421. A SECRET KEY LINKING CHORD TRASITIONS AND MELODIC THEMES: THE TECHNIQUE OF COMPOSING MELODIC THEMS OVER A CHORD PROGRESSION, BY ALTERNATION OF 50% CHORD-INTERNAL MELODIC SCALE-50% CHORD-EXTERNAL CHROMATIC SCALE MELODIC THEMES DURING A CHORD AND CHORD TRANSITION.

A SECRET KEY LINKING CHORD TRASITIONS AND MELODIC THEMES

THE TECHNIQUE OF COMPOSING MELODIC THEMS OVER A CHORD PROGRESSION, BY the rule of " 50% vertical (arpeggio) 50% horizontal (tail)"ALTERNATION OF MELODIC SCALE (arpeggio)-CHROMATIC SCALE (tail) MELODIC THEMES DURING A CHORD AND CHORD TRANSITION.

What we mean with the above is that ifthe chord transition is chordA->chordB

We play alternating melodic theme M1  first "vertically" in the melodic version of the scale (arpeggio)  , in other words by alternating minor-major 3rds, which is easily within the chordA  (chordA internal theme or arpeggio) and then a 2nd melodic theme M2  about of equal time duration which is in the chromatic scale (tail) and is bridging to the next chordB (ChrodA external theme or tail) . Then we repeat at chordB etc. 

From the point of view of pitch-order topology and rhythms , the melodic themes M1 (arpeggio), M2 (tail) may be isomorphic or inverse isomorphic (which means an up move becomes a down move and vice versa). 

This is very common technique with the andaluzian cadenza (6m-> 5M-> 4M-> 3M7)  songs which is a chromatic chord progression. 

In this way at least 50% of the notes and time the melody is in the chord (rule of 50%) and also at least 50% of the steps are melodic intervals (3rds) as in beatiful Irish songs, which makes the melody more beatiful. Actually the full spectrum of choices in the melody would require not only the chromatic sequence or speed  of the notes of the diatonic scale and the melodic sequence by alternating major-minor thirds but also the harmonic sequence or speed by 4ths or 5ths. 

And the recipe of beauty would be 40% chromatic, 40% melodic , 20% harmonic densities in the melody. 

This tecnique explains the kind   of the chords transitions (harmonic-melodic-chromatic) with the corresond such  vertical-horizontal or chord-internal-external or melodic-chromatic melodic themes M1, M2 .  The chord transitions that are melodic or harmonic, have as the bridging melodic theme  the melodic theme M1 in the melodic scale, while the chromatic transitions have as bridging melodic theme the chromatic melodic theme M2. 

Example of a song with a melody with thsi structure

https://www.youtube.com/watch?v=rkermyl_JKw&t=2s&ab_channel=%CE%88%CE%BD%CE%B1%CF%82%CE%B1%CE%B3%CE%AD%CF%81%CE%B1%CF%82

How to remember melodies or play melodies by  listening:

3 types of memory 1) emotional-audible 2) mobility of hand muscles 3) optical-mental if it is from score. The strongest memory is 1). At the end of the repertory practice , we associate every melody name with its "fingerprint" which is only a few notes, enough to  let they bring it to our memory. 

Here in the next video she explains 3 steps from up to down from macroscopic perception to 

microscopic perception

 1) Listen and analyze, find scales and chords.

2) Analysis of repetition  parts of the melody  

3) More analysis of each parts for patterns  like up-waving, down-waving , flat-waving, arpeggios, tails, straight up move, straight down move, highest and lowest notes of the parts . Also first notes of the parts or of all the melody etc  

 https://www.youtube.com/watch?v=T7c--Dh0po4