493. 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 ofthe diminsihed 7nth chord , we resolve next to a major chord which is again another note of the initial diminshed 7nth chord but one semitone higher

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

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

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

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

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

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

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

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