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.
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
