215. IMPROVISATION OVER A PAIR OF CHORDS . TRIADS OF HARMONIC PAIRS OF CHORDS.

See also post 203  and 321, 322.

This is harmonic improvisation and parallel melodic improvisation much like the jazz Blues that are using 3 only chords I IV V, or improvisations as in Irish reels with 2 only chords or  improvisations as in Cretan condillies with 2 only chords. Also some folk songs of the Cape Verde with only 2 chords.

Here we have similarly the general rule of a scale of chords of 2 only chords . There 3 types of such pairs of chords HARMONIC PAIR (roots an interval of 5th or 4th away) , MELODIC PAIR (roots an interval of 3rd away) CHROMATIC PAIR (roots an interval of 2nd  away) . E.G. I it is X7 Y where the one is a 7nth chord and the second has a root which is an interval of 4th away from the root of the first chord it is an harmonic pair. .In other words the two chords are in the harmonic relation (see post  30 )   are successive in the wheel of 4ths.   The reason for this is so as to have in the subconscious a simple pattern in harmony (although with random variations from random sequences of these 2 chords)
Also another important reason is that the 2 chords define usually at least one diatonic or other scale which simplifies the melodic improvisation.

In a diatonic scale some choices for such a pair of chords could be

V7  I   (5M7  1M)   HARMONIC PAIR

I7 IV  (1M7  4M)   HARMONIC PAIR

vii  iii   (7dim  3m)  HARMONIC PAIR

iii7  vi  (3m7  6m)  HARMONIC PAIR

vi7  ii   (6m7 2m)  HARMONIC PAIR

ii7  V   (2m7 5M)  HARMONIC PAIR.

About the symbols: In a C major scale the symbols denote the next chords

I=1M=C

ii=2m=Dm

iii=3m=Em

IV=4M=F

V=5M=G

vi=6m=Am

vii=7d=Bdim

Such triads of harmonic pairs may be already in the 3 main relations Harmonic relation , Melodic relation and chromatic relation defined from the interval of the roots of the first chord of each pair.  

E.g. the triad of harmonic pairs vii  iii   (7dim  3m) ,  (3M7  6m), (6m7 2m) are in harmonic-harmonic-harmonic relations . While the triad of harmonic pairs

(6m7 2m) , (3M7  6m), (5M7  1M)  are in harmonic-melodic-chromatic relation.

All  6   combinations (the inverses not included) of such triads of harmonic pairs on the first pair are


HARMONIC-HARMONIC
HARMONIC-MELODIC
MELODIC-MELODIC
HARMONIC-CHROMATIC
CHROMATIC-CHROMATIC
CHROMATIC-MELODIC

ETC


By fixing particular pattern of permutations and repetitions of these 2 chords (as in variations of the rhythm and chord progressions in 12-bars blues) e.g.

X7 X7 X7 X7
Y Y X7 X7
X7 X7 Y Y

etc

we have the backtrack of an easy harmony to define with melodic improvisations.

The improvisation is spending most of the time between the elements of each harmonic pair by oscillating or alternating them and then after repetition is sufficient it moves to another harmonic pair staying again there sufficient ime. This is very common in early New Orleans Jazz songs.

Also the simplicial submelody of such improvisations will be fixed following the chord progression pattern.

The chromatic pairs of chords in the diatonic scale  may get the the names ofthe modes of the scale too

1M-2m=IONIAN

2m-3m=DORIAN

3m-4M=FRYGIAN

4M-5M=LYDIAN

5M-6m=MYXOLYDIAN

6m-7d=AEOLIAN

7d-1M=LOCRIAN

(see also post  364 , 225 and 325  )

It is important also to realize that these 7 pairs of chords in chromatic relation define not only tetrachords but also hexatonic scales (and corresponding harmonicas) as in the post 291.

From the triplets of chords that correspond to modes as below

1. IONIAN  :  HARMONIC TRIPLET (1M, 4M, 5M)
2. DORIAN  : HARMONIC TRIPLET (2m, 5M, 6m)
3. PHRYGIAN : HARMONIC TRIPLET (3m, 6m, 7d)
4. LYDIAN: HARMONIC TRIPLET  (4M, 7d,1M)
5. MIXOLYDIAN: HARMONIC TRIPLET  (5M, 1M,2m)
6. AEOLIAN: HARMONIC TRIPLET (6m, 2m, 3m)
7. LOCRIAN: HARMONIC TRIPLET  (7d, 3m, 4M)

If we re-harmonize the above triplets to include the lue notes 5# for the harmonic minor and 23, 5# for the double harmonic minor we get a latin jazz style of them as follows

1. IONIAN  :  HARMONIC TRIPLET (1M, 4M, 5M)
2. DORIAN  : HARMONIC TRIPLET (2m, 5M, 6m) or in Hminor 6M7, 2m , 5m)
3. PHRYGIAN : HARMONIC TRIPLET (3m, 6m, 7M7)
4. LYDIAN: HARMONIC TRIPLET  (4M, 7d,1M)
5. MIXOLYDIAN: HARMONIC TRIPLET  (5M, 1M,2m)
6. AEOLIAN: HARMONIC TRIPLET (6m, 2m, 3m) or in Hminor 3M7, 6m,2m 
7. LOCRIAN: HARMONIC TRIPLET  (7d, 3m, 4M)

In the next we may compose songs with first part (couple) a sad triplet or pair signifying a mode and resolving to the refrain to a happy triplet or pair (usually the Ionian or Mixolydian) 

Here are examples of chord progressions of  such songs

E. g. Aeolian-> Ionian 

2m, 3M7

6m, 2m 

Resolving to

1M 4M

5M7 1M 

Frygian-> Ionian 

3m 6m

7M7 3m 

Resolving to

1M 4M

5M7 1M 

Dorian-> Ionian

6m 2m

2m7 5M 

Resolving to

1M 4M

5M7 1M 

We may extract pairs of chords that define modes as folows

1. IONIAN  :  HARMONIC pair (5M, 1M)
2. DORIAN  : HARMONIC PAIR ( 6m, 2m)
3. PHRYGIAN : HARMONIC PAIR (7d, 3m)
4. LYDIAN: HARMONIC PAIR  (1M 4M)
5. MIXOLYDIAN: HARMONIC PAIR  (2m, 5M)
6. AEOLIAN: HARMONIC PAIR (3m 6m)
7. LOCRIAN: pseudo HARMONIC PAIR  (4M 7d)

Arpeggios of such a pair ofchords in chrmatic relation is often performed on the guitar by what is called sweep picking 

https://en.wikipedia.org/wiki/Sweep_picking#:~:text=Sweep%20picking%20is%20a%20guitar,fast%20and%20fluid%20in%20sound.

We cannot stress much the importance of triads of chords (but also of notes intervals and scales) in improvisation.

A good application is to realize that as a diatonic scale is characterized as chords on the wheel by 4ths by its 3 chords on the steps 1M, 4M , 5M  (harmonic triplet of chords) ,  OR 7d 1M 2m (chromatic tripler of chords) the same can apply for the modes of the diatonic scale.

Besides the basic harmonic triplets (in other words a sequence of 3 chords X1,X2,X3 so that X1-X2 , X2-X3 are harmonic relations od chords, in other words chords that their roots differ by an interval of 4th (5th)) , there are also the chromatic triplets (in other words a sequence of 3 chords X1,X2,X3 so that X1-X2 , X2-X3 are chromatic relations od chords, in other words chords that their roots differ by an interval of 2nd). BOTH  ARE BASIC TYPES OF TRIPLETS. In other words with the 3 CHORDS OF THE TRIPLET WE CAN ACCOMPANY ANY MELODY IN THE DIATONIC SCALE. WE CANNOT HAVE THIS PROPERTY OF BEING HARMONICALLY A BASE OF 3 CHORDS FOR MELODIC TRIPLETs (in other words a sequence of 3 chords X1,X2,X3 so that X1-X2 , X2-X3 are melodic relations of chords, in other words chords that their roots differ by an interval of 3rd) 

The chords of a mode of a diatonic scale at the steps 1,4,5 (or 7,1, 2) of it characterize its mood.

For example for the mixolydian mode of the diatonic scale from C ,(G, A, B , C, D, E, F, G) the chords at the steps 1,4 ,5 are the G, C, Dm) thus the 1, 2, 5 or I, ii, V of the original ionian and are the base of blues jazz.


Based on this perception, the 7 modes of the diatonic scale have the following chord triads:

(that is chords on their 1st 4th and 5th step, and we symbolize by m=minor M=major d=diminsihed.

1. IONIAN  :  CHROMATIC TRIPLET (7d, 1M, 2m)
2. DORIAN  :  CHROMATIC TRIPLET (1M, 2m, 3m )
3. PHRYGIAN : CHROMATIC TRIPLET(2m,3m, 4M)
4. LYDIAN:  CHROMATIC TRIPLET(3m, 4M, 5M)
5. MIXOLYDIAN: CHROMATIC TRIPLET (4M, 5M, 6m)
6. AEOLIAN:  CHROMATIC TRIPLET (5M, 6m, 7d)
7. LOCRIAN:  CHROMATIC TRIPLET (6m, 7d, 1M)

We may compare the basic chromatic triplets with the basic harmonic triplets (see also post 222)

1. IONIAN  :  HARMONIC TRIPLET (1M, 4M, 5M)
2. DORIAN  : HARMONIC TRIPLET (2m, 5M, 6m)
3. PHRYGIAN : HARMONIC TRIPLET (3m, 6m, 7d)
4. LYDIAN: HARMONIC TRIPLET  (4M, 7d,1M)
5. MIXOLYDIAN: HARMONIC TRIPLET  (5M, 1M,2m)
6. AEOLIAN: HARMONIC TRIPLET (6m, 2m, 3m)
7. LOCRIAN: HARMONIC TRIPLET  (7d, 3m, 4M)


Besides these 2 types of basic triplets we have also a 3rd type X1 X2 X3 , where X1-X2 is a chromatic relation and the X2-X3 is an harmonic relation or vice versa. We may call them the mixed
basic chromatic-harmonic triplets. E.g.  the basic triplet that is used sometimes in blues 1M 2m, 5M , is such as 1M-2m have chromatic relation while 1M-5M harmonic relation.

To convert a basic harmonic triplet to another chromatic or mixed basi triplet we utilize correspondences where we correspond each of the 3 main major chords of the diatonic scale with their lower minor relative and the 5M7 with the 7d. Therefore

2m<->4M
3m<->5M
6m<->1M
7d<-> 5M7

The same arguments may apply for the chromatic tonality where some of the mnor chords become major and some of the major chords minor. E.g. We have the harmonic triplet (3M7, 6m ,2m ) of the frygian mode and the harmonic triplet (7M7-3M7-6m) of the Locrian mode which are combined with the more standard harmonic triplets of the diatonic tonality of the dorian mode (2m-5M7-1M) or the myxolydian mode (5M7-1M7-4M) .

For  alternative basic chromatic triplets of the chromatic tonality (that corresponds to the harmonic minor and double harmonic minor) we have the triplets (we notice that thsi type of chromatic tonality gives for the basic chromatic triplets, cases of 2 major chords and one minor, thus the major chords are dominating!)


IONIAN MODE: 7M-1M-2m
DORIAN MODE: 1M-2m-3M
FRYGIAN MODE: 2m-3M7-4M
LYDIAN MODE: 3M-4M-5M
AEOLIAN MODE: 5M-6m-7M
LOCRIAN MODE: 6m-7M-1M

214 TRIAD HARMONIC (CHORD) PERSONALITIES OR TRIAD CHORD SCALES FOR MELODIC IMPROVISATIONS

See also post 203

This is harmonic improvisation and parallel melodic improvisation much like the jazz Blues that are using 3 only chords I IV V, or improvisations as in Irish reels with 3 only chords or  improvisations as in Cretan condillies with 3 only chords.

Here we have similarly the general rule of a scale of chords of 3 only chords X2 X2 X3 . The reason for this is so as to have in the subconscious a simple pattern in harmony (although with random variations from random sequences of these 3 chords) Of course an even simpler pattern would be 2 only chords. But we will discuss the case of 2 only chords in another post (there are capo verde folk sings and Irish folk songs and Cretan folk songs with two only chords).
Also another important reason is that the 3 chords define usually at least one diatonic or other scale which simplifies the melodic improvisation.

Besides the very common (which are also a connected arc in the cycle of 4ths)

I IV V  (1M  4M 5M)

ii V I  (2m 5M 1M)

vi  ii  V  (6m 2m 5M)

iii  vi  ii  (3m 6m 2m)

vii  ii  vi  (7dim 3m  6m)

V  I   iv   (5M 1M 5m)


we have also the alternating major-minor like the next

2m 5M 1m

6M 2m 5M

etc

About the symbols: In a C major scale the symbols denote the next chords

I=1M=C

ii=2m=Dm

iii=3m=Em

IV=4M=F

V=5M=G

vi=6m=Am

vii=7d=Bdim

So the possible combinations for triads are 

I, IV, V  

vi , IV, V 

I , ii, V 

I, IV, iii   

iv , ii, V 

I , ii, iii 

vi, IV, iii  

vi, ii, iii  

vi-vii-iii 

I -vii -V  

By fixing a particular pattern of permutations and repetitions of these 3 chords (as in variations of the rhythm and chord progressions in 12-bars blues) e.g.

X1 X1 X1 X1
X2 X2 X1 X1
X3 X3 X1 X1

etc

we have the backtrack of an easy harmony to refine with melodic improvisations.

Alternatively

THE IMPROVISATION IS A SEQUENCE OF "ROTATIONS". EACH "ROTATION" HAS THE NEXT 3-LEVEL  RHYTHMIC OR MORPHOLOGICAL STRUCTURE

THE 4 PARTS A1 A2 A3 BI STRUCTURE 

This structure is rhythmic morphological and comes as a pattern from the 15-syllable poetry.

2 lines in a 15-syllables poetry are divided to 4 parts A1 A2 A3 B1, each of the Ai having 4 syllables and the B1 3 syllables. Similarly here in the melody the A1 A2 A3 , B1 are of 2 measures.  Each of the A1 A2 A3 B1 contain at least one melodic theme. If we put the restriction that both the melodic theme and its variations are consisting from intervals that are 2nds in less that 1/3 (=33%) of the cases, then we get an "Irish" but also "south american", melodic/harmonic sound in the melody. The melodic theme of A1 is translated or inverted to that of the A2 and that of the A2 to that of A2. Finally the melodic theme of A3 is mutated to that of B1. The simplicial sub-melody has one note in each measure therefore two notes in each of the A1 A2 A3 B. These two notes signify a MELODIC MOVEMENT (VECTOR) which is the basis of an emotion.  If we superimpose the melody at the first two levels, the detailed improvisational notes of the melodic theme (1st level) and the melodic move or vector of the simplicial submelody (2nd level) we get a new musical entity and concept that we may call WAVING MELODIC VECTOR. The wavings are as in the 7 melodic themes patterns asin post 231. Another classification of them is that they are of 3 classes a) Chromatic (of length an interval of 2nd) b) Melodic (of length an interval of 3rd) c) Harmonic (of length an interval of 5th). The choice in the improvisation of one of these 3 classes is similar to the choice in a chord progression if the chord-transition will me chromatic , melodic or harmonic. Very often the wavings are of diminishing amplitude as we reach the melodic center-end note of it. This is very convenient to have in mind when we improvise because we think that we will move from a persisting note a (melodic center) to a persisting note b (melodic center ) in a scale but with improvisational waving way that we may change each time at willAll the melodic movements of the A1 A2 A3 B make a DOLPHIN WORD (as defined also in post 101, 114 ). Each part A (thus melodic move too) has an underlying chord. The chords of two parts like A1 A2 may be the same or different chords. The melodic move can be also a melodic triad (alternating major minor vector interval of 3rd as in post 208) . The Dolphin word of the "rotation" may be a closed polygon (e.g, triangle) of waving melodic vectors , so that the length of the melodic vector indicates also the length-interval of the waving melodic vector, which may also be the distance as musical interval of the middle notes of the underlying chords, of the melodic move.
This melodic polygone allows for simple and very concise, simple and visually beautiful  methods of writing the improvisation with not less information than the necessary but no more than a minimum too, so that each time we see the written paper and play the melody a different melody will emerge (mainly at the first layer/level of it) while still it will be "the same" song. 

When playing again such an improvisation the simplicial sub melody is repeated (thus the "rotation" A1 A2 A3 B or Dolphin word of it), but the other notes inside the measures that are embellishments may change. All together the "rotations" or Dolphin words make the total melodic phrases of the song. Therefore we have here at least a 3-level structures of the melody a) notes b) melodic moves c) "rotations" or Dolphin words,and in time it is 1, 2^3=8 (2 measures)  and 2^5=32 (A1A2A3B parts).

Also the simplicial submelody of such improvisations will be fixed following the chord progression pattern.

If the improvisational rotation in  the SUB-SCALE

starts from the lower end and ends in it it is called UPPER CYCLIC (NEUTRAL/SAD)

If it starts from the upper end and ends in it it is called LOWER CYCLIC (NEUTRAL  HAPPY)

If it starts from the upper end and ends at the lower end  it is called  DESCENDING (SAD)

If it starts from the lower end and ends at the upper end  it is called ASCENDING (HAPPY)

A triad of chords is called HARMONIC TRIAD OF CHORDS iff the chords (as roots) are consecutive on the wheel by 4ths (either as major or minor) E.g. E Am Dm or G C F etc

Furthermore an harmonic triad of chords may have harmonic melodic or chromatic relation  with another triad of chords iff  the chords insequence and 1-1 correspondence have this relation.

E.g. starting with the central major triad of a diatonic scale

5M-1M-4M the next triad is in chromatic relation with it  and chromatic parallel triad 

4#dim7-7dim7-3dim7 or also 4#M-7M-3M which is closer to the double harmonic minor  modulation of its natural minor with its standard chord covering.

Also the next triad is melodic relation with the original triad

3m-6m-2m 

A triad of chords is called MELODIC  TRIAD OF CHORDS iff the chords (as roots) are in consecutive melodic relation in other words iff they are consecutive on the wheel by 3rds E.g. Em C Am or  Am F Dm etc


A triad of chords is called CHROMATIC   TRIAD OF CHORDS iff the chords (as roots) are in consecutive chromatic  relation in other words iff they are consecutive as roots in (diatonic or not ) scale

E.g.  C Dm Em ,    or  Em  F  G  etc

ONCE IMPROVISATION OVER  A TRIAD OF CHORDS IS  MASTERED THEN THE NEXT STEP IS THE IMPROVISATION OF TWO OR THREE TRIADS . ONE WITH MORE MINOR CHORDS AND ENDING WITH A  TRIAD WITH MORE (OR ALL) MAJOR CHORDS (IN THE EMOTIONAL INTENTION IS FROM SADNESS TO JOY)

213 . MELODIC IMPROVISATIONS BY SHIFTING FROM THE IONIAN MODE TO THE CELTIC MINOR TO THE INDIAN PENTATONIC AND TO THE GREEK PENTATONIC SCALE

For the next see post 204
The celtic 6-notes minor scale 2-2-3-2-2-1 is a subscale of the 7-notes diatonic scale 2-2-1-2-2-2-1

The Greek pentatonic (5-notes) scale 2-2-3-4-1  is a subscale of the Celtic 6-notes  minor scale.

But also the India or Egyptian pentatonic scale 2-2-3-2-3 is also a a subscale of  the 6-notes celtic minor

This allows for interesting improvisations shifting from 

1) Ionian more of diatonic 2-2-1-2-2-2-1

2) Celtic minor  2-2-3-2-2-1

3) Greek pentatonic 2-2-3-4-1

4) Indian pentatonic 2-2-3-2-3

where in all cases the 3 first notes and interval structure in semitones 2-2 remain stable 

212 MELODIC IMPROVISATIONS BY SHIFTING FROM 1) AEOLIAN MODE ( NATURAL MINOR) TO 2) DORIAN MODE 3) MELODIC MINOR 4) HARMONIC MINOR

 This improvisation and modulations of these 4 changes

1) Aeolian mode or natural minor a-b-c-d-e-f-g-a  (of D diatonic)

2) Dorian mode of  the diatonic scale of one tone higher thus here of D  diatonic
     a-b-c-d-e-f#-g-a
3) Melodic minor of C diatonic
   a-b-c-d-e-f#-g#-a

4) harmonic minor

   a-b-c-d-e-f-g#-a

ALL HAVE THE FIRST PART OF 5 NOTES OF PENTA-CHORD THE SAME AND STABLE

a-b-c-d-e or in  intervals in semitones   2-1-2-2

THEREFORE THE IMPROVISATION HAS ONLY CHANGES ON THE LAST 4 NOTES OR LAST TETEA-CHORD WHICH MAKES IT STABLE AND INTERESTING.
WHEN CHANGING THESE MODES AND SCALES WE MAY ALSO CHANGE OCTAVE TOO,WHICH IS VERY EASY IN AN OCTAVE TUNING AS IN POST 210.

      

211. AN OCTAVES AND FIFTH AND OTHER ALTERNATIVE TUNINGS OF THE VIOLIN FOR SPECIAL IMPROVISATIONS

As we wrote in post 209, there is a system of melodic improvisation based on drone (isocratic) interval of  an octave and melodies derived by alternating intervals 5th and 4rth so as to create successive power-5 chords among octaves. But this requires alo in string instruments special tuning and a space of 3 to 4 octaves.

happily for the violin have been created the octave-violin strings which are one octave lower from the standard. So instead of  G3-D4-A4-E5 these strings will tune the violin to G2-D3-A3-E4.

See e.g. https://www.youtube.com/watch?v=BgZdlEBpIBI


This allows for  mixed low-standard tunings of the violin for melodic improvisations as inpost 209 that are 8-5-8 meaning that the 1st-2nd string are one octave apart , the 2nd-3rd one fifth apart and the 3rd-4th one octave apart E.g.

G2-G3-D4-D5 (utilizing strings octave G2, standard G3, octave D3, standard E4 for the D5 ) or

A2-A3-E4-E5 (utilizing strings octave G2 for A2 , standard A3, octave E4, standard E5)

The 2nd requires one tone loosening one standard string and the 1st one octave string and one standard string tightening by one tone.


ALTHER ALTERNATIVE TUNINGS

1) THE OCTAVES 3 STRING TUNING:

This is utilizing again the D3 octave string of the violin and it is simply the

D3-D4-D5

For the D5 we use obviously the E5 string

The advantage is obviously very easy grasping of the notes on the fingerboard , as known one strings is known all the violin.

2) THE PANDURI OR OPEN MAJOR CHORD  3 STRING TUNING:

This is not utilizing octave strings of the violin and it is simply the open G3 major chord. The advantage is obviously very easy arpeggios (harpisms) on all chords of the (G major) diatonic scale.

G3-B4-D5

For the D5 we use obviously the E5 string and for the B4 the A4 string of the violin.

If we want a more bass version of the open major chord tuning,then we may utilize the G2 octave string of the violin and have the tuning as follows:

G2-B4-D5


FRETBOARD VIOLIN (FRET-LIN OR METRIC-LYRA ) PLAYED AS CRETAN LYRA (OR  SMALL CELLO)


Many companies of electric violins manufacture them with frets on the fingerboard.

If we apply on the violin fingerboard ready made auto-sticking fretboards, we still can have tremolo and vibrato and even a type of glissanti while we do not spent so much time  learning the fingerboard. Then if we know fretboard string instruments like mandolin , ukulele, guitar it helps a lot to start playing the violin as an instrument without artificial difficulties.

(Here is such a product from a canadian musician http://www.frettedfiddle.com/ )

In addition it is by far more convenient to play it as they play the folk Lyra in Greece (Crete) and other places in other words like a small cello, on the knees. If we want to have also the bow falling with its own weight in stable way on the strings as in the standard position of the violin we may use simple bow drivers like these here https://www.aliexpress.com/item/32878752247.html?spm=a2g0s.9042311.0.0.21cd4c4deuojvB )

FRENCH AND GERMAN BOW HOLDING

The bow in case of this modification of the violin which is essentially a new instrument that could be called FRET-LIN OR METRIC-LYRA can be either with the German or French way. The French way gives more control because of more efficient use of the bones of muscles of wrist for difficult moves of the bow, but the German way is more relaxing. A best result is if we use both ways for difficult bowing the French way and for stand more easy bowing the German way.

210.OCTAVES TUNING

This is simply the tuning where each string is tuned one octave higher than the previous

Obviously there are limitations due to  the material of strings that have also to be of equal (scale-length) length.

E. g. in 3-string instruments like saz, tambouras, Bouzouki , balalaika , panduri etc

it will be

D2-D3-D4 or C2-C3-C4 or E2-E3-E4 etc

But utilizing digital fretboards like Artiphon  (https://artiphon.com/ )we can even setup 6 strings with octaves tuning

C1-C2-C3-C4-C5-C6  OR  C2-C3-C4-C5-C6-C7 ETC.

THen improvisations as in post 209 will sound beautifully and will resemble a bit the style of Alexey Archipofsky improvisations

 https://www.youtube.com/watch?v=CIaL-mrWOWA&t=165s

209. MELODIC TETRA (4) OR PENTA (5) -CHORDS: SOLO COMPOSITION AND IMPROVISATIONS BASED ON ALTERNATING MELODIC QUARTETS OR QUINTETS OF INTERVALS OF 4TH AND 5TH.

THE ANCIENT MUSICAL THEORY SIMPLE DESCRIPTION OF RAPSODY MUSIC STIL LIVING IN THE AEGEAN ISLANDS LIKE THAN OF CRETE IN GREECE :

Such music was created in ancient times it  is mesmerizing with complicated melodic lines but in reality very simple musical description.

For these Aegean islands (Greece) improvisational folk melodies with violin or Lyra, the next factors prevail.

1) "Poetic meters" over the same note sometimes note up to 8 notes

3) Straight vectors ascending or descending usually of 4 or 5 notes so as to reach a new chord neighborhood.

2) Mainly waves by intervals of 2nds (chromatic) inside intervals of 3rds (melodic, either standing or ascending descending, and usually inside a chord  so as to reach the neighborhood of a new chord.

A) THE UNDERLYNG CHORD OF THE SONG IS ONLY ONE AND IS A POWER  CHORD AT ROOT POSITION OF SAY A DIATONIC SCALE (ALTHOUGH IN ANCIENT TIMES THEY DID NOT HAVE THE CONCEPT OF A  7-NOTES SCALE BUT ONLY OF A 4-NOTES SCALE THE  TETRACHORD WHICH WAS A SCALE SPANING ONLY AN INTERVAL OF 4TH INSTEAD OF AN INTERVAL OF 8TH, THUS POWER CHORD WOULD BE THE ROOT POSITION ON THE TETRACHORD). 

B) THE SOLOING IS ANY REPEATING PROGRESSION OF SHORT RYTHMIC MELODIC THEMES WITHIN A TETRACHORD WHICH  IS USUALLY  THE 1-2-2 IN SEMITONES THUS THE FRYGIAN TETRACHORD AT THE 3RD POSITION OF A  DIATONIC SCALE WITH UNDERLYING POWER CHORD AT THE ROOT POSITION OF THE TETRACHORD OR THE 3RD POSITIONOF A MODERN 7-NOTES DIATONIC SCALE. (SOMETIMES ALTERNATING WITH ANOTHER TETRACHORD E.G. THE IONIAN TETARCHORD AT ROOT POSITION OF THE 7-NOTES DIATONIC SCALE , AND IN ANY CASE THE ACCOMPANYING CAN BE ALSO BY THE POWER CHORD AT THE ROOT POSITION OF THE 7-NOTES DIATONIC SCALE IN INSTEAD OF THE 3RD POSITION OF THE DIATONIC SCALE)

THE MORE COMPLICATED BUT NOT  ALWAYS MORE ENLIGHTENING DESCRIPTION WITH MODERN SCALES AND CHORDS: 

MELODIC TETRA (4) OR PENTA (5) -CHORDS: SOLO COMPOSITION AND IMPROVISATIONS BASED ON ALTERNATING MELODIC QUARTETS OR QUINTETS OF INTERVALS OF 4TH AND 5TH.

(This post has not been written completely yet)

In post 208 we discussed a similar idea but with alternating major/minor 3rds creating thus underlying harmony of major /minor chords of diatonic scale. The optimal tuning for this is string instruments  tuned uniformly by intervals of 5ths.

Here the idea is the same but we alternate intervals of 4th-5th to create power-5 chords. The optimal tuning here is the octaves tuning of post 210.

When improvising is a solo in an almost random way but which tries to listen also to the inner emotions, a good path is to walk by intervals of 2nd small distances of total length and interval of alternating intervals of 4th (5 semitones) and 5th  (7 semitones) exactly as it happens in a power-5 chords of diatonic scale, as this also creates an underlying  simple and string harmony. 

This type of walking vector-intervals (see also post 183 1nd 159) in other words intervals closed together with all the intermediate notes of diatonic scale that it belongs to it we have called previous post as vector-chord improvisation as contrasted to arpeggio improvisations.

Therefore instead of the concept of scale (and as here we do not assume a chord progression or scale of chords) we have the concept of tetra-chords and penta-chords   as vector intervals of  4th and 5th respectively.
In ancient Greece the dominant concept was not the 7-notes scale but the tetra-chord and penta-chord. By combing two such we get 7-notes scales  

Of course here also a 4-chord and a 5-chord (or vice versa) of length an interval of 4th and an interval of 5th create a 7 -notes scale . Some of them are modes of the diatonic scale, the harmonic minor  the double harmonic minor and the melodic minor.

Of course we add wavings by intervals of 2nd and we go up or down according to the alternation of sad and happy changes of the emotions. 

The 4th/th  alternation also corresponds to alternation of sad and happy emotions. 

If we are on string instruments tuned by octaves (see post 210), then we can also accompany this solo with the interval of 8th of the two immediately lower strings as a kind of drone power-8 chord. The melodic themes created in one or two consecutive such (vector) intervals of 4th-5th can be varied of course with translations, inversions, rotations (including expansions)  and mutations. In an octaves tuning this can be done by shifting octaves which means shifting among the strings.
Normally two tetra-chords/pentachords  are for the first poetic line (8 beats) and two more for the 2nd poetic line (7 syllables) in lyrics of 15-syllables poetry.

ALL 6 TETRACHORDS   (also called vector intervals of  4ths)

DIATONIC FAMILY

(containing only 2 and 1)

2-2-1  syntono major  , Ionian/mixolydian

1-2-2  syntono minor  , Phrygian/Locrian

2-1-2   minor, Dorian/Aeolian

CHROMATIC FAMILY

(containing 3)

1-3-1   2nd chromatic

1-1-3    parachromatic tonal

3-1-1    1st chromatic 

ALL 20 PENTACHORDS   (also called vector intervals of  5ths)

All pentachords contain a single power-5 chord that power-5 chord which is defined by the end-notes of the pentachord.

DIATONIC FAMILY

(containing only 2, and 1)

2-2-2-1       Major Lydian    Contains a major chord (known also as Natzi/Zaouil)

2-2-1-2        Major Ionian/Mixolydian    Contains a major chord.(known also as Rast/Mahour)

2-1-2-2       Minor Dorian    Contains a minor chord (known also as Bousselik/Nichavent)

1-2-2-2       Minor Frygian/Aeolian    Contains a minor chord (known also as Qourdi)

CHROMATIC FAMILY

(containing  3 )

1-1-3-2

1-1-2-3

1-3-2-1   Contains a major chord and a diminished chord

1-2-3-1   Contains a minor chord and a diminished chord

1-2-1-3   Contains a minor chord and a diminished chord

1-3-1-2   Contains a major chord and a diminished chord (known also as Hijaz)

3-2-1-1    Contains  a diminished chord

2-3-1-1

3-1-2-1   Contains a major chord and a diminished chord

2-1-3-1   Contains a minor chord and a diminished chord (known also as Nevesser/Nikriz)

3-1-1-2   Contains a major chord (known also as Saz-kar)

2-1-1-3   Contains a minor chord (known also as Samba)

ENHARMONIAN FAMILY

(containing  4 )

1-1-1-4   Contains a minor chord

1-1-4-1

1-4-1-1

4-1-1-1   Contains a major chord

Of course a 4-chord and a 5-chord (or vice versa) of length an interval of 4th and an interval of 5th create a 7 -notes scale . Some of them are modes of the diatonic scale, the harmonic minor  the double harmonic minor and the melodic minor.

In composing melodic themes based on melodic tetra-chords/penta-chords  we should use also the concept and technique  of  variational  independent base of melodic shapes or melodic seed (see post 106). I other words the melodic themes shapes that are mutually variational independent, in other words neither translation neither , inversion, neither rotation can derive any one of them from the others , and in addition all other melodic themes of  the song can be derived with variations from them.