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.
Of course tap-dancing is the best natural example of such RHYTHMIC MICRO-THEMES AND IMPROVISATION OF THEM.
https://www.youtube.com/watch?v=YAKYpxvP-HM
Of course tap-dancing is the best natural example of such RHYTHMIC MICRO-THEMES AND IMPROVISATION OF THEM.
https://www.youtube.com/watch?v=YAKYpxvP-HM
