LONGITUDINAL CHORDS:
The 5-notes (pentachord or 5-fold) methods of improvising over a triad chord with violin, lyra , panflute and Celtic harp.
The concept of 5-fold scale-closure of atriad chord and melodic improvisation on it ,is the binding entity of the rhythm-melody-harmony in the improvisation at least at one layer of complexity.
The fivefold is the concept of longitudinal-chord , e.g. on single string, as contrasted to the concept of transversal-chord of many strings simulteneously.
The "arpeggios" inside such a 5-fold may be called ROTATIONS or PERMUTATIONS ofthe 5-fold.
As we have mentioned before too, a criterion if a piece of melody is fitting to an underlying or accompanying chord is if at least 50% of the time of the melody the notes of the chord are sounding. This is not the only criterion. Let us call it the 1st criterion. Actually this is a rather strict criterion. Another more loose criterion that we call here the 2nd criterion is that the intervals created by the notes oft he melody and the chord are more than 50% intervals of 3rds 4ths, 5thsor 8ths and larger rather than intervals of 2nds.
The 5-notes (pentachord or 5-fold) methods of improvising over a triad chord with violin, lyra , panflute and Celtic harp.
The concept of 5-fold scale-closure of atriad chord and melodic improvisation on it ,is the binding entity of the rhythm-melody-harmony in the improvisation at least at one layer of complexity.
The fivefold is the concept of longitudinal-chord , e.g. on single string, as contrasted to the concept of transversal-chord of many strings simulteneously.
The "arpeggios" inside such a 5-fold may be called ROTATIONS or PERMUTATIONS ofthe 5-fold.
As we have mentioned before too, a criterion if a piece of melody is fitting to an underlying or accompanying chord is if at least 50% of the time of the melody the notes of the chord are sounding. This is not the only criterion. Let us call it the 1st criterion. Actually this is a rather strict criterion. Another more loose criterion that we call here the 2nd criterion is that the intervals created by the notes oft he melody and the chord are more than 50% intervals of 3rds 4ths, 5thsor 8ths and larger rather than intervals of 2nds.
1) GENERAL METHOD Now if we utilize only 5 notes of the full chromatic 12-notes scale 3 of which are the notes of the triad chord X, then if we improvise a melody M which in the average stays about equal time to these 5 notes then according to the 1st criterion this melodic improvisation M fits the chord X. We call this the 5-notes methods of improvising over a triad chord.
2) THE CHROMATIC INSTANCE In particular, these 5 notes maybe the closure of the chord (see post 183 CLOSURE OF A CHORD OR VECTOR-CHORD VERSUS ARPEGGIO OF A CHORD FOR IMPROVISING OVER A CHORD) or vector-chord of the chord. This is a rather chromatic method of improvising over the chord it is best when the improvisation over a chromatic minor scale. As we mentioned if we improvise a melody M which in the average stays about equal time to these 5 notes then according to the 1st criterion this melodic improvisation M fits the chord X.
3) THE MELODIC INSTANCE Another method is the melodic method of extending the chord X by a3rd lower of the root note and a 3rd higher of the highest note. We make sure that the extended 3rds together with the inner 3rds of the chord are laternating major-minor 3rds E.g. if the triad chord is the major C-E-G, then we extend to the A-C-E-G-B, If the triad chord is the minor A-C-E we extend to the F-A-C-E-G. As we mentioned if we improvise a melody M which in the average stays about equal time to these 5 notes then according to the 1st criterion this melodic improvisation M fits the chord X.
In addition for every such chord or chord transition we may have a morphological rhythmic pattern E.g. A1 B1 B2 B3 or A1 A2 A3 B1 , which shows how the melodic theme is repeated or varied by translation inversion contraction/expansion and rotation-mutation.
In addition for every such chord or chord transition we may have a morphological rhythmic pattern E.g. A1 B1 B2 B3 or A1 A2 A3 B1 , which shows how the melodic theme is repeated or varied by translation inversion contraction/expansion and rotation-mutation.
In post 103. (HOW TO CREATE MELODIES FROM A CHORD PROGRESSION 2/2: THE CHORD-LOCAL 7-NOTES SCALES OF A CHORD PROGRESSION AND THE MELODIC THEMES VARIATIONS THAT THEY DEFINE) we combined the chromatic 5-notes neighbourhood of the chromatic instance and he melodic instance and we created the 7-notes local neighborhood scale of a chord and hopefully of the chord progression.
