496. HOW TO IMPROVISE COUNTER MELODIES (NCLUDING BASS LINES) BEING IN THE 12 NOTES CHROMATIC SCALE , OVER ANY SONG, WITHOUT KNOWING THE SCALE OR THE CHORD-PROGRESSION.

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