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

The idea is that behind any harmonization of a melody, by a chord progression in a scale and mode of it, there is an alternative harmonization with only 3 (1,4,5), only 2 (1,2 or 4,5) or only one chord (1).

This harmonization is out of the usual style of guitar playing, but still it exists in arrangements where bass, or continuous bass, is engaged.

So the way to find this continuous bass isokratic (drone) line of only a few notes (at most 3-4 notes) continuous or drone bass is to use notes only at the 1st octave of the piano, as if whole chords, and fit it to the melody, changing it by intervals to the 2nd (rarely 3rds) to find the other note.

Usually the odd-numbered notes of the mode will give the first note, and all the even-numbered notes of the mode will give the second note. The changes will be when the melody uses more of the odd-numbered notes or more of the even-numbered notes. 

It is obvious that if the player knows the usual chord progression, then he will simply play one note from each chord as the chords changes to produce a countermelody or bass line. This would be a method of giving many more notes and changes compared to the previous. It will also sound better fitting, but what it takes is that the chord progression must be known. 

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