MODES OF A SCALE AS LONGITUDINAL CHORDS AND AS A METHOD OF MACRO-SCALE /MIDDLE-SCALE MELODIC THEMES IMPROVISATION AND MODULATIONS FOR NON-POLYPHONIC INSTRUMENTS THAT DO NOT SUPPORT CHORDS.
We have discussed already in post 262 (also post 92) , how the 5-notes scale-closure of 3-notes chord, can serve as sub-scale for improvisations under tis chord,
We may apply this idea to power chord e.g. c-g-c' , which spans an octave , and consider as 5-fold closure of thispower chord the notes (in the example) c-e-g-a-c' or c-e-g-b-c'
Furthermore , even for a triad chord like the c-e-g, we may extend the concept to 2 alternative hexatonic scale, that can serve as space for melodic improvisation under this chord,
a) the c-d-e-f-g-a-c'
b) the c-d-e-f-g-b-c'
(see also post 92 )
Again because the notes of the chord c, e,g, c' are more than the notes outside the chord a melodic improvisation which spends time uniformly distributed among the notes, is a melody that is accompanied by the chord.
But also we may apply the rule that for a melody to be acompanied by a chord it is adequate that at least 50% of the time it is occupied by notes of the chord. (see post 111 , and 138 )
This rule was applied when we had improvisation in a diatonic scale, accompanied by the root-chord ofthe scale. (see post 138)
Or in general improvisations of any mode of the diatonic scale, accompanied by the chord of the first note of the mode.
(see also post 222 about the modes of the diatonic scale as triads of chords)
Here we claim that the harmony of each mode ofthe diatonic scale is the chord of its first note. So we have the next 7-cases
Therefore , instead of the five notes c-d-e-f-g. as sub-scale fitting the chord c-e-g, we may take all the major-mode 7-notes c-d-e-f-g-a-b-c'
It may be considered after all as a chord with 2nd, 4th, 6th and 7nth!
Therefore we may identify that the LONGITUDINAL CHORD=MODE of 7 notes, instead that the longitudinal chord e.g. of c-e-g is only the c-d-e-f-g. (see post 262 and post 292).
We create the micro-melodic themes usually from intervals of 2nds but sometimes from intervals of 3rds/4ths/5ths, within a mode and we translate and invert then either inside the mode-chord or by changing the mode by intervals mainly of 3rds, 4ths or 5th. (melodic, harmonic translations) and rarely by itervals of 2nds (chromatic translations)
2) THE MACRO-SCALE MELODIC THEMES ARE MAINLY FROM THE SIMPLICIAL SUB-MELODY AND REFLECT THE PATTERNS OF MODULATIONS (TRANSLATIONS) OF THE MICRO-MELODIC THEMES. THEREFORE THE CHORDS OF THE MELODY CAN BE TRACES EITHER AS SUBSCALES MODES-LONGITUDINAL CHORDS, OR AS SUBSETS OF TRANSLATIONS OF THE MICROMELODIC THEMES.
3) APLYING THIS TECHNIQUE OF MIDDLE-SCALE MELODIC-THEMES THAT ARE VARIED ACCORDING TO THE NOTES OF THE CHORDS AND THE CHORDS-TRANSITIONS AND ALSO INVERTED AND MUTATED AS WELL IS CREATED AN ENDLESS STREAM OF SOLOING MUSIC WITH HARMONY AND RECOGNIZABLE THEMES.
THE EMOTIONAL AFFECTION CENTER THAT TRADITIONALLY IS AT THE ACCOMPANYING CHORD, NOW IT IS AT THE MODE-LONGITUDINAL CHORD AND THEREFORE ALSO AT EACH NOTE OF THE MACRO-SCALE MELODIC THEME (WHICH AS WE SEE IN POST 292 CORRESPONDS AND EXPANDS ALSO TO THE MIDDLE-SCALE MELODIC THEME. THUS USUSALLY AT 60 bpm WHICH IS USUALLY THE RHYTHM OF A CALM HEART.
THE DANCING-KINETIC AFFECTION IS FOUND AT THE MIDDLE-SCALE AND MICRO-SCALE MELODIC THEMES. THEREFORE USUALLY AT 240-480 bpm.
We have discussed already in post 262 (also post 92) , how the 5-notes scale-closure of 3-notes chord, can serve as sub-scale for improvisations under tis chord,
We may apply this idea to power chord e.g. c-g-c' , which spans an octave , and consider as 5-fold closure of thispower chord the notes (in the example) c-e-g-a-c' or c-e-g-b-c'
Furthermore , even for a triad chord like the c-e-g, we may extend the concept to 2 alternative hexatonic scale, that can serve as space for melodic improvisation under this chord,
a) the c-d-e-f-g-a-c'
b) the c-d-e-f-g-b-c'
(see also post 92 )
Again because the notes of the chord c, e,g, c' are more than the notes outside the chord a melodic improvisation which spends time uniformly distributed among the notes, is a melody that is accompanied by the chord.
But also we may apply the rule that for a melody to be acompanied by a chord it is adequate that at least 50% of the time it is occupied by notes of the chord. (see post 111 , and 138 )
This rule was applied when we had improvisation in a diatonic scale, accompanied by the root-chord ofthe scale. (see post 138)
Or in general improvisations of any mode of the diatonic scale, accompanied by the chord of the first note of the mode.
(see also post 222 about the modes of the diatonic scale as triads of chords)
Here we claim that the harmony of each mode ofthe diatonic scale is the chord of its first note. So we have the next 7-cases
(that is chords on their 1st 4th and 5th step, and we symbolize by m=minor M=major d=diminsihed.
1. IONIAN (1M)
2. DORIAN (2m)
3. PHRYGIAN (3m)
4. LYDIAN (4M)
5. MIXOLYDIAN (5M)
6. AEOLIAN (6m)
7. LOCRIAN (7d)
Therefore , instead of the five notes c-d-e-f-g. as sub-scale fitting the chord c-e-g, we may take all the major-mode 7-notes c-d-e-f-g-a-b-c'
It may be considered after all as a chord with 2nd, 4th, 6th and 7nth!
Therefore we may identify that the LONGITUDINAL CHORD=MODE of 7 notes, instead that the longitudinal chord e.g. of c-e-g is only the c-d-e-f-g. (see post 262 and post 292).
Therefore when improvising either as a single instrument (as in post 292 ) or with chord accompanying (as in post 294 ), and especially when our improvisation instrument is essentially not support polyphonic chords (like a flute, clarinet, saxophone, panflute, Lyra, violin, mandolin etc)
We may apply all we know and perceive about the role of chords in improvisation to the Longitudinal chords-modes of the scale. So the effect of changing the chord, and also the hidden simplicity of the underlying chords-cycle is translated here as the hidden simplicity of longitudinal-chords-modes cycle. The improvisaion at worse is of about equal time among the notes,but it is better if we spend more time on the notes of ofthe root-chord of the mode.
From this point of view the main 3-relations of the modes are
a) Chromatic : (the roots are in a diatance of 2nds or inverses
b) Melodic : (the roots are in a distance of 3rds or inverses)
c) Harmonic: (the roots are in a distance of 4ths or 5ths )
BECAUSE THE HARMONY OF THE CHORDS OF A MELODY IS A HIDDEN SIMPLICITY IT IS CRUCIAL IN MODERN MELODIC IMPROVISATIONS TO INDENTIFY THIS SIMPLICITY ON THE OBSERVABLES OFCTHE MELODY.
Hereis an example of improvisation that utilizes thsi idea,over 12-bar blues chord cycle
C-G-D, Normally all the chords together are in the G-major scale. Here the musician takes one step further : Each time he is in one of the chords C-G-D he considers that he is in the Ionian mode of C major scale of G major scale and D major scale,and still ...other relevant scales.
https://www.youtube.com/watch?v=OMpD_cwyTzI
THE EMOTIONAL AFFECTION CENTER THAT TRADITIONALLY IS AT THE ACCOMPANYING CHORD, NOW IT IS AT THE MODE-LONGITUDINAL CHORD AND THEREFORE AT EACH NOTE OF THE MACRO-SCALE MELODIC THEME (WHICH AS WE SEE IN POST 292 CORRESPONDS AND EXPANDS ALSO TO THE MIDDLE-SCALE MELODIC THEME.
1) THE CYCLE OF THE MODES AND THEIR 3-RELATIONS (CHROMATIC-MELODIC-HARMONIC) DEFINE THE MODULATIONS-TRANSLATIONS OF THE MIDDLE-SCALE MELODIC THEMES
THE MIDDLE-SCALE MELODIC THEMES ARE MOST OFTEN CRATED OVER THE BASIC RHYTHMIC PATTERN. THEY MAY BE CONSIDERED IN DANCING SONGS AS PERCURSION INSTRUMENT AND CONTAIN THE MICRO-SCALE MELODIC THEMES. THE MICRO-SCALE MELODIC THEMES ARE USUALLY MADE FROM INTERVALS OF 2NDS (CHROMATIC-RHYRHMIC MELODIC MICRO-THEMES). NEVETHELESS IN IRISH FOLK MUSIC EVEN THE MICRO-THEMES ARE FROM INTERVALS OF 3RDS OR 4THS/5THS (MELODIC-HARMONIC-RHYTHMIC MICRO-THEMES). WHILE THE MISSLE-SCALE MELODIC THEMES WHEN THEY MOVE INSIDE THE MODE-LONGITUDINAL-CHORD ARE TRANSLATED BY INTERVALSOF 3RDS AND 4THS/5THS.
THEY ARE USUALLY WAVES AND EMBELISHMENTS AROUND SINGLE NOTES (OF THE UNDERLYING CHORD) AND START OR/AND END ON THIS NOTE
WE SHOULD DISCRIMINATE BETWEEN TRANSLATIONS OF THE MICRO-SCALE MELODIC THEMES WITHIN A MODE-LOMGITUDINAL CHORD (CALLED ALSO ROTATIONS) AND TRANSLATIONS AMONG MODES-LOMGITUDINAL CHORDS (CALLED ALSO MODULATIONS) .
THE MOST OBVIOUS TRANSLATIONS-ROTATIONS OF MICRO-THEME INSIDE A CHORD IS OF COURSE BY THE INTERVALS OF THE CHORD OT INVERSIONS OF IT, THSU 3RDS, 4THS/5THS.
A longitudinal-chord-mode should contain melodic micro-themes, that are translated, inverted, and mutated by changing mode (modulations) or moving inside the mode.
From this point of view the main 3-relations of the modes are
a) Chromatic : (the roots are in a diatance of 2nds or inverses
b) Melodic : (the roots are in a distance of 3rds or inverses)
c) Harmonic: (the roots are in a distance of 4ths or 5ths )
BECAUSE THE HARMONY OF THE CHORDS OF A MELODY IS A HIDDEN SIMPLICITY IT IS CRUCIAL IN MODERN MELODIC IMPROVISATIONS TO INDENTIFY THIS SIMPLICITY ON THE OBSERVABLES OFCTHE MELODY.
Hereis an example of improvisation that utilizes thsi idea,over 12-bar blues chord cycle
C-G-D, Normally all the chords together are in the G-major scale. Here the musician takes one step further : Each time he is in one of the chords C-G-D he considers that he is in the Ionian mode of C major scale of G major scale and D major scale,and still ...other relevant scales.
https://www.youtube.com/watch?v=OMpD_cwyTzI
THE EMOTIONAL AFFECTION CENTER THAT TRADITIONALLY IS AT THE ACCOMPANYING CHORD, NOW IT IS AT THE MODE-LONGITUDINAL CHORD AND THEREFORE AT EACH NOTE OF THE MACRO-SCALE MELODIC THEME (WHICH AS WE SEE IN POST 292 CORRESPONDS AND EXPANDS ALSO TO THE MIDDLE-SCALE MELODIC THEME.
1) THE CYCLE OF THE MODES AND THEIR 3-RELATIONS (CHROMATIC-MELODIC-HARMONIC) DEFINE THE MODULATIONS-TRANSLATIONS OF THE MIDDLE-SCALE MELODIC THEMES
THE MIDDLE-SCALE MELODIC THEMES ARE MOST OFTEN CRATED OVER THE BASIC RHYTHMIC PATTERN. THEY MAY BE CONSIDERED IN DANCING SONGS AS PERCURSION INSTRUMENT AND CONTAIN THE MICRO-SCALE MELODIC THEMES. THE MICRO-SCALE MELODIC THEMES ARE USUALLY MADE FROM INTERVALS OF 2NDS (CHROMATIC-RHYRHMIC MELODIC MICRO-THEMES). NEVETHELESS IN IRISH FOLK MUSIC EVEN THE MICRO-THEMES ARE FROM INTERVALS OF 3RDS OR 4THS/5THS (MELODIC-HARMONIC-RHYTHMIC MICRO-THEMES). WHILE THE MISSLE-SCALE MELODIC THEMES WHEN THEY MOVE INSIDE THE MODE-LONGITUDINAL-CHORD ARE TRANSLATED BY INTERVALSOF 3RDS AND 4THS/5THS.
THEY ARE USUALLY WAVES AND EMBELISHMENTS AROUND SINGLE NOTES (OF THE UNDERLYING CHORD) AND START OR/AND END ON THIS NOTE
WE SHOULD DISCRIMINATE BETWEEN TRANSLATIONS OF THE MICRO-SCALE MELODIC THEMES WITHIN A MODE-LOMGITUDINAL CHORD (CALLED ALSO ROTATIONS) AND TRANSLATIONS AMONG MODES-LOMGITUDINAL CHORDS (CALLED ALSO MODULATIONS) .
THE MOST OBVIOUS TRANSLATIONS-ROTATIONS OF MICRO-THEME INSIDE A CHORD IS OF COURSE BY THE INTERVALS OF THE CHORD OT INVERSIONS OF IT, THSU 3RDS, 4THS/5THS.
A longitudinal-chord-mode should contain melodic micro-themes, that are translated, inverted, and mutated by changing mode (modulations) or moving inside the mode.
We create the micro-melodic themes usually from intervals of 2nds but sometimes from intervals of 3rds/4ths/5ths, within a mode and we translate and invert then either inside the mode-chord or by changing the mode by intervals mainly of 3rds, 4ths or 5th. (melodic, harmonic translations) and rarely by itervals of 2nds (chromatic translations)
2) THE MACRO-SCALE MELODIC THEMES ARE MAINLY FROM THE SIMPLICIAL SUB-MELODY AND REFLECT THE PATTERNS OF MODULATIONS (TRANSLATIONS) OF THE MICRO-MELODIC THEMES. THEREFORE THE CHORDS OF THE MELODY CAN BE TRACES EITHER AS SUBSCALES MODES-LONGITUDINAL CHORDS, OR AS SUBSETS OF TRANSLATIONS OF THE MICROMELODIC THEMES.
WHEN THE VIOLIN-LYRA IS TUNED WITH OVERTONE TUNIGS LIKE 4-3M-3m (e.g. g-major: D4-G4-B4-D5 , OR f-major: C3-F4-A4-C4 OR c-major: G3-C4-E4-G4) then the strings are the Ionian, Frygian and Myxolydian modes,and trabsfering the micro-theme transversal onanother sring is always an interval of 3rd, 4th/5th thus easy to realisze the improvisation. Even if the violin-lyra is tuned by 4-3M-4 (e.g. g-major: D4-G4-B4-E5 , OR f-major: C3-F4-A4-D4 OR c-major: G3-C4-E4-A4) , by changing the string we have transposition of the theme by 4th , or 3rd , and still is more or lesspossible and convenient. We may have the default diatonic scale of the violin-lyra marked on the fretboard, and usethe patternsof the 3-notes chords as patterns of the centers for translations ofthe micro-themes. If the instruments is flute, panflute, etc no such convenience,but still intevals of 3rd, 4th/5th are easy to visualize on the finger-holes.
3) APLYING THIS TECHNIQUE OF MIDDLE-SCALE MELODIC-THEMES THAT ARE VARIED ACCORDING TO THE NOTES OF THE CHORDS AND THE CHORDS-TRANSITIONS AND ALSO INVERTED AND MUTATED AS WELL IS CREATED AN ENDLESS STREAM OF SOLOING MUSIC WITH HARMONY AND RECOGNIZABLE THEMES.
THE EMOTIONAL AFFECTION CENTER THAT TRADITIONALLY IS AT THE ACCOMPANYING CHORD, NOW IT IS AT THE MODE-LONGITUDINAL CHORD AND THEREFORE ALSO AT EACH NOTE OF THE MACRO-SCALE MELODIC THEME (WHICH AS WE SEE IN POST 292 CORRESPONDS AND EXPANDS ALSO TO THE MIDDLE-SCALE MELODIC THEME. THUS USUSALLY AT 60 bpm WHICH IS USUALLY THE RHYTHM OF A CALM HEART.
THE DANCING-KINETIC AFFECTION IS FOUND AT THE MIDDLE-SCALE AND MICRO-SCALE MELODIC THEMES. THEREFORE USUALLY AT 240-480 bpm.
WE MUST NEVER FORGET THAT A FAST MELODIC INSTRUMENTAL PLAYING IS NOT ALWAYS THE BEAUTY IN MUSIC.
IN THE GOOD IMPROVISATION IT IS THE (USUALLY SLOW) FLOW OF THE EMOTIONS THAT MUST SHAPE THE KINETIC ACTION OF THE FINGERS ON THE INSTRUMENT AND MELODY AND NOT THAT THE HABIT OF THE ACTION OF THE FINGERS ON THE INSTRUMENT AND MELODY THAT SHOULD SHAPE THE FLOW OF THE EMOTIONS!
The micro-scale melodic themes , when they are inside a chord (rotations) are mainly of 4 types
micro or macro-chromatic and melodic , harmonic.
1) oscillations around a note of the chord. (micro-chromatic) E.g. if 1 is the note and 0note not inthe chord , then patterns like 1-1-0 (70% in the chord) or 1-0-1-0 (50% in the chord)
2) Up-down wavings-arpeggios within the scale-chromatic closure of the chord
(macro-chromatic) (or vector-chord) E.g if c-e-g is the chord then c-d-e-f-g-f-e-d-c (60% in the chord) . The chromatic closure of the chord is within the diatonic scale, but it may be with blue or chromatic notes so instead of natural mnor it may have harmonic or double harmonic minors. Sometimes with still different blue notes like 5#, or 1# or 4# or 7b.
Pure-chord arpeggios (melodic or harmonic) . e.g. if if c-e-g is the chord then e.g. c-e-g-e-c etc (100% in the chord)
The pure-chord arpeggios are mainl of two types
3)the melodic from intervals of 3rds (e.g. c-e-g-e-c)
4) The harmonic that are arpeggios of the included power chord e.g. c-g-c'-g-c
Of course after the basic 4 types there are mixed types e.g. pure arpegio with micro-chromatic (which is very often in Irish folk music) etc
micro or macro-chromatic and melodic , harmonic.
1) oscillations around a note of the chord. (micro-chromatic) E.g. if 1 is the note and 0note not inthe chord , then patterns like 1-1-0 (70% in the chord) or 1-0-1-0 (50% in the chord)
2) Up-down wavings-arpeggios within the scale-chromatic closure of the chord
(macro-chromatic) (or vector-chord) E.g if c-e-g is the chord then c-d-e-f-g-f-e-d-c (60% in the chord) . The chromatic closure of the chord is within the diatonic scale, but it may be with blue or chromatic notes so instead of natural mnor it may have harmonic or double harmonic minors. Sometimes with still different blue notes like 5#, or 1# or 4# or 7b.
Pure-chord arpeggios (melodic or harmonic) . e.g. if if c-e-g is the chord then e.g. c-e-g-e-c etc (100% in the chord)
The pure-chord arpeggios are mainl of two types
3)the melodic from intervals of 3rds (e.g. c-e-g-e-c)
4) The harmonic that are arpeggios of the included power chord e.g. c-g-c'-g-c
Of course after the basic 4 types there are mixed types e.g. pure arpegio with micro-chromatic (which is very often in Irish folk music) etc
IN THE GOOD IMPROVISATION IT IS THE (USUALLY SLOW) FLOW OF THE EMOTIONS THAT MUST SHAPE THE KINETIC ACTION OF THE FINGERS ON THE INSTRUMENT AND MELODY AND NOT THAT THE HABIT OF THE ACTION OF THE FINGERS ON THE INSTRUMENT AND MELODY THAT SHOULD SHAPE THE FLOW OF THE EMOTIONS!
