495. ISOKRATIC (DRONE) PAIRS OF NOTES 4-5 THAT DIFFER BY A TONE , MODES, HARMONIC TRIADS OF CHORDS SUBSTITUTIONS AND EVEN-ODD NOTES CHORDS-ARPEGGIOS

 Each harmonic triad defines this pair.

E.g, the 3M7-6m-2m harmonic triad defines the 3-2 isokratocs , or the even-odds chord arpeggios. 3-5#-7-2=3M7 and 2-4-6-1 =6m7 

https://www.youtube.com/watch?v=kuCGvw-N_BA

The idea, of course, behind the pair of isokratic notes differing by an interval of a 2nd in a mode of a scale is that any melody on a mode of a scale can be harmonized with 2 chords: the odd notes chord corresponding to the note number 5 and the even notes chord corresponding to the note 4.

When in a song, which is in a scale and mode, of notes, numbered 1,2,3,4,5,6,7, the isocratic notes are 4-5, then, the bass line, is the notes 2-4-6-1 as long as isocratic note 4 lasts and 1-3-5-7 as long as isocratic note 5 lasts
This bass method, in a 1,2,3,4,5,6,7 mode-scale, is based on the musical theorem, in harmony, that every melody in such a mode can be harmonized with two single 4-chord chords, 1-3-5-7 and 2-4-6-1. So the bass lines are arpeggios on these two four-chord chords. We always talk about diatonic modes or modes in melodic or harmonic minor.

494. HOW TO UNLOCK THE IMPROVISATION OF BASS-LINES WITH THE ISOKRATIC (DRONES)TRINITY OF TONAL, SUBDOMINANT AND DOMINANT NOTES 1-4-5.

 The idea, of course, behind the pair of isokratic notes differing by an interval of a 2nd in a mode of a scale is that any melody on a mode of a scale can be harmonized with 2 chords: the odd notes chord corresponding to the note numbers 5 or 1 and the even notes chord corresponding to the note 4.

493. THE DIMINISHED 7NTH CHORD IS A GATE TO RESOLVE TO 4 DIFFERENT TONALITIES

 

THE DIMINISHED 7NTH CHORD IS A GATE TO RESOLVE TO 4 DIFFERENT TONALITIES

7dim7 = 7 2 4 5#

By lower by a semitone one note of the diminished 7th chord, we result to a major dominant 7th chord, which in its turn resolves to a major chord, which has root i again another note of the initial diminished 7th chord but one semitone higher

7dim7 =7 2 4 5#  via  5M7=7 2 4 5 resolve to  1M

7dim7 =7 2 4 5#  via  3M7= 7 2 3 5 #resolve to  6M

7dim7 =7 2 4 5#  via  1#M7= 7 1# ,4, 5#  resolve to  4#M=5bM

7dim7 =7 2 4 5#  via  7bM7=7b 2 4 5 # resolve to  2#M=3bM

E.g.

THE DIMINISHED 7NTH CHORD IS A GATE TO RESOLVE TO 4 DIFFERENT TONALITIES

Bdim7 = b d f g#

By lower by a semitone one note of the diminished 7th chord, we result to a major dominant 7th chord, which in its turn resolves to a major chord, which has root i again another note of the initial diminished 7th chord but one semitone higher

Bdim7 =b d f g#  via  GM7=b d f g resolve to  CM

Bdim7 =b d f g#  via  EM7= b d e g# resolve to  AM

Bdim7 =b d f g#  via  C#M7= b c# ,f, g#  resolve to  F#M=GbM

Bdim7 =b d f g#  via  BbM7=Bb d f g # resolve to  D#M=EbM

https://www.facebook.com/reel/1265403812411324

https://www.youtube.com/shorts/VUtxt0J7mpc

492. THE CHORD TRIAD (7M7, 3m, 4M) , OR (3M7,6m, 7bM) AS NEAPOLITAN TRIAD

 

The    4M->7M7->3m   or  the

7bM->3M7->6m 

is sometimes called The Neapolitan Progression or cadenza

491. CHORD MELODIC BRIDGES SUMMARIZING TRIPLETS OF THE CHORDS PREGRESSION.

490. THE BEBOP (UNION) SCALE OF TWO CHORDS

489. MELODY IMPROVISATIONS WITH 3 LAYERS OF HARMONIC, MELODIC AND CHROMATIC STRUCTURE

The main idea is to include the harmony in the structure of the melodu improvisation.

And in order to do so, we create melodies that 

1) Have harmonic moves (corresponds to harmonic cycles of chords)

2) Melodic waves (corresponds to chord arpeggios)

3) Chromatic ripples (corresponds to chromatic embellishments or chromatic arpeggios) 

Examples of melodies with quite clear such structure are

1) The improvisational melodies of overtone flutes

2) The Dan Bau (or duxianqin ) improvisation melodies

3) The trombone improvisation melodies

4) Mongolian Morin Khuur cello, improvisation melodies

5) Chinese vilin Erhu, improvisation melodies