276. ALTERNATING HAPPINESS AND SADNESS IN SLOW MELODIC IMPROVISATION BY ALTERNATING MAJOR MINOR INTERVALS OF 3RD. THE ANCIENT 2-VOICES HARMONY:CELTIC MINOR AND MAJOR 6-NOTES SCALES

See alo post 208

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

THE 2-VOICES HARMONY:

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 in a diatonic or more general scale but who tries to listen also to the inner emotions, a good path is to walk by intervals 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. 

In a diatonic scale only in one place two consecutive intervals of 3rd are minor.

This type of walking intervals or vector-intervals (=intervals with all intermediate notes in a diatonic scale, see also post 183 1nd 159) In other words intervals closed together with all the intermediate notes of a 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 IN 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.


Thus these "recipes" of happiness (+) and sadness(-) would look like thsi

+++--+----++----+-+- etc

BECAUSE THE COMPLEXITY OF THIS 2-VOICES HARMONY IS LOW, IT IS SMORE CLEAR THAT ITS SIMPLICITY IS A LEVERAGE ONLY TO THE INNER FLOW OF NEW SEQUENCES OF EMOTIONS. SO IT IS MORE THAN  50% INNER FLOW AND LESS THAN 50% EXTERNAL FLOW OF MUSICAL SOUNDS.


THE HAPPY ENHARMONIC CELTIC MAJOR  6-NOTES SCALE

In a diatonic scale there are 3 intervals of major 3rd 1-3, 4-6 , 5-7 (e.g. in C major C-E, F-A , G-B) and 4 minor 2-4, 3-5, 6-1, 7-2. If we want a  scale with more happy intervals of 3rd (major) than sad (minor) then should start with the 3 major 3rds 1-3, 4-6 , 5-7, and create the 6-notes enharmonic generation scale 

1-3-4-5-6-7-1 (e.g. in C major C-E-F-G-A-B-C) with interval structure

4-1-2-2-2-1  

WE may call it the happy enharmonic CELTIC MAJOR 6-notes scale

Also in Japanese folk music are used a few enharmonic gendre 5-notes scales with more intervals of major 3rd than minor 3rd.

There is  of course the Celtic Minor scale which can be derived by the 3 minor 3rd intervals of the diatonic scale 2-4, 3-5, 6-1 or in C major

C-D-E-F-G-A-C with interval structure 2-2-1-2-2-3 (see also post  204 )



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).


AGAIN THE BEST INSTRUMENT TO PLAY SUCH IMPROVISATIONS IS THE CELTIC HARP! THE NEXT BEST IS PAN-FLUTES (SAMPONIA) AND SINGLE TUBE WINDS