422. EASY IMPROVISATION OVER SYMMETRIC CHORD PROGRESSIONS THAT CREATE MELODY WITH SYMMETRIC THEMES MODULATIONS

 A chord progression A1 A2 A3,...,An is called symmetric if the relation oftwo succesive transitions Ai A(i+1) is of t he same type. Either harmonic, or melodic or chromatic. 

If a symmetric chord progression is such that the relation of the first A1 and last chord An is a chromatic transition, it is called symmetric cycle of chords. 

More generally a chord progression partitioned in pairs (A1 B1), (A2, B2),...,(An , Bn) is called pairs-symmetric, if all the transitions (Ai, Bi) are ofthe same type (harmonic, melodic or chromatic) e.g. harmonic and all the transition     (Ai, A(i+1)) are of thesame type e.g. chromatic. 

The advanage of such symmetric chord progresions is that when composing-improvisiong melody themes on its chord transtitions (e.g. on  (A1 A2)  or in  (A1,B1) for paits symmetric)  , by modulating them to the next chord transition we get a melody with symmetric modulations. 

But even if the chord progression is not symmetric or pair-symmetric, we may modulate the chord-internal and chord-external melody themes from chord transition to chord transition, with isomorphic ryhthm and ismorphic pitch order structure (topology). Still the melody will sound symmetric. Simply some steps ofthe melody will not always be the same type of intervals but will change from 3rds , to 2nds or 4ths/5ths while the number of notes rhythm and pitch order is preserved. 

An example is the song Thalassa platia (wide sea) by M. Hatzidakis where in the first part he is utilizing as symmetric chord progression the chromatic Analuzian cadenza Am->GM->FM->EM7

https://www.youtube.com/watch?v=08a20T78KiA&ab_channel=0204elleni

The refrain of  this songs is not a symmetric chord progression, but it could be adopted to have one E.g. melodyc symmetric or chromatic symmetric

E.g. a chromatic symmetric refrain could be   Em->Dm->CM->BM7

421. A SECRET KEY LINKING CHORD TRASITIONS AND MELODIC THEMES: THE TECHNIQUE OF COMPOSING MELODIC THEMS OVER A CHORD PROGRESSION, BY ALTERNATION OF 50% CHORD-INTERNAL MELODIC SCALE-50% CHORD-EXTERNAL CHROMATIC SCALE MELODIC THEMES DURING A CHORD AND CHORD TRANSITION.

A SECRET KEY LINKING CHORD TRASITIONS AND MELODIC THEMES

THE TECHNIQUE OF COMPOSING MELODIC THEMS OVER A CHORD PROGRESSION, BY the rule of " 50% vertical (arpeggio) 50% horizontal (tail)"ALTERNATION OF MELODIC SCALE (arpeggio)-CHROMATIC SCALE (tail) MELODIC THEMES DURING A CHORD AND CHORD TRANSITION.

What we mean with the above is that ifthe chord transition is chordA->chordB

We play alternating melodic theme M1  first "vertically" in the melodic version of the scale (arpeggio)  , in other words by alternating minor-major 3rds, which is easily within the chordA  (chordA internal theme or arpeggio) and then a 2nd melodic theme M2  about of equal time duration which is in the chromatic scale (tail) and is bridging to the next chordB (ChrodA external theme or tail) . Then we repeat at chordB etc. 

From the point of view of pitch-order topology and rhythms , the melodic themes M1 (arpeggio), M2 (tail) may be isomorphic or inverse isomorphic (which means an up move becomes a down move and vice versa). 

This is very common technique with the andaluzian cadenza (6m-> 5M-> 4M-> 3M7)  songs which is a chromatic chord progression. 

In this way at least 50% of the notes and time the melody is in the chord (rule of 50%) and also at least 50% of the steps are melodic intervals (3rds) as in beatiful Irish songs, which makes the melody more beatiful. Actually the full spectrum of choices in the melody would require not only the chromatic sequence or speed  of the notes of the diatonic scale and the melodic sequence by alternating major-minor thirds but also the harmonic sequence or speed by 4ths or 5ths. 

And the recipe of beauty would be 40% chromatic, 40% melodic , 20% harmonic densities in the melody. 

This tecnique explains the kind   of the chords transitions (harmonic-melodic-chromatic) with the corresond such  vertical-horizontal or chord-internal-external or melodic-chromatic melodic themes M1, M2 .  The chord transitions that are melodic or harmonic, have as the bridging melodic theme  the melodic theme M1 in the melodic scale, while the chromatic transitions have as bridging melodic theme the chromatic melodic theme M2. 

Example of a song with a melody with thsi structure

https://www.youtube.com/watch?v=rkermyl_JKw&t=2s&ab_channel=%CE%88%CE%BD%CE%B1%CF%82%CE%B1%CE%B3%CE%AD%CF%81%CE%B1%CF%82

How to remember melodies or play melodies by  listening:

3 types of memory 1) emotional-audible 2) mobility of hand muscles 3) optical-mental if it is from score. The strongest memory is 1). At the end of the repertory practice , we associate every melody name with its "fingerprint" which is only a few notes, enough to  let they bring it to our memory. 

Here in the next video she explains 3 steps from up to down from macroscopic perception to 

microscopic perception

 1) Listen and analyze, find scales and chords.

2) Analysis of repetition  parts of the melody  

3) More analysis of each parts for patterns  like up-waving, down-waving , flat-waving, arpeggios, tails, straight up move, straight down move, highest and lowest notes of the parts . Also first notes of the parts or of all the melody etc  

 https://www.youtube.com/watch?v=T7c--Dh0po4

420. FUGA AS PARALLEL MELODIES IN 4 MODES AT SUCCESSIVE MELODIC RELATIONS

 (where at each beat we are almost always about on the same step ofthe mode) 

419. A SYSTEMATIC WAY TO REHARMONIZE WITH MORE CHORDS A SONG IN THE STYLE OF GYPSY JAZZ . CHROMATIC MELODIC AND HARMONIC SPEED (DENSITY) IN CHANGING CHORDS.

 A SYSTEMATIC WAY TO REHARMONIZE WITH MORE CHORDS A SONG IN THE STYLE OF GYPSY JAZZ  BY USING INTERMEDIATE MELODIC OR CHROMATIC RELATIVES OF  THE INITIAL CHORDS AND NEIGHBORING DIMINISHED CHORDS. 

CHROMATIC MELODIC AND HARMONIC SPEED (DENSITY) IN CHANGING CHORDS.

418. The Upper and lower melodic transpositions reverse the triplet of majors to minors (the upper) and the triplet of minors to majors (lower).

417 . THE PARETO DISTRIBUTION IN THE DENSITY OF NOTES AND THE STEHANE GRAPPELLI MELODIC IMPROVISATIONS

416. ΤHE "INHALE" MIXOLYDIAN TETRACHORD AND THE "EXHALE" IONIAN PENTACHORD IN MELODIC IMPROVISATION

 One of the common secrets of an emotionally good melody is that it reflects the inhale-exhale cycle in the human emotional sensitivity. To give relaxation the exhaleing is longer than the inhaling

On the other hand a common harmic cycle in  simple improvisation is the 1M 4M 5M cycle (e.g. in Blues)

When we combine these two cycles at the context of melody, we may divide the 7 notes diatonic scale to the ionian 5-chord 1-2-3-4-5 and the mixolydian tetrachord 5-6-7-1'. As the Ionian is longer it may correspond to the exhaling while the mixolydian to the inhaling. My improvising melodies with this duality and over the chord triad 1M 4M 5M we get the emotional effect of inmhaling exhaling.