153. SWING JAZZ CHROMATIC RE-HARMONIZATION OF SONGS

(This post has not been written completely yet)

It is know that in Gypsy Jazz , it is  usual to  adopt lovely and well known songs to swing Gypsy jazz, usually by extending the major chords X to the X6 version of them (X+ lower relative minor of X), plus use a fast (sometimes 4 times faster than a calm beat ofthe heart) tempo , which gives its dancing swing character.

This usually increases the percentage of  minor chords to the original chord progression, resulting to a higher than 50%  percentage of minor chords.

The most common chord progressions in such minor jazz ar based on the simulteneous and rather fast modulations between the next minor chords with the same root e.g. D4

1) D4 natural minor,
2) D4 harmonic minor
3) D4 double harmonic minor
4) Melodic minor

And in the above example of D4 the most common chord progressions (with various permuations)  is  the tetrad

B7  E7  Am  Dm  

We should notice that no single minor scale has the above progression but , a shifting among the 1) 2) 3) scales does have this chord progression.

Now is it possible to do a similar adoption of songs, that will result at about 50% of minor and major chords? The answer is yes,and it is the chromatic re-harmonization, which is most often interpolating chords X0 ,X1 X2 ...Xn between the Chords X -> and Y of the original chord progression, so that X=X0->X1->X2->X3 ....Xn=Y etc are a shortest possible path of successive chords in a diatonic scale , in other words differing by an interval of 2nds. When doing so we may start from a minor chord to end at a major chord or vice versa (from sadness to joy or vice versa) Alternatively if the initial harmony is a scale of chords which is a connected arc in the wheel by 4ths then a rule is to create a perturbation of  these  chords with their 1 semitone neighboring diminished or augmented chords (that are an interval of 2nd apart thus chromatic perturbation) keeping nevertheless the basic harmony as a connected arc in the wheel by 4ths .  This also allows for easier solo improvisation fitting the new chromatic re-harmonization of the original chord progression. Now because in a diatonic scale the minor chords are about equal in number with the major chords, the resulting re-harmonization w ill tend to have about 50% minor and 50% major chords.

We may compare this re-harmonization with the melodic re-harmonization of the post 154 and the harmonic re-harmonization which is to interpolate between two chords X1->X2 a third chord  Y (X1->Y->X2) so that the Y is a 7nth chord in harmonic relation to X2 and resolving to X2 (e.g. if X1=C and X2=G then Y may be Dm7, in total C->Dm7->G . Other example is X1=Am X2=F and then Y=C7 , in total Am->C7->F)

Of course the best songs to modify so are those that their scale of chords is an harmonic one in the sense that is a connected arc of chords in the wheel by 4ths.

https://www.youtube.com/watch?v=80ZlQ0iTY_g&ab_channel=CoenModder-PianoCouture

https://www.youtube.com/watch?v=T2WV80h3P04&ab_channel=MangoldProject

OTHER TYPES OF RE-HARMONIZATION HERE IN JAZZ HERE 

7-LEVELS OF RE-HARMONIZATION

https://www.youtube.com/watch?v=ys0zXG_sZ4Y&ab_channel=8-bitMusicTheory

https://www.youtube.com/watch?v=1KqJrjYcgnI&ab_channel=RuslanSirota

152. Why improvising in Swing Jazz is rather easier than the improvisation in other forms of music.

(this post has not been written completely yet)

Swing jazz was initiated by the swing dancing so the rhythmic rather fast (usually 4 times faster than the beat of the heart).
A remarkable example of such improvisations is with the Stephan Grappelli on the violin.
In this Jazz is included also the Gypsy jazz which relative to the rest of the Swing jazz has a percentage of  minor chords significant larger than the percentage of major chords.

There are mainly 4 reasons why improvisation in Swing Jazz is easier


1) The rhythm is fast enough so that , in the improvisation we may have one note per beat, thus the beat is leading the improvisation.

2) As swing is dancing we may imagine the improvisation over notes as dancing steps, that repeat notes more when they are notes of the underlying chord therefore the improvisation fits with the chords easier. The steps  are usually intervals of 2nd (one or 2 semitones) and not larger as in Irish or Latin folk music. A rule is that the transient notes to the chords are 1 or 2 semitones away from notes of  the chord and always between lowest and highest note of the chord (either 3-notes or 4 notes chord) . If about equal time per note will guarantee that as the notes of the chord  are more compared to the transient notes, they also sound more time time. Another general rule is that  : "The improvisation is done mainly by using in variable order tones and semitones only , as "continuous" moving inside the 12-note chromatic scale till it finds the note that sounds as desired , then stays longer on that and so on".  In other words the melodic triplets used are statistically mostly 2-1, 1-2, and more rarely 2-2, 1-1. Some people conceive its as if using the diminished scale all the time : 2-1-2-1-2-1-2-1 . Completely chromatic long moves by semitones is avoided but also is avoided moving with intervals larger than 2nds. These two rules are quite easy for an intuitive  improvisation on any scale and chord progression.

3) The chords are larger in number per number of melodic notes compared to other folk music , and follow a close harmonic contingency transition progression, therefore,  it is easier to find improvisation melodies to fit such chord progressions, as most of the motions is already determined by the chord progression. About half of each melodic theme is within one chord (3-4 different notes per 3-notes chord or 4-5 different notes per 4-notes chord) .

4) Because is was essentially dancing music, the melodic and harmonic meaning and pattern of repetitions of the music should be simple enough for the dancer to follow. But this makes also easy for the improviser to create melodic movements too.

151. Internal and external harmony of a chord in a scale and chords-melodies fitting

(this post has not been written completely yet)


We are used to think that the harmony of  chord are the intervals between its notes. Nevertheless this is only the internal harmony of  chord! The external harmony of the chord in scale is the structure of intervals between any note of the scale and the notes of the chord.

The degree of fit of melody to a chord is mainly based on the extenal hamony of each note of the melody relative to the chord.


And as there are good and bad internal harmonies for chord so there are good and bad external harmonies of chord relative to a scale.
We classify here some external harmonies based on the total harmonic score of the external intervals in post 40

In the next we will compare the external harmony in a major-mode diatonic scale of the I-step major chord, with the external harmony of the IV-step and V-step major chords.

150. FINGER PICKING STYLE WITH ALTERNATING MINIMAL CHORD TRIADS AND MELODIC THEMES IN A SINGLE STRING FOR 4-COURSES FRETBOARDS. AE-DAE Systems and scales of 3-notes chords with the 9 smallest possible chord-shapes .

(This post has not been written completely yet)

In this post we introduce systems of shapes for 3-notes major or minor or diminished  chords, of a single diatonic scale ,  based on the standard open tuning  of Greek 4-courses bouzouki  (CC-FF-AA-DD) and  tenor Ukulele (GG-CC-EE-AA) or baritone ukulele (DD-GG-BB-EE) which as open tuning are the chords Dm7 and Am7 and Em7 respectively   but in 1st inversion the mnor and 2nfinversion the major (inverted open tuning)  . And also for the tuning respectively for these instruments in normal position of Dm7 and Am7 and Em7 (normal position open tuning) which are  (DD-FF-AA-CC), (AA-CC-EE-GG) and  (EE-GG-BB-DD) respectively. See also post 90 about the harmonic tuning of the 6 string or 6-courses, guitar.

The normal position open tuning has the advantage that  the shapes of the diatonic scale derived by 2 adjacent 4-notes chords can be with only 2-notes per string! Also all 2-voices intervals by adjacent 2-strings derived  from the chord shapes are always intervals of 3rds thus 1st-2nd voice or 2nd-3rd voice  , because the chords are in normal position.

Based on this system  of 3-notes shapes, all the fretboard is charted , and therefore is is "unlocked" for easy and fast "in the flow" improvisations either as 4-notes chords or 3 notes chords or 2-notes intervals or single notes scale ,which here are the F major, C major and G major scales respectively. If we include the 2 inversions besides the normal position of a minimal triad , and include also two inversions of diminished such triads and one for the augmented triads we get in total 9-different shapes of triads that as 4-notes chords are  the usual a, e or d shapes (see post 3 about the DAE system on the fretboard)and give respectively for the privileged diatonic scale of the fretboard the Ionian, Aeolian and Lydian modes respectively. We may standardize the 3 basic chord relations on both 3-string rows of the 4-courses fretboard ,to have that chromatic and melodic relations of two chord triads are played always horizontally, while the harmonic relation always vertically.

Many know the story of the remarkable Django  Reinhardt , how discovered and created much of the Gypsy Jazz. In his story after a fire accident he was left with only 2 fingers functioning in is left hand . Still it is reported that Django re-educated himself to play the guitar with only 2 fingers in the left hand. Now by listening to his remarkable gypsy-swing jazz, we realize that he was playing not only marvelous solos but also marvelous chord progressions. How this is possible with only 2 fingers? The classification of the minimal triads in this post , proves that actually it is possible to play all the minor or major chords in the guitar fretboard even with one only finger!

We describe a scale of chords of such smallest  possible (or minimal in umber of frets used or minimal triad-shapes which is 1 or 2 only frets) chord-shapes which is identical with the chords of a diatonic scale. But such triads (=3-notes chord-shapes) may define more general scales of chords (see post 148).

The main advantages of using such minimal triad chord-shapes of  1 (or 2) only frets are the next 

1) Greater number of major or minor triads per number of frets, thus easier chord playing

2) Less number of chord-shapes, thus easier guitar to learn . Only 5-shapes for 3-notes chords in each of the two above type of tuning and only 4-shapes for 4-notes chords with 7nths. Finally for only major or minor chords there are only 2 easy shapes of 4-notes chord , which can be used for strumming too, that cover all chords of the diatonic scale. In total for the 3-notes shapes for both ways of tuning and for major, minor, diminished, and augmented chords there are only 7 different shapes! By using a double line of triad shapes upper and lower, we can even play all major and minor chords with single shape which is the smallest one inside only in one fret!

3) The shapes of chords require less number of frets (only 1 or 2 for the triads, of minor, major, diminished or augmented chords that cover at least  the diatonic scale and the harmonic minor and double harmonic minor scales ) .Therefore it is easier and tiring the hand to play  chords in such scales of chords.

4) As the triad shapes e.g for a diatonic scale are non-overlapping, it is easier to plan the moves of chord progressions in advance and remember them.

5)  In the 2nd tuning (the normal position open tuning e.g.  (DD-FF-AA-CC) etc ) the 1st inversion chords require only 1 or 2 frets, thus have easier shapes and are easier to play

6) The distribution of such minimal triad shapes on the fretboard for a diatonic scale is very symmetric and easy to remember. It is an eye of remarkable simplicity in the full complexity of the fretboard. We usually start with a distribution of the triad chords of the diatonic scale I , ii, ii, IV, V vi, vii, I' and then we deviate from it

7) Because the voicing of the chords is the minimal it is crystal clear harmony. Especially for the normal position open tuning, the triad chords are also in normal position, and the voicing  is even more natural.


8) In the melodies the notes are closer in total thus easier  to find with the fingers


All the above advantages together allow for a low difficulty threshold for improvisation "in the flow"

E.g. when the scale of chords is identical with the chords of diatonic scale of notes.


An relatively easy and safe way to produce   mesmerizing  monotone but beautiful "in the flows"  improvisations , 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, 1M)

and in addition to an instrument tuned normal position open tuning fr 4-curses string instruments or harmonic tuning for a 6-courses guitar (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# notes of the harmonic minor or double harmonic minor, or other like 6#=7b. E.g. alter the 3m to 3M7 or to 3dim  to include 2# etc

For improvisational solos, that fit harmonically to each such 3-notes minimal number of fret chords, in the guitar (mainly 4-courses string guitar), the simple rule of 2 only notes outside the notes of the chords plus all notes of the triad chord and duration of the note in the average about equal is a rule that works very well.

MORE ON TRIAD CHORD 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

https://www.youtube.com/watch?v=YSKAt3pmYBs

THE BEST WAY TO LEARN THE FRETBOARD IN ANY OPEN TUNING (E.G, OVERTONES TUNINGS OR THE CURRENT TUNING IN THIS POST) IS BY CONCEIVING THE FRETBOARD AS OF A DIATONIC INSTRUMENT, MARK THE DEFAULT PREFERED DIATONIC SCALE ON THE FRETBOARD, AND LEARN THE 3-NOTE CHORDS NORMAL FORMS (ON 3 CONSECUTIVE STRINGS) IN THIS SCALE AND TUNING.

THEN FIGURE OUT THE BASIC 3 INVERSIONS OF A TRIAD CHORD (EQUIVALENT TO THE DEA-SYSTEM) AND CORRESPOND TO EACH INVERSION D, OR E OR A,  THE MODE OF THE DIATONIC SCALE THAT IT GIVES. 


THEN LEARN THE MINOR CHORDS HARMONIC TRIPLET OF CHORDS AND MAJOR CHORDS HARMONIC TRIPLET OF CHORDS OF THE DIATONIC SCALE WITH ANY CONVENIENT INVERSION ON THE FREBOARD.


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. 

THE GENERAL PATTERN OF A CHROMATIC DOUBLE SCALE OF CHORDS 

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. 


INCORPORATION OF MELODIC THEMES:

NEW STYLE OF FINGER  PICKING WITH MINIMAL TRIADS AND MELODIC TRIAD THEMES ALONG A SINGLE STRING.

The minimal triads can be alternated with melodic themes to create a new style of finger picking with greater freedom in interaction of harmony with melody.

The simplicity rules here is that 

1) Keep the melodic themes between minimal triad chords on a single string, and usually as perturbations  of the privileged diatonic scale of the 4-courses fretboard so that when ending or starting a melodic theme, it is easy to chose the minimal chord triad that will contain the last (or first) note. Use translation ,inversion, isocratic expansion and mutation to the melodic themes. A mutation is usually by changing string and waving pattern of the melodic theme.

2)  Prefer to combine melodic themes with minimal chord triads so that the note of the melody is the highest note of the triad. In this way we may create also nice triad-melodies (usually in ukulele playing) or 2-notes (voices)  power chord melodies (usual in Bouzouki playing)  

3) The horizontal soloing triads are 3 notes that are played in a single string and make a total of an interval of 3rd ,  or 4th or 5th fitting to a chord or also an interval of 2nd  . They are in semitones the next  18. 

Chromatic-Melodic 1-1, 1-2, 2-1 , 2-2 , 1-3, 3-1, 

Harmonic 2-3, 3-2, 1-4, 4-1 , 1-6, 6-1, 5-2 , 2-5 , 3-4 , 4-3, 4-4, 3-3 

From them those that have total length an interval of 2nd or 3rd may be called chromatic-melodic triads and are the next  6 , 1-1 , 1-2, 2-1 , 2-2 , 1-3, 3-1. 

4) Irish music makes much use in the melodies of intervals of 3rd. This can be played with the minimal triads by converting the 3-notes chords to a 3-notes soling triads and adding also one of the previous chromatic triads in the melodic themes.

Notice that the soloing chromatic 4-notes or quadruples , defined by 4 notes sounded successively and with consecutive intervals of 2nds  are the next 8 .
1-1-1,  1-2-1 , 2-1-1 ,1-1-2 , 2-2-1, 1-2-2 , 2-1-2 . 2-2-2 

149. A CONCISE METHOD OF COMPOSITION OF THE MUSIC OF A SONG WITH HARMONY AND MELODY IN EQUAL IMPORTANCE

The process is by choosing the rhythm and harmony at first in the form of a scale of chords, and then creating at the same time the melody and the chord progression.



0) We find the lyrics if any.If not then we just compose a music of a song without words.

1) We chose the rhythm of the music of the song

2) We chose a scale (or set) of chords (See also post 148. It is in the general case many scales of notes with predetermined modulations among them)

3) We utilize the 11-shapes of melodic micro-themes as in post 107 (or Dolphin-words.)

We want to shift usually from sorrow to joy, therefore we start with minus polarity and/or contracting shapes of the 11-shapes of melodic micro-themes, that are over usually non-major chords of the scale of chords. We translate them over succeeding chords of the scale of chords. We proceed to invert the polarity of the melodic micro-themes over now major chords of the scale of chords.

Although the shapes from the 11-basic shapes of the melodic micro themes are predetermined their actual notes are not determined but only after the choice of the underlying chord.

There are most convenient correlations among the basic 4 variations of melodic themes (translation, simplification, inversion, expansion) with the basic 4 relations of chords (chromatic, melodic harmonic, emotional [which is transitioning from a major to a minor or diminished or augmented]) .

1) The variation of melodic themes inside the chord is usually the expansion

2) The variation of melodic themes at a chromatic or melodic or harmonic chord transition is usually the translation or simplification.

3) The variation of melodic themes at an emotional chord transition is usually the inversion. 

See also post 156.

Therefore we have an interplay between the  next-shape from the 11 of melodic micro-theme and next chord from the scale of chords. On this the experimentation and emotional feelings of the results are of crucial role.


4) We proceed to define the pattern of repetitions (of melody parts and parts of the chord progression).

5) We chose an arrangement with instruments. Simplistic arrangements of 2, 3 or 4 only instruments give the best results. E.g.
a) A guitar playing the chord progression
b) A bass playing one note from each chord
c) A wind playing an harmonic or chromatic or other simplicial sub-melody , which is again usually one note per chord (see e.g. post 109).
d) An instrument playing the melody. e.g. mandolin or a wind again.

E.g. in case the scale of chords coincides with a diatonic scale , then we can realize part of the arrangement with a Celtic  harp (or piano). A classical guitarists will have finger nails only in his right hand. When playing e.g. the Celtic harp, the right hand will play the solo and the chords in an rather alternating way, while his left hand at lower notes will play the bass by one note per chord, or one of he simplicial sub-melodies.

THE SONG IS READY AND WE RECORD IT.



APPENDIX

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. 

Such constant alternating patterns of chord relations somehow determine also that the melodic themes (either within a single chord or within a chord transition), are structured and translated or inverted or expanded with similarly alternating intervals of 2nd, 3rd or 4th/5th. 

THE GENERAL PATTERN OF A CHROMATIC DOUBLE SCALE OF CHORDS 

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. 

Such constant alternating patterns of chord relations somehow determine also that the melodic themes (either within a single chord or within a chord transition), are structured and translated or inverted or expanded with similarly alternating intervals of 2nd, 3rd or 4th/5th. 



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

https://www.youtube.com/watch?v=YSKAt3pmYBs