This concept of perceiving melodies is probably the best, and we discussed it qute extensively in previous posts under therms like simplicial submelody, dolphin words etc. See e.g, posts 72, 282 etc. This technique provides a simplicity layer in the melody , as simple as the chord progression of the song.
In this concept of melodic improvisations, we conduct a simple sequence of notes of a scale as centers of the improvisation (e.g. 1-4-5-1) , with rather at will and by the feelings decided transitions, so that each note lasts quite long, but we also move much faster with rather random fluctuations with notes of the scale close to each center. The center though sounds much more than 50% of the time that all other embelishment notes close to it.
The transition from one melodic center to the next, has been called elsewhere as Dolphin word (see e.g. posts 72, 282) or melodic simplicial vector interval, or simplicial (sub)melody theme, or simplicial subtheme etc. In classical music it might be called the starting and ending notes of a melodic phrase, as , the melodic phrase isperceived as a little melodic journey which starts and ends in these two notes. Again the total duration ofthe starting and ending centers of a melodic phrase are supposed to last more than 50% of the intermeniate notes in total.
The group of transformations of melodic themes, does apply to the simplicial melodic themes (Dolphin words) , as translation, inversion, contraction-expansion or elongnation (dilation) and mutation.
This perception of the melody, is used also in an excellent way to write the basic bone-structure of the improvised melody without a pentagram, with as high simplicity as the chord progression. We simply chose one of the closest 7-notes diatonic scales, and we indicate the sequence of the melodic centers as ordinal numbers of the diatonic scale. The rhythm is based on the main rhythm of the song and it may vary as well.
In this concept of melodic improvisations, we conduct a simple sequence of notes of a scale as centers of the improvisation (e.g. 1-4-5-1) , with rather at will and by the feelings decided transitions, so that each note lasts quite long, but we also move much faster with rather random fluctuations with notes of the scale close to each center. The center though sounds much more than 50% of the time that all other embelishment notes close to it.
The transition from one melodic center to the next, has been called elsewhere as Dolphin word (see e.g. posts 72, 282) or melodic simplicial vector interval, or simplicial (sub)melody theme, or simplicial subtheme etc. In classical music it might be called the starting and ending notes of a melodic phrase, as , the melodic phrase isperceived as a little melodic journey which starts and ends in these two notes. Again the total duration ofthe starting and ending centers of a melodic phrase are supposed to last more than 50% of the intermeniate notes in total.
The group of transformations of melodic themes, does apply to the simplicial melodic themes (Dolphin words) , as translation, inversion, contraction-expansion or elongnation (dilation) and mutation.
This perception of the melody, is used also in an excellent way to write the basic bone-structure of the improvised melody without a pentagram, with as high simplicity as the chord progression. We simply chose one of the closest 7-notes diatonic scales, and we indicate the sequence of the melodic centers as ordinal numbers of the diatonic scale. The rhythm is based on the main rhythm of the song and it may vary as well.
