74. Monotone meditating Harmonic, Melodic and Rhythmic musical improvisational Flow (Mesmerizing or hypnotizing meditating music).

This post have not being completely  written written

THE KEY-WORD HERE IN THE 4TH GENERATION DIGITAL MUSIC FOR THE MUSICAL-THEORETIC IDEAS OF THIS   POST (AS FAR AS MORDEN SOFTWARE FOR MUSIC MAKING IS ) IS MELODY-SEQUENCERS .

It is also very much related with improvisation over a loops or cycles of chords, initially one only or 2 only or 3 only etc. 

THE TERM  SEQUENCER MEANS HERE A LOOP OR RHYTHMIC CYCLE OF   A  MELODIC THEME THAT IS VARIATED INTERACTIVELY BY THE USER  IN A MELODIC SEQUENCER.

THERE MANY GOOD SOFTWARE PROGRAMS FOR THIS COMPOSITION AND IMPROVISATION LIKE FUGUE MACHINE, YAMAHA MOBILE SEQUENCER, THUMPJAM ETC. ALAO ARPIO  AND ARPEGGIONOME FOR GENERAL ARPEGGIOS ALTERNATED WITH MELODIC IMPROVISATIONS

This is a technique of improvisation best expressed with the hang instrument (see e.g. https://en.wikipedia.org/wiki/Hang_(instrument)  or https://www.youtube.com/watch?v=Sp5dgy8UDKs )  . But in older decades such monotone improvisation had been also composed and conducted by Keith Jarrett on piano. Also Estas Tonne composes and imprivises such music with the guitar.

https://www.youtube.com/watch?v=GBiVq2MsCbs

https://www.youtube.com/watch?v=xk3BvNLeNgw

https://www.youtube.com/watch?v=747hJQNJpeg

https://www.youtube.com/watch?v=7gphiFVVtUI

Other guitarts too:

https://www.youtube.com/watch?v=ZQLlDdsG-RE

And the remarkable Alexey Arkhiphsky with his balalaika

https://www.youtube.com/watch?v=LwOm325P9wE

https://www.youtube.com/watch?v=q7qd0LP6ALY

https://www.youtube.com/watch?v=WACPdHhZTUo

https://www.youtube.com/watch?v=WACPdHhZTUo

We will discuss below its morphological, harmonic, and emotional properties.

The key ideas are

1)  Harmonic structure =minimal (e.g. a triad Bm-Em-Am but varied with 7th and 6ths)
2) Rhythm, fast but chord duration=maximal
3) Soloing=minimal
4) Chord Harping=maximal
5) Octaves variation across the fretboard=maximal (like improvising one note on many octaves)
6) Volume variations=maximal
7) Pitch ascension, descending by octaves=maximal
8) Ocean feeling=maximal

In such a music the temporarily monotone rhythm plays the most important  important role. But the rhythmic patterns change inside the song, which we may call rhythmic modulations, as the modulation of scales exist  in other kinds of music. The rhythm and melody blend strongly. We might call it melodic/harmonic percussion flow  The melodic themes structure of the melody exists also in such a music but the strongest elements here is the basic monotone melodic-rhythmic-harping. The harmony is minimal in such music. Usually two chords alternating, and any one of them may be substituted by a relative etc. Melodic structure is of intermediate complexity. So the recipe here is maximal rhythm, minimal harmony and intermediate to minimal melodic structure.

The chords behind such improvisations of the hang instrument are usually, a repetitive alternation of two chords, rarely more. 
Thus improvisations with one or two notes bass and internal melodic bridges of a chord with their 1-string melodic sub-themes , as in post 72, become important as a single chord may last for quite of a time duration. This improvisation may be called BASS-AND-INTERNAL BRIDGES OF A SINGLE CHORD.
A most lovely technique is that the bridges and 1-string sub-themes have diatonic density or speed (made from intervals of 2nd) and waving up or down in the way that Stephan Grappelli has shown how to do it, without knowing what you are doing.....!!!

SINGLE CHORD IMPROVISATION: We may as well alternate the root chord of a scale as power chord (only an  interval of 5th) with melodic themes (of 3 or 4 notes and inside  a three-chord or tetrachord ) based on each of the  the 3 notes of the root 3-notes or 4 notes chord and translated or inverted melodically by intevals of 3rd across the 3 or 4 notes of the roor chord. 

E.g. in  the Dorian mode of the C diatonic sacle and with an harp,  here

https://www.youtube.com/watch?v=NomPFFmycDo&ab_channel=rharp111

https://www.youtube.com/watch?v=9BD1y0TOk3o&t=774s&ab_channel=Buddha%27sLounge

IN HARP THE CORRESPONDING EXAMPLE IS EDGAR  CASTANEDA

https://www.youtube.com/watch?v=0SNhAKyXtC8

https://www.youtube.com/watch?v=D07aTglESlE

https://www.youtube.com/watch?v=Wi2K7qU85wI

https://www.youtube.com/watch?v=qkPmrn97rE8&t=34s


https://www.youtube.com/watch?v=0Ofc9hdMHNM


There is a similar type of music with flute or /and vocals.

e.g. Shastro music here https://www.youtube.com/watch?v=i7YsFn22F1g

https://www.youtube.com/watch?v=mi2WtNfmfJI&list=PLV1q2ZPK3-lCbyLxCrLC3v8HmBB3B8s8o

https://www.youtube.com/watch?v=bjLZujyt-Dw&t=542s
etc

The characteristics of this type of improvisation are:

1) The monotone continuous background sounding of the root of a single diatonic scale

2) Rather slow (like whales or dolphin whistles).



3)  Melodic themes, of this single diatonic scale that are mainly independent and integrate their meaning by themselves and not by the plot and combination of them.

4) The beauty of the total melody is its statistics of its "Dolphin words" (order-topological shapes of melodic themes) 

5) If one wants to add more clear harmony inside the scale, he could "walk" all the sequence of chords by 4ths"  iii7->iv7->ii7->V7->I7->IV7->iii7 etc


Here are  also similar examples of such music by the remarkable  Alexei Arkhipovskiy and his prima Balalaika tuned in E4 E4 A4

https://www.youtube.com/watch?v=CIaL-mrWOWA&t=1803s

https://www.youtube.com/watch?v=CIaL-mrWOWA&t=1803s

https://www.youtube.com/watch?v=tBz7qIG-eP4&t=155s




An relatively easy and safe way to produce such  mesmerizing  monotone but beautiful flows of improvisation , is to use scale of chords as in post 148. And in particular a very familiar  scale of chords that are the chords of diatonic scale:

I , ii, ii, IV, V vi, vii, I'

and in addition to an instrument tuned by the harmonic tuning (see post 90) so that there is a densest possible opportunity of major or minor chords per number of frets.

Some of the variation techniques to walk this scale of chords are

1) Walk in the chromatic order up and down (all then only odds then only even) 

2) Walk in the relative chords order up and down

3) Walk in the resolution or harmonic order by 4ths or 5th order up and down

4) Walk only the minor chords first descending and then the major chords ascending 

5) Walk in the 4-notes chords (major 7nth extension of the chords) up and down, all then only even then only odd

6) Walk in a half scale (in the chromatic order) up down then other half  up and down.


7) Walk in a random way either 3-note chords or 4 notes chords

Of course instead of the chords of  a scale of notes as above  we could as well in general take a scale of chords (as in post 148) and use the same method as above.


See also post 150, for appropriate minimal 3-notes chord-shapes for improvisation "in the flow"

ASCENDING OR DESCENDING AT WILL THE MELODIC BRIDGES IN CHORD CHANGES.

The alternative positions of the D, A, E shape chords in the 2nd, 3rd and 4th neighborhood of the fret-board (see post 13 ) has a utility by far more than just varying the sound and voicing of the chords! Its main utility is in creating melodic bridges among chords in chord transitions so that the bridge will be ascending or descending from one octave to a higher or lower, without altering its start and end chords! If we had to play these melodic bridges while playing at the same time only open chords we would have to alter ascending such bridges by re-entrance to a lower octave to descending and vice versa. But with the chords distributed among the 3 neighborhoods, we may do as we like with the ascending or descending character of the melodic bridges!

Also songs from the population of the Republic of Cabo Verde are very close to this type of music, as they have a very stable rhythmic pattern and  simple harmonic repetition mainly of two only chords (in relation of resolution or complementary chords but it could be also relative chords see post 20 ) with few and rare only intermediate variations instead of peak or refrain (variations mainly by relative chords  or parallel resolution progressions, see post 29, or other chords that are resolving to or from the repeating chord  ) and close with perpetual repetition of falling volume.

E.g.
https://www.youtube.com/watch?v=4t5nI91ZQ8o&list=PL48IoyMTLatRzcbLU0iF1AjyurICD2sjo&index=1

In general, we may compose such music by repeating not only two chords, with variations, but a chord progression with variations (see post 17) and there are 3 basic types of chord progressions

THEN 3-BASIC  TYPES OF CHORD PROGRESSIONS ARE 

1) RELATIVES CHORD PROGRESSIONS (usually good for melodies of chromatic or diatonic density or speed see post 68)

2) SUCCESSIVE RESOLUTIONS CHORD PROGRESSIONS (usually good for melodies of  diatonic or low harmonic density or speed , see post 68)

3) COMPLEMENTARY CHORDS PROGRESSION (usually good for melodies of   low or high harmonic density or speed , see post 68)

IN A SONG A PROGRESSION MUST NOT BE CONSIDERED STATIC. IT IS RECOGNIZED BY THE FACT THE IT REPEATS. BUT EACH TIME IT REPEATS IT MAY ALSO VARY SLIGHTLY, MAINLY BY SUBSTITUTING ONE OF ITS ELEMENT CHORD ,WITH ANOTHER CHORD IN THE OTHER TWO RELATIONS THAT THE PROGRESSIONS IS NOT MAINLY MADE OF (E.g. A PROGRESSION OF SUCCESSIVE RESOLUTIONS AS IT REPEATS MAY VARY SO THAT AN ELEMENT OF IT, IS SUBSTITUTED WITH A RELATIVE CHORD OF THE ELEMENTS SEE E.G. A11 BELOW) 

See also post 17.

Examples of such monotone chord progressions are the 

1) Pair of relative chords. Resolutions to two relative chords one minor one major. E.g. Here the two relative chords are the G, and Em, and the resolutions are  B7->Em, and D7->G, So in total the repeating progressions is (B7->Em) n times then -> (D7->G) n-times or 

(B7->Em-> D7->G) n-times 

or starting from a different chord E7->A->Db->F#m

2) Pair of complementary chords. Resolutions to two complementary chords one minor one major. E.g. Here the two complementary  chords are the G, and Am, and the resolutions are D7->G, and E7->Am, so in total the repeating progressions is (E7->Am) n times then -> (D7->G) n-times or 

(E7(Bdim7)->Am-> D7->G) n-times 

Or staring from a different chord it could be e.g.

(B7->E-> Db7(Bdim7)->F#m) n-times  

or  E7->A->F#7->Bm
etc

We may also combine 1) and 2) E.g. first complementary pair E7->A->F#7->Bm and then pair of relatives  E7->A->Db->F#m, so in total we may chave the progression

E7->A->F#7(Gdim7)->Bm->E7->A->Db->F#m->B7->E repeating as cycle of chords The latter can be conceived also as two pairs of complementary chords the A-Bm and E-F#m so we may group its as follows

(E7->A->F#7(Gdim7)->Bm->E7->A)->(Db->F#m->B7->E) n-times

Or starting from G it would be

(G7->C->A7(Gdim7)->Dm->G7->C)->(E->Am->D7->G) n-times

We notice that the pairs of complementary chords  C-Dm and G-Am are in successive resolutional relation, that is why the total progressions is so well fitting.

And this progression may be endowed with repeating melodic pattern which occupies the transitions of the chords E7->A, F#7->Bm, Db->F#m,B7->E, different pairs of chords still the same pitch dynamics patterns which shifts of course to fit the chords. 

Starting from D it would be

(D7->G->E7(Bdim7)->Am->D7->G)->(B7->Em->A7->D) n-times

An example of such a song is the next Capullito De Alheli

https://www.youtube.com/watch?v=b0haDFhsAW0

3) Pair of successive resolution chords. Resolutions to two successive resolution chords one minor one major. E.g. Here the two successive resolution  chords are the E7, and Am, and the resolutions are B7->E, and E7->Am, so in total the repeating progressions is (B7->E) n times then -> (E7->Am) n-times or 

(B7->E-> E7->Am) n-times 

4) Pair of successive resolution chords substituted with relatives. Resolutions to two successive resolution chords . E.g. Here the two successive resolution  chords are the G7, and C, and the substitutions are G7->Em, and C->Am, so in total the repeating progressions is (G7->Em) n times then -> (C->Am) n-times or 

(G7->Em-> C->Am) n-times 


ETC (more such examples and cases of repeating pairs of chords can be listed)

The 3 elementary melodic themes, as we mentioned earlier (e.g. in posts  66 and 69 ) , are  the ascending melodic interval of two notes, the isokratic melodic interval of two equal notes and the descending melodic interval of two notes.

The 3 basic transformations of them are

1) the translation (either with intervals of 2nd , (or diatonic density) or intervals of 3rd (or middle harmonic density) or  of intervals of 4th or 5th (or high harmonic density))

2) The inversion where the ascending move becomes descending.

3) Rhythm transformation (which may vary)

The 5 basic melodic moves (see e.g. post 69)  , being more complicated have more types of transformations, as derived by the writing in a pentagram :

1) Translation (modulation, or transposition)

2) Inversion relative to a point

3) Reflection relative to an horizontal line

4) Reflection relative to a vertical line.

5) Rhythm transformation

to the above five we may add the

6) Acceleration (e.g. from the diatonic speed or density to the middle harmonic speed or density) or Deceleration (vice-versa).

Bach has often used the above 6 transformations in his fugue.

More complicated  ways to transform a theme are at least the next 5 and combinations of them (see also post 41)

1) Translate it in different pitches (within a scale or not changing possibly the pitch distances )

2) Translate in time (repeat it)

3) Invert it in time or change its rhythm (if at the begging is slower and at the end faster it will be now the reverse etc)

4) Invert it or distort it in pitch (Create 1st 2nd 3rd or 4th voice versions, utilizing the chord progression as rules of transformation of the theme, or if it is ascending now it will be descending etc)

5) Change it as morphology  (from a non-waving ascending it may become waving ascending or isocratic). We prefer spikes and scaling as the main morphological types, while the waving and isocratic as intermediate bridges. 

Often melodic bridges from a chord to the next, may start with harmonic speed or density covering the first chord A and then decelerate to diatonic speed or density when reaching to the next chord B

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

72. The importance of the starting and ending notes of a transformed melodic theme, as simplicial submelody. The simplicial submelody as the channel of the full melody and centers of the middle melodic themes

We have described in post 9, 63, 65 how chord-transition melodic moves can be composed. 

 1) Chromatic simplicial sub-melody. A second a but more sophisticated way is to do exactly the same except that the 1st voice is defined not by the highest note in the chords but through the simplicial submelody.  The simplicual submelody is defined by the next rules. 
1.1) When two successive chords of the chord progression have notes that are one semitone distance only, we chose these two notes as notes of the simplicial sub-melody. For reasons of flexibility we allow two notes per chord if necessary. This happens for all cases that the two consecutive chords in a diatonic scale that are at roots distance of an interval of pure 4th (5 semitones) or pure 5th (7 semitones) or if they are mutually complementary chords (with roots of one step of  the scale apart). In general it is a good idea to chose as notes of the simplicial submelody for two successive chords in the chord progression, two notes, one from each chord with the minimum distance in semitones from the notes of the two chords. And alternatively for a 2nd voice we may take the 2 notes in the chords respectively with the maximum distance  between them for maximum action of waving movements! This in general may lead to two notes per chord in the chord progression, the second note is reserved for the 2nd voice etc.  The more correct rule to find the simplicial submelody  is as few notes per chord as possible that give the basic feeling of the melody. 
1.2) If the two consecutive chords are mutually relative with two common notes, the notes of the simplicial submelody for each chord are either a common note or the note that the other chord does not contain! 
1.3) Chromatic links simplicial submelody (also bass lines) In general we may have the next rule. If X1, X2 are two succesive chords of the chord progression, and we are at X1, a chromatic ling or chromatic bridge  is defined by finding two notes a1 in X1, a2 in X2, so taht a1-a2 is at the minimum interval distance among all other chord notes. Then the chromatic link starts with a1, b1,b2....,bn,a2 , and with a2 and all the intermediate steps are one semitone distance. 

The previous rules of minimum distance notes and disjoint notes of relative chords for two consecutive chords of the chord progression, determine at least one simplicial sub-melody for each chord progression! We may allow two notes per chord for reasons of flexibility. Then we extend as in 1) the simplicial submelody to the full melody where the original simplicial submelody are centers of the full melody. This means notes that sound more time than the other notes. The rules of the simplicial sub-melody give a  more passionate melody with conflicts and resolutions according to the chord progression. After we defined fine the notes of the simplicial sub-melody, then we  create the full melody by composing bridges between its notes , with other sizes of intervals. 


1.2.1) Minimal chromatic drone sub-melody (MCD sub-melody).
This simplicial sub-melody is like the chromatic sub-melody, except that we utilize preferably the common notes of the chords, and we require it  
1.2.2) of as few notes as possible and
1..2.3)  of as little distance as possible. 
The rules are the next

Rule 1: We start from the chord and we find a common note with its next chord. If there are two common notes, we look at the next 3rd chord and chose this that is also either a note of the 3rd--next chord or minimal distance of a note of it. We proceed in this way till the last chord of the underlying chord progression. 
It can be proved that if the chord progression are chords of a diatonic scale, then the minimal  chromatic drone melody, can have only some or all of the first 3 notes of the scale (e.g. in a C major mode diatonic scale the c, d, e)  


A minimal chromatic drone sub-melody need not be a kind of bass-line! It very well be a kind of very high register or octave simple melodic line. Personally I prefer the latter.

 2) Harmonic simplicial sub-melody. Probably best method of  creating first the simplicial sub-melody is based on preferring intervals distances of the notes of the simplicial sub-melody (opposite to the previous method) that are large intervals ,namely intervals of 5ths , 4th 6th or 8th.  . The simplicial sub-melody is somehow the centers OR OSCILLATION BOUNDARIES, of the final melody (e. g. Chord-Court melody see post 92) and most often it is one note per chord of the chord progression . It can also be considered as a very simple bass line parallel to the melody. But also bass-lines can be created by the chromatic links or bridges of the chords.  So the rule to choose the simplicial sub-melody is the next

3.1) If we have two successive chords X(1) -> X(2) in the chord progression, and a is the note of the simplicial sub-melody belonging to chord X(1) , and b is the not of the simplicial sub-melody belonging to the chord X(2), then a->b is an interval in the following order of preference 5th, 4th, 8th, 6th. 

If the X(1) -> X(2) are in a diatonic scale and in the relation of resolution (successive in the wheel by 4ths) e.g. G->C then we have 3 choices for a->b, the g->c, or b->e, or d->g. If the X(1) -> X(2) are in the relation of relative chords (two common notes) e.g. C->Em then we have 2 choices for a->b,

c->g, or e->b. And if the X(1) -> X(2) are in the chromatic or complementary relation of  chords (roots that differ by one step of the scale) e.g. C->Dm, then we have one only choice or a->b, here the c->f. After we have defined the simplicial sub-melody then we create bridges between its notes by smaller intervals e.g. 3rds or 2nds. 
IT IS IMPORTANT TO NOTICE THAT IN A CHORD ITI S NOT ONLY THE ROOT AND DOMINANT THAT CREATE AN INTERVAL OF 5TH, BUT ALSO THE MIDDLE NOTE WITH THE 6TH AND THE 7NTHOF THE CHORD.


3) Default simplicial sub-melody.  This is simply the melody created by the roots of the chords of the chord progression.

THE NOTES OFTHE SIMPLICIAL SUBMELODY ARE NOT MOST OFTEN INDICATING THE CHORDS OF THE ACCOMPANYING CHORD PROGRESSION BUT ALSO ARE CENTERS OFTHE MIDDLE-SCALE MELODIC THEMES. WHILE THE NOTES OF THE SIMPLICIAL SUBMELODY MEY DEFINE A (SIMPLICIAL) MACRO-SCALE MELODIC THEME.

This perception of the melody, is used also in an excellent way to write the basic bone-structure of the improvised melody, with as high simplicity as the chord progression. We simply chose one of the closest 7-notes diatonic scales, and we indicate the sequence ofthe melodic centers as ordinal numbers of the diatonic scale. 


We summarize some techniques from posts 9, 63,65.

We may define melodic moves not for each chord but for each chord-transition, and preferably for the        X7-->x+1 type of transitions (see the symbolism of post 34) e.g. E7-->Am.

Then the chord X7 has only one note x1 for simplicial submelody  the starting note of the melodic move, and the end note x2 of the melodic move is the next simlicial submelody note and one note of the chord x+1 not common with the chord X7. If the latter note x2 is not the root of x+1, it is created a tension that has to be resolved later where x2 would be the root of x+1. The tension is highest if the x2 is the 3rd note, middle of it is the 2nd note and resolving if it is the root note. In between the x1 and x2, the rule is that at least 2/3 of the notes belong to the underlying chord, and this can be achieved by repeating notes of the underlying chord if necessary. The move x1->x2 may involve  each of the chords X7, x+1 , twice in two octaves each instead of once in one octave only, which may create very impressive melodic effects. This gives an even better opportunity to use in the melodic move, intervals of 8th, 4th and 5th (high harmonic speed, see post 68) , that have higher harmonic score than the other intervals (see post 40). The at most 1/3 of the total duration of the move x1->x2 ,of notes that play with underlying the 1st chord but may be outside the starting chord, might be unusually at chromatic and diatonic speed (see post 68), and sometimes might belong to the next chord or even to none of the two chords.  The chromatic or diatonic speed applies usually when approaching the ending note of the melodic move. The melodic moves x1-->x2 can be called chord-transition melodic moves and must have an element of repetition in length and rhythm.  

In the traditional Irish melodies that utilize 2-3 only major chords, while the melodic moves are 4-5 or 6-7 , but also in the traditional Greek music of the Aegean Islands, the starting and ending point of the melodic move is during the duration of a single chord and are notes of the chord! But still the rule 2/3 -1/3 for notes internal and external to the chord still holds, and the starting and ending notes of the melodic move may define the simplicial submelody. 

A melodic  theme-move, can easily have three factors that characterize it

1) If it is sad (-) or joyful (+) (we may call it minor or major  melodic move, although its underground chords sometimes , rarely  may be a  major or a minor chord respectively).

2) Its melodic density (see the 4 melodic speeds or densities, chromatic, diatonic, middle harmonic and high harmonic in post 68)

4) Its range as an interval (this is related somehow by inequality to the density as in 2). melodic theme-moves that their range is more than one octave are special in stressing the nature of being sad or joyful. 

These three parameters still do not define the melodic move-theme even if we know its first note. As we see melodic theme-moves are much more complicated than 3 or 4 notes chords! When creating a melody through melodic theme-moves, ideas similar to those that structure a good chord progression may apply.

We may device a symbolism for a melodic theme move based on the above three factors as follows An1Bn2(-)(x) or An1Bn2(+)(x) where An1 is the first note and Bn2 the last note of the move (n1 n2 denote the piano octave of it) and a minus - or plus + sign if its is sad (minor)  or joyful (major) and (x)=1,2,3,4 denotes the dominating density of it is chromatic x=1, if it is diatonic x=2, if it is middle harmonic x=3 and high harmonic x=4  (see post 68)  e.g. G5A4(-)(2) . In this way we write the dynamics of he melody as a theme-progression ,much like a chord progression. 


VERY SIMPLE MELODIC THEMES OF MELODIC SPEED OF 2NDS AND WITH ONLY ONE CENTAL NOTE OF THE SIMPLICIAL SUBMELODY .

Such melodic themes have as center only one note, usually that of a note of the simplicial sub-melody, and of course usually a note of the underlying chord. The start and end on this note or only end on this note while the waving is by intervals of 2nd. Very simple melodic themes occur often in jigs and reels of Celtic and Irish music, but also of Cretan Lyra music or Pontian Lyra music in Greece. 

LONG-SHORT TWO-STEP PATTERN TO COMPOSE A MELODY 
A very simple trick to create beautiful melodies like those of Irish songs is to use a two-step rhythmic and melodic scheme of one short-duration note and one long duration (like in ancient Greek language that vowels are divided into two categories long and short duration). The long duration is, say two or three times longer, and the long duration is a note belonging to the chord while the short duration it does not! Usually, the two-step pattern id of diatonic density that is the interval of the two notes is a tine or semitone. But sometimes it may be 3 or 4 semitones, that is, of middle harmonic density. One of the goals of the melody is e.g. to walk down or up an octave or an interval of pure fifth or fourth that is to go from simplicial submelody center to another. In this way, both internal and external bridges among the chords can be created. We compose small ripples of this walking up or down (bridges) by the two-step pattern so that the long note is always a note of the underlying chord. thus given a chord progression we may easily compose such beautiful melodies! If there are lyrics and the lyrics e.g. are in the Greek language we immediately derive an appropriate rippling of the melody. When composing melodies through bridges, the bridges themselves are not sufficient to justify the choice of the chords, and we have to walk through the notes of each chord like harping and between the bridges so as to have a full melody that justifies the particular choice of the chords. But when composing melodies after a chord progression through the 2-step patterns (internal-long, external-short notes for the chord) we walk the octave at the area of each chord, therefore, the melody immediately justifies the choice of the chord.

In this way of composing chord-transition melodic moves, the starting ad ending points are of paramount importance. Generally speaking, they are not identical with the centers of the melody, as they do not last in general longer than the other notes. They can be used though to define the simplicial submelody.    

In the harmonic method of composition (see post 9) we conversely start with the chord progression, and its chord transitions, we select the starting and ending points of the melodic moves, and then  the morphological type of the melodic move , their length , their  rhythm , harmonic speeds etc. 

The chord-transitional melodic move is as a generalized interval which is defined by the starting and ending notes of the melodic move (and which belong respectively to the starting and ending chords of the chord transition). 

The simplicial submelody can be viewed also the channel submelody.  With this we mean that the simplicial submelody defines a channel in the pitch-time diagram, where the melody waves. But the shape of the move of the channel is defined by the simplicial submelody. We described how to derive the simplicial submelody from the full melody. But in the harmonic method of composition, the converse is of interest. In other words how to derive a full melody, from the simplicial submelody. And the idea to conceive the simplicial submelody as defining the channel where the full melody waves and being the staring and ending notes of the themes (here usually waves of the channel), is the key to do so. We just sing a waving with small waves that are at 2/3 inside the chord and 1/3 outside it and  that start and end at the notes of the simplicial submelody. 

MELODIC THEMES TRANSFORMATIONS AND SIMPLICIAL SUBMELODY

We have mentioned in this post that the simplicial submelody is usually  the starting or ending notes of simple melodic themes, that can be external bridges of the chord transitions (of density diatonic or middle harmonic etc). Therefore here we apply the 3 basic transformations and starting from a single melodic theme ending to the first note of the simplicial submelody we translate or invert or vary rhythmically thsi theme, and make it end (or start) on the next note of the simplicial submelody. The transformed melodic themes derived in this way cover most often two chords or a chord transition or chord relation

The 3 elementary melodic themes, as we mentioned earlier (e.g. in posts  66 and 69 ) , are  the ascending melodic interval of two notes, the isokratic melodic interval of two equal notes and the descending melodic interval of two notes.

The 4 basic transformations of them are

1) the translation (either with intervals of 2nd , (or diatonic density) or intervals of 3rd (or middle harmonic density) or  of intervals of 4th or 5th (or high harmonic density))

2) The inversion where the ascending move becomes descending.

4) The expansion-contraction or dilation, in which the theme changes melodic velocity or melodic density. In other words while it is by intervals of 2nd it becomes by intervasl of 3rds or 4ths etc, or vice-versa.

3) Rhythm transformation (which may vary)

The 5 basic melodic moves (see e.g. post 69)  , being more complicated have more types of transformations, as derived by the writing in a pentagram :

1) Translation

2) Inversion relative to a point

3) Reflection relative to an horizontal line

4) Reflection relative to a vertical line.

5) Rhythm transformation

to the above five we may add the

6) Acceleration-deceleration  or Dilation  (e.g. from the diatonic speed or density to the middle harmonic speed or density) or Deceleration (vice-versa).
7) Extension in 2 or more  octaves

Bach has often used the above 6 transformations in his fugue.

More complicated  ways to transform a theme are at least the next 5 and combinations of them (see also post 41)

1) Translate it in different pitches (within a scale or not changing possibly the pitch distances )

2) Translate in time (repeat it)

3) Invert it in time or change its rhythm (if at the begging is slower and at the end faster it will be now the reverse etc)

4) Invert it or distort it in pitch (Create 1st 2nd 3rd or 4th voice versions, utilizing the chord progression as rules of transformation of the theme, or if it is ascending now it will be descending etc)

5) Change it as morphology  (from a non-waving ascending it may become waving ascending or isocratic). We prefer spikes and scaling as the main morphological types, while the waving and isocratic as intermediate bridges. 

Often melodic bridges from a chord to the next, may start with harmonic speed or density covering the first chord A and then decelerate to diatonic speed or density when reaching to the next chord B

In choosing the simplicial submelody from the chord progression, we have some degrees of freedom, and we may take advantage of them, so as to make the simplicial submelody itself , as an independent melody, to have parts of it that are melodic themes, repeating and transformed by translation, inversion and rhythm variation. Of course, as in the simplicial submelody , we choose on note per chord, these symmetries of the melodic themes, are reflections of the structure of the chord progression and a reflection of the 3 basic relations of chords, namely resolution by 4ths, relative and complementary chords. 

In the harmonic method of composition,  after the determination of the chord-progression and then the simplicial submelody, the next step is to chose the melodic speed to fill the simplicial submelody to a full melody (see also post 68 for the melodic speeds). If it would be the chromatic speed, it would be an oriental-like melody. If it would be a diatonic speed, it would be a "lazy"  an easy to sing melody. If it would be the middle or high harmonic speed, it would be an exotic and beautiful but difficult to sing melody. 

When we have the full melody, by substituting the melodic move with its starting and ending notes we get a simplicial submelody, which shows in a simplified way the general channel move of the melody as a whole, whether it is ascending or descending and how much, and how this is done based on the 3 notes of each of the underlying chords. 

It is very instructive to improvise with melodic moves starting and ending at the notes of the simplicial sub-melody , that is at notes of different successive chords (usually at diatonic density) . We may call the external melodic bridges of successive chords. In general this may involve moving on 1 , 2 or more strings. Each part belonging to single string may be called 1-string sub-theme of the external melodic bridge. Most important 
are the diatonic density 1-string sub-themes   from which a diatonic density melodic bridge may consists
But is also very instructive to improvise with melodic moves (usually at diatonic density) starting and ending at the notes of  a single chord . Such melodic moves maybe called internal melodic bridges of the notes of a chord, and again we may define the 1-string sub-themes   of the internal melodic bridges.  Again most important  are the diatonic density 1-string sub-themes   from which a diatonic density melodic bridge may consists.
Besides the simplicial sub melody, there is one more note at each chord which is of importance and this is the one note bass, for each chord which is usually one of the two lower frequency strings of the 4-string chord. 

The IMPROVISATION OF MONOTONE MESMERIZING MUSIC IS USUALLY  a repetitive alternation of two chords, rarely more. 

Thus improvisations with one or two notes bass and internal melodic bridges of a chord with their 1-string melodic sub-themes , as in post 72, become important as a single chord may last for quite of a time duration. This IMPROVISATION may be called BASS-AND-INTERNAL BRIDGES OF A SINGLE CHORD.

ASCENDING OR DESCENDING AT WILL THE MELODIC BRIDGES IN CHORD CHANGES.
The alternative positions of the D, A, E shape chords in the 2nd, 3rd and 4th neighborhood of the fret-board (see post 13 ) has a utility by far more than just varying the sound and voicing of the chords! Its main utility is in creating melodic bridges among chords in chord transitions so that the bridge will be ascending or descending from one octave to a higher or lower, without altering its start and end chords! If we had to play these melodic bridges while playing at the same time only open chords we would have to alter ascending such bridges by re-entrance to a lower octave to descending and vice versa. But with the chords distributed among the 3 neighborhoods, we may do as we like with the ascending or descending character of the melodic bridges!


After the chord progression and simplicial submelody we chose, 
THE DEFINITION OF MELODIC BRIDGES THAN LINK TWO SUCCESSIVE CHORDS BETWEEN THEM AND START AND END AT THE NOTES OF  THE SIMPLICIAL SUBMELODY.

1) WHICH CHORD-TRANSITIONS (PAIRS OF CHORDS) WILL HAVE A MELODIC BRIDGE! (Usually the chord-trasnitions that are in resolutional relation, or resolutional-like relation)

2) THEN WHICH BRIDGES WILL BE ISOMORPHIC IN PITCH AND RHYTHMIC DYNAMIC SHAPE AND WHICH DIFFERENT, DEFINING THEREFORE A PARTITIONING IN THE BRIDGES.

3) THEN IF IN EACH EQUIVALENCE CLASS OF  ISOMORPHIC MELODIC BRIDGES IN THIS PARTITIONING, THE BRIDGES ARE  EVENTUALLY ASCENDING OR DESCENDING (This besides the emotional significance, determines also where to play the chord in one of the 3 neighborhoods of the fretboard)

4) FINALLY  HOW IN EACH EQUIVALENCE CLASS OF  ISOMORPHIC MELODIC BRIDGES IN THE PARTITIONING, THE COMPLICATED PITCH DYNAMIC SHAPE  OR WAVING AND RHYTHM WILL BE AS A REPETITION  OF SUCH PATTERNS OF PREVIOUS ISOMORPHIC MELODIC BRIDGES, OR VARIATION OF  SUCH PATTERNAS S SO NOT TO BE TOO BORING. (This pitch dynamic shape has again a significant emotional meaning)


5) THE JUSTIFICATION OF THE CHORD PROGRESSION USUALLY IS NOT DONE BY THE CHOICE OF THE MELODIC BRIDGES (THAT IS GIVEN THE MELODIC BRIDGES MAYBE A SIMPLER CHORD PROGRESSION MAY COVER THEM HARMONICALLY). BUT AN INTERMEDIATE HARPING OR STRUMMING OF EACH CHORD WILL ENHANCE  THE MELODY OF THE BRIDGES SO THAT ONLY THIS CHORD PROGRESSION IS JUSTIFIED!

In the example below the chord progression is Am E7 Am E7 Am E7 Am E7 Am A7 Dm G7 C F E7 Am and the centers of the melody are correspondingly for each of the above chords the  E E E E E  B A B A A F G E F D A . The melody-moves consist of 10 notes ,the first 9 belong to the first chord and the last 10th to the next. All the moves are on the chord transitions of the form X->(x+1) in the symbolism of the cycle of 24 chords (see post  34). E.g. E7->Am, or Am->E7, or A7->Dm, or G7->C. An exceptions is the transition F->E7.  The notes that belong to the chord for each of these moves are 6 from the 9, that is 2/3 of the notes. They achieve it ,as we said , by repeating notes of the chord. And even in the transition F->E7 the notes hat do not belong to the chord F, while F sounds , do belong to the next chord E7 and so they prepare the ear for the next chord. The melody has all the 4 harmonic speeds (see post 68).  They start (ignoring the repeating notes) from the root A of Am and end to the root E of E7,they go back and forth, then from the root A of Am go to the dominant B of E7 and back to the root A of Am. Then they repeat. Then from the root A of Am which is also of A7, they go to the middle note F of Dm. Then from the root G of G7 to the middle E of C. Then from the root of F to the chord F to the 4th note (7th) D of E7, and close back to the root A of Am.  Starting from the root of X7 and ending in the middle (2nd note)  or dominant (3rd note) of (x+1), (e.g. starting at a of A7 and ending at f of Dm) creates a tension, which resolves at the end of the cycle of 16 moves by ending at the root of minor chord (x+1) (here at a of Am).

Here is the result.

https://www.youtube.com/watch?v=CEPsAIqnVao

The relation of the starting-ending notes of the melodic patterns as notes of the simplicial submelody and the morphological type of the basic melodic moves are as follows.

1) Straight scaling up or down (including spikes) in one or more of the melodic speeds (straight sadness or joy). Here the notes of the simplicial submelody are the starting and ending notes.

2) Ascending or descending waving (complex sadness or joy). Here the notes of the simplicial submelody are the starting and ending notes.

3) Flat equilibrium waving (serenity and equilibrium emotion).Here the notes of the simplicial submelody are the upper level and lower level ofthe flat channel.

4) Flat diminishing waving (serenity and diminishing emotions). Here the notes of the simplicial submelody are the starting upper or lower level and h ending note of the diminishing channel

5) Flat expanding waving resolving up or down  (serenity emotions exploding to either sadness or joy). Here the notes of the simplicial submelody are the starting note and the ending note at the upper or lower level of the expanding channel.

Internal bridges in a chord are nothing else than extended arpeggios. Here is a video about such an internal bridge called blues arpeggio!

https://www.youtube.com/watch?v=y-gV5RGJbLo

(This post has not been written completely yet)

71. Dialogue of a simple human singable melody and dense chatty-birdy instrumental multiplied (counter) melody

Countermelody:

Most of the suggestions about soloing parallel to chords are of the type:

1) Play the arpeggio or chord-tone of the chord

2) Play the pentatonic scale, minor or major, with the same root

3) Play a mode or scale that the song is in it

etc

And although applying the above will not sound ugly when soloing, still all of the above are inadequate for good licks and multiplicative (meaning dense and chatty)  soloing by an instrument in a song! The reason is the next: A song has a singable melody and chords and when soloing, the soloing must not only fit the chord progressions but also resemble the melody that the singer sings especially at the pattern of repeating and transforming simple melodic themes!

Now the melody has simple themes that repeat, ascend or descend and expand or contact. So the soloing must refect the simple theme repetition and transform them in more complicated ways. That is why all the 1),2), 3) are not really adequate.

Here is an example of the fitting of the melody that the singers sings and the instrumental multiplicative soloing

https://www.youtube.com/watch?v=RYXYoUb13nM

In other posts of this book, we have enlarged on the structure of the melody from simple themes that somehow repeat and the simplicial sub melody. E.g. the soloing must have also the same simplicial sub melody. 

This  improvisation is very very common is traditional and folk music. (E.g. Moden Greek songs with companionship with bouzouki, or Latin songs with companionship with charango or ukulele).

This morphology of the songs is as important as accompanying a melody with chords. But it is done only with the dialogue of two melodies! The first is the main simple melody that a human sings and the second is a multiplied melody or a twitting , bird-singing-like soloing. 

The dialogue usually respects, that when one of the two is playing the other is most often silent but not always. But there is a radical difference between the two. Although both play supposedly the melody of the same song, the singable melody is simple with fewer notes and possible to sing by a human voice. While the instrumental dialogue melody, is with many notes, it is chatty, it utilizes almost all the 4 melodic harmonic-speeds (see post 68), the diatonic and chromatic speeds mostly at the chord transitions.   Most often it is so densely complicated with possibly so abrupt jumps that a voice can hardly  sing it . This second instrumental melody is like a singing bird in dialogue with a singing human voice.
Still, the chords that fit to both the human voice and the instrumental chatty-birdy reply are most usually the same sequence of chords. So the  chatty-birdy  instrumental instrumental reply is essentially a variation  embellishment  of the melody with the same harmony and the same simplicial sub-melody. The chatty-birdy reply is done usually during the longer playing of the last chord of the melodic phrase.

Different playing of the song by different groups may respect the melody of the human voice but may largely improvise and vary on the second birdy instrumental melody.
The Birdy-chatty instrumental melody maybe  utilizing more of  of waving around the human singable melody, or fast melodic patterns of the chromatic, diatomic, and harmonic middle and high harmonic speeds, BUT always within the same chord progression of the simple human-voice melody.
Because this birdy-chatty instrumental accompanying melody follows in composition and improvisation both the chord progression AND the simple human voice melody its composition and improvisation is easier, than the composition of a melody after a chord progression. Still what we have write about how to compose default melodies from a chord progression applies here too (see posts 9, 27, 69 etc) . That is why in the method of composing melodies after a chord progression (see post 9) we use the technique of composing at first a simplicial submelody (which plays the role of the simple human singable melody) and then the full melody (which plays the role of the birdy-chatty instrumental dialogue melody.  Of course here we have an additional element to compose, that of the way the two melodies make the dialogue as they both sound, while in the previous reference the simplicial submelody may not sound as a separate melody in the song.

I give here three example. One from a song of traditional music of Andes with charango , and two from modern Greek music with bouzouki.

1) https://www.youtube.com/watch?v=EW5-w-Dr34w

2) https://www.youtube.com/watch?v=SoGdeg2K81c

3) https://www.youtube.com/watch?v=nNE1bBVyImE


Improvisation with  3-string Greek bouzouki, requires learning scales essentially on two successive strings, which is a lot easier than learning guitar scale shapes on 6 strings!

We will  discus here, how such a dialogue between the human singable simple melody and the chatty-birdy melody can me composed.

A way to make the dialogue is to chose some of the human voice melody intervals, and consider them as starting and ending points of melodic moves of the chatty-birdy instrument melody, so that this 2nd melody extrapolates the 1st. And the way to compose these chatty-birdy melodic moves are as in the post 72. For example we may take a simplicial submelody or all of the 1st human-voice melody and consider it as  simplcial submelody to the 2nd melody to compose the chatty-birdy instrumental 2nd melody. Then we embellish the simplicial sub-melody with standard waving that are preferred by the player of the instrument.

ACCOMPANYING A MELODY WITH INTERVALS INSTEAD OF WITH CHORDS.
Another simple idea is that the countermelody (especially when it is on a simpler scale e.g. a pentatonic ) can be used to accompany the melody not with chords but with intervals from the simpler scale of the countermelody. E.g. we may utilize intervals by 3rds as in the role of minor  diminished or augmented chords and the intervals of 4th or 5th as major or power chords



IN MY APPROACH IN THIS BOOK I FAVOR MIXTURE OF AN IN ADVANCED COMPOSED MUSIC PIECE AND  A LATER IMPROVISATION OVER IT, RATHER THAN A 100% PRIMA-VISTA IMPROVISATION. THE REASON IS OBVIOUS. THERE ARE ADVANTAGES OF MUSICAL COMPOSITION THAT WILL TAKE MORE TIME THAN THE DURATION OF THE MUSICAL PIECE OVER A DIRECT IMPROVISATIONAL CREATION OF IT AS WE LISTEN TO IT. THE FORMER GIVES US THE OPPORTUNITY OF A BETTER QUALITY MUSICAL CREATION AND A BETTER BALANCE OF THE PREVIOUS TRIANGLE OF MUSICAL MENTAL IMAGES, SOUND FEELINGS AND FINGER ACTIONS WHEN WE IMPROVISE LATER ON THE ALREADY COMPOSED MUSICAL PIECE.

(this post has not been written completely yet)