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Saturday, December 25, 2021

404. Improvisation on the fado guitar, tuned by overtones.

 I have a fado guitar (scale length 44 cm, thus a type of mandola-guitar) with 6 courses of strings. I eliminated the double strings to be single thus it has 6 strings tuned by overtones tuning to  

G2-D3-G3-B3-D4-G4.   (and in degrees of a diatonic scale 1-5-1-3-5-1).

Therefore it is an open tuning to G major scale. I have put white marks on the notes of the G-major default scale across the fingerboard and for every string.

 Because the fretbaord is at most 44 cm the improvisation is easy, and because the fado guitar has very bif sound box the sound is both sweet and strong. 

  The chords of the scale appear as vertical simple patterns across the 6 strings. This is very convenient and simple as we have all the scale and chords of the scale across the fretboard in the right sequence of their roots in the scale. One octave is of course the full 12-frets of the fretboard.

 

When improvising with melodically (sequence of single notes) or harmonically (sequence of 3rds or 3-note chords) we follow the next geometrically and harmonically convenient patterns

 

1) We go up and down a single string with oscillations around notes for a purely melodic improvisation, which is dictated purely from our emotional center  over the melody note by note. We utilize repetition of a pitch-order and rhythmic pattern that would bethe first melodic theme.

2) We do the same but with double consecutive strings which make a major or minor interval of 3rds  , pressing the fingers always upon the white marks, 

3) We do the same but with 3 consecutive strings which make a 3-notes major , minor or diminished chord , by  pressing the fingers always upon the white marks that define  also the shape of the chord on these 3 consecutive strings,

4) We play 3-notes chords triads, on 3 consecutive strings where the dominating relation among the consecutive chords is being relative chords (minor-major with 2 common notes. It is odd or even order of chords

5) We do the same but with harmonic relations of the chords

6) We bridge two consecutive chords with notes upon the white marks making leaks and leads

7) We pair 2 or 3  chords that are consecutive in the order of their roots in the scale (chromatic relation of the chords) and bridge them with the melodic leads that interlink them. There is at least one bridge for each of the 6 strings that link the 2 chords, as each chords spans with a simple a patterns among the 6 strings due to the tuning.

8) We interpolate very often the open strings root chord

9) When we move in a melody up and down we try  moving horizontally (chromatic melodies ) and vertically (harmonic melodies) with a proportion 1/3=33%, 2/3=66% respectively

10) We use blue notes of the scale in the melodic improvisation , e.g. 7b, 5# , 2#, 5b , 1# etc.

11) We utilize the diminished 3-notes chord , among 3 consecutive strings (the pattern is visible at the 7 degree of the scale) and resolve to1 semitone or 1 tone up or down nearest scale chord.

12) We utilize drone melodies where one note that of the open string interpolated among any two notes of the rest of the melody, in any string with the same order and rhythm pattern and because of the tuning this a modulation of the melody on the 1,3,5 modes (Ionian, Phrygian, Myxolydian) of the diatonic scale.

13) We may at the same time as in 12) to play isocratically the root open chord or only the 6th 5th strings that are 5th 1-5 while practicing the 12) 

14) We start at the triad of minor chords of the scale 2m, 3m , 6m and we gardually with bridging melodic themes we shift to the triad of majors 1M, 4M 5M.

15) We play a chord of the scale (usually the 1M, 4M 5M) which is across the 6 strings and simplest pattern, but only partially each time 3 consecutive strings and the 3 other  higher or lower on the same chord but asit changes octave and timbre of the strings are heard as...different chords or at least radically different voicings of the chords.

16) We play the andaluzian cadenza (6m, 5M 4M 3M)  with melodic themes bridging the chords, (6 strings 6 bridges) we reverse to andaluzian ascenza etc. 

17) Similarly we improvise over the triad of main chords 1M 4M 5M ) as in the 12 bars blues with links (6 strings 6 links or bridges)  for each   chord transition. 

Thursday, November 25, 2021

403. THE SEVEN SYMMETRY TYPES OF RHYTHMS WITH TWO TYPES OF BEATS

 Every such 2-types of beats rhythm can e represented geometrically when writingit as frieze pattern

Now there exactly 7 different symmetry groups of frieze patterns, thus also 7 symmetry groups of such rhythms


See also https://en.wikipedia.org/wiki/Frieze_group

Saturday, November 20, 2021

402. REVIEW OF SIMPLE RULES TO COMPOSE A NICE MELODY WITH A CHORD PROGRESSION.

We summarize here some simple rules to compose a nice melody after a chord progression.

 

1) The rule to fit the melody to an underlying chord is that at least 50% of the time the notes of the melody  that sound during the underlying chord must be notes belonging to the chord.

2) The chord progression must be so that each melodic theme, has as underlying chords 1, or 2 or 3, and this is the same time duration though out the song Thus the chord progressions may be partitioned in to pairs or triads of chords which are called melodic phrase chords. Each such pair or triad of chords is the local "scale" on which the melody is running. Usually it is a good quality relation of chords e.g. harmonic, melodic or harmonic chromatic. The number 3 for the melodic theme cords is a critcal value as it defines also a mode and a diatonic scale, so that translations of the theme may be considered modulations in other words changes of the mode. After all , all 12-bars blues utlize for their melodic themes 3 chords which is neither poor harmony neither too complicated harmony .

3) It is good that each chord has duration of time unit or half or double this time unit throughout the song. In other words the time duration of the chords is a simple and not complicated numeric  pattern.

4) The span-range of the melody with its highest note and lowest note is a good simple chart for the emotions that go parallel to the height of the notes of the melody.

5) It is good to create the melodic themes first from its centers , one per chord, so that the centers make the simplicial submelody, and then enhance it to the full melodic theme.

6) The main 4 variations here from melody theme to melody theme are of course the translation-modulation over the chord, or pair or triad of chords with which it is accompanied, the pitch or time inversions, and the mutations, The expansions contractions are much more rare. As the transaltion is the more often variation, this  applies also to the melodic phrase chords. Therefore the relation of the melodic phrase chords amomg themselvs is important too and preferably they are also good quality like harmonic. 

7) Topological concepts of the dynamics of the variations of the melodic themes and the melodic themes themselves (Dolphin words) like cycle, up move, down  move etc are useful for creating corresponding psychological feelings. 

8) Morphology of the parts of the melody like "couple"=first verse , "refrain"=resolving chorus are also useful in integrating the final melody of the song. 

After the above rules the creation of melodies after their harmony or chord progression is as easy as writing a text. We may call this method "Bach's method" . The reason it becomes easy is because we proceed from the simplicity to the complexity,and here the simplicity both in harmony and melody is the a) melodic phrase b) melodic phrase chords. 


 

Here is an example of a paritioned chord progression with chords from 3 tonalities related harmonically (this is common inthe harmony of brazilian songs) e.g. C-F-G.

I have improvised at first these chords inthe ukulele,soI that i like them and make the necesary corections

The melodic phrase chords are 3 , and I write the chord progression so that each line is a traid of melodic phrase chords. 

For simplicity all chords have the same duration

1st verse minor feeling, the translation of t he melodic theme is upwards. It is inthe tonalitis C and  F (with harmonic minors)

Dm      E7      Am

Gm      A7      Dm

1st chorus resolution to a major triad, which is alower shift ofthe melodic theme

Bb       C7       F

Here the next verse moves to the tonality G


E7       Am        Am

B7       E7          Am


Again a chorus resolution to major triads of the toanlity G


C        B7         G

Am   D7          G


Chromatic shift to the 7nth degree of the toanlity G as a new verse


F#7    Bm     Bm

B7     Em      Em

And a resolution to tonal of G tonality

D7      G        G


Now we add the simplicial submelody notes of the melody , one note per chord

We try it in a convenient instrument . I did so in the ukulelel and also on the digital ukulele (Geoshred) in the tablet.  I try to whistle also  threr simplicial submelody

1st verse minor feeling, the translation of t he melodic theme is upwards. It is inthe tonalitis C and  F (with harmonic minors)


Dm  (f5)     E7  (g#4)     Am (c5)

Gm   (Bb5)   A7  (c#5)    Dm  (f5)

1st chorus resolution to a major triad, which is alower shift ofthe melodic theme

Bb  (d5)     C7   (e5)    F (a4)

Here the next verse moves to the tonality G


E7  (e5)     Am    (a5)    Am  (a4)

B7   (f#5)    E7    (g#5)      Am  (e6)


Again a chorus resolution to major triads of the toanlity G


C   (e5)     B7    (d#5)     G  (b4)

Am  (c5)    D7   (f#5)       G  (g5)


Chromatic shift to the 7nth degree of the toanlity G as a new verse


F#7   (F#5)  Bm   (b4)   Bm  (b4)

B7    (f#5) Em   (b5)     Em  (B5) 

And a resolution to tonal of G tonality

D7  (d5)    G (g4)       G (g4)


Finally we write all these in a midi editor and and we enhance the simplicial submelody to an actually rhythmic melody with transition notes also outside the chords. 

In this way it is as if we write a text first fromthe verbs then the subject  and obkect ofthe verb and then the relations of the phrases. 







Thursday, November 4, 2021

400. SIMPLICIAL SUB-CHORD-PROGRESSION BESIDES SIMPLICIAL SUB-MELODY IN IMPROVISATION

 The simplistic invariant in our emotional subconsious is not only creating the simplicial sub-melody by the melody centers, but also the  simplicial sub-chord-progression

E.g. when in diatonic scale we play a chord progression involving 1M , 2m, 3m, 4M 5M 6m , we may

realize that the 3 minors 2m , 3m, 6m, are lower relative chords ofthe 4M, 5M, 1M and so we actually may havea salternative well fitting also chord progression one that has only the 3 majors 1M, 4M, 5M. which can of course be called the simplicial sub-chord-progression.


An example is to try to improvise melodically on the next quite long piece of gypsu jazz

https://www.youtube.com/watch?v=wy9LiSeDQiU&t=412s&ab_channel=LewisLuongRelaxationCafe

It becomes after some time easy, because it is as if improvising over a simple chord progression involving only the 1M, 4M, 5M. 


Sunday, October 31, 2021

399. CLASSIFICATION OF THE METHODS TO LEARN IMPROVISATION THROUGH 3 CENTERS IN THE HUMAN PERSONALITY . MENTAL, KINAESTHETIC, EMOTIONAL.

 A VERY GOOD CLASSIFICATION PRACTICE OF THE METHODS TO LERN IMPROVISATION AND  MAKING FREE MUSIC SIMILAR WITH THE EASINESS WITH WICH WE SPEAK IS TO CLASSIFY  THE METHODS BY 


THE MENTAL CENTER (New concepts of musical theory. E.g. Chromatic tonality, harmonic, melodic , chromatic multitonality, statistical rules of intervals, chords types etc) 


THE KINAESTHETIC CENTER (Appropriation of the musical instruments with new convenient types of tuning, etc The triads chart of the  fretboard etc). The kinaesthetuc center we may analyze further to the 3 external sences of  

1) touching   

2) seeing  

3) listening 


THE EMOTIONAL CENTER (new techniques of training the emotional center through listening ,whistling etc)


We have mentioned elsewhere that the types of improvisation that we include are

 

1) Single instrument with or without chords

2) Predetermined harmony and chord progression by a musician , and improvisation in the melody by another musician

3) Improvised harmony by a musician and improvised melody my another musician

4) Two musicians improvising parallel counterpoint melodies within one or more scales. 

5) A musician improvising a new adoption , with melody and even chords over a predetermined song.

ETC.

Then with such technique we apply the 4 phases

MIMICKING

ASSIMILATION

INNOVATION.

Thursday, October 28, 2021

398. 12 bars blues with power chords

 In  this interesting twist, we do not utilize to major chords 1M 4M 5M but the power 2-notes 3 voices chords  1P 4P 5P . Where 1P=1-5-1' , 4P=4-1-4" and 5P=5-1-5'

 

Similarly as in the post   396    may substitute the 1P 4P 5P with relative power chords like  2P 3P 6P 7P 

Why we do it? Because either if we are in the natural minor of the scale or the harmonic minor or the double harmonic minor, the chords remain the same and we have stable harmonic background with very rich melodic variations and transitions to other minor chromatic scales.


Friday, October 1, 2021

397. Brazilian choro chromatic tonality by 3 consecutive diatonic scales in the wheel by 4ths, with their harmonic minor aeolian modes.

 By studying the bazilian choro songs , and also the songs by Jacob do bandolim, which are consideed of expecially complicated harmony , a frequent pattern appears in the chromatic harmony.


There are 2 ways to perceive the patterns. A simple one which neverthless doe not reveal all the secretes and a more complicated which does.


The simple one is that chords utilized are a connected arc of 7 or 8 consecutive chords in the wheel by 4ths. We have commented in previous posts for such 7 cycles or 8-cycles And for  each such chord either the major or the minor or both are  ustilized.

A more revealing perceptions is the next : They are utlized 3 diatonic scales consecutive onthe wheel by 4ths. E.g. [G major C major F major] , or [f major , Bb major, Eb major] etc.

And furthermore each of these diatonic scales are in chromatic tomality derived by the harmonic minor version of its aelonian natural mode , or the double harmonic minor of its aelonian natural minor mode. 

When the harmonic minor version is utilized the 3m chord becomes 3M, and when the double harmonic minor version is utilized then the 7d becomes 7M chord as well. 



We may compare this type of complicated chromatic tonality with that of the post 373 which also utilizes 3 diatonic scales but in melodic not harmonic relation. 


As in the case of reharmonization as in the Gypsy jazz,so with choro, a simple chor progression, to reharmonize it within the choro harmony might require rules like


1) When a chord A  transitions to a next chord B and this transition is melodic (interval by 3rd) or chromatic (interval by 2nd) we reharmonize it by interpolation a 3rd  chord  major 7nth that resolves to B. (harmonic relations like G7->C) 

2) We substitute a major chord with its relative minor and vice versa  if this keeps the local sequence of the chords progression to a connected arc by 4ths in the wheel by 4ths.


With  this 2 rules we create a bias and preference to harmonic chord transitions rather than melodic or chromatic chord transitions.







Friday, September 3, 2021

396. CHROMATIC TONALITY OVER THE RHYTMIC AND HARMONIC PATTERN OF 12-BARS BLUES.

 

CHROMATIC TONALITY OVER THE  RHYTMIC AND HARMONIC PATTERN  OF 12-BARS BLUES.


In the blues (that may be somehow considered a type of rapsody concept collective composition and improvisation) the rhythm is  also standardized to e.g. 12-bars blues, which corelated the rhyrhmic measures with the sequence and duration of the 3 chords 1M, 4M 5M or  1M 2m 5M.

And we may subtitute 

5M with 3m or  7d

But more generally in chromatic tonality we may substitute one of the basic 3chords with some ofthe chords of the chromatic tonality thus we may substitute


1M  with 3M or 6M (besides 3m, 6m)

4M with 2M or 6 M (Besides 2m, 6m)

5M with 3M or 7M. (besides, 3m, 7d) 

e.g. 

1M1M1M1M
2m2M6M6M
3M5M1M1M


When making the substititutionw it is good to keep the rule of the previous article, that is

 60% harmonic chord transitions, 30% melodic transitions, 10% superchromatic transitions. 

Thursday, August 12, 2021

395. RANDOMIZING THE SEQUENCE OF AN HARMONIC CYCLE OF CHORDS BY INTERPOLATING MELODIC AND SUPERCHROMATIC CHORD TRANSITIONS BY MAJOR CHORDS .60% harmonic chord transitions, 30% melodic transitions, 10% superchromatic transitions.

 RANDOMIZING THE  SEQUENCE OF THE CYCLE BY INTERPOLATING MELODIC AND  SUPERCHROMATIC CHORD TRANSITIONS. 60% harmonic chord transitions, 30% melodic transitions, 10% superchromatic transitions. 

When we are as above ina harmonic 6 cycle or 7 cycle or 8 cycle , instead of runningthe cycle with its harmonic sequence order, we may randomize the sequencing by utlizing 


a) Super-chromatic transitions, in other words transition that the roots  of the chord diffe by a semitone onle (thus only 2 such transitions possible)

b) Melodic trasnitions, in other words transitions that the roots of the chords differ by a mior or major 3rd. In such melodic trasnitions the musical effect is more exciting when both chords are of major type.


An example of such a nice harmony is  the song "song for two Pamelas" by David Grisman and Tony Rice.

https://www.youtube.com/watch?v=w9YdcbzcL6Y&ab_channel=TonyRice-Topic

Here the 7 cycle is 7M7-> 3M7-> 6m (6M7)-> 2m (2M7)-> 5M7-> 1M-> 4M

and th red pairs are melodic trasnitions while the blue pair superchromatic transitions

In other words we avoid the simple chromatic and not super chromatic, transitions. 

6m  4M  3M7

6m 6M7 2m

5M7  1M  4M

4M7 3M7 6m

6M7 1M7 4M 

4M7 2M7  5M7 

5M7 3M7 6m

4M7 3M7 2m 

4M7 6M

6m 2m 7M7

7M7 3M7 6m

6M7 2m

5M7 1M 


CHROMATIC TONALITY OVER THE  RHYTMIC AND HARMONIC PATTERN  OF 12-BARS BLUES.


In the blues (that may be somehow considered a type of rapsody concept collective composition and improvisation) the rhythm is  also standardized to e.g. 12-bars blues, which corelated the rhyrhmic measures with the sequence and duration of the 3 chords 1M, 4M 5M or  1M 2m 5M.

And we may subtitute 


5M with 3m or  7d

But more generally in chromatic tonality we may substitute one of the basic 3chords with some ofthe chords of the chromatic tonality thus we may substitute


1M  with 3M or 6M (besides 3m, 6m)

4M with 2M or 6 M (Besides 2m, 6m)

5M with 3M or 7M. (besides, 3m, 7d) 

e.g. 

1M1M1M1M
2m2M6M6M
3M5M1M1M


Wednesday, July 7, 2021

394. THE SIMPLE OVERTONES FLUTE AND THE 7-NOTES SCALE DOUBLE HARMONIC MINOR AND 8-NOTES SCALE SHAMBA.

 Normally an overtone flute plays a major chord with 7nth with the overtones


The overtones 2-3-4-5-6-7-8 are as steps in diatonic scale the

1-5-1'-3'-5'-7'-1''

Now by closing half the only end hole of  the overtone flute we may get the 7 major chord 

7-4#-7'-2'#-4'#-7'b-7'' 

When closing fully the only one end hole we get the same notes of the initial major chord but with one octave lower. 

From a simple point of view the 1 major chord together with  and 7 major chord givea  hexatonic scale which is a subscale ofthe 7-notrs double harmonic minor scale! 

Furthermore as the root chord is with a 7nth 1-5-1'-3'-5'-7'-1'', actually a 7-note scale is defined

1-2#-3-4#-5-7b-7-1'  with interval structure in semitones  3-1-2-1-3-1-1, which is nothing else than the double harmonic minor ! (In this book, a scale is a mode with all  its cyclic permutations) .


But there is also another insteresting complication. 

For some reason which is that the overones in the various octaves do not fall exactly upon the notes of the piano or bach scale, instead of 3 note with a close hole weget a 2 note . This in total

we get an 8-notes scale  the 

1-2-2#-3-4#-5-7b-7-1'  which isnothong else than the INVERSE SAMBA SCALE (8 notes scale) .

In semitones the Shambach scale is 2 1 1 3 1 2 1 1Sabach (Sambah): Greece

See post 227

In the post 375 we discuss how by opening 6+1 new holes we get all the 12-notes chromatic scale and the fully chromatic overtones flute ! 


Monday, June 28, 2021

392.INNOVATIONS ON TRADITIONAL INSTRUMENTS 12: NEW OVERONES TUNINGS FOR THE CHARANGO

391.INNOVATIONS ON TRADITIONAL INSTRUMENTS 11: MODES OF THE HARMONIC MINOR AND DOUBLE HARMONIC MINOR (MODES OF REBETICA) AS FLUTES

390.INNOVATIONS ON TRADITIONAL INSTRUMENTS 10: REDESIGHNING THE NEY AND THE CHROMATIC OVERTONE FLUTES

389.INNOVATIONS ON TRADITIONAL INSTRUMENTS 9: CHROMATIC CIRCULAR HARMONICAS AND 6-TONIC HARMONICAS

388.INNOVATIONS ON TRADITIONAL INSTRUMENTS 7: ERGONOMIC INNOVATIONS AND NEW AND BETTER OVERTONES TUNINGS FOR THE VIOLIN/VIOLA/LYRA/CELLO

387.INNOVATIONS ON TRADITIONAL INSTRUMENTS 8: THE BOWED DULCIMER LYRA

386.INNOVATIONS ON TRADITIONAL INSTRUMENTS 6. NEW AND BETTER OVERTONES TUNINGS FOR THE BOUZOUKI/TZOURAS. THE MANDOLO-BOUZOUKI WITH SINGLE NYLON STRINGS

385.INNOVATIONS ON TRADITIONAL INSTRUMENTS 4. NEW AND BETTER OVERTONES TUNINGS FOR THE FADO (PORTUGUES ) GUITAR

384.INNOVATIONS ON TRADITIONAL INSTRUMENTS 5. NEW AND BETTER OVERTONES TUNINGS FOR THE GUITAR ,OUD, AND LUTE

383. INNOVATIONS ON TRADITIONAL INSTRUMENTS 3. NEW AND BETTER OVERTONES TUNINGS FOR THE MANDOLIN AND MANDOLA

382. INNOVATIONS ON TRADITIONAL INSTRUMENTS 2. BETTER OVERTONES TUNINGS FOR THE SAZ/TAMBURAS

381. INNOVATIONS ON TRADITIONAL INSTRUMENTS 1: NEW CUATROS AND UKULELE OVERTONES TUNINGS ON VARIOUS CUATRO SIZES. ORDERING THE VARIOUS TUNINGS BASED ON THE ERGONOMIC EASINESS OF CHORDS PLAYING.

Monday, June 14, 2021

380. CREATING HARMONY OF A SONG BY CONNECTED ARCS IN THE HARMONIC WHEEL BY 4THS , SELECTING MINOR-MAJOR CHORD AND EXTENDED THE ARC SIMILARLY WITH THE MELODIC AND THE CHROMATIC WHELL.

 

Here the basic principlses are 


1) We add as few new roots for chords as possible (besides the 7 roots ofthe 7 notes of the diatonic scale)

2) Thus restricting to changing the types of the chord to an other type among the Major, minor, diminished, augmented


Examples of full chromatic tonality:

 By utilizing two cycles of 7 chords as connected arcs in the wheel by 4ths.  The first cycles is all the diatonic  7d-3m-6m-2m-5M-1M-4M 

The seconds 7-cycle turns some minors to majors and the 5m to 5m

It is the cycle  7M-3M-6M-2M-5m-1M-4M 

The melodies o play should be based on the middle 3rd notes of the chords. 

An alternative pair of 8-cycles of chords is the next

4#m-7m-3M-6m-2m-5M-1M-4M

The seconds 8-cycle turns some minors to majors. 

4#M-7M-3M-6M-2m-5M-1M-4M


The 4 types of chromatic tonality as in the post 379 are examples of the current post method too.


RANDOMIZING THE  SEQUENCE OF THE HARMONIC CYCLE BY INTERPOLATING MELODIC AND  SUPERCHROMATIC CHORD TRANSITIONS BY MAJOR CHORDS.

When we are as above ina harmonic 6 cycle or 7 cycle or 8 cycle , instead of runningthe cycle with its harmonic sequence order, we may randomize the sequencing by utlizing 


a) Super-chromatic transitions, in other words transition that the roots  of the chord diffe by a semitone onle (thus only 2 such transitions possible)

b) Melodic trasnitions, in other words transitions that the roots of the chords differ by a mior or major 3rd. In such melodic trasnitions the musical effect is more exciting when both chords are of major type.


An example of such a nice harmony is  the song "song for two Pamelas" by David Grisman and Tony Rice.

https://www.youtube.com/watch?v=w9YdcbzcL6Y&ab_channel=TonyRice-Topic

Here the 7 cycle is 7M7-> 3M7-> 6m (6M7)-> 2m (2M7)-> 5M7-> 1M-> 4M

and th red pairs are melodic trasnitions while the blue pair superchromatic transitions

In other words we avoid the simple chromatic and not super chromatic, transitions. 

6m  4M  3M7

6m 6M7 2m

5M7  1M  4M

4M7 3M7 6m

6M7 1M7 4M 

4M7 2M7  5M7 

5M7 3M7 6m

4M7 3M7 2m 

4M7 6M

6m 2m 7M7

7M7 3M7 6m

6M7 2m

5M7 1M 

379. THE POWER OF MELODIC TRANSITIONS IN CHROMATIC TONALITY: TYPES OF STANDARD CHROMATIC TONALITY INVOLVING HARMONIC MINORS EQUIVALENT TO TRANSPOSITIONS AND MELODIC OR DOUBLE MELODIC TRANSITIONS

 

We discuss here   the 4-cycle   5M-1M-4M-7bM and the coresponding  transitions to harmonic minors triads (which are transition to a major chord a  major third higher thus double  melodic upper transition (first to the upper relative minor and then to the relative major with the same root) or a minor third lower double melodic  lower  transition). With these double melodic transition we may smoothly introduce the minorization of the major chords of the triad as well as the majorizations of the minor chords of he scale instead of direct double relative change onthe same root!

The correspondence of the simpler of such two cycles 

5M-1M-4M and 

3M7-6m-2m   

is such that the roots differ by an interval of 3rd thus melodic transition from majors to minors and vice versa.

Once the harmonic minor is added to its original troads of majors , we have also chords for an andalucian cadenza) 

1) for the 5M->    to the triad 7M7-3m-6m  (harmonic 3 minor, andaluzian cadenza 3m-2M-1M-7M)

2) for the 1M->    to the triad 3M7-6m-2m  (harmonic 6 minor, andaluzian cadenza 6m-5M-4M-3M

3) for the 4M->  to the triad 6M7-2m-5m (harmonic 2 minor, andaluzian cadenza 2m-1M-7bM 6M

4) for the 7bM->    to the triad 2M7-5m-1m    (this involves the blue notes of the 7-notes blues scale and it is also an hamonic 5 minor , andaluzian cadenza 5m-4M-3bM-2M

On the other hand if we make the double melodic lower transition then we have


1) for the 5M->    to the triad 3M7-6m-2m  (harmonic 6 minor, andaluzian cadenza 6m-5M-4M-3M)

2) for the 1M->    to the triad 6M7-2m-5m  (harmonic 2 minor, andaluzian cadenza 2m-1M-7bM-6M

3) for the 4M->  to the triad 2M7-5m-1m (harmonic 5 minor, andaluzian cadenza 5m-4M-3bM 2M

4) for the 7bM->    to the triad 5M7-1m-4m    ( hamonic 1 minor , andaluzian cadenza 1m-7bM-6bM-5M

If the arc of majors is longer like  7M-3M-6M-2M-(5M-1M-4M-7bM)

Then we add also the upper relative major transitions (upper double melodic) 


1) for the 2M->    to the triad 4#M7-7m-3m  (harmonic 7 minor, andaluzian cadenza 7m-6M-5M-4#M)

2) for the 6M->    to the triad 1#M7-4#m-7m  (harmonic 4# minor, andaluzian cadenza 4#m-3M-2M-1#M

3) for the 3M->  to the triad 5#M7-1#m-4#m (harmonic 1# minor, andaluzian cadenza 1#m-7M-6M 5#M

4) for the 7M->    to the triad 2#M7-5#m-1#m    ( hamonic 5# minor , andaluzian cadenza 5#m-4#M-3M-2#M


Of course all the above structure of triads of majors transitioning to triads of major-min-min (harmonic minors)  ,is tralslated also in to a structure of pentachords (internal to a chord) and tetrachords (bridge transitioning bewteen chords) which is a structured platformed forthe creation and composition od improvisational melodies. And for major chords the inner pentachords of the chord are called major pentachords while for minor chords minor pentachords.  Similarly for augmented and diminished chords , they are called augmanted an diminshed pentachords.



The preVious melodic transitiosn are ofte 2nd order (because e.g. the 1M->3M is in 2 steps 1M->3m and 3m->3M) . Neverthleless there are also 1st order melodic transitions and here we give 3 examples of minorιzation of the majors 

MINORIZATIONS

1)  (5M-1M-4M)-> (4m-1M7)

2)  (4M-5M-1M)-> (1m-5M7)

1)  (1M-4M-5M)-> (5m-2M7)






Sunday, June 13, 2021

378. EXAMPLES OF CHROMATIC TONALITY FROM NEW OLRLEANS JAZZ

 We may  take as an example the Tuba Skinny album  in  Italy of New Orleans Jazz

https://www.youtube.com/watch?v=8QeGi4HGkCk&t=1047s


1) 
 5 cycle of major chords=2M7-5M- 1M -4M-7bM

2) 

tetrad of major chords=2M7-5M 1M 4M

cycle of chords with minors=1M-4m



3)

triad of major chords=5M 1M 4M

cycle of chords with minors=3M7-6m-6M7-2m

4) 

triad of major chords=5M 1M 4M

cycle of chords with minors=3M7-6m


5) 

4 cycle of major chords=2M7-5M 1M 4M

cycle of chords with minors=6M7-2m

6)


5 cycle of major chords=5M 1M 4M 7bM 3bM


377 4 WAYS TO CREATE FULL CHROMATIC TONALITY

 As we have mentioned in the articles about chromatic toanlity, the full chromatic toanlity is created

when besides the 7 notes of the original diatonc scale 1,2,3,4,5,6,7, we also utilize the 5 chromatic or blue notes  1#, 2#, 4# , 5# , 6# .

The 4 methods are 


1) Utilizing the lower and upper relative major diatonic (6 major and 4 major) as in the post 373

2) By utilizing the harmonic minor which adds the blue note 5#, the double harmonic minor which adds the blue notes 2# and 5# and the 7b inverse harmonic minor or 1 blues heptatonic scale which adds the blue notes 2#, 4#, 6#. In total all 5 blue notes thus full chromatic tonality. It canbe done also by utilizing only the harmonic minor and the blues heptatonic scale without  the double harmonic minor. 

3) By utilizing the 1# diatonic scale or the 1b diatinic scale in addition to the 1 diatonic scale! Thus two diatonic scales with the  roots one semitone away.

4) By utilizing two cycles of 7 chords as connected arcs in the whell bu 4ths.  The first cycles is all the diatonic  7d-3m-6m-2m-5M-1M-4M 

The seconds 7-cycle turns some minors to majors and the 5m to 5m

It is the cycle  7M-3M-6M-2M-5m-1M-4M 

The melodies o play should be based on the middle 3rd notes of the chords. 

An alternative pair of 8-cycles of chords is the next

4#m-7m-3M-6m-2m-5M-1M-4M

The seconds 8-cycle turns some minors to majors. 

4#M-7M-3M-6M-2m-5M-1M-4M





376. EXAMPLES OF HAPPY AND NICE CHROMATIC TONALITY HARMONY

 Examples of happpy and nice chord progressions  in chromatic tonality in Portugues guitar folk music (E.g. Jorge Fontes  https://www.youtube.com/watch?v=A6c34JP3JsE&t=150s&ab_channel=tbanjotbanjo )


1) 
triad of major chords=5M 1M 4M

cycle of chords with minors=1M-4m-7bm

2) 

triad of major chords=5M 1M 4M

cycle of chords with minors=6M-2m-5M

3) 
triad of major chords=5M 1M 4M

cycle of chords with minors=5M-1M-4m

4) 

triad of major chords=5M 1M 4M

cycle of chords with minors=5M-1m-4m

5) 
triad of major chords=5M 1M 4M

cycle of chords with minors=2M-5m

6) 
triad of major chords=5M 1M 4M

cycle of chords with minors=3M-6m-2m

7) The 5) and 6) together

1st triad of major chords=5M 1M 4M
1st cycle of chords with minors=7M7-3M-6m-2m (double harmonic minor)

2nd triad of majors  7M7-3M7-6M       (shifts in the upper relative major scale) 
2nd cycle of chords with minors=4#M7-7m (as if harmonic minor in in   2 major scale) 

8) 

triad of major chords=5M 1M 4M

cycle of chords with minors=6m-2m-5M

9) 

1st triad of major chords=5M 1M 4M

1st cycle of chords with minors=3M-6m-2m

2nd triad of major chords=7M7 3M7 6M  (upper relative major scale) 

2nd cycle of chords with minors=4#m-7m-3M-6M

10) 

1st triad of major chords=5M 1M 4M

1st cycle of chords with minors=1M-4m-7bm

11) 1st triad of major chords=5M 1M 4M and then 2 cycles of  double harmonic minors

when at 5M transition to the cycle  (7M7-3M7-6m-2m)  
and  when at 1M transition the the cycle  (3M7-6M7-2m-5m).



2nd cycle of chords with minors=2M-5m

Friday, June 11, 2021

375. FULLY CHROMATIC OVERTONES FLUTES :REDESIGNING THE NEY TOWARDS THE NOTES LAYOUT IDEA OF TROMBONES AND VALVED TRUMPETS

FULLY CHROMATIC OVERTONES FLUTES  :REDESIGNING  THE NEY TOWARDS THE NOTES LAYOUT  IDEA OF  TROMBONES AND VALVED TRUMPETS


Normally an overtone flute plays a major chord with 7nth with the overtones


The overtones 2-3-4-5-6-7-8 are as steps in diatonic scale the

1-5-1'-3'-5'-7'-1''

Now by closing half the only end hole ofthe overtone flute we may get the 7 major chord 

7-4#-7'-2'#-4'#-7'b-7'' 

When closing fully the only one end hole we get the same notes of the initial major chord but with one octave lower. 

From a simple point of view the 1 major chord together with  and 7 major chord givea  hexatonic scale which is a subscale ofthe 7-notrs double harmonic minor scale! 

But there is also another insteresting complication. 

For some reason which is that the overones in the various octaves do not fall exactly upon the notes of the piano or bach scale, instead of 3 note with a close hole weget a 2 note . This in total

we get an 8-notes scale  the 

1-2-2#-3-4#-5-7b-7-1'  which isnothong else than the INVERSE SAMBA SCALE (8 notes scale) .

In semitones the Shambach scale is 2 1 1 3 1 2 1 1Sabach (Sambah): Greece

See post 227


We may notice also some nice other scales the are derived by playing obnly one hole of this flute.

We may alsonotice that the 2nd 4th 5th holes are the holes of a corresponding Fujura flute whenthe other do not exist

Then if we play the tube hole with the 1st fujara hole which here is the 2nd front hole we can easilty calculate that the resulting scale is a 8-notes scale and no other than a Bebop scale ! E.g. if the flute is with roor C it is the  G/D Bebop dominant  8 notes scale.  (see https://en.wikipedia.org/wiki/Bebop_scale)

If we play the tube hole with the 2nd Fujara hole or 4th hole in the chromatic overtones flute we get the augmented 6-tonic scale 

And if we play the tube hole with the 3rd Fujara hole or 5th chromatic overtones hole we get the Genus Secundum 6-tonic scale which is also called enharmonic 6-scale in the hexatonic harmonicas  in post 367.

Below we discuss how by opening 6+1 new holes we get all the 12-notes chrmatic scale! 


The Ney flute is very famous and loved my many, but also as it is rim-blowing and in a way different from the quena flutes or Chinese Xiao, or japanese Shakuhachi is considered quite difficult.
While an ordinary flute utilizes mainly only 2 overtones the first and 2nd, and it is diatonic, the idea of Ney isto utlize 5,6 overtones as the natural trumpet, and instead of having holes per note of diatonic scale to have notes per semitone. But at the time that the traditional Ney was designed the 12-semitones scale of the piano and Bach did not exist. 
So we need to redesign the ney as a flute with an ordinary fipple and as a chromatic overtones flute! 
Such a modern  version of the Ney or or chromatic overtone flute or chromatic fujara, or aerophone valved-like trumpet is the next in the picture at Eb4 root note, from PVC of 12mm external diameter, and mouthpiece from ordinary soprano whistles.

It has a  chromatic 6+1 fingering system as if of an ordinary whistle except  it is not in diatonic steps but steps of one semitone. The open hole of the tume gives  Eb when all else are closed , and the rest 6 front holes give correspondingly E4, F4, F#4 G4 G#4 A4 . There is also a 7nth hole and thump hole as in the 2nd photo, which is not really necessary but as in quenas it helps also by partial opening as registry key that helps triggering easier the 3rd overtone. It gives the note A4 (which also can be give if all front and thump hole are closed and we pass from the 2nd to the 3rd overtone). These holes when used for higher overtones are as correct as the valved in a trumpet or brass instrument.
No more not less correct.
The idea to derive a full chromatic scale with this 6+1 fingering system is excatly as the idea to derive all the chromatic scale with the 7 positions valves in a trumpet. Except that in the trumpet by each valve-step the pitch lowers by a semitone while here with each additional hole the pitch increases by one semitone. As with a  trombone or valved trumpet a fully chromatic non-repeating sequence of notes with the 1st 5 harmonics would require

2ND OVER TONE: ALL HOLES FROM TUBE BOTTOM HOLE   TILL  THE 6TH HIGHEST FRONT HOLE 
notes Eb4 E4 F4 Gb4 G4 Ab4 A4 . 
3RD OVERTONE: ALL HOLES FROM TUBE BOTTOM HOLE   TILL THE  5TH HIGHEST FRONT HOLE
notes Bb4 B4 C5 Db5 D5,

4TH OVERTONE: ALL HOLES FROM TUBE BOTTOM HOLE   TILL  THE  4TH HIGHEST FRONT HOLE
notes Eb5 E5 F5 Gb5 . 
5TH OVERTONE: ALL HOLES FROM TUBE BOTTOM HOLE   TILL  THE  3RD HIGHEST FRONT HOLE
notes G5 Ab5 A5 

As with a valved  trumpet or with the slided trombone, as we move from the 1st hole to the higher holes the required speed and pressure of  blowing increases, but when we reach at the  an appropriate higher  hole it is the same as with that of the next overtone at the bottom tube  hole of the fingering as above. If we layout the notes per overtone and hole it will be a triangular matrix over the 2 dimensions (overtones)x(holes)

At the end of the post is for comparison the essential rage of a valved trumpet




 I  have crafted one more such chromatic overtone flute at Bb4 with the 6+1 chromatic fingering system. It is in the range of the standard piccolo trumpet although it is about 7 cm long .

The difference with the fingering chart of such a chromatic  overtone flute from that of a trombone with its 7 positions or a valved trumpet is slight and is that while at the trombone and trumpet the slide and the valves create a chromatic extension lower  than the root note, in the above chromatic overtones flute the holes create a chromatic 5-notes scale higher than the root note. 

Besides this difference, the idea of the fingering is essentially the same. 

Such chromatic overtones flutes are perfect to improvise in jazz and folk music with chromatic tonality with similar advantages to that of a valved brass wind.

All diatonic scales are more or less fair in mutual favoring and by shifting in the overtones when playing and correcting chromatically as part of the improvisation melody itself, makes improvisation easier and charming!



Monday, June 7, 2021

374 THE MIRACULOUS TETRACHORD: HOW 3,4 AND 5 NOTES SUBSCALES OF THE DIATONIC SCALE IN THE MELODY COMBINE WITH CHORDS IN THE CHORD PROGRESSIONS

 HOW 3,4 AND 5 NOTES SUBSCALES COMBINE WITH CHORDS IN CHORD PROGRESSIONS

 If we want to correspond simple patterns of harmony with simple patterns of melody then

1) Threechords in other words 3 consecutive notes subscales correspond to triads of chords that have distance of roots an interval of 2nd. And there are so many such 3-scales as are the notes of each chord. Furthermore threechords  occur externally as linking bridges  to consecutive  chords of the chord progression, when the chord progression have roots that have a distance an interval of 3rd. 

2) 5-chords in other words 5 consecutive notes subscales with total length an interval of 5th  occur internally to each chord of the chord progression

3) tetra-chords in other words 4 consecutive notes subscales with total length an interval of 4th occur externally as linking bridges  to consecutive  chords of the chord progression, when the chord progression is an arc of the wheel by 4ths or more generally the roots of the consecutive chords differ by an interval at most of 4th. 

THE MIRACULOUS TETRACHORD:

The previous explains why when improvising over a diatonic scale and a chord progression by chords of it, each time the chord changes, it is at most within a tetrachord that contains the last "staying"  note (melodic center)  of the last chord that we find the next "staying" note (melodic center) of the next chord. 

Sunday, June 6, 2021

373. FULL CHROMATIC TONALITY THROUGH THE TRIPLE TONALITY OF A TRIAD 3 RELATIVE (IN MELODIC RELATION) DIATONIC SCALES 6 major 1 major 3 major OR OF THE CYCLE OF 7 CHORDS IN THE WHEEL BY 4THS.

 As it is known in a diatonic scale there are 3 triads of chords

1) The triad of majors 1M-4M-5M

2) The  triad of minors  3m-6m-2m

3) The minors-diminished  triad  7d-3m-6m


By converting the latter 2 triads to majors we have  the 


2b) 3M-6M-2M which is also the triad of majors of 6 major


3b) 7M-3M-6M which is also the triad of majors of 3 major


By doing so we get also all the 5 chromatic notes relative to the original 1 major diatonic scale in other words the 1# , 2# 4#, 5#  except the  6# . But the 6#=7b can also be obtained by the  1M7  thus an  full chromatic tonality.

The final sequence of major chords set in the wheel by 4ths (or 5ths) is

7M7->3M7->6M7->2M7->5M7->1M7->4M7

THUS THE VERY WELL KNOWN CYCLE OF 7 CHORDS IN THE WHEEL BY 4THS!

A gradual covering of all these 7 chords can be so that at each of the 3 stages we always have one triad of majors and 2 triads of minors or diminsihed!

For example

1st phase [from 1 major scale]

(1M -4M-5M),  (3m-6m-2m),  (7d-3m-6m)

2nd phase [from 6 major scale)

(1m -4m-5m), (3m-6m-2m)  (7M7-3M-6M)

3rd phase [from 3 major scale]

(1m -4m-5m),  (3M7-6M7-2M7),  (7d-3m-6m)


Finally if we want to correspond simple patterns of harmony with simple patterns of melody then

1) Threechords in other words 3 consecutive notes subscales correspond to triads of chords that have distance of roots an interval of 2nd. And there are so many such 3-scales as are the notes of each chord. Furthermore threechords  occur externally as linking bridges  to consecutive  chords of the chord progression, when the chord progression have roots that have a distance an interval of 3rd. 

2) 5-chords in other words 5 consecutive notes subscales with total length an interval of 5th  occur internally to each chord of the chord progression

3) tetra-chords in other words 4 consecutive notes subscales with total length an interval of 4th occur externally as linking bridges  to consecutive  chords of the chord progression, when the chord progression is an arc of the wheel by 4ths or more generally the roots of the consecutive chords differ by an interval at most of 4th. This explains why when improvising over a diatonic scale and a chord progression by chords of it, each time the chord changes, it is at most within a tetrachord that contains the last "staying"  note (melodic center)  of the last chord that we find the next "staying" note (melodic center) of the next chord. 




Tuesday, May 25, 2021

372 . IMPROVISING WITH A HANDPAN OR TONGUE DRUM. THE 4 SOURCES OF SIMPLICITY. RHYTHM, SHAPE OF A MELODIC THEME, BASS LOOP, 1,2 CHORDS.

 The basic idea here is to chose a source od simplicity and invarious degrees in time more complexity and returning to the simplicity.     Thus SIMPLICITY->COMPLEXITY->SIMPLICITY , ETC  and also by REPETITION , ASSIMILATION, INNOVATION . THE MAIN CONCEPTIS TO CREATE A "FLOW" AND REMAIN INTHE "FOW" A TERM OF PSYCHOLOGY THAT DESCRIBES THE FLOW OF ENERGY AND CREATIVE FORCE FROM THE IMMORTAL SOUL TO THE MORTAL PERSONALITY . The improvisation with such a melodic percusion instrument like a handpan or tongue drum (which is much like a metallophone) is the 1st type of improvisation (single instrument and unpredictable rhythm, unpredictable harmony, unpredictable melody ) as in post 295. 

We should not forget of course the 3 principles of improvisation as the post 295,

BASIC PRINCIPLE 1=HARMONY POLARITY 

BASIC PRINCIPLE 2: MELODIC MONOTONICITY-VARIATION POLARITY

BASIC PRINCIPLE 2: THE BIOWARE OVER THE HARDWARE.

For analysis of these 3 principles see post 295. 


THE 4 SOURCES OF SIMPLICITY ARE 

1) RHYTHM (GROOVE) (We keep the rhythm invariant and we shift it over the musical notes and octaves)

2) ASCENDING-DESCENDING-STAYING  SHAPE OF A MELODIC THEME (We keep the melodic theme shape invariant and we translate in the scale , or invert it or elongate it)

3) A BASS LOOP THAT REPEATS (We keep a bass loop invariant and we enhance it with melodic themes) 

4) ONE OR TWO CHORDS ALTERNATION (We keep the harmony of the 1or 2 chords invariant and we create parallel fitting melodic themes)

Here is a video by a nice girl and improviser who explains these 4 sources of simplicity

https://www.youtube.com/watch?v=PEuwaKR0cbY&ab_channel=AmyNaylor






Monday, May 17, 2021

371. THE MOST CHARACTERISTIC ADVANTAGES IN THE FLOW OF PLAYING MUSIC OF SOME OF INSRUMENTS.

 There are musicians that play 5-10 or 10-12 different types of instruments. An excellent example is Gunhild  Carling. This is not so much the result of a special irreplaceable inherent talent of a special artist as it is the result of a special talented way to learn  playing music.  It the result of a special  method of learning music and playing music. 

Each type of musical instrument is exceptionally good for some specific style or way of playing the music that no other type of musical instruments is as comparable good and capable of . 

Here si a list of examples

 

1) FLUTES-WHISTLES 

They  are particularly good for angelic sound, that because of the blowing makes the musician emotionally involved more that say just playing with the hands. Furthermore they are capable of easy trills and ornamentations , that other types of wind instruments are not capable.

 

2) HARMONICAS 

They are particularly good for creating easily melodic solos that are by default 50% intervals of 3rds and 50% intervals of 2nds. They are also very good in alternating solo with a locally fitting chord or pair of notes. Furthermore because of the blow and draw of breath they make the musician much emotionally involved. At low octaves the metal reeds are incorporated very well in the pipe organ which is a sound of better color than wooden reeds. 

 

3) CLARINETS, SAXOPHONES, OBOE,  CHALUMEAUX , DUDUK, XAPHOON ETC

They are particularly good in producing loud and non-breathy sound at the 4th octave compared e.g. to flutes. And as the flutes too  they are capable of easy trills and ornamentations ,

 

4) TROMBONES

They are exceptionally good in producing loud sound at the low 3rd and 2nd octave, and very close to the human voice. Furthermore, the slide of trombones gives a very pathetic and human-like glissandi of the sound of the musical notes which is unique among other instruments.

 

5) GUITARS, MANDOLINES, BOUZOUKI, UKULELE, CUATRO ETC

The guitars and ukulele-like tuned such instruments  are particularly good in playing easily fast harpisms (parts of arpeggios) over the strings of a chord , which gives a flowing harmonic solo or counter melody to a main melody.

6) FRETLESS GUITAR , OUD ETC

Here the main advantage is of course that can be played , all frequencies , even outside the  12-notes Bach-scale , like harmonics (overtones) and subharmonics (undertones). The glissandi that can be produced are magical.  But also one special characteristics is that because there are not metallic frets, when the string is pressed by the finger on the fingerboard, that sound is like a muted sound with a slight indeterminacy of the pitch, like a drop of water falling on a clay pitcher. 

7) BOWED STRING INSTRUMENTS

Here obviously the main characteristic advantage is not so much the continuous sound (which the winds have also), but the rhythm that bowing can give to a continuous note (which the winds cannot give so easily). Also that it is easier to sustain longer continuous notes compared to flutes. 

8) THE HARP, THE PANFLUTE

Here the main advantage are continuous up or down among the full scale and in many octaves of all the strings and notes ofthe scale. The main area of advantage and "flow" in the harpare diatonic solos and secondly chords and arpeggios of them. The sound of the harp due to the high impedance (because of small sounbox , the energy remains in the strings that pulsate longer) the sound is.....celestial. Furthermore in the harp there is great  easiness that we can alternate a solo with its locally fitting chord (as it is also done with harmonicas, that some times are also called harps). 

9) TONGUE DRUMS (HAND PANS, RAV VAST DRUMS ETC)

Here obviously the main characteristic advantage is to play melodic percussion rhythms.

10) When we shift to digital instruments in the tablet , or as special midi instruments etc, w get a whole space of different advantages. One of the most amazing examples is when the notes e.g. of a diatonic scale have a  2-dimenisonal layout (e.g. Vertically by 3rds and horizontally by 2nds) where we may play randomly horizontally inside say a 5-notes subscale of the diatonic and vertically in only 3 rows, thus temporarily inside one only chord.  This also can be done with string instruments like guitar, oud or cuatro, when the tuning is an overtone tuning, so that the chords of the default scale are played in one or at most 2 frets. 

 

 





Wednesday, May 5, 2021

370. THE TOOLS THAT SET SIMPLICITY IN PERCEIVING ANY MELODY

 As we have metioned efore inother posts, the 3 main tools to set simplicity in the perception of the melodies are 


A) PITCH STATICS : THE THREECHORDS AND TETRACHORDS (3 OR 4 NOTES Micro-subscales) in which the elementary melodic themes occur.In fast soloing ,they serve a s random-cloud palying aroun a note ofthem. 

B) RHYTM: The realization of an elementary melodic theme with a rhythmic patter, and the full melody by  a progression of rhythmic patterns

B) PITCH DYNAMICS : THE 3 POLARITIES , UP-MOVES, DOWN MOVES , STATIONARY  OSCILALTIONS

In other posts we have called the realizations of the 3 dynamics in the threechords and tetrachords, as far as abstract order-structure is concerned, as "Dolphin -Words". 


Synethesia (translating sounds to colors and shapes) plays also an important role in simplifying the perception of melodies 

https://www.youtube.com/watch?v=ZVC3E16FCrk&ab_channel=TheRoyalInstitution


Sunday, April 25, 2021

369. 3 OR 4 CHORDS HARMONICAS

 3 OR 4   CHORDS HARMONICAS

In this post we describe some (15 types ) of easy playing and good sounding 3-4 chods harmonicas. Of course we should remember that if we want all 7 chords of the diatonic scale in the harmonica we must utilize the cyclic tuning. The value of lesser number of chords in the harmonics is simply to focus on specific styles harmony simpe improvisations 


The rule for 2 or 3 or 4  chords-based  tunings is that 

1) horizontally either in the blow row or in the draw row are not allowed intervals other than 3rds, 4ths, 5ths for reasonsof harmony. 
2) But any inversion of the chord is allowed

3) And of course you try to put as many notes of the diatonic scale as possible and with the right pitch order, so that in cyclic  sequence they are in the smalest possible intervals

The way to play such harmonicas is  better not uniform distribution of time among the notes but to spend more time in the 3 zones (either blow or draw) of 3 consecutive notes that define the pattern of the 3 or 4 chords this  3+3 +3 holes.


The role of such 3 or 4 chords tuning of harmonicas is not to play all possible songs and melodies (this is best done by the cyclic tuning) but to improvise on melodies that are accompanied only with these 3 or 4 chords AND  to play easily only these 3 or 4 chords as it is
simple to know where to find them. This combination of solo playing and chord playing when estricted to 3 or 4 chords only is best done with such tunings and not with the universal cyclic tuning than can play of course the same thing but in a quite more difficult way requiring significant skill. If the improvisation melody in such 3-4 chords harmonicas requires passing notes  that exactly missing notes from the sequence ofthe diatonic scale, then bending of notes might apply. On the other hand the missing notes define subscales of the diatonic scale that are beautiful and fitting best with the chords

We remind the reader what the letters inthe next mean
M=major 
m=minor
d=diminished

The most obvious layout  of the 1M 4M 5M major chords ofthe diatonic scale that has 3 times the 1M
 2 times the 5M and one time the 4M is  the next for the Fmajor scale

The chord positions are as in the next table


12345678
blow1M

4M

1M
draw5M

1M

5M

with tuning table 


This pattern of 3 basic chords,of the Ionian mode (major),can apply also to all 7 modes, as  each mode
harmonically can be characterized by its 3 main chords A1 (root) A4 (on 4tth step) A5 (on the 5th step.


1
2345678
blowA1

A4

A1
drawA5

A1

A5



So all the modes are the next triads of chords

IONIAN= 1M-2M-5M
DORIAN=2m-5M-6m
FRYGIAN=3m-6m-7d
LYDIAN=4M-7d-1M
MIXOLYDIAN=5M-1M-2m
AEOLIAN=6m-2m-3m
LOCRIAN=7d-3m-4M

E.g. the FRYGIAN mode would be 



1
2345678
blow3m

6m

3m
draw7d

3m

7d
with
A1=3m               A4=6m      A5= 7d

If we want to set the 3 basic major chords of a diatonic scale 1M, 4M, 5M at the blow row ,together with their closest from below diminished chords (that resolve to them) that is 7dim, 3dim, 4#dim , then this is possible with a bonus of two additional chords apearing in the draw row the 3m and 6m.
Here is how this can be done for the G major diatonic scale in the next table. The 3 basic major chords are Gmajor, Cmajor Dmajor in the blow row, and the 3 diminished chords that the resolve to them at the draw row are the  F#dim, Bdim, C#dim. The bonus chordss are the Bm and Em. The total 3 octaves scale has interval structure  2-2-1-2-4-1-4-1-2-2-1-4-4-1-2-2-1-2-2

The chord positions are as in the next table



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blow1M

4M

5M
draw7d

3d

4#d




If someone does not want to utilize the resolving diminshed chords and wants to remain inside the diatonic scale on way to do it is as in the next table for the C major scale




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blow1M

4M

1M
draw7d

5M

7d

Notice that the main goal of such a tuning is not to play all posible songs of the C major scale (this is done by the cyclic tuning) but to play songs and improvise over the 3 major chords of the scale 1M 4M 5M.

Still another version of the 1M 4M 5M that has 3 times the 1M 2 times the 5M and one time the 4M is  the next forthe Fmajor scale

The chord positions are as in the next table


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blow1M

4M

1M
draw5M

1M

5M




And still another alternative is the




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blow1M

1M

4M
draw7d

5M

1M
With tuning table at  the C major the one below




If on the other hand we want to substitute the 4M chord with the minor relative 6m , then a possible tuning for the F major scale would be the next table





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blow1M

6m

1M
draw7d

5M

7d



While if we want as in the blues to substitute the 4M with the lower relative chord 2m, then a possible tuning would be as in the next table for the G major scale. IN MY OPINION THE RICHTER TUNINGI SNOT THE OPTIMAL TUNING TO PLAY IMPROVISATIONS OVER THE TRIAD OF CHORDS I  ii   V (or 1M 2m 5M) . The next tuning iS CLOSER TO THE OPTIMAL FOR IMPROVISATIONS OVER THE TRIAD I  ii   V.




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blow1M

2m

1M
draw7d

5M

7d



Stil another version o 1M , 2m 5M is the next for the C major scale





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blow1M

5M

1M
draw7d

2m

7d


We may compare it with  the Richter tuning



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blow1M

1M

1M
draw5M

2m

7d




For a minor chords triad like the iii, vi, ii, (3m , 6m, 2m) the next table of tuing is a way for the Bb diatonic scale




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blow6m

2m

6m
draw3m

6m

3m


The full 3-octaves scale in semitones for te abive harmonica is 2-1-4-3-2-3-2-1-4-2-1-4-3-2-2

Notice that there in it the inverse of the Greek-Richter pentatonic 2-1-4-3-2 (see post 117 ) which is maximal harmonic, and is repeating twice in the full 3-octaves scale. Also there is the 3-2-3-2 which is 4 notes part of the standard pentatonic scale 3-2-3-2-2.





For triads like  1M 4M 3m the next table is a  way for the G major diatonic scale





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blow1M

4M

1M
draw7d

3m

7d



MORE TUNIGS ARE POSSIBLE WITH 4 CHORDS LIKE THE NEXT PATTERNS




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blow4M

5M

4M
draw1M

2m

1M






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blow4M

5M

4M
draw3m

1M

3m





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blow1M

4M

1M
draw7d

3m

7d




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blow4M

5M

4M
draw1M

6m

1M