309. SIMILARITIES AND DIFFERENCES OF THE FEELING OF A MELODIC THEME (LINE) AND THE FEELING OF A CHORD. MELODY SEQUENCERS , CHORD SEQUENCERS AND ARPEGGIATORS

SIMILARITIES AND DIFFERENCES OF THE FEELING OF A  MELODIC THEME (LINE) AND A CHORD.

MELODY SEQUENCERS , CHORD SEQUENCERS AND ARPEGGIATORS.


CHROMATIC, MELODIC AND HARMONIC RELATIONS  OF CHORDS AND MELODIC THEMES AS VISUALIZED IN 2-DIMENSIONAL  LATTICES OF PADS.

308. THE INVERTED TUNING 5-6m-5 OF THE UKULELE OR VENEZUELAN CUATRO AND GREEK BOUZOUKI AND ITS ADVANTAGES.

We do not describe this tuning just because iti  s the inverse of a well known tuning inherited by the standard guitar, in ukulele, venezuelan  cuatro ,and Greek  Bouzouki.


It is that after searching for a better (overtones)  tuning for the 4-string instruments we fell upon it surpisingly.

E.g. the Standard ukulele (without re-entrance) tuning is  G3-C4-E4-A4, with interval structure

4-3M-4 (4th major 3rd and 4th). The Ukulele tuning is symmetric and  rather balanced as far as the one-fret  triad-chords major and minor. But it has the one-fret minor chords at the higher strings and the one-fret major chords at the lower strings , thsu favors a bit the minor chords songs in playing.

If we require

1) to have an interval (among strings) of 5th at the high two strings because it sounds better than an interval of 4th
2) to be symmetric and balanced as far as the one-fret  triad-chords major and minor.
3) To have the one-fret triad major  chords at higher strings and the one-fret triad minor chords at the lower strings
4) to be close to the familar ukulele tuning in playing

then the inverse tuning seems to be the only solution . That is

A2-E3-C4-G4 with interval structure 5th-6thminor-5th.

It has all the above properties and because it is the reflection-mirror of the ukulele tuning it is familar and easy to learn it to play it.

One bonus advantage is that because of the middle large interval of 6th minor and the 5ths it has large range than the usual ukulele tuning.

After trying it we realize that

1) The A-shape  triad-chords are plaid easier because of the ergonomy ofthe finger in the hands
2) The E-shaped barre chords are plaied easier because of the ergonomy ofthe finger in the hands


Thus in total the advantages of thsi inverse tuning relative to the standard are the next

1) It has two intervals of 5th among the strings that it sounds better in open and barre chords compared to intervals of 4th. 
2) It has larger range
3) It has the one-fret triad major  chords at higher strings and the one-fret triad minor chords at the lower strings,  thus  favors a bit mor joyfull music of major chords
4) It is more ergonomic in the fingers when playing the A-shape and E-shape chords The D-shape triad chords are almost the same difficulty. (the minor triad D-shape is slightly more difficult).

5) The 4-strings  chords span 2 octaves and have more magical and reach sound.

307. THE SWEDISH TROLL PLUS LATIN CHARANGO 5-4-3M-4-5 REMARKABLE TUNING AND THE INVERSE OF IT 5-4-6m-5-4 FOR THE 6-STRING GUITAR AND OUD.

This is  another variation of the overtones tuning which includes not only the Swedish troll tuning and the ukulele (venezuela cuatro) but also the charango tuning  besides of course the troll tuning and the 3-string Bouzouki tuning is the C2-G2-C3-E3-A3-E4 INTERVALS (5-4-3M-4-5) or in semitones (7-5-4-5-7 )   which is symmetric as we see and in numbered steps of the diatonic scale 1-5-1'-3'-6'-3" It is an open tuning of the root  major with 6th as the open tuning of ukulele and charango.

It is  balanced tunging as far as the simplest 0ne fret shapes are concerne relative to minor and major chords of the default diatonic scale.

We may compare these tuning with that of the fado guitar that in interavls it is (5-2-5-4-2) E.g. C-G-A -E-A-B) it is an open major chord with 6th and major 7nth


If we concisider that setting the minor one-fret chords at higher strings is an advantage for the minor chords , there is also the inverse order of it , which sets the simple one-fret major chords at the higher strings and the minors at the lower strings which is inverse from the previous.

E,g. for C major it would be E2-A2-E3-C4-G4-C4 with interval structure  4-5-6m-5-4 . 

It has an inversed troll tuning and an invered ukulele and charango tuning. It may be considered that although symmetric relative to minor and major it favors a bit the major chords, as it has their simplest shape at the higher in pitch strings

The main advantages (and some disadvantages) of these previous  tuning are  the next 

306. METHOD OF SINGLE INSTRUMENT IMPROVISATION IN THE STYLE OF ALEXEY ARCHIPOVSKY BALALAIKA

IMITATION ASSIMILATION, INNOVATION.

The remarkable method of Alexey Archipovsky is worth mentioning in separte post as it is  both very nice music but also long lasting for an hour or more single instrument improvisation.

(see also posts  74 292 )



https://www.youtube.com/watch?v=LwOm325P9wE

https://www.youtube.com/watch?v=q7qd0LP6ALY

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

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


The main characteristics of  his style are:

1) He is using echo (delay) and reverbation electronic effects and probably some time arpeggiators.

2) Beacuse he is using a 3-string instrument (blalaika) he applies a method of strumming of general type 3-voices fluid chords. General type in the sesnse that they are not stanrd major or minor chords. Fluid in the sesnse that he is changmg the fast as the notes of a melody, as the highest note is indeed a  melody while the lower two are not changing or changing little and serve as a 2-voice interval-chord that acompanies the 3rd-voice which si the melody.

3) He is applying time intervals of pure melodic improvisation with short melodic themes as arpeggios, ascending or descending within an overtones chord or among the octaves and especially 4ths/5ths a. In particular instead of ordinary of arpeggios of chords he may be  ustilizing long also chromatic (relative  a virtual chord) arpeggios of 10-15 notes that ascend 2-3 octaves and pass possibly from overtones. Much like as in techniques of electronic music by Michel Jarre, but with a 3-string balalaika! Or much like the half  automatic half intercative arpeggios music maker software like ARPIO (for Android) or ARPEGIONOME (for iOs) created by AlexanderNaut (Alexander Randon) 

4) The best parts of his improvisation are not the fast virtuose melodic themes but the slow one and the strumming-like repetitions that are mesmerizing.

5) He incorporates in his  improvisation very small parts of very famous and known melodies which increases the feeling of familiarity of his playing to  the audiance 

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)

CHORD-BASED IDEAS

IMITATION ASSIMILATION, INNOVATION.

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 mau 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

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 BASED 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 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 I cross-over vertically at the local overtones "gate" which is of course an extended overtones arpeggio of a local major or minor chord.

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 polyrhitmic arpeggiator 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 ofthe cycle of chords.

305. METHOD OF SINGLE INSTRUMENT IMPROVISATION BY UTILIZING THE ARPEGGIATOR FUNCTION OF THE MIDI GUITAR 2 SOFTWARE .OVER ANY MELODIC IMPROVISATION ON A HARDWARE MUSICAL INSTRUMENT.

HERE ARE SOME MORE IDEAS BESIDES THE SOFTWARE ARPEGGIATOR

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

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 10) 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.

304. THE INSTINCTUAL ANTICIPATED EMOTIONAL IMPACT OF NOTES BEFORE THEY ARE PLAYED ON THE FRETBOARDS KEYBARDS OR WIND-KEYS AS A BETTER SYSTEM THAN MEMORIZING SCALE PATERNS.

THE INSTICTUAL  ANTICIPATED EMOTIONAL IMPACT OF NOTES BEFORE THEY ARE PLAYED ON THE FRETBOARDS KEYBARDS OR WINDS-KEYS AS A BETTER SYSTEM THAN MEMORIZING SCALE PATERNS

I believe, as I have practiced already, that there is a better way to improvise over scales on a frteboard, or holes/keys  of a wind nstrument etc. than  memorizing scales positions and patterns.

By memorizing one relies on his memory whichis correlated with the action of his fingers. Thus from the 3 inner-centers used in muiscal practice (as in post 303) two are used the mental and the kinetic. while the feelingsis not required. In such a way also there is always the risk that there ia mixed scale wanted for the improvisation which is not learned so far.

The better method that I have found is the use of the two inner centers of feelings and kinetics. It requires of course sufficient practice with the instrument. After this sufficient practice it happens that when improvising and one hovers or approaches his finger over a fret of the fretboard or position on the (violin's) fingerboard) or hole/key of the wind instrument  he can anticipate instictually the feeling of the note that it will sound of placing the finger there. So if the feeling is the right because ofthe right sound he does plays the notes otherwise he moves further up or down. In thsi way no memmory of scale-patterns are required and the involved melody patterns are by far more. It does require though and "inner practice" of tuning the feelings of musical sounds listening with the keneti center of the hands.

303. IMPROVISATION AS SPEAKING IN AN ORAL LANGUAGE . A BALANCE OF 3 ACTIVE FACTORS MIND-HEART-FINGERS OR MUSICAL-THEORETICAL CONCEPTS , FEELINGS AND SKILLS ON THE INSTRUMENT (OR VOICE)

IMPROVISATION AS SPEAKING IN AN ORAL LANGUAGE . A BALANCE OF 3 ACTIVE FACTORS MIND-HEART-FINGERS OR MUSICAL-THEORETICAL CONCEPTS  , FEELINGS AND SKILLS ON THE INSTRUMENT (OR VOICE)

As we have mentioned in posts 40 and 97 , the music resembles the grammar , syntax and use of an oral language. The next table establishes correspondences at the various layers of complexity.

MUSICAL LANGUAGE	SPEAKING LANGUAGE
Note	Letter  of the alphabet
Interval (3 elementary melodic moves)	Syllables
Melodic moves or themes (5 basic  melodic patterns and Dolphin words as in post 101). Chords	Words that make a simple proposition (subject verb object)
Full melody (propositions) . Chords progressions at a duration that may contain many melodic themes (Phrase).	Propositions . Phrases or sentences from a point to  a next point , that may contain many simple propositions

Composition of music with software:

 MELODIC MATHS BY MAX MARTIN AND GERM-PATTERN SYSTEMS OF CREATING MELODIC THEMES AND MUTATIONS OF  MELODIC THEMES AND RHYTHMS

In the next videos one can see how melodic themes of notes  (but also of chords) and mutations of them plus repetitive combinations of them, can be created by keeping invariant an  initial germ-pattern or  melodic-seed of  interval shifts and pause (GERM PATTERN)  of a note (or chord) or  of  initial pattern of sequence of melodic themes of notes or chords after  seeminly random pauses (omittings) of the parts of the fixed pattern. 

Melodic themes of notes can be considered and created also as repettitive combinations of a small set of interval-steps (pitch transformations) in a scale plus a pause wchich may be called MELODIC GERM . A melodic germ  as basic invariant can give many melodic themes with an internal affinity which can  be considered a system of muttations of melodic themes

Comparing the melody with a speaking language suggests the next correspondence

Let us correspond to each vowel a number of steps inteval shift insidea scale 

E.g. 

empty space=pause 

A=0 step

E= 1 steps

I= 2 steps

O=3 steps

OU=4 steps

Then the content of vowels of any phrase can be translated as a GERM-PATTERN for creating melodic themes as muttaions of this germ-pattern  (and latter also repettitive combinations of them)

See also post 106 about melodic seeds

https://www.youtube.com/watch?v=7HPkTMYoJnI


https://www.youtube.com/watch?v=sb3e4Mq6y3s


https://www.youtube.com/watch?v=w0-Ljf5gm4A


https://www.youtube.com/watch?v=Fc16Y1gKUDc



https://www.youtube.com/watch?v=w0-Ljf5gm4A



https://www.youtube.com/watch?v=Fc16Y1gKUDc

Dolphin words (=melodies abstract order patterns) are beatifully composed with the arpeggiator

Dot Melody of https://www.olympianoiseco.com/

https://www.olympianoiseco.com/apps/dot-melody/

The improvisation on any instrument , harmonic or melodic, must be as speaking an an oral language.
It must be created at first internally as a will to express a sequence of meanings , then be able to sing or whistle it as far as the melodic part is concerned and then be able toplay it on an instrument

And this also explains why some times many good and skilled instrument players fail to improvise. 

They hold their instrument and either they expect that magically their fingers will start to move on a marvelous melodic theme. But speaking is not a mediumship and channeling of a spirit. The speaker must use his mind and know  the story that he/she wants to tel before telling it. So the instrument player must use also his mind and have a CONCEPT and know, more or less in advance the "MUSICAL MEANING" that he/she wants to express. He may not know exactly which notes and chords he will use, and in what order, but he must know the overall melodic and harmonic meaning that he wants to express in his mind. MIND-HEART-MOVES must combine so as to have a good improvisation. Not only one only of them. The habit only of the moves on the instrument will not give the best of improvisations that someone can perform. It is needed also feelings and a musical-theoretical concept The feelingsof the heart alone are not sufficient to lead to the best of improvisations that someone can perform. It is necessary also to use finger-skills and also musical theoretical concepts of the mind. The mind only and the musical theoretical concepts alone are not sufficient to  lead to the best of improvisations that someone can perform. It si necessary to use the momentum ofthe feelingsof the heart and skills of the fingers.

FOR EXAMPLE HERE IS HOW I APPLY THIS PRINCIPLE e,g. ON SINGLE UNACCOMPANIED MUSICAL  INSTRUMENT

1) MIND: I start with a diatoninc instrument with a particular scale , or chromatic e.g. a guitar with marked a default diatonic scale on it. This is my vocabulary. Then I decide which chord progressions of the 7-chords I willmainly use,and inpartcular what chromatic chords outside the scale,with "blue"  or chromaticnotes outside the scale that will create an extension of the diatonic scale towards  the full chromatic 12-notes scale. E.g. modify the natural minor mode to harmonic minor or double harmonic minor. Or change some major chords ofthe scale to minors with the same root and vice-versa. I prepare myself for types of repetitions, and chose one or more  rhythms. 

2) FINGER-SKILLS: I make sure that I am sufficiently familiar with the particular instrument and have this diatonic scale obviously on it (marked if necesary if its a chromatic instrument with fretboard. If itsi a wind that it is awind ofthsi scale. If its a celtic harp that it is tuned to this scale etc) By insisting playing all chords on the same inversion (at best in normal forms which is easy in overtone tunings) the chords of diatonic scale are spread across the fretboard. This may require larger moves of the hand, but it offers voices of the chords at different pitch ranges which is more rich at the final musical result. This is amore pianno-like or harp-like positioning of the chords on the fretboard as the relative pirches of their roots are easily and intuitively visible. Thus instead of playing the chords only as open at the first few frets we play them as 3 or 4 consecutive strings only across all the fretboard.

3) FEELINGS OF THE HEART: I srart seemingly randomply on the notes of the scale, and let the feelings shape a rather short and rhythmic melodic theme of 3-4 notes, that express as a word my feelings at that time and environment. Then I start variations of it mainly following the feelings of the heart but also letting the seemingly random moves of the fingers in the scale to add surprising innovations. I repeat, invert and innovate (mutate). I alternate chord pogressions with melodic themes variations (translations from string to string or across one string, inversions and mutations). I realize the chromatic-chords and notes extensions that I have decided but at random times and in unexpected order. I repeat and innovate. I create intervalsof long silence to review my playing and comeback with new ideas and momentum of feelings. In all the process the center of feelings (heart) watches carefully the moves of the fingers and does not let it act before somehow "knows" in advance which sound will be made. In other words we do not let the center of moves of the fingers to go faster that the flow of emotions in the heart and before the heart approves in advance whta the figers will play.


HERE ARE MORE SPECIFIC 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

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.

302. METHOD OF IMPROVISATION BY AN UNACOMPANIED SINGLE DIATONIC INSTRUMENT OR STRING INSTRUMENT WITH A SCALE MARKED ON THE FRETBOARD , BY SMALL MUSICAL THEMES AND PERPETUAL VARIATIONS BY TRANSLATION FROM S TRING TO STRING , INVERSION AND MUTATION. .

METHOD OF  IMPROVISATION BY AN UNACOMPANIED SINGLE DIATONIC INSTRUMENT NOT SUPPORTING CHORDS OR  STRING INSTRUMENT THAT DOES NOT SUPPORT WELL CHORDS WITH A SCALE MARKED ON THE FRETBOARD , BY SMALL MUSICAL THEMES AND PERPETUAL VARIATIONS BY TRANSLATION FROM S TRING TO STRING , INVERSION AND MUTATION. 

THE KEY-WORD HERE IN THE 4TH GENERATION DIGITAL MUSIC FOR THE MUSICAL-THEORETIC IDEAS OF THIS   POST (AS FAR AS MORDEN SOFTWARE FOR MUSIC MAKING IS ) IS MELODY-SEQUENCERS 

THE TERM  SEQUENCER MEANS HERE A LOOP OR RHYTHMIC CYCLE OF   A  MELODIC THEME THAT IS VARIATED INTERACTIVELY BY THE USER  IN A MELODIC SEQUENCER.

THERE MANY GOOD SOFTWARE PROGRAMS FOR THIS COMPOSITION AND IMPROVISATION LIKE FUGUE MACHINE, YAMAHA MOBILE SEQUENCER, THUMPJAM ETC. ALSO ARPIO  AND ARPEGGIONOME FOR GENERAL ARPEGGIOS ALTERNATED WITH MELODIC IMPROVISATIONS

For example when we improvise over a wind like a direct flute , or clariphone, or panflute, or with a violin or lyra, which does not support very well chords.

In the case string instruments with fingerboard or fretboard , it helps if the default diatonic scale of the instrument is marked on the fingerboard.

HERE THE IMPORTANCE OFTHE CHORD IS SUBSTITUTED WITH THE IMPORTANCE OF A SMALL MELODIC THEME (E.G. OF 3-4 NOTES) 

THIS SMALLMELODIC THEME IS PERPETUALLY VARIED. IF THE TUNING OF THE STRING INSTRUMENTS IS A GOOD ONE LIKE THE OVERTONES TUNING (SEE POST 301 AND 191), THE VARIATIONSCAN BE FROM STRINGT O STRING MORE-OFTEN THAN JUST TRANSLATING IT OVER A SINGLE STRING. WE APPLY ALSO INVERSIONS AN WE MUTATE THE THEME, SO THAT THERE IS NOT EXCESSIVE REPETITION.

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.

HERE ARE MORE IDEAS IF THE INSTRUMENT SUPPORTS CHORDS

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)

CHORD-BASED IDEAS

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 mau 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


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.

301. THE MIRACULUS 1ST AND 2ND OVERTONES (2ND TILL 7NTH) TUNING (5-4-3M-3m-3M) FOR THE 6TH STRING GUITAR , DOBRO AND OUD

A 2nd version of the 1st overtones tuning  (see post 191)  is starting from the 2nd overtone till the 8th omitting the 7nth overtone thus

C2-G2-C3-E3-G3-C4 INTERVALS (5-4-3M-3m-4) or in semitones (7-5-4-3-5 ) in numbered steps of the diatonic scale 1-5-1'-3'-5'-1"

AND IF WE WANT TO HAVE THE INTERVAL OF 5TH AT THE TWO HIGHEST STRINGS AS IT SOUNDS BETTER WITH CLARITY (AS IS THE CAE ALSO WITH THE CHARANGO TUNING) WE SET THE CUATRO CAVACO FIRST LOWER AND THEN HIGHER THE TROLL TUNING INVERTED THUS

G2-C3-E3-G3-C4-G4 INTERVALS (4-3M-3m-4-5) or in semitones (5-4-3-5-7 ) in numbered steps of the diatonic scale 5-1'-3'-5'-1"-5" and as overtone orders it is 3-4-5-6-8-12 overtones. 

We may call it 5th version of the overtones tuning.

Furthermore a slight variation of thsiversion of overtones tuning so as to include the stanrd ukulele-guitar tuning (or venezuela cuatro) and thsu be more familiaer in at least 4 strings is the 

C2-G2-C3-E3-A3-C4 INTERVALS (5-4-3M-4-3m) or in semitones (7-5-4-5-3 ) in numbered steps of the diatonic scale 1-5-1'-3'-6'-1" It is an open tuning of th root  major with 6th as the open tuning of ukulele.

Still another variation of the overtones tuning which includes not only the ukulele (venezuela cuatro) but also the charango tuning  besides of course the troll tuning and the 3-string Bouzouki tuning is the C2-G2-C3-E3-A3-E4 INTERVALS (5-4-3M-4-5) or in semitones (7-5-4-5-7 )   which is symmetric as we see and in numbered steps of the diatonic scale 1-5-1'-3'-6'-3" It is an open tuning of the root  major with 6th as the open tuning of ukulele and charango.

We may compare these tuning with that of the fado guitar that in interavls it is (5-2-5-4-2) E.g. C-G-A -E-A-B) it is an open major chord with 6th and major 7nth

The current 2nd overtone tuning  tuning unlike the 1st overtones tuning in post 191 WHICH is FROM THE 1ST OVERTONE TO THE 6TH, here it is FROM THE 2ND OVERTONE TO THE 7NTH



(it is an  open tuning and  an major chord with major 7nth)

In intervals of 5th 4th 3rd itis  5-4-3M-3m-3M

E.G.FROM C2 as C major scale IT IS C2-G2-C3-E3-G3-B3

FOR D MAJOR IT IS 

D2-A2-D3-F#3-A3-C#4

FOR F MAJOR IT IS 

F2-C3-F3-A3-C4-E4

For such an F major tuning and for optimal tensions the 4th D3 string of the standard guitar must be changed to a 3rd G3 string, and the 6th E2 string of the stnard guitar must be changed to a 6th A2 string.


FOR G-MAJOR IT IS

G2-D3-G3-B3-D4-F#4

FOR Bb major it is 

Bb2 F3 Bb3 D4 F4 A4

FOR Eb IT IS 

Eb2-Bb2-Eb3-G3-Bb3-D4


1)The part 5-4-3M  IS THE  SWEDISH TROLL TUNING of the violin

2) The part 4-3M is the tuning of 3 of the string of the guitar , and of ukulele, and of the Greel 4-strings bouzouki.

3) The part 4-3M-3m is the Brazilian cuatro (cavaco) tuning

4)And the part 3M-3m-3M is the melodic-harmonic tuning as in post 90 which has the maximal number of major-minor chord triads on  the fret board.

5) The part 5-4 is also a Greek 3-string bouzouki and it has the maximum number of 1 or 3 frets power chords among all other tunings.

6) The part 3M-3m is also the tuning if the instrument panduri.

The logic of this tuning is similar to the logic that a trumpet is played.

The 6 strings correspond to the overtones from 2 to 7 of the blowing stength of the trumpet player. The frets of the guitar correspond to the valves and keys of the trumpet.

For all these reasons as it contains tunings of 6 different instruments ,  it  makes  miracles as improvisation tuning for the Guitar.

SOMEHOW PLAYING IN SUCH A GUITAR IS LIKE LEARNING SIMULTENEOUSLY 5 DIFFERENT INSTRUMENTS 1) A GREEL 3-STRING BOUZOUKI, 2) A SWEDISH TROLL TUNING VIOLIN , 3) A BRAZILIAN CUATRO, 4) A RUSSIAN PANDURI, 5) A MELODIC-HARMONIC CUATRO.


One of the great advantages compared to the standard guitar tuning his is that

1) The  part of the tuning 4-3M-3m-4M allows for standard cuatro playing or ukulele palying of chords. The part 4-3M for standard guitar or ukulele chords. Thus when soloing on the highest 1st string, we may accompany by the opena= major root  chord at 2nd 3rd and 5th string.
2) The Swedisg troll part of the tuning 5-4-3M allows for accomanying with  a power root chord 5-4 (whichs is also the tuning of the Greek and Irish 3-string Bouzouki) at strings 6th, 5th, 4th  , complicated soloing on the 2nd and 3rd  (from higher) string that normally would require many major or minor chords for accomanying. 

Thus this tuning combines techniques of the ancient 1st generation music with the techniques of the 2nd generation classical period of music.

It is a great way to link the guitar to the unity of one musical note and its overtones,and at the same time have it as open-chord tuning (it is a an major chord with major 7nth)

OTHER ADVANTAGES OF THE 1ST OR 2ND OVERTONES TUNING COMPARED TO THE STANRD GUITAR ARE 

3) The shapes of the 3 inversions of the major , minor chords and dominat 7nth are in total utilzing less consecutive frets each chords thus it is has higher dnesity of chord-triads and thus it is played easier than the standard guitar
4) It  is open tuning thus it allows for nice open strings root-chord (either as power-chord or as major chord) accompanying of soling on a string and inside the scale.
5) The shapes of the patterns of the chords  especially for the 1st overtone tuning 
5-4-3M-3m-4 are rather symmetric around the 3rd string (for the higher 5 strings) therefore easier to comprehend and play in improviations where it is orefered to play 3-consecutive strings or 4-consecutive string chords only.
6) Because it includes the above 4-5 instruments  of 3 or 4 string it is easy to play when you know the simpler instruments.  Conversely playing  this guitar makes you learn all the above instruments.
7) As it is an open major chord shape ,  the corresponding one fret major chord pattern sounds better as voicing comprated to the corresponding 3 inversions of major chords in the standard guitar , because it is the sequence of harmonics from 2 to 8 (excluding the 7nth).
8) Especially the 2nd overtones tuning (all overtones from 2nd to 7nth , 5-4-3M-3m-3M) in its major or minor chord triads has more normal forms compared to the normal forms of the standrad tuning, thus it sounds better.
9) Because the chords are in one or 2 only frets, their arpeggios also and neighboring melodies are in fewer frets thus easier to play as finger picking style. 



A variation of this 2nd overtone so as to include the ukulele tuning rather than the cuatro cavaco tuning is (for C major ) the C2-G2-C3-E3-A3-C4   (5-4-3M-4-3m). Notice that it still includes the troll tuning . It is open chord 6m7 tuning. 

Or C2-G2-C3-E3-A3-E4   (5-4-3M-4-5) which is combination of the Swedish troll tuning and charango tuning. Still open 6m7 chord or 1M6

Or  C2-G2-C3-E3-G3-C3  5-4-3M-3m-4    (Open 1Major chord) which is a version of the 1st overtones tuning (see post 191 ) which start from the 2nd ove tone and ends to the 8th overtone omittingthe 7nth  overtone .

300. THE TROLL-PANDURI-CUATRO (UKULELE) 3M-3m-4-3M-4 TUNING OF THE 6-STRING GUITAR AND OUD

This 3M-3m-4-3M-4 TUNING wa mentioned in the post 165.

The part 3M-3m is a panduri tuning.
The  part 4-3M-4is a ukulele (cuatro) tuning

The 6th, 4th 3rd and 2nd strings (in interval distances it is 5-4-3M) is aSwedish troll tuning

The 6th, 4th 3rd strings (in interval distances it is 5-4) is a greek 3-string bouzouki.


Because ofthe above inclusions this tuning is quite remarkable and I use it in some of my 6-string guitars and OUD.

a permuted version of it is the tuning is the 4-3M-4-3M-3m. The 4-3M-4 is a ukulele cuatro while the 4-3M-3m is Brazilian cuatro or cavaco. So it may be called double cuatro.

The inclusion of the troll tuning (although not in consecutive strings ) gives the next advantage



a) The ukulele part of the tuning 4-3M-4 allows for standard guitar playing of chords
b) The Swedish troll part of the tuning 5-4-3M allows for accomanying with  a power root chord 5-4 , complicated soloing on the 2nd (from higher) string that normally would require many major or minor chords for accomanying. 

Thus this tuning combines techniques of the ancient 1st generation music with the techniques of the 2nd generation classical period of music.