This method does not start from the chord progression pattern. Instead it starts from an equally simple pattern which is the pattern of variations of the melodic themes.
In other words if A1 , A2 are the basic melodic themes, and B1, C1, D1 , and B2, C2, D2 , are their variations correspondingly (modulation-translations, transposition-translations , pitch inversions , rhythmic inversions etc) then a pattern of the melodic themes variations could be
(A1 B1) (A1 C1)
(A2 B2) (A2 C2)
ETC
E.g. this pattern of melodic themes is of the folk Celtic song Donegal.
Under each melodic theme we put either 1) a single chord 2) a pair of chords 3) a triad of chords 4) four chords etc
Of course same melodic themes (and symbol) require same underlying chords. But the converse is not true. Different melodic themes may still have the same underlying chord. E.g. the mentioned folk celtic song Dionegal with the above melodic themes patterns utilizes only 2 chords D7 and G.
A1(=G D7) B1(=D7 G) C1(=D7 G D7 G)
A2(=G D7) B2(=D7 G) C2(=D7 G D7 G)
For a 15-sylalbes poetic lyrics, a full 15 syllables poetic line of total syllables (4+4)+(4+3)=15 would correspond to a single melodic theme A1 , or B1 , C1, A2 etc. and thus here to 2 chords. This is convenient for the arpeggio-tail method of composing melodies. While the simplicial sub-melody method would require 4 chords per 15-sylalbles poetic line. But these 4 chords could as well be 2 only e.g. in the form 5M7 1M 1M 5M7
We may utilize for a full 15 syllables poetic line harmonic pairs of chords or chromatic pairs of chords that define the modes of a diatonic scale or even melodic pairs of chords
(see also post 364 , 225 and 325 )
2. DORIAN : HARMONIC PAIR ( 6m, 2m)
3. PHRYGIAN : HARMONIC PAIR (7d, 3m)
4. LYDIAN: HARMONIC PAIR (1M 4M)
5. MIXOLYDIAN: HARMONIC PAIR (2m, 5M)
6. AEOLIAN: HARMONIC PAIR (3m 6m)
7. LOCRIAN: pseudo HARMONIC PAIR (4M 7d)
Melodic pairs of chords would be
1M-3m IONIAN
2m-4M DORIAN
3m-5M FRYGIAN
4M-6m LYDIAN
5M-7d MYXOLYDIAN
6m-1M AEOLIAN
7d-2m LOCRIAN
The diatonic songs have a subtle balance of happy (major) and sad (minor) compared to chromatic tonality. A good example are the Irish folk songs
A good mix of modes for such songs is a moving melodic 5 cycle in the diatonic harmony. In other words an harmonic triplet of chords that define the mode plus 2 more intermediate chords with melodic relation to the neighboring chords. E.g. for the Ionian mode triplet 5M 1M 4M , we interpolate at melodic relations the 3m (between 5M, 1M) and 6m (between 1M and 4M) to get the melodic 5 cycle 5M 3m 1M 6m 4M.
We may compare it with a moving harmonic 5-cycle e.g. 6m 2m 5M 1M 4M
or 3m 6m 2m 5M 1M etc
CYCLES OF MELODIC THEMES AND HAPPINESS.
Each melodic theme eventually is one of the 3 types (polarity). A pitch-vector going up, or going down or staying the same pitch. And one of the best combination of such melodic themes is the cycle, and
1) especially the one that starts from a high pitch goes down and returns back to high pitch as the songs of the birds.
2) In general up moves of pitch are happy,
3) also melodic or harmonic intervals (large arpeggio part and small tail in he melodic theme) plus 4) large range melodic themes
4) and most important fast rhythm.
Diatonic harmonic triads
(Xn)m->(Xn+1)M->(Xn+2)M (e.g. 2m7->5M->1M) Myxolidian harmonic triad
(Xn)m->(Xn+1)m->(Xn+2)m (e.g. 3m7->6m->2m) Aeolian harmonic triad
(Xn)M->(Xn+1)M->(Xn+2)M (e.g. 5M7->1M->4M) Ionian harmonic triad
All of them are the next
1. IONIAN : HARMONIC TRIPLET (5M, 1M, 4M)
2. DORIAN : HARMONIC TRIPLET (6m, 2m, 5M)
3. PHRYGIAN : HARMONIC TRIPLET (7d, 3m, 6m)
4. LYDIAN: (SEMI) HARMONIC TRIPLET (1M, 4M, 7d)
5. MIXOLYDIAN: HARMONIC TRIPLET (2m,5M, 1M)
6. AEOLIAN: HARMONIC TRIPLET (3m,6m, 2m)
7. LOCRIAN: (SEMI) HARMONIC TRIPLET (4M, 7d, 3m)
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