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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.