HARMONIC POLES AND HARMONIC WAVING IN THE CHORD PROGRESSION AND STRUCTURE OF THEMES IN THE MELODY (RULES SO AS TO PLAY ALMOST ANYTHING AND STILL SOUND HARMONIOUS AND BEAUTIFUL) :
The emotional parallel of the harmony of intervals, suggests that the chord progression and harmonic structure of the themes of the melody, waves (Harmonic waves) between the emotion of stress,intervals of 1 or 2 semitones (CHROMATIC CHANGES) to the pole of harmonic serenity ,intervals of 5 (4th) , 7 (5th) or 12 (octave) semitones (HARMONIC CHANGES).
We remind that in the post 30 we described the three relations of chord transitions corresponding to the intervals of 2nd, 3rd and 4th or 5th.
1) Resolution relation of chords
MELODIC MEANING : When such a pair of chords accompanies a melody then taking the themes of this melody either the theme is inside the chords is or is a bridge theme relating the two chords. This means that either the interval of 5 (4th) or 7 semitones (5th) appears as a shift or translation of the theme (chord-theme) or exists inside the theme (bridge-theme).
2) Relative chords
MELODIC MEANING: When such a pair of chords accompanies a melody then taking the themes of this melody either the theme is inside the chords is or is a bridge theme relating the two chords. This means that either the interval of 3 (minor 3rd) or 4 semitones (major 3rd) appears as a shift or translation of the theme (chord-theme) or exists inside the theme (bridge-theme).
MELODIC MEANING: When such a pair of chords accompanies a melody then taking the themes of this melody either the theme is inside the chords is or is a bridge theme relating the two chords. This means that either the interval of 3 (minor 3rd) or 4 semitones (major 3rd) appears as a shift or translation of the theme (chord-theme) or exists inside the theme (bridge-theme).
3) Complementary transition of chords
MELODIC MEANING: When such a pair of chords accompanies a melody then taking the themes of this melody either the theme is inside the chords is or is a bridge theme relating the two chords. This means that either the interval of 1 (minor 2nd) or 2 semitones (major 2nd) appears as a shift or translation of the theme (chord-theme) or exists inside the theme (bridge-theme).
This harmonic waving layer is more macroscopic than the emotional and melodic meaning of single melodic theme. A single melodic theme has a simple emotional meaning and this is a simple interplay or move inside the duality of emotions (positive-negative emotions).
We remind the reader that
1) Ascending with larger steps that those of descending indicates favor of joy
2) Accelerating ascending indicates more joy, while decelerating ascending less joy. The converse with descending.
Based on the idea of the three relations of the chords (see post 30) , we may compose beautiful chord progressions. Two general rules that create chord progressions and therefore overlying melodic themes, in such a way that almost anything we play sounds harmonic and beautiful are the next:
A11 . 1st general rule for harmonic chord progressions: Progressions by arcs in the 12-chord cycle by intervals of 4th, with substitutions with relative chords
This cycle defines by every connected arc of it a chord progression , where a chord may be substituted with its same root relative major or minor chord , or its lower or upper minor relative chord. Of course as they are an arc of the above 12-cycle they are successive chords or in the harmonic relation of resolution.
E.g. B7->Em->Am->D7->G->Bm-> etc
Or B7->Em->Am->D7->G->C->(Am orA7)->D7 etc
E.g. The well known song of Frank Sinatra "Fly me to the moon" is using this technique in its sequence of chords
Another example is the song of Nat King Cole L.O.V.E.
(main arc is the (Em or E7)->A7->D7->G(or Bm or Gm7) ->E7 etc with backwards retraces by one chord)
A12 . 2nd general rule for harmonic chord progressions: Two arcs in the 12-chord cycle by intervals of 4th (substituting any of the chords with its minor if it is major or vice versa) that have distance at the closest ends either 1 , or 2 or 3 or 4 semitones!
E.g. D7->G ,(1 semitone apart) Db7->Fm
or D7->G, (2 semitones apart) E7->Am
or D7->G , (3 semitones apart) B7-> Em
or Am->D7->G, (1 semitone apart) F#7->B7->Em.
