WAVING AROUND THE SIMPLICIAL SUBMELODY AS IMPROVISATIONAL PARALLEL DIALOGUE COUNTER-MELODY OF THE MELODY
If someone is searching for a fruitful and successful musical combinatorial concept of how to create fast filling improvisational counter-melodies to a melody here is the best concept
(see also post 128 and 183)
And a relevant video of two parallel melodies music
https://www.youtube.com/watch?v=OcHWvl16mpg
The remarks below about waving an improvisation across the vector-chords and around or ending on specific center-notes (also in post 183) can be enhanced by having these center-notes to be the notes of the simplicial sub- melody of the singing melody (the simplicial sub-melody has about one note per underlying chord). Thus such a waving diatonic improvisation (or slightly chromatic waving sometimes with the two blue notes 5# , 2# of the harmonic minor and double harmonic minor) is the parallel dialogue to the melody with a more dense and filling counter-melody
REMARKS ABOUT DIATONIC WAVING AROUND THE NOTES OF ACHORD
2ND LAYER FASTS HARMONIZATIONS OF VECTOR-CHORDS IMPROVISATIONS
E.g. here is a good example of such melodic wavings in the next midi file. It can be considered as chromatic or diatonic waving around each note of the chord but in addition, harmonized with doubles by intervals of 3rds http://www.greeksongs.gr/midis/arampasperna.mid
We should notice that besides such "chromatic waving" or "rotating" within the closure of a triad chord in the normal position, we may have also waving ascending and waving descending or translating, if we expand the chord in two or 3 octaves. And this may be done again with fast-changing harmonization (I, IV, V) with doubles or triads , as long as the duration of the notes outside the chords (the initial and maybe two more within the pattern I, IV, V) are less than the duration of the notes inside the chords or as long as the intervals created by the notes of the melody and the notes of the chords have more 3rds 4ths and 5ths compared to intervals of 2nds.
In all cases, a variational chord progression X(a1), ..., X(ak) will determine as above after determining the vector-chord wavings, an improvisational solo. which has also projection trace on the arpeggio of such chords as harping ,
If someone is searching for a fruitful and successful musical combinatorial concept of how to create fast filling improvisational counter-melodies to a melody here is the best concept
(see also post 128 and 183)
And a relevant video of two parallel melodies music
https://www.youtube.com/watch?v=OcHWvl16mpg
The remarks below about waving an improvisation across the vector-chords and around or ending on specific center-notes (also in post 183) can be enhanced by having these center-notes to be the notes of the simplicial sub- melody of the singing melody (the simplicial sub-melody has about one note per underlying chord). Thus such a waving diatonic improvisation (or slightly chromatic waving sometimes with the two blue notes 5# , 2# of the harmonic minor and double harmonic minor) is the parallel dialogue to the melody with a more dense and filling counter-melody
REMARKS ABOUT DIATONIC WAVING AROUND THE NOTES OF ACHORD
2ND LAYER FASTS HARMONIZATIONS OF VECTOR-CHORDS IMPROVISATIONS
When improvising by "waving" or "rotating" inside the vector chord, we may also add some harmony by playing the improvisational solo as 1st-2nd voice or doubles by intervals of 3 and of course changing them to major minor 3rds so that it belongs to the scale if the roots are in the scale or keeping it the same to the closest such that is in the scale. It can be with doubles or even triads (3-notes chords) which of course will create a fast-changing harmony which is reasonable to accompany with only stable power chord of 5 (interval of 5). Usually, the fast changing of the chords is of the chords I, IV, V (or substituting any one of them with its lower relative minor chord. see also post 159)
E.g. here is a good example of such melodic wavings in the next midi file. It can be considered as chromatic or diatonic waving around each note of the chord but in addition, harmonized with doubles by intervals of 3rds http://www.greeksongs.gr/midis/arampasperna.mid
We should notice that besides such "chromatic waving" or "rotating" within the closure of a triad chord in the normal position, we may have also waving ascending and waving descending or translating, if we expand the chord in two or 3 octaves. And this may be done again with fast-changing harmonization (I, IV, V) with doubles or triads , as long as the duration of the notes outside the chords (the initial and maybe two more within the pattern I, IV, V) are less than the duration of the notes inside the chords or as long as the intervals created by the notes of the melody and the notes of the chords have more 3rds 4ths and 5ths compared to intervals of 2nds.
We must remark here that if there is a melody in the song which is say using the chords X1, X2 X3,...Xn , the melodic improvisational fillings parallel and in between the parts of the melody with instruments like Bouzouki or mandolin or violin or lyre etc , need not keep the same chord-progression X1,...Xn but a permutation of it as well ,although in general, it will use the same chords and rarely more chords but of the same notes-scale or same scale of chords (chord-scale).
In all cases, a variational chord progression X(a1), ..., X(ak) will determine as above after determining the vector-chord wavings, an improvisational solo. which has also projection trace on the arpeggio of such chords as harping ,
If we are composing e.g. in a midi editor the above perceptions are adequate for easy composition of melodies. But if we are playing an instrument and we want to improvise, then instead of having as center the arpeggio of a chord to improvise diatonically or chromatically around it it ir ending at it it is easier to think of waving around or ending at centers that are not chords but notes that are away by intervals of 3rd, 4th, 5th 8th (e.g. the notes of a simplistic sub-melody). Thus multi-octave-scales that cover all notes of the diatonic scale and are made exclusively from intervals of 3, 4, 5 , 7 , 8 or 9 semitones are of interest and there is a special post 200 for this technique.
