(see also post 17 and post 32)
The most common scale of chords is a connected arc of chords in the wheel by 4ths. That is 3 or 4 or 5 or 6 chords , that each is a pure 4th (or pure 5th) away from the previous and it is either major or minor chord. Two such successive chords have one end-note in common. This is the equivalent of the traditional scale, and because the chords may turn from minor to major and vice versa, it is in fact a bundle of different scales with modulations between them. A simple way to improvise over such a "scale" of chords is to play the melody, go up and down according to the demands of the emotions, and then use the chords as areas around the main and more permanent notes of the melody (simplicial sub-melody or centers of the melody) , but putting these centers of the melody as middle notes usually (but not only) of the chords of the chord-scale. To be more certain for the good result we may alternate the melody with the chords, but use only chords of the predetermined scale of chords. (See also post 147 for combining melodic themes with chords).
One of the simplest scale of chords is 3 consecutive chords in the cycles of 4ths.
E.g. in the C major diatonic scale
Dm->G->C (Western Jazz) (m-M-M) (happy)
G->C->F (Irish folk) (M- M- M) (happy)
Em->Am->Dm (Eastern folk) (m-m-m) (sad)
Bdim->Em->Am (Eastern Jazz) (d-m-m) (sad)
other combinations of major M, minor m, diminished d and augmented aug are
We may start with a sad triad of chords and end with a happy one shifting by an interval of 3rd or even with the same roots but changing the type of the chord.
Other example is the next scale of chords
is a scale of chords of the simple type, that is a connected arc in the wheel of chords by 4ths, and the specifications of diminueta, minor or major are set so that the particular scale of chords is also the chords of the major diatonic scale of notes!
Nevertheless we can alter that specification of the chords in which case more than one scale are produced:
The E(m) means either major chord E or minor chord Em etc
The next scales of 7-chords have only two minor chords which complies with a desired ratio of minor chords not more than 1/3 of all chords
Or we may alternate minor major once at odd chords and once at even chords e.g.
Larger scales are from 12-chords
Other simpler scales from chords are of 4 only chords e.g.
G->C->F ->Bdim7 etc
G->C->F ->Caug(or G#aug) etc
or they can be based on wheel by 3rds and alternating minor major relative chords
G->Em->C->Am->F >Dm->G etc
THE GENERAL PATTERN OF PROGRESSIONS WITH ALTERNATING CHORD-RELATIONS OF
CHROMATIC-MELODIC ,CHROMATIC-HARMONIC , HARMONIC-MELODIC , HARMONIC-HARMONIC, MELODIC-MELODIC, CHROMATIC-CHROMATIC CHORD-TRANSITIONS.
This is a progressions X1->X2->X3->...->Xn where the Xi->Xi+1 and Xi+1->Xi+2 is an alternation of chord relation and transitions of the chromatic-melodic , chromatic-harmonic, melodic-harmonic, chromatic-chromatic, melodic-melodic or harmonic-harmonic relations.
Here is an alternative way to produce not harmonic scales of chords (based on the harmonic relation of chords) but chromatic scales of chords based on the harmonic relation of chords but which still involve the other two chord relations the melodic and the harmonic
WE START WITH A CHROMATIC CADENZA OR ASCENZA in semitones 2->2->1 or 1-3-1 or 1-3-1-1-3-1 in harmonic and double harmonic minor scales, and we paralel chords rooted on such notes X1->X2->X3->X4 with chords
Y1->Y2->Y3->Y4, such that the relation of Xi with Yi is either in a relation of being relative chords (melodic relation of chords) or a 4th apart (harmonic relation of chords)
Of course the less total number of different chords that we may use is better and it sounds more familiar if such chords belong to an harmonic personality (diatonic or harmonic minor or double harmonic minor etc).We may use either minor or major chords.
TRIPLE ALTERNATION OF CHORD-TRANSITIONS
More generally and we paralel chords X1->X2->X3->...->Xn that are in one of the relations chromatic, melodic harmonic , with chords X1->X2->X3->...->Xn so that the relation of Xi with Yi is always constantly in one of the 3 basic relations relative chords (melodic relation of chords) or a 4th apart (harmonic relation of chords) .
When playing the scale as progression X1->Y1->X2->Y2->... it is equivalent with having a triple alternation of chord relation and transitions of the chromatic-melodic , chromatic-harmonic, melodic-harmonic, chromatic-chromatic, melodic-melodic or harmonic-harmonic relations and a third which is variable.
This method of composing a melody, is more general and more comprehensive than composing a melody within a single scale of notes. It results composing melodies in many different scales and modulations between them, but the simplicity is still kept as set of chords (scale of chords) rather than scale of notes.
Here is a way when the scale of chords is identical with the chords of diatonic scale of notes.
An relatively easy and safe way to produce such mesmerizing monotone but beautiful flows of improvisation , is to use scale of chords as in post 148. And in particular a very familiar scale of chords that are the chords of diatonic scale:
I , ii, ii, IV, V vi, vii, I' (=1M, 2m, 3m, 4M, 5M, 6m, 7dim 1'M)
and in addition to an instrument tuned by the harmonic tuning (see post 90) so that there is a densest possible opportunity of major or minor chords per number of frets.
Some of the variation techniques to walk this scale of chords are
1) Walk in the chromatic order up and down (all then only odds then only even)
2) Walk in the relative chords order up and down
3) Walk in the resolution or harmonic order by 4ths or 5th order up and down
4) Walk only the minor chords first descending and then the major chords ascending
5) Walk in the 4-notes chords (major 7nth extension of the chords) up and down, all then only even then only odd
6) Walk in a half scale (in the chromatic order) up down then other half up and down.
7) Walk in a random way either 3-note chords or 4 notes chords
8) Alter some chords to include the 5#, or 2# of the harmonic minor or double harmonic minor, or other like 6#. E.g. alter the 3m to 3M7 or 3dim etc
MORE ONCHORD RELATIONS AND THEIR PSYCHOLOGICAL MEANING HERE
M symbolizes major chord m the minor chord and the number in between the distance of their roots in semitones