197. WAVING AROUND THE SIMPLICIAL SUBMELODY AS IMPROVISATIONAL PARALLEL DIALOGUE COUNTER-MELODY OF THE MELODY

WAVING AROUND THE SIMPLICIAL SUBMELODY AS IMPROVISATIONAL PARALLEL  DIALOGUE COUNTER-MELODY  OF THE MELODY

If someone is searching for a fruitful and successful musical combinatorial concept of how to create fast filling improvisational counter-melodies to a melody here is the best concept

(see also post 128 and 183)

And a relevant video of two parallel melodies music


https://www.youtube.com/watch?v=OcHWvl16mpg



The remarks below about waving an improvisation across the vector-chords and around or ending on specific center-notes (also in post 183) can be enhanced by having these center-notes to be the notes of the simplicial sub- melody of  the singing melody (the simplicial sub-melody has about one note per underlying chord). Thus such a waving diatonic improvisation (or slightly chromatic waving  sometimes with the two blue notes 5# , 2# of the harmonic minor and double harmonic minor) is the  parallel dialogue  to the melody with a  more dense and filling counter-melody

REMARKS ABOUT DIATONIC WAVING AROUND THE NOTES OF ACHORD

2ND LAYER FASTS HARMONIZATIONS OF VECTOR-CHORDS IMPROVISATIONS

When improvising by "waving" or "rotating" inside the vector chord, we may also add some harmony by playing the improvisational solo as 1st-2nd voice or doubles by intervals of 3 and of course changing them to major minor 3rds so that it belongs to the scale if the roots are in  the scale or keeping it the same to the closest such that is in the scale. It can be with doubles or even triads (3-notes chords) which of course will create a fast-changing harmony which is reasonable to accompany with only stable power chord of 5 (interval of  5). Usually, the fast changing of the chords is of the chords I, IV, V (or  substituting any one of them with its lower relative minor chord. see also post 159)

E.g. here is a good example of such melodic wavings in the next midi file. It can be considered as chromatic or diatonic waving around each note of the chord but in addition, harmonized with doubles by intervals of 3rds http://www.greeksongs.gr/midis/arampasperna.mid 

We should notice that besides such "chromatic waving" or "rotating" within the closure of a triad chord in the normal position, we may have also waving ascending and waving descending or translating, if we expand the chord in two or 3 octaves. And this may be done again with fast-changing harmonization (I, IV, V)  with doubles or triads , as long as the duration of the notes outside the chords (the initial and maybe two more within the pattern I, IV, V) are less than the duration of the notes inside the chords or as long as the intervals created by the notes of the melody and the notes of the chords have more 3rds 4ths and 5ths compared to intervals of  2nds.

We must remark here that if there is a melody in the song which is say using the chords X1, X2 X3,...Xn , the melodic improvisational fillings parallel and in between the parts of the melody with instruments like Bouzouki or mandolin or violin or lyre etc , need not keep the same chord-progression X1,...Xn but a permutation of it as well ,although in general, it will use the same chords and rarely more chords but of the same notes-scale or same scale of chords  (chord-scale). 

In all cases, a variational chord progression X(a1), ...,  X(ak)  will determine as above after determining the vector-chord wavings, an improvisational solo. which has also projection trace on the arpeggio of such chords as harping ,

If we are composing e.g. in a midi editor the above perceptions are adequate for easy composition of melodies. But if we are playing an instrument and we want to improvise, then instead of having as center the arpeggio of a chord to improvise diatonically or chromatically around it it ir ending at it it  is easier to think of waving around or ending at centers that are not chords but notes that are away by intervals of 3rd, 4th, 5th 8th (e.g. the notes of a simplistic sub-melody). Thus multi-octave-scales that cover all notes of the diatonic scale and are made exclusively from intervals of 3, 4, 5 , 7 , 8 or 9 semitones are of interest and there is a special post 200 for this technique.

196. THE E2-B2-D3-G3-B3-E4 (5-3m-4-3M-4) OPEN Em7 AND THE (5-5-4-3M-4 ) FOUR INSTRUMENTS TUNING OF THE 6-STRING GUITAR AND OUD

This is tuning is probably the simplest conversion of the standard Guitar tuning to open tuning.
We simply turn the A2 string to an B2 string. Because of the D3-G3-B3-E4 part it has two rows of easy minor-major triads with 2 or 3 only frets. An advantage is that it contains at an interval of 5 which sounds good in an open chord. It is the 5-3m-4-3M-4 tuning

The next tool can calculate the chords

https://www.gtdb.org/ebdgbe




As alternative we may apply the 5-5-4-3M-4  E.g.  C2-G2-D3-G3-B3-E4 . 

The D3-G3-B3-E4  part is a 4-string Greek Bouzouki in G major

The G2-D3-G3 part is a 3-string Greek Bouzouki in Bb major

The C2-G2-D3-G3 is a bass Irish 4-string Bouzouki

The C2-G2-D3 is a low tambouras or saz.

195. TWO OPEN TUNING MODIFICATIONS OF THE OVERTONE TUNING FOR THE 6 STRING GUITAR AND OUD

The overtone tuning is the


1-1'-5'-1''-3''-5''        8-5-4-3M-3m

C2-C3-G3-C4-E3-G4

The two modifications are


1'-5'-1''-3''-5''-7''        5-4-3M-3m-3M

e.g.   C2-G2-C3-E3-G3-B3

AND
in order to have also more 5ths, we permute the last 4 strings as in the tuning of the post 194

3'-5'-1''-5''-3''-7''        3M-4-5-6m-5 

e.g.  C2-E2-A2-E3-C4-G4    which is an open Am7 tuning


Still more variations are  the 

8-5-4-3M-4 or 1-1'-5'-1''-3''-6'' OR  C2-C3-G3-C4-E3-A4 which is also open C6 chord tuning
OR  G1-G2-D3-G3-B3-E4 As this is not very practical with the type of strings that exist the next modification is more practical

and 5-5-4-3M-4 as in post 219  C2-G2-D3-G3-B3-E4. The later may not be open tuning but
it has advantages of chord-triads in the lower 3 strings

ALSO

C2-G2-C3-G3-C4-E4  5-4-5-4-3M

We may compare the above variations of the overtone open tuning with the next 3rd variation of the overtone open tuning

C2-G2-C3-G3-C4-E4  (5-4-5-4-3M)

https://www.youtube.com/watch?v=pf9-_hHFo1A

194 THE 5-6m-5 , E2-B3-G3-D4 OPEN TUNING FOR 4-COURSES INSTRUMENTS

By permuting the melodic tuning for 4-courses instruments, 3m-3M-3m  which is an open tuning we get the 5-6m-5 which is again open tuning but with intervals of 5. 
IN THIS WAY IT RESEMBLES THE MANDOLIN TUNING EXCEPT IT IS AN OPEN TUNING 

E.g. 

A2-E3-C4-G4 OPEN TUNING FOR Am7

or 

E2-B3-G4-D4  OPEN TUNING FOR Em7

193. THE PANDURI-MANDOLIN TUNING F2-A2-C3-G4-D4-A4 3M-3m-5-5-5 OF THE 6 OR 12 STRING GUITAR AND OUD

This tuning combines 3 strings that are in major or minor triad and a 5 away 3 strings that are again a 5th apart (e.g. mandocello) Or it can be in the reverse order first the 5ths then the major or minor triad. In this way both types of playing the ancient that can accompany a melody only with an interval of 5th or the modern that requires accompanying with triad major or minor chords can be played.

E.g.

C2-E2-G3-D3-A3-E4 3M-3m-5-5-5

 F2-A2-C3-G4-D4-A4 3M-3m-5-5-5

or
F2-C2-G3-D3-F4-A4  5-5-5-3m-3M

or
C2-G2-D3-A3-C4-E4  5-5-5-3m-3M

or

F2-C2-G3-D3-F#4-A4   5-5-5-3M-3m

or

Eb2-Bb2-F3-C4-E4-G4  5-5-5-3M-3m

192. SOME JONI MITCHEL TUNINGS FOR THE 6 OR 12 STRING GUITAR AND OUD

Here are some of the joni Mitchel tunings (from the book Joni Mitchel )

https://www.youtube.com/watch?v=zyDW7lslN5Y


Besides the overtone tuning of post 191, some tunis are variations produced by it

in the sense that they include a major chord 3M-3m abs is surrounded by intervals of 5 or 4

E.g.  5-4-3M-3m-4  or 5-4-4-3M-3m or  4-5-4-3M-3m  or 5-5-4-3M-3m or 5-5-4-3m-3M

etc

191. OVERTONES TUNINGS FOR THE 6 OR 12-STRING GUITAR THE OUD AND OTHER INSTRUMENTS

(see also https://en.wikipedia.org/wiki/Overtones_tuning   and in this blog posts 81 , 157 )

Among alternative tunings for the guitar, an overtones tuning selects its open-string notes from the overtone sequence of a fundamental note. An example is the open tuning constituted by the first six overtones of the fundamental note C, namely

C₂-C₃-G₃-C₄-E₄-G₄. INTERVALS (8-5-4-3M-3m) or in semitones (12-7-5-4-3 )

1-1'-5'-1''-3''-5''

For a 12-string guitar it would be

C2:C₂-C3C₃-G3G₃-C4C₄-E4E₄-G4G₄.

It is the overtones from the 1st till the 6th.

A 2nd version of the 1st overtones tuning  is starting from the 2nd overtone till the 8th omitting the 7nth overtone thus

C2-G2-C3-E3-G3-C4 INTERVALS (5-4-3M-3m-4) or in semitones (7-5-4-3-7 ) in numbered steps of the diatonic scale 1-5-1'-3'-5'-1"

Therefore it supports the ancient isocratic accompanying of melodies with only one power chord.

Overtone tunings that are open tunings have been used in songs by folk musician Joni Mitchell and by rock guitarist Mick Ralphs of Bad Company; these open overtones-tunings select their open notes from the first six partials of their overtone sequence on C or G. For open tunings, the open strings and the frets are each associated with a major-chord, which is played by strumming the open strings or the strings after they have been barred at one fret with one finger, greatly simplifying major-chord playing. For each such open or barred chord, the overtones reinforce the bass note, increasing the guitar's volume of sound and resonance. In an open overtones-tuning, adjacent strings that differ by a third interval can be tuned in just intonation, resulting in greater consonance than thirds in equal temperament.

Another advantage is that the guitar now is a bit more than 4 octaves compared to 3 plus octaves of the standard tuning. Also the three strings C2, C3 C4 give an easy coverage of 3 octaves and any scale in it once we learn in in the first string it is the same in the other two!

The higher 3 strings C₄-E₄-G₄. ar  major chord in normal position , and are part of the Harmonic-melodic tuning discussed in post 90 and 164. They support 3 shapes of major and minor chords 2 shapes of diminished and 1 shape of augmented triad chords by using at most 3 frets.

The strings 2-3-4 (counting 1 from the highest) are as the 3 highest strings of a standard tuning of guitar. They also support  3 shapes of major and minor chords 2 shapes of diminished and 1 shape of augmented triad chords by using at most 3 frets.

The strings 3-4-5 as a power chord p5 as in 3-courses Bouzouki. Therefore it supports the ancient isocratic accompanying of melodies with only one power chord.

The strings 4-5-6 are again an inverted form of power chord.

Therefore it supports the ancient isocratic accompanying of melodies with only one power chord.

ROOT/POWER CHORD/ ROOT MAJOR CHORD/CHORD PROGRESSION IMPROVISATION METHOD.

We notice that the intervals escalate  from 8 to 5 to 4 to 3M and finally 3m. This is also an organizational structure of melodies in C major mainly in the ancient mode of isocratic harmony and played mainly across a single string..

1) At first melodies within an interval of 8 accompanied with a single note the root C.

In general we may also have a melodic theme starting at the first note of string and ending at its other end note , in other words one octave. Then translate , invert and mutate it by playing it on another string and by the tuning all strings are only 3 notes , in intervals of 8, 5, 4, 3M, 3m apart, thus plenty many variations! All themes and variations are isocratically accompanied by the root of the scale C (or interval C-G).

2) Then  melodies within an interval of 8 accompanied with a pair of notes at different octaves that are  the root C.

2) Then  melodies within an interval of 7  accompanied with a power chord 1-5-1'of 3 notes C3-G4-C4

Again in general we may also have a melodic theme starting at the first note of string and ending at 7 fret note , in other words one 5th. Then translate , invert and mutate it by playing it on another string and by the tuning all strings are only 3 notes , in intervals of 8, 5, 4, 3M, 3m apart, thus plenty many variations! All themes and variations are isocratically accompanied by the power chord 1-5-1'of 3 notes C3-G4-C4

3)  Then  melodies within an interval of 4  accompanied with a power chord 1-5-1'of 3 notes C3-G4-C4

Again in general we may also have a melodic theme starting at the first note of string and ending at 5th fret note , in other words one 4th. Then translate , invert and mutate it by playing it on another string and by the tuning all strings are only 3 notes , in intervals of 8, 5, 4, 3M, 3m apart, thus plenty many variations! All themes and variations are isocratically accompanied by the power chord 1-5-1'of 3 notes C3-G4-C4

4) Then melodies within the arpeggio or vector-chord of  a chord 1-3-5 (see post 159) accompanied by the major chord 1-3-5 C major

Again in general we may also have a melodic theme starting at the first note of the chord 1-3-5 C major of a string and ending 7th frets higher, in other words one 5th or vector-chord . Then translate , invert and mutate it by playing it on another string and by the tuning all strings are only 3 notes , in intervals of 8, 5, 4, 3M, 3m apart, thus plenty many variations! All themes and variations are isocratically accompanied by the major chord 1-3-5 C major.

5) Finally a chord progression by triads or tetrads on the last 3 or 4 strings ofthe tuning (major minor diminished augmented) alternated with melodic bridges among them.

THIS TUNING IS PROBABLY THE BEST TUNING I HAVE EVER ENCOUNTER WHEN THE REQUIREMENTS IN GUITAR PLAYING IS 80% HARMONIC IMPROVISATION AND 20% MELODIC IMPROVISATION .

Nevertheless for those that are used to the standard tuning guitar probably the tuning

Since the tuning is the first 6 overtones of a fundamental frequency,our subconscious feeling of sounds even as ultrasounds is much accustomed to such 6-notes chords!besides the overtones tuning is the

5-5-4-3M-4  (see post 219 and 220)

For a children's guitar of 58-59 cm scale length the tuning C₂-C₃-G₃-C₄-E₄-G₄. is feasible. But for standard 66-67 cm scale length guitar maybe the next two tunings are more feasible

_B2-B₃-F#₃-B₄-D#₄-F#₄.

OR 

_Bb1-Bb2-F₃-Bb3-D₄-F₄.

C2-C₂-C₃-G₃-C₄-E₄

For a 4-courses instrument like a bouzouki or ukulele or octave mandolin two relevant overtone open tunings tunings are the


C₃-G₃-C₄-E₄      or  C2-G2-C3-E3  OR  D₃-A₃-D₄-F#<sub>4

or     D2-A2-D3-F#3

5-4-3M

THIS IS USED ALSO IN SWEDEN AND SCANDINAVIA FOR THE 4-STRING VIOLIN AS OPEN a MAJOR CHORD TUNING AND IT IS CALLED TROLL (MAGICAL) OVERTONE TUNING</sub> 

and 

G₃-C₄-E₄-G₄.   or A2-D2-F#3-D₄.

4-3M-3m
Or 


C₂C₃-C3C3-E3E3-G3G3

8-3M-3m

THE 2ND OVERTONES TUNING FOR THE 6-STRING GUITAR AND OUD IS TO USE ALL THE 6 HARMONICS FROM THE 2ND TO THE 7NTH FOR THE 6 STRINGS OF THE GUITAR THUS IN INTERVALS 5-4-3M-3m-3M, OR IN NOTES FROM C2-G2-C3-E3-G3-B3
SEE ALSO POST 301.