Here is about how improvisation was carried out in ancient times and is still carried our by the lovers of the 1st civilizational generation music (see post 265).
The translation/transposition of a simplicial melodic theme retains its cahracter as chromatic , melodic or harmonic.
The inversion of a simplicial melodic theme inverses the + to - andthe - to +
The expansion/contraction of a simplicial melodic theme e.g. an expansion changes a chromatic to a melodic or harmonic and a melodic to an harmonic. A contraction changes an harmonic to a melodic or chromatic and a melodic to a chromatic.
THE KEY-WORD HERE IN THE 4TH GENERATION DIGITAL MUSIC FOR THE MUSICAL-THEORETIC IDEAS OF THIS POST (AS FAR AS MORDEN SOFTWARE FOR MUSIC MAKING IS ) IS MELODY-SEQUENCERS AND ARPEGGIATORS
THE TERM SEQUENCER MEANS HERE A LOOP OR RHYTHMIC CYCLE OF A MELODIC THEME THAT IS VARIATED INTERACTIVELY BY THE USER IN A MELODIC SEQUENCER.
THERE MANY GOOD SOFTWARE PROGRAMS FOR THIS COMPOSITION AND IMPROVISATION LIKE FUGUE MACHINE, YAMAHA MOBILE SEQUENCER, THUMPJAM ETC. ALSO ARPIO AND ARPEGGIONOME FOR GENERAL ARPEGGIOS ALTERNATED WITH MELODIC IMPROVISATIONS
1) THE RHYTHMIC THEME (A PERCUSSION INSTRUMENT)
In addition to the percussion instrument 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 , expansion/contraction and rotation-mutation.
2) THE 5 OR 6 OR 7 NOTES SCALES
3) THE NOTES THAT THE MELODY STAYS MUCH LONGER (CENTERS THAT MAKE THE SIMPLICIAL SUB-MELODY)
3) THE NOTES THAT THE MELODY STAYS MUCH LONGER (CENTERS THAT MAKE THE SIMPLICIAL SUB-MELODY)
4) ALTERING THE SCALE TO CREATE SCALES PROGRESSION
5) REPETITION PATTERNS IN THE SCALES PROGRESSION
6) ISOCRATIC NOTES
7) ISOCRATIC NOTES IN STRING INSTRUMENTS WITH FRET BOARD AND TUNING BY 5THS OR 8THS AND COMBINATIONS
8) NO UNDERLYING CHORDS AND NO INSTRUMENT PLAYING ANY ACCOMPANYING CHORD.
9) BEST INSTRUMENTS FOR THIS TYPE OF IMPROVISATION. THE HARP WITH LEVERS AND.OR PEDALS.
9) BEST INSTRUMENTS FOR THIS TYPE OF IMPROVISATION. THE HARP WITH LEVERS AND.OR PEDALS.
IF THE CENTRAL ENTITY IN HARMONY IS THE TRIAD CHORD THE CENTRAL ENTITY IN MELODY IS THE MELODIC THEME AND IN PARTICULAR THE OVERSIMPLIFIED VERSION OF SIMPLE MELODIC MOVE BY AN INTERVAL AS TRACED IN SIMPLIFIED WAY BY THE SIMPLICIAL SUBMELODY.
Based on the above, the themes in the simplicial sub-melody as simple moves are of two polarities up (+) or down (-) and of three sizes Chromatic (symbol C) by intervals of 2nds, Melodic (symbol M) by intervals of 3rd and Harmonic (symbol H) by intervals of 4th, 5th, 8th or higher. Then the progression of the simplicial melodic themes in the song will have a symbolic form like E.g.
H(+)M(-)H(-)M(+)C(-)M(+)H(+).......etc
The translation/transposition of a simplicial melodic theme retains its cahracter as chromatic , melodic or harmonic.
The inversion of a simplicial melodic theme inverses the + to - andthe - to +
The expansion/contraction of a simplicial melodic theme e.g. an expansion changes a chromatic to a melodic or harmonic and a melodic to an harmonic. A contraction changes an harmonic to a melodic or chromatic and a melodic to a chromatic.
