365. THE DANCING CONCEPT OF IMROVISATION REFINEMENT OR FILLING OF A MELODY.

 This concept is coming from improvisations that are of songs that are used for dancing, and somehow not very slow dancing.

The idea is that when we sing and dance, usually the steps with the feet are more or double as many as the notes of the song in the voice. 

So we utilize as refinement or filling of the melody with "dancing steps" up and down on the scale around the note of similar pattern as the dancing steps left and right (or back and forth) of the particular dance!

See also the post  347  about cloud statistical or probabilistic improvisation which is similar concept.

Τhe horizontal concept of threechords and tetrachords to create a melody as "dancing in tetrachord around  the longer lasting notes" ( about one for each chord)  is an alternative to the old fashioned idea of a small melodic theme and then variatiions by translation, inversion and elognation

364. CHROMATIC THREECHORDS , TETRACHORDS AND PENTACHORDS AS THE BASE OF CREATING SIMPLICIAL COUNTERMELODIES AND BASSLINES FOR MELODIES.

 CHROMATIC THREECHORDS , TETRACHORDS AND PENTACHORDS AS THE BASE OF CREATING SIMPLICIAL COUNTERMELODIES AND BASSLINES FOR MELODIES. 

(SEE ALSO FOR POST 225, 321  and 325 ) 

AS IN HARMONY THE BASIC CONCEPT  IS THAT OF 3-NOTES CHORD, IN SIMPLICIAL COUNTERMELODIES THE BASIC CONCEPT IS A CHROMATIC TRIAD (TRICHORD) IN OTHER WORDS 3 SUCCESIVE NOTES SEPARATED BY INTERVALS OF 2NDS (CHROMATIC)

THERE ARE THE DORIAN-AEOLIAN  OR DECELERATING  (IN SEMITONES 2-1) THREECHORD, 

THE FRYGIAN-LOCRIAN  OR ACCELERATING  (1-2)  , 

AND THE IONIAN-LYDIAN-MYXOLYDIAN  OR UNIFORM (2-2) 

USUALLY EACH MELODIC TRHREECHORDS IS COVERED BY ONE UNDERLYING CHORD! 

    SUMMARIZING 

From the harmonic minor and double harmonic minor and Neapolitan scale (see below about tetrachords) we get the next thre-chords of the chromatic gendre

1-3

3-1

1-1

And also from the enharmonic gendre

SUMMARIZING 20  THREECHORDS(3-notes subscales)

3 DIATONIC GENDRE (EQUILIBRIUM, TRANQUILITY)

1-2

2-1

2-2 

3 CHROMATIC GENDRE (LYRIC, SAD )

1-3

3-1

1-1

4+10 COMMON FROM THE ENHARMONIC GENDRE (EPIC,HAPPY)

4 CHORD ARPEGGIO TYPES

3-4 (MINOR CHORD)

4-3 (MAJOR CHORD)

3-3 (DIMINSHED CHORD FROM THE DIMINISHED SCALE)

4-4 (AUMENTED CHORD)

2-3

3-2

5-3

3-5

5-2

2-5

5-7

7-5

THE ANCIENT GREEK ENHARMONIC GENDRE

1-4

4-1

(FROM THE ANCIENT GREEK 1/2-1/2-4)

THE NEXT LIST IS THE SIMPLICITY THAT DERIVES BOTH MELODY AND HARMONY

THE SHORT LIST IS ONLY 11 =3+3+5 MELODIC TRIADS OR THREECHORDS

3 DIATONIC GENDRE (EQUILIBRIUM, TRANQUILITY)

1-2

2-1

2-2 

3 CHROMATIC GENDRE (LYRIC, SAD )

1-3

3-1

1-1

5 CHORD ARPEGGIO TYPES , ENHARMONIC GENDRE

2-VOICES HARMONY

5-4 (5TH POWER CHORD)

3-VOICES HARMONY

3-4 (MINOR CHORD)

4-3 (MAJOR CHORD)

3-3 (DIMINSHED CHORD FROM THE DIMINISHED SCALE)

4-4 (AUMENTED CHORD)

THE EVEN SHORTER  LIST IS ONLY 9 =3+3+3 MELODIC TRIADS OR THREECHORDS

3 DIATONIC GENDRE (EQUILIBRIUM, TRANQUILITY)

1-2 (FRYGIAN, EVITZ)

2-1 (IONIAN, MUSTAAR)

2-2 (LYDIAN, ATZEM)

3 CHROMATIC GENDRE (LYRIC, SAD )

1-3

3-1

1-1

3 CHORD ARPEGGIO TYPES , ENHARMONIC GENDRE

2-VOICES HARMONY

5-4 (5TH POWER CHORD)

3-VOICES HARMONY

3-4 (MINOR CHORD)

4-3 (MAJOR CHORD)

THUS WHEN WE IMPROVISE FOR A SIMPLICIAL COUNTERMELODY WE "LISTEN" INSIDE US THE MELODIC TRIAD OR THREECHORD WE WANT AND WE PLAY IT ON THE CHROMATIC INSTRUMENT (CONTRABASS, CELLO, TROMBONE OR VIOLIN ETC)

AS 3-NOTES CHORDS USUALLY  EXTEND TO 4-NOTES CHORDS SIMILARLY THE CHROMATIC TRIADS (TETRACHORDS) ARE EXTENDED TO CHROMATIC TETRADS (TETRACHORDS) AND PENTACHORDS (CHROMATIC PENTATONICS) WITH TOTAL LENGTH A INTERVAL OF 4TH OR 5TH , WHICH WAS  ALSO THE BASE HALF-OCTAVE SCALE IN ANCIENT TIMES. 

SO FOR EACH CHORD THERE IS NOT MORE THAN A PARALLEL CHROMATIC TRIAD OR TETRACHORD OR CHROMATIC PENTATONIC AS SIMPLICIAL COUNTERMELODY.

Nevertheless if we are akling about the fast dancing countermelody of a singing melody then for each chord amd its 3 notes thaere are 3 tetrachords to make such countermelodies with many notes. 

 USUALLY THE CHROMATIC TETRACHORDS OCCUR AS "BRIDGES:  OF THE UNDERLYING CHORDS. I such a combination From  we realize that we are utilizing about as many tetrachords as the undrlying chords of the harmony of the chord progression.

Converselly in  general   EACH MELODIC TETRACHORDCHORD IS COVERED BY TWO UNDERLYING CHORD! 

It is important  to notice that , the simplicial countermelody has the same simplicity as the harmony of the chord progression of the song, but somehow it might be easier to play, as it ususally requires only a main scale to know in advance and as it can vary , it does not require remembering the chord progression, although it does require to be listening familiar with the song and it harmony.

We may notice that this improvisation technique may be considered "horizontal" because it utilizes smale consecutive in the scale sequences of notes almsot up to 50% of the time. The :horizontal improvisation ususally has more than 50% of steps that are intervals of 2nds. On the other hand a "vertical" improvisation is the one that we can play with  a  guitar , when we play the chord progression and during the time of a chord we play arpeggios of the chord. Such "vertical" improvisations have more than 50% of the time intervals of 3rds and 4ths or 5ths. 

The current method differs from that of the chromatomelodic themes method of composing melodies as in post 340, not only because with chromatomelodic thems we compose  melodies rather than simplicial countermelodies , but also because a chromatomelodic temes sounds during a single chord of the chord progression while in the current method with tetrachords , during a single chords sounds usually a single note and the terachords sounds as a bridge of notes to go to te stable note ofthe next underlying chord.

In fact the horizontal concept of threechords and tetrachords to create a melody as "dancing in tetrachord around  the longer lasting notes" ( about one for each chord)  is an alternative to the old fashioned idea of a small melodic theme and then variatiions by translation, inversion and elognation

Simplicial countermelodies (drone countermelodies) with the sliding effect of violin or trombone   can be done with the digital instrument Geoshred pro in the tablet (https://www.youtube.com/watch?v=JTW3WUVDRhM&ab_channel=JordanRudess) where the slidibg of the finger across the digital string has the same effect as the slide of the trombone. It requires of course to have tune the strings in the geoshred pro as the overtones of a brass instrument, 

We may classify the diatonic tetrachords or diatonic gendre tetrcahords (in other words occuring in diatonic scale by the position of the 1st note as with modes. But 

1) The Ionian 1st tetrachord 2-2-1 is identical with the Myxolydian 5th (Major sound, decelerating move) 

2) The Aeolian 6th tetrachord 2-1-2  is identical with the Dorian 2nd tetrachord (Minor sound)

3) The Frygian (syntono) tetrachord 1-2-2 is identical with the Locrian tetrachord (Strong minor sound or accelerating move) 

4) The Lydian tetrcahord 2-2-2 is the only one whise total legth is 6 semitones larger than a 4th (major sound or uniform, transitional requiring resolution)  .

5) Thus there are 4 only diatonic tetrachords the Ionian (major sound) , Dorian (minor sound) , Frygian (strong minor sound) )and Lydian (transitional major sound requiring esolution). 

From other celebrated scales we derive more tetrachords;

From the harmonic  minor

6-7-1-2-3-4-5#-6 or in semitones 2-1-2-2-1-3-1 we derive  additional tetrachords of the chromatic and enharmonic gendre the 

1-3-1 and

2-1-3 (diminsihdd chord with 2nd) and

3-1-2 (diminished chord with 4th) and 

1-2-1

From the double harmonic  minor 

6-7-1-2#-3-4-5#-6 or in semitones 2-1-3-1-1-3-1 we derive  additional tetrachords of the chromatic gendre the 

1-1-3 and 

3-1-1 

From the  Inverse Persian scale or Purvi Theta scale (3-1-1-3-2-1-1) or Byzantine parachromatic scale 

we get the tetrcahord of the chormatic gendre

3-2-1

From the double melodic minor or Arabic scale  or leading wholetone or neopolitan major scale see also post 21)  (1-2)-(2-2)-(2-2-1) w get the additional tetrachord

2-1-1

from the Neapolitan scale  (different from  the major and the minor Neopolitan)= (1-3-1)-1-(-2-2-2) we get the inverse tetrachord ofthe previous

1-1-2 

From the MAJOR BLUES SCALE  (ALSO CALLED COUNTRY SCALE) C; D; Eb;E; G; A; C  with interval structure 2-1-1-3-2-3. as wel as from the stanrd pentatonic scale we get the enharmonic gendre tetrachords

2-3-2 and 

3-2-3 

Thus we may summarize about 4+6+14+3=24+3  tetrachords (SEE ALSO FOR POST 225) (NOTIVE THAT HERE THE CLASSIFICATIONIS BASED IF THE EXIST IN A 7-NOTES SCALE, WHILE IN POST 225 IF THE HAVE TOTAL LENGTH AN  INTERVAL OF 4TH) 

DIATONIC GENDRE

1) 2-2-1 (IONIAN, RAST)

2) 1-2-2 (FRYGIAN , SYNTONO, KURDI)

3) 2-2-2 (LYDIAN)

4) 2-1-2 (AEOLIAN OUSAK)

CHROMATIC GENDRE

5) 1-3-1 (HIJAZ)

6) 1-1-3 (parachromatic, blues)

7) 3-1-1 (double harmonic minor)

8) 1-1-2 (ANCIENT GREEK TONAL)

9) 2-1-1 (SABA, blues, double melodic minor or Arabic)

10) 1-2-1 (blues)

ENHARMONIC GENDRE

11) 3-2-1 (diminished chord with 4th)

12) 3-1-2 (diminished chord with 4th)

13) 1-2-3 (diminished chord with 2nd)

14) 1-3-2 

15) 2-3-1

16) 2-1-3 (diminished chord with 2nd)

17) 2-3-2 (from the pentatonic scale)

18) 3-2-3 (from the pentatonic scale)

19) 4-1-2  (from the blues 6-note scale, major chord with 4th)

20) 4-2-1 (major chord with 4th))

21) 2-4-1  (minor chord with 2nd at inversion)

22) 2-1-4 (minor chord with 2nd, suss)

23) 1-2-4 (minor chord with 2nd , suss)

24) 1-4-2 (minor chord with 2nd at inversion)

FROM THE ANCIENT GREEK ENHARMONIC GENDRE

25) 1/2-1/2-4

26) 1/2-4-1/2

27) 4-1/2-1/2

It is very instructive to notice that these diatonic tetrachords have applications in conceiving the pattern on the slide of the default Bb scale of the trombone in a very simple way (thesame with he other brass winds with valves) 

The basic overtones of the trombone are (in notes of the default scale( 1-5-1'-3'-5'-1''. Thus only 3 different steps of the diatonic scale the root chord 1-3-5. And the simple pattern is that 

1) The overtone 1, has in its slide (descending pitch) the Ionian-Myxolydian tetrcahord

2) The overtone 5, has at its slide the Dorian-Aeolina tetrachord

3) The overone 3 , has at its slide the Frygian-Locrian tetrachord

For the brass winds with the valves, as the the highest note of these tetrachords is always the not-valved-pressed, it  is more instructive to correspond to the overtones  the threechords, and we have that 

1) The overtone 1, has in its valves  (descending pitch) the Ionian-Lydian-Myxolydian- threehord

2) The overtone 5, has at its slide the Dorian-Aeolina threechord

3) The overone 3 , has at its slide the Frygian-Locrian threechord

363. HOW TO MAKE BEAUTIFULL SIMPLICIAL COUNTERMELODIES WITH CHROMATIC TRIADS AND AN EASY IMPROVISATIONAL WAY WITH THE TROMBONE OR A STRING INSTRUMENT WITH OVERTONE TUNING.

 We remind the reader that a simplicial countermelody is a counterpoint parallel melody (that  by parts 2,3,or 1st voice)  with much fewer notes that the original melody , about one or twonotes per underlying chord. If it willbe at the lowest octaves it would be simpli called a bass line .

The current suggested method is based one two factors 

1) We may easily jump with the intsrument  a melodic (3rds)  or harmonic (4ths or 5ths) interval at any time. This is so e.g, with a trombone that we shift with the embouchure among the overtones,  and as usually we are either in the harmonic intervals 2nd ovtave of the overtones, or the 2nd melodic intervalsovtace of overtones. If we are in a string intrsument tuned by a set of succesive overtones e.g. troll tuning then again by shifting to the neighboring string we have the same easy effect. It can be done also with digital guitars tablet applications tuned at overtones. 

2) We may easily make small chromatic intervals (of 2nds) moves. With the trombone thsi is done with the slide for a range of a 4th , 5th or half octave. For a string intrsument tuned by a set of succesive overtones this is done again easily by shifting longitudinally onthe same string.

The improvisational method of creating such beautufull simplicial counter melodies is as follows.

Modt often a melody with many notes has the majority of its intervals as chromatic interavls of 2nds and maybe some melodic (3rds) or harmonic (4ths, 5ths) intervals. But the simplicial countermelody can be more beautiful by havin the minority of the intervals as chromatic and the resy as melodic and harmonic in a way that there is strict sepration. 

1) The way to do is is that when the melody is moving we saty as much as possible on thesame note on the string onthe string instriment or on the same overtone across slide range in the trombone  ,and if necessary we make a small shift by in interval of semitone or tone (2nds, chromatic intervals) .

2) If this is not possible so we have an harmonically fitting countermelody or when we fell that we want to shift up or down we shift at the trombone by one or two  overones up or doen and we adjust the slide to have a note that fits. Similaly with the string instrument we shift by one or two strings and we adjust across the string to find a closest note that fits. E.g. at the lower harmonic octave of overtones  of the trombone (Bb2-Bb3) the shifts by overtones are intervals of 4th or 5th, and as it is known a diatonic scale is closed to shifts by such intervals at all notes (except at 1 note) , thus no matter the diatonic scale we are and note on the slide of the trombone such an harmonic shift in 6 from the 7 cases it will lead again inside the scale. Furthermore all the interneduate notes in the 12-notes scale that sound when the slide is moving from one stable note to a next count for the beatiful result , as transitionalnotes and as including all the 12-notes thus giving a sense of completness o the melodic pitches. The same effect can be done with the digital instrument Geoshred pro in the tablet (https://www.youtube.com/watch?v=JTW3WUVDRhM&ab_channel=JordanRudess) where the slidibg of the finger across the digital string has the same effect as the slide of the trombone.It requires of course tohave tune the strings inthe geoshred pro as the overtones of a brass instrument, 

If samone is well trained having assimilated the diatonic harmony, then by just listening to the one or to chords of the diatonic scale as background chord progression (e.g. 1M or 3m-4M or 5M7-1M or 5M7-1M-4M etc) he will imediately find with the overtone and the slide the diatonic scale interval by interval gradually without even knowning which diatonic scale it is. I assume it is the same with the cello and violin. We utilize only the emotional and kinesthetic nervous scenter without the optical center (as inharmonicas) 

AS IN HARMONY THE BASIC CONCEPTIS THAT OF 3-NOTES CHORD, IN SIMPLICIAL COUNTERMELODIES THE BASIC CONCEPT IS A CHROMATIC TRIAD (TRICHORD) IN OTHER WORDS 3 SUCCESIVE NOTES SEPARATED BY INTERVALS OF 2NDS (CHROMATIC)

AS 3-NOTES CHORDS USUALLY  EXTEND TO 4-NOTES CHORDS SIMILARLY THE CHROMATIC TRIADS (TETRACHORDS) ARE EXTENDED TO CHROMATIC TETRADS (TETRACHORDS) AND PENTACHORDS (CHROMATIC PENTATONICS) WITH TOTAL LENGTH A INTERVAL OF 4TH OR 5TH , WHICH WAS  ALSO THE BASE HALF-OCTAVE SCALE IN ANCIENT TIMES. 

SO FOR EACH CHORD THERE IS NOT MORE THAN A PARALLEL CHROMATIC TRIAD OR TETRACHORD OR CHROMATIC PENTATONIC AS SIMPLICIAL COUNTERMELODY

In over all a mathematical condition of the next type is required for the countermelody to be simplicial

GIVEN A MINIMUM  LEAST NUMBER OF NOTES, AND STARTING FROM A  NOTE FIND THE MINIMUM TOTAL LENGHT (IN SEMITONES) PATH OF NOTES THAT CONTAINS THEM AND THAT FITS THE HARMONY. 

Of course the way to find  such solutions of simplicial counter melodies, is e.g. by starting with a note and staying there as long as the harmony is fitting. When the harmony deviates (will deviate in general, that is why we need to know in advance the harmony of the song) for a long time, we chose to shift either up or down, which ever melodically feels better, and we slide till the first note that we find that it fits (will fit for long) the harmony. We stay there and repeat the procedure. 

Obviously the result of it is a simplicial countermelody that separates the chromatic with the melodic and harmonic intervals, which is chromato-harmonic effect, like ho he ball moves ingolf: small moves and then  very large moves. 

We add here a simple technique to improvise over chords too with the trombone which emphasizes the glissando ability of the trombone..

We must notice that from any note we are in the diatonic scale during a chord there is always a note of the chord at most an interval of 3rd away! 

1) So the method is tho start with an arbitrary note and correct it with the slide by at moist an interval of 3rd to a note that fits the chord

2) When we want to a much higher or lower note during the chord or because the chord changed we just blow harder or softer for a higher or lower overtone (partia) at the same position and then we correct it if necessary with the slide! 

3) The whole process becomes easier if we are on the 3rd octave of overtones where the overtones form the major tonal chord (with a  7nth) . And for thsi the best idea is to utilize a french-horn mouthpiece for the tenor trombone!

362 .A METHOD OF LEARNING IMPROVISATIONAL SONG ADOPTIONS-RECOMPOSITIONS BY WHISTLING OR SINGING PARALLEL TO A RECORDED SONG ,

   A METHOD OF LEARNING  IMPROVISATIONAL SONG ADOPTIONS-RECOMPOSITIONS  BY WHISTLING OR SINGING PARALLEL TO A RECORDED SONG , 

(See also post 275) 

HERE IS EXAMPLE OF SUCH A MUSIC

https://www.youtube.com/watch?v=Hxym5yTmdC8&t=1420s

(see also post 128)

Now one could imagine a process in learning an instruments at the same time leaning improvisation For example let us take any one of the instruments below

0) A percussion instrument
1) A Guitar or ukulele
2) A Celtic Harp
3) A Bowed string instrument like Greek Lyra (or fiddle)
4) A diatonic Pan-Flute or a chord or bass harmonica
5) A single tube wind with the fingering system 6+1. E.g.  Irish whistle, flute , or reed instrument like clarinet saxophone , duduk, chalumeau  etc

 The central idea is of course that the versatility of playing a musical instruments is based on the ability to internalize and perceive mentally and emotionally the musical sound  and improvise (mimic, assimilate, innovate) rather than the ability of concentrating separately to technical skill of geometric patterns of playing for the particular instrument And one of the simplest ways to perceive musically harmonically , melodically and chromatically,  all the universe of the 12-notes is the chromatic tonality (as in post 263) (see post 258 that improvisation is at least at 2/3rds an internal feelings and intellect meditation process rather independent from the musical instrument played! The 2/3ds are of course the mental perception of the musical sound and the feelings-emotional  perception of the musical sound, and not the geometric instruments pattern of the musical playing! And one of the simplest ways to perceive musically all the universe of the 12-notes is the chromatic tonality (as in post 263) ).

Here in the next video, the guitar teacher explains why it is simpler for the human nervous system to concentrate on the mental and emotional perception of the musical sound rather than on  the geometric patterns of playing the particular instrument.

https://www.youtube.com/watch?v=iacQvKMSx6A

ADOPTION RULE: We may go as far as utilizing this method as a method of creating adoptions or remix of a  song. This requires that the improvised melody will fit only to a percentage x%<50% with the parallel sounding song and the rest 100%-x% the melody , rhythm and chords will not fit and will be the innivated adoption of the song (according to our inner emotional impulses and habits) . Of course the overall  result of the underlying song and its adoptoion will not be audible with good feelings as they will be incompatible , but the intention is to be inspired in real time by the song and create in real time an adoption of it. Finally oly the adioption will be presented not the parallel initialinspiration. 

So a daily or weekly process and practice could be nowadays as follows:

1) Chose in youtube a nice and happy song that you would like to listen and play. Better be happy rather than sad , as such a learning should raise our bodily frequency and should be laso a learning of how to be happy within the good joy (not the bad joy). E.g. it might be an early jazz song like those that the  carling family are playing and enjoying. If we do not want to start with a known song in youtube, he may start by playing and recording in Audacity a rhythm by a percussion instrument, and then use this as a base.

2) Derive an mp3 file from the youtube-video, and analyze it with the free software Audacity (or a similar) to verify by its chords that it is a chromatic tonality music song (see post 263 ) 

3) Try singing its melody (improvisationally) or whistle  (improvisationally) its melody. THIS IS PROBABLY THE MOST IMPORTANT STEP IN LEARNING ALL THE INSTRUMENTS SIMULTANEOUSLY.

3.2) COMPOSITE PRACTICE OF IMPROVISATION , REMIX -ADAPTATION OF A SONG AND INSTRUMENT PLAYING.

This ability can be activated as follows: At first listen for some weeks to nice songs preferably Jazz songs and familiarize with their melodies harmonies and techniques. Start with early jazz which is simpler and utilizes the triads of chords 1-4-5 or 1-2-5 etc. The preliminary stage of education of the subconscious determines also the speed of creations of emotions and feelings when improvising. It is important that the speed of actual musical improvisation is not faster than the speed of creation and shaping of the emotions and feelings. In different persons it is different speed.


3.2.1) Besides trying to whistle the melody , it can be tried to whistle a simplicial coutermelody of the melody (see post 289)

Listen them with one only earphone, leaving the other ear open and sing or whistle parallel to the melodies of the song, inspired or stimulated on the occasion of the written and listened song. The whistling improvisation may nevertheless deviate not only from the listened melodies but also from the listened chords and harmony, if the feelings require so. This is an important factor of the improvisation as melodic or harmonic "errors" in whistling a melody most often turn out to be improvements of the melody based on our own memories of nice melodies and inclinations in the feelings. General rules that two parallel melodies fit harmonically together as described in post  128, require only that the number of intervals of 3rd, 4th 5th and 8th are more than 50% compared to intervals of 2nds. In addition alternating with this whistling or singing we may  play on a  desired instrument similar melodies. 

 ADOPTION RULE: We may go as far as utilizing this method as a method of creating adoptions or remix of a  song. This requires that the improvised melody will fit only to a percentage x%<50% with the parallel sounding song and the rest 100%-x% the melody , rhythm and chords will not fit and will be the innivated adoption of the song (according to our inner emotional impulses and habits) . Of course the overall  result of the underlying song and its adoptoion will not be audible with good feelings as they will be incompatible , but the intention is to be inspired in real time by the song and create in real time an adoption of it. Finally oly the adioption will be presented not the parallel initialinspiration. 

Depending on the acquired skill on the instrument, the improvisation may be poorer or same rich as the whistling. Furthemore instead of only listening to the song, if opened in a software like  Audacity where its chords can be found and displayed below the waveform, we see also the underlying chords and we learn to associate the whistling or instrument playing ofthe melodies with the underlying chord progression. We keep doing it not only so  as to get pleasure but also to improve improvisation and playing skill on the prefered instruments.
The speed of improvisation must not be faster that the speed of creation of emotions prior or after the musical sound.

The speed of conducting the improvisation may be increased if while we improvise we pretend that there is a mandarin (fruit) flying a few centimeters above the top of our head and we look and listen and conduct the improvisation from that point in air or aether rather than from our hands or mouth.

3.2.2) We may also record the whistling in the computer, while we listen in one only earphone and in one ear, the parallel song from the mobile or another computer. This may create an entereily new song and new melody and even different chord progression inspired and stimulated by the initial parallel song.  That is why a more likable way of the whistling melody should not be considred as a "mistake" but as a more likable melody of a new song, inspired from the initial.

4) Start with the  known instrument or easiest instrument that here we  will assume that it is the guitar or ukulele or a wind etc. Play its chords rhythmically and improvise melodically whistling or singing simultaneously as in 3.1).

5)  Make sure that if e.g. you play the Celtic harp (which is a diatonic instrument ) is tuned at the right central diatonic scale of the song Usually Bb, or F , or G , or C etc Play the chord and improvise the melody with the right hand . Alternate chords and melody with the right hand. The melodic improvisation could be very close to the whistling improvisation. Use the left hand for an isocratic  bass line based on simple 2-voices harmony  (usually an interval of 3rd). It could even be the power-5 chord ofthe scale. Or it could be just one note per pentachord or tetrachord at the bass area.

6) If you feel comfortable and satisfied with the result,  record the improvisational playing separately each one upon the previous in Audacity to produce a sound file. Elaborate a bit and on the recording and maybe correct some volume, timing or even pitch imperfections. The idea is to be excellent in creativity , learning and enjoyment rather  in formal perfection. Then  publish it in youtube or facebook in a group of well meaning favourable friends, if you feel so, or simple keep it in your databases.

10) The above process 3)- 6) can one play by not starting with a known song in youtube, but by free improvisation directly from our emotional subconscious.
If we do not want to start with a known song in youtube, he may start by playing and recording in Audacity a rhythm by a percussion instrument, and then use this as a base.

See alo post 208

A practice that would implement also instruments is the next

(See also post 271 about learning many instruments simulteneously utilizing simplicial submelody improvisation system )

1) Download the song as an mp3 file , then open it in Audacity, and utilize its function of finding the chords.  

2) We look at the chord progression and try to identify the main  diatonic scale , from which it may deviate chtomatically. 

3) Then we choose the appropriate instrument that may diatonic at this scale or even chromatic. It may be a wind instrument like harmonica, flute, clariphone sax etc or it may be a bowed instrument like violin , metric-lyra celo-lyra (see post 264) or other stings instruments like cuatro, guitar, bouzouki, mandolin, mandola, etc. 

4) At first we whistle the simplicial counter-melody while the song is  playing.

5) Then we repeat the whistling simplicial counter-melody with the chosen instrument

6) If we are multi-intrument player, we rotate the instruments from the easiest to the more demanding (e.g. harmonica, then celtic harp, then chinese panflute, then marked scale cuatro, then fretted-lyra , then straight flute,  then clariphone or sax etc)  playing similar simplicial counter-melodies for this song. If we do that we try to identify ourself  the with the simplicial counter-melody and consider that we actually we laer a simplicial counter-melody for thsi song rtaher than that we learn  the particular instrument that we play). See also post 271.

MELODIC TRIADS: SOLO COMPOSITION AND IMPROVISATIONS BASED ON ALTERNATING (MELODIC TRIADS AS  VECTOR) INTERVALS OF MAJOR(HAPPY) /MINOR(SAD) 3RD:RECIPES OF HAPPINESS AND SADNESS

When improvising is a solo in an almost random way but which tries to listen also to the inner emotions, a good path is to walk by intervals of 2nd small distances of total length an interval of 3rd and alternate  major (4 semitones happiness ) and minor (3 semitones, sadness ) exactly as it happens in a diatonic scale, as this also creates an underlying  major or minor chord. If on the other hand it is two consecutive intervals of minor 3rd it would create an underlying diminished chord and if consecutive major intervals of 3rd an augmented chords (that occur in the harmonic and double harmonic minor) , both more  rare compared to major and minor chords. 

This does not mean that we create a specific diatonic scale or mode of it but rather pieces of diatonic scales, therefore it is more probable that we are in a bebop scale (union of two diatonic scales).

This type of walking vector-intervals (see also post 183 1nd 159) in other words intervals closed together with all the intermediate notes of diatonic scale that it belongs to it we have called previous post as vector-chord improvisation as contrasted to arpeggio improvisations.

Therefore instead of the concept of scale (and as here we do not assume a chord progression or scale of chords) we have the concept of TRIAD  as vector interval of 3rd MINOR (SAD) OR MAJOR (HAPPY) . By composing triads we get various types of scales known or unknown but with recognizable hidden harmony.
OF COURSE WE MAY VERY WELL WALK BY TRIADS A DIATONIC SCALE GIVING SEQUENCES OF MAJOR (HAPPINESS) AND MINORS (SADNESS) 3RDS IN THE PROPORTION AND COMBINATION WE WANT.
KNOWING THIS IN MAJOR-MINOR 3RDS WE ALWAYS KNOW WHERE TO FIND HAPPINESS AND MORE HAPPINESS AND SADNESS AND MORE SADNESS.
Inharmony a chord is a triad, and triads of chords define usually in  a minimal way the harmony of a scale. Similarly here in melodic composition, the basic composition element is a melodic triad as above, and and triads of melodic triads define somehow an scale of an octave.

The usual  triads  are the next 3 in semitones

1-2
2-1
2-2
  giving in total  semitones 3 or 4 or an interval of  3rd

Of course we add wavings by intervals of 2nd and we go up or down according to the alternation of sad and happy changes of the emotions. The major/minor 3rds alternation also corresponds to alternation of sad and happy emotions. We may of course alternate to the solo also triad chords. If we are on string instruments tuned by 5ths, then we can also accompany this solo with the interval of 5th of the two immediately lower strings as a kind of power-5 chord. The melodic themes created in one or two consecutive such (vector) intervals of 3rd can be varied of course with translations, inversions, rotations (including expansions)  and mutations.
Normally two triads are for the first poetic line (8 beats) and two more for the 2nd poetic line (7 syllables).

If we do not walk the intermediate notes of the vector interval of 3rd and we just jump-play it, alternating major minor such intervals of 3rd we are simply in t what we have called in post 94 the melodic corridor, which e.g. how the siku pan-fludes and pan--flutes with double rows of pipes are designed in the folk music of andes.

In composing  melodic themes based on melodic triads we should use also the concept and technique  of  variational  independent base of melodic shapes or melodic seed (see post 106). I other words the melodic themes shapes that are mutually variational independent, in other words neither translation neither , inversion, neither rotation can derive any one of them from the others , and in addition all other melodic themes oft he song can be derived with variations from them.

We should not confuse the melodic triads, which is a concept similar to that of  a scale of notes with the shapes of melodies in a melodic triad (as e.g. in post 100-106).

 The way that an improvisation not based on a played song can be composed is with various methods:

AS IS THE CASE WITH ORGANIZATION STRUCTURES OF VARIOUS ORDERS OF DEPTH LIKE MUSIC AND ITS ORGANIZATION, THE IMPROVISATION CAN BE AT

 THE LOWEST LEVEL: 1) MELODIC ONLY (start with winds, or harp ar guitar , ukulele, with this order see e.g. post 266, 224)

AT A LOW LEVEL : 2) 2-VOICES OR PAIRS OF SIMULTANEOUS NOTES IMPROVISATION , (mainly harp but also guitar, ukulele, E.g. see posts 260 ,82)

AT A MIDDLE LEVEL: 3) CHORDS AND MELODY IMPROVISATION (Harp, or guitar , ukulele, e.g.see post 9 . Of course the closest to happy early Jazz songs is to use triads of major chords and in particular 1-4-5 of the Bb or F major scale, and then extend them possibly with chromatic tonality . See post 263 ).

AND AT A HIGH LEVEL : 4) MORPHOLOGICAL REPETITIONS PATTERNS OF PARTS OF THE PIECE  IMPROVISATION (on any instrument e.g. see post 203, 201)

I believe the most successful order is to start with the chords, and in particular a triad of major chords and in particular 1-4-5 of the Bb or F major scale, and then extend them possibly with chromatic tonality as in  post 263 with minor, diminished and augmented chords but not more than 1/3 of the total time and only if the whistling improvisation suggests it. The next simple idea in improvisational harmony is an harmonic linear progression of major/minor chords by intervals of  4ths. Then improvise fully by singing or whistling melodies on them and pass this whistling gradually to the rest of the instruments. 

The improvisation of each instrument with the chosen order, starting from the rhythm of the percussion instrument, is recorded (e.g. in Audacity) , and the next instruments are played at first live with a background from the speakers or earphones (like karaoke) from the previously recorded instruments, and then are recorded also with the rest of the recorded instruments. The final result as an .mp3 or .wav file is it is liable and satisfying is published a group friends or simply kept in nono-publishing data bases.

If he is lucky he might find some friends and try a group improvisation where he is playing in sequence some of the instruments he is learning or practising.

We remind here why in learning simultaneously many instruments it is by far better the improvisation method than reading a musical score.

THE ADVANTAGES OF IMPROVISING A MELODY VERSUS PLAYING A MELODY

PLAYING THE MELODY

DISADVANTAGES: 1) No sufficient space to interpolate  your own feelings parallel to the melody
                                   2) Rigid stereotypic repetition  , that the slightest deviation will cause the                                                feeling of an "error" or "bad sound". This will create fear and will "slauter" the "wings" to add your own "signature" to the melody. It will stop  also and suppress the ability to compose your own melodies.

ADVANTAGES: 1) You do not have to involve much of your emotions and creativity , after learning it it seems easier to repeat it each time and if the melody is played correctly it is expected by the audience to to appreciate it.


IMPROVISING THE MELODY:

ADVANTAGES:1) Plenty of free  space to interpolate  your own feelings parallel to the melody
                                   2) No rigid stereotypic repetition , each time played it is somehow different . The randomness of the decorative notes of the improvisation allows for searching the appropriate melodic center that corresponds to the intended emotion or for gradual correcting till the melodic center of the original melody is found  (in the scale stepwise glissando as default movements) This will create an euphoria of abundance of creativity and will multiply the ability to compose your own melodies in later times.

DISADVANTAGES: 1) It requires listening to your own mood (or the mood of the  audience) when improvising the  melody, and there is always the risk that the current version of the improvisation of the melody is not good enough compared maybe to previous improvisations or that the audience will not appreciate it enough as you appreciate it when your are improvising it.



IN OVER ALL IT IS OBVIOUS THAT IMPROVISING A MELODY IS BY FAR MORE ADVANTAGEOUS THAN JUST PLAYING THE MELODY.

361. THE TECHNIQUE OF MOVING TETRACHORD IN IMPROVISATION OVER A CHORD PROGRESSION

 See also post 321 and 364.