360. COMPOSING MELODIES WITH CHROMATOMELODIC CHORD-BASED MICRO-THEMES OF 4 NOTES IN A DIATONIC CHROMATIC TONALITY

COMPOSING  MELODIES WITH CHROMATOMELODIC CHORD-BASED MICRO-THEMES OF 4 NOTES IN A  DIATONIC CHROMATIC TONALITY 

In this technique of composing melodies we  follow the next steps

(see also post   102 for another technique quite similar and also 296 about the concept of longitudinal chords)

1) We utilize mainly 4 notes melodic themes over a diatonic scale, such that if 1-2-3-4 ar the notes of each of them then at least one interval of succesive notes  are intervals of 2nd and the rest are intervals of 3rds and more generally succesive intervals of 3-notes chord in normal form or inversions of it (thus  it may be an interval of 4th too) . Thus the term chromatomelodic themes (one chromatic interval of 2nd 2 melodic intervals of 3rd) based on chords. Thus we may perceive such 4-notes themes as arpeggios of a chord with 6th or 7nth or sus2 or sus4 or partial arpeggios of vector-chords. Obviously simnce for each such micro-theme of the melody corresponds a chord, these melodic micro-themes  are in one to one correspondence with chords which canbe used as underlying chords that fit to the melody. Neverthless , there are fewer chords than can fit as underlying chord progression such melodies. 

This technique can be easily realized in the 2-dimensional Musix pro application on the tablet,where such chromatomelodic themes have a specific and fixed patterns in  the 2-dimensional layout.

2) Statistically mainly the 3 notes that are of intervals of 3rd are on notes of the diatonic scale that make a chord of the diatonic scale ,major , minor or diminished.

3) We walk though the scale in this way, up or down with linked such thems or even juming with larger  intervals of 4thor 5th and when we want sadness we utilized minor or dished or augmented chords , and when happiness major chords with 7nths. But we may get out of the diatonic scale at the 5 possible blue notes 1#, 2#, 4# 5# , 7b, thus creating a particular chromatic tonality.

4) If someone is playing the guitar or piano, might utlize this idea to compose chord progressions (randomn or repeating) wihin chromatic tonality from the next 15 chords over a diatonic tonality.

 1M, 1m 2m, 2M7 3m 3M7 4M 4m 5M7 5m 6m 6M7 7d 7M7 7m.

5) Of course when translating and repeating the chromatomelodic theme as a different chord it is charming to utilize the same root for the chord but of a different type (e.g first minor then  dimished, first major then minor, first major 7nth then with 6th etc ) in other words use chords with 2 or more common notes like the relative chords. In thsi way we may temporarili shoft to other scales relevant to the originaldiatonic like harmonic minor, neapolitan, double harmonic minor , blues etc.

5) We may repeat the same idea with 5-notes themes 1 or 2 succesive intervals  of 2nds and 2 or 3 succesive intervals of 3rds. 

7) Obviously such chromatomelodic themes are easier played with the trombone at the 2nd octave (which is the melodic ovtave ofthe overtones) or the french horn at the 1st octave, as the 3rds are by slur jumps on the overtones while the 2nds by the slide.Simlarly ar very easier played with chromatic harmonicas. 

Here is an example by Tommy Dorsey "I am getting sentimental over you"

https://www.youtube.com/watch?v=T86ZPzcF8OA&ab_channel=JohnShanks