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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
HERE IS EXAMPLE OF SUCH IMPROVISATION
https://www.youtube.com/watch?v=Hxym5yTmdC8&t=1420s
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
HERE IS EXAMPLE OF SUCH IMPROVISATION
https://www.youtube.com/watch?v=Hxym5yTmdC8&t=1420s
When improvising is a solo in an almost random way but which tries to listen also to the inner emotions, a good path is to walk by intervals of 2nd small distances of total length an interval of 3rd and alternate major (4 semitones happiness ) and minor (3 semitones, sadness ) exactly as it happens in a diatonic scale, as this also creates an underlying major or minor chord. If on the other hand it is two consecutive intervals of minor 3rd it would create an underlying diminished chord and if consecutive major intervals of 3rd an augmented chords (that occur in the harmonic and double harmonic minor) , both more rare compared to major and minor chords.
This does not mean that we create a specific diatonic scale or mode of it but rather pieces of diatonic scales, therefore it is more probable that we are in a bebop scale (union of two diatonic scales).
This type of walking vector-intervals (see also post 183 1nd 159) in other words intervals closed together with all the intermediate notes of diatonic scale that it belongs to it we have called previous post as vector-chord improvisation as contrasted to arpeggio improvisations.
Therefore instead of the concept of scale (and as here we do not assume a chord progression or scale of chords) we have the concept of TRIAD as vector interval of 3rd MINOR (SAD) OR MAJOR (HAPPY) . By composing triads we get various types of scales known or unknown but with recognizable hidden harmony.
OF COURSE WE MAY VERY WELL WALK BY TRIADS A DIATONIC SCALE GIVING SEQUENCES OF MAJOR (HAPPINESS) AND MINORS (SADNESS) 3RDS IN THE PROPORTION AND COMBINATION WE WANT.
KNOWING THIS IN MAJOR-MINOR 3RDS WE ALWAYS KNOW WHERE TO FIND HAPPINESS AND MORE HAPPINESS AND SADNESS AND MORE SADNESS.
Inharmony a chord is a triad, and triads of chords define usually in a minimal way the harmony of a scale. Similarly here in melodic composition, the basic composition element is a melodic triad as above, and and triads of melodic triads define somehow an scale of an octave.
The usual triads are the next 3 in semitones
1-2
2-1
2-2
giving in total semitones 3 or 4 or an interval of 3rd
Therefore instead of the concept of scale (and as here we do not assume a chord progression or scale of chords) we have the concept of TRIAD as vector interval of 3rd MINOR (SAD) OR MAJOR (HAPPY) . By composing triads we get various types of scales known or unknown but with recognizable hidden harmony.
OF COURSE WE MAY VERY WELL WALK BY TRIADS A DIATONIC SCALE GIVING SEQUENCES OF MAJOR (HAPPINESS) AND MINORS (SADNESS) 3RDS IN THE PROPORTION AND COMBINATION WE WANT.
KNOWING THIS IN MAJOR-MINOR 3RDS WE ALWAYS KNOW WHERE TO FIND HAPPINESS AND MORE HAPPINESS AND SADNESS AND MORE SADNESS.
Inharmony a chord is a triad, and triads of chords define usually in a minimal way the harmony of a scale. Similarly here in melodic composition, the basic composition element is a melodic triad as above, and and triads of melodic triads define somehow an scale of an octave.
The usual triads are the next 3 in semitones
1-2
2-1
2-2
giving in total semitones 3 or 4 or an interval of 3rd
Of course we add wavings by intervals of 2nd and we go up or down according to the alternation of sad and happy changes of the emotions. The major/minor 3rds alternation also corresponds to alternation of sad and happy emotions. We may of course alternate to the solo also triad chords. If we are on string instruments tuned by 5ths, then we can also accompany this solo with the interval of 5th of the two immediately lower strings as a kind of power-5 chord. The melodic themes created in one or two consecutive such (vector) intervals of 3rd can be varied of course with translations, inversions, rotations (including expansions) and mutations.
Normally two triads are for the first poetic line (8 beats) and two more for the 2nd poetic line (7 syllables).
If we do not walk the intermediate notes of the vector interval of 3rd and we just jump-play it, alternating major minor such intervals of 3rd we are simply in t what we have called in post 94 the melodic corridor, which e.g. how the siku pan-fludes and pan--flutes with double rows of pipes are designed in the folk music of andes.
In composing melodic themes based on melodic triads we should use also the concept and technique of variational independent base of melodic shapes or melodic seed (see post 106). I other words the melodic themes shapes that are mutually variational independent, in other words neither translation neither , inversion, neither rotation can derive any one of them from the others , and in addition all other melodic themes oft he song can be derived with variations from them.
We should not confuse the melodic triads, which is a concept similar to that of a scale of notes with the shapes of melodies in a melodic triad (as e.g. in post 100-106).
Normally two triads are for the first poetic line (8 beats) and two more for the 2nd poetic line (7 syllables).
If we do not walk the intermediate notes of the vector interval of 3rd and we just jump-play it, alternating major minor such intervals of 3rd we are simply in t what we have called in post 94 the melodic corridor, which e.g. how the siku pan-fludes and pan--flutes with double rows of pipes are designed in the folk music of andes.
In composing melodic themes based on melodic triads we should use also the concept and technique of variational independent base of melodic shapes or melodic seed (see post 106). I other words the melodic themes shapes that are mutually variational independent, in other words neither translation neither , inversion, neither rotation can derive any one of them from the others , and in addition all other melodic themes oft he song can be derived with variations from them.
We should not confuse the melodic triads, which is a concept similar to that of a scale of notes with the shapes of melodies in a melodic triad (as e.g. in post 100-106).
