A CLASSICAL METHOD OF SINGLE INSTRUMENT IMPROVISATION-COMPOSITION: VERTICAL HARMONY BY 3 OR 4 NOTES CHORDS AND SIMULTENEOUS MELODIC THEMES IN 3 OR 4 NOTES TETRACHORDS TRANSLATED OR INVERTED VERTICALLY ACROSS THE NOTES OF A CHORD AND ELONGNATED HORIZONTALLY WHEN BRIDGING CHORD TRANSITIONS.
This book is for learning music composition and improvisation , based on more abstract mathematics of the music, the rhythm and the musical instrument and with new musical practice. It is a new awareness and method to link mental perception-images, the creation of feelings and finger actions. The true goal of composition and improvisation is the existential process of creating and listening it. It is both individually healing and socially celebrating.
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Friday, April 23, 2021
368 A CLASSICAL METHOD OF SINGLE INSTRUMENT IMPROVISATION-COMPOSITION: VERTICAL HARMONY BY 3 OR 4 NOTES CHORDS AND SIMULTENEOUS MELODIC THEMES IN 3 OR 4 NOTES TETRACHORDS TRANSLATED OR INVERTED VERTICALLY ACROSS THE NOTES OF A CHORD AND ELONGNATED HORIZONTALLY WHEN BRIDGING CHORD TRANSITIONS.
SINGLE CHORD IMPROVISATION: We may as alternate or sound as drone the root chord of a scale as power chord (only an interval of 5th) with melodic themes (of 3 or 4 notes and inside a three-chord or tetrachord ) based on each of the the 3 notes of the root 3-notes or 4 notes chord and translated or inverted melodically by intevals of 3rd across the 3 or 4 notes of the roor chord. We make sure of course that the notes of the chords in total during the chord, sound at least 50% of the time duration.
E.g. in the Dorian mode of the C diatonic sacle and with an harp, here
MANY CHORDS-CYCLE IMPROVISATION: We do the same as with the one chord for each chord of the chord-cycle. with melodic themes (of 3 or 4 notes and inside a three-chord or tetrachord ) based on each of the the 3 notes of the underlying 3-notes or 4 notes chord and translated or inverted melodically by intevals of 3rd across the 3 or 4 notes of the roor chord. We may sure thatthe melodic centers are notes of the underlying chord. At the chord transition one of the previous three-chords or tetrachords of the melodic theme becomes the bridge between the 2 consecutive chords and we constinue as before.
The cycle of the chords may be fixed (Predetermined harmony) or improvised also during the melody improvisation (unpredicted harmony).
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