73. Simple rules in composition and improvisation to pass from sadness to joy.

(This post has not been written completely yet)

See also posts 17 and 29.

Some rules for passing from sadness to joy in Harmony, melody and rhythm.

(They do not have  all of the rules have impressive effect. Some of the rules have subtle only effect towards  joy, in the over all emotional impact)
IN HARMONY 
1) Pass and close from minor chords to major chords as relative chords (e.g. as relative chords Em-->C , or Am--A7

2) Or from the triangle minor chords to the triangle of the major chords of the diatonic scale through the diatonic bridge. E.g. Em-->Am-->Dm (Dm7 bridge, or D7) --->G--->C--->G. (1st majorization). 


3) Pass from the triangle minor chords to the corresponding same root  triangle of  major chords 
E.g.  Em-->Am-->Dm  then E7-->A7-->D.(2nd majorization). 

4) Triad of major chords  center. The concept of majorization of triads of minor chords anchors already to sadness in advance before it turns  in to joy. There is a more happy setting, where we start from triads of major chords (defining a scale too) and we extend them to more majors (e.g. arcs of 6-8 chords on the wheel of 4ths) but we interpolate 1-2 minor chords in to every 5-6 major chords and we return again often to the initial triad of major chords! . 

5) Use a reverse resolution with minor chord , and then resolve to a straight resolution with major chords E.g. Em-->B7-->D7--G (instead of D7-->G-->B7-->Em ,we use here the similarity of the sound because of common notes of the B7 and D7. ). 
(Double Andaluzian cadenza 2nd majorization) Also from the e.g. Am->Dm majorize to E7->A So in total Am->Dm ->E7-A. This can me accomplished in more detailed way with a double Andaluzian cadenza like this (Am->Dm)->G7->C->F7->A#->(E7->A), where the odd and even chords in this sequence defone Andaluzian cadencas 4th apart (Am->G->F->E7, and 
Dm->C->A#->A)

6) Inverse a major-minor resolution (e.g. B7-->Em) to its major chord (here B) by utilizing the major Andalusian cadenza (Em-->D-->C-->B).(Simple Andaluzian cadenza 3rd majorization)

7) Pass from a resolution of one or two minor chords e.g.  X7-->(x+1), to one with both major chords  Y7-->Y+1 Slight majorization  E.g. From B7-->Em to D7-->G as in the progression B7-->Em-->C-->D7-->G. Notice here that the resolved chords Em and G are mutually relative. But the resolving cjords may also be complementary as in the following example.     e.g. E7->Am and then  starting from the major chord D(7), which is again a 4th further away , to resolve to G. In total E7->Am->D(7)->G. Or if we want it in triple form then  like this  B7-> Em->E7->Am->D(7)->G.

8) Other techniques of chord-progressions


9) Even for sad melodies do not use more than 1/3 of the total number of chord-instances as minor chords. The rest 2/3 should be with major chords. But for highly joyous songs use only major chords and rather few (2-3) than many. 


IN RHYTHM
1)For joy , use faster rhythm. 
2) Use rhythms that start with slow steps and end with faster steps e.g. (here 1 is hit and 0 is silence in the rhythm)
10001010
IN MELODY
1) Use ascending basic melodic patterns
2) In the intervals start with small and end with big. E.g. start with chromatic-diatonic speed and end with middle or high harmonic speed.
2) Close the final note of the melody at one octave higher (Ascenza instead of cadenza).
3) Use melodies with intervals of higher harmonic score (e.g. 5 or 7 ot 12 semiones, or 4th, 5th and 8th).
4) Descend in melody with small steps (1 semitone, and intervals of 2nd or minor 3rds ) and ascend with larger steps (intervals of major 3rds, 5th or octave).Ascending with larger steps that those of descending indicates favor of joy. E.g. Ascend with intervals of 2nd and major 3rd and descend with 2nds and minor 3rds. 
5) While ascending, accelerate ascending (meaning use large and larger steps, or larger distances up)Accelerating ascending indicates more joy, while decelerating ascending less joy. The converse with descending. E.g. Ascend by first intervals of 2nd then 3rd and finally 4th or 5th while descend at first with intervals of 5th or 4th, then 3rds and finally 2nds. 
6) Melodies that move with steps of minor 2nds and minor 3rds mainly may be called minor feeling melodies, while melodies that move with steps of major 2nds and major 3rds mainly may be called major-feeling melodies.


The reader is advised, to study the traditional music of the Andes , the traditional Irish tunes and the  traditional Greek islands music , where many of these rules are utilized.
E.g. 1) ANDES https://www.youtube.com/watch?v=EubmFMN832M
2) IRISH https://www.youtube.com/watch?v=Ruq19LS_lLE
3) GREEK ISLANDS https://www.youtube.com/watch?v=QOFK5Ey4XOc
https://www.youtube.com/watch?v=CHX0UuBXXCs