399. CLASSIFICATION OF THE METHODS TO LEARN IMPROVISATION THROUGH 3 CENTERS IN THE HUMAN PERSONALITY . MENTAL, KINAESTHETIC, EMOTIONAL.

 A VERY GOOD CLASSIFICATION PRACTICE OF THE METHODS TO LERN IMPROVISATION AND  MAKING FREE MUSIC SIMILAR WITH THE EASINESS WITH WICH WE SPEAK IS TO CLASSIFY  THE METHODS BY 

THE MENTAL CENTER (New concepts of musical theory. E.g. Chromatic tonality, harmonic, melodic , chromatic multitonality, statistical rules of intervals, chords types etc) 

THE KINAESTHETIC CENTER (Appropriation of the musical instruments with new convenient types of tuning, etc The triads chart of the  fretboard etc). The kinaesthetuc center we may analyze further to the 3 external sences of  

1) touching   

2) seeing  

3) listening 

THE EMOTIONAL CENTER (new techniques of training the emotional center through listening ,whistling etc)

We have mentioned elsewhere that the types of improvisation that we include are

 

1) Single instrument with or without chords

2) Predetermined harmony and chord progression by a musician , and improvisation in the melody by another musician

3) Improvised harmony by a musician and improvised melody my another musician

4) Two musicians improvising parallel counterpoint melodies within one or more scales. 

5) A musician improvising a new adoption , with melody and even chords over a predetermined song.

ETC.

Then with such technique we apply the 4 phases

MIMICKING

ASSIMILATION

INNOVATION.

398. 12 bars blues with power chords

 In  this interesting twist, we do not utilize to major chords 1M 4M 5M but the power 2-notes 3 voices chords  1P 4P 5P . Where 1P=1-5-1' , 4P=4-1-4" and 5P=5-1-5'

 

Similarly as in the post   396    may substitute the 1P 4P 5P with relative power chords like  2P 3P 6P 7P 

Why we do it? Because either if we are in the natural minor of the scale or the harmonic minor or the double harmonic minor, the chords remain the same and we have stable harmonic background with very rich melodic variations and transitions to other minor chromatic scales.

397. Brazilian choro chromatic tonality by 3 consecutive diatonic scales in the wheel by 4ths, with their harmonic minor aeolian modes.

 By studying the bazilian choro songs , and also the songs by Jacob do bandolim, which are consideed of expecially complicated harmony , a frequent pattern appears in the chromatic harmony.

There are 2 ways to perceive the patterns. A simple one which neverthless doe not reveal all the secretes and a more complicated which does.

The simple one is that chords utilized are a connected arc of 7 or 8 consecutive chords in the wheel by 4ths. We have commented in previous posts for such 7 cycles or 8-cycles And for  each such chord either the major or the minor or both are  ustilized.

A more revealing perceptions is the next : They are utlized 3 diatonic scales consecutive onthe wheel by 4ths. E.g. [G major C major F major] , or [f major , Bb major, Eb major] etc.

And furthermore each of these diatonic scales are in chromatic tomality derived by the harmonic minor version of its aelonian natural mode , or the double harmonic minor of its aelonian natural minor mode. 

When the harmonic minor version is utilized the 3m chord becomes 3M, and when the double harmonic minor version is utilized then the 7d becomes 7M chord as well. 

We may compare this type of complicated chromatic tonality with that of the post 373 which also utilizes 3 diatonic scales but in melodic not harmonic relation. 

As in the case of reharmonization as in the Gypsy jazz,so with choro, a simple chor progression, to reharmonize it within the choro harmony might require rules like

1) When a chord A  transitions to a next chord B and this transition is melodic (interval by 3rd) or chromatic (interval by 2nd) we reharmonize it by interpolation a 3rd  chord  major 7nth that resolves to B. (harmonic relations like G7->C) 

2) We substitute a major chord with its relative minor and vice versa  if this keeps the local sequence of the chords progression to a connected arc by 4ths in the wheel by 4ths.

With  this 2 rules we create a bias and preference to harmonic chord transitions rather than melodic or chromatic chord transitions.