The simplicity of triad of factors for the melodic action is mainly the next three factors
1) The triad of polarity (qualitative) of a melodic move (ascending, descending, rotating stationarily or isocratic), The relevant theme variation here is inversion
2) The quantitative triad of the character of the move :Chromatic (2nds) , Melodic (3rds) ,Harmonic (4th, 5ths or more than 8ths). The relevant theme variation here is expansion-contraction
3) The rhythmic pattern of repetitions or translations . The relevant theme variation here is translation.
The keys to a nice flow of improvisation as expressed in many cultures folk music are
Simplicity in the harmony (triads of harmonic pairs of chords or triads of chords or only a pair of chords or a single power-chord)
Simplicity in melodic themes
Simplicity in rhythmic and pitch variations of the melodic themes and repetitions
IF THE CENTRAL ENTITY IN HARMONY IS THE TRIAD CHORD THE CENTRAL ENTITY IN MELODY IS THE MELODIC THEME AND IN PARTICULAR THE OVERSIMPLIFIED VERSION OF SIMPLE MELODIC MOVE BY AN INTERVAL AS TRACED IN SIMPLIFIED WAY BY THE SIMPLICIAL SUBMELODY.
Based on the above, the themes in the simplicial sub-melody as simple moves are of two polarities up (+) or down (-) and of three sizes Chromatic (symbol C) by intervals of 2nds, Melodic (symbol M) by intervals of 3rd and Harmonic (symbol H) by intervals of 4th, 5th, 8th or higher. Then the progression of the simplicial melodic themes in the song will have a symbolic form like E.g.
H(+)M(-)H(-)M(+)C(-)M(+)H(+).......etc
The translation/transposition of a simplicial melodic theme retains its cahracter as chromatic , melodic or harmonic.
The inversion of a simplicial melodic theme inverses the + to - andthe - to +
The expansion/contraction of a simplicial melodic theme e.g. an expansion changes a chromatic to a melodic or harmonic and a melodic to an harmonic. A contraction changes an harmonic to a melodic or chromatic and a melodic to a chromatic.
MAINLY MELODIC IMPROVISATION WITH CHROMATIC DECORATIONS
There is a type of improvisation where the main and most often (at least 1/2 of the time) size of steps in the Improvisational "walking" is the intervals of 3rds in other words "meloding walking" , and in particular alternating major and minor 3rds. Then about 1/3 of the time we move with chromatic steps of intervals of 2nds, and particular when going up or down we oscillate around a note with an interval of 2nd (chromatic embellishments) and less often (less than 1/3 of the time) with harmonic intervals in other words intervals of 4ths, 5ths or larger than 8ths.
Such type of improvisation is quite often in folk Irish music or early New Orleans jazz. This is the cae also with Andes improvisational folk music with Zampona pan-flutes.
This type of improvisation works well in diatonic scales where there is maximum number of triad chords made from alternating intervals of major-minor 3rds. On the other had in chromatic minor scale (harmonic minor, double harmonic minor, melodic minor , parachromatic etc) the "walking" with intervals of 2nds is more convenient as there not many triad major or minor chords .
Such improvisation are to be contrasted with the usual "improvisational walking" e.g. of Stephane Grappelli which is mainly with steps by intervals of 2nds.
Similarly improvisational counter-melodies in Greek folk Bouzouki music which are mainly with steps by intervals of 2nds.
The keys to a nice flow of improvisation as expressed in many cultures folk music are
Simplicity in the harmony (triads of harmonic pairs of chords or triads of chords or only a pair of chords or a single power-chord)
Simplicity in melodic themes
Simplicity in rhythmic and pitch variations of the melodic themes and repetitions
IF THE CENTRAL ENTITY IN HARMONY IS THE TRIAD CHORD THE CENTRAL ENTITY IN MELODY IS THE MELODIC THEME AND IN PARTICULAR THE OVERSIMPLIFIED VERSION OF SIMPLE MELODIC MOVE BY AN INTERVAL AS TRACED IN SIMPLIFIED WAY BY THE SIMPLICIAL SUBMELODY.
Based on the above, the themes in the simplicial sub-melody as simple moves are of two polarities up (+) or down (-) and of three sizes Chromatic (symbol C) by intervals of 2nds, Melodic (symbol M) by intervals of 3rd and Harmonic (symbol H) by intervals of 4th, 5th, 8th or higher. Then the progression of the simplicial melodic themes in the song will have a symbolic form like E.g.
H(+)M(-)H(-)M(+)C(-)M(+)H(+).......etc
The translation/transposition of a simplicial melodic theme retains its cahracter as chromatic , melodic or harmonic.
The inversion of a simplicial melodic theme inverses the + to - andthe - to +
The expansion/contraction of a simplicial melodic theme e.g. an expansion changes a chromatic to a melodic or harmonic and a melodic to an harmonic. A contraction changes an harmonic to a melodic or chromatic and a melodic to a chromatic.
MAINLY MELODIC IMPROVISATION WITH CHROMATIC DECORATIONS
There is a type of improvisation where the main and most often (at least 1/2 of the time) size of steps in the Improvisational "walking" is the intervals of 3rds in other words "meloding walking" , and in particular alternating major and minor 3rds. Then about 1/3 of the time we move with chromatic steps of intervals of 2nds, and particular when going up or down we oscillate around a note with an interval of 2nd (chromatic embellishments) and less often (less than 1/3 of the time) with harmonic intervals in other words intervals of 4ths, 5ths or larger than 8ths.
Such type of improvisation is quite often in folk Irish music or early New Orleans jazz. This is the cae also with Andes improvisational folk music with Zampona pan-flutes.
This type of improvisation works well in diatonic scales where there is maximum number of triad chords made from alternating intervals of major-minor 3rds. On the other had in chromatic minor scale (harmonic minor, double harmonic minor, melodic minor , parachromatic etc) the "walking" with intervals of 2nds is more convenient as there not many triad major or minor chords .
Such improvisation are to be contrasted with the usual "improvisational walking" e.g. of Stephane Grappelli which is mainly with steps by intervals of 2nds.
Similarly improvisational counter-melodies in Greek folk Bouzouki music which are mainly with steps by intervals of 2nds.
When making a melodic improvisation the triad of choices are the next 3 (similar to the triad of choices in chord-progression improvisation of making a chord transition which is chromatic melodic or harmonic. The mutation or rotation may be considered a 4th decision but it essential a restart of the previous process.
1) TRANSLATE UP OR DOWN THE MELODIC THEME, CHROMATICALLY, MELODICALLY OR HARMONICALLY
2) INVERT THE MELODIC THEME CHROMATICALLY, MELODICALLY OR HARMONICALLY
3) EXPAND-CONTRACT THE MELODIC THEME WITHIN THE SCALE.
3) EXPAND-CONTRACT THE MELODIC THEME WITHIN THE SCALE.
4) ROTATE IMPROVISATIONALLY IN PLACE OR CREATE A NEW MELODIC THEME (MUTATION) IN PLACE , OR UP OR DOWN BY AN HARMONIC INTERVAL (4TH OR 5TH) OR INTERVAL LARGER THAN AN OCTAVE.
