355. CHROMATIC TONALITY BASED ON TWO DIATONIC SCALES IN MELODIC RELATION

354. CHROMATIC TONALITY BASED ON TWO DIATONIC SCALES IN CHROMATIC RELATION

353. THE 8-NOTES SCALE OF NATURAL OVERTONES AT THE 4TH OCTAVE : IN SEMITONES 2-2-2-1-1-2-1-1 OR 2-2-1-2-1-2-1-1 AND ITS CHROMATIC TONALITY

 

THIS SCALE IN THE MODE  1 2 2 2 1 1 2 1

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IS ALSO KNOWN AS THE 8-NOTES Neapolitan Major and Minor mixed

IT OCCURS AS THE 8 OVERTONES 8th-9th-10th-11th-12th-13th-14th-15th-16th AT THE 4TH OCTAVES OF OVERTONES ON ALL BRASS WIND INSTRUMENTS. IT IS  ESPECIALLY MUCH OF USE IN THE BAROQUE NATURAL HORNS AND BAROQUE NATURAL TRUMPET AS WELL AS IN THE BAROQUE AND MODERN FRENCH HORN.

E.g. if the root of the scale is C the harmonics from 8 to 16  are   the notes 

c-d-e-f#-g-g#-a#-b-c

See also https://en.wikipedia.org/wiki/Harmonic_series_(music)

As far as harmony and chords is concerned this 8-notes scale adds to the standard  7-notes diatonic scale  c-d-e-f-g-a-b-c the next major or minor chords

1) e-g#-b = E= 3M

2) d-f#-a=D=2M

3) g-a#-d=Gm=5m 

This harmony but also the blue notes of this 8-notes scale (f#, g#, a#) can be also obtained by

superimposing to th C diatonic scale the two neigboring scales in the wheel by 4ths and the harmonic minor , in other words for the C diatonic it would be the  F diatonic (will give a#) and G diatonic (will give  f#) and the A harmonic minor (will give the g#).

AS ALTERNATIVE ROUNDING

We may round the 8-notes chromatic overtones scale at the 4th octave of the overtones to the notes (in C major root)

c-d-e-f-g-g#-a#-b-c

 2-2-1-2-1-2-1-1

Which is known alaso as inverse Zirafkend: Arabic, Melodic Minor Bebop

Or

Inverse Shostakovich

Or 

JG Octatonic

(See post 227) 

As far as harmony and chords is concerned this 8-notes scale adds to the standard  7-notes diatonic scale  c-d-e-f-g-a-b-c the next major or minor chords

1) e-g#-b = E= 3M

2) g-a#-d=Gm=5m 

352. THE 2-DIMENSIONAL SEQUENTIAL-CONTINUOUS OVERTONES+SLIDING IMPROVISATION MODE FOR TROMBONES

THE 2-DIMENSIONAL SEQUENTIAL-CONTINUOUS OVERTONES+SLIDING IMPROVISATION  MODE FOR TROMBONES

 In this improvisation mode, we shift from center-note to center-note in the improvisation not directly by a jump but sequentially through vertical shift-Jump (slur)  in the overtones and correction by sliding  the slide. 

As we have mentioned elesewhere it is  sufficient that at least 50% of the time the notes fits with the underlying chords for the result to be acceptable in listening. Thus the 49% of the time we may shift by overtones and sliding till we find a new center-note where we stay for much longer time. 

It may be a non-thinking experimental method without realizing which notes we play.

We may start the shift for the desired direction either vertically by overtones jumps or horizontally by sliding the slide. 

The difference e.g. with an harp or piano or panflute is  that in such improvisation we have only one dimension both geometrically and as pitch while with a trombone we have two dimensions one local geometric with the slide and one with the embouchure by overtones (partials).

351. 3*3=9 SIMPLEST TYPES OF SHAPES OF DYNAMICS OF MELODIC THEMES

 

(This post has not been written completely yet)

As with t he static harmony we have initially 3 types of chords (power chord, major chord minor chord) so with the simplest dynamics of melodic themes we have 3 initial shapes, that are inflated to 3*3=9 basic shapes of dynamics (or called in other posts (Dolphin words) of melodic themes.

We enlarge more on this below.

HERE THE BASIC 9 SHAPES OF THE DYNAMICS OF SIMPLE MELODIC THEMES

1) SIMPLE  HORIZONTAL MOVE

2) SIMPLE UP MOVE

3) SIMPLE DOWN MOVE 

4) DOWN CYCLIC MOVE

5) UP  CYCLIC MOVE

6) DOWN DOWN MOVE

7) UP(DOWN) MOVE

8) UP-UP MOVE

9) DOWN (UP) MOVE

TO THESE BASIC 9 SHAPES WE MAY ASSIGN A NUMBER LIKE 3 ,4 5 ETC WHICH SIGNIFIES WITH HOW MANY NOTES ARE REALIZED.'

THE EXACT SIZE OF THE INTERVALS WITH WHICH SUCH SHAPES ARE REALIZED DEPEND ON THE UNDERLYING CHORDS.

GIVEN THE UNDERLYING CHORDS AND THE NUMBER 3,4,5 ETC OF NOTES WITH WHICH SUCH SHAPES ARE TO BE REALIZED WITH SOME BEATS DETERMINES ALMOST  COMPLETELY THE MUSICAL THEMES.

350. CHROMATIC TONALITY BASED ON TWO TONALITIES OF DIATONIC SCALES WITH SUCCESIVE ROOTS ON THE WHEEL BY 4THS

 (This post has not been written completly yet)

If we start with the harmony of a diatonic major scale, the chords are

1M, 2m, 3m 4M 5M 6m 7dim 1M

Onthe other hand the same  harmony of a diatonic major scale with root the 4 note of the previous , will give the next chords (counted on the previous diatnic scale)

4M, 5m, 6m, 7bM 1M, 2m 3dim 4M, thus i yotal the chromatic tonal harmony on the original diatonic scale is

1M 2m, 3m (3dim) 4M 5M (5m) 6m 7bM 7dim 1M.

This harmony is often  met in latin folk music (e.g. Paraguay folk music) but also other countries like mediterranean countries, folk music. 

349. PSYCHOLOGAL CHARACTER OF MELODIES BASED ON IDENTIFICATION OF STATISTICAL FREQUENCIES OF NOTES AND INTERVALS IN THEM.

 (This post has not been written completely yet)

Composers of melodies use to organize them with small melodic themes based on  the numbers 1,2,3,4 et and then translate them in pitch within scales ,invert them in pitch, invert them  in rhythm, expamd / contract and mutate them. Still some psychological characteristics are etracted only in ahidden simplicity ofthe melodic complexity which is based on the statistics of their duration and statistical persistence of some notes (centers of themelody) and statistical persistence  of types of intervals (chromatic, melodic, harmonic). We enlarge on this with examples