REALM OF HARMONY
IMITATION ASSIMILATION, INNOVATION.
BASIC PRINCIPLE 1 CHORDS HARMONY POLARITY
IF WE KNOW HOW TO IMPROVISE OVER A SINGLE CHORD AND PAIRS OF CHORDS AS ΤΗΕ BASIC 3 CHORD TRANSITIONS (HARMONIC, MELODIC, CHROMATIC) THEN WE KNOW HOW TO IMPROVISE IN ALL CHORD PROGRESSIONS EITHER PRE-COMPOSED OR IMPROVISED!
WE ENHANCE THIS PRINCIPLE WITH THE OVERTONES ARPEGGIO PATH FOR OVERTONES INSTRUMENTS OR OVERTONES TUNINGS OF STRINGS . THIS STATES THAT WHEN YOU ARE IN A NOTE AND YOU ARE WANDERING OF HOW MUCH OUTSIDETHE THE UNDERLYING CHORD AND WHERE TO GO, THEN THE THE FRIENDLY CHARMING PATH TO FOLLOW IS TO ASCEND OR DESCEND FROM THIS NOTE ACROSS THE OVERTONES OF THE INSTRUMENT WHICH ESSENTIALLY ARE A MAJOR CHORD (IN THE BRASS INSTRUMENT BY BLOWING LESS OR MORE) AND WHEN YOU REACH A NOTE EITHER STAY IN IT IF IT IS SUITABLE OR SHIFT TO A CLOSEST ONE WHICH IS SUITABLE (E.G.IN THE TROMBONE BY THE SLIDE). IN THE STRING INSTRUMENTS THAT ARE NOT IN OVERTONES TUNING THIS FRIENDLY CHARMING PATH IS NOT AN OVERTONES SEQUENCE BUT A CHROMATIC SEQUENCE OF MINOR 2NDS (SEMITONES).
BASIC PRINCIPLE 2: THE POLARITY OF REPETITION AND VARIATION IN THE RHYTHM
WE CHOOSE TO FOLLOW A RHYTHM WHICH IS AN ABSOLUTE REPETITIVE PATTERN, BUT SOMETIMES WE VARY THE RHYTHM TO POLY-THYTHMS. AN UNDERLYING RHYTHM MAY BE UTILIZED ALSO TO CREATE MUTATIONS OF MELODIC THEMES, ALL OF WHICH THOUGH ARE PARTIAL PATTERNS OF A SINGLE RHYTHMIC PATTERN.
HARMONY POLARITY : HERE WE PLAY WITH OUR FEELINGS OF HARMONY AND THE POLARITY BETWEEN BEING INSIDE THE HARMONY OF THE UNDERLYING CHORD
(THE RULE IS THAT AT LEAST 50% OF THE TIME MORE THAN 50% OF THE INTERVALS THAT ARE CREATED FROM EACH NOTE OF THE MELODY WITH THE NOTES OF THE CHORD ARE MELODIC (INTERVALS OF 3RDS OR INVERSES) AND HARMONIC (INTERVALS OF 5TH OR 4TH) AND NOT CHROMATIC (INTERVALS OF 2NDS)).
ABASIC PRINCIPLE TO SATISFY THE ABOVE RULE IS TO PLAY INSIDE A DIATONIC SCALE THAT CONTAINS THE CHORD (AT IONIANA, DORIAN OR ANY MODE). ANOTHER IS TO PLAY WITHIN THE SUBSCALE OF THE 5 NOTES CHROMATIC CLOSURE (INSIDE A DIATONIC SCALE) OFTHE NOTES OF THE CHORD.
WHEN CREATING A CHORD PROGRESSION WE MAY START WITH THE BASIC TRIAD OF CHORDS 1M , 4M, 5M AS ROLES OF TONAL-DOMINSNAT-SUBDOMINANT AND THEN RE-HARMONIZE BY SHIFTING AND SUBSTITUTING CHORDS WITH THE SAME ROLES IN NEIGHBORING MODES OF THE SAME DIATONIC SCALE. IN ADDITION WE MAY APPLY TECHNIQUES OF CHROMATIC TONALITY WHICH EXTEND THE 7 NOTES O THE DIATONIC SCALE TO THE FULL 12 NOTES OF THE CHROMATIC SCALE AS IN POSTS 336, 263, 334.
WE ENHANCE THIS PRINCIPLE WITH THE OVERTONES ARPEGGIO PATH FOR OVERTONES INSTRUMENTS OR OVERTONES TUNINGS OF STRINGS . THIS STATES THAT WHEN YOU ARE IN A NOTE AND YOU ARE WANDERING OF HOW MUCH OUTSIDETHE THE UNDERLYING CHORD AND WHERE TO GO, THEN THE THE FRIENDLY CHARMING PATH TO FOLLOW IS TO ASCEND OR DESCEND FROM THIS NOTE ACROSS THE OVERTONES OF THE INSTRUMENT WHICH ESSENTIALLY ARE A MAJOR CHORD (IN THE BRASS INSTRUMENT BY BLOWING LESS OR MORE) AND WHEN YOU REACH A NOTE EITHER STAY IN IT IF IT IS SUITABLE OR SHIFT TO A CLOSEST ONE WHICH IS SUITABLE (E.G.IN THE TROMBONE BY THE SLIDE). IN THE STRING INSTRUMENTS THAT ARE NOT IN OVERTONES TUNING THIS FRIENDLY CHARMING PATH IS NOT AN OVERTONES SEQUENCE BUT A CHROMATIC SEQUENCE OF MINOR 2NDS (SEMITONES).
REALM OF RHYTHM
IMITATION ASSIMILATION, INNOVATION.
BASIC PRINCIPLE 2: THE POLARITY OF REPETITION AND VARIATION IN THE RHYTHM
WE CHOOSE TO FOLLOW A RHYTHM WHICH IS AN ABSOLUTE REPETITIVE PATTERN, BUT SOMETIMES WE VARY THE RHYTHM TO POLY-THYTHMS. AN UNDERLYING RHYTHM MAY BE UTILIZED ALSO TO CREATE MUTATIONS OF MELODIC THEMES, ALL OF WHICH THOUGH ARE PARTIAL PATTERNS OF A SINGLE RHYTHMIC PATTERN.
REALM OF MELODY
IMITATION ASSIMILATION, INNOVATION.
BASIC PRINCIPLE 3: THE POLARITY OF REPETITION AND VARIATION IN THE MELODY (IMITATION, ASSIMILATION, INNOVATION)
MELODIC MONOTONICITY-VARIATION POLARITY . HERE WE PLAY WITH OUR FEELINGS OF MONOTONY AND VARIATION AND THE POLARITY BETWEEN BEING MONOTONOUS BY REPEATING A MELODIC THEME AND BEING INNOVATIVE . WE CREATE TRANSLATIONS, INVERSIONS AND MUTATIONS OF IT (MUTATIONS BASED ON THE FRIENDLY CHARMING PATH AS ABOVE OR A COMMON UNDERLYIN RHYTHMIC PATTERN FOR ALL MELODIC THEMES).
IN MODERN DIGITAL MUSIC THIS HAS BEEN PARTIALLY REALIZED AS LOOPS AND ARPEGGIATORS.
WHEN ASSIMILATING AND VARYING IN AN INNOVATIVE WAY A MELODIC THEME WE MAY KEEP THE NOTES AND CHANGE THE RHYTHMIC PATTERN, OR KEEP THE RHYTHMIC PATTERN AND CHANGE THE NOTES.
A SOURCE OF SIMPLICITY IN MELODIC IMPROVISATION IS THE CONCEPT OF SIMPLICIAL SUBMEODY (SIMPLE LIKE A BASS LINE SEE POSTS 72, 65 ETC ) WITH ABOUT ONE NOTE PER CHORD. THE SIMPLICIAL SUBMELODY IS ALSO EASILY WRITABLE PARALLEL TO THE CHORD PROGRESSION. BASED ON THE SIMPLICIAL SUBMELODY EVERY ELEMENTARY MELODIC THEME HAS A TRACE AS A DIRECTED PAIR (OR VECTOR) OF NOTES OF THE SIMPLICIAL SUBMELODY CALLED SIMPLICIAL MELODIC THEME OR DOLPHIN WORD (SEE POSTS 114, 282, 231 ).
REALM OF PSYCHOLOGY
IMITATION ASSIMILATION, INNOVATION.
BASIC PRINCIPLE 4: THE POLARITY OF THE PRIORITY ON MUSICAL FEELINGS VERSUS INSTRUMENTS HABIT AND THEORETICAL PRECONCEPTIONS .
THE BIOWARE OVER THE HARDWARE. HERE WE GIVE PRIORITY TO THE ACQUIRED PSYCHOLOGY AFTER LISTENING MANY MELODIES OF OUR PERCEPTION OF MUSIC OVER HABITS OF PLAYING THE INSTRUMENTS OR OF THEORETICAL PRECONCEPTION IN THE MUSICAL ONTOLOGY: WE SPENT 5 ONLY MINUTES A DAY TO SING A MELODY THAT WE LIKE (KNOWN OR NEW) AND THEN PLAY IT AS IMPROVISATION ON OUR INSTRUMENT (see also post 288 ).
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