METHOD OF SINGLE INSTRUMENT IMPROVISATION BY ALTERNATION OF CHORD- VARIATIONS WITH MELODIC THEMES-VARIATIONS ON A STRING INSTRUMENT WITH A SCALE MARKED ON THE FRETBOARD OR ON A DIATONIC HARP , WINDS,HARMONICA ETC. IMITATION ASSIMILATION, INNOVATION.
LONGITUDINAL CHORDS
LONGITUDINAL CHORDS
IT IS ESPECIALLY EASIER AND RICHER AT THE MELODIC TUNING OR 2ND OVERTOME TUNING (SEE PSOT 301) BY ALTERNATING MINOR-MAJOR 3RDS OF THE 6-STRING GUITAR AS IN POST 90.
At that tuning there is a very rich scheme of triad-chords on all inversions on every 3 consecutive strings and the chromatic, melodic harmonic relations of the chords ate directly geometrically visible on the fretboard. The wheel of chords by 4ths has 4-different ways to play it on thsi tuning. But as it is with triad-chords which is the most rich way we may substitute it with melodic-chromatic relations. Between the triad-chords we play melodic improvisatinal lines.
(See also post 102)
IMITATION ASSIMILATION, INNOVATION.
THIS METHOD BECOMES EASY, FOR 3 OR MORE STINGS INSTRUMENTS (TENOR GUITAR, UKULELE, BOUZOUKI, OUD , SAZ, MANDOLIN, VIOLIN , CELTIC DIATONIC HARP ETC) WHEN A SINGLE PRIVILEGED DIATONIC (OR CHROMATIC SCALE) IS MARKED ON THE FRETBOARD. ALSO ONOTHER DIATONIC INSTRUMENTS LIKE FLUTE, PANFLUTE, CHALUMEAU CLARINETT SAXOPHONE HARMONICA ETC. THE MELODY IS IMPROVISATIONAL GOING UP OR DOWN AND THE ALTERNATED CHORDS ARE CHORDS AS TRIADS OF MARKED NOTES THUS OF THE DIATONIC SCALE AND ON THE LOCAL 3-STRINGS THAT INCLUDE THE MELODY STRING. IF IT IS A DIATONIC WIND INSTRUMENT THEN THE CHORD IS SUBSTITUTED WITH ITS ARPEGGIO . OF COURSE IT WORKS BEST FOR DIATONIC SCALES BECAUSE EVERY SUCH TRIAD IS A USUAL CHORD MINOR MAJOR OR DIMISHED. FOR CHROMATIC SCALES LIKE HARMONIC MINOR AND DOUBLE HARMONIC MINOR THE CHORDS ARE LESS COMMON.
IT IS IMPORTANT TO REALIZE THAT THERE IS NO STRICT REQUIREMENT THAT THE CHORD JUST BEFOR OR AFTER THE INTERMEDIATE MELODIC IMPROVISATION FITS HARMONICALLY AS ACCOMPANYING CHORD OF THE MELODY. BUT IT CAN OF COURSE. THUS THIS CONCEPT OF IMPROVISATION WHICH IS MAINLY FR A SINGLE INSTRUMENT IS A WIDER CONCEPT THAT THE USUAL CHORD ACCOMPANIED IMPROVISATIONS
THIS METHOD BECOMES EASY, FOR 3 OR MORE STINGS INSTRUMENTS (TENOR GUITAR, UKULELE, BOUZOUKI, OUD , SAZ, MANDOLIN, VIOLIN , CELTIC DIATONIC HARP ETC) WHEN A SINGLE PRIVILEGED DIATONIC (OR CHROMATIC SCALE) IS MARKED ON THE FRETBOARD. ALSO ONOTHER DIATONIC INSTRUMENTS LIKE FLUTE, PANFLUTE, CHALUMEAU CLARINETT SAXOPHONE HARMONICA ETC. THE MELODY IS IMPROVISATIONAL GOING UP OR DOWN AND THE ALTERNATED CHORDS ARE CHORDS AS TRIADS OF MARKED NOTES THUS OF THE DIATONIC SCALE AND ON THE LOCAL 3-STRINGS THAT INCLUDE THE MELODY STRING. IF IT IS A DIATONIC WIND INSTRUMENT THEN THE CHORD IS SUBSTITUTED WITH ITS ARPEGGIO . OF COURSE IT WORKS BEST FOR DIATONIC SCALES BECAUSE EVERY SUCH TRIAD IS A USUAL CHORD MINOR MAJOR OR DIMISHED. FOR CHROMATIC SCALES LIKE HARMONIC MINOR AND DOUBLE HARMONIC MINOR THE CHORDS ARE LESS COMMON.
IT IS IMPORTANT TO REALIZE THAT THERE IS NO STRICT REQUIREMENT THAT THE CHORD JUST BEFOR OR AFTER THE INTERMEDIATE MELODIC IMPROVISATION FITS HARMONICALLY AS ACCOMPANYING CHORD OF THE MELODY. BUT IT CAN OF COURSE. THUS THIS CONCEPT OF IMPROVISATION WHICH IS MAINLY FR A SINGLE INSTRUMENT IS A WIDER CONCEPT THAT THE USUAL CHORD ACCOMPANIED IMPROVISATIONS
We continue the discussion of the post 82, about chord-independent and unaccompanied melodies composition and improvisation.
Studying some of the musical pieces of Bach for solo instruments (e.g.
BWV 1013 - Partita in A Minor for Solo Flute https://www.youtube.com/watch?v=Datoqxx-biw) we may be inspired for the next method of unaccompanied improvised soloing:
IMITATION ASSIMILATION, INNOVATIION.
The melody is like a man wandering-walking in a town, who spends much time at squares and garden of the town that his is exploring. The squares and garden are the chords, played in the solo , preferably a single chord spanned in two octaves, At this time of the soloing the emphasis is on the harmony. But when continuing till the next "garden or square" then the emphasis is on the melodic themes and their affine structure dynamics (see post 97 and 101). How much time is spent in "gardens" ( chords) or "street-walking" (transition melodic themes) is a matter of choice of the improviser. If the melody is unaccompanied, then at the same time the chord progressions is improvised in this way.
When spending time within a "garden" or "square" in other words within a chord the best idea is to have the chord in 4-notes form e.g. like a with 7nth or with 6th, and in the current octave or in the next. Then start the melody at a note of the chord and end it again at a note of a chord in this or the next octave. For example we may compose the melody from 3-notes micro-themes, the first and last inside the chords and the middle possible outside the chords. Since the chord has 4-notes and the scale 7 notes the passing or transient notes are only 3, less than the 4 of the chord, therefore, any such melodic theme fits harmonically to this chord.
Here is an example :
https://www.youtube.com/watch?v=mhbGeuMWVpM
And another example
https://www.youtube.com/watch?v=rZWOKDwzzZ8
For more details see post 102.
When spending time within a "garden" or "square" in other words within a chord the best idea is to have the chord in 4-notes form e.g. like a with 7nth or with 6th, and in the current octave or in the next. Then start the melody at a note of the chord and end it again at a note of a chord in this or the next octave. For example we may compose the melody from 3-notes micro-themes, the first and last inside the chords and the middle possible outside the chords. Since the chord has 4-notes and the scale 7 notes the passing or transient notes are only 3, less than the 4 of the chord, therefore, any such melodic theme fits harmonically to this chord.
Here is an example :
https://www.youtube.com/watch?v=mhbGeuMWVpM
And another example
https://www.youtube.com/watch?v=rZWOKDwzzZ8
For more details see post 102.
IMITATION ASSIMILATION, INNOVATION.
The melocic part of the improvisation shoud have symmetries or in other words a structure of simple melodic theme, with its variations.
The melocic part of the improvisation shoud have symmetries or in other words a structure of simple melodic theme, with its variations.
0) An affine pattern of the melody which is independent of a realization in a mode or in a scale (see post 97)
1) Reflection to a horizontal axis (time)
2) Reflection to a vertical axis (pitch)
3) Point symmetry to a time point
4) Pitch translation
5) Recursive pitch waving ascending or descending.
6) Cyclic or balanced behavior in ascending-descending.
7) Dilation on the size of intervals (waved changing of the 3 melodic densities or speeds). Usually the melody starts with low melodic speeds or densities , accelerates to higher speeds or densities and then decelerates again to lower speeds or densities, as is also the motion of bodies in dancing.
8) Statistical types of symmetries.
The improvisation method of post 293 can be adopted to apply here too.
The improvisation method of post 293 can be adopted to apply here too.
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 may use as duration an independent duration that no chord is playing. During the rest ofthe time there is strumming of the chord or a chord 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 may use as duration an independent duration that no chord is playing. During the rest ofthe time there is strumming of the chord or a chord 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.
LONGITUDINAL CHORDS:
IF THE INSTRUMENT IS NOT SUPPORTING AT ALL OR WELL AN HARMONIC SIMULTENEOUS OF ITS NOTES PLAYING OF A CHORD (LIKE A VIOLIN , LYRA OCTAVE MANDOLIN, FLUTE, PANFLUTE, CLARINET, SAXOPHONE, ETC) THEN THE NEXT SUBSTITUTION TECHNIQUE APPLIES AS IN POST 262.
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.
LONGITUDINAL CHORDS:
IF THE INSTRUMENT IS NOT SUPPORTING AT ALL OR WELL AN HARMONIC SIMULTENEOUS OF ITS NOTES PLAYING OF A CHORD (LIKE A VIOLIN , LYRA OCTAVE MANDOLIN, FLUTE, PANFLUTE, CLARINET, SAXOPHONE, ETC) THEN THE NEXT SUBSTITUTION TECHNIQUE APPLIES AS IN POST 262.
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 5-notes (pentachord or 5-fold) methods of improvising over a triad chord with violin, lyra , panflute and Celtic harp.
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 "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.
MODES OF A SCALE AS LONGITUDINAL CHORDS AND AS A METHOD OF MIDDLE-SCALE /MICRO-SCALE MELODIC THEMES IMPROVISATION AND VARIATIONS FOR NON-POLYPHONIC INSTRUMENTS THAT DO NOT SUPPORT CHORDS.
We have discussed already in post 262 (also post 92) , how the 5-notes scale-closure of 3-notes chord, can serve as sub-scale for improvisations under tis chord,
We may apply this idea to power chord e.g. c-g-c' , which spans an octave , and consider as 5-fold closure of thispower chord the notes (in the example) c-e-g-a-c' or c-e-g-b-c'
Furthermore , even for a triad chord like the c-e-g, we may extend the concept to 2 alternative hexatonic scale, that can serve as space for melodic improvisation under this chord,
a) the c-d-e-f-g-a-c'
b) the c-d-e-f-g-b-c'
(see also post 92 )
Again because the notes of the chord c, e,g, c' are more than the notes outside the chord a melodic improvisation which spends time uniformly distributed among the notes, is a melody that is accompanied by the chord.
But also we may apply the rule that for a melody to be acompanied by a chord it is adequate that at least 50% of the time it is occupied by notes of the chord. (see post 111 , and 138 )
This rule was applied when we had improvisation in a diatonic scale, accompanied by the root-chord ofthe scale. (see post 138)
Or in general improvisations of any mode of the diatonic scale, accompanied by the chord of the first note of the mode.
(see also post 222 about the modes of the diatonic scale as triads of chords)
Here we claim that the harmony of each mode ofthe diatonic scale is the chord of its first note. So we have the next 7-cases
Therefore , instead of the five notes c-d-e-f-g. as sub-scale fitting the chord c-e-g, we may take all the major-mode 7-notes c-d-e-f-g-a-b-c'
It may be considered after all as a chord with 2nd, 4th, 6th and 7nth!
Therefore we may identify that the LONGITUDINAL CHORD=MODE of 7 notes, instead that the longitudinal chord e.g. of c-e-g is only the c-d-e-f-g. (see post 262 and post 292).
MODES OF A SCALE AS LONGITUDINAL CHORDS AND AS A METHOD OF MIDDLE-SCALE /MICRO-SCALE MELODIC THEMES IMPROVISATION AND VARIATIONS FOR NON-POLYPHONIC INSTRUMENTS THAT DO NOT SUPPORT CHORDS.
We have discussed already in post 262 (also post 92) , how the 5-notes scale-closure of 3-notes chord, can serve as sub-scale for improvisations under tis chord,
We may apply this idea to power chord e.g. c-g-c' , which spans an octave , and consider as 5-fold closure of thispower chord the notes (in the example) c-e-g-a-c' or c-e-g-b-c'
Furthermore , even for a triad chord like the c-e-g, we may extend the concept to 2 alternative hexatonic scale, that can serve as space for melodic improvisation under this chord,
a) the c-d-e-f-g-a-c'
b) the c-d-e-f-g-b-c'
(see also post 92 )
Again because the notes of the chord c, e,g, c' are more than the notes outside the chord a melodic improvisation which spends time uniformly distributed among the notes, is a melody that is accompanied by the chord.
But also we may apply the rule that for a melody to be acompanied by a chord it is adequate that at least 50% of the time it is occupied by notes of the chord. (see post 111 , and 138 )
This rule was applied when we had improvisation in a diatonic scale, accompanied by the root-chord ofthe scale. (see post 138)
Or in general improvisations of any mode of the diatonic scale, accompanied by the chord of the first note of the mode.
(see also post 222 about the modes of the diatonic scale as triads of chords)
Here we claim that the harmony of each mode ofthe diatonic scale is the chord of its first note. So we have the next 7-cases
(that is chords on their 1st 4th and 5th step, and we symbolize by m=minor M=major d=diminsihed.
1. IONIAN (1M)
2. DORIAN (2m)
3. PHRYGIAN (3m)
4. LYDIAN (4M)
5. MIXOLYDIAN (5M)
6. AEOLIAN (6m)
7. LOCRIAN (7d)
Therefore , instead of the five notes c-d-e-f-g. as sub-scale fitting the chord c-e-g, we may take all the major-mode 7-notes c-d-e-f-g-a-b-c'
It may be considered after all as a chord with 2nd, 4th, 6th and 7nth!
Therefore we may identify that the LONGITUDINAL CHORD=MODE of 7 notes, instead that the longitudinal chord e.g. of c-e-g is only the c-d-e-f-g. (see post 262 and post 292).
Therefore when improvising either as a single instrument (as in post 292 ) or with chord accompanying (as in post 294 ), and especially when our improvisation instrument is essentially not support polyphonic chords (like a flute, clarinet, saxophone, panflute, Lyra, violin, mandolin etc)
We may apply all we know and perceive about the role of chords in improvisation to the Longitudinal chords-modes of the scale. So the effect of changing the chord, and also the hidden simplicity of the underlying chords-cycle is translated here as the hidden simplicity of longitudinal-chords-modes cycle. The improvisaion at worse is of about equal time among the notes,but it is better if we spend more time on the notes of ofthe root-chord of the mode.
From this point of view the main 3-relations of the modes are
a) Chromatic : (the roots are in a diatance of 2nds or inverses
b) Melodic : (the roots are in a distance of 3rds or inverses)
c) Harmonic: (the roots are in a distance of 4ths or 5ths )
BECAUSE THE HARMONY OF THE CHORDS OF A MELODY IS A HIDDEN SIMPLICITY IT IS CRUCIAL IN MODERN MELODIC IMPROVISATIONS TO INDENTIFY THIS SIMPLICITY ON THE OBSERVABLES OFTHE MELODY.
1) THE CYCLE OF THE MODES AND THEIR 3-RELATIONS (CHROMATIC-MELODIC-HARMONIC) DEFINE THE MODULATIONS-TRANSLATIONS OF THE MICRO-MELODIC THEMES
THE MICRO-MELODIC THEMES ARE MOST OFTEN CRATED OVER THE BASIC RHYTHMIC PATTERN. THEY MAY BE CONSIDERED IN DANCING SONGS AS PERCURSION INSTRUMENT. USUALLY ARE MADE FROM INTERVALS OF 2NDS (CHROMATIC-RHYRHMIC MELODIC MICRO-THEMES). NEVETHELESS IN IRISH FOLK MUSIC EVEN THE MICRO-THEMES ARE FROM INTERVALS OF 3RDS OR 4THS/5THS (MELODIC-HARMONIC-RHYTHMIC MICRO-THEMES).
THEY ARE USUALLY WAVES AND EMBELISHMENTS AROUND SINGLE NOTES (OF THE UNDERLYING CHORD) AND START OR/AND END ON THIS NOTE
WE SHOULD DISCRIMINATE BETWEEN TRANSLATIONS OF THE MICRO-SCALE MELODIC THEMES WITHIN A MODE-LOMGITUDINAL CHORD (CALLED ALSO ROTATIONS) AND TRANSLATIONS AMONG MODES-LOMGITUDINAL CHORDS (CALLED ALSO MODULATIONS) .
THE MOST OBVIOUS TRANSLATIONS-ROTATIONS OF MICRO-THEME INSIDE A CHORD IS OF COURSE BY THE INTERVALS OF THE CHORD OT INVERSIONS OF IT, THSU 3RDS, 4THS/5THS.
A longitudinal-chord-mode should contain melodic micro-themes, that are translated, inverted, and mutated by changing mode (modulations) or moving inside the mode.
We create the micro-melodic themes usually from intervals of 2nds but sometimes from intervals of 3rds/4ths/5ths, within a mode and we translate and invert then either inside the mode-chord or by changing the mode by intervals mainly of 3rds, 4ths or 5th. (melodic, harmonic translations) and rarely by itervals of 2nds (chromatic translations)
2) THE MIDDLE-SCALE MELODIC THEMES ARE MAINLY FROM THE SIMPLICIAL SUB-MELODY AND REFLECT THE PATTERNSOF MODULATIONS (TRANSLATIONS) OF THE MICRO-MELODIC THEMES. THEREFORE THE CHORDS OF THE MELODY CAN BE TRACES EITHER AS SUBSCALES MODES-LONGITUDINAL CHORDS, OR AS SUBSETS OF TRANSLATIONS OF THE MICROMELODIC THEMES.
WHEN THE VIOLIN-LYRA IS TUNED WITH OVERTONE TUNIGS LIKE 4-3M-3m (e.g. g-major: D4-G4-B4-D5 , OR f-major: C3-F4-A4-C4 OR c-major: G3-C4-E4-G4) then the strings are the Ionian, Frygian and Myxolydian modes,and trabsfering the micro-theme transversal onanother sring is always an interval of 3rd, 4th/5th thus easy to realisze the improvisation. Even if the violin-lyra is tuned by 4-3M-4 (e.g. g-major: D4-G4-B4-E5 , OR f-major: C3-F4-A4-D4 OR c-major: G3-C4-E4-A4) , by changingthe string we have transposition of the theme by 4th , or 3rd , and still is more or lesspossible and convenient. We may have the default diatonic scale of the violin-lyra marked on the fretboard, and usethe patternsof the 3-notes chords as patterns of the centers for translations ofthe micro-themes. If the instruments is flute, panflute, etc no such convenience,but still intevals of 3rd, 4th/5th are easy to visualize on the finger-holes.
3) APLYING THIS TECHNIQUE OF MICRO-THEMES THAT ARE VARIED ACCORDING TO THE NOTES OF THE CHORDS AND THE CHORDS-TRANSITIONS AND ALSO INVERTED AND MUTATED AS WELL IS CREATED AN ENDLESS STREAM OF SOLOING MUSIC WITH HARMONY AND RECOGNIZABLE THEMES.
From this point of view the main 3-relations of the modes are
a) Chromatic : (the roots are in a diatance of 2nds or inverses
b) Melodic : (the roots are in a distance of 3rds or inverses)
c) Harmonic: (the roots are in a distance of 4ths or 5ths )
BECAUSE THE HARMONY OF THE CHORDS OF A MELODY IS A HIDDEN SIMPLICITY IT IS CRUCIAL IN MODERN MELODIC IMPROVISATIONS TO INDENTIFY THIS SIMPLICITY ON THE OBSERVABLES OFTHE MELODY.
1) THE CYCLE OF THE MODES AND THEIR 3-RELATIONS (CHROMATIC-MELODIC-HARMONIC) DEFINE THE MODULATIONS-TRANSLATIONS OF THE MICRO-MELODIC THEMES
THE MICRO-MELODIC THEMES ARE MOST OFTEN CRATED OVER THE BASIC RHYTHMIC PATTERN. THEY MAY BE CONSIDERED IN DANCING SONGS AS PERCURSION INSTRUMENT. USUALLY ARE MADE FROM INTERVALS OF 2NDS (CHROMATIC-RHYRHMIC MELODIC MICRO-THEMES). NEVETHELESS IN IRISH FOLK MUSIC EVEN THE MICRO-THEMES ARE FROM INTERVALS OF 3RDS OR 4THS/5THS (MELODIC-HARMONIC-RHYTHMIC MICRO-THEMES).
THEY ARE USUALLY WAVES AND EMBELISHMENTS AROUND SINGLE NOTES (OF THE UNDERLYING CHORD) AND START OR/AND END ON THIS NOTE
WE SHOULD DISCRIMINATE BETWEEN TRANSLATIONS OF THE MICRO-SCALE MELODIC THEMES WITHIN A MODE-LOMGITUDINAL CHORD (CALLED ALSO ROTATIONS) AND TRANSLATIONS AMONG MODES-LOMGITUDINAL CHORDS (CALLED ALSO MODULATIONS) .
THE MOST OBVIOUS TRANSLATIONS-ROTATIONS OF MICRO-THEME INSIDE A CHORD IS OF COURSE BY THE INTERVALS OF THE CHORD OT INVERSIONS OF IT, THSU 3RDS, 4THS/5THS.
A longitudinal-chord-mode should contain melodic micro-themes, that are translated, inverted, and mutated by changing mode (modulations) or moving inside the mode.
We create the micro-melodic themes usually from intervals of 2nds but sometimes from intervals of 3rds/4ths/5ths, within a mode and we translate and invert then either inside the mode-chord or by changing the mode by intervals mainly of 3rds, 4ths or 5th. (melodic, harmonic translations) and rarely by itervals of 2nds (chromatic translations)
2) THE MIDDLE-SCALE MELODIC THEMES ARE MAINLY FROM THE SIMPLICIAL SUB-MELODY AND REFLECT THE PATTERNSOF MODULATIONS (TRANSLATIONS) OF THE MICRO-MELODIC THEMES. THEREFORE THE CHORDS OF THE MELODY CAN BE TRACES EITHER AS SUBSCALES MODES-LONGITUDINAL CHORDS, OR AS SUBSETS OF TRANSLATIONS OF THE MICROMELODIC THEMES.
WHEN THE VIOLIN-LYRA IS TUNED WITH OVERTONE TUNIGS LIKE 4-3M-3m (e.g. g-major: D4-G4-B4-D5 , OR f-major: C3-F4-A4-C4 OR c-major: G3-C4-E4-G4) then the strings are the Ionian, Frygian and Myxolydian modes,and trabsfering the micro-theme transversal onanother sring is always an interval of 3rd, 4th/5th thus easy to realisze the improvisation. Even if the violin-lyra is tuned by 4-3M-4 (e.g. g-major: D4-G4-B4-E5 , OR f-major: C3-F4-A4-D4 OR c-major: G3-C4-E4-A4) , by changingthe string we have transposition of the theme by 4th , or 3rd , and still is more or lesspossible and convenient. We may have the default diatonic scale of the violin-lyra marked on the fretboard, and usethe patternsof the 3-notes chords as patterns of the centers for translations ofthe micro-themes. If the instruments is flute, panflute, etc no such convenience,but still intevals of 3rd, 4th/5th are easy to visualize on the finger-holes.
3) APLYING THIS TECHNIQUE OF MICRO-THEMES THAT ARE VARIED ACCORDING TO THE NOTES OF THE CHORDS AND THE CHORDS-TRANSITIONS AND ALSO INVERTED AND MUTATED AS WELL IS CREATED AN ENDLESS STREAM OF SOLOING MUSIC WITH HARMONY AND RECOGNIZABLE THEMES.
WE MUST NEVER FORGET THAT A FAST MELODIC INSTRUMENTAL PLAYING IS NOT ALWAYS THE BEAUTY IN MUSIC.
IN THE GOOD IMPROVISATION IT IS THE (USUALLY SLOW) FLOW OF THE EMOTIONS THAT MUST SHAPE THE KINETIC ACTION OF THE FINGERS ON THE INSTRUMENT AND MELODY AND NOT THAT THE HABIT OF THE ACTION OF THE FINGERS ON THE INSTRUMENT AND MELODY THAT SHOULD SHAPE THE FLOW OF THE EMOTIONS!
HERE ARE MORE DETAILED IDEAS
IN THE GOOD IMPROVISATION IT IS THE (USUALLY SLOW) FLOW OF THE EMOTIONS THAT MUST SHAPE THE KINETIC ACTION OF THE FINGERS ON THE INSTRUMENT AND MELODY AND NOT THAT THE HABIT OF THE ACTION OF THE FINGERS ON THE INSTRUMENT AND MELODY THAT SHOULD SHAPE THE FLOW OF THE EMOTIONS!
HERE ARE MORE DETAILED IDEAS
MY PERSONAL APPROACH:
My personal approach to similar type of improvisation is as follows
HARDWARE IDEAS
1) INSTRUMENT I utilize a 4-strings instrument instead of 3-stringsm although sometimes a 3-strings too. Of course I may use a 6-string instrument.
2) STARTING SCALE I chose a basic scale, usually the natural defoult scale of the instruent which is marked on its fretboard.
3) The TUNINGS are preferably overtones cuatro tunings thus cavaco cuatro or Swedish troll fiddle tuning. But I can also use the venezuala cuatro or ukulele (guitar tuning of 4 highest strings)
4) CHROMATIC TONALITY
Although I chose a diatonic scale, that is from 7 notes I involve also some or all of the 5 blue notes that result to all 12-notes of the musical universe. This is usually done in chords by convrting major to minor and vice versa E.g. a stanard chromatic extension ofthe chords of the diatonic scale is 3M instead of 3m and 7M instead of 7d. But also the minors 6m can become 6M when resolving to 2m and also the 3m to 3M when resolving to 6m, and the 2m to 2M7 when resolving to 5M. In addition we may suround each major chord with two dimisnsihed chords an interval of 2nd away, that resolve to them, in the same way that the 7dimished resolves to 1M.I have a composed collection of more than 800 chord progressions in tonality , chromatic tonality and general multitonality in which I can resort to improvise with melodic bridges metween the chords as in 10) and 11) below.
For the next steps I will enlarge more in the subsequents paragraphs
CHORD-BASED IDEAS
My personal approach to similar type of improvisation is as follows
HARDWARE IDEAS
1) INSTRUMENT I utilize a 4-strings instrument instead of 3-stringsm although sometimes a 3-strings too. Of course I may use a 6-string instrument.
2) STARTING SCALE I chose a basic scale, usually the natural defoult scale of the instruent which is marked on its fretboard.
3) The TUNINGS are preferably overtones cuatro tunings thus cavaco cuatro or Swedish troll fiddle tuning. But I can also use the venezuala cuatro or ukulele (guitar tuning of 4 highest strings)
4) CHROMATIC TONALITY
Although I chose a diatonic scale, that is from 7 notes I involve also some or all of the 5 blue notes that result to all 12-notes of the musical universe. This is usually done in chords by convrting major to minor and vice versa E.g. a stanard chromatic extension ofthe chords of the diatonic scale is 3M instead of 3m and 7M instead of 7d. But also the minors 6m can become 6M when resolving to 2m and also the 3m to 3M when resolving to 6m, and the 2m to 2M7 when resolving to 5M. In addition we may suround each major chord with two dimisnsihed chords an interval of 2nd away, that resolve to them, in the same way that the 7dimished resolves to 1M.I have a composed collection of more than 800 chord progressions in tonality , chromatic tonality and general multitonality in which I can resort to improvise with melodic bridges metween the chords as in 10) and 11) below.
For the next steps I will enlarge more in the subsequents paragraphs
CHORD-BASED IDEAS
IMITATION ASSIMILATION, INNOVATION.
5) I improvise on major-minor lternations of HARMONIC CYCLES
with bridging the chords small melodic themes too.
6) I improvise on major-minor lternations of CHROMATIC CYCLES (like Andaluzian cycle)
with bridging the chords small melodic themes too.
7) I improvise on ISOMORPHIC CYCLES OF CHORDS (X1-X2-X3etc) with (Y1-Y2-Y3 etc) Most often of chromatic sequences that are melodic or harmonic isomorphic . I bridge them with small melodic themes too.
8) 2-VOICES AMBIGUITY REVEALED
I ascend or descend a mode of the scale with 2-voices simulteneous notes intervals of 3rds. The ambiguity of them is that they can be part of a minor or dimished chord (sad feeling) or a major chord (happy feeling). So 1st I play the 2-voice interval andthen I reveal it as major ot minor chord depending on the mood and to if I am ascending or descending.
MELODIC THEMES BASE IDEAS
9) SMALL MELODIC THEMES VARIATIONS
The idea here is to start with short and rythmic melodic themes and apply the 3 basic variations , like translation (chromatic, melodic, harmonic) inversions and mutations. The structure of the melodic themes may mimic the chords accompanying a melody. Instead of chords here we may have an isokratic a drone or intermittently repeating melodic theme , which may be an "arpeggio" of the closure of a chord, and over this we add sequentially a higher octave melodic theme that is varied and evolves.
MIXED CHORD AND MELODIC THEMES IDEAS
10) "WALKING THROUGH PARTS OF A TOWN", FLUID-CHORD-TRIADS or 2-VOICE ACCOMPANYING OF MELODY.
This idea is very old idea in ancient folk music before the era of classical music when complicated melodies where accompanied by power chords that are essentially 2-voices chords. It is an idea also similar to the next below at 11) except that instead of alternating standard 3-voices chords with melodic themes, we are struming or arpeggiating on a single triad which is not standard major or minor and so that it is constantly changing at each note of the melodic themes so that the 2 lower notes are rather stable and are used as 2-voice chord which accomnies the 3rd note which is changing faster and is usually the higher.
11) "TRAVELING AMONG AND WITHIN TOWNS"
This is a generic type of improvisation where I improvise "randomnly" with melodic themes that are translated , inverted and mutated mainly within the diatonic scale, but at their standing notes (melodic centers) I apply arpegiation or struming of the close local major or minor/diminishd chord which fits to the melody at that time. The choices are only 2-3 at each time. Here the metaphor for the melodic themes is traveling and the metaphor for chords is "town"
5) I improvise on major-minor lternations of HARMONIC CYCLES
with bridging the chords small melodic themes too.
6) I improvise on major-minor lternations of CHROMATIC CYCLES (like Andaluzian cycle)
with bridging the chords small melodic themes too.
7) I improvise on ISOMORPHIC CYCLES OF CHORDS (X1-X2-X3etc) with (Y1-Y2-Y3 etc) Most often of chromatic sequences that are melodic or harmonic isomorphic . I bridge them with small melodic themes too.
8) 2-VOICES AMBIGUITY REVEALED
I ascend or descend a mode of the scale with 2-voices simulteneous notes intervals of 3rds. The ambiguity of them is that they can be part of a minor or dimished chord (sad feeling) or a major chord (happy feeling). So 1st I play the 2-voice interval andthen I reveal it as major ot minor chord depending on the mood and to if I am ascending or descending.
MELODIC THEMES BASE IDEAS
9) SMALL MELODIC THEMES VARIATIONS
The idea here is to start with short and rythmic melodic themes and apply the 3 basic variations , like translation (chromatic, melodic, harmonic) inversions and mutations. The structure of the melodic themes may mimic the chords accompanying a melody. Instead of chords here we may have an isokratic a drone or intermittently repeating melodic theme , which may be an "arpeggio" of the closure of a chord, and over this we add sequentially a higher octave melodic theme that is varied and evolves.
MIXED CHORD AND MELODIC THEMES IDEAS
10) "WALKING THROUGH PARTS OF A TOWN", FLUID-CHORD-TRIADS or 2-VOICE ACCOMPANYING OF MELODY.
This idea is very old idea in ancient folk music before the era of classical music when complicated melodies where accompanied by power chords that are essentially 2-voices chords. It is an idea also similar to the next below at 11) except that instead of alternating standard 3-voices chords with melodic themes, we are struming or arpeggiating on a single triad which is not standard major or minor and so that it is constantly changing at each note of the melodic themes so that the 2 lower notes are rather stable and are used as 2-voice chord which accomnies the 3rd note which is changing faster and is usually the higher.
11) "TRAVELING AMONG AND WITHIN TOWNS"
This is a generic type of improvisation where I improvise "randomnly" with melodic themes that are translated , inverted and mutated mainly within the diatonic scale, but at their standing notes (melodic centers) I apply arpegiation or struming of the close local major or minor/diminishd chord which fits to the melody at that time. The choices are only 2-3 at each time. Here the metaphor for the melodic themes is traveling and the metaphor for chords is "town"
12) OVERTONES VERTICAL GATES
This applies especially well in overtones tunings and of course on the full 6-string 1st overtones tuning. I improvise horizontally with melodies and at the standing note a cross-over vertically at the local overtones "gate" which is of course an extended overtones arpeggio of a major or minor chord.
OF COURSE IN THE 4TH GENERATION DIGITAL MUSIC MAKING THAT KNOW IS BEEN BORN, THE ABOVE METHOD OF ALTERNATION OF CHORDS (ARPEGGIATED) AND MELODY CAN BE VERY WELL PLAYED WITH SOFTWARE THAT CREATES MUSIC CALLED ARPEGGIONOME (for iOs ) OR ARPIO (for Android) by Alexander Randon. (https://www.linkedin.com/in/alexandernaut/) Furthermore withother less automated softare like the ThumbJam we can still make such improvisations ina very efficient ,easy and beatifull way.
This applies especially well in overtones tunings and of course on the full 6-string 1st overtones tuning. I improvise horizontally with melodies and at the standing note a cross-over vertically at the local overtones "gate" which is of course an extended overtones arpeggio of a major or minor chord.
OF COURSE IN THE 4TH GENERATION DIGITAL MUSIC MAKING THAT KNOW IS BEEN BORN, THE ABOVE METHOD OF ALTERNATION OF CHORDS (ARPEGGIATED) AND MELODY CAN BE VERY WELL PLAYED WITH SOFTWARE THAT CREATES MUSIC CALLED ARPEGGIONOME (for iOs ) OR ARPIO (for Android) by Alexander Randon. (https://www.linkedin.com/in/alexandernaut/) Furthermore withother less automated softare like the ThumbJam we can still make such improvisations ina very efficient ,easy and beatifull way.
