124.IMPROVISATION WITH THE HARMONIC MINOR (1st Byzantine minor) AND HARMONIC DOUBLE MINOR (2nd Byzantine minor) SCALE

(This post has no been written completely yet)


Again one of the 1st and easiest way is as in post 102 by unaccompanied melodies with the alternation of chord and transition melodic themes. Any triad of the scale and any melodic theme would sound romantic and beautiful.

In a Celtic harp with levers tuned in C, an easy  A Harmonic minor is to give a sharp by levers at the G, and the harmonic double minor (Byzantine) is to give a sharp by levers at G and D (strictly speaking it will be a mode of the C major harmonic double minor).

Especially the method described in post 104 with simple Dolphin words of long and short parts, that are alternated not with a full 3-notes chord but with a interval of 5th, and especially only one based on the B (2nd step of the harmonic A minor scale) will give beautiful pieces that remind the Erik Satie Gnossiennes.  To be more specific just follow the video by Ray Pool on Dorian Improvisation with harp and apply it not on the Dorian mode of a diatonic scale, but on the Dorian mode (starting from B) in the harmonic A minor scale. Here is the video https://www.youtube.com/watch?v=NomPFFmycDo&t=447s

Another method is to play in the harp with the left hand a simple random melody in lower octaves , (It applied to all scales not only the Byzantine scales) and then with the right hand at higher octaves , a triad chord with always middle note the last note of the simple melody of the left hand (or root or dominant note but always the same rule during the improvisation)  . For guitarist that have fingernails at the right hand and no finger nails at he lefts hand playing a simple low pitch melody and then such an alternation of chord with the right hand is easier and more convenient (See also the Colombian harpist Edmar Castandeda). Of course this improvisation can be done also with a (diatonic or harmonic simple minor  or harmonic double minor) wind instrument, and instead of chord we play the arpeggio of the chord in single or in two octaves.

Still, another simpler improvisation method that applies to all scales is to keep sounding the root note of the scale and play freely with melodic themes in the scale. E.g. Shastro flute improvisations

https://www.youtube.com/watch?v=9BD1y0TOk3o&t=188s

There are of course more advanced improvisation methods with chord accompanied melodies.

See also this very relevant video

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

123. IMPROVISATION WITH THE PENTATONIC SCALE

(This post has not been written completely yet)

The simplest way is as we described in the post 102 , of improvisation  of unaccompanied melodies, with the alternation of chord and transition melodic theme.

Here the chords are the root and 5th (e.g. in F major pentatonic F G A C D, it is the F and Dm) and arbitrary sequences of notes between them.

Next we describe more methods with accompanied by chords melodies.

As in lever Harp tuned in C major the directly tunable pentatonic scales is the G major and F major we refresh some information about the F major pentatonic scale

Musical Scale Info: F major pentatonic

Notes of this scale:

F G A C D

Interval structure of this scale:

W W (W+h) W (W+h)  (W: Whole tone, h: half tone)

Scale structure:

1 2 3 5 6

Chords that fit in this scale:

Normal Triads: Dm     F    Other Triads: Csus4     Csus2     Dsus4     Fsus2     Gsus4     Gsus2    4 Notes Chords: Dm7     D7sus4     F6     G7sus4     G7sus2      Csus4\F     Csus4\G    5 and 6 Note Chords: Dm11     F6/9     G9sus4     G9sus2

Scales Equivalent to F major pentatonic :

D minor pentatonic;

Scales wich notes are within F major pentatonic:

;

Scales where F major pentatonic is within them:

C major; F major; A#/Bb major; C melodic minor; C ionian; F ionian; A#/Bb ionian; D natural minor; G natural minor; A natural minor; C dorian; D dorian; G dorian; D phrygian; E phrygian; A phrygian;  D#/Eb lydian; F lydian; A#/Bb lydian; C mixolydian; F mixolydian; G mixolydian; D aeolian; G aeolian;  A aeolian; E locrian; A locrian; B locrian; D blues;

Scales 1 note away from F major pentatonic:

C major pentatonic; A#/Bb major pentatonic; G minor pentatonic; A minor pentatonic;

Here is a video where the soloing around any chord X is the pentatonic scale of its root, which equivalent with the arpeggio of the chord X with 6th and added 9th (or 2nd) thus X6add9.

https://www.youtube.com/watch?v=MVSzSVYqjbU&t=44s

122. IMPROVISATION BY HIGHER OCTAVES 5TH,6TH,7TH, SIMPLE MONOTONE MELODY ON ALL TONES OF THE DIATONIC SCALE PARALLEL AND COMPATIBLE TO MANY CHORD CHANGES IN LOWER 3RD , 4TH OCTAVE!

 INVERSE RELATION OF SIMPLICITY-COMPLEXITY OF CHORDS-MELODY

We are usually we are accustomed, to have in improvisation but in composed music too, chords as a center of simplicity in  lower octaves that accompany a more complicated melody in higher octaves. This relation may be unversed! In other words a melody in higher octaves (5,6,7) may be a simple repetitive melody thus a center of simplicity, while chord changes in lower octaves (3,4)  , compatible with this melody can be the center of complexity. To have the same melody.

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

121. IMPROVISATION BY LOWER OCTAVES 1ST 2ND 3RD SIMPLE MONOTONE MELODY ON ALL TONES OF THE DIATONIC SCALE PARALLEL AND COMPATIBLE TO MANY CHORD CHANGES IN HIGHER 4TH 5TH 6TH OCTAVES!

( this post has not been written completely yet).



1) Finally we may combine the inverse simplicity-complexity relation of chords-melody as in 2) below and in post  119 with the inverse pitch-relation as in 3) and post 120 to create a monotonous repetitive slap-melody in piano or harp in lower octaves that usually covers  all the notes of the diatonic scale parallel to chord changes in the higher octaves so that all the chords are compatible with the same bass repetitive melody.

2) INVERSE PITCH RELATION  OF CHORDS IN HIGHER OCTAVES ANS MELODY  IN LOWER  OCTAVES .
Usually we are accustomed, to have in improvisation but in composed music too, chords in lower octaves that accompany a more complicated melody in higher octaves.

This  relation can be reversed for good reasons: The chords are perceived  by the musical listening easier and mote clear in higher octaves (e.g. 5,6) than in lower (1,2). Therefore there is a good reason in improvisational music in piano and harp to play the chords and chord changes in higher octaves and the melody in lower octaves.


3) INVERSE RELATION OF SIMPLICITY-COMPLEXITY OF CHORDS-MELODY

We are usually we are accustomed, to have in improvisation but in composed music too, chords as a center of simplicity in  lower octaves that accompany a more complicated melody in higher octaves. This relation may be unversed! In other words a melody in higher octaves (5,6,7) may be a simple repetitive melody thus a center of simplicity, while chord changes in lower octaves (3,4)  , compatible with this melody can be the center of complexity. To have the same melody

120. IMPROVISATION BY INVERSE PITCH RELATION OF CHORDS-MELODY: MELODIES PLAYED IN LOWER OCTAVES WITH CHORDS PLAYED IN HIGHER OCTAVES.

( this post has not been written completely yet).




1) INVERSE PITCH RELATION  OF CHORDS IN HIGHER OCTAVES ANS MELODY  IN LOWER  OCTAVES .
Usually we are accustomed, to have in improvisation but in composed music too, chords in lower octaves that accompany a more complicated melody in higher octaves.

This  relation can be reversed for good reasons: The chords are perceived  by the musical listening easier and mote clear in higher octaves (e.g. 5,6) than in lower (1,2). Therefore there is a good reason in improvisational music in piano and harp to play the chords and chord changes in higher octaves and the melody in lower octaves.


2) INVERSE RELATION OF SIMPLICITY-COMPLEXITY OF CHORDS-MELODY

We are usually we are accustomed, to have in improvisation but in composed music too, chords as a center of simplicity in  lower octaves that accompany a more complicated melody in higher octaves. This relation may be unversed! In other words a melody in higher octaves (5,6,7) may be a simple repetitive melody thus a center of simplicity, while chord changes in lower octaves (3,4)  , compatible with this melody can be the center of complexity. To have the same melod

3) Finally we may combine the inverse simplicity-complexity relation of chords-melody as in 2) with the inverse pitch-relation as in 1) to create a monotonous repetitive slap-melody in piano or harp in lower octaves that usually covers  all the notes of the diatonic scale parallel to chord changes in the higher octaves so that all the chords are compatible with the same bass repetitive melody.

119. IMPROVISATION BY ONE MELODY COMPATIBLE WITH MANY CHORDS: INVERSE RELATION OF SIMPLICITY-COMPLEXITY OF MELODY AND CHORDS

( this post has not been written completely yet).

1) INVERSE RELATION OF SIMPLICITY-COMPLEXITY OF CHORDS-MELODY
We are usually we are accustomed, to have in improvisation but in composed music too, chords as a center of simplicity in  lower octaves that accompany a more complicated melody in higher octaves. This relation may be unversed! In other words a melody in higher octaves (5,6,7) may be a simple repetitive melody thus a center of simplicity, while chord changes in lower octaves (3,4)  , compatible with this melody can be the center of complexity. To have the same melody

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

2) INVERSE PITCH RELATION  OF CHORDS IN HIGHER OCTAVES ANS MELODY  IN LOWER  OCTAVES .
Usually we are accustomed, to have in improvisation but in composed music too, chords in lower octaves that accompany a more complicated melody in higher octaves.

This  relation can be reversed for good reasons: The chords are perceived  by the musical listening easier and mote clear in higher octaves (e.g. 5,6) than in lower (1,2). Therefore there is a good reason in improvisational music in piano and harp to play the chords and chord changes in higher octaves and the melody in lower octaves.


3) Finally we may combine the inverse simplicity-complexity relation of chords-melody as in 1) with the inverse pitch-relation as in 2) to create a monotonous repetitive slap-melody in piano or harp in lower octaves that usually covers  all the notes of the diatonic scale parallel to chord changes in the higher octaves so that all the chords are compatible with the same bass repetitive melody.

118. IMPROVISATION COMPATIBILITY RULES OF A MELODY AND A COUNTER-MELODY

(This post has not been written completely yet)

By a counter melody we usually mean (improvisational) melodic lines that an instrument is playing parallel or sequentially to a main human voice melody in a song. It is not the 2nd or 3nd voice of the melody. The counter-melody has usually more notes than the main voice melody, because it is played by an instrument, and therefore there are speed and complexity possibilities that a human voice rarely will chose to conduct. 

The basic rules are the next 2

RULE 1 The main human voice melody and the instrumental counter have he same underlying chords. 

RULE 2 The main human voice melody and the instrumental counter have the same melodic centers (simplicial sub-melody of the melodic centers)

Now the simplicial sub-melody of the melodic centers is not the same as the harmonic simplicial sub-melody or the Chromatic simplicial-sub-melody as described e.g. in post 104 about them.

The simplicial sub-melody of the melodic centers is defined by the melodic centers of the melody (see also post 65 about the centers ) .

HOW TO FIND THE MELODIC CENTERS OF A MELODY:

The way to do it is the next

1) We partition the melody , to time intervals or connected pieces of it defined by the property that each one of then  has a single underlying chord, and the piece of the melody is maximal with this property

2) Then for each such time interval or piece of the melody, we define as its center, the note of the melody with the maximal time duration. There is one such note for each instance of a chord in the chord progression. The sequence of these notes is the simplicial sub-melody if the melodic centers of the initial melody.