In previous posts we have defined an at least 2 layer structure of melodies. The 1st simplicial sub-melody where for each chord there is one note of it/ The chord relation usually are translated to intervals among the notes of the 1st simplicial sub-melody. Nevertheless if the chord sounds for many measures (bars) as e.g. in 12 bars Blues, then we may have a 3 layer structure of the melody and a 2nd simplicial sub-melody with notes inside a chord which are essentially an arpeggio of the chord To this we add the 3rd last layer of chromatic waving mainly with intervals of 2nds (tails) . This 3-layers structure of the melodies and the corresponding 3-speeds in a melody ( harmonic, melodic (arpeggios) , chromatic(tails)) is the key to understand but also to compose beautiful melodies
For example for Aegean islands (Greece) improvisational folk melodies (mandinades) condylies) with violin or Lyra, the next factors prevail.
1) "Poetic meters" over the same note sometimes notes up to 8 notes. The density of the notes is high. E.g. with 4 notes per measure-bar and a beat of 80-100 bars per minute gives a tempo of 320-400 beats-notes per minute.
2) Straight vectors ascending or descending usually of 4 or 5 notes so as to reach a new chord neighborhood.
3) Mainly waves by intervals of 2nds (chromatic) inside intervals of 3rds (melodic, either standing or ascending descending, and usually inside a chord so as to reach the neighborhood of a new chord. The simplistic sub-melody of such a waving melody is essentially an arpeggio of the underlying chord.
4) The overtones tuning of string instruments and the way the trombone and in general brass instruments functions are perfect matches for this general melodic -chromatic structure of the melodies in improvisations. Similarly for the melodic-chromatic 2-dimensional arrangement of notes in the Music Pro.
