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.
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
6m 2m 7M7
7M7 3M7 6m
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