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

THE CHORD PROGRESSION IS A CYCLE OR SEQUENCE OF TRIADS OF CHORDS AS BELOW.

(we contrast this method with the alternation of pairs in harmonic-chromatic-melodic relations as inpost 148 at the end of it. Here we use triads of chords instead of pairs of chords  and the symmetry is different.
The two methods to create chord progressions from the 7 chords of a diatonic scale the one here with triads (triangles) if chords and the one in post 148 with parallelogram diagrams of chords are like creating a language which has as alphabet the 7 chords of the diatonic scale. It allows of unlimited combinations with varying degrees of symmetries.)

For happy melodies obviously, the triad is  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   (1M, 4M,5M majors harmonic triad)

vi , IV, V  (4M, 5M , 5m,  chromatic triad, e.g, part of the Andalusian cadenza when reversed) 

I , ii, V    ( 2m, 5M ,1M harmonic triad)

I, IV, iii   (3m 1M, 4M,   melodic-harmonic triad)

IV , ii, V   ( 1M, 4M, 2m, harmonic-melodic triad)  

I , ii, iii  (3m, 1M, 2m, melodic chromatic or only chromatic triad)

vi, IV, iii   (3m, 6m, 4M, harmonic-melodic triad)

vi, ii, iii   (3m, 6m, 2m, harmonic triad)

vi-vii-iii (7d, 3m, 6m, harmonic triad)

I -vii -V  (5M, 1M , 7d, harmonic-chromatic triad)

In case we want to alter the natural minor ofthe scale to an harmonic minor or double harmonic minor the the usual changes of the harmonic personality as in post 158 apply.

In more detail: 

In general starting from a diatonic harmonic personality 

1M, 2m 3m 4M 5M 6m 7dim 1M

the next are the effects of turning the natural minor to harmonic minor or double harmonic minor.

The effect of the 1st blue note 5# of the harmonic minor on the harmonic personality is that 

the 3m  turns in to 3M and the 5M may turn  into  5b5  or better sounding  5#m or 5#dim or 5aug,  or  1dim  

Also the 7dim may turn in to 7m7b5 as 4 notes chord.

While the effect of  the 2nd blue note of the double harmonic minor 2# (or 3b) is that the 7dim turns in to 7M  or 7b5  and , the 1M may become 1aug and also the 2m may become 2#dimb3 or  better sounding 2#dim or 2#M. 

Further changes with augmented chords because of the harmonic and double harmonic minor we involve not only diminished chords but also augmented chords.

E.g.

In C major

Am  Bdim E  Am (repeated many times)  then
C Bd  G C  (repeated many times)  then
Am Dm E Am (repeated many times)  then again
Am  Bdim E  Am (repeated many times)  etc

Listen also to

https://www.youtube.com/watch?v=NwIw2BQW_jE

and to

https://www.youtube.com/watch?v=HcVD-6w4A8k

Of course the next critical issue is to determine the simplicial sub-melody that goes parallel to the chord progression. This determines also the chord progression as triads of notes and the correct voicing of the chord progression, so as to play directly also the simplicial submelody through the correct voicing of chord progression as triads of notes only. In other words

THE SIMPLICIAL SUBMELODY IS OF EQUIVALENT DETERMINATION WITH THE VOICING OF THE CHORD PROGRESSION AS TRIADS OF NOTES. 

Triads of chords with minor chords in them most often are correlated with straight descending shape of the theme of the simplicial sub-melody. While triads of chords with all three chords major chords are correlated with straight ascending shape of the theme of the simplicial sub-melody.

Then we proceed with the embellishments and waving around the simplicial submelody to derive a full dense and even fast melody.

For example if we chose the next two triads of chords for te chord progression in a song in the C major scale 

(Am ,Bdim, E)  and (C Bdim G7) then the chord progression is 

Am-> Bdim-> E-> Am  repeated 4 times and 
C-> Bdim->G7->C  repeated 4 times and   
and all together repeated 3 times.

Then the first triad of chords  which has the minor chord Am signifies sadness and the simplicial submelody is chosed descending with a middle waving . So it is the a5->d5->e5->a4 . One note for each occurence of a chord which belongs to the chord . And the triads of chords C-> Bdim->G7->C has more major chords which signfies happiness so the simplicial submelody is defined as straight ascending . So correpsonding one note (which belongs to the chord) to each chord it may be the c4->d4->g4->c5 .  We may also creare an introductory part A of the song which is both parts B , C of the simplicial submelody with the necessary waving ebelishments around it c4->d4->g4->c5->a5->d5->e5->a4 which we repeat two times each time we repeat the parts B and C above   of the two triads of chords.

The two methods to create chord progressions from the 7 chords of a diatonic scale the one here with triads (triangles) if chords and the one in post 148 with parallelogram diagrams of chords are like creating a language which has as alphabet the 7 chords of the diatonic scale. It allows of unlimited combinations with varying degrees of symmetries.

We cannot stress much the importance of triads of chords (but also of notes intervals and scales) in improvisation.

A good application is to realize that as a diatonic scale is characterized as chords on the wheel by 4ths by its 3 chords on the steps 1M, 4M , 5M  (harmonic triplet of chords) ,  OR 7d 1M 2m (chromatic tripler of chords) the same can apply for the modes of the diatonic scale.

Besides the basic harmonic triplets (in other words a sequence of 3 chords X1,X2,X3 so that X1-X2 , X2-X3 are harmonic relations od chords, in other words chords that their roots differ by an interval of 4th (5th)) , there are also the chromatic triplets (in other words a sequence of 3 chords X1,X2,X3 so that X1-X2 , X2-X3 are chromatic relations od chords, in other words chords that their roots differ by an interval of 2nd). BOTH  ARE BASIC TYPES OF TRIPLETS. In other words with the 3 CHORDS OF THE TRIPLET WE CAN ACCOMPANY ANY MELODY IN THE DIATONIC SCALE. WE CANNOT HAVE THIS PROPERTY OF BEING HARMONICALLY A BASE OF 3 CHORDS FOR MELODIC TRIPLETs (in other words a sequence of 3 chords X1,X2,X3 so that X1-X2 , X2-X3 are melodic relations of chords, in other words chords that their roots differ by an interval of 3rd) 

The chords of a mode of a diatonic scale at the steps 1,4,5 (or 7,1, 2) of it characterize its mood.

For example for the mixolydian mode of the diatonic scale from C ,(G, A, B , C, D, E, F, G) the chords at the steps 1,4 ,5 are the G, C, Dm) thus the 1, 2, 5 or I, ii, V of the original ionian and are the base of blues jazz.


Based on this perception, the 7 modes of the diatonic scale have the following chord triads:

(that is chords on their 1st 4th and 5th step, and we symbolize by m=minor M=major d=diminsihed.

1. IONIAN  :  CHROMATIC TRIPLET (7d, 1M, 2m)
2. DORIAN  :  CHROMATIC TRIPLET (1M, 2m, 3m )
3. PHRYGIAN : CHROMATIC TRIPLET(2m,3m, 4M)
4. LYDIAN:  CHROMATIC TRIPLET(3m, 4M, 5M)
5. MIXOLYDIAN: CHROMATIC TRIPLET (4M, 5M, 6m)
6. AEOLIAN:  CHROMATIC TRIPLET (5M, 6m, 7d)
7. LOCRIAN:  CHROMATIC TRIPLET (6m, 7d, 1M)

We may compare the basic chromatic triplets with the basic harmonic triplets (see also post 222)

1. IONIAN  :  HARMONIC TRIPLET (1M, 4M, 5M)
2. DORIAN  : HARMONIC TRIPLET (2m, 5M, 6m)
3. PHRYGIAN : HARMONIC TRIPLET (3m, 6m, 7d)
4. LYDIAN: HARMONIC TRIPLET  (4M, 7d,1M)
5. MIXOLYDIAN: HARMONIC TRIPLET  (5M, 1M,2m)
6. AEOLIAN: HARMONIC TRIPLET (6m, 2m, 3m)
7. LOCRIAN: HARMONIC TRIPLET  (7d, 3m, 4M)


Besides these 2 types of basic triplets we have also a 3rd type X1 X2 X3 , where X1-X2 is a chromatic relation and the X2-X3 is an harmonic relation or vice versa. We may call them the mixed
basic chromatic-harmonic triplets. E.g.  the basic triplet that is used sometimes in blues 1M 2m, 5M , is such as 1M-2m have chromatic relation while 1M-5M harmonic relation.

To convert a basic harmonic triplet to another chromatic or mixed basi triplet we utilize correspondences where we correspond each of the 3 main major chords of the diatonic scale with their lower minor relative and the 5M7 with the 7d. Therefore

2m<->4M
3m<->5M
6m<->1M
7d<-> 5M7

The same arguments may apply for the chromatic tonality where some of the mnor chords become major and some of the major chords minor. E.g. We have the harmonic triplet (3M7, 6m ,2m ) of the frygian mode and the harmonic triplet (7M7-3M7-6m) of the Locrian mode which are combined with the more standard harmonic triplets of the diatonic tonality of the dorian mode (2m-5M7-1M) or the myxolydian mode (5M7-1M7-4M) .

For  alternative basic chromatic triplets of the chromatic tonality (that corresponds to the harmonic minor and double harmonic minor) we have the triplets (we notice that thsi type of chromatic tonality gives for the basic chromatic triplets, cases of 2 major chords and one minor, thus the major chords are dominating!)


IONIAN MODE: 7M-1M-2m
DORIAN MODE: 1M-2m-3M
FRYGIAN MODE: 2m-3M7-4M
LYDIAN MODE: 3M-4M-5M
AEOLIAN MODE: 5M-6m-7M
LOCRIAN MODE: 6m-7M-1M