496. HOW TO IMPROVISE COUNTER MELODIES (NCLUDING BASS LINES) BEING IN THE 12 NOTES CHROMATIC SCALE , OVER ANY SONG, WITHOUT KNOWING THE SCALE OR THE CHORD-PROGRESSION.

495. ISOKRATIC (DRONE) PAIRS OF NOTES 4-5 THAT DIFFER BY A TONE , MODES, HARMONIC TRIADS OF CHORDS SUBSTITUTIONS AND EVEN-ODD NOTES CHORDS-ARPEGGIOS

 Each harmonic triad defines this pair.

E.g, the 3M7-6m-2m harmonic triad defines the 3-2 isokratocs , or the even-odds chord arpeggios. 3-5#-7-2=3M7 and 2-4-6-1 =6m7 

https://www.youtube.com/watch?v=kuCGvw-N_BA

The idea, of course, behind the pair of isokratic notes differing by an interval of a 2nd in a mode of a scale is that any melody on a mode of a scale can be harmonized with 2 chords: the odd notes chord corresponding to the note number 5 and the even notes chord corresponding to the note 4.

When in a song, which is in a scale and mode, of notes, numbered 1,2,3,4,5,6,7, the isocratic notes are 4-5, then, the bass line, is the notes 2-4-6-1 as long as isocratic note 4 lasts and 1-3-5-7 as long as isocratic note 5 lasts
This bass method, in a 1,2,3,4,5,6,7 mode-scale, is based on the musical theorem, in harmony, that every melody in such a mode can be harmonized with two single 4-chord chords, 1-3-5-7 and 2-4-6-1. So the bass lines are arpeggios on these two four-chord chords. We always talk about diatonic modes or modes in melodic or harmonic minor.

494. HOW TO UNLOCK THE IMPROVISATION OF BASS-LINES WITH THE ISOKRATIC (DRONES)TRINITY OF TONAL, SUBDOMINANT AND DOMINANT NOTES 1-4-5.

 The idea, of course, behind the pair of isokratic notes differing by an interval of a 2nd in a mode of a scale is that any melody on a mode of a scale can be harmonized with 2 chords: the odd notes chord corresponding to the note numbers 5 or 1 and the even notes chord corresponding to the note 4.

493. THE DIMINISHED 7NTH CHORD IS A GATE TO RESOLVE TO 4 DIFFERENT TONALITIES

 

THE DIMINISHED 7NTH CHORD IS A GATE TO RESOLVE TO 4 DIFFERENT TONALITIES

7dim7 = 7 2 4 5#

By lower by a semitone one note of the diminished 7th chord, we result to a major dominant 7th chord, which in its turn resolves to a major chord, which has root i again another note of the initial diminished 7th chord but one semitone higher

7dim7 =7 2 4 5#  via  5M7=7 2 4 5 resolve to  1M

7dim7 =7 2 4 5#  via  3M7= 7 2 3 5 #resolve to  6M

7dim7 =7 2 4 5#  via  1#M7= 7 1# ,4, 5#  resolve to  4#M=5bM

7dim7 =7 2 4 5#  via  7bM7=7b 2 4 5 # resolve to  2#M=3bM

E.g.

THE DIMINISHED 7NTH CHORD IS A GATE TO RESOLVE TO 4 DIFFERENT TONALITIES

Bdim7 = b d f g#

By lower by a semitone one note of the diminished 7th chord, we result to a major dominant 7th chord, which in its turn resolves to a major chord, which has root i again another note of the initial diminished 7th chord but one semitone higher

Bdim7 =b d f g#  via  GM7=b d f g resolve to  CM

Bdim7 =b d f g#  via  EM7= b d e g# resolve to  AM

Bdim7 =b d f g#  via  C#M7= b c# ,f, g#  resolve to  F#M=GbM

Bdim7 =b d f g#  via  BbM7=Bb d f g # resolve to  D#M=EbM

https://www.facebook.com/reel/1265403812411324

https://www.youtube.com/shorts/VUtxt0J7mpc

492. THE CHORD TRIAD (7M7, 3m, 4M) , OR (3M7,6m, 7bM) AS NEAPOLITAN TRIAD

 

The    4M->7M7->3m   or  the

7bM->3M7->6m 

is sometimes called The Neapolitan Progression or cadenza

491. CHORD MELODIC BRIDGES SUMMARIZING TRIPLETS OF THE CHORDS PREGRESSION.

490. THE BEBOP (UNION) SCALE OF TWO CHORDS

489. MELODY IMPROVISATIONS WITH 3 LAYERS OF HARMONIC, MELODIC AND CHROMATIC STRUCTURE

The main idea is to include the harmony in the structure of the melodu improvisation.

And in order to do so, we create melodies that 

1) Have harmonic moves (corresponds to harmonic cycles of chords)

2) Melodic waves (corresponds to chord arpeggios)

3) Chromatic ripples (corresponds to chromatic embellishments or chromatic arpeggios) 

Examples of melodies with quite clear such structure are

1) The improvisational melodies of overtone flutes

2) The Dan Bau (or duxianqin ) improvisation melodies

3) The trombone improvisation melodies

4) Mongolian Morin Khuur cello, improvisation melodies

5) Chinese vilin Erhu, improvisation melodies

488. Drone playing per tetra-chord and per- scale in Irish Bouzouki and overtone tunings. Ancient methods of voice improvisation accompanied with intervals of 5ths or 8ths.

The drone playing is similar to the finger-picking in guitar playing. In finger-picking we try to play simultaneously, the melody and the underlying chords. In drone-playing the underlying chord is only one, note,  the 1st or 5th of the underlying chord, or both.  And these 1 or 5 are essentially open strings up or down to the string that we play the part in the current tetra-chord) of the melody. 

Inverted ukulele tunings allow also for drone playing (Inverted tuning of  G2C3E3A4 is the A2E3C4G4 , two 5ths and a 6th instead of two 4ths and a 3rd, which is more nice voicing of a minor 7nth chord)

The maximum abilities of drone playing seems to exist in the tunings like DADA or CGCG etc. but also such tunings inorder to give maximum abilities of drone playing (when  playing a melody in a  strings the other 3 strings can serve as harmonic drones, accompanying) they exclude the accompanying with ordinary major or monor 3-notes chords!!!. This forces a playing which is mostly melody (>70%) and little occupied with parallel harmonizing or chord-improvisation. Leonardo da Vinci used to sing and improvise, accompanying his voice with a continuous interval of 5th with a violin or rtaher his lira de Brachio, which later was developed into a Lireno !

(See e.g.     https://www.youtube.com/watch?v=0cwkvYZuMuo&list=PLao9G31nxH0oEwGonbTJqhOCBwm2CkGhq&index=4&fbclid=IwY2xjawQw239leHRuA2FlbQIxMQBzcnRjBmFwcF9pZBAyMjIwMzkxNzg4MjAwODkyAAEeypSSss0LrGYi9QcvRD0QUVmRZJqZD64FsgFjRmhumkKVSk-vq0T-Ukp_8Qc_aem_yvh8crL4w8rto-Wg5tl1Pg 

and 

https://www.youtube.com/watch?v=jykCQEk2KH0&list=PLao9G31nxH0oEwGonbTJqhOCBwm2CkGhq&index=8

 and  Lirona or Lira da gamba

https://www.youtube.com/shorts/qkI08CxC1g8?t=8&feature=share)  

The drone-playing is the model of the ancient times' voice improvisation, accompanied only with intervals of 5th ot 8ths!!! (see e.g. https://www.youtube.com/watch?v=QUcTsFe1PVs&t=24s) 

See e.g.

https://www.youtube.com/watch?v=Co6SIi5lr6E

https://www.youtube.com/watch?v=CQOh2tRSWX4

487. THE ANCIENT METHOD OF VOICE IMPROVISATION, AND INSTRUMENT ACCOMPANYING WITH INTERVALS OF 5THS.

 

https://www.youtube.com/watch?v=QUcTsFe1PVs&list=RDMM74OVU0Uj4dE&index=10

486. THE CONCEPT OF CHROMATIC ARPEGGIOS

 About concepts of chromatic arpeggios over a chord (and chord-scale).

1) The chord 7-scale is split to 5-string + 4-string parts. 

2) 2nd concept of CA: We substitute the voice melody M of the song with a simplicial submelody SM of it. Each note of the simplicial submelody is a note of the underlying chord. Then we extend the simplicial submelody SM, with small oscillations (within the 7-note chord-scale) 4 times faster, (e.g. if the SM has  notes that are of duration  1/4, then the oscilaltion is with 4 notes of duration 1/16) around each note of the simplicial submelody. The result is the chromatic arpeggio CA-SM, which on the island of Crete is also called "condilies." The pattern of the oscillation determines the style-signature of the condilia.

3) 3rd concept of CA: We create a random sequence over the 5-string or 4-string of the underlying chord, so that it randomly sequences a uniform distribution of notes of it. This is also a chromatic arpeggio fitting harmonically to the underlying chord.

4) 4th concept of a CA: We design a melodic pattern over the 7-notes mode of the underlying chord , which is of the type: a)  stationary waving, or b) Spike or c) straight vector.

If the sequenced notes are a uniform distribution of the 7-notes mode of the underlying hord then, we have an harmonically fitting to the underlying chord, chromatic arpeggio. 

5) Then assume that , we are given a melodic theme M to make an improvisation with it. We identify the M , as a chromatic arpeggio CA , of a chord C. Then we compose a chord progression,  C1, C2, ...Ci , with the chord C in it, and we create chromatic arpeggios CA(i) for each chord Ci. The result is a composition-improvisation based on the melodic theme M=CA. 

485. THE MAXIMAL SYMMETRIC SIGNATURE OF ANY SCALE ON THE GUITAR FRETBOARD

484. HOW TO MAKE A CHORD MELODY FROM A MELODY, WITH ONLY TWO CHORDS, THE ONE A DIM7.

 https://www.facebook.com/reel/1255139919982320

483. THE 3 BASIC MELODIC THEMES PATTERNS; STRAIGHT, WAVING, SPIKE.

 IN A SUPER SIMPLISTIC CLASSIFICATION, THERE ARE ONLY 3 PATTERNS FO MELODIC THEMES:

1) STRAIGHT

2) WAVING

3) SPIKES

482. HOW TO CONVERT ALL TYPES OF CHORD TRANSITIONS (CHROMATIC, MELODIC, HARMONIC) TO CHROMATIC THROUGH DIM7 CHORDS OUTSIDE THE 7 DIATONIC SCALE.

 

Exmaples

Harmonic transition 5M7->1M

becomes chromatic as 5M7->7Dim7->1M

Similarly, the 4 bars blues harmonic transitions, of the 3 major chords of the diatonic, become chromatic as follows:

5M or 1M->4M becomes  5M or 1M->4bdim7->4M

5M or 4M->1M becomes 5M or 4M->7dim7->1M 

1M or 4M -> 5M becomes   1M or 4M -> 5bdim7=1dim7-> 5M 

so the rule is to resolve to XM, we pass through the Xbdim7.

Chromatic  5M->6m 

becomes chromatic as 5M->6bdim7->6m

Melodic transition  5M-> 3m

Becomes chromatic as 5M->3bdim7->3m 

Melodic transition  1M-> 3m

Becomes hromatic as 1M->1dim7=3bdim7->3m 

Again the rule is :to resolve to XM, we pass through the Xbdim7.

                                  

                                  

481. ANALYSIS OF 20TH CENTURY MUSIC (BLUES ETC) WHICH UNKOWINGLY IS UTILISING UNCOMMON ANCIENT GREEK MUSICAL SCALES.

 

This is the single note per chord (simplicial submelody) transpositional method (3 different diatonic scales). There is the single note per chord (simplicial submelody) modulational method, which remains in the same tonality. Then the method is different than the diatonic scale. E.g. pentatonics scales (e.g. hirajoshi too)  blues hexatonic scales, other hexatonic scales , bebop scales (8, 9 or 10 notes), scales, etc.

E.g. The chords of the 12 bars blues are in C major (C,F,G7) while we solo in C minor (Eb major< with Bb, Eb, Ab, that make Cm, Fm, Gm, but still there are the root notes C, F, G, so as to stay there as long as necessary). Or soloing in pentatonic C minor, or Blues C minor , besides, of course, diatonic C major, pentatonic C major and Blues C major.  In spite of teh above paradoxes, the strict rule, that at least 50% of the time that a chord is sounding, the solo, must sound notes of  the chord. This rule seems to  hold also in the next video. It is equivalent to changing  the standard chords C,F, G, in a  limited time <50% , to more jazzy, containing 2nds, 4ths, 6th, 7nths, 9nths etc becoming minor etc

https://www.youtube.com/watch?v=IzWEyHTu_Zc&list=PLtVS5-a9C-OAAkWva8ltIOmE7BkU3o1m6

The paradox is that  when playing e.g. 12 bars blues at C major scale with C, F and G7 chords, the pentatonic and hexatonic blues scale is to improvise is not the A minor (=C major) but the C minor (which tracks a transposition in Eb, or C minor). 

The bending of the dominant 5th in the natural minor to the blue note and forbidden tritone! 

The simultaneous occurring of 1M and 1m (change of major tonal to minor), so 3 and 3b (blue note). This accommodates mirror transpositions (negative harmony) as well as transposition upwards by a minor 3rd. 

The minor and major pentatonic and minor and major blues hexatonic scales.

minor 5-tonic 3-2-2-3-2 (a c d e g a )  and  minor blues hexatonic  3-2-1-1-3-2 (a c d eb e g a) 

Heptatonic version of  the blues scale :

1) By a leading 7th note  (Ancient Greek chromatic) 3-2-1-1-3-1-1

2) By a mode of the harmonic minor e.g. 2-1-2-1-3-1-2

When using a blues minor over the diatonic of a 12 bars blues, we introduce the chromatic notes 7b and

4# (the blue note). If we extend to the anacient greek chromatic we do not introduce any new chromati note. The 7b chromatic makes the 5M to 5m. The 4# makes the 2m to a 2M.

When using a blues major over the diatonic of a 12 bars blues, we introduce the blue note 3b. If we extend to the anacient greek chromatic we do introduce a new chromatic note the 5#. The 5# chromatic makes the 3m to 3M. The 3b blue note makes the 1M to 1m.

Thus we have a minor version of the ancient greek chromatic as 3-2-1-1-3-1-1

and a major version as 2-1-1-3-1-1-3

480. THE LOGIC OF CORRELATING PENTATONIC SCALE OR BLUES SCALE OR OTHER SCALES , MELODIES WITH THE CHORDS IN (12 BARS) BLUES.

The video below is  the single note per chord (simplicial submelody) transpositional method (3 different diatonic scales). There is the single note per chord (simplicial submelody) modulational method, which remains in the same tonality. Then the method is different than the diatonic scale. E.g. pentatonics scales (e.g. hirajoshi too)  blues hexatonic scales, other hexatonic scales , bebop scales (8, 9 or 10 notes), scales, etc.

E.g. The chords of the 12 bars blues are in C major (C,F,G7) while we solo in C minor (Eb major< with Bb, Eb, Ab, that make Cm, Fm, Gm, but still there are the root notes C, F, G, so as to stay there as long as necessary). Or soloing in pentatonic C minor, or Blues C minor , besides, of course, diatonic C major, pentatonic C major and Blues C major.  In spite of teh above paradoxes, the strict rule, that at least 50% of the time that a chord is sounding, the solo, must sound notes of  the chord. This rule seems to  hold also in the next video. It is equivalent to changing  the standard chords C,F, G, in a  limited time <50% , to more jazzy, containing 2nds, 4ths, 6th, 7nths, 9nths etc becoming minor etc

https://www.youtube.com/watch?v=IzWEyHTu_Zc&list=PLtVS5-a9C-OAAkWva8ltIOmE7BkU3o1m6 

https://m.youtube.com/watch?v=8SK9ur1pSqU

The paradox is that  when playing e.g. 12 bars blues at C major scale with C, F and G7 chords, the pentatonic and hexatonic blues scale is to improvise is not the A minor (=C major) but the C minor (which tracks a transposition in Eb, or C minor). 

The bending of the dominant 5th in the natural minor to the blue note and forbidden tritone! 

The simultaneous occurring of 1M and 1m (change of major tonal to minor), so 3 and 3b (blue note). This accommodates mirror transpositions (negative harmony) as well as transposition upwards by a minor 3rd. 

The minor and major pentatonic and minor and major blues hexatonic scales.

minor 5-tonic 3-2-2-3-2 (a c d e g a )  and  minor blues hexatonic  3-2-1-1-3-2 (a c d eb e g a) 

Heptatonic version of  the blues scale :

1) By a leading 7th note  on the hexatonic Blues minor (whic comes from  the pentatonic minor) (Ancient Greek chromatic) 3-2-1-1-3-1-1

2) By a mode of the harmonic minor e.g. 2-1-2-1-3-1-2

When using a blues minor over the diatonic of a 12 bars blues, we introduce the chromatic notes 7b and

4# (the blue note). If we extend to the anacient greek chromatic we do not introduce any new chromati note. The 7b chromatic makes the 5M to 5m. The 4# makes the 2m to a 2M.

When using a blues major over the diatonic of a 12 bars blues, we introduce the blue note 3b. If we extend to the anacient greek chromatic we do introduce a new chromatic note the 5#. The 5# chromatic makes the 3m to 3M. The 3b blue note makes the 1M to 1m.

Thus we have a minor version of the ancient greek chromatic as 3-2-1-1-3-1-1

and a major version as 2-1-1-3-1-1-3

https://m.youtube.com/watch?v=lQO0Tb43Fdk&pp=QAFIAQ%3D%3D

https://www.youtube.com/watch?v=iPjzoEUCxOI&ab_channel=MakingandBreaking

https://www.youtube.com/watch?v=BI8HpvkXWeM&ab_channel=BradHarrisonMusic

479. MIRROR TRANSPOSITIONS (NEGATIVE HARMONY) AND MIRROR MODULATIONS

An almost forgotten generator symmetry (transpositions and modulations) of the 12  and 7  notes musical universe 

478. PARALLEL VOICES MOVES LOGIC VERSUS CHORD TRANSITION LOGIC

https://www.youtube.com/shorts/toboHZU7XkI 

https://www.youtube.com/watch?v=4lAsPSR6uvE&list=RD4lAsPSR6uvE&start_radio=1

477. A RECIPE OF CHORD PROGRESSIONS FOR HAPPIER SONGS