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

THE ANCIENT MUSICAL THEORY SIMPLE DESCRIPTION OF RAPSODY MUSIC STIL LIVING IN THE AEGEAN ISLANDS LIKE THAN OF CRETE IN GREECE :

Such music was created in ancient times it  is mesmerizing with complicated melodic lines but in reality very simple musical description.

For example for Aegean islands (Greece) improvisational folk melodies (mandinades) condylies) with violin or Lyra, the next factors prevail.

1) "Poetic meters" over the same note sometimes notes up to 8 notes. The density of the notes is high. E.g. with 4 notes per  measure-bar and a beat of 80-100 bars per minute gives a tempo of 320-400 beats-notes per minute.

3) Straight vectors ascending or descending usually of 4 or 5 notes so as to reach a new chord neighborhood.

2) Mainly waves by intervals of 2nds (chromatic) inside intervals of 3rds (melodic, either standing or ascending descending, and usually inside a chord  so as to reach the neighborhood of a new chord. The simplistic sub-melody of such a waving melody is essentially an arpeggio of the underlying chord.

A) THE UNDERLYNG CHORD OF THE SONG IS ONLY ONE AND IS A POWER  CHORD AT ROOT POSITION OF SAY A DIATONIC SCALE (ALTHOUGH IN ANCIENT TIMES THEY DID NOT HAVE THE CONCEPT OF A  7-NOTES SCALE BUT ONLY OF A 4-NOTES SCALE THE  TETRACHORD WHICH WAS A SCALE SPANING ONLY AN INTERVAL OF 4TH INSTEAD OF AN INTERVAL OF 8TH, THUS POWER CHORD WOULD BE THE ROOT POSITION ON THE TETRACHORD). 

B) THE SOLOING IS ANY REPEATING PROGRESSION OF SHORT RYTHMIC MELODIC THEMES WITHIN A TETRACHORD WHICH  IS USUALLY  THE 1-2-2 IN SEMITONES THUS THE FRYGIAN TETRACHORD AT THE 3RD POSITION OF A  DIATONIC SCALE WITH UNDERLYING POWER CHORD AT THE ROOT POSITION OF THE TETRACHORD OR THE 3RD POSITIONOF A MODERN 7-NOTES DIATONIC SCALE. (SOMETIMES ALTERNATING WITH ANOTHER TETRACHORD E.G. THE IONIAN TETARCHORD AT ROOT POSITION OF THE 7-NOTES DIATONIC SCALE , AND IN ANY CASE THE ACCOMPANYING CAN BE ALSO BY THE POWER CHORD AT THE ROOT POSITION OF THE 7-NOTES DIATONIC SCALE IN INSTEAD OF THE 3RD POSITION OF THE DIATONIC SCALE)

EXAMPLE

ΚΑΣΤΡΙΝΟ ΜΟΥ ΦΟΥΛΙ (=αραβικο γιασεμι) (η ΧΑΝΙΩΤΙΚΟ ΜΟΥ ΓΙΑΣΕΜΙ Οταν τραγουδιεται στα Χανια αντι στο Ηρακλειο) ΕΝΑ ΟΜΟΡΦΟ ΤΡΑΓΟΥΔΙ ΑΠΟ ΤΑ ΑΥΤΟΣΧΕΔΙΑΣΤΙΚΑ ΤΩΝ ΡΑΨΩΔΙΩΝ Με την Ειρηνη Δερεμπεη στο θιαμπολι και τον Καρολο Κουκλακι στο μπουγλαρι https://www.youtube.com/watch?v=762B3kiJroY&ab_channel=KarolosKouklakis ΡΑΨΩΔΙΕΣ ΣΕ ΕΝΑ (ΔΙΑΤΟΝΙΚΟΥ ΓΕΝΟΥΣ ΣΥΝΤΟΝΟ) ΤΕΤΡΑΧΟΡΔΟ ΜΟΝΟ ΜΕ ΣΥΝΟΔΕΙΑ σταθερη ΤΟ POWER-5 CHORD στην ριζα του τετραχορδου . Η σε 7-τονικη κλιμακα, ειναι το τετραχορδο σε ημιτονια και ανιουσα 1-2-2 που ξεκινα απο την 3 νοτα (Φρυγιος τροπος) με συνωδεια σταθερη ενα power-5 chord το 3-7-3'. Το πολυ ενδιαφερον με αυτα τα τραγουδια (οπως και με τις περισσοτερες κοντυλιες η δακτυλιες η σαιθιες, η μαντινοδιες) ειναι πως ειναι φτιαγμενες με βαση την θεωρια της αρχαιας Ελληνικης μουσικη και οχι την συγχρονη. Δηλ κανονικα δεν παιζονται σε 7-τονικη κλιμακα αλλα σε 4-τονικη που λεγοταν τετραχορδο. Συνηθως στο διατονικο γενους συντονο (Qurdi, κιουρντι) τετραχορδο δηλ σε ημιτονια σε ανιουσα σε υψος 1-2-2 με ακολουδια απο μικρα ρυθμικα μελωδικα θεματα που επαμαλαμβανονται και συνοδευονται με μια μονο σταθερη συγχορδια τυπου power-5 chord δηλ 1-5-1' (σε ντο ματζορε θα ηταν ντο-σολ-ψηλο ντο) που δεν ειναι ουτε ματζορε ουτε μινορε συγχορδια. Επειδη τετοια τετραχορδα εμφανιζοντα σε μια συγχρονη 7-τονικη κλιμακα στην τριτη θεση (φρυγιος τροπος) το power-5 chord ειναι στην 3η θεση δηλ 3-7-3ψηλο. Στο προηγουμενο τραγουδι το καστρινο φουλι η αντιστοιχη συγχρονη διατονικη κλιμακα ειναι η μι-υφεση, η συγχορδια ειναι η Σολ-Ρε-Σολψηλο και η μελωδια στριφογυριζει κυριως στο τετραχορδο σολ- λα υφεση-σι υφεση-ντο που ειναι στην 3η θεση (φρυγιος τροπος) της μι-υφεση Στην αρχαια εποχη δεν υπηρχαν 7-τονικες κλιμακες μονο 4-χορδα με 4-νοτες σε ενα διαστημα 4ης,και οι μονες συγχορδιες ηταν οι διφθογγες συνηθως 1-5-1ψηλο (power5 chord). Η δε λυρα ηταν μικρη αρπα με 4 μονο χορδες ακριβως σε ενα τεταρχορδο. Ετσι παιζαν τις ραψωδιες (αλλα και οι μαντιναδες ειναι ραψωδια) Συχνα αλλαζαν το κουρδισμα της 4-χορδης λυρας (ιδιο και αυτο σε ολο το τραγουδι) απο το διατονικου γενους συντονο τετραχορδο σε καμια ντουζινα αλλα (εναρμονιου και χρωματικου γενους τετραχορδα) αλλα που δεν ανηκουν στην δυστικη 12-τονικη κλιμακα του Μπαχ και δεν παιζονται στο πιανο η στην κιθαρα μονο στο βιολι, στην λυρα η στο τρομπονι. Συνοδευαν παντα με μια power5 chord. Συνοδευαν σχεδον παντα ολο το τραγουδι με μια μονο μονο συγχορδια που ηταν και μινορε και ματζορε 1-5-1' (π.χ. ντο-σολ-ντο) η και τυπου τριτης αντι πεμπτης 1-3-1' (power3 chord) και διναν τρομερη ελευθερια στους ρυθμικους συνδυασμους στη μελωδια, ενω απο την αλλη δεν χανοντα σε 7-νοτες ειχαν μονο 4-νοτες να παιξουν και ετσι το ταξιμι ηταν ευκολο.Ετσι γινοταν μια ομορφη υπνωτιστικη μεθυστικη μουσικη, και το μη μονοτονο ηταν τα λογια η μαντιναδες της ραψωδιας που ειτε τα επαναλαμβαναν οπως στην ιλιαδα και οδυσσεια ειτε τα σκαρφιζονταν εκεινη την στιγμη αφου η μουσικη ηταν σταθερη βαση. Αρκετα απο τα εγχορδα οργανα μου τα κουρδιζω σε σειρα απο 4 η 6 (αναλογα με το πληθος χορδων) απο διαδοχικες αρμονικες της φυσικης σαλπιγκας . Το power-5 chord εμφανιζεται ως διαδοχικξ σειρα αρμονικων και στην δευτρη οκταβα των αρμονικων η στην 1η οκταβα της φυσικης αρχαιας σαλπιγκας χωρις βαλβιδες (η στο overtones flutes των σκανδιναβων και βορειων που δεν εχουν τρυπες παιζουν μονο με τις αρμονικες) Το ιδιο το κουρδισμα του 3-χορδου μπουζουκιου Ρε-Λα-Ρεψηλο που καταγεται απο την αρχαια ελληνικη πανδουρις (=εξολκληρου απο ξυλο σε αντιδιαστολη με την λυρα που φαινεται ειχε και μηξυλινα μερη ) ειναι επισης μια τετοια συγχορδια power-5 chord, οπως και ενα απο τα πολλα κουρδισματα στο 3-χορδο μπουλγαρι η στο σαζι ,ταμπουρα κλπ. Υπηρχαν δε και παληα τετοια κουρδισματα κρητικης λυρας, οπως ακομα σωζοντα τετοια κουρδισματα σειρας αρμονικων στο βιολι στην σκανδιναβια.

H πιο βασικη αρμονια και κλιμακες βγαινουν απο τις αρμονικες π.χ. στην αρχαια φυσικη σαλπιγκα χωρις βαλβιδες (η τα φλαουτα αρμονικων).

1. Οι αρμονικες (overtones) στην πρωτη οκταβα 1-2 δινουν την τονικη
2. Οι αρμονικες (overtones) στην δευτερη οκταβα 2-3-4 δινουν το power5 chord (και μινορε και ματζορε)
3. Οι αρμονικες (overtones) στην τριτη οκταβα 4-5-6-7-8 δινουν την μειζωνα συγχορδια
4. Οι αρμονικες (overtones) στην τεταρτη οκταβα 8-9-10-11--12-13-14-15-16 λογω του οτι πεφτουν εξω απο την δυτικη κλιμακα του μπαχ δινουν αναλογα με την στρογγυλοποιηση , την διατονικη 7-τονικη κλιμακα, την αρμονικη μινορε (χιτζαζ), την μελοδικη μινορε, την 6-τονικη κλιμακα των μπλουζ, την νεαπολιτανικη (neapolitan) κλπ.

ΣΥΝΟΨΙΖΟΝΤΑΣ ΤΟΠΟΛΥ ΕΝΔΙΑΦΕΡΟΝ ΟΤΙ ΟΙ ΑΡΧΑΙΕΣ ΔΑΚΤΥΛΙΕΣ-ΤΑΞΙΜΙΑ ΠΑΙΖΟΝΤΑΝ ΜΕ ΜΙΑ ΜΟΝΟ ΣΥΓΧΟΡΔΙΑ ΤΥΠΟΥ 1-5-1 ΠΟΥ ΕΙΝΑΙ ΟΥΤΕ ΜΑΤΖΟΡΕ ΟΥΤΕ ΜΙΝΟΡΕ Η ΚΑΙ ΤΑ ΔΥΟ ΚΑΙ ΜΟΝΟ ΜΕΣΑ ΣΕ ΕΝΑ ΤΕΤΡΑΧΟΡΔΟ ΣΥΝΗΘΩΣ ΤΟ ΔΙΑΤΟΝΙΚΟΥ ΓΕΝΟΥΣ ΣΥΝΤΟΝΟ ΣΕ ΑΝΙΟΥΣA ΣΕ ΗΜΙΤΟΝΙΑ 1-2-2.

THE MORE COMPLICATED BUT NOT  ALWAYS MORE ENLIGHTENING DESCRIPTION WITH MODERN SCALES AND CHORDS: 

Such Greek Cretan soloing is very similar to the Irish reels. 

SHORT DESCRIPTION


THERE ARE HUNDREDS OF DIFFERENT SONGS ON THE SAME CHORD-CYCLE  AND THOUSANDS OF DIFFERENT IMPROVISATIONAL SONGS ON THE SAME CHORD-CYCLE.


E.G.

1) 1M


2) 5M7->1M


3) 6m->1M



4) 1M->4M->5M->1M    (Cretan matinodies, kondilies) 
or only 1M (3rd note) ->1M->5M7(5th note)->1M (3rd note)
or only 1M (3rd note) ->1M->1M->1M (3rd note)
e.g. as order of notes in adiatonic scale 
(3 3 3 4 )(3 5 5 5) (4  2 3 4) (5 5 3) (15 syllables) and spans an interval of 4th.
As intervals of a scale they are 1-2-2
Or a different again of cyclic type:
(1'2'3'3')(1'1'2'2')(771'1')(7655)
556671'2'2'1'71'1'1'1'(again 16+14 half syllables  or 8+7 syllables) and spans an interval of 4th.

As intervals of a scale they are 1-2-2
Alternatively the action of the melody can be in the upper minor 3rd and in detail  descending from 3' to 5 (in intervals of semitones 2-2-1-2-2) , or in the lower major 3rd, or in detail from 1' to 3 (in in intervals of semitones 1-2-2-2-1)
as rhythm from 15-syllables poetry
(1M         )
10010100
(5M7)1M
1001010
(combination of anapestik  100 with trochaic 10 )

Other thythms are 

100111010 or a more extreme that spans 3 powers of 2 , 10000011100100
(e.g. in Bardakis castrines condilies) .

DANCING FAST INSTRUMENTAL MELODY
Most often each half line of the poetic line is with 8 notes , thus all the first 8-syllables line 
16 notes, and the 2nd 7-syllables line from 16 notes again or possible 14 notes, in total 32 or 28. This is the dancing fast instrumental melody.
The half-poetic line is the middle melodic theme, and also one measure, that follows the pattern of the above rhythm most of the time, and is translated up or down , and also changing shape. The trasnlations are melodic (intervals of 3rd) harmonic (intervals of 4th or 5th) or more rarely (less than 30% of the cases) chromatic (intervals of 2nd).
But inside each measure and middle melodic theme, there are the micro-melodic-themes that are oscilaltions around one note, most often by intervals of 2nds.
SLOW SINGING MELODY: this is by no means following in syllables the exact pattern of the 15-syllables poetry. Maybe it was in ancient times. But in modern times, is may vary significaly depending on the  emotional state ofthe singer.


In addition to  rhythm, scale and chord progression we need also the statistical profile of the progression of the simplical melodic themes (see post 282) so as to determine the local style of the particular improvisations.
E.g. in Cretan Kondilies (mandinodies)  that have usually only two underlying chords (e.g. 1M->5M7->1M ) this progression during each chord (statistically determined rather than deterministically) defines the local style of the improvisational melody. E,g, 2 simplicial melodic themes for first 1M one for 5M7 and one back to 1M. In total 4 simplicial themes, the first 3 in a kind of variational repetition (translation or inversion) and one last and 4th closing one that may be mutated.

Examples of such progressions of simplicial melodic themes (or Dolphin words) are the next  (each vector-arrow is an oriented interval that fits to a single or more  underlying chord(s)).

Or

Or

Or

etc (See also post 280)

Other determinations of these songs or improvisations;

0) THE HARMONY.

Although the cycle of chords is fixed, the order and duration that these chords are played may vary, from song to song, or even inside the same song ("random" permutation of the chords of the cycle).
E.g. 1M->4M->5M->1M    (Cretan matinodies, kondilies) 
or only 1M (3rd note) ->1M->5M(5th note)->1M (3rd note)
or only 1M (3rd note) ->1M->1M->1M (3rd note)



1) The rhythm:
The duration of the beat is determined by clock-standards. Then each chord of the cycle is determined how many beats has duration. Furthermore, the rhythm is specified as in post 10. Usually, the powers of 2 are utilized. So a triad of chords will have a repetition of a chord in duration. E.g. a cyclic pattern A B C A, of 4 groups of beats so that each chord has equal duration will also determine a variational repetition pattern of the variating melodic themes, usually 3 variations and the last time a resolution.  The melody itself can be classified to the simplicial say in 4 chord-durations, or the normal in 8 chord half durations, or embellishing in 16  chord quarter durations, or fast embellishing  32 , eighths chord durations etc.
Initially, it seems that the rhythm of the main melody was patterned over 15-syllables poetry, with 4+4 beats at the first line of 8 syllables and 4+3 beats at the 2nd line of 7 syllables.
The term mantinodies is quite similar and meanings and methods with the term rhapsody of the ancient poetry of homer (Iliada, Odyssia etc)

E.g. for Cretan mantinodies (condilies)

as rhythm from 15-syllables poetry

10010100

1001010

(a combination of anapestik  100 with trochaic 10 )

2)  The pitch order pattern of the roots of the chords of the chord-cycle.
In general, there are 4 classes:
1)The ascending (happy)
2) The descending (unhappy)
3) The upper cyclic (happily sad),
4) The lower cyclic (sadly happy).

This is a general pitch order pattern which of course has emotional significance: Increasing pitch order in the roots =joy, decreasing pitch order in the roots=sadness.

e.g. as order of notes in adiatonic scale 
3 3 3 4 3 5 5 5 4  2 3 4 5 5 3


3) The pitch order pattern of the induced by the melody harpism (permutation) of the notes of each chord.  

Although the part of the melody accompanied by a single chord may have notes outside the chord, it will have also notes of the chord that it is expected that they have a longer duration. Thus this part of the melody induces a permutation or harpist of the notes of the chord.

4) The variational repetition pattern of the melodic themes as part of the melody accompanied by a single chord.


MORE DETAILED ANALYSIS:


THE MAIN IDEA TO COMPOSE AND IMPROVISE SUCH FAST DANCING SOLOING IS TO RESTRICT THE HARMONY AND USED NOTES TO REALLY SIMPLEST POSSIBLE  SCHEMES AND CONVERSELY ENHANCE THE COMPLEXITY IN WAVING OR ROTATING, VARIATIONAL PATTERNS

In Greek island of Creta they are considered as restrained improvisation, in the sense that each time the instrument player plays them they are a bit different but the overall musical sense and feeling is the same. The term "Condilies" or "dactilies" means in the Cretan language fingering.

See also post 159

CONDILIES=WAVING ROTATIONS INSIDE A VECTOR-CHORD , OR TETRA-CHORD OR PENTA-CHORD OR HEXA-CHORD. (CONNECTED SUBSCALES OF 4,5 OR 6 NOTES AND TOTAL LENGTH AN INTERVAL OF 4th  OR 5th OR 6th)
THE VARIATIONS OF THE BASIC MICRO-THEMES (CALLED "STROFES" OR "GYRISMATA") ARE AS USUALLY TRANSLATION, INVERSION (IN TIME OR PITCH) , EXPANSION-CONTRACTION AND MUTATION

The waving such rotations are part of the melodic personality of "dachtilia" and has a name of the player, area or composer. The "rotations" are called in the Greek language "gyrismata", or "strofes" which means rotations 

Very often the rotational waving inside a vector chord (in Creta it is called condilies as it was played with wind instruments from cane and the thicker rings of it are called Condili)  (e.g. major chord 1-3-5 as root chord of a diatonic scale) is a waving by intervals of 2nds of a full walkthrough of the vector chord 3-4-5-4-3-2-1-1 , which restricted to the notes of the chord is 3-5-3-1 .Other times as cycle waving starting and ending on the same note of the chord (e.g. 3rd middle note). For every type of "Condilies" or "dactilies" there is a "projection trace" of it as an almost  repetitive harping on the arpeggio of an  underlying chord. It is almost certain though that it includes notes outside the arpeggio of the chord.

RHYTHMIC  MICRO-THEMES AND IMPROVISATION OF THEM.
At another side nevertheless, such fast dancing solos have a "projection trace" to the rhythm exclusively as note durations and position in time irrespectively of what pitch is each note. Then the melodic micro-themes or "rotations" ("gyrismata" or  "strofes") become rhythmic micro-themes, and the melodic improvisation of them becomes rhythmic improvisation. Such rhythmic improvisations obviously could be carried out with single note or on percussion instrument only (see Djembe music). When one tries to compose or improvise such melodic "rotations" the underlying rhythmic micro-themes and their variations are of primary importance as they choose where in time you put a note and how long it would sound. having chosen the rhythmic micro-themes and their variations will greatly make easy the final choice of the pitch too of each not and the melodic patterns. The rhythm here will be like a road of the mountains where we eventually drive our melodic vehicle , and this "road" is not straight by changing directions and slopes. The rhythmic variations are similar to the melodic themes variations: They have inversions in time, translation of patterns in rhythms increased or decreased by powers of 2, and mutations.



Another insight about Condilies or Dachtilies  is the next: Let us remember the well known Andalusian cadenza patterned on the sub-scale 1-2-2 semitones (See post 17 and also above about Ancient Greek syntono tetrachord ) which is played by chord e.g. iv->V->IV->III . Here for condilies we  may have a melodic version of it where instead of chords we play waving patterns around the notes of pitch order 1-2-2 in semitones . 
Or so as to have a pure interval of 5 , 1-2-2-2 or 2-2-2-1 . And also an interval of 
minor 6 : 1-2-2-2-1 

If we combine the 6-notes  1-2-2-2-1 with the 4 notes 1-2-2 at one semitone distance we get the 1-2-2-2-1-1-1-2-2 which is a modulation to 2 different diatonic scales. We may also combine a diatonic scale with a 6-notes blues scale by having the 4 note of the major diatonic scale with a sharp and apply wavings by intervals of 2nd going up and down it.
Or we may combine two or 3 diatonic scales deriving a bebop 8-notes or 9-notes scale. 

Other examples of subscales from here http://mantolinokrhth.blogspot.com/2012/08/blog-post.html give in semitones

1-1-2-2-1
2-2-1-2-2-1
2-1-1-1-2-2-1-2  (Bebop dominant)
1-1-1-2-2-1
2-1-1-1-2-2

It is used as we notice the Bebop dominant scale as in post 139 which fas interval structure in semitones   2-2-1-2-2-1-1-1

If we want to avoid thinking about chords or arpeggios when playing, improvising or composing such solos, then the simplest idea is the triads of notes or intervals of 3rds with all their intermediate notes in some scale. By alternating such major and minor intervals of 3rds we may give the melody an underlying good harmonic content (see also post 159 about vector-intervals)


Somewhere in the wavings by 2nds we double the speed of waving for 2-3 such oscillations
Usual rhythms are, Cretan dance (pidichtos) and reels dancing (1110). But also (1010100010001000)

We very often  in condillies may use the descending sequence of notes 1'-7-6-5-4-3 as steps of the diatonic scale (in semitones 1-2-2-2-1) in 3  melodic triads, one descending and two cyclic :  1'-1'-7-6 the  5-7-7-6-5,  3-4-4-4-5-4-4-3 (chord progression of 5 steps  on 3 chords  I-IV-V-IV-I) Or it could be with three waves one   ascending and two  cyclic 3-4-5   6-7-6-6-5-5    3-4-4-4-5-4-4-3 and with chord progression of 5 steps on three chords  I-IV-I-V-I
As harmony it is usually a permutation of the the chords I, IV,V. But as melody it is usually three melodic triads (vector intervals of 3rds see post  208) two minor and one major. 
The rhythm is from a 15-syllables poetry so the first two minor/major melodic triads count 8 syllables (beats) while the last melodic triad or last two melodic triads count  7 beats or syllables. Nevertheless the melody of the voice and the counter melody of the instrument  maybe different although on the same sub-scale (usually in semitones 1-2-2-2-1 or in steps of the scale 1'-7-6-5-4-3  )  and with the same chord progression on the I, IV V. In some cases the melody of the voice may use only 2 or only 1 of the  melodic triads with a sub-chord progression  fewer chords , but from the same chord progression.
We may count each of the poetic lines, the 1st of 8 beats and syllables and the 2nd of 7 beats or syllables as 1) The Upper cycles 2) the Lower cycles 3) The ascending 4) the descending,
Obviously the most sad are the Descending-Descending and the most joyful the ascending ascending. While interpediateare e.g. Descending-upper cycle (sad) , or Upper-cycle-upper cycle (a little happy) or Ascending-upper-cycle (a bit more happy) , lower cycle - lower cycle ( a little happier) and ascending-lower cycle (much happier).

POETIC MEASURE FOR THE PATTERN OF REPETITIONS IN DACHTILIES (CONDILIES). 

The dactilies are correlated with poetic improvisation as well, called in Creta mandinades (mandiniades) that are usually pairs of poetic lines in iambic 15-syllables poetic measure. 
Somehow all dactilies (condilies) could be considered "the same big tune" with unlimited variations, open to continuing by the players and also with known words (maninades) but also open to unlimited variations and be continued by the players and singers. 
This is similar to songs of Portuguese fado, where a single chord progression patterned on the intervals 1-2-2 makes an unlimited pattern of tunes and variations. 
Here in dactlilies (condilies) also there are unique characteristic morphological patterns which are 2 or 3 waving by intervals of 2nd cadenzas of 3-4 notes , and all of them within an interval of 4 or 5th (1-2-2 or 1-2-2-2).
This some how determine repetition patterns of rotations (gyrismata or strifes) .

A good source for the pattern of repetitions of the melodic themes is the syllables poetic measure.

For example of an underlying poem exists for lyrics , with syllables measure pairs of lines with 8 syllables the first and 7 syllables  the second, (8+7=15-syllables poetic measure) , the notation is repetitions of 8 and 7 beats one pause bear and then again.

Now the correspondence of the poetic measure to the melodic measure can be

1) Each line is one  8-beats musical measure of the melody

or

2) Each line is two consecutive 4-beats musical measures of the melody.

In the first case we have two repetitions of melodic themes one by 8 notes and one almost repeated by 7 notes. In the second case we have a repetition three times of   a melodic theme of 4-notes and beats, which correspond to the two half parts of the first line and one first half part the second line while after these three repetitions occurs also a different melodic theme of 4 beats and 3 notes and one beat pause.

The harmonization of the Condillies in the  5-chordo 1-2-2-2 is not a iii minor chord (1-2)-(2-2) (e.g. Em in C major scale or F#m in D major) but two major chord V=5M and I=1M (G-C in C major or D-A in D major), Where the upper -(2-2) part is the lower major 3rd of V=5M chord and the lower (1-2)- is  the upper minor 3rd ofthe I-1M chord. In general this might be a way also to substitute a minor chord in a melody in a diatonic scale with two major chords. If we want to accompany it with intervals of 5th strictly speaking it should be two intervals of 5th 4-1! and 1-5 as steps of the diatonic scale. An harmonization of the Condillies in the 4-chord 1-2-2 , it could be an upper part -(2-2) which is the lower major 3rd of the IV=4M chord (in D major it would be G major) and the (1-2)- (overlapping with the 2-2 part) it would be the upper minor 3rd of the I =1M chord (In D major the D major chord).

Of course in some cases depending on the waving we may use the chords progression 
I->V->IV->I, where the 3rd chord is of very short duration.




In Greek Cretan such soloing (dachtilies) only up to two major chords are used as above. 
But if someone wants a more free composition and improvisation of them then minor chords can be included as below.


If we want to accompany such condillies  melodies not with one power chord but with major or minor triads then they should be as few as possible e.g. 2 or 3. For happy melodies obviously, they are the I, IV, V. According to the degree of sadness we want to impose, we substitute any of the major chords with its lower minor relative. In other words  vi for I, ii for IV and iii for V. 

About the symbols: In a C major scale the symbols denote the next chords

I=1M=C
ii=2m=Dm
iii=3m=Em
IV=4M=F
V=5M=G
vi=6m=Am
vii=7d=Bdim

So the possible combinations are 

I, IV, V   or only I, V

vi , IV, V or only vi, V

I , ii, V 

I, IV, iii   or only I, iii

iv , ii, V or only iv, V

I , ii, iii or only I, iii

vi, IV, iii   or only I, iii

vi, ii, iii   or only vi, iii


We must understand that the dancing melodies of melodic improvisation that are of a high degree of freedom in changes and are accompanied only by a root power chord 1-5-1' are a different class of melodies of harmonic improvisation  that are  those that during not very short intervals of time are accompanied by a 3-notes chord of the scale. An example of a melody that the only reasonable accompanying chord is a root power chord is to go up and down several times all the 7 notes scale and fast enough. Theoretically, one could accompany it with very fast changing 3-notes chords but exactly because it is very fast changing it is meaningless and it is better only a root power chord. On the other hand, singing melodies that can be divided into a small number and of significant duration time intervals during which they have clear 3-notes major or minor or diminished accompanying chord (preferably with another instrument than the soloing instrument) have better harmony if accompanied by such major or minor chords rather than a single root power chord. 

A basic "signature" of a condilia is the simplicial submelody basic melodic theme as shape and pattern,which of course is parallel to the chord-progression pattern as rhythm and repetitions. 

Examples of Cretan Condilies

https://www.youtube.com/watch?v=xqc92Y9zPqA

https://www.youtube.com/watch?v=UDmwVbhA9No

https://www.youtube.com/watch?v=jXok6nsT17M

https://www.youtube.com/watch?v=ejmMrb2r2ic

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

https://www.youtube.com/watch?v=AjH68cAuoD8

http://mantolinokrhth.blogspot.com/2012/08/blog-post.html

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



Irish Reels

https://www.youtube.com/watch?v=njgAjaAGebw
https://www.youtube.com/watch?v=N2iHNSlJMfc


HERE WE LIST AND DISCUSS SHORT SUBSCALES OF THE CHROMATIC 12-TONE SCALE THAT CAN BE USED FOR REPETITIVE SOLOING. SOME OF  THEM ARE KNOWN 4-CHORDS 5-CHORD 6-CHORDS OR SIMPLY CONNECTED PIECES FROM BEBOP SCALES DERIVED FROM THE SUPERPOSITION OF 2 OR 3 DIATONIC SCALES.  THIS DOES NOT MEAN THAT THEY ARE MET ALL OF THEM IN CRETAN DACHTILIES AND IRISH REELS BUT THAT CAN BE USED FOR OUR OWN INSPIRED COMPOSITION AND IMPROVISATION 

3-NOTES SUBSCALES (TRIADS E.G. VECTOR-INTERVALS OF 3 ), 16 IN TOTAL

THE TRIADS ESPECIALLY THE ONES OF LENGTH AN INTERVAL OF 3 (vector-interval of 3) ARE THE MAIN BUILDING BLOCK OF HARMONIC-MELODIC IMPROVISATIONS AS ALSO CHORDS ARE BUILD FROM INTERVALS OF 3.

WHEN WE SHIFT A MELODIC THEME BY A CHROMATIC  INTERVAL OF 2 USUALLY WE APPLY A TRANSLATIONAL-VARIATION. WHEN WE SHIFT BY A MELODIC  INTERVAL OF 3 USUALLY WE APPLY AN INVERSION -VARIATION. WHEN WE SHIFT BY AN HARMONIC  INTERVAL OF 4 OR 5 USUALLY WE APPLY A MUTATION-VARIATION . IF WE STAY IN THE SAME INTERVAL WE HAVE A ROTATION OR PERMUTATION VARIATION

By alternating major and minor such vector-intervals of 3 we impose also underlying hidden harmony of triad chords

Chromatic triad

 1-1

Melodic triads:

minors 2-1,  1-2,

Majors 2-2 , 1-3, 3-1,

Blue :diminished chord 3-3

2-4, 4-2

(When improvising it is familiar melody if we alternate major-minor such vector-intervals of 3 because in diatonic scales this is the case and also in the formation of major and minor triad chords)  

Harmonic triads

2-3 , 3-2,

4-1, 1-4 ,

Chords: major:4-3, minor: 3-4.

 augmented chord 4-4

4-NOTES SUBSCALES  (TETRADS) WITH TOTAL LENGTH 5 0R 7 SEMITONES

6+10 IN TOTAL

The most common are 2-2-1, 1-2-2. 1-3-1, 2-2-3, 3-2-2

TOTAL LENGTH 5 SEMITONES, 6 IN TOTAL

1-2-2, 2-2-1, 2-1-2,

3-1-1, 1-1-3, 1-3-1

The 1-1-3  is called by Aristoxenus the tonal tetrachord of the Chromatic generation and it exists in the double harmonic minor scale.

TOTAL LENGTH 7 SEMITONES, 10  IN TOTAL (We call such subscales vector-chords as they contain the first and last note of 3-notes chord)

4-2-1, 2-4-1, 1-2-4, 1-4-2,

3-2-2. 2-3-2, 2-2-3

1-3-3, 3-3-1, 3-1-3

We must notice here that according to Aristoxenos (see post 25 page 40 of the manuscript) in ancient Greece there were the tetrachords (4 strings of the lyra) of total range an interval of 4 (5 semitones) that were tuned outside the Back 12-notes scale as follows

Enharmonic   generation 

1/4 of tone -- 1/4 of tone --2 tones

The closest in Bach scale would be or 1-1-3 in semitones

Chromatic generation

Soft: 1/3 of tone -1/3 tone - 11/6 tone=about 2 tones

The closest in Bach scale would be  or 1-1-3   in semitones

3/8 tone --3/8 tone --7/4 tones

The closest in Bach scale would be  1-1-3  in semitones

tonal    1-1-3 in semitones

Diatonic generation

Uniform: 1-3/2-15/6 semitones

The closest in Bach scale would be  1-2-2  in semitones

Syntono  1-2-2 in semitones

5-NOTES SUBSCALES (INTERVALS OF 5) TOTAL LENGTH 7 SEMITONES 18 IN TOTAL

(We call such subscales vector-chords as they contain the first and last note of  a 3-notes chord)

1-2-2-2 (=a vector minor chord)  ,     2-2-2-1(=a vector major chord),      2-1-2-2(=a vector minor chord),    2-2-1-2=(=a vector major chord)

The 1-2-2-2 might be called the syntono 5-chord of the Diatonic generation according to the terminology of Aristoxenus for the ancient Greek music (actually it is mentioned the syntonon tetrachord 1-2-2)

1-1-2-3=(=a vector major chord),   1-1-3-2,  2-3-1-1, 3-2-1-1,

The 1-1-3-2,  2-3-1-1  might be also called tonal 5-chords of the Chromatic generation in the the terminology of Aristoxenus for the ancient Greek music (actually it is mentioned the tonal tetrachord 1-1-3)

1-2-1-3(=a vector minor chord),  3-1-2-1(=a vector major chord),   1-3-1-2(=a vector major chord) , 2-1-3-1(=a vector minor chord),

1-2-3-1(=a vector minor chord),   1-3-2-1(=a vector major chord),

1-1-1-4(=a vector minor chord), 4-1-1-1(=a vector major chord), 1-4-1-1  1-1-4-1

We will formulate rules of combinations of intervals of 1,2,3,4,5,7 semitones  (Intervals of 2 of 3 of 4 or of 5 as it is used to say) so as to compose beautiful melodic themes.

Obviously usually intervals of 1, 2 or 3,4 semitones are played horizontally on a single string while intervals of 3,4 of 5 of 7 are played vertically among strings. 

(3,4)

1) Combination of intervals of 3, in other words of 3 or 4 semitones

We combine the 3+4=7 mostly as it gives arpeggios of minor major chords ans rarely the 3+3=6 and 4+4-8 that give arpeggios of diminished and augmented chords.

We also alternate the 3+4 with the 4+3 as so it  mainly in the chords of a diatonic scale.

(3,4-5)

2) Combination of intervals of 3, in other words of 3 or 4 semitones and intervals of 5 in other words of 7 semitones.

We combine by alternating them around the 5 : 3-5-4 and 4-5-3, 4-5-3-5-4 etc

(3,4-7)

3)  Combination of intervals of 4, in other words of 5 semitones and intervals of 5 in other words of  7 semitones

Similarly for the 7 : 3-7-4 and 4-7-3, 4-7-3-7-4 etc

(5-7)

4)  Combination of intervals of 4, in other words of 5 semitones and intervals of 5 in other words of  7 semitones

We alternate 5 and 7 : 5-7-5 etc

 (5-5)

5)  Combination of intervals of 4, in other words of 5 semitones

We avoid repetitions of 5

6)  (7-7)

Combination of intervals of 5, in other words of 7 semitones

We allow up to 3 repetitions  of 7 7-7 , 7-7-7

(1,2-3,4)

7) Combination of intervals of 3, in other words of 3 or 4 semitones and intervals of 2 in other words of 1 or 2 semitones

We combine 1 freely with 3, 4  1-3, 1-4 as it gives intervals of minor 3 and of 4 that exist in arpeggios of major minor chords.

(1,2-5)

8) Combination of intervals of 4, in other words of 5 semitones and intervals of 2 in other words of 1 or 2 semitones

We  combine only 2 with 5 2+5 =7, 5+2=7  as it gives intervals of 5 that exist in arpeggios of minor and major chords.

(1,2-7)

9) Combination of intervals of 4, in other words of 5 semitones and intervals of 2 in other words of 1 or 2 semitones

We combine freely the 1, 2 with 7  1+8= 2+7=9 as it gives intervals of 6 that exist in arpeggios of (inverted) minor and major chords.

10) (1,2-1,2)

We combine freely 1-2 and 2-2 as it gives intervals of 3 of the major minor chord arpeggios

Here is a group of musicians playing simultaneously Cretan codilies and Irish reels over the same chord progressions , for dancing

https://www.youtube.com/watch?v=hiksW0XdFg4

THE KEY-WORD HERE IN THE 4TH GENERATION DIGITAL MUSIC FOR THE MUSICAL-THEORETIC IDEAS OF THIS   POST (AS FAR AS MORDEN SOFTWARE FOR MUSIC MAKING IS ) IS MELODY-SEQUENCERS AND ARPEGGIATORS

THE TERM  SEQUENCER MEANS HERE A LOOP OR RHYTHMIC CYCLE OF   A  MELODIC THEME THAT IS VARIATED INTERACTIVELY BY THE USER  IN A MELODIC SEQUENCER.

THERE MANY GOOD SOFTWARE PROGRAMS FOR THIS COMPOSITION AND IMPROVISATION LIKE FUGUE MACHINE, YAMAHA MOBILE SEQUENCER, THUMPJAM ETC. ALSO ARPIO  AND ARPEGGIONOME FOR GENERAL ARPEGGIOS ALTERNATED WITH MELODIC IMPROVISATIONS