(This post has not been written completely yet)
After the very basic meditative improvisation with one only note (the root of a scale) as accompanying harmony, the next step of simplicity is the single accompanying chord melodic improvisation.
Here the technique of the CHORD-LOCAL 7-NOTES SCALE OF A CHORD (chord-courtyard scale ) applies. See post 102, 103 and 110, 159
Here is an example :
But also this can be elaborated to a double chord triad method. In other words, we may use two triads of two chords the one is the underlying e.g. X and the second Y has one or two common notes with X7 (or Xmaj7 or X6) and we alternate the two triads as successive notes of a melody. The result is a sequence of notes that more than 50% or 66% notes belonging to the chord X7 or X6. Thus the method of long-short parts melodic and rhythmic micro-themes of post 77 applies.
Here is an example https://www.youtube.com/watch?v=ZDuegoLXaR0&t=241s
The single accompanying chord can be a power chord X5, e.g. C5=(c, g) that the root and dominant only of a diatonic scale. Then As Y can be any chord of the diatonic scale except the minor chord on the 2nd note (Dm in C major diatonic scale) And in general the melodic improvisation can be the arpeggios of a chord progression!
Here is an example
https://www.youtube.com/watch?v=VtVFWOBH2tI
More ideas here
https://www.youtube.com/watch?v=qKVp44tAZQ0&pbjreload=10
Here are one chord backtracks for practice.
https://www.youtube.com/watch?v=NasVe9Q04_M
https://www.youtube.com/watch?v=e3ciXPKqq0w&t=632s
https://www.youtube.com/watch?v=xMNcv-i7Ado
https://www.youtube.com/watch?v=2NJOidKkzHo
etc.
After the very basic meditative improvisation with one only note (the root of a scale) as accompanying harmony, the next step of simplicity is the single accompanying chord melodic improvisation.
Here the technique of the CHORD-LOCAL 7-NOTES SCALE OF A CHORD (chord-courtyard scale ) applies. See post 102, 103 and 110, 159
When spending time with the melody with an underlying chord the best idea is to have the chord in 4-notes form e.g. like a with 7nth or with 6th, and in the current octave or in the next. Then start the melody at a note of the chord and end it again at a note of a chord in this or the next octave. For example, we may compose the melody from 3-notes micro-themes, the first and last inside the chords and the middle possible outside the chords. Since the chord has 4-notes and the scale 7 notes the passing or transient notes are only 3, less than the 4 of the chord, therefore, any such melodic theme fits harmonically to this chord.
Here is an example :
But also this can be elaborated to a double chord triad method. In other words, we may use two triads of two chords the one is the underlying e.g. X and the second Y has one or two common notes with X7 (or Xmaj7 or X6) and we alternate the two triads as successive notes of a melody. The result is a sequence of notes that more than 50% or 66% notes belonging to the chord X7 or X6. Thus the method of long-short parts melodic and rhythmic micro-themes of post 77 applies.
Here is an example https://www.youtube.com/watch?v=ZDuegoLXaR0&t=241s
The single accompanying chord can be a power chord X5, e.g. C5=(c, g) that the root and dominant only of a diatonic scale. Then As Y can be any chord of the diatonic scale except the minor chord on the 2nd note (Dm in C major diatonic scale) And in general the melodic improvisation can be the arpeggios of a chord progression!
Here is an example
https://www.youtube.com/watch?v=VtVFWOBH2tI
More ideas here
https://www.youtube.com/watch?v=qKVp44tAZQ0&pbjreload=10
Here are one chord backtracks for practice.
https://www.youtube.com/watch?v=NasVe9Q04_M
https://www.youtube.com/watch?v=e3ciXPKqq0w&t=632s
https://www.youtube.com/watch?v=xMNcv-i7Ado
https://www.youtube.com/watch?v=2NJOidKkzHo
etc.
