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Showing posts with label 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!. Show all posts
Showing posts with label 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!. Show all posts

Tuesday, August 21, 2018

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!

( this post has not been written completely yet).



1) Finally we may combine the inverse simplicity-complexity relation of chords-melody as in 2) below and in post  119 with the inverse pitch-relation as in 3) and post 120 to create a monotonous repetitive slap-melody in piano or harp in lower octaves that usually covers  all the notes of the diatonic scale parallel to chord changes in the higher octaves so that all the chords are compatible with the same bass repetitive melody.



2) INVERSE PITCH RELATION  OF CHORDS IN HIGHER OCTAVES ANS MELODY  IN LOWER  OCTAVES .
Usually we are accustomed, to have in improvisation but in composed music too, chords in lower octaves that accompany a more complicated melody in higher octaves.

This  relation can be reversed for good reasons: The chords are perceived  by the musical listening easier and mote clear in higher octaves (e.g. 5,6) than in lower (1,2). Therefore there is a good reason in improvisational music in piano and harp to play the chords and chord changes in higher octaves and the melody in lower octaves.


3) INVERSE RELATION OF SIMPLICITY-COMPLEXITY OF CHORDS-MELODY


We are usually we are accustomed, to have in improvisation but in composed music too, chords as a center of simplicity in  lower octaves that accompany a more complicated melody in higher octaves. This relation may be unversed! In other words a melody in higher octaves (5,6,7) may be a simple repetitive melody thus a center of simplicity, while chord changes in lower octaves (3,4)  , compatible with this melody can be the center of complexity. To have the same melody