288. Method of Gradual learning of Improvisation by singing : At first within a chord and then on the basic 3 types of chord transitions: Chromatic, Harmonic., Melodic Finally on any cycle of chords. Parallel songs.

(This post has not being written yet completely)

See also post  138, 275 , 280 , 287, 102, 256, 257, 118, 197, 183.


1) Learning to improvise by singing over a single chord.

This phase is much like the slow melody improvisation , taht is used in meditation music and inner instrospection. It helpd to be slow, at first and even without rhytm or tempo at all. Then faster with arhythm. We aasume the chord as the root chord of a mode of the diatonic scale, and we improvise mainly inside the diatonic scale,  using all the 7 notes. But we may even use for short time any of the chromatic 5 notes, that would complete the 7-notes diatonic sacle, to the full 12-notes chromatic scale. Generally speaking at least 50% of the time the notes ofthe improvisation should belong to the root chord.

Of coure a more strict improvisation would be to require that 50% of the time the notes are notes of the root chord and the rest of the time, notes between them, thus in the vector-chord or closure inside the diatonic scale, of the root chord. (e.g. if the root chord is  c-e-g, then the closure of the chord or the vector chor is  the c-d-e-f-g.)

2) Learning to improvise by singing over a chord transition: Harmonic, Melodic, Chromatic.

Any chord transition , of any pair of chords of a diatonic scale, after converted to the minimal value would be either a major or minor  interval of 2nd , thus chromatic transition, or a major or minor interval of 3rd, thus melodic transition, or an interval of 4th or 5th, thus harmonic transition.

Again a rather strict improisation is  to require that 50% of the time the notes are notes of the root chord and the rest of the time, notes between them thus in the vector-chord or closure inside the diatonic scale, of the root chord.

3) Learning to improvise by singing over  any chord progression .

In this phase , we start with a cycle of chords of a diatonic scale which is repeating. We use again the rule that that 50% of the time the notes are notes of the underlying chord and the rest of the time, notes between them thus in the vector-chord or closure inside the diatonic scale, of the underlying chord, or more generally notes of the diatonic scale that donot belong to the underlying chord.

The simplest idea is to go up or down in a linear pitch order of the notes of the diatonic scale, spending more time each time in the closure of the underlying chordand at least 50% on the notes ofthe underlying chord. Initially there is not need for waving and embelishments. Only a linear sequence that goes up or down from chord-closure to chord-closure depending on the underlying chord. We do not even need to know the chords of the chord-progression, as we will find them by shifting up or down and staying more time when the results is more harmonic. If it is a song, with its chord progression this actually would be a kind of simplicial submelody of a counter melody of the melody of the song. See also posts 118, 197, 183,  102, which contain more  ideas.
That is why when turning the singing improvisation to a melody of a musical instrument, it is more convenient to do so with, an harp, or a panflute, or an harmonica , then in general a diatonic instrument etc.

Of course as we excersise more, we learn to create small melodic themes instead of only one note, and then translate them or invert them chromatically, melodically or harmonically.

4) PARALLEL SONGS: Learning to improvise by singing parallel to a familiar and likable song. The simplicial counter-melody (see post 289 )

Here is one of the most beatiful and insteresting parts of the gradual leraning process of improvisation: We put a likable and familiar song in our , mobile, or ipad, or lapto, or tablet, and we put only one earphone oin one ofthe ears,better on the left ear, which is simpler perception ofthe sounds, while we leave open our right ear. Then as the song progresses, we sing parallel to it. Here comes the most interesting part: WE FOLLOW OUR HEART FOR  OUR IMPROVISed MELODIC LINES AND NOT NECESSARILY THE HARMONY OR MELODY OF THE BACKROUND SONG. Most of the times we will follow the harmony (chord progression) of the song and in some time intervals a similar melody too, but if our feelings suggests we may deviate even from the harmony or rhythm of the songs to a completely different song of our own making! In this way we are not singing the background song but a completly different song, although we may return at some times to the harmony (chord progression) of the background song. Sometimes our own harmony and melody will turn out to be better than that of the background song. And this makes us fell beatiful as valuable composeres of new songs. The backround song has served only as insiring stimulation, for our own improvsed song!