This concept is based on playing strictly the centers of the melody that fit the underlying harmony of the chords, but surround them with a statistical or probabilistic "cloud" of fast notes of the diatonic scale that the song is in it so that they do not last more than 50% of the duration of the melodic center. Such fast improvisations occur in flamenco improvisations and in gypsy jazz improvisations. It is also much of the tricks that the folk harp is playing in Paraguay, Colombia, Peru etc .
Wednesday, October 28, 2020
346. THE SIMPLE OVERTONES SEQUENCE IMPROVISATINAL MODE OF PLAYING THE FRENCH HORN.
THE FRENCH HORN TOGETHER WITH THE OBOE WAS DECLARED BY THE GUINESS ORGANIZATION AS THE HARDEST MUSICAL INSTRUMENTS TO PLAY, HARDER THAN THE VIOLIN!
Neverthless for the goals of overtones sequence improvisations , there is a mode of playing the french horn which is easier than a standard brass wind instrument. Obviously it does not cover all types of melodies but only a special type of improvisation.
THE FIRST 20 OVERTONES OR PARTIALS AS ORDINAL NUMBERS OFTHE NOTES OF DIATONIC SCALE ARE THE NEXT
FIRST OCTAVE= 1 (1st (over)tone)
2ND OCTAVE=1,5 ( 2nd, 3rd overtone (POWER CHORD)
3RD OCTAVE=1,3,5 ( 4th 5th 6th overtone MAJOR CHORD)
4TH OCTAVE=1,2,3,4#, 5 , 5#, 6# 7 , 1'
(8th 9th 10th 11th 12th , 13th 14 th 15 th 16th overtones)
(AN 8-NOTES SCALE ALMOST CONTAINING THE 7-NOTES DIATONICSCALE)
We explain it in the next.
A Bb3 french horn is harder than say a Bb3 trumpet for the next reasons
1) Bb3 french horn uses double the length of tube of the Bb3 trumpet, although both have valves. The old baroque or natural trumpet has also double length to the modern and it is considered more difficult
2) The double length makes a shift in the playing from the 2nd-to-8th partial which is for a normal trumpet to the 4th-16th partial which is with the french horn. Thus the partials are of larger number per octave, and although they require less finger-action they also require very careful embouchure to separate the partials (otherwise we get split notes). Thus a french horn is like a baroque trumpet but with valves.
3) Furthermore as we enter the octave from 8th partial to 16th partial, more partials appear that are outside the piano-bach scale, and thus they require correction of the pitch with the right hand in the bell. This is not so necessary with the trumpet or say alto horn, that range from 2nd partial to 8th. For the above reasons it is considered more difficult BUT if we do not intent to to correct the partials to fit the piano-bach scale (e.g. because we improvise alone) and if we like more action with the embouchure rather than with the fingers because it is more emotionally satisfying, the with such a mode of playing the french horn is easier that the other brass winds!
REMARKS ABOUT THE NUVOJ HORN AS PLASTIC Bb FRENCH HORN OR AS BARQUE TRUMPET WITH VALVES.
The Nuvo Jhorn will play much like a plastic Bb3 french horn with a french horn mouthpiece, for the following reasons
1) It has the same tube length as a Bb3 french horn.
2) It has a starting thin tube exactly as the french horn
3) Although it has the same tube length as a baritone horn, it is not good at the low notes of the baritone horn, even with large mouthpieces, because of its thin tube.
4) Thus with a french horn mouthpiece it plays as a very nice low volume sounding but easily making sound plastic Bb3 french horn and it plays well from middle 3rd octave to the middle 5th octave of piano (as a trumpet and baroque trumpet) , Actually it plays in the range Bb2-Bb4 as an upper registry wind (playing easier at the higher octave-4th partial-8th partial Bb3-Bb4).
5) Thus in this way the Nuvo Jhorn is like a baroque trumpet with valves!
REMARKS ABOUT THE Bb3 FRENCH HORN.
1) Simple French horns are usually with roor F3, which means that their normal easy range is about C3-C5.
and they play with range of overtones (partial) 4th-16nth
2) When a Bb3 french horn is playing with a standard F3 french horn mouthpiece its easy range is again C3-C5 or adjusted here to Bb2-Bb4. But this is a 2nd-8th partial (overtone) range, thus i should play with the standard fingering of a baritone horn. Actually because it has thinner tube than a baritone horn and closer to a tenor trombone it sounds like a tenor trombone.
3) The difference in playing compared to a baritone horn and tenor Bb2 trombone is that the later are lower registry winds in the sense that (with their standard large mouthpieces) they play easier at the lower octave= 2nd-4th partial than at the higher octave =4th-8th partial
4) The Bb french horn with a standard F3-french horn mouthpiece plays quite balanced in the twoocatve and actually easier at the higher octave 4th-8th partial! Thus such a french horn is an upper registry valved tenor trombone (and baritone horn)! This also gives that it becomes easier playing as all other brass instruments for all melodies compared to the F3 french horn in the 4th-16nth partial range! Plus it is an upper registry 2nd-8th partial range brass wind!
5) Similarly a tenor trombone with a standard F3 french horn mouthpiece becomes an upper registry wind playing easier at the higher octave=4th-8th partial with total range 2nd-8th partials! Actually a double F/Bb tenor trombone has 2 modes of playing.
a) a lower registry mode in the 2 octaves range C2-Bb3 with large mouthpieces
b) higher registry mode in 2 octaves with a french horn mouthpiece in the range Bb2-Bb4. In total 3 octaves!
In this way the trombone will become a baroque trumpet with slide!
6) We may apply the same idea for an alto Eb trombone with a F3 french horn mouth piece! The Eb trombone has normally range Bb2-Eb5. utilizing 2nd and 3rd octaves of partials. But with a F3 french horn mouth piece it will range easily and smoothly in the 4th and 5th piano octave (as a trumpet and baroque trumpet) , or 3rd and 4th octaves of partials. In this way the trombone will become a baroque trumpet with slide!
7) Finally a double F2/Bb2 tenor trombone with a standard F3 french horn mouthpiece WILL SOUND EXCATLY LIKE F3 FRENCH HORN and the fingering will be as that of the F3 french horn in other words in the range of partial 4th-16nth !
8) As a general rule to make an ordinary brass wind which usually it is a lower registry wind to an upper registry wind , it requires to utilize a mouthpiece which is of diameter normally for one octave higher brass wind, but with deeper cone-like cup (which is what a french horn mouthpiece is. It is of diameter that of trumpet mouthpiece but with deeper cone-shaped cup).
Monday, October 26, 2020
345. CHROMATIC TONALITY ON THE LEVERED HARP
The levered harp as played in Paraguay , Combia, Peru etc is a diatonic instrument tuned to a fixed initial diatonic scale, bu during the playing ofthe song some levers are move to provide one or more of the 5 chromatic or "blue" note that extend the 7 notes of the diatonicscale to the 12 of all notes. In particular
we have the 5# chromatic note , for harmonic minor ofthe aeolina mode shifts, the 2# and 5# for double harmonic minor shifts ofthe aeolina mode, and slso 4# and 6# for chromativ shifts as in the overtones diatonic scale of the brass instrumenst between 8th and 16th overtones. Finally the 1# also for neopolitan shifts of the aeolian mode.
Thus the practice o the leverd harp in the latin americacountries realizes what we have describe here as chromatic tonality in the posts 336, 334, 263, etc
Friday, October 9, 2020
Monday, October 5, 2020
343. CHROMATIC SHIFTS OF PAIRS OF CHORDS AS A TECHNIQUE FOR FULL CHROMATIC TONALITY
For the concept of Chromatic tonality see posts 263, 336, 334 .
This concept of chromatic shift of a pair of chords is as follows : Let a pair of chords X1->X2 , that are chords of a diatonic scale S. The 3 possible relations of (X1,X2) is chromatic (roots differ by a 2nd or inverse ), melodic (roots differ by a 3rd or inverse ) and harmonic (rotts differ by a 4th or 5th).
Now the chromatic shift preserves this relation of X1,X2 but may take this pair outside the diatonic scale as it shifts by an interval of one semitone or one tone which may not be of the diatonic scale S.
This shift may change the character ofthe chords X1, X2 from major or minor or dimisnhed to another from the types major , minor or diminished.
By continuing this chromatic shift we return again after 1,2, or 3 steps to a pair of chords of the diatonic scale .
Of course it is not only that athe pair of chords are shifting but also the melody theme relating these 2 chords is shifting also to other scales, and after 1,2 or 3 steps returns again to a melody theme of the the initial scale S.
Here are some example in the diatonic scale S=C major
1) X1=Dm X2= G (harmonic relation of X1,X2)
Dm->G
Dbm->Gb
C->F
2) X1=C X2= F (harmonic relation of X1,X2)
C->F
B7->Em
Bb7->Eb
Am->Dm
3) X1=Am X2= C (melodic relation of X1,X2)
Am->C
Abm->B
Gm->Bb
G->Bd
4) X1=Em X2= Am (harmonic relation of X1,X2)
Em->Am
Fm->Bbm
Gbm->Bm
Gm->Cm
ETC
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