THE MISSING SIMPLICITY LAYER BETWEEN ONE NOTE OF A MELODY AND ITS UNDERLYING CHORD: THE PROGRESSION OF THE SIMPLICIAL MELODIC THEMES (DOLPHIN WORDS) OF A COMPLICATED MELODY.
We may create such nice loops, of 2 or 3 or more chords and parallel melodic themes as "dolphin words" with arpeggiator applications in ipad like chordion, dot melody, arpeggist , fugue machine, ioniarics polyrhytmic arpeggiator , touchscaper etc (see post 12 )
We must notice that many application create looping melodic themes that are any sequence of notes, which allows for the loop to be acctually a repeating sequence of smaller melodic thems M1 M2 M3 ...Mn (or "dolphin words") one for each chord C1 ,C2 C3,...Cn of the cycle of chords.
Examples of such progressions of simplicial melodic themes (or Dolphin words) are the next (each vector-arrow is an oriented interval that fits to a single or more underlying chord(s)).
Or
Or
Or
AS THE COMBINATION SIMPLICIAL MELODIC MOVES (ORIENTED INTERVALS) CREATE PATTERNS THAT ARE CALLED "DOLPHIN WORDS" , WE MAYS AS WELL CLASSIFY THE "SIMPLICIAL DOLPHIN WORDS" . The simplest such patterns are of course the 3: 1) THE CYCLE 2) THE ASCENDING SEQUENCE 3) THE DESCENDING SEQUENCE. They can be defined also by requiring that the Simplicail dolhin words are also the connected components of the melody. The mathematical topology that should be defined b th concept of "contact of a notea nd the melody so far " in order to define also the connected components . And the contact is defined by 1) Loooking back n-notes (e.g. n=4) 2) Assuming that the contact of the note and of the previous melody so far is broken if an interval larger than 2nd appears between the note and the last n-notes.
SEE ALSO POST 293
HERE THE PREVIOUS SIMPLICITY CAN BECOME COMPATIBE WITH THE SIMPLICITY OF THE HARMONIZING SET OF UNDERLYING CHORDS:
IMPROVISATION METHOD BASED ON A SET OF CHORDS AND MELODIC LINES BRIDGING THE HIGHEST NOTES OF EACH OF THEM. APPLICATION WITH STRUMMING WITH CUATRO, CAVAQUINHO, UKULELE , HARMONICA VIOLIN, WINDS ETC
We may create such nice loops, of 2 or 3 or more chords and parallel melodic themes as "dolphin words" with arpeggiator applications in ipad like chordion, dot melody, arpeggist , fugue machine, ioniarics polyrhytmic arpeggiator , touchscaper etc (see post 12 )
We must notice that many application create looping melodic themes that are any sequence of notes, which allows for the loop to be acctually a repeating sequence of smaller melodic thems M1 M2 M3 ...Mn (or "dolphin words") one for each chord C1 ,C2 C3,...Cn of the cycle of chords.
When listening to fast and complicated melodies e.g. in Gypsy jazz or in Irish reels or in Cretan kondilies (mantinodies), the subconscious perception of them perceives a betaifull simplicity which is not the harmony of the underlying chord. Where does it come from?
We have developed in these online notes the very useful concept of simplicial sub melody of a complicated melody. It may be identified from the durations of the notes (longer lasting note are correlated with the centers of the melody) but also from the notes of the underlying chord. Now because we extract and focus on the simplicial sub-melody of a complicated melody, the melodic themes of the simplicial sub-melody are the simplest possible this is "oriented intervals" or "vector intervals". We may call the simplicial melodic themes In other words intervals of two only notes that sound sequentially and not simultaneously with a specific order.
This perception of the melody, is used also in an excellent way to write the basic bone-structure of the improvised melody, with as high simplicity as the chord progression. We simply chose one of the closest 7-notes diatonic scales, and we indicate the sequence ofthe melodic centers as ordinal numbers of the diatonic scale.
This perception of the melody, is used also in an excellent way to write the basic bone-structure of the improvised melody, with as high simplicity as the chord progression. We simply chose one of the closest 7-notes diatonic scales, and we indicate the sequence ofthe melodic centers as ordinal numbers of the diatonic scale.
During a singly underlying chord we may have more than one such simplicial melodic themes. And they may be created on after its previous by some variation transformation like "translation" by an interval of 3rd or 5th or 8th or "inversion" etc. This is very significant simplistic pattern of the ontology of the moves of the melody even during a sing;y underlying chord. We may have an increasing-ascending progression of such simplicial melodic themes or oscillating-stationary or decreasing-descending etc progression of such simplicial melodic themes. E.g. in Cretan Kondilies that have usually only two underlying chords (e.g. 1M->5M7->1M ) this progression during each chord (statistically determined rather than deterministically) defines the local style of the improvisational melody. E,g, 2 simplicial melodic themes for first 1M one for 5M7 and one back to 1M. In total 4 simplicial themes, the first 3 in a kind of variational repetition (translation or inversion) and one last and 4th closing one that may be mutated. Therefore the rhythm , and scale and underlying chord are not adequate to define the characteristic sound of such improvisations we need also the statistical profile of the progression of the simplical melodic themes.
In post 114, 231 such a progression of simplicial melodic themes has been called DOLPHIN WORD
This additional and missing simplicity layer in between the notes of a of a fast and complicated melody and its underlying chord has significance only when the melody is sufficient fast and complicated. This progression of simplicial melodic themes, together with the chord progression , not only define the style but can be also an initial composition determination to be supplemented with an improvisational enhancement to the full melody when composing such songs.
As alternative way to identify the style would be to use not the almost minimum number of chords to accompany it, but the maximum number of chords (usually of the diatonic scale) that can accompany it, and change them almost every beat. In this way we define also an intermediate simplicity layer , between the notes of the melody and the slow changing underlying chords, that can be lsos used both to define the style as well as to compose new ones.
In post 114, 231 such a progression of simplicial melodic themes has been called DOLPHIN WORD
Dolphin words are beatifully composed with the arpeggiator
Dot Melody of https://www.olympianoiseco.com/
This additional and missing simplicity layer in between the notes of a of a fast and complicated melody and its underlying chord has significance only when the melody is sufficient fast and complicated. This progression of simplicial melodic themes, together with the chord progression , not only define the style but can be also an initial composition determination to be supplemented with an improvisational enhancement to the full melody when composing such songs.
As alternative way to identify the style would be to use not the almost minimum number of chords to accompany it, but the maximum number of chords (usually of the diatonic scale) that can accompany it, and change them almost every beat. In this way we define also an intermediate simplicity layer , between the notes of the melody and the slow changing underlying chords, that can be lsos used both to define the style as well as to compose new ones.
Examples of such progressions of simplicial melodic themes (or Dolphin words) are the next (each vector-arrow is an oriented interval that fits to a single or more underlying chord(s)).
Or
AS THE COMBINATION SIMPLICIAL MELODIC MOVES (ORIENTED INTERVALS) CREATE PATTERNS THAT ARE CALLED "DOLPHIN WORDS" , WE MAYS AS WELL CLASSIFY THE "SIMPLICIAL DOLPHIN WORDS" . The simplest such patterns are of course the 3: 1) THE CYCLE 2) THE ASCENDING SEQUENCE 3) THE DESCENDING SEQUENCE. They can be defined also by requiring that the Simplicail dolhin words are also the connected components of the melody. The mathematical topology that should be defined b th concept of "contact of a notea nd the melody so far " in order to define also the connected components . And the contact is defined by 1) Loooking back n-notes (e.g. n=4) 2) Assuming that the contact of the note and of the previous melody so far is broken if an interval larger than 2nd appears between the note and the last n-notes.
HERE THE PREVIOUS SIMPLICITY CAN BECOME COMPATIBE WITH THE SIMPLICITY OF THE HARMONIZING SET OF UNDERLYING CHORDS:
IMPROVISATION METHOD BASED ON A SET OF CHORDS AND MELODIC LINES BRIDGING THE HIGHEST NOTES OF EACH OF THEM. APPLICATION WITH STRUMMING WITH CUATRO, CAVAQUINHO, UKULELE , HARMONICA VIOLIN, WINDS ETC
The application idea is that when the chord is realized with a voicing on the highest 4 (or all 4) strings , we create melodic lines on the highest string bridging the highest notes of two succesive chords. Because of a inherent phenomenon of the human sound perception , when we are strumming and chaning the chords with in-between such melodic lines, the musical perception clearaly heres a melody, which is that of the highest notes. If it was not the highest notes the melodic lines would be more often lost in listening in the strumming.
Such chord-bridging melodic lines use a last small part of the previous chord duration and a small initial part of the new chord duration. During the rest ofthe time there is strumming of the chord or a achord arpeggio or variations of small melodic themes inside the chord by intervals of 3rd or 4th/5th. Thus melodic-harmonic variaonions. While when bridging two succesive chords there may be melodic themes variations by intervals of 2nd 3rd or 4th/5th (thus chromatic-melodic-harmonic).
This technique utilizes the simplicity of the information of the set of chord and translates it it to a simple information about the partition of the types of variations of simple melodic themes with the time placement and duration of the chords.
With this technique we may create simplicial counter-melodies parallel to melody.
Such chord-bridging melodic lines use a last small part of the previous chord duration and a small initial part of the new chord duration. During the rest ofthe time there is strumming of the chord or a achord arpeggio or variations of small melodic themes inside the chord by intervals of 3rd or 4th/5th. Thus melodic-harmonic variaonions. While when bridging two succesive chords there may be melodic themes variations by intervals of 2nd 3rd or 4th/5th (thus chromatic-melodic-harmonic).
This technique utilizes the simplicity of the information of the set of chord and translates it it to a simple information about the partition of the types of variations of simple melodic themes with the time placement and duration of the chords.
With this technique we may create simplicial counter-melodies parallel to melody.
It applies verty easily when utilizing a chromatic harmonica (see post 274), but also a violin (especially marked at a particular diatonic scale, so that we can identify chord-triad shapes on it after a convenient tuning) and finally also on a diatonic wind.
