137. 5-notes /4-notes sub-scales improvisation on any 7-notes scale. Pentatonic scales contained in the diatonic , the harmonic minor (1st Byzantine minor) and harmonic double minor (2nd Byzantine minor) 7-notes scales.

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One of the most beautiful melodies improvisations is to go up and down in a 7-notes scale but only with 5 steps (5-notes sub-scales) or 4-steps (4-notes subscales or chords). We do not need to go up and down with the same 5-notes/4-notes  sub-scale, but we need to go up or down from root to higher or lower octave next root,  with only 5-steps or 4-steps (creating thus a 5-notes/4-notes  subscale).  The reason, of course, is that in this way we increase the percentage of intervals of 3rds and even we might make them more than intervals of 2nds in the melody, thus we increase the harmony in the melody. Beautiful melodies are created especially if the underlying 7-notes scale is the harmonic double minor (2nd Byzantine minor) scale.

In a 7-notes scale flute, this is done by keeping 2-times or 3-times during ascending or descending the scale, two fingers as if tight together. We change each time which of these fingers would be.

We show in this post that the well known Japanese pentatonic scales like Akebono, Insen etc of Koto music and many more unknown but beautiful pentatonic scales are contained in the Harmonic minor (1st Byzantine minor) and harmonic double minor (2nd Byzantine minor, or Gypsy minor or Hungarian minor ) scale.

We list 5 more,  and beautiful, 5-notes scales of the 7-notes harmonic double minor scale 

136. ABSTRACT COMPOSITION OF MELODIES THAT CAN BE REALIZED WITH ANY CHORD PROGRESSION AND SCALE

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The concept of order-topological shape of a melodic theme, and also as Dolphin word, allows for abstract composition of melodies, by taking, of course, in to account the standards of the beauty of the melodies based on their statistical profile of the basic order-shapes of Dolphin-words. Then we may accompany and fit them to any chord progression and scale! 

Thus in this way harmony composition through chord progressions and scales, and melody composition can become independent before we blend them in the same coexistence and simultaneous mutual shaping of each other

The beauty of the melodies where their  statistical profile of positive or negative melodic themes is regulated continues  to apply to such a composition of melodies (see post 134)

This post should be read together with post 101 and 107.

The 3 polarities +, - 0 of a melodic theme, and the 3 basic shapes of them: Expansion, Contraction and Cycles. Ascending, Descending, Stationary melodic themes.

The 3 polarities + , -, 0 , are the correspondent to the melodic themes that the chord types major, minor and power chord are for harmonic triads.

The 3  basic shapes of them: Expansion, Contraction and Cycles, are the correspondent to the melodic themes that the chord extension  types like with 4th, with 6th with 7nth  are for harmonic triads.

The beauty of melodies based on their statistical profile of the basic order-shapes of Dolphin-words. 

E.g. >= 2/3=66% positive melodic themes, and < 1/3=33% neutral or negative melodic themes.

135. WHY ANY NOTE OF THE DIATONIC SCALE FITS TO ANY MAJOR OR MINOR CHORD OF THE SAME DIATONIC SCALE IN IMPROVISATION

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In the next we will show that any note of the diatonic scale fits harmonically with any major of minor chord of the same diatonic scale because the number of harmonic  mutual intervals created (that is intervals of 3rds, 6ths, 45ths, or 4ths) is greater than the number of chromatic intervals created (that is intervals of 2nds or 7nths).

Of course this does not mean that a note fits the same well with any of the chords of the same diatonic scale. Not at all!

This is mild statement to that claim of jazz that any note of the 12-notes chromatic scale fits in improvisation with any major or minor chords as long as the type and number of created intervals chromatic  or harmonic dissonant or consonant is desirable as musical and expression effect.
See e.g. https://www.youtube.com/watch?v=IzWEyHTu_Zc&t=102s

Based on this remark we may understand better , why playing constantly a single but any chord of a diatonic scale, and then melodies over the chord-courtyard mode of the scale of it (see post 103) we result with a valid and beautiful sounding improvisation.
Many happy dancing  Irish songs that have only one or only two chords are based in this. Similarly many Greek Cretan folk dancing songs with a bowed string instrument called lyra or flutes (spyrohaviolo, thiampoli , bagpipe etc) area also based on this, as all the song  again has only one chord or two chords, while the melodies over this simple harmony  are fast , dense , happy and with many embellishments. 

134. The beauty of melodies based on their statistical profile of order-shapes of Dolphin-words

(This post has not been written completely yet)

This post should be read together with post 101 and 107.

The 3 polarities +, - 0 of a melodic theme, and the 3 basic shapes of them: Expansion, Contraction and Cycles. Ascending, Descending, Stationary melodic themes.

The 3 polarities + , -, 0 , are the correspondent to the melodic themes that the chord types major, minor and power chord are for harmonic triads.

The 3  basic shapes of them: Expansion, Contraction and Cycles, are the correspondent to the melodic themes that the chord extension  types like with 4th, with 6th with 7nth  are for harmonic triads.

The beauty of melodies based on their statistical profile of the basic order-shapes of Dolphin-words. 

E.g. >= 2/3=66% positive melodic themes, and < 1/3=33% neutral or negative melodic themes.

133. Choosing a rythm in improvisation after a speach sentence

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A way to choose a rhythm is to use the patterns of number the syllables and loudness  of syllables in a sentence: E.g. The sentence "I feel better" imposes the rhythm 1010, where by 0 is denoted a less loud beat and by  1 a louder beat. The phrase "My name is Mary" would give the rhythm 1010110  etc. If the proposition was "Good morning my friend"  the rhythm would be 11011. etc This methods comes from older times when music and rhythm was also the poetic syllables rhythm. 

132. A DAILY MUSICAL INCANTATION

A DAILY MUSICAL INCANTATION


1. Every day and every year
    in every way, I get free
     and more free

2. Every day in every way
    I restore the right weight
    and the right nutrition for me.

3. Every day in every way
    I restore the health of
    the awareness, the mind, the heart
    and the body.

4. Every day in every way
    I refine my perception
    and my knowledge.

5. Every day in every way
    I restore my integrity
    and my congruence.

6. Every day in every way
    I feel grateful
    I feel connected
    I feel love
    I feel happy.

7. Every day and every year
    in every way
    I develop cooperation
    and more cooperation.

8. Every day in every way
    I help people
    to help themselves.


9. Every day in every way
    I get stronger
    I get richer.


10. Every day and every year
    in every way
    I develop and work-out
    a planetary progressive will.

11. Every day and every year
     in every way
     I get conscious
     and more conscious.

12. Every day and every year
      in every way
      I contribute to the evolution
     of the planetary civilization.

13. Every day and every year
      in every way
     I restore the true beliefs
     for our world.

14. Every day and every year
      in every way
      I restore the speed
     of evolution
     of  the human soul.

15. Every day and every year
      in every way
      I restore the life
      and beauty
      in our planet.

16. Every day in every way
      I create in arts
      I create in sciences

in excellence

and more excellence.

17. Every day and every year
      in every way
      Consciously and unconsciously
       I raise my frequency
      I create a better self
I create a greater self
in equality and service

18. Every day and every year
      in every way
      together with other people
      we create progressive
       habits and laws of the society
      for a better and more fair and happy world.

19. Every day and every year
     in any way
     I cimb-up the ladder
    of self-responsibility

   
20. Every day and every year
    in every way
    I re-examine and re-assure
    my habits
    and  my worthy goals.

 21. Every day and every year
    in any way
    I get close to my goals
    I restore the courage to go on.

22. Every day in any case
      I play the music
      of this incantation.

131. THE SPIRITUAL USE OF FLUTES IN WORDLESS SACRED INCANTATION AND MEDITATION RITUAL FOR SOUL CONSCIOUSNESS PRESENCE AND CREATION OF OUR DESTINY BY OUR ACHIEVING OUR GOALS, THROUGH (NLP) PROGRAMMING OF THE SUBCONSCIOUS

(This post has not been written completely yet)


INCANTATIONS, SOUL PRESENCE, PROGRAMMING OF  THE SUBCONSCIOUS (NLP), FLOW-STATE AND CREATION OF OUR DESTINY THROUGH ACHIEVING OUR GOALS.

In the history it is well known that the Shakuhachi flute (usually in D4 pentatonic ) was used in a Zen sacred wordless and human voiceless meditation for inner peace and soul consciousness presence.

Similarly  the Ney flute (usually chromatically in B3, starting from A3) was used for sacred pray , ceremonies and wordless and human voiceless meditation.

The aulos winds in Ancient Greece and Hellenistic period in religious ceremonies.

And the Bansuri flute (in E4 major starting from B3)  in Hindustani  sacred wordless and human voiceless meditation.

It is often considered that wordless and human voiceless incantation and meditation for inner peace and soul consciousness presence may become  stronger than the voiced (inner or out) with words incantation!


It is the wordless part here which is important. Animals do sing (e.g. birds) But most of them although communicate partially with wordless telepathy , they do not organize sounds in words with syntax. It is said that that the whistling of the Dolphins and Whales is an exception  of an organized trinary language as they say that they are sentient animals and not simply animals.

Sometimes humans also do not have the appropriate words or concepts for inner communication with the soul consciousness, and therefore a musical soundscape maybe closer to the abstract mind which is closer to the soul consciousness compared to the concrete mind.

There is also the breath awareness that the flute require and the breath is a gate between the conscious and subconscious, as breathing is controlled both consciously  and subconsciously. As a contrast the heart beating is controlled mostly subconsciously.

Tony Robins a renowned coach of personal development, insists that  incantations even with outspoken words are his daily practice (10 mins minimum per day) for creating his belief system and programming his subconscious mind , and strengthening his desires for the  goals his has set. He explains that incantations create a heightened excitement emotional state which metaphorically speaking is like "the fire needed to shape a metal" in programming the subconscious for the appropriate beliefs and resources so as to achieve our own set worthy goals. He and the NLP theory (Neuro-Linguistic Programming) calls it the creation (or conversely the collapse and elimination) of belief-anchors.  The sounded of an incantation and or an accompanying musical instrument  is also  a response stimuli based on our belief system for the right inner state. He explains also that incantations involve most of the functions of the inner and outer senses, like vision, hearing, kin-aesthetics etc  therefore it is an integrated training of the  subconscious (NLP=neuro-linguistic programming) and the body  for the necessary resources and entering the "flow-state" for achieving our goals and desired states of existence. 

IN THIS MEANING-BASED RATHER THAN MUSICAL SYNTAX BASED IMPROVISATION, AS NLP SUGGESTS WHEN CREATING THE MUSICAL SOUNDS WE ALSO CREATE MENTAL IMAGES RELEVANT TO THE MEANING OF THE SOUNDS, WHICH BY THE CREATED EMOTIONS ARE EMOTIONALLY LINKED TO THE MENTAL IMAGES AND  THUS FACILITATING OUR DAILY ACTIVITIES AND PERQUISITE OF OUR GOALS

Magnetic scans of the human brain during playing  of a musical instrument show a unprecedented activation of almost all  the parts of the human brain, the centers of vision, the centers of hearing, the centers of  motions control, the emotional side, etc and no other activity is so catalytic in synthesizing all most all the functions and departments of the brain.

The sounded of an incantation and or an accompanying musical instrument  is also  a response stimuli based on our belief system for the right inner state.

Therefore  incantations outspoken or wordless  with the help of a musical instruments is an integrated way to create our desired state of existence through programming of the subconscious , achieving our goals  and shaping our destiny.