131. THE SPIRITUAL USE OF FLUTES IN WORDLESS SACRED INCANTATION AND MEDITATION RITUAL FOR SOUL CONSCIOUSNESS PRESENCE AND CREATION OF OUR DESTINY BY OUR ACHIEVING OUR GOALS, THROUGH (NLP) PROGRAMMING OF THE SUBCONSCIOUS

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INCANTATIONS, SOUL PRESENCE, PROGRAMMING OF  THE SUBCONSCIOUS (NLP), FLOW-STATE AND CREATION OF OUR DESTINY THROUGH ACHIEVING OUR GOALS.

In the history it is well known that the Shakuhachi flute (usually in D4 pentatonic ) was used in a Zen sacred wordless and human voiceless meditation for inner peace and soul consciousness presence.

Similarly  the Ney flute (usually chromatically in B3, starting from A3) was used for sacred pray , ceremonies and wordless and human voiceless meditation.

The aulos winds in Ancient Greece and Hellenistic period in religious ceremonies.

And the Bansuri flute (in E4 major starting from B3)  in Hindustani  sacred wordless and human voiceless meditation.

It is often considered that wordless and human voiceless incantation and meditation for inner peace and soul consciousness presence may become  stronger than the voiced (inner or out) with words incantation!


It is the wordless part here which is important. Animals do sing (e.g. birds) But most of them although communicate partially with wordless telepathy , they do not organize sounds in words with syntax. It is said that that the whistling of the Dolphins and Whales is an exception  of an organized trinary language as they say that they are sentient animals and not simply animals.

Sometimes humans also do not have the appropriate words or concepts for inner communication with the soul consciousness, and therefore a musical soundscape maybe closer to the abstract mind which is closer to the soul consciousness compared to the concrete mind.

There is also the breath awareness that the flute require and the breath is a gate between the conscious and subconscious, as breathing is controlled both consciously  and subconsciously. As a contrast the heart beating is controlled mostly subconsciously.

Tony Robins a renowned coach of personal development, insists that  incantations even with outspoken words are his daily practice (10 mins minimum per day) for creating his belief system and programming his subconscious mind , and strengthening his desires for the  goals his has set. He explains that incantations create a heightened excitement emotional state which metaphorically speaking is like "the fire needed to shape a metal" in programming the subconscious for the appropriate beliefs and resources so as to achieve our own set worthy goals. He and the NLP theory (Neuro-Linguistic Programming) calls it the creation (or conversely the collapse and elimination) of belief-anchors.  The sounded of an incantation and or an accompanying musical instrument  is also  a response stimuli based on our belief system for the right inner state. He explains also that incantations involve most of the functions of the inner and outer senses, like vision, hearing, kin-aesthetics etc  therefore it is an integrated training of the  subconscious (NLP=neuro-linguistic programming) and the body  for the necessary resources and entering the "flow-state" for achieving our goals and desired states of existence. 

IN THIS MEANING-BASED RATHER THAN MUSICAL SYNTAX BASED IMPROVISATION, AS NLP SUGGESTS WHEN CREATING THE MUSICAL SOUNDS WE ALSO CREATE MENTAL IMAGES RELEVANT TO THE MEANING OF THE SOUNDS, WHICH BY THE CREATED EMOTIONS ARE EMOTIONALLY LINKED TO THE MENTAL IMAGES AND  THUS FACILITATING OUR DAILY ACTIVITIES AND PERQUISITE OF OUR GOALS

Magnetic scans of the human brain during playing  of a musical instrument show a unprecedented activation of almost all  the parts of the human brain, the centers of vision, the centers of hearing, the centers of  motions control, the emotional side, etc and no other activity is so catalytic in synthesizing all most all the functions and departments of the brain.

The sounded of an incantation and or an accompanying musical instrument  is also  a response stimuli based on our belief system for the right inner state.

Therefore  incantations outspoken or wordless  with the help of a musical instruments is an integrated way to create our desired state of existence through programming of the subconscious , achieving our goals  and shaping our destiny. 

130. MEANING VERSUS SYNTAX BASED IMPROVISATION: THE MELODIES IMPROVISATION METHOD OF EMOTIONAL DESCRIPTIVE "STORY TELLING" OR POST-ACTIVE/PRO-ACTIVE MEDITATIVE SIMULATIONS OF ACTIVITIES

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This method of improvisation perceives  that musical themes as the pitch shape of actual natural language spoken propositions. Except that here there is not language (English or German , or Chinese, or Greek etc). So each musical phrase consists of "Dolphin words" (see post 101) that make a proposition with a integrated emotional-melodic meaning. IN THIS MEANING-BASED RATHER THAN MUSICAL SYNTAX BASED IMPROVISATION, AS NLP SUGGESTS WHEN CREATING THE MUSICAL SOUNDS WE ALSO CREATE MENTAL IMAGES RELEVANT TO THE MEANING OF THE SOUNDS, WHICH BY THE CREATED EMOTIONS ARE EMOTIONALLY LINKED TO THE MENTAL IMAGES AND  THUS FACILITATING OUR DAILY ACTIVITIES AND PERQUISITE OF OUR GOALS


When improvising you must imagine that you speak to a non-judgmental friendly audience and you tell them a story. E.g. the story of an emotionally intersecting day from the morning til the night. The story has a beginning a middle and an end. If this was real each proposition and phrase would have an pitch dynamics shape.  

You do not speak really the phrase bu you play in the musical instrument, this pitch dynamic shape for every proposition of the story.

The story has layered organization , in to propositions , phrases, paragraphs and chapters. Thus here the ideas of higher order formal language (Dolphin language) as in post 114.

The "story" may that of a past historic record of activities which is easier to follow, but it can very well be pro-active simulation or description of dreamed future activities that will bring great joy. From thsi point of view such improvisation is a kind of musical meditation (see also post 131).

To prepare yourself for such a musical , without words story, practice in playing melodically (as simple sequences of Dolphin words) the next emotional descriptives.

1) Question

2) Casual assertion

3) Protesting emotions

4) Sweet words of affection or love

5) Angry insult

6) Neutral speaking

7) Relaxing sinking

8) Exciting proposition

9) Enthusiastic announcement

10) Pushing emotionally away someone

11) Asking for a favor

12) Sad announcemnt

13) Positive Emotions when taking off by an airplane

14) Expressing fear

15) Expressing worries

16) Expressing joy

17) Expressing anxiety

etc.

To experiment with pitch dynamic shapes that correspond the above emotional repressions, it helps to use at first, a sliding whistle, before they are  converted to discrete scale notes , melodic moves.

IN A WIND INSTRUMENT AT THE MEANING BASED VERSUS SYNTAX-BASED IMPROVISATION , IT IS MORE NATURAL TO START FROM THE ROOT OF THE 2ND OCTAVE OF THE WIND INSTRUMENT, DESCEND TOWARD THE ROOT OF THE FIRST OCTAVE, AND THEN ASCEND AGAIN AND END EITHER AT THE ROOT OF THE 2ND OCTAVE OR EVEN BETTER AT A HIGHER NOTE (E.G. FIFTH DOMINANT )  OF THE 2ND OCTAVE.  

A "Secrete" coding of the melodic notes in meditative improvisation , with "meanings" can be provided through colors an levels of "self" as in this blog here

http://10-colored-logics.blogspot.com/search/label/1.%20Introduction

1) Personal development perspective:
To develop better and more sensitive integrated and parallel  thinking.

We accuse logic and we prefer emotions. But there is not only one logic. 

Logic here is not in the mathematical sense. It is more of a direction of reasoning and perspective  of biased thinking.
Utilizing many colored logics in deciding and finding the feelings for our actions, may radically improve the success of our efforts and achievements. 
By engaging many colored logics as our chance of expression, we may improve human relations, and liberate them from lies, fear, feelings of guilt, humiliation, superstitions,   pretence and deception.

The self or ego spectrum of  the above colors, inside the mortal personality are as follows:
(The numbering is from the steps on a 7-notes diatonic scale at any mode)

1st root note= Infrared hat =I am that I have/ I need (or negatively I do not) therefore I exist 
2nd note= red hat = I am that  I feel /I desire (or negatively I do not) therefore I exist 
3rd step= yellow hat =I am that I do /I connect (or I synthesize) (or negatively I do not) therefore I exist 
4th step= green hat =I am that I love  (emotion of unity)/ I an in emotions (or negatively I do not) therefore I exist 
5th step(dominant)= turquoise hat =I am that  I express (or negatively I do not) therefore I exist 
6th step= Blue hat = I am that I think/I reason (or negatively I do not) therefore I exist 
7th step= Violet hat =I am /I am aware / I intent/ I am that I am


Major chord= White hat = I am that I interpreter-illuminate (or negatively I do not) therefore I exist 
Minor chord= Black hat =I am that I see without being seen (or negatively I do not) therefore I exist 

Power chord= Grey hat = I am that I am consistent-fair-objective (or negatively I do not) therefore I exist 


another context of correspondences of the 7 notes is the next

2) Hatha Yoga perpsective (see e.g. http://en.wikipedia.org/wiki/Hatha_yoga): When thinking with each of the 7 colored logics then the corresponding aether center (charka) with its color is energized. So parallel thinking with these 7 colored logics, is essentially types of meditation. For the hatha yogi, the infrared logic corresponds to the center at the base of the spine, the  red  (orange)  logic at the center of genitals, the yellow logic to the center of the solar plexus, the green logic to the center of the heart, the turquoise logic to the throat center, the blue logic to the center of the front of the head and the ultraviolet logic to the center at the top of the head. 
Of course we should not forget that minor aether centers exist also below the base of the spine. E.g. at the knees, at the hocks, at the soles etc. and if we were to include them, we would choose a different correspondence. 
If the hatha yogi is a powerful yogi,  for whom the aether-vision has opened, it is supposed that he can see with his physical eye , the color of the corresponding aether center, of the human aether body.  (About the concept of aether, see also http://thenewuniversalattraction.blogspot.gr/2012/04/nspiredby-12-universal-laws-from.html ). Now Hatha yoga reports that the base of the spine center is red, the center of the genitals orange, the solar plexus center yellow, the heart center green, the throat center cyan, the fron of the head center blue (indigo), and the top of the head center violet. Of course untill the eather vision has opened for most of the  people, or science was found ways to photograph the color of the aether centers, we are to remain in uncertainty. When the color of the aether centers will be the object of science, then maybe medicine will have discovered  also a powerful way to heal through colors. Till that time we will   assume the present correspondence of colors and logics as rather symbolic and as a color code.
I must point out here nevertheless that  Correlating our abstract EGO (soul level) with our physical body is not necessarily a virtue that may help us in evolution! 

Remark about the number 7 

I must remark here that the appearing seventuality here (7 colours, 7 bodily aether centres,) is only symbolic not literally 7. I believe that when science will enhance the knowledge of the electromagnetic field, and discover all of the aether, the aether centres that will be recorded in the human body will be more than 7. In the periodic system of chemical elements it seems that we do have a real appearance of the number 7, as all of the stable, 8-periods of the molecules. From this we may derive the symbolic interpretation of the number 7=a finite number a of layers (unknown or variable) that signifies all the layers that exhaust a "tree of creation" (like the material reality in the case of the periodic system)

Nevertheless, I must remark here that there are a lot of spiritual people, that strongly insist, that CORRESPONDING SOUL-EGO QUALITIES (THE COLOR LOGICS) WITH BODILY CENTERS IS NOT AT ALL AN EVOLUTION OF THE HUMAN EXISTENCE RATHER A BRAKE AND DELAY IN EVOLUTION ! Therefore we should not take the Hatha yoga perspective as the only deeper truth about the subject. 


3) Time scheduling perspective

Furthermore there is the time-correspondence of notes ( a story of the week with non-linear narrative)

1st step root=Sunday

2nd step= Monday

3rd step=Tuesday

4th step= Wednesday

5th step Thursday

6th step Friday

7th step Saturday

129. IMPROVISATION WITH THE 1st 2nd 3rd and 6-NOTES PENTATONIC HARMONIC MINOR AND PENTATONIC OR 6-NOTES HARMONIC DOUBLE MINOR SCALE.

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These scales are relatively unknown. We describe them below.

The pentatonic harmonic minor scale can be derived from the harmonic minor scale by truncated it to a pentatonic scale. E.g. if the C diatonic scale is the c d e f g a b c, and the pentatonic is the c d e  g a  c  (2-2-3-2-3)  while the  harmonic minor is the  c d e f g# a b c, (2-2-1-3-1-2-1) then the 1st pentatonic harmonic minor is the scale c d e g# a c (2-2-4-1-3). Nevertheless although both the pentantonic and the 7-notes harmonic minor can be set by the levers in C major tuned Celtic harp, the pentatonic harmonic minor cannot. What can be tuned though is the next 6-notes scale: c d e f# g# a b#=c with interval structure 2-2-2-2-1-3 which may be called 6-notes harmonic minor. A cyclic permutation of it which is the same scale (but different mode) is the 3-2-2-2-2-1 which is nothing else than the scale of Native American 6-holes flute. E.g. if such a flute is with root C, it will be c-d#-f-g-a-b-c.

Sometimes a 5th step mode of the pentatonic is used which is the c-d-f-g-a-c (2-3-2-2-3) or a still different realization of this mode of the pentatonic as the d-e-g-a-b-d (2-3-2-2-3). Now if in these versions of this mode of the pentatonic we substitute the g with g# as in harmonic minor we get the pentatonic scales c-d-f-g#-a-c (2-3-3-1-3), and d-e-g#-a-b-d (2-4-1-2-3).  The former pentatonic may be called 2nd pentatonic harmonic minor and the latter 3rd pentatonic harmonic minor scale.
These scales are also easily realizable in Irish whistles and diatonic winds in general

We remind from the post 81 that THE HARMONIC PENTATONIC (not the pentatonic harmonic minor )  (AN UNNOTICED SO FAR PENTATONIC SCALE!) is derived from the first 11 harmonics of a tone and it is the

C-D-E-F-G-C (SEMITONE STRUCTURE 2-2-1-2-5)
(WITHIN THE FIRST 11 HARMONICS) which is again sometimes overtones scale of the overtones flutes! .

We explain in the next, what is the pentatonics and 6-notes harmonic double minors, and how improvisation can be done with it.

128. IMPROVISATION AND CREATION OF ADOPTIONS OF A SONG BY MELODY (COUNTERMELODY) SIMULTANEOUSLY SOUNDING OR ALTERNATING WITH ANOTHER MELODY

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This improvisation technique is from old civilizations like in the Chinese  harps , Greek Kanon or Kanonaki or Sandouri,  eastern kanon (qanun) , etc when the concept of chord was not discovered or invented yet as widespread tradition in the music. We do not mean here the simultaneous sounding of 2 or 3  or 4 voices in harmony. 

See also post 102 , 111 , 118, 197.

And a relevant video of two parallel melodies music



https://www.youtube.com/watch?v=OcHWvl16mpg

The next is a rather funny but beautiful example with the ukulele band playing same chords but different well known melodies that still fit!

https://www.youtube.com/watch?v=0HuSx3z0E6g

Some rules of compatibility of the simultaneous or alternating melodies 

The basic rules are the next 2

RULE 1 NON-DISSONANCE The main  (possibly human voice ) melody and the instrumental counter melody  have intervals of simultaneous sounding  that statistically are more of 3rds 4ths/5ths, 6ths and 8ths or larger compared to those by  2nds. Thsi may include that one of them is chord-arpeggio, but it is not necessary. Also they may sound simultaneously or sound by pieces in an alternating mode. 

(See also post 112 about the harmonic statistical profile of a melody)

RULE 2 SIMPLE-COMPLICATED The one of the two melodies is monotone simple and repetitive, like percussion or drone melody or chord-arpeggio , while the second is more complicated and changing.Some times the simpler may be simply strumming an interval of the scale that contains the parallel melodic theme, but maybe on different octave. If the instruments is a piano or digital keyboard, or an harp, or a Kanun (Qanun) or a Sandouri played by the fingers, then is is convenient to play the simpler melody with the left hand, and the complicated with the right hand. 

RULE 3. BASS-LINE OR SOPRANO DRONE The simpler repetitive type of melody can be   at higher octaves compared to the more complicated melody or it can be a kind of bass-line in lower octaves.


RULE 4. KITE-LIKE THEMES.   Usually but not always the simpler  type of melody may be a melodic simplicial sub-melody (like drone melody) of the melodic centers of the more complicated melody, or an homemorphic variation of it. If there is also a chord progression it may be the harmonic or the chromatic simplicial sub-melody. For this to work better the complicated melody might consists from melodic themes that are kite-like with a tail and a head. In other words the tail is a path that is  waving or straight  (Dolphin-words) that ends on a longer and louder sounding note (Head)  which is a local  center of the melodic theme. We remind that the basic structure of the melody is through melodic themes (see also post 101 about Dolphin-words). Each melodic theme must convey a musical meaning as simple proposition has verb that expresses some action-motion subject and object (see posts 27 and 40 about melodies as language).

RULE 5. We may go as far as utilizing this method as a method of creating adoptions or remix of a  song. This requires that the improvised melody will fit only to a percentage x%<50% with the parallel sounding song and the rest 100%-x% the melody , rhythm and chords will not fit and will be the innivated adoption of the song (according to our inner emotional impulses and habits) . Of course the overall  result of the underlying song and its adoptoion will not be audible with good feelings as they will be incompatible , but the intention is to be inspired in real time by the song and create in real time an adoption of it. Finally oly the adioption will be presented not the parallel initialinspiration. 

127. IMPROVISATION AS FREE VARIATIONS OF YOUR OWN PREDETERMINED COMPOSITION

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126. IMPROVISATION BY A SINGLE CHORD OF VARIABLE EXTENSION TYPE

SIMULTANEOUS BASS-CHORD-MELODY IMPROVISATION (David Reed)

(As we utilize only 4 fingers of the left hand, the 3 of them always sound the bass and the chord, while the 4th the notes of the melody, that may or may  not belong to the chord.)

In his book "Improvise for Real" David Reed, strongly suggests to investigate by improvisation the 4 types of chords Rmaj7 (in semitones 1-4-7-11), Rm7 (in semitones 1-3-7-10), R7 (in semitones 1-4-7-10), Rm7b5 (in semitones 1-3-6-10), with parallel melodies, always on higher pitch relative to the highest pitch note of the chord. For harmony beyond tonality, the appropriate numbering of the notes of a diatonic major scale measured with semitones is 1-2-4-5-7-9-11 |  1. David Reed suggests that utilizing the relative numbering rather than the specific name of the note (and he is mainly utilizing the numbering as a major diatonic scale 1-2-3-4-5-6-7 | 1), the mental tools in the human imagination are kept simple and directly applicable on the frets of the guitar fretboard or the buttons of the piano keyboard. In simpler words he insists in re-creating the desired harmony , by intervals and triads from chords  for the melody and the chords.

See also this video which presents almost exactly the same idea, as suggested by Jerry Bergonzi.

https://www.youtube.com/watch?v=2X-WsnWCAaA&t=209s

This chord-melody  technique is by far more abstract, thus powerful. It is not based on memorized chord-shapes!  The chord-shapes are continuously changing even for the same chord inside and area of 4-5  frets and are created on the going with the melody!  Both the melody is played but at the same time the chord behind the melody too. It is  played so that the melody is always the highest pitch note, the root of the chord the lowest pitch note, and the 2 intermediate notes again notes of the chord. One finger is used for the melody and 3-fingers for the chord. It is always sounding at most 4 notes, of 4 strings.  Notice that finding and playing these fingerings of e.g. 1st chord Cmajor  harmonizing any note of the C major scale, from higher C to lower C, is not the same as just finding the fingerings of the chords Cmaj7, C7, C6, Cadd11, Cadd9, because of the condition of having the note of the melody always the highest pitch,  the root  unchanged as fret position and because we descend 2 octaves rather than one. Most of the times the resulting chord may not have any known symbol, and so also its shape may not be any known chord shape. Nevertheless the classification of the fretboard shapes of the 8 types of chords as in post 28 and of  triads as in post 38, is useful in practicing this type of beautiful chord-melody improvisation. From the next videos that describes this techniques of improvisation called chord-melody, we may deduce that the chords behind the melody are always of one of the next 4 types: Rmaj7, Rm7, R7, Rm7b5.  Of course we can restrict the technique to have background chords for the melody only R, Rm, with one (or rarely two) notes (but never the root) each time missing and substituted by the note of the melody. This would be improvisational classical 4-voices harmony, and the  post 39 is devoted to it. We may also change the background chord in such a way, that the note of the melody is always also a note of the chord. For this the classification of shapes in post 38 is useful. In other words we may make sure that the 4-string chord-melody is such that the utilized chord types are of some only specific set e.g. Only R, Rm 4-string chord melody. This would be improvisational classical 4-voices harmony on 4-strings , and the  post 39 is devoted to it. Or only Rm7b5, R ,4-string chord melody, or only Rmaj7, R7 4-string chord melody etc.

In general though David Reed suggests that we play and improvise  as melodic notes any note of the diatonic scale for any chord of the diatonic scale!  It seems to me that the only requirement that binds the arbitrary chord with the arbitrary melodic note of the diatonic scale, is that the melodic notes that belong to the chord as a total last in time longer , say 2/3 of the time , while any other arbitrary note of the scale, only 1/3 of the time. 

 For this wonderful technique see e.g. 

https://www.youtube.com/watch?v=binjvIqAN1s
(https://www.youtube.com/watch?v=cAxB5bQfF5s
https://www.youtube.com/watch?v=R-P06FDk4NA)

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

https://www.youtube.com/watch?v=yxeOjqNK2Cw

The channel and sites are the next
https://www.youtube.com/channel/UCz83VW6dQLvAdUeZg9IDTHg

https://improviseforreal.com/Products/ifr-video-course-guitar-module-1

125. INTERVALS AND POWER-CHORDS IMPROVISATION

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See also post 40  on intervals classification and post 35 on power chords

This method is simply mainly creating a rather arbitrary sequence of intervals of 3rds in the diatonic scale (easily visualized in the piano keyboard, diatonic harp or diatonic winds) , which may be alternating with intervals of larger intervals of 4ths-5ths 6th and 8th. Occasionally but less than 33% of the times, we may alternate intervals by 2nds (see also post 93 on the statistical harmonic profile of a melody). 

124.IMPROVISATION WITH THE HARMONIC MINOR (1st Byzantine minor) AND HARMONIC DOUBLE MINOR (2nd Byzantine minor) SCALE

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Again one of the 1st and easiest way is as in post 102 by unaccompanied melodies with the alternation of chord and transition melodic themes. Any triad of the scale and any melodic theme would sound romantic and beautiful.

In a Celtic harp with levers tuned in C, an easy  A Harmonic minor is to give a sharp by levers at the G, and the harmonic double minor (Byzantine) is to give a sharp by levers at G and D (strictly speaking it will be a mode of the C major harmonic double minor).

Especially the method described in post 104 with simple Dolphin words of long and short parts, that are alternated not with a full 3-notes chord but with a interval of 5th, and especially only one based on the B (2nd step of the harmonic A minor scale) will give beautiful pieces that remind the Erik Satie Gnossiennes.  To be more specific just follow the video by Ray Pool on Dorian Improvisation with harp and apply it not on the Dorian mode of a diatonic scale, but on the Dorian mode (starting from B) in the harmonic A minor scale. Here is the video https://www.youtube.com/watch?v=NomPFFmycDo&t=447s

Another method is to play in the harp with the left hand a simple random melody in lower octaves , (It applied to all scales not only the Byzantine scales) and then with the right hand at higher octaves , a triad chord with always middle note the last note of the simple melody of the left hand (or root or dominant note but always the same rule during the improvisation)  . For guitarist that have fingernails at the right hand and no finger nails at he lefts hand playing a simple low pitch melody and then such an alternation of chord with the right hand is easier and more convenient (See also the Colombian harpist Edmar Castandeda). Of course this improvisation can be done also with a (diatonic or harmonic simple minor  or harmonic double minor) wind instrument, and instead of chord we play the arpeggio of the chord in single or in two octaves.

Still, another simpler improvisation method that applies to all scales is to keep sounding the root note of the scale and play freely with melodic themes in the scale. E.g. Shastro flute improvisations

https://www.youtube.com/watch?v=9BD1y0TOk3o&t=188s

There are of course more advanced improvisation methods with chord accompanied melodies.

See also this very relevant video

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

123. IMPROVISATION WITH THE PENTATONIC SCALE

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The simplest way is as we described in the post 102 , of improvisation  of unaccompanied melodies, with the alternation of chord and transition melodic theme.

Here the chords are the root and 5th (e.g. in F major pentatonic F G A C D, it is the F and Dm) and arbitrary sequences of notes between them.

Next we describe more methods with accompanied by chords melodies.

As in lever Harp tuned in C major the directly tunable pentatonic scales is the G major and F major we refresh some information about the F major pentatonic scale

Musical Scale Info: F major pentatonic

Notes of this scale:

F G A C D

Interval structure of this scale:

W W (W+h) W (W+h)  (W: Whole tone, h: half tone)

Scale structure:

1 2 3 5 6

Chords that fit in this scale:

Normal Triads: Dm     F    Other Triads: Csus4     Csus2     Dsus4     Fsus2     Gsus4     Gsus2    4 Notes Chords: Dm7     D7sus4     F6     G7sus4     G7sus2      Csus4\F     Csus4\G    5 and 6 Note Chords: Dm11     F6/9     G9sus4     G9sus2

Scales Equivalent to F major pentatonic :

D minor pentatonic;

Scales wich notes are within F major pentatonic:

;

Scales where F major pentatonic is within them:

C major; F major; A#/Bb major; C melodic minor; C ionian; F ionian; A#/Bb ionian; D natural minor; G natural minor; A natural minor; C dorian; D dorian; G dorian; D phrygian; E phrygian; A phrygian;  D#/Eb lydian; F lydian; A#/Bb lydian; C mixolydian; F mixolydian; G mixolydian; D aeolian; G aeolian;  A aeolian; E locrian; A locrian; B locrian; D blues;

Scales 1 note away from F major pentatonic:

C major pentatonic; A#/Bb major pentatonic; G minor pentatonic; A minor pentatonic;

Here is a video where the soloing around any chord X is the pentatonic scale of its root, which equivalent with the arpeggio of the chord X with 6th and added 9th (or 2nd) thus X6add9.

https://www.youtube.com/watch?v=MVSzSVYqjbU&t=44s

122. IMPROVISATION BY HIGHER OCTAVES 5TH,6TH,7TH, SIMPLE MONOTONE MELODY ON ALL TONES OF THE DIATONIC SCALE PARALLEL AND COMPATIBLE TO MANY CHORD CHANGES IN LOWER 3RD , 4TH OCTAVE!

 INVERSE RELATION OF SIMPLICITY-COMPLEXITY OF CHORDS-MELODY

We are usually we are accustomed, to have in improvisation but in composed music too, chords as a center of simplicity in  lower octaves that accompany a more complicated melody in higher octaves. This relation may be unversed! In other words a melody in higher octaves (5,6,7) may be a simple repetitive melody thus a center of simplicity, while chord changes in lower octaves (3,4)  , compatible with this melody can be the center of complexity. To have the same melody.

IN HARP THE CORRESPONDING EXAMPLE IS EDGAR  CASTANEDA

https://www.youtube.com/watch?v=0SNhAKyXtC8

https://www.youtube.com/watch?v=D07aTglESlE

https://www.youtube.com/watch?v=Wi2K7qU85wI

https://www.youtube.com/watch?v=qkPmrn97rE8&t=34s

https://www.youtube.com/watch?v=0Ofc9hdMHNM

121. IMPROVISATION BY LOWER OCTAVES 1ST 2ND 3RD SIMPLE MONOTONE MELODY ON ALL TONES OF THE DIATONIC SCALE PARALLEL AND COMPATIBLE TO MANY CHORD CHANGES IN HIGHER 4TH 5TH 6TH OCTAVES!

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1) Finally we may combine the inverse simplicity-complexity relation of chords-melody as in 2) below and in post  119 with the inverse pitch-relation as in 3) and post 120 to create a monotonous repetitive slap-melody in piano or harp in lower octaves that usually covers  all the notes of the diatonic scale parallel to chord changes in the higher octaves so that all the chords are compatible with the same bass repetitive melody.

2) INVERSE PITCH RELATION  OF CHORDS IN HIGHER OCTAVES ANS MELODY  IN LOWER  OCTAVES .
Usually we are accustomed, to have in improvisation but in composed music too, chords in lower octaves that accompany a more complicated melody in higher octaves.

This  relation can be reversed for good reasons: The chords are perceived  by the musical listening easier and mote clear in higher octaves (e.g. 5,6) than in lower (1,2). Therefore there is a good reason in improvisational music in piano and harp to play the chords and chord changes in higher octaves and the melody in lower octaves.


3) INVERSE RELATION OF SIMPLICITY-COMPLEXITY OF CHORDS-MELODY

We are usually we are accustomed, to have in improvisation but in composed music too, chords as a center of simplicity in  lower octaves that accompany a more complicated melody in higher octaves. This relation may be unversed! In other words a melody in higher octaves (5,6,7) may be a simple repetitive melody thus a center of simplicity, while chord changes in lower octaves (3,4)  , compatible with this melody can be the center of complexity. To have the same melody

120. IMPROVISATION BY INVERSE PITCH RELATION OF CHORDS-MELODY: MELODIES PLAYED IN LOWER OCTAVES WITH CHORDS PLAYED IN HIGHER OCTAVES.

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1) INVERSE PITCH RELATION  OF CHORDS IN HIGHER OCTAVES ANS MELODY  IN LOWER  OCTAVES .
Usually we are accustomed, to have in improvisation but in composed music too, chords in lower octaves that accompany a more complicated melody in higher octaves.

This  relation can be reversed for good reasons: The chords are perceived  by the musical listening easier and mote clear in higher octaves (e.g. 5,6) than in lower (1,2). Therefore there is a good reason in improvisational music in piano and harp to play the chords and chord changes in higher octaves and the melody in lower octaves.


2) INVERSE RELATION OF SIMPLICITY-COMPLEXITY OF CHORDS-MELODY

We are usually we are accustomed, to have in improvisation but in composed music too, chords as a center of simplicity in  lower octaves that accompany a more complicated melody in higher octaves. This relation may be unversed! In other words a melody in higher octaves (5,6,7) may be a simple repetitive melody thus a center of simplicity, while chord changes in lower octaves (3,4)  , compatible with this melody can be the center of complexity. To have the same melod

3) Finally we may combine the inverse simplicity-complexity relation of chords-melody as in 2) with the inverse pitch-relation as in 1) to create a monotonous repetitive slap-melody in piano or harp in lower octaves that usually covers  all the notes of the diatonic scale parallel to chord changes in the higher octaves so that all the chords are compatible with the same bass repetitive melody.

119. IMPROVISATION BY ONE MELODY COMPATIBLE WITH MANY CHORDS: INVERSE RELATION OF SIMPLICITY-COMPLEXITY OF MELODY AND CHORDS

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1) INVERSE RELATION OF SIMPLICITY-COMPLEXITY OF CHORDS-MELODY
We are usually we are accustomed, to have in improvisation but in composed music too, chords as a center of simplicity in  lower octaves that accompany a more complicated melody in higher octaves. This relation may be unversed! In other words a melody in higher octaves (5,6,7) may be a simple repetitive melody thus a center of simplicity, while chord changes in lower octaves (3,4)  , compatible with this melody can be the center of complexity. To have the same melody

IN HARP THE CORRESPONDING EXAMPLE IS EDGAR  CASTANEDA

https://www.youtube.com/watch?v=0SNhAKyXtC8

https://www.youtube.com/watch?v=D07aTglESlE

https://www.youtube.com/watch?v=Wi2K7qU85wI

https://www.youtube.com/watch?v=qkPmrn97rE8&t=34s

https://www.youtube.com/watch?v=0Ofc9hdMHNM

2) INVERSE PITCH RELATION  OF CHORDS IN HIGHER OCTAVES ANS MELODY  IN LOWER  OCTAVES .
Usually we are accustomed, to have in improvisation but in composed music too, chords in lower octaves that accompany a more complicated melody in higher octaves.

This  relation can be reversed for good reasons: The chords are perceived  by the musical listening easier and mote clear in higher octaves (e.g. 5,6) than in lower (1,2). Therefore there is a good reason in improvisational music in piano and harp to play the chords and chord changes in higher octaves and the melody in lower octaves.


3) Finally we may combine the inverse simplicity-complexity relation of chords-melody as in 1) with the inverse pitch-relation as in 2) to create a monotonous repetitive slap-melody in piano or harp in lower octaves that usually covers  all the notes of the diatonic scale parallel to chord changes in the higher octaves so that all the chords are compatible with the same bass repetitive melody.

118. IMPROVISATION COMPATIBILITY RULES OF A MELODY AND A COUNTER-MELODY

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By a counter melody we usually mean (improvisational) melodic lines that an instrument is playing parallel or sequentially to a main human voice melody in a song. It is not the 2nd or 3nd voice of the melody. The counter-melody has usually more notes than the main voice melody, because it is played by an instrument, and therefore there are speed and complexity possibilities that a human voice rarely will chose to conduct. 

The basic rules are the next 2

RULE 1 The main human voice melody and the instrumental counter have he same underlying chords. 

RULE 2 The main human voice melody and the instrumental counter have the same melodic centers (simplicial sub-melody of the melodic centers)

Now the simplicial sub-melody of the melodic centers is not the same as the harmonic simplicial sub-melody or the Chromatic simplicial-sub-melody as described e.g. in post 104 about them.

The simplicial sub-melody of the melodic centers is defined by the melodic centers of the melody (see also post 65 about the centers ) .

HOW TO FIND THE MELODIC CENTERS OF A MELODY:

The way to do it is the next

1) We partition the melody , to time intervals or connected pieces of it defined by the property that each one of then  has a single underlying chord, and the piece of the melody is maximal with this property

2) Then for each such time interval or piece of the melody, we define as its center, the note of the melody with the maximal time duration. There is one such note for each instance of a chord in the chord progression. The sequence of these notes is the simplicial sub-melody if the melodic centers of the initial melody. 

117. Small 7-notes diatonic scale and big 10-notes diatonic (or chromatic-diatonic) scale. 5-notes, 6-notes , 8-notes and 9-notes scales with a maximal number of major or minor chord-triads.

(This post has not been written completely yet)

We have mentioned in previous posts in this book, that the diatonic scale has the optimal mathematical property of being the only 7-notes scale (within the chromatic Bach 12-notes scale) with he maximum number of major and minor chord-triads.

An interesting next question is what are the corresponding such scales with the same maximal property but with a larger number of notes? E.g. 8,9, or 10 notes?

We will answer it for the case of 10-notes scale. It is known that the 7-notes diatonic scale contains 3 major triad-chords , and 3 minor triads-chords plus a diminished triad chord. E.g. the C major mode diatonic scale has the 3 , C, F, G major and the 3, D, E, A minor chords. It is natural to  think of a scale that you can also have these 3 minor as major chords too , or the 3 majors as minor chords too. In other words all the C, F, G, as minor too or all the  D, E, A as major too , but not both!  This is a 10-notes scale C, D, D#, E, F, G, G#, A, Bb, B, with interval pattern in semitones , 2-1-1-1-2-1-1-1-1-1  or a cyclic permutation (mode) of it  C, C# ,D, E, F, F# ,G, G#, A, B again with interval pattern , 

1-1-2-1-1-1-1-1-2-1 which is a cyclic permutation  of the previous thus according to our definition of a scale in this book, the same scale in different modes. Notice that the pattern of sharps is the known f-d-g but with the original non-sharp notes too!

The 11-notes maximal harmonic scale is obviously the 1-1-1-1-1-1-1-1-1-1-1-2 as there is no other 11-notes scale!

There are instrument players e.g. Quena flute players, that have customized their hole system to a 8-front + 1 thump hole system that corresponds to this 10-notes big diatonic (or chromatic-diatonic scale) E.g. Here  https://www.youtube.com/watch?v=6olStHr43aE
Obviously Xiao flutes or Shakuhachi flutes or Irish whistles , or recorders etc,  can be made with such 8+1 holes 10-notes big diatonic scale.

If we take the power chords 1, 4, 5  of a diatonic scale , we get by their notes a 4-notes scale. E,g, in C major it would be C -G -C ,  F-C-F , G-D-G , thus C-D-F-G-C and in semitones 2-3-2-5.

On the other hand if we take a minor chord e.g. C-Eb-G then by adding a major 7nth Bb we get a
Cm7 chord C-Eb-G-B-C which is by itself a 4-notes maximal harmonic scale with interval structure   3-4-3-2 , which already has two chords in it the C minor and the B major

In the next we classify, 5-notes, 6-notes, 8-notes and 9-notes scales with maximum number of major or minor chord-triads.

5-notes maximal harmonic pentatonic (Greek-Richter pentatonic scale)

intervals patterns 4-3-2-2-1 e.g. c4-e4-g4-a4-b4-c5 or I ,III , V, vi, vii, I

(It is essentially A chord with 7nth and with 6th)

Notice that this scale suggests the chord progression by taking chords of the full 7-notes diatonic scale based on the above notes of the maximal harmonic 5-notes scale which has the highest statistical frequency in popular songs:  1(7)  4 5 6m E.g. in C major scale it would be C7, F , G Am.

Analternative version is the inverse 2-2-3-4-1

This inverse version when tuned at an harmonica asin the table below, will give at the blow row a major chord and at the draw row a major an interval of fith apart
E,g, Fmajor-Cmajor

6-notes maximal harmonic  (Celtic minor) 

intervals patterns 2-2-3-2-2-1 e.g. c4-d4-e4-g4-a4-b4-c5  or I ,II , III, V, vi, vii, I

(It is essentially a chord with 7nth, 6th and 2nd. A mode of it  is known also the (raised) Celtic minor scale of the hang-drums )

Notice that this scale also  suggests a  chord progression by taking chords of the full 7-notes diatonic scale based on the above notes of the maximal harmonic 5-notes scale which has  highest statistical frequency in popular songs:  1(7) , 2m,  4 ,5, 6m E.g. in C major scale it would be C7,Dm, F , G Am. This progression includes both the Blues progression 1 2m 5 , and the most popular 1,4,5,6m.

One very close it is os the Cretan minor scale with interval structure 4-1-2-2-2-1 (e.g. c4-e4-g4-a4-b4-c5) with 4 chords 2 major two minor C , G major and Am Em minor.

8-notes maximal harmonic 

intervals patterns 2-2-1-1-1-2-2-1 e.g. c4-d4-e4-f4-f#4-g4-a4-b4-c5

(mode of it known also as the Bebop dominant scale)

It seems that this maximal 8-notes harmonic scale (also known as bebop dominant) has the property of having  higher  density of minor or major chords per number of notes compared to the 7-notes diatonic . Already the maximal harmonic scales have maximum number of chord among other scales with the same number of notes. It seems also that the maximum density of major/minor chords per number of notes has the 12-notes chromatic scale.

9-notes maximal harmonic  

intervals patterns 1-1-2-1-1-1-2-2-1 e.g. c4-c4#-d4-e4-f4-f#4-g4-a4-b4-c5

I have made flutes , from overtone flutes with maximal harmonic such 5-notes, 6-notes,  8-tone , 9-tone, 10-tone , 11-tone scales!

116. COMPOSING CHORD-PROGRESSIONS BY ALTERNATING FORMS OF POWER-CHORDS.

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As we described in the post 35, power chords essentially are composed by 2 only notes, and are mainly of 3 types, minors, majors, and neutrals. In the same post 35 we described a method of improvisation for relaxation music based on power chords.

We extend this method here as a method of composition of chord progressions.

We choose a base of power chords,B= (Xi, i=1,2.3...n) where the Xi are an arc in the wheel of chords by 4ths.   e.g. i=1,2,3 a minor X1, a major X2 and a neutral X3. Then we compose the chord-progressions as a sequence Xi Y1 Xj Y2 Xk Y3 etc where Xi, Xj, Xk are power chords from the base B. In other words we alternate power-chords from the base with any other type of chords. The result is essentially rather harmonic, and easy to listen. 

Of course this method has an easy extension for relaxing improvisation which is , that we alternate power chords with small pieces of melodies by 2-3 or more notes, pieces of melody without simultaneous chord accompaniment without conscious compatibility rules between the power-chords and the pieces of melodies as they are alternating and not simultaneously sounding.