0. Introduction

This blog is still in the process of writing. 

It is initially ONLINE NOTES ON LEARNING MUSIC , AND COMPOSITION AND IMPROVISATION WITH GUITAR AND OTHER STRING AND WIND INSTRUMENTS 

Here is one of the books I'm writing in the last two years about the guitar, and musical synthesis / improvisation and it is completed by almost 90%.

I wrote it in the first place so as to help myself remembering playing  the guitar that I abandoned  for the last 25 years and to improve it beyond what ever I knew on it , in the direction of  improvisation and musical composition.

But it is also written so as to find a way though music to have peace of mind and a lift-up of the personal and collective frequency. 

The context of the goal of writing this book and making the necessary research and learning for it, is so as to be able as individual and collective as civilization of deeper and better methods of expressing by sound with also something more than our voice, (winds, strings, etc) also creating music, that elevates the quality and health of physical life, of  emotional life, and of intellectual perceptions as well. Or to put it in  fewer  words, to allow for better soul-consciousness evolution. For this goal we must understand which melodic patterns, which parts of different music traditions and which new necessary innovations in harmony in musical composition and in social practice in musical instruments playing, will lead to this. Sound is action and as any action it attracts energy. Therefore it is important to discover which harmonies and melodies will attract positive energies for our lives. Of course the health of our body and soul can be  traced by ultra-high non-audible sound frequencies . But a musical instrument's non-audible ultra-high frequencies might  resonate also with lower audible musical frequencies. 

Here is a poem by me about the role of ultra-high frequency sound of higher frequencies realities in the creation of the physical reality

The roots of matter

At the beginning there was sound

and the sound came from the black stars

At the beginning there was sound

and the sound was towards the worlds

At the begging there was sound

and the sound was not

of the visible matter

At the begging there was sound

and the sound created the atoms

of the visible matter

At the beginning

there was the sound of my song

for not all that matters is matter.

But also with the aim of learning old  and discovering new ways to turn negative emotions into positively emotions with music (sadness, anxiety in joy, enthusiasm , etc.). And also for summing up of all  those techniques that make the playing of the guitar easier and smarter.

When learning a musical instruments five areas of the human subjectivity are involved

1) The sense of hearing

2) The sense of seing

3) The kineasthetics of the fingers (fingering)  and/or the mouth (embouchure)

4) The feelings and emotinal percepton of the music

5) The mental images and intellectual perception of the music (musical ontology)

So when we say radically different method we mean that the combination of the previous 5 factors is radically different

Creating 3D mental images with the imagination

The physiscists andd nobel prize winner R Feynamnn often was explaining that he was training his imagination imagining in 3D mental images the moving molecules of a gas in  box, and perceiving that temperature as their avearge velocity, the ressure as the average moemntum of the walls of the box, and the density as the average number of particles per unit of volume, He was explaing that he was getting much pleasure from this spiritual excerise of creating 3D mental images and simulating the reality. Excatly this 3D VISUAL MENTAL IMAGES LANGUAGE parctice is  UTILIZED BY ME IN COMPOSING, AND IMPROVISING MUSIC. 

The next are 5 principles that are involved in learning many musical instruments

1) Principle of least time of  playing while learning

2) Principle of most easy method as far as the memory and spending energy in practice of fingers/mouth is concerned

3) Principle of most smart intellectually perception of the learning material  desired to learn with the maximum number of relevant cross-correlations beteen them.

4) Principle of maximum pleasure while learning (so that serotonin and dopamine arecreated in the nervous system so as t have the creation of nerve synapses that is the subconsious ability and memory and desire for more learning)

5) Principle of optimal socialization of the process of learning.

The previous are instances of principles of laerning how  to learn.


 

 LEARNING HOW TO LEARN DURING ALL OF OUR LIVES IS MORE IMPORTANT THAN ANY SINGLE SPECIALIZED LEARNING OUTCOME.

IN LEARNING HOW TO LEARN THE NEXT 8 PRINCIPLES ARE INVOLVED.

1) The principle that the result of learning will contribute to the evolution of our imortal soul consiousness and society. Aany formof learningis also creation of new self.

2) The Principle of least time and energy for  learning but also the freedhom of time to experiment in an original and discovering way.

3) The Principle of most easy method as far as the memory and spending energy in practice  is concerned

4) The Principle of most simplest , smart and abstract  intellectual perception and organization of the thought of the learning material that is desired to learn with the maximum number of relevant cross-correlations beteen them and other disciples and sciences or arts.

5) The principle of maximum utilization of the traditional or innovative collective intelligence and experience ofthe civilization about the learning area. 

6) The principle of maximum utilization of thelearned material so far.

7) The Principle of emotions and maximum pleasure while learning (so that serotonin and dopamine are created in the nervous system so as to have the creation of nerve synapses that is the subconsious ability and memory and desire for more learning)

8) The principle of not learning in an order and method that the reduces self-esteem  but in the contrary utilzing an order and method with organized thinking and action so that in enhances self-esteem while gradually achieving results and approaching the goal with ecellence , so that it is also a permanent way of happiness. 

9) Principle of optimal socialization with honoring and appraisal of the process and results of learning so that learning is also an increased social honor.

10) The awarenress of the 80/20 rule in learning: More than 80% of the learning outcome is discovered and obtained from less than 20% of the learned material or learning time 

Under the above principles it is derived that for a musician that is playing many musical instruments it holds that

(see also post 275, 128)

1) It has some points in it  that do not exist anywhere on the Internet and in books such as the DAE system for chords on all the fret-board (see post 3, much simpler and smarter than the CAGE system, and especially for 4-strings instruments such as Greek bouzouki, yukalili, cuatro etc.)

2) The system of composition of melodies from the elementary and basic melodic themes and their three basic relations (post 64),

3) or the constant correspondence of melodic themes and chords with emotions. (See post 33)

4) Or  e.g. the harmonic analysis of the chords of a musical piece, based on the three universal relational relations of chords (resolution, relatives, complementary, see post 30 )

5) It also introduces the Harmonic method of musical composition (see post 9) that begins with the composition of chord progression then  composition  of the simplicial submelody, (a note for every chord ) and after 2-3 melodic themes that are transposed, reversed or modifiers, and end or begin  (as melodic centers) at the notes of the simplicial submelody  (which method I mainly follow). 

6) It also has new innovative and   very short ways of music writing without a pentagram, but with the same accuracy, very fast and suitable for reading in improvised music  or computer music. (See post 7)

7) But it also has new ways of octave-distance of strings in tuning  of the known four-strings above musical instruments, that have been implemented in a collection of organs that I specifically made to experiment with them, with the aim of newer sounds in the playing of well-known popular instruments and well-known basic tuning. It carefully analyzes the familiar and unfamiliar  tuning based on merits-advantages in melody, harmony and ease of playing with the fingers.(See post 67) 

8) Still expresses the philosophy that when playing music one does not produce only sounds but also private feelings more or less  independent from the musical sounds that somehow they are made make public and felt by  the listeners. (see post 33)

9) It also has a very comprehensive practice of sorting and finding in a systematic mathematical way of tens and tens of  different scales with different known criteria of many different nations and composers but also of some scales that are still unknown. (See posts 21, 28, 47, 50, 51, 52,54, 58) 
10) The same and with the classification of tens and tens of chord progressions from the music of many different nations and famous songs. (See post 17)

11) The analysis and the writing of rhythms on a drumstick level (see post 10 )

12) It also includes well-known but not widely used ways of finding very quickly the possible scales of a song only by the chords, on the  wheel of chords by intervals of 4th, which are much simpler methods than the analysis of the melody. (see post 34)

This blog is for making the guitar learning , song composition and improvisation , easier based on more abstract mathematics of the music, the rhythm and the guitar with new musical practice. It is a new method to link mental images, with sound feelings and finger actions. The true goal of composition and improvisation is not the musical output but the existential process of creating and listening it. 

In modern times the abstract though is developing fast. For example that astonishing achievements of great chess players like G. Kasparov, Magnus Carlsen etc is because the have shifted to more abstract thinking. Instead of positional playing, tactical and and strategic playing. Similar phenomena occur in other arts and sciences, including mathematcs of course. Music theory should be upgraded too with more abstract thinking.

We must remind here the fundamental philosophy of musical composition and improvisation.

Musical improvisation is not a technical skill that one “learns to do with the fingers.” It is a natural inner spontaneous process that occurs in the imagination. It is often a natural language of the soul, as we have the language of words. And that is why it is understood by people that do not even speak the same language of words

The main goal of musical composition and improvisation is not the output musical piece, but the EXISTENTIAL FUNCTION of the process of creating and listening the musical piece. 

Here is an example of mediative improvisation by Estas Tonne

https://www.youtube.com/watch?v=7gphiFVVtUI

WHAT IS IMPORTANT TO UNDERSTAND IN ALL OF THE MUSICAL PRACTICE IS THAT WE ARE TO CONCENTRATE NOT SO MUCH ON THE ACTION OF THE FINGERS OR THE MENTAL IDENTITY OF THE MUSIC AS ON THE FEELING OF THE SOUND. NEVERTHELESS ALL THE THREE COMPONENTS SHOULD BE AVAILABLE: THE MENTAL IDENTITY OF THE MUSIC, THE FEELING OF THE SOUND AND THE  ACTION OF THE FINGERS.
THE BLOG, AMONG OTHER GOALS, IS DEDICATED ALSO IN TO CREATING SIMPLER MENTAL IMAGES OF THE MUSIC, WHILE PLAYING AND IMPROVISING, SO THAT THE ACTION OF THE HANDS AND FINGERS FLOWS WITHOUT DIFFICULTY

Of course by concentrating in the feelings when we improvise, we give priority to what we have heard from music and has been stored in the subconscious emotional memory. That is why having available the mental imagination identity of the music (as chords, , chord relations, harmony of intervals, regular  recursive sequences of notes, invariants etc) allows to innovate possibly to more happy feeling music. 

 Some times the feeling of the sound only, and the look of the fingers and fretboard may not be adequate to find the desired playing because of lack of excessive practice. And here comes the mental imagination to help. As the more abstract mathematical perception and identity of the desired music is simpler than the complications of the fingers and the guitar fretboard, it is simpler and faster path, to discover the desired musical sound. 

The basic triangle functioning here is the next

 1) Feelings identity of the music (poetical symbol Waters)   
                                                    
2) Mental identity of  the music    (poetical symbol Air)                           

3) Instrumental-fingers identity  of the music
  (poetical symbol Material Solidity)




1)-3) is mainly practical improvisation

2) -1) is mainly composition 

2)-3) is mainly acquiring skills on the instrument.

We must remark here that the 2), the mental musical theoretical or harmonic identity of the music should be simpler than the 3) the instrumental-fingers identity of the music.The improvisation should be 60%-80% due to feelings  15%-30% due to simple mental images about the music and 5%-10% only due to hands skills!


Each vertice of the triangle can act as catalyst in  helping for a friction-less flow of relation of the other two vertices but can also if it is not the appropriate it may block the relationship of the other two. This blogs with more abstract mathematical perceptions that are  in 1) may help for a better relation between 2) and 3).   
Classical jazz practitioners give emphasis to  3) , but sometimes lose 2). To find again a better 2) maybe a better 1) is needed. Classical musicians give emphasis to 1), but often miss the 2). To find a better relation between 1) and 2) free improvisational practice is needed, which is a better 3).  And so one.

At a more detaimed approach there are 5 nervous sytem centers that are involved when playing music

MENTAL 
1) THE MENTAL IMAGES OFTHE ONTOLOGY OF MUSIC (NOTES, SCALES, INTERVALS, CHORDS, ETC)
PHYSICAL
2) THE SOUNDS OF THE EAR IN THE SENSE OF LISTENING
3) THE IMAGES OF THE EYE IN THE SENSE OF SEING (E.G. OBSERVING THE FINGERS ON THE MUSICALINSTRUMENT OR THE MOVES OF DANCER)
4) THE KINESTHETIC CENTER OF THE ACTIONS OF THE FINGERS ON THE INSTRUMENT AND THE BREATH IN THE CASE OF WIND INSTRUMENTS
EMOTIONAL:
5) THE FEELINGS CREATED BY THE LISTENED MUSICAL SOUND IN REALTION ALSO TO MEMORIES AND LISTENING HABITS.


Learning the same song on many instruments, would mean that 3) images and 4) action of the fingers will change from instrument to instrument, but the triad
1) Mental musical ontology 2) Sounds of the ear ontology 5) Feelings remain the almost the same! 

The basic idea of the COMPOSITION-IMPROVISATION method in this blog is to create the music from the SIMPLE AND ABSTRACT towards the MORE COMPLEX AND CONCRETE . Quite similarly as we write a book , starting from a design of the contents and outline of the plot.
Here the simple, is first the rhythm, then the chords progression, then the simplicial melody, then the full melodic patterns and finally the words (that may not exist too).


IN MY APPROACH IN THIS BOOK I FAVOR MIXTURE OF AN IN ADVANCED COMPOSED MUSIC PIECE AND  A LATER IMPROVISATION OVER IT RATHER THAN A 100% PRIMA-VISTA IMPROVISATION. THE REASON IS OBVIOUS. THERE ARE ADVANTAGES OF MUSICAL COMPOSITION THAT WILL TAKE MORE TIME THAN THE DURATION OF THE MUSICAL PIECE OVER A DIRECT IMPROVISATIONAL CREATION OF IT AS WE LISTEN TO IT. THE FORMER GIVES US THE OPPORTUNITY OF A BETTER QUALITY MUSICAL CREATION AND A BETTER BALANCE OF THE PREVIOUS TRIANGLE OF MUSICAL MENTAL IMAGES, SOUND FEELINGS AND FINGER ACTIONS.


We must emphasize a basic philosophy  here that when playing the musical instrument, we do not only produce musical sounds but also independently emotions in us. And I do not mean that the musical sounds produce the emotions I mean that our self is producing the emotions parallel and in fitness with the musical sounds


The various improvisations practices may have one of the more visible dimensions of knowing better , the next 4 factors ,  by relating them to the feelings.

1) The fretboard of the instrument in relation to the feelings. (Playing almost randomly on the fretboard, guided by the desired feeling of sounds)

2) The melodies in relation to the feelings. (Improvise melodies alone or with a chord progression in the background, or as chord-melodies)

3) The harmony in relation to the feelings. (Improvise with chord progressions)

4) The rhythm in relation to the feelings. (Improvise and learn celebrated or unknown rhythms) 

From all the above types of improvisation the chord-improvisation is the easiest, at least one the basic functions and relations of the chords are understood. The melody improvisation with an already determined  chord progression in  the background, is the second easiest, and the chord-melody improvisation is  the most difficult. 

So in learning improvisation, this  is I believe the simplest and easiest way, in 3 steps


1) Practice at first chord-progressions improvisations. At this stage, the complexity is only the number of chords in the chord progression , their shapes , positions, repetitions etc. Mainly we start with a predetermined chord progression and we play all possible different positions of the chord, and maybe also alternative permutaions of the chords of the chord progression,  keeping of course the basic harmonic structure invariant as this is that tells the main emotional story of the song. We utilize chord-harping or finger-picking with possible small melodic embellishments, with a free finger of the left hand or freeing a finger from the left hand, and around the chord shape. I consider  that using the 5 fingers of the right hand, by far a supperior and more subtle way to  control the musical sound, than using a single plastic pick. With the finger nails it is as if we have 4 picks! 

2) Then practice melody improvisation, while a chord-progression is played by another musician or the computer. Here we may apply the ways to distribute a melody among the strings as in the post 43. 

3) Finally practice chord-melody improvisation, that is played only by you. This would be  chord-harping simultaneous  with the solo, or alternating , only chord-harping (finger-picking) and then isolated melody playing or it would be genuine chord-melody with one composite chord for each note of the solo. 

THE CORRESPONDENCE OF EMOTIONS LIKE SADNESS , JOE, ANXIETY, SERENITY ETC WITH HARMONIC AND MELODIC STRUCTURES INTRODUCED IN THIS BOOK IS NOT A UNIVERSAL NECESSITY, IT IS RATHER OF A STATISTICAL MORE PROBABLE EMERGENCE. FROM THIS POINT OF VIEW THE DEGREES OF FREEDOM OF THE HUMAN SUBJECTIVE EXPERIENCE MAY ELIMINATE SUCH CORRESPONDENCES.
(e.g. in Eastern cultural traditions melodies where the distances of successive notes are less than a tone or less than a semitone, do not arise necessarily the emotion of anxiety which is claimed in this book , but also besides anxiety and  sadness also neutral sensitivity!)

THE BASIC CONCEPT OF MUSICALLY BEAUTIFUL  IN THIS BOOK IS THE CONCEPT OF HIDDEN SIMPLICITY OF  RULES OF PROPORTIONS OF 2 AND 3 , AND IN GENERAL OF VERY SMALL INTEGER NUMBERS IN FREQUENCIES, (HARMONY) MELODIC MORPHOLOGY (VOICES) OF NOTE IN (2/3) AND OUT (1/3) OF THE CHORDS, RHYTHM (ORDER AND DIMENSION OF RHYTHMS), PERCENTAGE (2/3) OF MAJOR AND PERCENTAGE (1/3) OF  MINOR  CHORDS  ETC. 

(This percentage of 2/3 major chords and 1/3 minor chords is of course a statistical average not applying for single case songs) 

ANOTHER SIGNIFICANT REASON THAT I STARTED WRITING THIS BLOG IS BECAUSE I WANTED TO COMPOSE SONGS THAT CAN CONVERT SADNESS TO JOY WITHIN THE SONG. I WANTED TO LEARN HOW THIS IS DONE IN ETHNIC MUSIC, IN JAZZ, IN CLASSICAL MUSIC AND ALSO DISCOVER MYSELF NEW SUCH TECHNIQUES .

CONTENTS BY LABELS OF POSTS

Labels

·                  0. Introduction

·                  1. Guitar tuning. In what is the standard tuning optimal if at all ? Melodic optimal and chord optimal tunings Alternative tunings and comparison with violin mandolin and other instruments

·                  10. The mathematics of rhythms: The dimension the order and the height of rhythms. Simplistic rhythm harmony. Their writing and the appropriate software to play them.

·                  100. The concept of within a scale inner translations (modes) of songs versus modulations among scales.

·                  101. THE DOLPHIN LANGUAGE: MELODIES COMPOSITION BASED ON MELODIC ORDER-TOPOLOGICAL SHAPES. HOMEOMORPHIC VARIATIONS . A TRINARY VISUAL ALPHABET FOR MELODY COMPOSITION

·                  102. THE METHOD OF UNACCOMPANIED IMPROVISATION BY ALTERNATION OF CHORDS VARIATIONS WITH SHORT MELODIC THEMES VARIATIONS

·                  103. HOW TO CREATE MELODIES FROM A CHORD PROGRESSION 2/2: THE CHORD-LOCAL 7-NOTES SCALES OF A CHORD PROGRESSION AND THE MELODIC THEMES VARIATIONS THAT THEY DEFINE.

·                  104. HOW TO CALCULATE THE HARMONIC THE CHROMATIC AND CHORD PROGRESSION SIMPLISTIC SIMPLISTIC SUB-MELODIES OF A CHORD PROGRESSION. THE MELODIC SIMPLISTIC SUB-MELODY OF THE CENTERS OF A MELODY

·                  105. HOW TO CREATE NICE OCTAVE SPLITS AND OSCILLATIONS (or of 7nth 6th 4th intervals) IN A MELODY

·                  106. THE VARIATION INDEPENDENT MELODIC SEED AND HARMONIC SEED IN COMPOSING A SONG

·                  107. The 3 basic shapes of melodic themes: Expansion Contraction and Cycles The 9 basic 2-sub-moves melodic shapes and the 21 basic 3-sub-moves melodic shapes. Melodic statistical profile of them.

·                  108. The 3 elementary variation of melodic theme TRANSLATION INVERSION EXPANSION MUTATION Total and partial variations.Concatenation of melodic themes.

·                  109. 2ND HARMONIC ORDER MELODIC THEMES BRIDGING TWO SUCCESSIVE CHORDS AND THE ROLE OF THE HARMONIC AND CHROMATIC SIMPLISTIC SUB-MELODIES

·                  11. Learning fast and in a simple and deep way harmonic melodic and rhythmic satisfying improvisations based on chord progressions and morphological analysis waves (butterflying).

·                  110. The 7-notes 2-octaves and 10-notes 3-octaves arpeggio-scale of a chord as sufficient space for rich order-topological melodic composition.

·                  111. INDEPENDENT AND PARALLEL COMPOSITION OF MELODY AND CHORD-PROGRESSION. RULES OF COMPATIBILITY AND FITTING.

·                  112. THE HARMONIC STATISTICAL PROFILE OF A CHORD PROGRESSION

·                  114. MULTI-ORDER SYNTAX OF DOLPHIN LANGUAGE FOR POETICAL MEASURES MELODIES COMPOSITION. DERIVING THE FULL MELODY FROM A SIMPLISTIC SUB-MELODY. TRINARY HARPING COMBINATIONS. SIMPLICIAL DOLPHIN WORDS

·                  115. WHAT WE LEARN FROM THE SINGING OF NIGHTINGALES AND BLACKBIRDS FOR MELODIES COMPOSITION.

·                  116. COMPOSING CHORD-PROGRESSIONS BY ALTERNATING FORMS OF POWER-CHORDS.

·                  117. Small 7-notes diatonic scale and big 10-notes diatonic (or chromatic-diatonic) scale.5-notes 6-notes 8-notes and 9-notes scales with a maximal number of major or minor chord-triads.

·                  118. COMPATIBILITY RULES OF A MELODY AND A COUNTER-MELODY

·                  119. IMPROVISATION BY ONE MELODY COMPATIBLE WITH MANY CHORDS: INVERSE RELATION OF SIMPLICITY-COMPLEXITY OF MELODY AND CHORDS

·                  12. Types of musical software helpful in learning the guitar and writting songs.

·                  120. IMPROVISATION BY INVERSE PITCH RELATION OF CHORDS-MELODY: MELODIES PLAYED IN LOWER OCTAVES WITH CHORDS PLAYED IN HIGHER OCTAVES

·                  121. IMPROVISATION BY LOWER OCTAVES 1ST 2ND 3RD SIMPLE MONOTONE MELODY ON ALL TONES OF THE DIATONIC SCALE PARALLEL AND COMPATIBLE TO MANY CHORD CHANGES IN HIGHER 4TH 5TH 6TH OCTAVES!

·                  122.IMPROVISATION BY HIGHER OCTAVES 5TH 6TH 7TH SIMPLE MONOTONE MELODY ON ALL TONES OF THE DIATONIC SCALE PARALLEL AND COMPATIBLE TO MANY CHORD CHANGES IN LOWER 3RD 4TH OCTAVE!

·                  123. IMPROVISATION WITH THE PENTATONIC SCALE

·                  124.IMPROVISATION WITH THE HARMONIC MINOR (1st Byzantine minor) AND HARMONIC DOUBLE MINOR (2nd Byzantine minor) SCALE

·                  125. INTERVALS IMPROVISATION

·                  126. IMPROVISATION BY A SINGLE CHORD OF VARIABLE EXTENSION TYPE

·                  127. IMPROVISATION AS FREE VARIATIONS OF YOUR OWN PREDETERMINED COMPOSITION

·                  128. IMPROVISATION AND CREATION OF ADOPTIONS OF A SONG BY MELODY SIMULTANEOUSLY SOUNDING OR ALTERNATING WITH ANOTHER MELODY

·                  129. IMPROVISATION WITH THE 1st 2nd 3rd (and 6-NOTES) PENTATONIC HARMONIC MINOR AND PENTATONIC HARMONIC DOUBLE MINOR SCALES

·                  13. The 3 equivalent D (open Low) A(middle) and E(high) fretboard-neighborhoods of chords. Learning all the fret-board by playing with maximal chord-voicing variety. Chord-yodeling

·                  130. MEANING VERSUS SYNTAX BASED IMPROVISATION: EMOTIONAL "STORY TELLING" OR POST-ACTIVE/PRO-ACTIVE MEDITATIVE SIMULATIONS OF ACTIVITIES

·                  131. THE SPIRITUAL USE OF FLUTES IN WORDLESS SACRED INCANTATION AND MEDITATION RITUAL FOR SOUL CONSCIOUSNESS PRESENCE AND ACHIEVING OUR GOALS THROUGH (NLP) PROGRAMMING OF THE SUBCONSCIOUS

·                  132. A DAILY MUSICAL INCANTATION

·                  133. Choosing a rythm in improvisation after a speach sentence

·                  134. The beauty of melodies based on their statistical profile of order-shapes of Dolphin-words

·                  135. WHY ANY NOTE OF THE DIATONIC SCALE FITS TO ANY MAJOR OR MINOR CHORD OF THE SAME DIATONIC SCALE IN IMPROVISATION

·                  136. ABSTRACT COMPOSITION OF MELODIES THAT CAN BE REALIZED WITH ANY CHORD PROGRESSION AND SCALE

·                  137. 5-notes/4-notes sub-scales improvisation on any 7-notes scale. Pentatonic scales contained in the diatonic the harmonic minor and harmonic double minor 7-notes scales.

·                  138. IMPROVISATION FOR MEDITATION WITH A MELODY IN A SCALE ACCOMPANIED WITH THE ROOT OR A SINGLE NOTE OF THE SCALE

·                  139. SCALES THAT ARE UNION OF OTHER KNOWN SCALES. BEBOP 8-NOTES SCALES 9-NOTES EASTERN AND WESTERN CHROMATIC SCALES

·                  14. The classification of the shapes of the 15 basic chord types with roots on 6th and 5th strings R Rm Rmaj7 R7 Rm7 Rm7b5 R7b5 R6 Rm6 Rdim Rdim7 Raug Raug7 (or Rm7#5) Rminmaj7 R7#5

·                  140. COMPLEMENTARY THEMES IMPROVISATION. Melody driven improvisation within a scale.

·                  141. ONE ONLY ACCOMPANYING CHORD MELODIC IMPROVISATION

·                  142. MELODIC IMPROVISATION WITH SIMPLISTIC SUB-MELODY OVER INTERVALS OF 5THS (cycle of 5ths) OR 4THS (cycle of 4ths).

·                  143. THE MOST POPULAR CHORD PROGRESSION IN WESTERN SONGS AS DERIVED FROM MAXIMAL HARMONIC 5-NOTES SUB-SCALE.

·                  144. Melodic Repetition Contrast Variation as special cases of pitch or rhythmic translation or expansion pitch or rhythmic inversion and pitch or rhythmic mutation.

·                  145. THE SCALE OF NOTES AS INADEQUATE CONCEPT FOR MELODIES COMPOSITION. BEAUTY OF MELODIES BASED ON SCALES OF CHORDS AND PITCH DYNAMICS OF THEIR MELODIC THEMES

·                  146. THE EFFECT OF SINGING OR WHISTLING THE IMPROVISED MELODY.

·                  147. The sub-scale closure of 3 or 4 notes chord and its role in melody improvisation.

·                  148. IMPROVISATION AND COMPOSITION METHODS: SCALE OF CHORDS VERSUS CHORD-PROGRESSION

·                  149. A CONCISE METHOD OF COMPOSITION OF THE MUSIC OF A SONG WITH HARMONY AND MELODY IN EQUAL IMPORTANCE

·                  15. The diminshed 7th (Rdim7) and augented (Raug) chords: As balander-chords and their harmonic role for resolutions. The smalest modulation cycles of order 2 3 and 4

·                  150. FINGER PICKING STYLE WITH ALTERNATING MINIMAL CHORD TRIADS AND MELODIC THEMES IN A SINGLE STRING FOR 4-COURSES FRETBOARDS. AE-DAE Systems and scales of minimal 3-notes chords.

·                  151. Internal and external harmony of a chord in a scale and chords-melodies fitting

·                  152. Why improvising in Swing Jazz is rather easier than the improvisation in other forms of music.

·                  153. SWING JAZZ CHROMATIC RE-HARMONIZATION OF SONGS

·                  154. SWING JAZZ MELODIC RE-HARMONIZATION OF SONGS

·                  155. Perturbating with augmented and diminished chords a diatonic scale of chords.

·                  156. THE MOST CONVENIENT CORRELATIONS OF CHORD RELATIONS AND MELODIC THEMES VARIATIONS

·                  157. OVERTONE SEQUENCE MESMERIZING MELODIC THEMES OF 4 OCTAVES WITHIN CHORDS

·                  158. SOME HARMONIC PERSONALITIES (SCALES OF CHORDS) MET IN GREEK REBETIKA SONGS

·                  159. ACCOMPANYING FAST COMPLICATED MELODIES WITH ONLY POWER-5 CHORDS. MELODIES IMPROVISATION OVER POWER CHORDS

·                  16. The 4 higher and 4 lower strings of the guitar as a separate chord-optimal and solos-optimal instruments respectively.The classification of the chord shapes with the DAE system.

·                  160. THE PANDURI-TAMBOURAS-BOUZOUKI TUNING OF THE 6-STRING GUITAR AND OUD

·                  161. THE 4-COURSES PLUS 3-COURSES BOUZOUKI TUNING OF THE 6-STRING GUITAR AND OUD

·                  162. THE BOUZOUKI-TAMPOURAS-BOUZOUKI TUNING OF THE 6-STRING GUITAR AND OUD

·                  163. THE MANDOCELLO-BOUZOUKI TUNING OF THE OUD

·                  164 THE HARMONIC OPEN TRIADS 3m-3M-3m-3M-3m TUNING OF THE 6-STRING 12-STRING GUITAR THE OUD AND OTHER 4-COURSES INSTRUMENTS

·                  165. THE PANDURI-PANDURI -BOUZOUKI OPEN TUNING A2-E3-A3-C4-E4-G4 5-4-3m-3M-3m or 3m-3M-3m-4-5 or 3M-3m-3M-4-5 and 3M-3m-4-3M-4 and 3M-3m-4-3M-3m FOR THE 6-STRING GUITAR AND OUD

·                  166. THE FINGER-PICKING TUNING OF THE 6-STRING GUITAR

·                  167. THE BOUZOUKI-PANDURI-BOUZOUKI TUNING OF THE 6-STRING GUITAR AND OUD

·                  168. THE BOUZOUKI-TAMBOURAS AN INTERVAL OF 4 APART D2-A2-D3-G3-D4-A4 TUNING OF THE 6-STRING GUITAR AND OUD

·                  169. THE TWO CONSECUTIVE 3-COURSES BOUZOUKI AN INTERVAL OF 3m or 4 APART 5-4-3m-5-4 TUNING OF THE 6-STRING GUITAR AND OUD

·                  17. Classification of familiar chord progressions in various musical cultures. Andaluzian 4 cadenze jazz 7-chords progression etc

·                  170 THE C2-G2-D3-A3-D4-G4 TUNING OFTHE 6-STRING GUITAR AND OUD

·                  171 THE D2-G2-C3-G3-D4-A4 or 4-5-5-5-5 FOR THE 6-STRING GUITAR AND OUD

·                  172 THE BOUZOUKI-TAMBOURAS AN INTERVAL OF MINOR 3 APART E2-B2-E3-G3-D4-A4 5-4-3m-5-5-5 TUNING OF THE 6-STRING GUITAR AND OUD

·                  173 THE BOUZOUKI-TAMBOURAS AN INTERVAL OF MAJOR 3 APART E2-B2-E3-G3-D4-A4 5-5-3M-5-5 TUNING OF THE 6-STRING GUITAR AND OUD

·                  173.THE TAMBOURAS-TAMOURAS APART BY A MINOR OR MAJOR INTERVAL OF 3 5-5-3m-5-5 TUNING OFTHE 6-STRING GUITAR OR OUD

·                  174 THE 5-3M-3m-5-5 TUNING F2-C2-E3-G3-D4-A4 OFTHE 6-STRING GUITAR AND OUD

·                  175 .THE IONIAN-AEOLIAN-MIXOLYDIAN A2-C2-E3-G3-D3-G4 3m-3M-3m-5-4 TUNING SLIGHT MODIFICATION OF THE HARMONIC TUNING OF THE 6-STRING GUITAR AND OUD

·                  176. THE IONIAN-LYDIAN-MIXOLYDIAN 3-BOUZOUKIs 9-STRING TUNING OF THE 12-STRING GUITAR for melodic improvisation accompanied by intervals of 5

·                  177. 5 WAYS OF PLAYING: STRUMMING HARMONIC IMPROVISATION MELODIC IMPROVISATION FINGER PICKING THE APPROPRIATE TUNINGS AND INSTRUMENTS

·                  178. THE MANDOCELLO-OCTAVE-MANDOLIN TUNING OF THE 6 OR 12-STRING GUITAR

·                  179. THE AMAZING IONIAN-AEOLIAN-MIXOLYDIAN MBOURAS E2-G2-B3-D3-A3-E4 3m-3M-3m-5-5 TUNING . SLIGHT MODIFICATION OF THE HARMONIC TUNING OF THE 6 or 12 STRING GUITAR AND OUD

·                  18. Morphological analysis of melody's pitch dynamics and its psychology. Standing ascending descending contracting expanding pitch waves (butterflying) and spikes.Software to visualize them

·                  180. The panduri-tambouras (F2:F2)-(D3:D3)-(A3:A3)-(E4:E4) (6M-5-5) tuning of a 4-courses instrument.

·                  181. THE (C2:C2)-(G2:G2)-(B3:B3)-(D3:D3) (5-3M-3m) OR (5-4-3M) TUNING FOR 4-COURSES INSTRUMENTS

·                  182. SIMPLE RULES OF INTERVALS FOR COMPOSITION OF BEAUTIFUL MELODIC THEMES

·                  183. CLOSURE OF A CHORD OR VECTOR-CHORD VERSUS ARPEGGIO OF A CHORD FOR IMPROVISING OVER A CHORD

·                  184. THE 2ND HARMONIC-MELODIC SCALE OF 3 OCTAVES AND THE CORRESPONDING TUNING OF STRING INSTRUMENTS

·                  185. THE 7-NOTES 1ST HARMONIC SCALE OF 4 OCTAVES AND THE CORRESPONDING TUNING F STRING INSTRUMENTS

·                  186. THE 7 NOTES 2ND HARMONIC SCALE OF 3 OCTAVES AND THE CORRESPONDING TUNING OF STRING INSTRUMENTS

·                  187 THE TRADITIONAL TUNING OF THE GREEK OUD AND 6-STRING GUITAR

·                  189. THE TRADITIONAL TUNINGS OF THE GREEK LUTE

·                  19. Morphological analysis of melody's rhythmic dynamics and its psychology. Melodic speeds in powers of 2 as rhythmic octaves. Standing ascending descending rhythmic waves (butterflying).

·                  190. TWO 7-NOTES SCALES MADE FROM INTERVALS OF 5THS AND 3RDS (OR 6THS)

·                  191. OVERTONES TUNINGS FOR THE 6 OR 12-STRING GUITAR THE OUD AND OTHER INSTRUMENTS

·                  192. SOME JONI MITCHEL TUNINGS

·                  193. THE PANDURI-MANDOLIN TUNING F2-A2-C3-G4-D4-A4 3M-3m-5-5-5 OF THE 6 OR 12 STRING GUITAR AND OUD

·                  194 THE 5-6m-5 E2-B3-G3-D4 OPEN TUNING FOR 4-COURSES INSTRUMENTS

·                  195. TWO OPEN TUNING MODIFICATIONS OF THE OVERTONE TUNING FOR THE 6 STRING GUITAR AND OUD

·                  196. THE E2-B2-D3-G3-B3-E4 (5-3m-4-3M-4) OPEN Em7 AND THE (5-5-4-3M-4) FOUR INSTRUMENTS TUNING OF THE 6-STRING GUITAR AND OUD

·                  197. WAVING AROUND THE SIMPLISTIC SUBMELODY AS IMPROVISATIONAL PARALLEL DIALOGUE COUNTER-MELODY OF THE MELODY

·                  198.The DADGAD tuning for 6-string guitar

·                  199. ΤΗΕ BEST DESIGN FOR AEROPHONE END-BLOWN (WITH FIPPLE) FLUTES COMPARISON OF GERMAN RECORDERS IRISH WHISTLES CHINESE SUCH FLUTES AND QUENAS-LIKE PINQUILO OF ANDES.

·                  2-OCTAVES HARMONIC SCALES (NON-CHROMATIC) WITH MANY CHORDS

·                  2. Learn easier and more chord-scales or arpeggios with the three 2-string and 3-string chord-triads their transitions or compositions..

·                  20. The relational algebra of chords. The 3 types of strongly relative chords and its symmetries. Weakly relative chords and complementary chords. How to use relative chords in composition

·                  200. MULTI-OCTAVE SCALES THAT GIVE EXACTLY THE NOTES OF A DIATONIC SCALE AND ARE MADE EXCLUSIVELY FROM INTERVALS OF 3 4 5 7 8 9 SEMITONES.

·                  201. TRADITIONAL IMPROVISATIONAL FAST DANCING SOLOING GREEK CRETAN (CONDILIES OR MANTINODIES) AND IRISH (REELS) THAT ARE ACCOMPANIED WITH UP TO TWO MAJOR/MINOR CHORDS ONLY

·                  202. RHYtMIC MICRO-THEMES AND IMPROVISATION OF THEM IN MELODIC IMPROVISATION

·                  203. A SIMPLE SYSTEM OF FAST FOLK IMPROVISATION (DACTYLADA OR TROCHADA) WITH BEGINNING AND ENDING NOTES OF A SCALE AND TWO OR THREE ONLY CHORDS INSPIRED BY IRISH REELS AND CRETAN "CONDILIES".

·                  204. THE CELTIC 6-NOTES MINOR THE CRETAN 6-NOTES MINOR AND THE GREEK PENTATONIC SCALES

·                  205. HOW TO CREATE CHORD PROGRESSIONS A SIMPLISTIC SUB-MELODY FROM TRIADS OF CHORDS OF THE DIATONIC SCALE AND ALTER THEM FOR THE HARMONIC AND DOUBLE HARMONIC MINOR MODULATIONS OF ITS NATURAL MINOR

·                  206. HOW TO CREATE LONG SYMMETRIC CHORD PROGRESSIONS AND THEIR SIMPLICIAL SUB-MELODY FOR BEAUTIFUL SONGS FROM THE 7 CHORDS OF A DIATONIC SCALE.

·                  207.CHORDS MIDDLE NOTES SIMPLICIAL SUB-MELODY AND IMPROVISATION BASED ON THEM

·                  208.MELODIC TRIADS: SOLO COMPOSITION AND IMPROVISATIONS BASED ON ALTERNATING (MELODIC TRIADS AS VECTOR) INTERVALS OF MAJOR(HAPPY) /MINOR(SAD) 3RD:RECIPES OF HAPPINESS AND SADNESS

·                  209. MELODIC TETRA (4) OR PENTA (5) -CHORDS: SOLO COMPOSITION AND IMPROVISATIONS BASED ON ALTERNATING MELODIC QUARTETS OR QUINTETS OF INTERVALS OF 4TH AND 5TH.

·                  21. Composing alternative ethnic scales in western 12-tone equal temperament scale . Flamenco Gypsy Jazz Greek Bouzouki Arabic Chinese etc scales The algebra of tetrachords

·                  210.OCTAVES TUNING

·                  211. AN OCTAVES AND FIFTH AND OTHER ALTERNATIVE TUNINGS OF THE VIOLIN FOR SPECIAL IMPROVISATIONS

·                  212 IMPROVISATIONS BY SHIFTING FROM 1) AEOLIAN MODE ( NATURAL MINOR) TO 2) DORIAN MODE 3) MELODIC MINOR 4) HARMONIC MINOR

·                  213 . MELODIC IMPROVISATIONS BY SHIFTING FROM THE IONIAN MODE TO THE CELTIC MINOR TO THE INDIAN PENTATONIC AND TO THE GREEK PENTATONIC SCALE

·                  214 TRIAD HARMONIC PERSONALITIES OR TRIAD CHORD SCALES FOR MELODIC IMPROVISATIONS

·                  215. IMPROVISATION OVER A PAIR OF CHORDS. TRIADS OF HARMONIC PAIRS OF CHORDS

·                  216 RELATIONS OF TRIAD SCALES OF CHORDS (TRIAD HARMONIC PERSONALITIES) FOR IMPROVISATION WITH MELODIES

·                  217. POWER-CHORD OF 3RD OR 5TH AS WAVES OF SIMPLICIAL SUB-MELODY

·                  218 . THE CONCEPT OF SIMPLICIAL SUB-PROGRESSION OF CHORDS IN IMPROVISATION

·                  219. A REMARKABLE IMPROVEMENT OF THE STANDARD 6-STRINGS TUNING OF THE GUITAR . C2-G2-D3-G3-B3-E4 (5-5-4-3M-4) 4 INSTRUMENTS IN ONE TUNING

·                  22. Non-equal temperament and adjustable guitars and pianos: Ancient Greek Byzantine and other ethnic tetrachords. The Aristoxenos segments.

·                  220. THE DOUBLE 4-STRINGS GREEK BOUZOUKI F2-bB2-D3-G3-B3-E4 (4-3M-4-3M-4) TUNING OF THE 6-STRING GUITAR OR OUD

·                  221. UNLOCKING THE MELODIC AND HARMONIC IMPROVISATION BY UTILIZING TRIADS OF NOTES INTERVALS CHORDS AND 3-LEVELS STRUCTURE OF THE MELODY

·                  222. THE 7 MODES OF A DIATONIC SCALE AS TRIADS OF CHORDS

·                  223. MINORIZATION-MAJORIZATION AS A UNIQUE HARMONIC TRANSFORMATION (NEGATIVE--POSITIVE HARMONY) MODULATIONS VERSUS TRANSPOSITIONS OF MELODIES AND HARMONIES

·                  224. THE 7 BASIC IMPROVISATIONAL EXERCISES ON A WIND

·                  225. THE GENEALOGY OF 7 6 5 NOTES SCALES THAT CONTAIN THE POWER-5 CHORD AND ARE MADE FROM TETRACHORDS OF A 4TH AND PENTACHORDS OF A 5TH THE CHROMATIC DIATONIC AND ENHARMONIC GENDRES

·                  226. PERCEIVING THE STANDARDLY TUNED 6-STRING GUITAR AS TWO INSTRUMENTS: A BASS AT THE LOWER 4 STRINGS AND A BARITONE UKULELE AT THE HIGHER 4 STRINGS. THE TRIAD-CHORDS OF THESE BASS AND UKULELE.

·                  227. 2786 modes of scales in various cultures !

·                  228. MELODIC IMPROVISATIONAL ROTATIONS IN A PENTACHORD ON ONE OR 3 CHORDS AND AT LEAST TWO OCTAVES.

·                  229. SIMPLE ORGANIZATION OF THE MELODY IN IMPROVISATION OR COMPOSITION OVER A CHORD PROGRESSION.

·                  23. A system of symbolism of guitar chords that determines the exact fingering shape and position in the guitar fretboard in the DAE system.

·                  230. CONTINUOUS NOTES OF REED-WINDS AND BOWED STRINGS VERSUS PLUCKED STRINGS NOTES. COUNTING THE RHYTHM WITH THE LEFT-RIGHT MOVES OF THE BOW

·                  231. THE 3 CLASSES OF 7 VARIATIONAL INDEPENDENT MELODIC PATTERNS FROM THE COUPLING OF THE POSITIVE AND NEGATIVE EMOTIONS.THE 3 SIMPLICIAL DOLPHIN WORDS

·                  232. ATTRACTOR AND REPULSOR NOTES IN A CHORD OF THE DIATONIC SCALE TRINITY VERSUS DUALITY IN THE DIATONIC SCALE .

·                  233 . THE MAGIC OVERTONE WHISTLE FOR IMPROVISATIONAL MEDITATIVE CHEERING UP.: DIATONIC AND CHROMATIC OVERTONE WHISTLES WITH HALF OCTAVE ONLY HOLES (3 DIATONIC 5 CHROMATIC)

·                  234. THE MAGIC AEROPHONE-FIPPLE TRUMPET. FOR IMPROVISATIONAL MEDITATION. AEROPHONE DIDGERIDOOS (CHROMATIC/OVERTONES WINDS) WITH TRUMPET ACOUSTICS.

·                  235. THE PARACHROMATIC BYZANTINE OVERTONE WHISTLE.

·                  236. 3 TYPES OF PERCEIVED MUSICAL PITCH SCALES SYSTEMS: 1) NATURAL HARMONICS IN LOGARITHM PROGRESSION. 2) BACH SYSTEM IN ARITHMETIC UNIFORM PROGRESSION AND 3) INVERSE HARMONIC ACCELERATING

·                  237. AN ACCELERATING 2 OCTAVES MUSICAL SCALE 1-2-2-3-4-5-7

·                  238. A SYSTEM OF FRETBOARD FOR STRING INSTRUMENTS BASED ON THE NODES OF HARMONICS (OVERTONES)

·                  239. SCALES IN 12 NOTES EQUAL TEMPERAMENT THAT ARE ALSO ALMOST NODES OF HARMONICS

·                  24. Helmholtz acoustic perfect unequal temperament 7-tone scale and real time software that converts music in it.

·                  240. THE EMOTIONAL DUALITY SAD/HAPPY OF MINOR/MAJOR CHORD AS COMING FROM THE DUALITY OF OVERTONES-HARMONICS AND UNDERTONES-SUBHARMONICS

·                  241. THE LOOSE CONCEPT OF DIATONIC SCALE TONALITY IN EARLY CLASSICAL JAZZ: AT LEAST 50% OF THE TIME ONLY IN THE SCALE

·                  242. HOW TO CONVERT A ROMANIAN CAVAL FLUTE TO PLAY THE HARMONIC MINOR DOUBLE HARMONIC MINOR NEAPOLITAN MINOR AND NATURAL MINOR .THE CHROMATIC MINORS FLUTE

·                  243. WHISTLES WITH A MEMBRANE REED ON THE FIPPLE FOR LOW IMPEDANCE

·                  244. LONG CHIMNEY (BRANCHE TUBE) IN LOW AND BASS WHISTLES TO LOWER THE TOTAL LENGTH AND MAKE THEM EASIER FOR FINGERING

·                  245. THE FIRST 4 BLUE NOTES OF THE DIATONIC SCALE THE SERIES OF OVERTONES AND CELEBRATED IN VARIOUS CULTURES CHROMATIC MINOR SCALES FROM THEM.

·                  246. THE TRINITY OF SCALES BASED ON OVERTONES UNDERTONES EQUAL TEMPERED (BACH) SCALE.. AND THE CORRESPONDING ANCIENT GREEK MUSICAL GENDERS : ENHARMONIC CHROMATIC DIATONIC

·                  247. FULLY CHROMATIC OVERTONES FLUTES (NEY OR CHROMATIC FUJARA) FLUTE WITH FIPPLE WITH MEMBRANE OR SAX MOUTHPIECE. (FIPPLE OR REED VALVED-LIKE AEROPHONE TRUMPETS

·                  248. A VERY EFFICIENT ROMANIAN CAVAL IN A3 WITH THUMP HOLE FIPPLE AND FROM PVC

·                  249. THE UPPER REGISTRY WHISTLES (28< Length / bore ID ratio <48) FOR HAPPIER MELODIES

·                  25. A manuscript in greek about Music and Mathematics.

·                  250 THE MANDO-LELE (UKULELE IN CHARANGO BODY IN THE PITCH OF MANDOLIN) OR GUITALELE WITH NYLON STRINGS

·                  251. THE MANDOLA-LELE

·                  252. ALTERNATIVE TUNINGS TO GREEK BOUZOUKI . BOUZOUKI WITH NYLON STRINGS AND 3 OR 4 SINGLE STRINGS BOUZOUKI WITH PANDURI Bb MAJOR (G MINOR) TUNING

·                  252. SOME ALTERNATIVE TUNINGS TO UKULELE AND TENOR GUITAR

·                  253. SOME ALTERNATIVE TUNINGS TO PUERTO-RICAN CUATRO

·                  253. THE 4-DOUBLE-STRINGS GUITAR-LUTE

·                  254. THE PANDURI TUNING AND OTHER ALTERNATIVE TUNINGS OF SAZ

·                  255. THE Gm7 MINOR (Bb AEOLIAN MODE) TENOR GUITAR AND CORRESPONDING BARITONE OR TENOR UKULELE AND BOUZOUKI

·                  256. THE TRIAD OF CHOICES WHEN IMPROVISING A MELODY

·                  257. MAINLY (1/2 OF THE TIME) MELODIC (ALTERNATING MAJOR-MINOR 3RDS) IMPROVISATION "WALKING" WITH CHROMATIC DECORATIONS (OSCILLATIONS BY 2NDS) IN DIATONIC SCALES

·                  258 WHY PROFOUND IMPROVISATION IS A TRIPLE BALANCE MEDITATION IN 2/3DS INDEPENDENT FROM THE MUSICAL INSTRUMENT

·                  259. Extensions of the 6-notes Blues scale to four 7-notes scale that keep the 1-1-3 four-notes subscale

·                  26. Two ways to play all the chords of a diatonic scale with only the shapes E and A (Barre E-A system).

·                  260.WHY THE DIATONIC (CELTIC) HARP IS THE BEST INSTRUMENT TO COMBINE MELODIC AND CHORDS IMPROVISATION IN A SINGLE (USUALLY DIATONIC )SCALE TUNING THE HARP IN SET OF CHORDS AND NOT IN A SCALE.

·                  261. JAZZ HARMONIC PERSONALITY THE DIFFERENCE OF USING MINOR CHORDS (SADNESS THROUGH BLUE NOTES) IN EARLY WESTERN JAZZ COMPARED TO OTHER POP AND FOLK MUSIC AND EASTERN (GYPSY) JAZZ.

·                  262. LONGITUDINAL CHORDS: THE 5-NOTES SCALE-CLOSURE (fivefold) OF A TRIAD CHORD FOR IMPROVISING MELODIES FITTING TO THE CHORD. ALSO A METHOD OF MELODIC IMPROVISATION OF LYRA CELTIC HARP AND PANFLUTE.

·                  263. CHROMATIC TONAL MUSIC DIFFERENTIATED FROM TONAL MULTI-TONAL AND ATONAL MUSIC.

·                  264. A NEW BOWED STRING INSTRUMENT THE METRIC (FRETTED) LYRA OR FRET-LIN (OR...BOWED DULCIMER)

·                  265. THE 4 CIVILIZATIONAL GENERATIONS OF MUSIC. MONOPHONIC (MELODIC SCALES) POLYPHONIC (HARMONIC CLASSICAL MUSIC) IMPROVISATIONAL (JAZZ AND FOLK) DIGITAL (ELECTRONIC ).

·                  266. THE ANCIENT 1ST CIVILIZATIONAL GENERATION MUSIC MELODIC TYPE OF IMPROVISATION

·                  267. BART HOPKIN : A REMARKABLE MUSICAL INSTRUMENTS EXPERIMENTATOR

·                  268. Transforming everyday objects into musical Instruments: Bruno Zamborlin at TEDxBrussels

·                  269. HOW TO LISTEN THE MUSIC OF THE LIVING PLANTS

·                  27. How a melody defines its chords? Software that is doing it. The meaning of non-uniquness of chords determination by a melody. Chords that cover a scale versus chords of a scale.

·                  270. THE ADVANTAGES OF IMPROVISING A MELODY VERSUS PLAYING A MELODY

·                  271. HOW SOMEONE COULD POSSIBLY LEARN MANY INSTRUMENTS SIMULTANEOUSLY? UTILIZING THE SIMPLICIAL COUNTER-MELODY IMPROVISATION SYSTEM

·                  272. SIMPLISTIC IDEAS THAT ENCOURAGE THE IMPROVISATION IN MELODIES AND HARMONY.

·                  273. A REMARKABLE IMPROVEMENT OF THE STANDARD 6-STRINGS TUNING OF THE GUITAR . G2-B2-D3-G3-B3-E4 (3M-3m-4-3M-4) 3 INSTRUMENTS IN ONE TUNING BOUZOUKI UKULELE PANDURI

·                  274. AN "OBVIOUS" IMPROVEMENT TO THE STANDARD DIATONIC AND CHROMATIC TUNING OF THE MOUTH HARMONICA

·                  275. A METHOD OF LEARNING INSTRUMENT PLAYING IMPROVISATION AND SONG ADOPTIONS-RECOMPOSITIONS BY WHISTLING OR SINGING PARALLEL TO A RECORDED SONG

·                  276. RECIPES OF HAPPINESS AND SADNESS IN SLOW MELODIC IMPROVISATION BY ALTERNATING MAJOR MINOR INTERVALS OF 3RD THE ANCIENT 2-VOICES HARMONY:CELTIC MINOR AND MAJOR 6-NOTES SCALES

·                  277. PLAYING OR LISTENING TO MUSIC AS INTERPLAY OF MENTAL AND EMOTIONAL PERCEPTION VERSUS MUSIC AS AUTOMATIC EMOTIONS AFTER PHYSICAL SOUND.

·                  278. THE Eb MAJOR OR C MINOR 4-DOUBLE STRINGS GUITAR

·                  279. A CLASSICAL GROUP OF MELODIC THEME VARIATIONS FOR BEAUTIFUL DIATONIC TONAL MUSIC TRANSLATIONS EXPANSIONS INVERSIONS MUTATIONS.

·                  28. Classification of the shapes of all the 8 chords of 4-notes composed by successive intervals of 3 or 4 semitones (3rds) All 7-scales of length a pure 5th

·                  280. IMPROVISATIONAL SONGS THAT THEIR CHORD PROGRESSION IS A REPEATING CYCLE OF CHORDS

·                  281. WHY WHEN LEARNING A NEW INSTRUMENT IT IS BETTER TO START WITH IMPROVISATION RATHER THAN PLAYING FROM MUSICAL SHEETS (SCORES)

·                  282. THE MISSING SIMPLICITY LAYER BETWEEN ONE NOTE OF A MELODY AND ITS UNDERLYING CHORD: THE PROGRESSION OF THE SIMPLICIAL MELODIC THEMES OF A COMPLICATED MELODY. SIMPLICIAL DOLPHIN WORDS

·                  283. THE SIMPLICIAL SUB-MELODY AND THE SIMPLICIAL MELODIC MOVES AS A METHOD OF CREATING IMPROVISATIONAL VARIATIONS OF A MELODY

·                  284. COMPOSING THE 3 SIMPLICIAL "DOLPHIN WORDS" (CYCLIC OR ASCENDING/DESCENDING MELODIC THEMES) WITH THE 3 BASIC TYPES OF CHORD TRANSITIONS: HARMONIC MELODIC CHROMATIC

·                  285. HOW IS IT POSSIBLE WHEN REMEMBERING MELODIES TO REDUCE THEIR INFORMATION TO AS LITTLE AS THE INFORMATION OF ITS CHORD PROGRESSION? THE ROLES OF SIMPLICIAL SUBMELODY AND MELODIC THEMES

·                  286. HOW TO COMPOSE IMPROVISATIONAL INTRODUCTORY COUNTER-MELODIES TO A KNOWN SONG.

·                  287. IMPROVISATIONAL SONGS THAT THEIR CHORD PROGRESSION IS A SLIGHTLY CHANGING SEQUENCE OF REPEATING CYCLE OF CHORDS.

·                  288. Method of Gradual learning of Improvisation by singing : 1) within a chord 2) on the basic 3 types of chord transitions: Chromatic Harmonic. Melodic 3) on any cycle of chords 4) Parallel songs

·                  289. IMPROVISATION SYSTEM WITH THE SIMPLICIAL SUB-MELODY OF THE COUNTER-MELODY (THUS SIMPLICIAL COUNTER-MELODY) OF A SONG.

·                  29. Other types of anxiety-serenity resolutions not based on diminished and augmented chords parallel resolutions and inversions of resolutions

·                  290. MODERN HARMONY COUNTERPOINT OF A NUMBER OF SIMULTENEOUS MELODIES

·                  291. HEXATONIC SCALES FOR HARMONICA ALTERNATIVE TUNINGS AND 2-CHORDS IMPROVISATIONS

·                  292. METHOD OF SINGLE INSTRUMENT IMPROVISATION BY ALTERNATION OF CHORD- VARIATIONS WITH MELODIC THEMES-VARIATIONS ON DIATONIC INSTRUMENTS LONGITUDINAL CHORDS IMITATION ASSIMILATION INNOVATIION.

·                  293. IMPROVISATION METHOD BASED ON A SET OF CHORDS AND MELODIC LINES BRIDGING THE HIGHEST NOTES OF EACH OF THEM. APPLICATION WITH STRUMMING WITH CUATRO CAVAQUINHO UKULELE ETC.

·                  294. THE RAPSODY CONCEPT OF IMPROVISATION

·                  295. THE 3 MAIN TYPES OF IMPROVISATION AND 3 BASIC PRINCIPLES

·                  296. MODES OF A SCALE AS LONGITUDINAL CHORDS AND AS A METHOD OF MACRO-SCALE /MIDDLE-SCALE MELODIC THEMES IMPROVISATION AND MODULATIONS FOR NON-POLYPHONIC INSTRUMENTS THAT DO NOT SUPPORT CHORDS

·                  297 . COMPARISON OF CUATRO (4-STRINGS) TUNINGS CAVAQUINHO (4-3M-3m) UKULELE (4-3M-4) SWEDISH TROLL TUNING (5-4-3M).

·                  298 THE TROLL-UKULELE 5-4-3M-4 AND TROLL-CAVACO 5-4-3M-3m TUNING OF THE 5-STRING GUITAR OR OUD

·                  299. THE TROLL-CHARANGO TUNING OF THE 6-STRING GUITAR OR OUD 5-4-3M-4-5

·                  3. A simpler system than the CAGED system: The DAE system.Playing all the chords of any scale within 4 or 5 frets. The 3 equivalent D A and E positions or guitar neighbourhoods

·                  30.Transitions of chords in chord progressions. The 3 basic relations of chords.

·                  300. THE TROLL-PANDURI-CUATRO (UKULELE) 3M-3m-4-3M-4 TUNING OF THE 6-STRING GUITAR AND OUD

·                  301. THE MIRACULUS 1ST AND 2ND OVERTONES (2ND TILL 7NTH) TUNING (5-4-3M-3m-3M) FOR THE 6TH STRING GUITAR AND OUD

·                  302. METHOD OF IMPROVISATION BY AN UNACOMPANIED SINGLE DIATONIC INSTRUMENT NOT SUPPORTING CHORDS BY SMALL MUSICAL THEMES AND PERPETUAL VARIATIONS.OF THEM.

·                  303. IMPROVISATION AS SPEAKING IN AN ORAL LANGUAGE . A BALANCE OF MIND-HEART-FINGERS OR MUSICAL-THEORETICAL CONCEPTS FEELINGS AND SKILLS ON THE INSTRUMENT (OR VOICE)

·                  304. THE INSTINCTUAL ANTICIPATED EMOTIONAL IMPACT OF NOTES BEFORE THEY ARE PLAYED ON THE FRETBOARDS KEYBARDS OR WIND-KEYS AS A BETTER SYSTEM THAN MEMORIZING SCALE PATERNS.

·                  305. METHOD OF SINGLE INSTRUMENT IMPROVISATION BY UTILIZING THE ARPEGGIATOR FUNCTION OF THE MIDI GUITAR 2 SOFTWARE .OVER ANY MELODIC IMPROVISATION ON A HARDWARE MUSICAL INSTRUMENT.

·                  306. METHOD OF SINGLE INSTRUMENT IMPROVISATION IN THE STYLE OF ALEXEY ARCHIPOVSKY BALALAIKA

·                  307. THE SWEDISH TROLL PLUS LATIN CHARANGO 5-4-3M-4-5 REMARKABLE TUNING AND THE INVERSE OF IT 5-4-6m-5-4 FOR THE 6-STRING GUITAR AND OUD.

·                  308. THE INVERSE TUNING 5-6m-5 OF THE UKULELE OR VENEZUELAN CUATRO AND GREEK BOUZOUKI AND ITS ADVANTAGES

·                  309. SIMILARITIES AND DIFFERENCES OF THE FEELING OF A MELODIC THEME (LINE) AND A CHORD..MELODY SEQUENCERS CHORD SEQUENCERS AND ARPEGGIATORS

·                  31. The ring Z(12) representation of the 12-semitones chromatic or equal temperament scale as a game.Chords melodically in series

·                  310. ISOMPORPHIC 2-DIMENSIONAL LAYOUTS FOR KEYBARDS STRING INSTRUMENTS TUNINGS AND SOFTWARE PADS FOR ARRANGING THE MUSICAL NOTES AND THEIR IPORTANCE IN IMPROVISING.

·                  311. MELODIC MATHS BY MAX MARTIN AND GERM-PATTERN SYSTEMS OF CREATING MELODIC THEMES AND MUTATIONS OF MELODIC THEMES AND RHYTHMS

·                  312. 2-DIMENSIONAL ISOMORPHIC LAYOUT OF NOTES BY ALTERNATING MAJOR-MINOR 3RDS: THE REMARKABLE ADVANTAGES IN IMPROVISING AND COMPOSING MELODIC VARIATIONS AND ACCOMPANYING CHORDS

·                  313. COMPOSITION OF SIMPLE MELODIC THEMES ACCOMPANIED BY A TRIAD OF 3 CHORDS OR BY A PAIR OF 2 CHORDS

·                  314. IDENTIFICATION OF THE THE GREEK FOLK MUSIC SCALES "ROADS" OF REBETICA AS MODES OF THE HARMONIC MINOR ITS INVERSE AND THE DOUBLE HARMONIC MINOR.

·                  314. THE DIGITAL GUITAR (MIDI/MPE CONTROLLER) ARTIPHON

·                  316. THE SYLPHYO DIGIAL MULTI WIND INSTRUMENT

·                  317. THE DIGITAL HARMONICA DM48

·                  319. THE DIGITAL WHISTLE AND MIDI CONTROLLER WARBL

·                  32. Cycles of chords of a diatonic scale: Root based cycles. The minor (sad) and major (joyful) cycles. Closed cycles of relative chords. The open cycle of diatonic chords by intervals of 4ths.

·                  320. THE UBIQUITOUS MIDI CONTROLLER MOGEES TRIGGERED FROM SOUNDS BY ANY EVERYDAY SUROUNDING OBJECT

·                  321. THE TECHNIQUE OF CREATING MELODIC LINES ACCOMPANIED BY A CHORD BY UTILIZING THE NOTES OF THAT CHORD AND THE NOTES OF ANOTHER GHOST CHORD AT AN INTERVAL OF 2ND CLOSE TO IT

·                  322. THE BASIC CHROMATIC TRIPLET OF CHORDS OF ANY MODE OF THE DIATONIC SCALE

·                  323. THE BEST WAY TO LEARN THE FRETBOARD OF ANY OPEN (OVERTONES) TUNING.

·                  324 IMPROVISATION ON FRETLESS STRINGS WITH THE 3 GENDRES OF ANCIENT GREEK TETRACHORDS

·                  325. MELODIC IMPROVISATION WITH TETRACHORDS DEFINED EACH ONE BY ONE CHORD

·                  326. HOW THE BLUES HEXATONIC SCALE FITS WITH THE 12-BARS BLUES? CHROMATIC TONALITY IN THE IMPROVISATION IN 12-BARS BLUES.

·                  327.LEARNING THE GUITAR FRETBOARD THROUGH 3-NOTES CHORDS (SHAPES D A E SYSTEM) ON THREE CONSECUTIVE STRINGS OF THE MARKED DEFAULT DIATONING G-SCALE . THE MODES AEOLIAN IONIAN FRYGIAN OF CHORDS

·                  328. ONE CENTER AT EACH TIME MELODIC IMPROVISATIONS. THE INDISPENSABLE SIMPLICITY LAYER OF A MELODY.

·                  329. THE 3 GENDRES OF MUSICAL INSTRUMENTS CHROMATIC DIATONIC OVERTONES AND THE MIDI/MPE CONTROLLER ARTIPHONE THAN CAN EMULATE THE NOTES LAYOUTS OF ALL OF THEM

·                  33. The emotions chart of a song.

·                  330. THE PRINCIPLE OF OPTIMAL SPECIALIZED PARTIAL USING AND PLAYING OF MUSICAL INSTRUMENTS FOR THOSE THAT PLAY MANY MUSICAL INSTRUMENTS

·                  331. THE ONLY 3 SCALES IN MUSIC

·                  332. THE EASY MODE OF PLAYING THE BRASS WINDS FOR SIMPLICIAL COUNTER MELODIES AND BASS LINES BRASS WINDS AND THE GUITAR OVERTONES TUNING.

·                  333. THE LIFT-UP OF THE PLANETARY CIVILIZATION'S FRQUENCY THE LIFT-UP OF THE HUMAN BODY FRQUENCY PEACE OF MIND AND SOUL GETTING IN THE "FLOW" AND THE ROLE OF APPROPRIATE MUSIC FOR THIS

·                  334. THE BEST SIMPLE CONCEPT FOR COMPLICATED HARMONIES IN MULTI TONALITY AND CHROMATIC TONALITY

·                  335. TWO SIMPLE METHODS TO ENHANCE MELODIES FROM THE 7 NOTES OF THE DIATONIC SCALE TO THE 12 NOTES OF THE CHROMATIC SCALE IN MULTI TONALITY AND CHROMATIC TONALITY

·                  336. HOW TO COMPOSE SONGS WITHIN THE CHROMATIC TONALITY

·                  337. HARMONY -MELODY AND SIMPLICITY-COMPLEXITY

·                  338. THE LIPOPHONE A CORNETT TYPE WIND INSTRUMENT EASILY PLAYABLE

·                  339 FOUR EFECTIVE PRINCIPLES OF IMPROVISATION IN RHYTHM IN HARMONY AND IN PSYVHOLOGY

·                  34. The 24-cycle of alternating major/minor 3rds as refinement of the cycle of 5ths.2-dimensional hexagonal or square tonality grid for chords geometric representation.

·                  340.SCALES OF A CHORD AND ARPEGGIOS IN THEM AS WELL AS RELATIONS OF THEM AS IDEAS IN IMPROVISING OVER CHORD TRANSITIONS

·                  341 THREE EMBOUCHURE TYPES FOR TRUMPET AND BRASS INSTRUMENTS. ROLLING IN WITHOUT NARROWING ROLLING OUT AND NARROWING ROLLING OUT OR UNFURLING WITHOUT NARROWING

·                  342. Can we make a cornetti (diatonic trumpet) out of soprano saxophone or an oboe?

·                  343. CHROMATIC SHIFTS OF PAIRS OF CHORDS AS A TECHNIQUE FOR FULL CHROMATIC TONALITY

·                  344. THE REALLY APPROPRIATE MOUTHPIECES FOR THE PICCOLO TRUMPET ARE THE 12mm-13mm OLD TIMES CORNETTI MOUTHPIECES.

·                  345. CHROMATIC TONALITY ON THE LEVERED HARP

·                  346. THE SIMPLE OVERTONES SEQUENCE IMPROVISATINAL MODE OF PLAYING THE FRENCH HORN.

·                  347. THE CONCEPT OF PROBABILISTIC IMPROVISATIONAL COUNTER MELODIES OF A MELODY.

·                  348. WHY IS THE FRENCH HORN CONSIDERED THE HARDEST MUSICAL INSTRUMENT TO PLAY AMONGTHE BRASS WINDS?

·                  349. PSYCHOLOGAL CHARACTER OF MELODIES BASED ON IDENTIFICATION OF STATISTICAL FREQUENCIES OF NOTES AND INTERVALS IN THEM.

·                  35. Two-notes power chords major Minor and Neutral power chords. Their special role in harmony. Improvisation method based on power-chords for relaxation and meditation music.

·                  350. CHROMATIC TONALITY BASED ON TWO TONALITIES OF DIATONIC SCALES WITH SUCCESIVE ROOTS ON THE WHEEL BY 4THS

·                  351. 3*3=9 SIMPLEST TYPES OF SHAPES OF MELODIC THEMES

·                  352. THE 2-DIMENSIONAL SEQUENTIAL-CONTINUOUS OVERTONES+SLIDING IMPROVISATION MODE FOR TROMBONES

·                  353. THE 8-NOTES SCALE OF NATURAL OVERTONES AT THE 4THOCTAVE : IN SEMITONES 2-2-2-1-1-2-1-1 OR 2-2-1-2-1-2-1-1 AND ITS CHROMATIC TONALITY

·                  354. CHROMATIC TONALITY BASED ON TWO DIATONIC SCALES IN CHROMATIC RELATION

·                  355. CHROMATIC TONALITY BASED ON TWO DIATONIC SCALES IN MELODIC RELATION

·                  356. IMPROVISATIONS OVER A FAST ROTATION OF TRIADS OF CHORDS (1M 4M 5M7 OR 3M7 6m 2m) IN A DIATONIC SCALE IS ALMOST EQUIVALENT TO SINGLE ROOT CHORD IMPROVISATION.

·                  357. HOW TO CREATE A DOUZEN AND A WHOLE BUNDLE OF ALTERNATIVE SIMPLICIAL SUB-MELODIES OVER A CHORD PROGRESSION SO AS TO CREATE A MULTITUDE OF IMPROVISATIONAL VARIATIONAL FULL MELODIES

·                  358. HOW TO LEARN TO PLAY THE HARP WHEN YOU ARE ALREADY A GUITAR PLAYER

·                  359. THE TROMBONE FOR EASTERN RAPSODY CONTINUOUS SIMPLICIAL COUNTERMELODIES BASED ON TETRACHORDS (E.G. FOR SIMPLICIAL COUNTER--MELODIES FOR SAITHIES DAKTYLIES OF CRETE)

·                  36. Some Ethnic and Jazz harmonic personalities (scales of chords) as perturbations of a diatonic scale of chords for Jazz re-harmonization

·                  360. COMPOSING MELODIES WITH CHROMATOMELODIC CHORD-BASED THEMES OF 4 NOTES IN DIATONIC CHROMATIC ONALITY

·                  361. THE TECHNIQUE OF MOVING TETRACHORD IN IMPROVISATION OVER A CHORD PROGRESSION

·                  362. A METHOD OF LEARNING IMPROVISATIONAL SONG ADOPTIONS-RECOMPOSITIONS BY WHISTLING OR SINGING PARALLEL TO A RECORDED SONG

·                  363. HOW TO MAKE BEAUTIFULL SIMPLICIAL COUNTERMELODIES WITH CHROMATIC TRIADS AN EASY IMPROVISATIONAL WAY WITH THE TROMBONE OR A STRING INSTRUMENT WITH OVERTONE TUNING

·                  364. CHROMATIC THREECHORDS TETRACHORDS AND PENTACHORDS AS THE BASE OF CREATING SIMPLICIAL COUNTERMELODIES AND BASSLINES FOR MELODIES

·                  365. THE DANCING CONCEPT OF IMROVISATION REFINEMENT OR FILLING OF A MELODY.

·                  366. Revealing observations in the beautiful improvisation of the violonist Stephan Grappelli: Three separate rythmic densities levels of the melody which spans at each melodic phrase 3 octaves

·                  37. LIQUID 4-STRINGS HARMONY OR LIQUID-CHORD AND MELODY IMPROVISATION THROUGH SCALES OF CHORDS

·                  38. Classification of the shapes of all 3-notes and 3-strings or 4 strings major and minor chords with root on any string of the guitar.

·                  39. Improvisational classical 4-voices harmony on 4-strings

·                  4. Learn easier and more diatonic scales and positions with the three 1-string scale -triads and their 2 transitions.Aplication in playing solos in 2-string.

·                  40. Classification of the intervals in the fretboard and INTERVALS IMPROVISATION.

·                  41. The method of invariants (hidden simplicity) in improvisation

·                  42. REGULAR RECURSIVE SEQUENCES OF NOTES versus scales in musical composition and improvisation

·                  43. The pitch geometry of the parallel strings and alternative rules to distribute melodies among the strings .

·                  44. Placing the 24-cycle of chords by 4ths and relatives on the fretboard by the DAE system.

·                  45. Relations of classical diatonic scales defined by common notes chords triads and tetra-chords.

·                  46. The 7 maj7 6 m6 dim and aug versions of the open chords.

·                  47. The Harmonic or Byzantine or Romani (Hungarian/gypsy/Ukrainian/flamenco) minor and double minor scale (also mode of Arabic Niavent scale)

·                  48 Finger picking (chord harping) rhythmic patterns

·                  49. Tonalities and scales defined when improvising in a chord progression

·                  5. The isomorphic patterns of the 1st (0-3 frets) and 3rd (7-10 frets ) fret-board neighborhoods.

·                  50. The oriental Harmonic minor (Hijazz) tetra-chord and the creation of all possible 7-notes scales by combinations with diatonic tetra-chords. All sub-scales of length a pure 5th

·                  51. All three 7-notes scales and traditional 8-notes scales made only from tones and semitones

·                  52. All 7-notes scales made from semitones tones and at least one 3-semitone.

·                  53. The science of scent (perfumes) and the harmony of ...chords!

·                  54. The also Western major and minor pentatonic scales and the Chinese pentatonic scale

·                  55. Scale-butterflying improvisation versus scale of chords improvisation

·                  56. The psychology of intervals progressions in scales melodies and chords

·                  57. Extrapolating major minor diminished and augmented triad chords to 4 5 6 7 8 notes scales in improvisation and musical composition

·                  58. All 10 different 4-notes sub-scales (or tetra-chords) containing steps of 1 2 or 3 semitones. All 8-scales of total length a perfect 5th

·                  59. Creating the 4 basic melodic patterns (spike wave scaling isokratic) from a chord and their psychological meaning

·                  6. The optimality of the Pythagorean interval of 7 semitones (5th) as a chord and its significance. The cycle of 5ths and its inverse cycle of4ths. The harmonic optimality of the diatonic scales

·                  60. Scales progressions in improvisation with common roots or many common notes. Seeing it on the 24-cycle of chords

·                  61. Perceiving melodic movements with of tetra-chords and penta-chords. Complementary melodic moves

·                  62. The role of the relative pitch order of the roots of two chords (position) versus the role of their invesrion voicing

·                  63. How to create a melody and 3 more parallel melodies from a chord progression that fits to them. The 2/3-chord harmonic method

·                  64. Symbolism of the melodic themes and their harmonic transformations structure in a melody. The algebra of melodic themes-moves Melodic maths by Max Martin

·                  65. The centers of a melody and the simplicial sub-melody. The simplicial submelody as the channel of the melody

·                  66. The 3 basic relations of melodic moves (themes). Chromatic Melodic Harmonic

·                  67 The best minimal instruments for chords 4-voice harmony and mainly harmonic melodic songs: The Harmonic Tetrachord (4-voices) in various sizes

·                  68. The 4 basic melodic speeds: The chromatic the diatonic the melodic and the harmonic. The melodic pitch accelerations Fretboard angles and speeds

·                  69 The simplest hidden symmetry of the composition of beautiful melodies of songs

·                  7. Mathematically more correct and simpler terminlogy symbolism and writting of music. compared to the traditional method.Piano roll software to write it..

·                  70. Memory and melodies. How ordinary memory people can remember incredible complex things with Cicero's method

·                  71. Dialogue of a simple singable melody and dense chatty-birdy instrumental multiplied (counter) melody

·                  72. The importance of the starting and ending notes of melodic themeS as simplicial submelody.The simplicial submelody as the channel of the full melody and centers of the middle melodic themes

·                  73. Simple rules in composition and improvisation to pass from sadness to joy.

·                  74. Monotone meditating Harmonic Melodic and Rhythmic musical improvisational Flow (Mesmerizing or hypnotizing music).

·                  75. The correlation of the accumulative pitch shift of melodic themes with the pitch shift of their chords in the 12-cycle of chords by intervals of 4th

·                  76. The 4 basic transformations of the elementary melodic themes: Translation Inversion Expansion (contraction) Rotation (mutation). All of them both in pitch or rhythm

·                  77. LONG-SHORT TWO-NOTES PATTERN TO COMPOSE MELODIES

·                  78 HARMONIC POLES AND HARMONIC WAVING IN THE CHORD PROGRESSION AND STRUCTURE OF THEMES IN THE MELODY

·                  79. THE HARMONIC 7 NOTES 2 OCTAVES SCALE (WHEEL OF 3RDS) The 7 notes 3 and 4 octaves scales of 4ths and 5ths

·                  8. The emotional content of chord harmony. Saddness and joy anxiety and peace. Resolutions in cycles of 4ths. Four resurrections techniques from minor (sadness) to major (joy) in the folk music

·                  80. The pitch translation homomorphism between melodic themes and underlying chords

·                  81.HOW TO DERIVE NEW SCALES FROM THE HARMONICS (OVERTONES) OF A SINGLE TONE THE HARMONIC PENTATONIC HARMONIC 7-TONE AND HARMONIC 8-TONE SCALES.

·                  82. CHORD-INDEPENDENT AND UNACCOMPANIED MELODIES THE TWO NOTES STATISTICAL HARMONY. The chromatic melodic and harmonic melody notes transitions (speeds)

·                  83. A SCALE OF CHORDS ORIENTED IMPROVISATION METHOD VERSUS SCALE OF NOTES OR CHORDS OF A SCALE

·                  84. 2-string scales for 2-voices soloing

·                  85. Chords that are played sequentially with 3-shapes in 2-octaves along the fretboard neighborhoods for fuller chord voicing

·                  85.1. Chromatic music techniques and scale-completeness music techniques.The topology of melodies The concept of melodic closure and interval-melodies

·                  87. WHY MOST SUGGESTION ABOUT SOLOING PARALLEL TO CHORDS ARE INADEQUATE THE ROLE OF THE MELODY AND GHOST-CHORDS

·                  88. How to play slow soling on any scale across the fretboard by knowing only chords-shapes and not scale-shapes!

·                  89. SIMPLE SYMMETRIC PATTERNS OF PENTATONIC SCALES ON 4-STRING INSTRUMENTS FOR FAST TRILL SOLOING

·                  9. The Harmonic method and sequence of composing songs and music. 1)Scale of chords or progression Harmony 2) the simplicial submelody 3) rhythm 4) melody and 5) lyrics if at all.

·                  90. ISOMORPHIC LAYOUTS OF NOTES AND GUITAR TUNING BY ALTERNATING 3RDS THE AMAZING OPTIMAL DIATONIC GUITAR OR HARMONICA-GUITAR OF 6-STRINGS OR 12-STRINGS TUNING.

·                  91. HARMONIC AND MELODIC ORGANIZATION BASED ON A 2 OR 3 LEVEL RHYTHMIC/MORPHOLOGICAL ORGANIZATION OF MELODIC THEMES PROGRESSION INHERITED FROM POETRY MEASURE ORGANIZATION.

·                  92. HOW TO CREATE MELODIES FROM A CHORD PROGRESSION 1/2: THE CHORD- COURTYARD MELODY : "MELODIC MICRO-RHYTHMIC-WORDS" TRINARY HARPING COMBINATIONS MAINLY BY 3RDS

·                  93. THE HARMONIC STATISTICAL PROFILE OF A MELODY AND FAST ALMOST RANDOM IMPROVISATION BASED ON THAT. MELODIES STATISTICAL PROFILE BY % OF 5THS/4THS/6THS or 8THS % 3RDS % 2NDS.

·                  94. THE MIRACULOUS MELODIC CORRIDOR AND THE HARMONIC TABLE/SONOME/ARAY ORGAN ISOMORPHIC 2-DIMENSIONAL LAYOUTS OF NOTES

·                  95. SYMMETRIC SCALES OF MESSIAEN AND MORE

·                  96. Organized symmetry and symmetric organization of a melody.

·                  97. THE ORDER-TOPOLOGICAL STRUCTURE OF A MELODY

·                  98. Linear fingering scales in the guitar

·                  99. The hexagonal 2D patterns (Terpstra Keyboards) of the diatonic harmony