352. THE 2-DIMENSIONAL SEQUENTIAL-CONTINUOUS OVERTONES+SLIDING IMPROVISATION MODE FOR TROMBONES

THE 2-DIMENSIONAL SEQUENTIAL-CONTINUOUS OVERTONES+SLIDING IMPROVISATION  MODE FOR TROMBONES

 In this improvisation mode, we shift from center-note to center-note in the improvisation not directly by a jump but sequentially through vertical shift-Jump (slur)  in the overtones and correction by sliding  the slide. 

As we have mentioned elesewhere it is  sufficient that at least 50% of the time the notes fits with the underlying chords for the result to be acceptable in listening. Thus the 49% of the time we may shift by overtones and sliding till we find a new center-note where we stay for much longer time. 

It may be a non-thinking experimental method without realizing which notes we play.

We may start the shift for the desired direction either vertically by overtones jumps or horizontally by sliding the slide. 

The difference e.g. with an harp or piano or panflute is  that in such improvisation we have only one dimension both geometrically and as pitch while with a trombone we have two dimensions one local geometric with the slide and one with the embouchure by overtones (partials).

351. 3*3=9 SIMPLEST TYPES OF SHAPES OF DYNAMICS OF MELODIC THEMES

 

(This post has not been written completely yet)

As with t he static harmony we have initially 3 types of chords (power chord, major chord minor chord) so with the simplest dynamics of melodic themes we have 3 initial shapes, that are inflated to 3*3=9 basic shapes of dynamics (or called in other posts (Dolphin words) of melodic themes.

We enlarge more on this below.

HERE THE BASIC 9 SHAPES OF THE DYNAMICS OF SIMPLE MELODIC THEMES

1) SIMPLE  HORIZONTAL MOVE

2) SIMPLE UP MOVE

3) SIMPLE DOWN MOVE 

4) DOWN CYCLIC MOVE

5) UP  CYCLIC MOVE

6) DOWN DOWN MOVE

7) UP(DOWN) MOVE

8) UP-UP MOVE

9) DOWN (UP) MOVE

TO THESE BASIC 9 SHAPES WE MAY ASSIGN A NUMBER LIKE 3 ,4 5 ETC WHICH SIGNIFIES WITH HOW MANY NOTES ARE REALIZED.'

THE EXACT SIZE OF THE INTERVALS WITH WHICH SUCH SHAPES ARE REALIZED DEPEND ON THE UNDERLYING CHORDS.

GIVEN THE UNDERLYING CHORDS AND THE NUMBER 3,4,5 ETC OF NOTES WITH WHICH SUCH SHAPES ARE TO BE REALIZED WITH SOME BEATS DETERMINES ALMOST  COMPLETELY THE MUSICAL THEMES.

350. CHROMATIC TONALITY BASED ON TWO TONALITIES OF DIATONIC SCALES WITH SUCCESIVE ROOTS ON THE WHEEL BY 4THS

 (This post has not been written completly yet)

If we start with the harmony of a diatonic major scale, the chords are

1M, 2m, 3m 4M 5M 6m 7dim 1M

Onthe other hand the same  harmony of a diatonic major scale with root the 4 note of the previous , will give the next chords (counted on the previous diatnic scale)

4M, 5m, 6m, 7bM 1M, 2m 3dim 4M, thus i yotal the chromatic tonal harmony on the original diatonic scale is

1M 2m, 3m (3dim) 4M 5M (5m) 6m 7bM 7dim 1M.

This harmony is often  met in latin folk music (e.g. Paraguay folk music) but also other countries like mediterranean countries, folk music. 

349. PSYCHOLOGAL CHARACTER OF MELODIES BASED ON IDENTIFICATION OF STATISTICAL FREQUENCIES OF NOTES AND INTERVALS IN THEM.

 (This post has not been written completely yet)

Composers of melodies use to organize them with small melodic themes based on  the numbers 1,2,3,4 et and then translate them in pitch within scales ,invert them in pitch, invert them  in rhythm, expamd / contract and mutate them. Still some psychological characteristics are etracted only in ahidden simplicity ofthe melodic complexity which is based on the statistics of their duration and statistical persistence of some notes (centers of themelody) and statistical persistence  of types of intervals (chromatic, melodic, harmonic). We enlarge on this with examples

348. WHY IS THE FRENCH HORN CONSIDERED THE HARDEST MUSICAL INSTRUMENT TO PLAY AMONGTHE BRASS WINDS?

 

THE FRENCH HORN TOGETHER WITH THE OBOE WAS DECLARED BY THE GUINESS ORGANIZATION AS THE HARDEST MUSICAL INSTRUMENTS TO PLAY, HARDER THAN THE VIOLIN!

THE FIRST 16 OVERTONES OR PARTIALS OF 4 OCTAVES  AS ORDINAL NUMBERS OF THE NOTES OF DIATONIC SCALE ARE THE NEXT

FIRST OCTAVE= 1

2ND OCTAVE=1,5  (POWER CHORD)

3RD OCTAVE=1,3,5 (MAJOR CHORD)

4TH OCTAVE=1,2,3,4#, 5 , 5#, 6# 7 , 1' (AN 8-NOTES SCALE ALMOST CONTAINING THE 7-NOTES DIATONICSCALE)

A Bb3 french horn is harder than say a Bb3 trumpet for the next reasons 1) Bb3 french horn uses double the length of tube of the Bb3 trumpet, although both have valves. The old baroque or natural trumpet has also double lentgh to the modern and it is considered more difficult 2) The double length makes a shift in the playing from the 2nd-to-8th partial which is for a normal trumpet to the 4th-16th partial which is with the french horn. Thus the partials are of larger number per octave, and although they require less finger-action they also require very carefyul embouchure to seprate the partials (otherwise we get split notes). 3) Furthermore as we enter the octave from 8th partial to 16th partial, more partials appear that are outside the piano-bach scale, and thus they require correction of the pitch with the right hand in the bell. This is not so necessary with the trumpet or say alto horn, that range from 2nd partial to 8th. For the above reasons it is considered more difficult BUT if we do not intent to to correct the partials to fit the piano-bach scale (e.g. because we improvise alone) and if we like more action with the embouchure rather than with the fingers beacuse it is more emotionally satifying, the with such a mode of playing the french horn is easier that the other brass winds!

    REMARKS ABOUT THE NUVOJ HORN AS PLASTIC Bb FRENCH HORN

The Nuvo Jhorn will play much like a plastic Bb3 french horn with a french horn mouthpiece, for the following reasons

1) It has the same tube length as a Bb3 french horn.

2) It has a starting thin tube exactly as the french horn

3) Although it has the same tube length as a baritone horn, it is not good at the low notes of the baritone horn, even with large mouthpieces, because of its thin tube.

4) Thus with a french horn mouthpiece it plays as a very nice low volume sounding but easily making sound palstic Bb3 french horn and it plays well from middle 3rd octave to the middle 5th octave, Actually it play in the range Bb2-Bb4 as an upper registry wind (playing easier at the higher octave-4thpartial-8thpartial Bb3-Bb4).

REMARKS ABOUT THE Bb3 FRENCH HORN.

1) Simple French horns are usually with roor F3, which means that their normal easy range is about C3-C5.

and they play with range of overtones (partial) 4th-16nth

2) When a Bb3 french horn is playing with a standard F3 french horn mouthpiece its easy range is again C3-C5 or adjusted here to Bb2-Bb4. But thsi is a 2nd-8th partial (overtone) range, thus i should play with the standard fingering of a baritone horn. Actually because it has thinner tube than a baritone horn and closer to a tenor trombone it soundslike a tenor trombone.

3) The difference in playing compared to a baritone horn and tenor Bb2 trombone is that the later are lower registry winds in the sense that (with their standard large mouthpieces) they play easier at the lower octave= 2nd-4th partial than at the higher octave =4th-8th partial

4) The Bb french horn with a standard F3-french horn mouthpiece plays quite balanced in the twoocatve and actually easier at the higher octave 4th-8th partial! Thus such a french horn is an upper registry valved tenor trombone (and baritone horn)! This also gives that it becomes easier playing as all other brass instruments for all melodies compared to the F3 french horn in the 4th-16nth partial range! Plus it is an upper registry 2nd-8th partial range brass wind!

5) Similarly a tenor trombone with a standard F3 french horn mouthpiece becomes an upper registry wind playin easier at the higher octave=4th-8th partial with total range 2nd-8th partials! Actually a double F/Bb tenor trombone has 2 modes of playing a) a lower registry mode in the 2 octaves range C2-Bb3 with large mouthpieces b) higher regstry mode in 2 octaves with a french horn mouthpiece in the range Bb2-Bb4. In total 3 octaves!

6) Finally a double F2/Bb2 tenor trombone with a standard F3 french horn mouthpiece WILL SOUND EXCATLY LIKE F3 FRENCH HORN and the fingering will be as that of the F3 french horn in other words in the range of partial 4th-16nth !

7) As a general rule to make an ordinary brass wind which usually it is a lower registry wind to an upper registry wind , it requires to utilize a mouthpiece which is of diameter normally for one octave higher brass wind, but with deeper cone-like cup (which is what a french horn mouthpiece is. It is of diameter that of trumpet mouthpiece but with deeper cone-shaped cup).

347. THE CONCEPT OF PROBABILISTIC IMPROVISATIONAL COUNTER MELODIES OF A MELODY.

 This concept is based on playing strictly the centers of the melody that fit the underlying harmony of the chords, but surround them with a statistical or probabilistic "cloud" of fast notes of the diatonic scale that the song is in it so that they do not last more than 50% of the duration of the melodic center. Such fast improvisations occur in flamenco improvisations and in gypsy jazz improvisations. It is also much of the tricks that the folk harp is playing in Paraguay, Colombia, Peru etc .

346. THE SIMPLE OVERTONES SEQUENCE IMPROVISATINAL MODE OF PLAYING THE FRENCH HORN.

THE FRENCH HORN TOGETHER WITH THE OBOE WAS DECLARED BY THE GUINESS ORGANIZATION AS THE HARDEST MUSICAL INSTRUMENTS TO PLAY, HARDER THAN THE VIOLIN!

Neverthless for the goals of overtones sequence improvisations , there is a mode of playing the french horn which is easier than a standard brass wind instrument. Obviously it does not cover all types of melodies but only a special type of improvisation.

THE FIRST 20 OVERTONES OR PARTIALS AS ORDINAL NUMBERS OFTHE NOTES OF DIATONIC SCALE ARE THE NEXT

FIRST OCTAVE= 1 (1st (over)tone)

2ND OCTAVE=1,5  ( 2nd, 3rd overtone (POWER CHORD)

3RD OCTAVE=1,3,5 ( 4th 5th 6th overtone MAJOR CHORD)

4TH OCTAVE=1,2,3,4#, 5 , 5#, 6# 7 , 1' 

(8th  9th 10th  11th 12th , 13th 14 th  15 th 16th overtones) 

(AN 8-NOTES SCALE ALMOST CONTAINING THE 7-NOTES DIATONICSCALE)

We explain it in the next.

A Bb3 french horn is harder than say a Bb3 trumpet for the next reasons

1) Bb3 french horn uses double the length of tube of the Bb3 trumpet, although both have valves. The old baroque or natural trumpet has also double length to the modern and it is considered more difficult

2) The double length makes a shift in the playing from the 2nd-to-8th partial which is for a normal trumpet to the 4th-16th partial which is with the french horn. Thus the partials are of larger number per octave, and although they require less finger-action they also require very careful embouchure to separate the partials (otherwise we get split notes). Thus a french horn is like a baroque trumpet but with valves.

3) Furthermore as we enter the octave from 8th partial to 16th partial, more partials appear that are outside the piano-bach scale, and thus they require correction of the pitch with the right hand in the bell. This is not so necessary with the trumpet or say alto horn, that range from 2nd partial to 8th. For the above reasons it is considered more difficult BUT if we do not intent to to correct the partials to fit the piano-bach scale (e.g. because we improvise alone) and if we like more action with the embouchure rather than with the fingers because it is more emotionally satisfying, the with such a mode of playing the french horn is easier that the other brass winds!

REMARKS ABOUT THE NUVOJ HORN AS PLASTIC Bb FRENCH HORN OR AS BARQUE TRUMPET WITH VALVES.

The Nuvo Jhorn will play much like a plastic Bb3 french horn with a french horn mouthpiece, for the following reasons

1) It has the same tube length as a Bb3 french horn.

2) It has a starting thin tube exactly as the french horn

3) Although it has the same tube length as a baritone horn, it is not good at the low notes of the baritone horn, even with large mouthpieces, because of its thin tube.

4) Thus with a french horn mouthpiece it plays as a very nice low volume sounding but easily making sound plastic Bb3 french horn and it plays well from middle 3rd octave to the middle 5th octave of piano (as a trumpet and baroque trumpet) , Actually it plays in the range Bb2-Bb4 as an upper registry wind (playing easier at the higher octave-4th partial-8th partial Bb3-Bb4).

5) Thus in this way the Nuvo Jhorn is like a baroque trumpet with valves!

REMARKS ABOUT THE Bb3 FRENCH HORN.

1) Simple French horns are usually with roor F3, which means that their normal easy range is about C3-C5.

and they play with range of overtones (partial) 4th-16nth

2) When a Bb3 french horn is playing with a standard F3 french horn mouthpiece its easy range is again C3-C5 or adjusted here to Bb2-Bb4. But this is a 2nd-8th partial (overtone) range, thus i should play with the standard fingering of a baritone horn. Actually because it has thinner tube than a baritone horn and closer to a tenor trombone it sounds like a tenor trombone.

3) The difference in playing compared to a baritone horn and tenor Bb2 trombone is that the later are lower registry winds in the sense that (with their standard large mouthpieces) they play easier at the lower octave= 2nd-4th partial than at the higher octave =4th-8th partial

4) The Bb french horn with a standard F3-french horn mouthpiece plays quite balanced in the twoocatve and actually easier at the higher octave 4th-8th partial! Thus such a french horn is an upper registry valved tenor trombone (and baritone horn)! This also gives that it becomes easier playing as all other brass instruments for all melodies compared to the F3 french horn in the 4th-16nth partial range! Plus it is an upper registry 2nd-8th partial range brass wind!

5) Similarly a tenor trombone with a standard F3 french horn mouthpiece becomes an upper registry wind playing easier at the higher octave=4th-8th partial with total range 2nd-8th partials! Actually a double F/Bb tenor trombone has 2 modes of playing.

a) a lower registry mode in the 2 octaves range C2-Bb3 with large mouthpieces

b) higher registry mode in 2 octaves with a french horn mouthpiece in the range Bb2-Bb4. In total 3 octaves!

In this way the trombone will become a baroque trumpet with slide!

6) We may apply the same idea for an alto Eb trombone with a F3 french horn mouth piece! The Eb trombone has normally range Bb2-Eb5. utilizing 2nd and 3rd octaves of partials. But with a F3 french horn mouth piece it will range easily and smoothly in the 4th and 5th piano octave (as a trumpet and baroque trumpet) , or 3rd and 4th octaves of partials. In this way the trombone will become a baroque trumpet with slide!

7) Finally a double F2/Bb2 tenor trombone with a standard F3 french horn mouthpiece WILL SOUND EXCATLY LIKE F3 FRENCH HORN and the fingering will be as that of the F3 french horn in other words in the range of partial 4th-16nth !

8) As a general rule to make an ordinary brass wind which usually it is a lower registry wind to an upper registry wind , it requires to utilize a mouthpiece which is of diameter normally for one octave higher brass wind, but with deeper cone-like cup (which is what a french horn mouthpiece is. It is of diameter that of trumpet mouthpiece but with deeper cone-shaped cup).

345. CHROMATIC TONALITY ON THE LEVERED HARP

 The levered harp as played in Paraguay , Combia,  Peru etc is a diatonic instrument tuned to a fixed initial diatonic scale, bu during the playing ofthe song some levers are move to provide one or more of the 5 chromatic or "blue" note that extend the 7 notes of the diatonicscale to the 12 of all notes. In particular 

we have the 5# chromatic note  , for harmonic minor ofthe aeolina  mode shifts, the 2# and 5# for double harmonic minor shifts ofthe aeolina mode, and slso 4# and 6# for chromativ shifts as in the overtones diatonic scale of the  brass instrumenst between 8th and 16th overtones. Finally the 1# also for neopolitan shifts of the aeolian mode. 

Thus the practice o the leverd harp in the latin americacountries realizes what we have describe here as chromatic tonality in the posts 336, 334, 263, etc

344. THE REALLY APPROPRIATE MOUTHPIECES FOR THE PICCOLO TRUMPET ARE THE 12mm-13mm OLD TIMES CORNETTI MOUTHPIECES.

343. CHROMATIC SHIFTS OF PAIRS OF CHORDS AS A TECHNIQUE FOR FULL CHROMATIC TONALITY

 For the concept of Chromatic tonality see posts 263, 336, 334 .

This concept of chromatic shift of a pair of chords is as follows : Let a pair of chords X1->X2 , that are chords of a diatonic scale S. The 3 possible relations of (X1,X2) is chromatic (roots  differ by a 2nd or inverse ), melodic (roots differ by a 3rd or inverse ) and harmonic (rotts differ by a 4th or 5th).

Now the chromatic shift preserves this relation of X1,X2 but may take this pair outside the diatonic scale as it shifts by an interval of one semitone or one tone  which may not be of the diatonic scale S.

This shift may change the character ofthe chords X1, X2 from major or minor or dimisnhed to another from the types major , minor or diminished.

By continuing this chromatic shift we return again after 1,2, or 3 steps to a pair of chords of the diatonic scale .

Of course it is not only that athe pair of chords are shifting but also the melody theme relating these 2 chords is shifting also to other scales, and after 1,2 or 3 steps returns again to a melody theme of the the initial scale S.

Here are some example in the diatonic scale S=C major

1) X1=Dm   X2= G  (harmonic relation of X1,X2) 

Dm->G

Dbm->Gb

C->F

2) X1=C   X2= F (harmonic relation of X1,X2) 

C->F

B7->Em

Bb7->Eb

Am->Dm

3) X1=Am   X2= C (melodic  relation of X1,X2) 

Am->C

Abm->B

Gm->Bb

G->Bd

4) X1=Em   X2= Am (harmonic  relation of X1,X2) 

Em->Am

Fm->Bbm

Gbm->Bm

Gm->Cm

ETC

342. Can we make a cornetti (DIATONIC TRUMPET OR DIATONIC FLUGELHORN ) out of soprano saxophone or an oboe?

The picture below is of a mute cornett (diatonic piccolo  trumpet) . The trumpet-like small cornett mouthpiece is inside the narrow upper hole of the wooden tube.

The picture below is a trumpet-like cornetti mouthpiece which is smaller than the trumpets (inner diameter from 12mm to 15mm, Trumpet mouthpieces have usually inner diameter 16mm-17mm.) .

If a mouthpiece with inner diameter of the cup of 13,5mm-14mm is attached to an oboe, it will give a   modern type of cornetto (diatonic trumpet) with keys and more or less the fingering ofthe oboe. The sound compared to the trumpet is less loud because of the smaller bell and more sweet because the oboe is not made from brass metal. 

The sound compared to the traditional of oboe with double reed is more smooth bass and melo , less penetrating and in generalmore human and pleasent. Neverthless as it is known the brass instruments and cornetti mouthpiece embouchure is by far more difficult in stability and pitch compared to that of double reeds.

The same applies if instead of  an oboe we utlize a soprano saxophone with a cornetti mouthpiece with 14,5mm-15mm inner diameter of the cup.  Even a french horn mouthpiece would fit and would give a very good 1st octave! It will become a DIATONIC FLUGELHORN   OR CORNETTO  with fingering chart more or less that of the soprano saxophone. The sound  is very close tthe flugelhorn sound , and compared to it is  slightly more instrospective and less loud because of the smaller bell compared to a flugelhorn. The pitch is a bit more volatile with the soprano sax body, when the same french horn mouthpiece is utilized both in the flugelhorn and the soprano sax, and easy changing in the embouchure compared to a flugelhorn, because of the smaller length tube of the soprano saxophone. But with a smaller mouthpiece of 14,5mm-15mm of inner diameter of the cup,as in wooden cornetto this  pitch variability is improved.  The fingering system of the saxophone played in such a way as a flugelhorn with a cornetto or french horn mouthpiece is by far more intuitive and straight forward as a diatonic instrument compared to the valves system of the flugelhorn which is better for the chromatic 12-notes scale rather than 7-notes diatonic scale. 

The sound compared to the sound of the soprano saxophone is more smooth bass and melo , less penetrating and in general more human and pleasent . Neverthless as it is known the brass instruments and cornetti mouthpiece embouchure is by far more difficult in stability and pitch compared to that of single reeds.

341 THREE EMBOUCHURE TYPES FOR TRUMPET AND BRASS INSTRUMENTS. ROLLING IN WITHOUT NARROWING ROLLING OUT AND NARROWING ROLLING OUT OR UNFURLING WITHOUT NARROWING

 

SMILING EMBOUCHURE (ROLLING IN WITHOUT NARROWING) , PUKCER EMBOUCHURE (ROLLING OUT AND NARROWING) AND MAYNARD FERGUNSON (MF) EMBOUCHURE (ROLLING OUT OR UNFURLING WITHOUT NARROWING) FOR TRUMPET AND OTHER BRASS INSTRUMENTS 1) https://www.youtube.com/watch?v=lLE_-ly8hrQ&t=1394s&ab_channel=CharliePorter 2) https://www.youtube.com/watch?v=0uuRhCxoihM&t=395s&ab_channel=BryanDavis-AirflowMusic 3) https://www.youtube.com/watch?v=S6AzzmNuXU0&t=11s&pbjreload=101&ab_channel=LynnNicholson

340. SCALES OF A CHORD AND ARPEGGIOS IN THEM AS WELL AS RELATIONS OF THEM, AS IDEAS IN IMPROVISING OVER CHORD TRANSITIONS

 This article, describes techniques to improvise over chord transitions X1->X2 based on a  choice of a chord scale S(X) of each the chord X (e.g. chord scale or scale of a chord of  the C major chord may be the Ionian mode of the C major scale) 

Arpeggiating in such a scale is considered as an improvisation fitting to the chord, under the rule that more than 50% of the time (that because of the uniform  arpeggiation it means more than 50% notes of the scale of a chord ) the notes have more than 50% of intervals relative to  the notes of  the chord that are melodic (3rds) or harmonic (4th or 5ths) rather than  chromatic (2nds). 

Arpeggiating the scale means that more or less in the average we have  a uniform distribution of the duration of  the notes of the scale , which is a statistical concept. 

Then the chord transition X1->X2  can be improvised by

1) Common notes of the 2 chord scales S(X1), S(X2)

2) Vector-chord arpeggios (=chord-closure arpeggios e.g. chord closure of the chord c-e-g is the c-d-e-f-g) of X1 , X2 inside S(X1) S(X2) that are the closest possible

3) Same pattern simple arpeggios  over S(X1) , and S(X2) and  although we change scale we do not change the arpeggio pattern.Here the common featute of the improvisation  betweenn the 2 chords is not common notes but common rhythmic arpeggiating pattern.

ETC.

Here are 4 videos that explain it with piano.

https://www.youtube.com/watch?v=RqHlXP6-B6Y&ab_channel=RuslanSirota&fbclid=IwAR2HtO6dp-pCJeA1a1bzkni4Jz7v9PjUtssCOkt3EEGp07E-LLXTfEf8-PU

https://www.youtube.com/watch?v=0H4W6FweTn8&ab_channel=RuslanSirota&fbclid=IwAR2HtO6dp-pCJeA1a1bzkni4Jz7v9PjUtssCOkt3EEGp07E-LLXTfEf8-PU

https://www.youtube.com/watch?v=XM5Oik0oWnU&ab_channel=RuslanSirota&fbclid=IwAR2HtO6dp-pCJeA1a1bzkni4Jz7v9PjUtssCOkt3EEGp07E-LLXTfEf8-PU

https://www.youtube.com/watch?v=f4FadyY9g28&ab_channel=RuslanSirota&fbclid=IwAR2HtO6dp-pCJeA1a1bzkni4Jz7v9PjUtssCOkt3EEGp07E-LLXTfEf8-PU

339 FOUR EFECTIVE PRINCIPLES OF IMPROVISATION IN RHYTHM IN HARMONY IN MELODY AND IN PSYCHOLOGY

REALM OF HARMONY

IMITATION ASSIMILATION, INNOVATION.

BASIC PRINCIPLE 1 CHORDS HARMONY POLARITY 

HARMONY POLARITY : HERE WE PLAY WITH OUR FEELINGS OF HARMONY AND THE POLARITY BETWEEN BEING INSIDE THE HARMONY OF THE UNDERLYING CHORD 

(THE RULE IS THAT AT LEAST 50% OF THE TIME MORE THAN 50% OF THE INTERVALS THAT ARE CREATED FROM  EACH NOTE OF THE MELODY WITH THE NOTES OF THE CHORD ARE MELODIC (INTERVALS OF 3RDS OR INVERSES) AND HARMONIC (INTERVALS OF 5TH OR 4TH) AND NOT CHROMATIC (INTERVALS OF 2NDS)). 

ABASIC PRINCIPLE TO SATISFY THE ABOVE RULE IS TO PLAY INSIDE A DIATONIC SCALE THAT CONTAINS THE CHORD (AT IONIANA, DORIAN OR ANY MODE). ANOTHER IS TO PLAY WITHIN THE SUBSCALE OF THE 5 NOTES CHROMATIC CLOSURE (INSIDE A DIATONIC SCALE) OFTHE NOTES OF THE CHORD.

IF WE KNOW HOW TO IMPROVISE OVER A SINGLE CHORD AND PAIRS OF CHORDS AS ΤΗΕ BASIC 3 CHORD TRANSITIONS (HARMONIC, MELODIC, CHROMATIC) THEN WE KNOW HOW TO IMPROVISE IN ALL CHORD PROGRESSIONS EITHER PRE-COMPOSED OR IMPROVISED!

WHEN CREATING A CHORD PROGRESSION WE MAY START WITH THE BASIC TRIAD OF CHORDS 1M , 4M, 5M AS ROLES OF TONAL-DOMINSNAT-SUBDOMINANT AND THEN RE-HARMONIZE BY SHIFTING AND SUBSTITUTING CHORDS WITH THE SAME ROLES IN NEIGHBORING MODES OF THE SAME DIATONIC SCALE. IN ADDITION WE MAY APPLY TECHNIQUES OF CHROMATIC TONALITY WHICH EXTEND THE 7 NOTES O THE DIATONIC SCALE TO THE FULL 12 NOTES OF THE CHROMATIC SCALE AS IN POSTS 336, 263, 334.

WE ENHANCE THIS PRINCIPLE WITH THE OVERTONES ARPEGGIO PATH   FOR OVERTONES INSTRUMENTS OR OVERTONES TUNINGS OF STRINGS . THIS STATES THAT WHEN YOU ARE IN A NOTE AND YOU ARE WANDERING OF HOW MUCH OUTSIDETHE THE UNDERLYING  CHORD AND WHERE TO GO, THEN THE THE FRIENDLY CHARMING  PATH TO FOLLOW   IS TO ASCEND OR DESCEND FROM THIS NOTE ACROSS THE OVERTONES OF THE INSTRUMENT WHICH ESSENTIALLY ARE A MAJOR CHORD (IN THE BRASS INSTRUMENT BY BLOWING LESS OR MORE) AND WHEN YOU REACH A NOTE EITHER STAY IN IT IF IT IS SUITABLE OR SHIFT TO A CLOSEST ONE  WHICH IS SUITABLE (E.G.IN THE TROMBONE BY THE SLIDE).  IN THE STRING INSTRUMENTS THAT ARE NOT IN OVERTONES TUNING THIS FRIENDLY CHARMING PATH IS NOT AN OVERTONES SEQUENCE BUT   A CHROMATIC  SEQUENCE OF MINOR 2NDS (SEMITONES).

REALM OF RHYTHM

IMITATION ASSIMILATION, INNOVATION.

BASIC PRINCIPLE 2: THE POLARITY OF REPETITION AND VARIATION IN THE RHYTHM

WE CHOOSE TO FOLLOW A RHYTHM WHICH IS AN ABSOLUTE REPETITIVE PATTERN, BUT SOMETIMES WE VARY THE RHYTHM TO POLY-THYTHMS. AN UNDERLYING RHYTHM MAY BE UTILIZED ALSO TO CREATE MUTATIONS OF MELODIC THEMES, ALL OF WHICH THOUGH ARE PARTIAL PATTERNS OF A SINGLE RHYTHMIC  PATTERN.

REALM OF MELODY

IMITATION ASSIMILATION, INNOVATION.

BASIC PRINCIPLE 3: THE POLARITY OF REPETITION AND VARIATION  IN THE MELODY  (IMITATION, ASSIMILATION, INNOVATION)

MELODIC MONOTONICITY-VARIATION POLARITY . HERE WE PLAY WITH OUR FEELINGS OF MONOTONY AND VARIATION  AND THE POLARITY BETWEEN BEING MONOTONOUS BY REPEATING A MELODIC THEME AND BEING INNOVATIVE . WE  CREATE TRANSLATIONS, INVERSIONS AND MUTATIONS OF IT (MUTATIONS BASED ON THE FRIENDLY CHARMING PATH AS ABOVE OR A COMMON UNDERLYIN RHYTHMIC PATTERN FOR ALL MELODIC THEMES). 

IN MODERN DIGITAL MUSIC THIS HAS BEEN PARTIALLY REALIZED AS LOOPS AND ARPEGGIATORS. 

WHEN ASSIMILATING AND VARYING IN AN INNOVATIVE WAY  A MELODIC THEME WE MAY KEEP THE NOTES AND CHANGE THE RHYTHMIC PATTERN, OR KEEP THE RHYTHMIC PATTERN AND CHANGE THE NOTES.

A SOURCE OF SIMPLICITY IN MELODIC IMPROVISATION IS THE CONCEPT OF SIMPLICIAL SUBMEODY (SIMPLE LIKE A BASS LINE SEE POSTS 72, 65  ETC ) WITH ABOUT ONE NOTE PER CHORD.  THE SIMPLICIAL SUBMELODY IS ALSO EASILY WRITABLE PARALLEL TO THE CHORD PROGRESSION. BASED ON THE SIMPLICIAL SUBMELODY EVERY ELEMENTARY MELODIC THEME HAS A  TRACE AS  A DIRECTED PAIR (OR VECTOR) OF NOTES OF THE SIMPLICIAL SUBMELODY CALLED SIMPLICIAL MELODIC THEME OR DOLPHIN WORD (SEE POSTS 114, 282, 231  ).

REALM  OF  PSYCHOLOGY 

IMITATION ASSIMILATION, INNOVATION.

BASIC PRINCIPLE 4: THE POLARITY OF THE PRIORITY ON MUSICAL FEELINGS VERSUS INSTRUMENTS HABIT AND THEORETICAL PRECONCEPTIONS .

THE BIOWARE OVER THE HARDWARE.  HERE WE GIVE PRIORITY TO THE ACQUIRED PSYCHOLOGY AFTER LISTENING MANY MELODIES OF OUR PERCEPTION OF MUSIC OVER HABITS OF PLAYING THE  INSTRUMENTS OR OF THEORETICAL PRECONCEPTION IN THE MUSICAL ONTOLOGY:  WE SPENT 5 ONLY MINUTES A DAY TO SING A MELODY THAT WE LIKE (KNOWN OR NEW) AND THEN PLAY IT AS IMPROVISATION  ON OUR  INSTRUMENT (see also post 288 ). 

338. THE LIPOPHONE CHALUMEAUX A CORNETTI TYPE WIND INSTRUMENT EASILY PLAYABLE , WITH THE ACOUSTICS OF THE CLARINET AND CHALUMEAUX RATHER THAN THE TRUMPET

This is AN INNOVATIVE IDEA,  CLASSICAL wind instrument combining the advantages of cornett, trumpet and clarinet.

1) It utilizes as sound generation method of buzzing the lips with trumpet mouthpieces (or wooden cornett mouthpieces ) , as brass instruments do. Thus for those that love this sound of the human lips in a trumpet mouthpiece  as modulated by a material tube , the lip-o-phone, it is an instrument that they like too.

2) It utlizes the simpler method of diatonic scales notes layout and fingering system of a clarinet (e.g. if no keys an only holes a 8front +1 thump fingering system) based on the 1st and 3rd overtone mainly , which is simpler fingering for 7-notes diatonic scales melodies compared to a valved trumpet which based on at least 5 overtones and which with the valves  favors the 12-notes chromatic scale

3) Its size compared to the root pitch is like that of the clarinet and in overall the wind instrument resembles a classical wooden cornett which also generates sound by buzzing the lips inside very small trumpet-like mouthpiece, except that it is not conical as the cornett but of straight tube as the clarinets.

4) Because it is not utilizing a cone or bell at  the end the sound is not penetarting and loud but gendle silky, and soft as the other wind instruments (flute, clarinett, cornett etc).  It must be noticed though that  the art of buzzing the lips at a stable resonating pitch  to the tube, as it is known from the brass instruments,  is not easy.  Playing brass instruments is more difficult than playing a duduk, a clarinet, or a saxophone just because of the lips buzzing stability issues not to mention the chromatic and non-diatonic layout of the notes by the valves (or slide). Still the lipophone is easier to play compared to a trumpet and most brass instruments and about as easy as playing the wooden cornett. Still more difficult than a duduk, a  clarinet or a saxophone. If it is utlilized wooden cornett mouthpieces instead of brass trumpet mouthpieces, the pitch of the lips buzzing is more stable.

5) Sizes of 70 cm and root Bb3 are normal , but if someone would like lower roots Bb2 F2 , C2 etc and still be able to play them easily we should use flexible plastic pipes or tubes coiled around a cylinder, so that we can put the 8+1 holes close,  and cover themeasily as if playing an alto A4, or Bb4 flute. A method much like that of the medieval wooden rackett wind instrument or the coiling of the tube of the brass wind instruments. 

In the next picture is such Lipophone rooted at D3 and in the 2nd photo for comparison a conical type cornett (diatonic piccolo trumpet) . The cornett has a  fingering system much like a whistle and saxophone (slightly different) , while the Lipophone a fingering system excatly as the clarinet. 

And if for  the body we utilize a  clarinet tube and for mouth piece a french horn mouthpiece then this is shown in the next pictures

The picture below is of a mute cornett (diatonic piccolo  trumpet) . The trumpet-like small cornett mouthpiece is inside the narrow upper hole of the wooden tube.

The picture below is a trumpet-like cornetti mouthpiece which is smaller than the trumpets (inner diameter from 12mm to 14mm, Trumpet mouthpieces have usually inner diameter 16mm-17mm.) .

A cornetti (diatonic piccolo trumet) mouthpiece can fit best  after appropriate adoption to a 

piccolo size clarinet tube or chalumeaux to give a  more modern  type of a soprano Lip-o-phone. Cornetti types mouthoieces are optimalin the 4th and 5th octaves.

1) As it turned out after experimentaion the various sizes of cornetti and brass winds mouthpieces are optimally correlated to particular octaves rather than particular instruments

2) Under this approach and classification the optimal octaves and mouthpieces go like this

 a) Cornetti mouthpieces (11mm-15mm) are optimal in the 5th octave of the piano

b) French horn mouthpieces and mega 7C trumpet mouthpieces  are optimal in the 4th octave of the piano

c) Alto-horn mouthpieces are optimal in the 3rd octave of the piano

d) Double trombone mouthpieces are optimal in  the 2nd octave of the piano

3) From this point of view   cornetti mouthpieces have a market musical need (besides cornetti players) for a big population of piccolo trumpet players! Inspite of the fact that  due to industry tradition the musician themselves do not know it because they have not tried it! 

I have tried it and they make greatly easier the playing of the piccolo trumpet compared to standard piccolo trumpet mouthpieces that are too big for the 5th octave! 

4) Also the use cornetti mouthpieces for the oboe did not give very satisfactory results as the playing for some reason was falling to start from one octave lower than that of oboe.  Instead the french horn mouthpieces for oboe were much satisfactory and besides a bit of volatility in the sound depending on the embouchure the intsrument was functional

The same exactly with the soprano saxophone and cornetti and French horn mouthpieces.

The correlation of mouthpieces and octaves holds also even for overtones flutes when instead of a fipple lips-base mouthpieces a re used.

337. HARMONY -MELODY AND SIMPLICITY-COMPLEXITY

Historically the harmony was created at the 2nd generation of music (classical polyphonic music) as  a   drone simple countermelody of  rather complicated melodies So there is the pre-occupation that melodies are complicated and accompanying harmonies are simple. And indeed there is a large number of famous folk and artistic songs that it is so.

Nevertheless after the 3rd and 4th generations of music (Jazz, folk jazz and digital music) we notice the reversing of this and we have a large number of beatiful songs where the melody is very simple while the parallele chord progression is complicated. Sometimes  there is a larger number of chords compared to  notes in the melody, or we have a single note in the melody having two accomanying chords etc. Here the harmony of the accompanying chord progression is like a polyphonic countermelody which is more complicated than the melody itself. 

A classical example the famous Lous Armstrong song What a wonderful world

https://www.youtube.com/watch?v=uBs82KnJllg

In the 4th generation of music , the digital music with looping and arpeggiators , this mode of songs with simple melody and complicated harmony is more often and also easier to compose, when you are a (jazz)  guitarist who has spent much time in learning and feeling chord progressions.

336. HOW TO COMPOSE SONGS WITHIN THE CHROMATIC TONALITY

FOR THE CONCEPT OF CHROMATIC TONALITY SEE POST 263


As chords of the full chromatic tonality we will use the

1M 2m (and 2M) 3m (amd 3M7) 4M  5M (and 5m) 6m (and (6M7) 7d (and 7M7) 

We may conseive them also as a connected arc in the wheel by 4ths

7M-3M-6m-2m-5M-1M-4M  where some of them are turned from minor to major and vice versa

Full chromatic tonality means that we intent to utilize in the melody initially the 7 notes of the diatonic scale (tonality) but thenalso all the 12 notes (plus 5 additional blue or chromatic notes)


We assume that the song will have a sad part and session which is denoted by A and called couple because it will repeat before  the refrain, and a session part B called the refrain which is the happy part. So in a  minimal way it is A A B A A B.

The sad  couple part will have chords from the triad of minors  3m , 6m, 2m and the happy refrain part will have chords from the triad of majors 1M 4M 5M.

We may also use poetic lyrics that correspond to the  simple 2-parts structure AA B AA B. (in exceptional cases we may have a 3 parts structure AA B  C C B or A A B  A A C)

For the arrangment we will utilize

1) A beat by a percusrion organ (usially by a digital instrument) Usually a multiple of 60 bpm which is  the tempo of  calm heart,
2) The chord progression, where we must determine how many beats is each chord Usually 2 beats per chord if we have many chords or or 4 beats per chord if we use few only chords (e.g. played by the guitar or ukulele, or the digital instruments in the ipad toucscaper  , chordion etc)
3) A bass playing a simplicial submelody (e.g. by an acoustic bass, or a ukulele bass or a midi controller like  Artiphone, or Sylphyo, or warbl, or DM48 connected to  the sounds of the application thumpjam in the ipad)
4) The melody (played by a wind istrument , or by a Celtic harp, or by a midi controller as above connected to  the sounds of the Thumpjam in ipad)
5) Possibly a loop playing an arpeggiation from an arpeggiator (e.g. by the applications  arpeggionome , or Reason)

6) We record channel by channel the sessions in an appropriate recording software e.g. the simple audacity. The digital created sounds go directly to the recording application without using speakers and microphones, But the sound of the analogue instruments and especially the voice is recorded with a good quality microphone which is plagged in to a mixer (like focurite) before it enters the computer as a microphone signal. Inthe mixer goes also the signal of an electric guitar if we use one.
After the recording of each channel we make some corrections in volume, timing , pitch, or  apply filters high pass or low pass etc and we put effects like echo etc Finally we export the song in mp3 and wav sound file format.


Chromatic tonality can be very well conducted and played not only with chromatic string instruments like guitar, mandolin, ukulele, bouzouki but also with diatonic Celtic harps with levers which are used in real time as we play to create the 5 blue or chromatic notes in the chords or in the melody.  This is a common  practice in latib=n amrica diatobic harps too (colombia,  bolivia, Peru etc) 

So a simple method to compose a song is the next


0) We compose simulteneously the chord progression and the melodic themes. We use mainly melodic themes for pairs of chords or chord transitions. (rarely simple melodic themes within one only chord).


1)  The chord progression as polyphonic counter melody.

We must notice that the chord progression within the chromatic tonality need not be the simplest possible chord progression that accomoanies the melody .Thus  the chord progression simpler than the melody. It may be that the melody is much simpler than the chord progression.  The chord progression is an independent counterpoint polyphonic counter-melody that fits with the solo melody and not just accompanioe the solo melody. An example is the famous song of Louis Armstrong "What a wonderful world" which has very simple melody but rather complicatd chord progression , with chords that change over a constant solo note which does not change. The melody of this song is very simple around the melodic centers 1-(2-3) and (5-6) of the 7 notes of the diatonic scale.

https://www.youtube.com/watch?v=uBs82KnJllg

We must also notice that the concept of full chromatic tonality , in other words utilizing all 12 notes c of the chromatic scale, may occur in the chord progression not in the melody, while the melody is so simple that it may have even less notes than the default 7-notes diatonic scale.

2)   We start with melodic themes within one chord or a pair of chords which are not in the major triad of the default diatonic scale 1M 4M 5M , e.g. 2m or 3m or 3M or 6m or 7M or pairs (1M-2m)  (1M-6m), (3M-6m) , (4M-7d) , (3m-4M) , (5M-6m)  etc 

Notice that an intense oppositions song would start in the chords 2m, 3m ,3M 6m , 7d etc and end in the triad of majors (1M, 4M, 5M)  while a more soft song would start with pairs (X1,X2) with X1 in (2m, 3m, 3M, 6m ,7d) and X2 in (1M, 4M, 5M ) 


3) And  then in the happy part  of the song shift to the triad of majors (1M, 4M, 5M). 


4) In the melody we translate the melodic themes of one or pair of chords to the next or we invert them. More rarely we mutate them or rotate them (meaning that we entirely change their rhythmic and pitch order structure which is termed in this book as Dolphin word structure) we may utilize the application Dot melody and Fugue machine. 


As alternative and even simpler method we start 

1) With start with melodies in one chord or pair of chords in the triad of majors 1M 4M 5M and we substitute one only chord each time with its corresponding lower relative minor or even the same root major hord converted to minor (e.g. instaed of 5M the 5m etc)  Notice that this stanrd corespondence of majors to minor preserves the chord-transition relations of  being chromatic, or harmonic. Therefore inside the parts-sessions A and B we deal mainly with chord transitions in chromatic and harmonic relations which means short (2nds) steps in the melody or large (4ths and 5ths) while moving from part=session a to B and vice versa mainly with chord-relations transitions of the melodic relation  (intervals of 3rds).   Thus at first and within a single part-session A or B for the melody we only have to decide where we will have shorts steps (intervals of 2nds) and where long steps (intervals of 4ths-5ths) and the rest will follow from the prediceded structure of the songs , and transition from part-session A to B and vice-versa

From the emotional point o view: 
1) chromatic transition=short step in melody (2nds) =just a necessary change in emotion in higher or lower pitch
2)Harmonic transition: large step in the melody (4ths-5ths)= a resolution of tension 
3)Melodic transition: middle step in melody (3rds)= Shift from minor(sad) to major(joy) or vice veesa

2) and also we modify the melodic theme. This is the couple (sad) A part, 


3) Then we return to the happy refrain B part in the (1M, 4M, 5M) or in the  ( 3M, 6M, 2M)   or in the (7M, 3M, 6M).

Here we use of course the idea  of  harmony based on a connected arc of 6 , 7 or even 8 chords in the cycle of 5ths, with mutations from major to minor on it and the involved multi tonality and chromatic tonality .

The concept of chromatic tonality is to enhance the melodiy from the 7 notes of a diatonic scale to the 12 notes of the chromatic.
The concept of multi tonality can do the same but it is done usally here by shifting from the initial diatonic scale e.g. C major here to the A major and E major (notice that the relative chords in melodic relation of the root C major chord is the Am and Em) . All these three major scales are included as triads of major chords in an a connected arc of  7 or 8 chords in the cycle of 5ths (or 4ths). And in particular they are the triads 3M-6M-2M (6 major) and 7M-3M-6M (3 major).

E.g. A characteristoc example is a well known tarditional song Brazilian song  in G major with the arc of chords F#7-B7-Em-Am-D7-G7-C , or in the G major diatonic 7M7-3M7-6m-2m-5M7-1M7-4M where in the refrain from the  more sad to more happy part of the song, the Em (6m) becomes E7 (6M7) and the Am (2m) becomes A (2M) . When from the sad part of the song (3M7-6m-2m) it goes to the happy part with triad of majors 1M7-4M-5M7 , the song it falls the 4M to 4m (to do so the common pair of relative chords 2m-4M is inverted to 2M-4m) which also gives it the chance to translate to 3m (which so far it was 3M7) and thus all 12 chords 7M7-3m7-6m-2m-5M7-1M7-4M and 7M7-3M7-6M-2M-5M7-1M7-4m  occur in the song which also gives all 12 notes in the melody when starting with only the 7 notes.

We must also notice that in such a  connected arc of chords not only the harmonic relation of chords occurs (chords a 5th or 4th apart) but also the melodic and chromatic relation of chords occurs.

The corresponding psychological feelings are

1) Harmonic relation of chords=resolution and nice shift of the melodic theme by a 4th or 5th
2) Melodic relation of chords=ususlly a transition of a major chord to same root minor or upper or lower relative minor , thus a mutation of a happy feeling to a sad and vice versa
3) Chromatic relation of chords=translation of the same feeling a semitone or tone higher or lower



All the above techniques are very common in harmonies and melodies of Gypsy Jazz , Latin Jazz, traditional Brazilian music etc.

The connected arc of chords in the wheel of 4th or 5yh as we said contains pairs of chirds chromatically or melodically related.

We dicsuss also 2 simple methods of how at  the melody in a  diatonic scale we may enhance it from the 7 notes of the diatonic scale to the 12 notes of the chromatic scale (This is called full chromatic tonality see post 263)   which is a usual nice feeling of completness.

A) The first method is to conceive the full pentatonic scale of the chromatic or blue notes 5b 6b 7b 2b 3b and utilize its two main chords 5b major (=5b-7b-2b) and 5bsus2 (=5b-6b-2b)as chromatic transition 4M 5bM 5M and 4M 5bsus2 5M then  the 3b minor (=3b-5b-7b) as chromatic transition 2m 2bm 3m . This will give all the 5 blue or chromatic notes of the 7-notes of the diatonic scale

B) The 2nd method is to involve the transition ofthe involved natural minor to harmonic minor and double harmonic minor and thus convert the chords 2m 3m , 6m , 7d to 2M, 3M7, 6M7 and 7M7 which again will give all the 5 blue notes 5b 6b 7b 2b 3b

E.g. A characteristoc example is a well known tarditional song Brazilian song  in G major with the arc of chords F#7-B7-Em-Am-D7-G7-C , or in the G major diatonic 7M7-3M7-6m-2m-5M7-1M7-4M where in the refrain from the  more sad to more happy part of the song, the Em (6m) becomes E7 (6M7) and the Am (2m) becomes A (2M) . When from the sad part of the song (3M7-6m-2m) it goes to the happy part with triad of majors 1M7-4M-5M7 , the song it falls the 4M to 4m (to do so the common pair of relative chords 2m-4M is inverted to 2M-4m) which also gives it the chance to translate to 3m (which so far it was 3M7) and thus all 12 chords 7M7-3m7-6m-2m-5M7-1M7-4M and 7M7-3M7-6M-2M-5M7-1M7-4m  occur in the song which also gives all 12 notes in the melody when starting with only the 7 notes.

All the above techniques are very common in harmonies and melodies of Gypsy Jazz , Latin Jazz, traditional Brazilian music etc.

As we mentioned in the full chromatic tonality the major chords 1M 4M 5M may turn to minor chords

1m, 4m, 5m and good ways to do it are the next 1) we may turn the 4M to 4m as invesions of the resulotion 1M->4M, thus 1M-4M->4m->1M (see also post 29) . Similarly the 1M to 1m atthe inversion of the resolution 5M->1M->1m->5M. Finally the 5M is turned to 5m in agood way if we temporarily shift to the 7b major diatonic scale which will  turn the 5M to 5m (as 6m in 7b major) and also turn the 1M to 1m (as 2m in 7b major).

Examples of chord progressions  in chromatic tonality in Portugues guitar folk music (E.g. Jorge Fontes )

1) 

triad of major chords=5M 1M 4M

cycle of chords with minors=1M-4m-7bm

2) 

triad of major chords=5M 1M 4M

cycle of chords with minors=6M-2m-(5M)

3) 

triad of major chords=5M 1M 4M

cycle of chords with minors=5M-1M-4m

4) 

triad of major chords=5M 1M 4M

cycle of chords with minors=5M-1m-4m

5) 

triad of major chords=5M 1M 4M

cycle of chords with minors=2M-5m

6) 

triad of major chords=5M 1M 4M

cycle of chords with minors=3M-6m-2m

7) The 5) and 6) together

1st triad of major chords=5M 1M 4M

1st cycle of chords with minors=7M7-3M-6m-2m (double harmonic minor)

2nd triad of majors  7M7-3M7-6M       (shifts in the upper relative major scale) 

2nd cycle of chords with minors=4#M7-7m (as if harmonic minor in in   2 major scale) 

8) 

triad of major chords=5M 1M 4M

cycle of chords with minors=6m-2m-5M

9) 

1st triad of major chords=5M 1M 4M

1st cycle of chords with minors=3M-6m-2m

2nd triad of major chords=7M7 3M7 6M  (upper relative major scale) 

2nd cycle of chords with minors=4#m-7m-3M-6M

10) 

1st triad of major chords=5M 1M 4M

1st cycle of chords with minors=1M-4m-7bm

2nd cycle of chords with minors=2M-5m

In order to create the melody ove sucha  cycle of chords we may proceed as follows.

1)We compose 2 or 3  simplicial sub-melodies one for each part of the song ,  with one note per chord, over the cycle of chords preferably at a chromatic sequence ascending and descending . 

2) We create moves or waves for each note of the simplicial sub-melody by sequencing during the chord with two types of notes a fast (usually outside the chord) and a slow of double duration on the notes of the chord again ascending or descending with smaller waves

3) We arrange a continuous sound instrument to play the simplicial sub-melody only and a discrete sound (guitar mandolin etc) to play the full waves melody.