a text first fromthe verbs then the subject and obkect ofthe verb and then the relations of the phrases.
Here si another example
https://www.youtube.com/watch?v=4JHA1SIJkNM&ab_channel=DrKCostas
