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

488. Drone playing per tetra-chord and per- scale in Irish Bouzouki and overtone tunings. Ancient methods of voice improvisation accompanied with intervals of 5ths or 8ths.

The drone playing is similar to the finger-picking in guitar playing. In finger-picking we try to play simultaneously, the melody and the underlying chords. In drone-playing the underlying chord is only one, note,  the 1st or 5th of the underlying chord, or both.  And these 1 or 5 are essentially open strings up or down to the string that we play the part in the current tetra-chord) of the melody. 

Inverted ukulele tunings allow also for drone playing (Inverted tuning of  G2C3E3A4 is the A2E3C4G4 , two 5ths and a 6th instead of two 4ths and a 3rd, which is more nice voicing of a minor 7nth chord)

The maximum abilities of drone playing seems to exist in the tunings like DADA or CGCG etc. but also such tunings inorder to give maximum abilities of drone playing (when  playing a melody in a  strings the other 3 strings can serve as harmonic drones, accompanying) they exclude the accompanying with ordinary major or monor 3-notes chords!!!. This forces a playing which is mostly melody (>70%) and little occupied with parallel harmonizing or chord-improvisation. Leonardo da Vinci used to sing and improvise, accompanying his voice with a continuous interval of 5th with a violin or rtaher his lira de Brachio, which later was developed into a Lireno !

(See e.g.     https://www.youtube.com/watch?v=0cwkvYZuMuo&list=PLao9G31nxH0oEwGonbTJqhOCBwm2CkGhq&index=4&fbclid=IwY2xjawQw239leHRuA2FlbQIxMQBzcnRjBmFwcF9pZBAyMjIwMzkxNzg4MjAwODkyAAEeypSSss0LrGYi9QcvRD0QUVmRZJqZD64FsgFjRmhumkKVSk-vq0T-Ukp_8Qc_aem_yvh8crL4w8rto-Wg5tl1Pg 

and 

https://www.youtube.com/watch?v=jykCQEk2KH0&list=PLao9G31nxH0oEwGonbTJqhOCBwm2CkGhq&index=8

 and  Lirona or Lira da gamba

https://www.youtube.com/shorts/qkI08CxC1g8?t=8&feature=share)  

The drone-playing is the model of the ancient times' voice improvisation, accompanied only with intervals of 5th ot 8ths!!! (see e.g. https://www.youtube.com/watch?v=QUcTsFe1PVs&t=24s) 

See e.g.

https://www.youtube.com/watch?v=Co6SIi5lr6E

https://www.youtube.com/watch?v=CQOh2tRSWX4

487. THE ANCIENT METHOD OF VOICE IMPROVISATION, AND INSTRUMENT ACCOMPANYING WITH INTERVALS OF 5THS.

 

https://www.youtube.com/watch?v=QUcTsFe1PVs&list=RDMM74OVU0Uj4dE&index=10

486. THE CONCEPT OF CHROMATIC ARPEGGIOS

 About concepts of chromatic arpeggios over a chord (and chord-scale).

1) The chord 7-scale is split to 5-string + 4-string parts. 

2) 2nd concept of CA: We substitute the voice melody M of the song with a simplicial submelody SM of it. Each note of the simplicial submelody is a note of the underlying chord. Then we extend the simplicial submelody SM, with small oscillations (within the 7-note chord-scale) 4 times faster, (e.g. if the SM has  notes that are of duration  1/4, then the oscilaltion is with 4 notes of duration 1/16) around each note of the simplicial submelody. The result is the chromatic arpeggio CA-SM, which on the island of Crete is also called "condilies." The pattern of the oscillation determines the style-signature of the condilia.

3) 3rd concept of CA: We create a random sequence over the 5-string or 4-string of the underlying chord, so that it randomly sequences a uniform distribution of notes of it. This is also a chromatic arpeggio fitting harmonically to the underlying chord.

4) 4th concept of a CA: We design a melodic pattern over the 7-notes mode of the underlying chord , which is of the type: a)  stationary waving, or b) Spike or c) straight vector.

If the sequenced notes are a uniform distribution of the 7-notes mode of the underlying hord then, we have an harmonically fitting to the underlying chord, chromatic arpeggio. 

5) Then assume that , we are given a melodic theme M to make an improvisation with it. We identify the M , as a chromatic arpeggio CA , of a chord C. Then we compose a chord progression,  C1, C2, ...Ci , with the chord C in it, and we create chromatic arpeggios CA(i) for each chord Ci. The result is a composition-improvisation based on the melodic theme M=CA. 

485. THE MAXIMAL SYMMETRIC SIGNATURE OF ANY SCALE ON THE GUITAR FRETBOARD