352. THE 2-DIMENSIONAL SEQUENTIAL-CONTINUOUS OVERTONES+SLIDING IMPROVISATION MODE FOR TROMBONES

THE 2-DIMENSIONAL SEQUENTIAL-CONTINUOUS OVERTONES+SLIDING IMPROVISATION  MODE FOR TROMBONES

 In this improvisation mode, we shift from center-note to center-note in the improvisation not directly by a jump but sequentially through vertical shift-Jump (slur)  in the overtones and correction by sliding  the slide. 

As we have mentioned elesewhere it is  sufficient that at least 50% of the time the notes fits with the underlying chords for the result to be acceptable in listening. Thus the 49% of the time we may shift by overtones and sliding till we find a new center-note where we stay for much longer time. 

It may be a non-thinking experimental method without realizing which notes we play.

We may start the shift for the desired direction either vertically by overtones jumps or horizontally by sliding the slide. 

The difference e.g. with an harp or piano or panflute is  that in such improvisation we have only one dimension both geometrically and as pitch while with a trombone we have two dimensions one local geometric with the slide and one with the embouchure by overtones (partials).

351. 3*3=9 SIMPLEST TYPES OF SHAPES OF DYNAMICS OF MELODIC THEMES

 

(This post has not been written completely yet)

As with t he static harmony we have initially 3 types of chords (power chord, major chord minor chord) so with the simplest dynamics of melodic themes we have 3 initial shapes, that are inflated to 3*3=9 basic shapes of dynamics (or called in other posts (Dolphin words) of melodic themes.

We enlarge more on this below.

HERE THE BASIC 9 SHAPES OF THE DYNAMICS OF SIMPLE MELODIC THEMES

1) SIMPLE  HORIZONTAL MOVE

2) SIMPLE UP MOVE

3) SIMPLE DOWN MOVE 

4) DOWN CYCLIC MOVE

5) UP  CYCLIC MOVE

6) DOWN DOWN MOVE

7) UP(DOWN) MOVE

8) UP-UP MOVE

9) DOWN (UP) MOVE

TO THESE BASIC 9 SHAPES WE MAY ASSIGN A NUMBER LIKE 3 ,4 5 ETC WHICH SIGNIFIES WITH HOW MANY NOTES ARE REALIZED.'

THE EXACT SIZE OF THE INTERVALS WITH WHICH SUCH SHAPES ARE REALIZED DEPEND ON THE UNDERLYING CHORDS.

GIVEN THE UNDERLYING CHORDS AND THE NUMBER 3,4,5 ETC OF NOTES WITH WHICH SUCH SHAPES ARE TO BE REALIZED WITH SOME BEATS DETERMINES ALMOST  COMPLETELY THE MUSICAL THEMES.