From my point of view, I have experienced 3 basically different types of improvisation and I am aware of a 4th modern type of improvisation i digital music
A) Improvisation of single instrument unacompanied by a single person (UNPREDICTABLE RHYTHM, HARMONY, UNPREDICTABLE MELODY).
(see e.g.post 292 )
A very convenient and instructive instrument to do such improvisations is the Muzix pro (https://www.youtube.com/watch?v=qfvHNmO1GoQ&t=26s ) with the diatonic Isomorphic 2-dimensional layout by alternating 3rds, at the diatonic scale C major . See post 312.
A very convenient and instructive instrument to do such improvisations is the Muzix pro (https://www.youtube.com/watch?v=qfvHNmO1GoQ&t=26s ) with the diatonic Isomorphic 2-dimensional layout by alternating 3rds, at the diatonic scale C major . See post 312.
An other ways is to utilize arpeggiators . See post 306, and 305. METHOD OF SINGLE INSTRUMENT IMPROVISATION BY UTILIZING THE ARPEGGIATOR FUNCTION OF THE MIDI GUITAR 2 SOFTWARE .OVER ANY MELODIC IMPROVISATION ON A HARDWARE MUSICAL INSTRUMENT.
See e.g. in post 12 The Arpeggionome (https://www.youtube.com/watch?v=82Filtp9jKg) is an astonishing software and also touchscreen musical instrument (midicontroller) that expores the possibilities of classical and nono-classical arpeggios as half-automated and half-interactive mode with the user
Or we may also utilize for arpeggiating the ReasonCompact (https://www.youtube.com/watch?v=R2HoXF-JKuk) is very rich in sounds with arpeggiator and monotone mode for simplicial submelodies and bass lines.
We may also alternate chords (or alternate arpeggiatted pairs of chords in chromatic relation that essentially define an hexatonic subscale) with pieces of melody based on the inner emotions as bridges among them, and such melodies are played over three-chords (3-notes subscales) or tetrachords (4-notes subscales) with melodic themes variations during the melody time intervals. The overtones tunings in the string instruments are most appropriare for such improvisations, and of course the brass winds which have a natural overtones sequences. The pattern of playing is an alternation of vertical and horizontal playing on the fretboard
Similar nice such improviations are conducted with the west africa small harp called KORA and the tradition of improvisations on it.
https://www.youtube.com/watch?v=ptbHe1j190o&ab_channel=MSJ-Afrik
https://www.youtube.com/watch?v=TAIwGw1paIc&t=1544s&ab_channel=WhenYoureGone
The KORA harp is best emulated with the digital harmonica DM48 Lekholm (https://www.lekholminstruments.com/) that we have set the sound to be produced to be that of an harp and tuned in the cyclic spiral tuning.
When it comes to single instruments like handpan and tange drum, we may add some more techniques see post 372) .
a) We start with a rhythmic pattern or more generally a progression o rhythmic patterns, and then we realize it withvarious ways in melodic themes. The reason of course that we start with a progression of thythmic patterns is that it is source of simplicity as is also s chord-progression.
b) We start with a baseline as a loop or arpreggiator (if it is on a chord or pair of chords etc) , and while we keep it constant we add and enhance with melodic notes or lines.
We summarize
The basic idea here is to chose a source od simplicity and invarious degrees in time more complexity and returning to the simplicity. Thus SIMPLICITY->COMPLEXITY->SIMPLICITY , ETC and also by REPETITION , ASSIMILATION, INNOVATION . THE MAIN CONCEPTIS TO CREATE A "FLOW" AND REMAIN INTHE "FOW" A TERM OF PSYCHOLOGY THAT DESCRIBES THE FLOW OF ENERGY AND CREATIVE FORCE FROM THE IMMORTAL SOUL TO THE MORTAL PERSONALITY . The improvisation with such a melodic percusion instrument like a handpan or tongue drum (which is much like a metallophone) is the 1st type of improvisation (single instrument and unpredictable rhythm, unpredictable harmony, unpredictable melody )
We should not forget of course the 3 principles of improvisation as the post 295,
BASIC PRINCIPLE 1=HARMONY POLARITY
BASIC PRINCIPLE 2: MELODIC MONOTONICITY-VARIATION POLARITY
BASIC PRINCIPLE 2: THE BIOWARE OVER THE HARDWARE.
For analysis of these 3 principles see below,
THE 4 SOURCES OF SIMPLICITY ARE
1) RHYTHM (GROOVE) (We keep the rhythm invariant and we shift it over the musical notes and octaves)
2) ASCENDING-DESCENDING-STAYING SHAPE OF A MELODIC THEME (We keep the melodic theme shape invariant and we translate in the scale , or invert it or elongate it)
3) A BASS LOOP THAT REPEATS (We keep a bass loop invariant and we enhance it with melodic themes)
4) ONE OR TWO CHORDS ALTERNATION (We keep the harmony of the 1or 2 chords invariant and we create parallel fitting melodic themes)
Here is a video by a nice girl and improviser who explains these 4 sources of simplicity
https://www.youtube.com/watch?v=PEuwaKR0cbY&ab_channel=AmyNaylor
See also post 208, 276, 93, 102, 372
B) The Rapsody method of improvisation , based on a simple cycle of chords and parts of the melody (PREDETERMINED HARMONY AND RHYTHM , UNPREDICTABLE MELODY).
(see e.g.post 294 and post 12 )
We may as well put settings to play the chords to the digital instrument TOUCHSCAPER https://www.touchscaper.com/ which is a marvelous and very customizable musical instrument in the ipad. It supperts easily chord progressions and arpeggios either strict or randmized that are alo not only on pitch and timr but also one sound-color ranging between two sounds or instruments. It supports also drum patterns that may change with the chords and sessions organization whichcombines both automated playing and interactuve playing. It can also communicate well with other sound machines for other types of sounds and recording.
We may as well put settings to play the chords to the digital instrument TOUCHSCAPER https://www.touchscaper.com/ which is a marvelous and very customizable musical instrument in the ipad. It supperts easily chord progressions and arpeggios either strict or randmized that are alo not only on pitch and timr but also one sound-color ranging between two sounds or instruments. It supports also drum patterns that may change with the chords and sessions organization whichcombines both automated playing and interactuve playing. It can also communicate well with other sound machines for other types of sounds and recording.
And then play the melody at the digital instrument Thumpjam (https://www.youtube.com/watch?v=YODMoMaasVk) which is a remarkable and excellent application with improvisation onthe touchscreen customizamle as an harp-lyra (chromatic or diatonic) and recording of it with plenty of sounfonds. It is the main sound types machine that I use for other applications as well as for string-like or wind-like midi controllers. We may split the screen ofth tablet in two to play the meloduy in the thumpjam while looking at the chords in touchscaper.
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
MANY CHORDS-CYCLE IMPROVISATION: We do the same as with the one chord for each chord of the chord-cycle. 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 underlying 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. We may sure thatthe melodic centers are notes of the underlying chord. At the chord transition one of the previous three-chords or tetrachords of the melodic theme becomes the bridge between the 2 consecutive chords and we constinue as before.
(see e.g. post 289 )
This is best done by listening with one earphone at one ear the song and whistling the countermelodies utilizing the 2nd ear to control the result of the whistling.
Depending on the musician the difficulty is varying. In my case, I excercize the A-type 60% of my time the B-type 25% of my time and the C-type the 15% of my time. But I consider the order of dificulty as C>>A>>B.
D) PADS RE-SHUFFLING IMPROVISATION. (piece-wise predetermination of harmony , rhythm and melody, but in the overall unpredictable harmony and melody).
In this improvisation we need special software, and we have organized the song, in parts, that include rhythm, instruments, melodic lines or loops or arpeggiators, anda lso underlying chords and harmoney of the previous. Then we assign these organization units on pads (usually big square buttons on the screen) and we improvise by playing on the pads which when pressed are activating the playing of each organization unit and part.
When it comes to single instruments like handpan and tange drum intheir digital versions , we may realize thsitechnique inpartcular as follows
a) We start with a rhythmic pattern or more generally a progression o rhythmic patterns , and then we realize it withvarious ways in melodic themes. We store these realizations in pads
b) We start with a baseline as a loop or arpreggiator , and while we keep it constant we add and enhance with melodic notes or lines. We store these realizations in pads
We summarize for the three cases A) B) C) a more detailed analysis
For the method A) Improvisation of single instrument unacompanied by a single person.
we summarize some of the maon idaes that I use.
MY PERSONAL APPROACH:
My personal approach to similar type of improvisation is as follows
HARDWARE IDEAS
1) INSTRUMENT I utilize a 4-strings instrument instead of 3-stringsm although sometimes a 3-strings too. Of course I may use a 6-string instrument.
2) STARTING SCALE I chose a basic scale, usually the natural defoult scale of the instruent which is marked on its fretboard.
3) The TUNINGS are preferably overtones cuatro tunings thus cavaco cuatro or Swedish troll fiddle tuning. But I can also use the venezuala cuatro or ukulele (guitar tuning of 4 highest strings)
CHORD-BASED IDEAS:
BASIC PRINCIPLE 1=HARMONY POLARITY : HERE WE PLAY WITH OUR FEELINGS OF HARMONY AND THE POLARITY BETWEEN BEING INSIDE THE HARMONY OF THE UNDERLYING CHORD AND OUTSIDE IT. WE ENHANCE THIS PRINCIPLE WITH THE OVERTONES ARPEGGIO PATH FOR OVERTONES INSTRUMENTS OR OVERTONES TUNINGS. THIS STATES THAT WHEN YOU ARE IN A NOTE AND YOU ARE WANDERING OF HOW MUCH OUTSIDETHE THE UNDERLYING CHORD AND WHERE TO GO, THEN THE THE FRIENDLY CHARMING PATH TO FOLLOW IS TO ASCEND OR DESCEND FROM THIS NOTE ACROSS THE OVERTONES OF THE INSTRUMENT WHICH ESSENTIALLY ARE A MAJOR CHORD (IN THE BRASS INSTRUMENT BY BLOWING LESS OR MORE) AND WHEN YOU REACH A NOTE EITHER STAY IN IT IF IT IS SUITABLE OR SHIFT TO A CLOSEST ONE WHICH IS SUITABLE. IN THE STRING INSTRUMENTS THAT ARE NOT IN OVERTONES TUNING THIS FRIENDLY CHARMING PATH IS NOT AN OVERTONES SEQUENCE BUT A CHROMATI SEQUENCE OF MINOR 2NDS (SEMITONES).
4) CHROMATIC TONALITY
Although I chose a diatonic scale, that is from 7 notes I involve also some or all of the 5 blue notes that result to all 12-notes of the musical universe. This is usually done in chords by convrting major to minor and vice versa E.g. a stanard chromatic extension of the chords of the diatonic scale is 3M instead of 3m and 7M instead of 7d. But also the minors 6m can become 6M when resolving to 2m and also the 3m to 3M when resolving to 6m, and the 2m to 2M7 when resolving to 5M. In addition we mau suround each major chord with two dimisnsihed chords an interval of 2nd away, that resolve to them, in the same way that the 7dimished resolves to 1M.
For the next steps I will enlarge more in the subsequents paragraphs
5) I improvise on major-minor lternations of HARMONIC CYCLES
with bridging the chords small melodic themes too.
6) I improvise on major-minor lternations of CHROMATIC CYCLES (like Andaluzian cycle)
with bridging the chords small melodic themes too.
7) I improvise on ISOMORPHIC CYCLES OF CHORDS (X1-X2-X3etc) with (Y1-Y2-Y3 etc) Most often of chromatic sequences that are melodic or harmonic isomorphic . I bridge them with small melodic themes too.
8) 2-VOICES AMBIGUITY REVEALED
I ascend or descend a mode of the scale with 2-voices simulteneous notes intervals of 3rds. The ambiguity of them is that they can be part of a minor or dimished chord (sad feeling) or a major chord (happy feeling). So 1st I play the 2-voice interval andthen I reveal it as major ot minor chord depending on the mood and to if I am ascending or descending.
MELODIC THEMES BASED IDEAS
BASIC PRINCIPLE 2: MELODIC MONOTONICITY-VARIATION POLARITY . HERE WE PLAY WITH OUR FEELINGS OF MONOTONY AND VARIATION AND THE POLARITY BETWEEN BEING MONOTONOUS BY REPEATING A MELODIC THEME AND BEING INNOVATIVE IN CREATING TRANSLATIONS, INVERSIONS AND MUTATIONS OF IT.
9) SMALL MELODIC THEMES VARIATIONS
The idea here is to start with short and rythmic melodic themes and apply the 3 basic variations , like translation (chromatic, melodic, harmonic) inversions and muttaions.
MIXED CHORD AND MELODIC THEMES IDEAS
My personal approach to similar type of improvisation is as follows
HARDWARE IDEAS
1) INSTRUMENT I utilize a 4-strings instrument instead of 3-stringsm although sometimes a 3-strings too. Of course I may use a 6-string instrument.
2) STARTING SCALE I chose a basic scale, usually the natural defoult scale of the instruent which is marked on its fretboard.
3) The TUNINGS are preferably overtones cuatro tunings thus cavaco cuatro or Swedish troll fiddle tuning. But I can also use the venezuala cuatro or ukulele (guitar tuning of 4 highest strings)
CHORD-BASED IDEAS:
BASIC PRINCIPLE 1=HARMONY POLARITY : HERE WE PLAY WITH OUR FEELINGS OF HARMONY AND THE POLARITY BETWEEN BEING INSIDE THE HARMONY OF THE UNDERLYING CHORD AND OUTSIDE IT. WE ENHANCE THIS PRINCIPLE WITH THE OVERTONES ARPEGGIO PATH FOR OVERTONES INSTRUMENTS OR OVERTONES TUNINGS. THIS STATES THAT WHEN YOU ARE IN A NOTE AND YOU ARE WANDERING OF HOW MUCH OUTSIDETHE THE UNDERLYING CHORD AND WHERE TO GO, THEN THE THE FRIENDLY CHARMING PATH TO FOLLOW IS TO ASCEND OR DESCEND FROM THIS NOTE ACROSS THE OVERTONES OF THE INSTRUMENT WHICH ESSENTIALLY ARE A MAJOR CHORD (IN THE BRASS INSTRUMENT BY BLOWING LESS OR MORE) AND WHEN YOU REACH A NOTE EITHER STAY IN IT IF IT IS SUITABLE OR SHIFT TO A CLOSEST ONE WHICH IS SUITABLE. IN THE STRING INSTRUMENTS THAT ARE NOT IN OVERTONES TUNING THIS FRIENDLY CHARMING PATH IS NOT AN OVERTONES SEQUENCE BUT A CHROMATI SEQUENCE OF MINOR 2NDS (SEMITONES).
4) CHROMATIC TONALITY
Although I chose a diatonic scale, that is from 7 notes I involve also some or all of the 5 blue notes that result to all 12-notes of the musical universe. This is usually done in chords by convrting major to minor and vice versa E.g. a stanard chromatic extension of the chords of the diatonic scale is 3M instead of 3m and 7M instead of 7d. But also the minors 6m can become 6M when resolving to 2m and also the 3m to 3M when resolving to 6m, and the 2m to 2M7 when resolving to 5M. In addition we mau suround each major chord with two dimisnsihed chords an interval of 2nd away, that resolve to them, in the same way that the 7dimished resolves to 1M.
For the next steps I will enlarge more in the subsequents paragraphs
5) I improvise on major-minor lternations of HARMONIC CYCLES
with bridging the chords small melodic themes too.
6) I improvise on major-minor lternations of CHROMATIC CYCLES (like Andaluzian cycle)
with bridging the chords small melodic themes too.
7) I improvise on ISOMORPHIC CYCLES OF CHORDS (X1-X2-X3etc) with (Y1-Y2-Y3 etc) Most often of chromatic sequences that are melodic or harmonic isomorphic . I bridge them with small melodic themes too.
8) 2-VOICES AMBIGUITY REVEALED
I ascend or descend a mode of the scale with 2-voices simulteneous notes intervals of 3rds. The ambiguity of them is that they can be part of a minor or dimished chord (sad feeling) or a major chord (happy feeling). So 1st I play the 2-voice interval andthen I reveal it as major ot minor chord depending on the mood and to if I am ascending or descending.
MELODIC THEMES BASED IDEAS
BASIC PRINCIPLE 2: MELODIC MONOTONICITY-VARIATION POLARITY . HERE WE PLAY WITH OUR FEELINGS OF MONOTONY AND VARIATION AND THE POLARITY BETWEEN BEING MONOTONOUS BY REPEATING A MELODIC THEME AND BEING INNOVATIVE IN CREATING TRANSLATIONS, INVERSIONS AND MUTATIONS OF IT.
9) SMALL MELODIC THEMES VARIATIONS
The idea here is to start with short and rythmic melodic themes and apply the 3 basic variations , like translation (chromatic, melodic, harmonic) inversions and muttaions.
MIXED CHORD AND MELODIC THEMES IDEAS
See also post 208, 276, 93, 102.
10) "WALKING THROUGH PARTS OF A TOWN", FLUID-CHORD-TRIADS or 2-VOICE ACCOMPANYING OF MELODY.
This idea is very old idea in ancient folk music before the era of classical music when complicated melodies where accompanied by power chords that are essentially 2-voices chords. It is an idea also similar to the previous at 10) except that instead of alternating standard 3-voices chords with melodic themes, we are struming or arpeggiating on a single triad which is not standard major or minor and so that it is constantly changing at each note of the melodic themes so that the 2 lower notes are rather stable and are used as 2-voice chord which accomnies the 3rd note which is changing faster and is usually the higher. Here is included also the accomnaying of the melody of the software arpeggiator ofthe sofware MIDI GUITAR 2.
11) "TRAVELING AMONG AND WITHIN TOWNS"
This is a generic type of improvisation where I improvise "randomnly" with melodic themes that are translated , inverted and mutated mainly within the diatonic scale, but at their standing notes (melodic centers) I apply arpegiation or struming of the close local major or minor/diminishd chord which fits to the melody at that time. The choices are only 2-3 at each time. Here the metaphor for the melodic themes is traveling and the metaphor for chords is "town"
10) "WALKING THROUGH PARTS OF A TOWN", FLUID-CHORD-TRIADS or 2-VOICE ACCOMPANYING OF MELODY.
This idea is very old idea in ancient folk music before the era of classical music when complicated melodies where accompanied by power chords that are essentially 2-voices chords. It is an idea also similar to the previous at 10) except that instead of alternating standard 3-voices chords with melodic themes, we are struming or arpeggiating on a single triad which is not standard major or minor and so that it is constantly changing at each note of the melodic themes so that the 2 lower notes are rather stable and are used as 2-voice chord which accomnies the 3rd note which is changing faster and is usually the higher. Here is included also the accomnaying of the melody of the software arpeggiator ofthe sofware MIDI GUITAR 2.
11) "TRAVELING AMONG AND WITHIN TOWNS"
This is a generic type of improvisation where I improvise "randomnly" with melodic themes that are translated , inverted and mutated mainly within the diatonic scale, but at their standing notes (melodic centers) I apply arpegiation or struming of the close local major or minor/diminishd chord which fits to the melody at that time. The choices are only 2-3 at each time. Here the metaphor for the melodic themes is traveling and the metaphor for chords is "town"
12) OVERTONES VERTICAL GATES
This applies especially well in overtones tunings and of course on the full 6-string 1st overtones tuning. I improvise horizontally with melodies and at the standing note I cross-over vertically at the local overtones "gate" which is of course an extended overtones arpeggio of a local major or minor chord.
For t he case of B) The Rapsody method of improvisation , based on a simple cycle of chords and parts of the melody
(see e.g.post 294)
BASIC PRINCIPLE 2: THE BIOWARE OVER THE HARDWARE. HERE WE GIVE PRIORITY TO THE ACQUIRED PSYCHOLOGY AFTER LISTENING MANY MELODIES OF OUR PERCEPTION OF MUSIC MELODY OVER HABITS OF PLAYING THE INSTRUMENTS OR OF THEORETICAL PRECONCEPTION IN THE MUSICAL ONTOLOGY: WE SPENT 5 ONLY MINUTES A DAY TO SING A MELODY THAT WE LIKE (KNOWN OR NEW) AND THEN PLAY IT AS IMPROVISATION ON OUR INSTRUMENT (see also post 288 ).
we summarize
This applies especially well in overtones tunings and of course on the full 6-string 1st overtones tuning. I improvise horizontally with melodies and at the standing note I cross-over vertically at the local overtones "gate" which is of course an extended overtones arpeggio of a local major or minor chord.
For t he case of B) The Rapsody method of improvisation , based on a simple cycle of chords and parts of the melody
(see e.g.post 294)
BASIC PRINCIPLE 2: THE BIOWARE OVER THE HARDWARE. HERE WE GIVE PRIORITY TO THE ACQUIRED PSYCHOLOGY AFTER LISTENING MANY MELODIES OF OUR PERCEPTION OF MUSIC MELODY OVER HABITS OF PLAYING THE INSTRUMENTS OR OF THEORETICAL PRECONCEPTION IN THE MUSICAL ONTOLOGY: WE SPENT 5 ONLY MINUTES A DAY TO SING A MELODY THAT WE LIKE (KNOWN OR NEW) AND THEN PLAY IT AS IMPROVISATION ON OUR INSTRUMENT (see also post 288 ).
we summarize
(See also post 203 , 201)
This is an ancient Greek method and technique of improvisation and composition of music, which is relevant with the 2 large ancient Greek poems of Homer, Iliad and Odyssey (see https://en.wikipedia.org/wiki/Homer ).
In modern times there is a survival of this method of Rapsody in the Greek island of Crete, called at the lyrics mandinades and at the music condylies, with music which is still created improvisationally. Some how it resembles the improvisational composition of a huge and never ending song and poem, with poetic lines usually n 15-syllables poetic measure, called maninades and music which is always very familiar but always hanging by improvisation.
It is supposed that the poems of Homer Iliad and Odyssey were created in this way , in the fiestas and celebrations by many people of various places n Greece, and Homer what just did is to collect the various poetic verses (lyrics) , called in anacient Greek languade songs=odes in plural , ody in single and sew them together (=rapso) to a long poem which is the Rapso-ody.
Other cultures with similar practice is the Irish and Celtic reels, the fado music and tradition of Blues.
Other cultures with similar practice is the Irish and Celtic reels, the fado music and tradition of Blues.
What is the improvisational advantages of the Rapsody method?
We can list the advantages and characteristscs as follows
1) THE CHORDS CYCLE:THE SIMPLICITY OF HARMONY. The harmony must be very simple, usually 1, 2 or at most 3 chords, that are repeating in a cycle, but after the time of a couple of songs they may change to different such pairs or triads (see post 287, and 222 , the 7 modes as triads of chords) E.g. 5M7-1M , or 3M7-6m , or 1M-4M-5M, etc.
In flamenco improvisations they use some times the 4-chords pattern of Andalusian cadenza 6m->5M->4M->3M (and also the full cadenza-ascenza cycle 6m->5M->4M->3M->4M->5M->1M) . In the Blues it is the triad M, 4Μ,5M7 or 1M,2m_5M7.
By insisting playing all chords on the same inversion in string instruments with fretboard (at best in normal forms which is easy in overtone tunings) the chords of diatonic scale are spread across the fretboard. This may require larger moves of the hand, but it offers voices of the chords at different pitch ranges which is more rich at the final musical result. This is amore pianno-like or harp-like positioning of the chords on the fretboard as the relative pirches of their roots are easily and intuitively visible. Thus instead of playing the chords only as open at the first few frets we play them as only 3 or 4 consecutive strings shapes across all the fretboard.
2) THE SARTING SIMPLICITY, RHYTHM AND HARMONY: THE POETIC MEASURE RHYTHM OF THE CHORD PROGRESSION
Musical porphology: The chord-progression.
By insisting playing all chords on the same inversion in string instruments with fretboard (at best in normal forms which is easy in overtone tunings) the chords of diatonic scale are spread across the fretboard. This may require larger moves of the hand, but it offers voices of the chords at different pitch ranges which is more rich at the final musical result. This is amore pianno-like or harp-like positioning of the chords on the fretboard as the relative pirches of their roots are easily and intuitively visible. Thus instead of playing the chords only as open at the first few frets we play them as only 3 or 4 consecutive strings shapes across all the fretboard.
2) THE SARTING SIMPLICITY, RHYTHM AND HARMONY: THE POETIC MEASURE RHYTHM OF THE CHORD PROGRESSION
Musical porphology: The chord-progression.
In the rhythm from 15-syllables poetry a possible distributon of the chords is
(1M )
10010100
(5M7)1M
1001010
(combination of anapestik 100 with trochaic 10 )
Or if A=1M the first chord and B=5M7 the second it is a pattern of 4 bars (and also musical score measures)
AABA where each step A or B is of 50-60 bps.
The patternof chord-distribution in measures that comes from the poetical measure (it suggest 3 repetitions A and one resolving devation B) ismet not only Greek Cretan Rapsody improvisation music, but also in Irish music and Swedish and Scandinavian folk music with fiddle.
Or if A=1M the first chord and B=5M7 the second it is a pattern of 4 bars (and also musical score measures)
AABA where each step A or B is of 50-60 bps.
| A | A | A | A |
| B | B | A | A |
The patternof chord-distribution in measures that comes from the poetical measure (it suggest 3 repetitions A and one resolving devation B) ismet not only Greek Cretan Rapsody improvisation music, but also in Irish music and Swedish and Scandinavian folk music with fiddle.
As it is of 2 only chords it is perfect for hexatonic harmonicas that have exactly 2 only chords. A blow-chord B=draw chord (see post 291 )
OR
| 1M | 1M | 1M | 1M |
| 5M7 | 5M7 | 1M | 1M |
In the blues (that may be somehow considered a type of rapsody concept collective composition and improvisation) the rhythm is also standardized to e.g. 12-bars blues, which corelated the rhyrhmic measures with the sequence and duration of the 3 chords 1M, 4M 5M or 1M 2m 5M.
Inother cultures we find the "Couple" part of the chord progression which may have different lyrics when repeating and the "Refrain" part of the chord progression (which is the peak of the song) which has always the same lyrics. The refrain part is what one usually remembers from the song, and usually inspires the title ofthe song.
Other patterns of distrubution of 1,2,3,or 4 chords over musical measures can be used, but the idea is that they must be simple , and played repetitively in cycle so that those that improvise the melody can rely on it and create complexity over this simplicity with the layered structure of a melody (simplicial submelody and full melody)
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Inother cultures we find the "Couple" part of the chord progression which may have different lyrics when repeating and the "Refrain" part of the chord progression (which is the peak of the song) which has always the same lyrics. The refrain part is what one usually remembers from the song, and usually inspires the title ofthe song.
Other patterns of distrubution of 1,2,3,or 4 chords over musical measures can be used, but the idea is that they must be simple , and played repetitively in cycle so that those that improvise the melody can rely on it and create complexity over this simplicity with the layered structure of a melody (simplicial submelody and full melody)
3) THE POETIC MEASURE LYRICS CYCLE: THE SIMPLICITY OF POETIC MEASURE IN THE LYRICS. The lyrics are usually pairs of poetic lines in the 15-syllables poetry 8-syllables+7-syllables. In general we may have also other types of poetic measure, but the same thought the rapsody. In modern times we may abandon altogether any type of poetic measure. The couples of poetic lines may be discovered and created new each time there is singing. But also they sing alraedy created and known lyrics. In Crete they are called mantinades.
4) THE POETIC MEASURE MELODIC CYCLE: THE CYCLIC SIMPLICITY OF SINGING MELODY The human singing melody: As the harmony is very simple (1-3 chords rarely 4 ) and very familiar to the singer , he is improvissing a human voice melody depending on his emotional state, or he is reating a known such melody,with new lyrics or known lyrics.
This slow singing melody is by no means following in syllables the exact pattern of the 15-syllables poetry in modern times . Maybe it was in ancient times. But in modern times, is may vary significaly depending on the emotional state ofthe singer.
It supposed that the singing melody might have 15 notes in the 2 poetic lines, but by extending syllables, very often it may have less notes. Neverthless the emotion is mainly created by the simplicial submelody of the singing melody which is only 2 notes per poetic line thus in total 4 notes (and measures in the musical score) whch make the macro-melodic theme.
In the Sweedish folk music there is very often the upper cyclic pattern of (simplicial submelody) notes and macro-scale melodic theme of middle-scale melodic themes (see below) parallel to the chord rhythmic pattern A A B A, notes a1 a2 a3 a1 , with pitch order a1<a2<a3>a1.
It supposed that the singing melody might have 15 notes in the 2 poetic lines, but by extending syllables, very often it may have less notes. Neverthless the emotion is mainly created by the simplicial submelody of the singing melody which is only 2 notes per poetic line thus in total 4 notes (and measures in the musical score) whch make the macro-melodic theme.
In the Sweedish folk music there is very often the upper cyclic pattern of (simplicial submelody) notes and macro-scale melodic theme of middle-scale melodic themes (see below) parallel to the chord rhythmic pattern A A B A, notes a1 a2 a3 a1 , with pitch order a1<a2<a3>a1.
5) THE POETIC MEASURE DANCING CYCLE: THE CYCLIC SIMPLICITY OF DANCING MELODY The instrumental embelishments counter melody. In Crete it is called kondilies, a term originating in winds (direct flutes) from cane, that were used for embelishment counter-melodies and the natural joints ofthe pieces of the cane are called kondili(=condyle). Again as the chords are very few 1-3, the instrumental embelishment counter melodies are easy to improvise, as kinds of chord or chord-closure harpisms (see post 183, 103) together with micro-oscillations around the notes of the chord,and small waves by intervals of 3rd, 4th/5th. Most often the instrumental embelishment counter melody has simply 2 parts 8+7 , as the pair of poetic lines , an upward-waving or rotating (or downward-waving) part of 8 steps (or 4 steps) and an inversely downward waving or rotating (or upward waving) part of 7 steps (or 3.5 steps) , thus following the poetic measure .
But we can conceive it as 4 parts , 3+1 too: If we divide the 15 steps into parts by 4 steps, it is 3 parts of 4 steps (that can also be 3 repetions of a melodic pattern ) and one concluding part of 3 steps. This can be also a patern on the steps of the correlated dancing. The correlation of the harmony with the poetic measure may vary but a very usual way is E.g. for the pair of chords 1M-5M7 (or 6m-3M7) that the first chord is at the 1st 2nd and last 4th parts from the 4 and the 2nd 7nth chord at the 3rd part. So it is 1M-1M-5M7-1M (or 6m-6m-3M7-6m ). Or it can be 1M-1M-1M-(5M7/1M) (or 6m-6m-6m-(3M7/6m) )This is a common pattern both for Celtic folk songs but for Greek , Cretan mantinades. This correlation is different of course for the 12-bars blues where the chords is a different triad and the poetic measure different.
It is supposed that it is the wordless but poetic musical speaking of the feelings. This instrumental embelishment counter melodies is dense in the number of notes more complicated than the human singing voice, and is in between and during the silent time intervals of the human voice singing melody. The fact that it is more complicated is because it corresponds usually to the dancing steps of the dancers, which is double, or 4 times (or even 8 times) faster that the tempo of the syllables of the lyrics.
If in the performed improvisation is only instrumental, then this will lead to an alternation of two speeds of improvisational melodies within the same chord-cycle and poetic measure a) The "singling" improvisatinal melody and b) the "dancing" improvisational melody which is 2 or 4 times faster than the "singing". They should be played preferably by different musical instruments e,g. a wind and a string instruments respectivlly or a bowed instrument and a plucked string instruent respectively.
But we can conceive it as 4 parts , 3+1 too: If we divide the 15 steps into parts by 4 steps, it is 3 parts of 4 steps (that can also be 3 repetions of a melodic pattern ) and one concluding part of 3 steps. This can be also a patern on the steps of the correlated dancing. The correlation of the harmony with the poetic measure may vary but a very usual way is E.g. for the pair of chords 1M-5M7 (or 6m-3M7) that the first chord is at the 1st 2nd and last 4th parts from the 4 and the 2nd 7nth chord at the 3rd part. So it is 1M-1M-5M7-1M (or 6m-6m-3M7-6m ). Or it can be 1M-1M-1M-(5M7/1M) (or 6m-6m-6m-(3M7/6m) )This is a common pattern both for Celtic folk songs but for Greek , Cretan mantinades. This correlation is different of course for the 12-bars blues where the chords is a different triad and the poetic measure different.
It is supposed that it is the wordless but poetic musical speaking of the feelings. This instrumental embelishment counter melodies is dense in the number of notes more complicated than the human singing voice, and is in between and during the silent time intervals of the human voice singing melody. The fact that it is more complicated is because it corresponds usually to the dancing steps of the dancers, which is double, or 4 times (or even 8 times) faster that the tempo of the syllables of the lyrics.
If in the performed improvisation is only instrumental, then this will lead to an alternation of two speeds of improvisational melodies within the same chord-cycle and poetic measure a) The "singling" improvisatinal melody and b) the "dancing" improvisational melody which is 2 or 4 times faster than the "singing". They should be played preferably by different musical instruments e,g. a wind and a string instruments respectivlly or a bowed instrument and a plucked string instruent respectively.
Most often each half-line of the poetic line is with 8 notes and is one musical score measure (and one simplicial submelody note) thus in total 32 notes. Especially when it is played by an instrument like violin, Lyra mandolin, or cuatro, where the neck of the instruments is short and the 8 notes is not a problem. The acoustic effect is an almost continouns musical sound of melody with fast embelishments (Similar to the jazz improvisations with violin of Stephan Grappelli ). But if the instrument is of along neck like a bouzouki, or saz ot tambouras, then each poetic half-line and measure of the score is usally of only 4 notes, which makes the total of pair of poetic lines (and 15 syllables) of 16 notes. This is always the dancing fast instrumental melody. When it is used 8 notes er measure for the middle-scale melodic theme the micro-scale melodic themes are chromatic oscillations around single notes (Violin, mandolin, cuatro etc). But when the middle-scale melodic theme is of 4 notes then the micro-scale melodic themes are usally spaning a 3rd and are translated by intervals of 2nds acris the scale. (Bouzouki, tambouras, saz etc)
The rhythm-frequency of each poetic-half line and musical score measure is about 50-60 beats per minute (the beats of a calm heart) . Thus the beats per minute of each poetic sylalble is supposed to be 4-times so thus 200-240 bpm. While the fast dancing melody where each measure and half line has 8-notes would be 400-480 bpm
The rhythm-frequency of each poetic-half line and musical score measure is about 50-60 beats per minute (the beats of a calm heart) . Thus the beats per minute of each poetic sylalble is supposed to be 4-times so thus 200-240 bpm. While the fast dancing melody where each measure and half line has 8-notes would be 400-480 bpm
The half-poetic line is the middle melodic theme, and also one measure, that follows the pattern of the above rhythm most of the time, and is translated up or down , and also changing shape. The trasnlations are melodic (intervals of 3rd) harmonic (intervals of 4th or 5th) or more rarely (less than 30% of the cases) chromatic (intervals of 2nd).
But inside each measure and middle melodic theme, there are the micro-melodic-themes that are oscilaltions around one note, most often by intervals of 2nds. (see also post 296 about modes-
longitudinal chords)
The middle-scale melodic theme is part of an "arpeggio" of the (chromatic) closure of the chord (or vector-chord), as contrasted to the (simplicial) macro-melodic theme , which is usually more or less an exact arpeggio of the accompanying chord.
In the Sweedish folk music there is very often the upper cyclic pattern of (simplicial submelody) notes and macro-scale melodic theme of middle-scale melodic themes (see below) parallel to the chord rhythmic pattern A A B A, notes a1 a2 a3 a1 , with pitch order a1<a2<a3>a1.
The micro-melodic themes are mainly chromatic (intervals of 2nd) , but in Irish folk reels they may be also from intervals of 3rds, 4ths/5ths. The middle-melodic themes mainly melodic (intervalss of 3rds) , and the macro-melodic theme of the simplicial submelody mainly harmonic (intervals of 4th , 5th or octave). Theya re conceived as themes of the simplicial submelody .
THE EMOTIONAL AFFECTION CENTER THAT TRADITIONALLY IS AT THE ACCOMPANYING CHORD, CORRESPONDS ALSO AT THE MODE-LONGITUDINAL CHORD (SEE PSOT 296) AND THEREFORE ALSO AT EACH NOTE OF THE MACRO-SCALE MELODIC THEME (WHICH AS WE SEE CORRESPONDS AND EXPANDS ALSO TO THE MIDDLE-SCALE MELODIC THEME). THUS USUSALLY AT 60 bpm WHICH IS USUALLY THE RHYTHM OF A CALM HEART.
THE DANCING-KINETIC AFFECTION IS FOUND AT THE MIDDLE-SCALE AND MICRO-SCALE MELODIC THEMES. THEREFORE AT 240-480 bpm
longitudinal chords)
The micro-scale melodic themes , when they are inside a chord (rotations) are mainly of 4 types
micro or macro-chromatic and melodic , harmonic.
1) oscillations around a note of the chord. (micro-chromatic) E.g. if 1 is the note and 0note not inthe chord , then patterns like 1-1-0 (70% in the chord) or 1-0-1-0 (50% in the chord)
2) Up-down wavings-arpeggios within the scale-chromatic closure of the chord
(macro-chromatic) (or vector-chord) E.g if c-e-g is the chord then c-d-e-f-g-f-e-d-c (60% in the chord). The chromatic closure of the chord is within the diatonic scale, but it may be with blue or chromatic notes so instead of natural mnor it may have harmonic or double harmonic minors. Sometimes with still different blue notes like 5#, or 1# or 4# or 7b.
Pure-chord arpeggios (melodic or harmonic) . e.g. if if c-e-g is the chord then e.g. c-e-g-e-c etc (100% in the chord)
The pure-chord arpeggios are mainl of two types
3)the melodic from intervals of 3rds (e.g. c-e-g-e-c)
4) The harmonic that are arpeggios of the included power chord e.g. c-g-c'-g-c
Of course after the basic 4 types there are mixed types e.g. pure arpegio with micro-chromatic (which is very often in Irish folk music) etcmicro or macro-chromatic and melodic , harmonic.
1) oscillations around a note of the chord. (micro-chromatic) E.g. if 1 is the note and 0note not inthe chord , then patterns like 1-1-0 (70% in the chord) or 1-0-1-0 (50% in the chord)
2) Up-down wavings-arpeggios within the scale-chromatic closure of the chord
(macro-chromatic) (or vector-chord) E.g if c-e-g is the chord then c-d-e-f-g-f-e-d-c (60% in the chord). The chromatic closure of the chord is within the diatonic scale, but it may be with blue or chromatic notes so instead of natural mnor it may have harmonic or double harmonic minors. Sometimes with still different blue notes like 5#, or 1# or 4# or 7b.
Pure-chord arpeggios (melodic or harmonic) . e.g. if if c-e-g is the chord then e.g. c-e-g-e-c etc (100% in the chord)
The pure-chord arpeggios are mainl of two types
3)the melodic from intervals of 3rds (e.g. c-e-g-e-c)
4) The harmonic that are arpeggios of the included power chord e.g. c-g-c'-g-c
The middle-scale melodic theme is part of an "arpeggio" of the (chromatic) closure of the chord (or vector-chord), as contrasted to the (simplicial) macro-melodic theme , which is usually more or less an exact arpeggio of the accompanying chord.
In the Sweedish folk music there is very often the upper cyclic pattern of (simplicial submelody) notes and macro-scale melodic theme of middle-scale melodic themes (see below) parallel to the chord rhythmic pattern A A B A, notes a1 a2 a3 a1 , with pitch order a1<a2<a3>a1.
The micro-melodic themes are mainly chromatic (intervals of 2nd) , but in Irish folk reels they may be also from intervals of 3rds, 4ths/5ths. The middle-melodic themes mainly melodic (intervalss of 3rds) , and the macro-melodic theme of the simplicial submelody mainly harmonic (intervals of 4th , 5th or octave). Theya re conceived as themes of the simplicial submelody .
THE EMOTIONAL AFFECTION CENTER THAT TRADITIONALLY IS AT THE ACCOMPANYING CHORD, CORRESPONDS ALSO AT THE MODE-LONGITUDINAL CHORD (SEE PSOT 296) AND THEREFORE ALSO AT EACH NOTE OF THE MACRO-SCALE MELODIC THEME (WHICH AS WE SEE CORRESPONDS AND EXPANDS ALSO TO THE MIDDLE-SCALE MELODIC THEME). THUS USUSALLY AT 60 bpm WHICH IS USUALLY THE RHYTHM OF A CALM HEART.
THE DANCING-KINETIC AFFECTION IS FOUND AT THE MIDDLE-SCALE AND MICRO-SCALE MELODIC THEMES. THEREFORE AT 240-480 bpm
6) THE SIMPLICITY OF THE RHYTHM. The rhythm. The rhythm very often is a dancing rhythm (in Crete dance of syrtos) , and similarly for Irish reels. But it is known that e.g. the jigs, are slow and usually non-dancing rhythm. So the rhythm can be also slow, matching the emotional state.
The rhythm-frequency of each poetic-half line and musical score measure is about 50-60 beats per minute. Thus the beats per minute of each poetic sylalble is supposed to be 4-times so thus 200-240 bpm. While the fast dancing melody where each measure and half line has 8-notes would be 400-480
Possible thythms are
1001010
(combination of anapestik 100 with trochaic 10 )
Or
100111010 or a more extreme that spans 3 powers of 2 , 10000011100100
(e.g. in Vagelis Bardakis castrines condilies) .
7) ONE HUGE NEVER ENDING FAMILAR SONG COLLECTIVELY CREATED. Probably the most important feature of the rapsody method of improvization is the next: The main improvisational advantage of the rapsody method is that it is easy and standard how the improvization is made. Still there is pleanty of freedhom. The improvisation is based on known and very simple harmony (1-3 or 4 chords) , and somehow known melodic lines that are varied consinuously , with intermitent embelishment counter melodies , that make the whole musical environment as if of one known and never ending long song , thus very familiar but never closed in the details and variations. Because such a long and never ending song is the collective creation of many people at different times, there is also the nice and encouraging feeling of participation in the emotions of a collective of people.
8) THE VAST MODERN COMPOSITIONAL VALUES OF THE ABILIY OF RAPSODY IMPROVISATION:
Once someone has mastered the ability in a fluent way to improvise easily over a chord cycle of 2 or 3 or 4 chords, then he gradually can extend the ability toimprovise over larger cycles of chords and chord progressions,which means a rich ability of composing songs starting with improvasations.
For the case of C) The simplicial counter-melody improvisation parallel to an existing song.
(see e.g. post 289 )
we summarize
The ability of this is after we have mastered improvisation as in post 288.
See also posts 118, 128, 197, 183, 102, which contain more ideas.
That is why when turning the singing improvisation to a melody of a musical instrument, it is more convenient to do so with, an harp, or a panflute, or an harmonica , then in general a diatonic instrument etc.
Once someone has mastered the ability in a fluent way to improvise easily over a chord cycle of 2 or 3 or 4 chords, then he gradually can extend the ability toimprovise over larger cycles of chords and chord progressions,which means a rich ability of composing songs starting with improvasations.
For the case of C) The simplicial counter-melody improvisation parallel to an existing song.
(see e.g. post 289 )
we summarize
See also post 102, 111, 138, 275 , 280 , 287, 102, 256, 257, 118, 128, 197, 183, 271, 290
Learning to improvise by singing over any chord progression of a song.
The ability of this is after we have mastered improvisation as in post 288.
Generally speaking at least 50% of the time the notes of the improvisation should belong to the underlying chord.
Of course a more strict improvisation would be to require that 50% of the time the notes are notes of the underlying chord and the rest of the time, notes between them, thus in the vector-chord or closure inside the diatonic scale, of the underlying chord. (e.g. if the underlying chord is c-e-g, then the closure of the chord or the vector chord is the c-d-e-f-g.)
In this, we start with a song with its chord-grogression. We use again the rule that that 50% of the time the notes are notes of the underlying chord and the rest of the time, notes between them thus in the vector-chord or closure inside the diatonic scale, of the underlying chord, or more generally notes of the diatonic scale that donot belong to the underlying chord.
The simplest idea is to go up or down in a linear pitch order of the notes of a diatonic scale, spending more time each time in the closure of the underlying chord and at least 50% on the notes of the underlying chord. Initially there is no need for waving and embelishments. Only a linear sequence that goes up or down from chord-closure to chord-closure depending on the underlying chord. We do not even need to know the chords of the chord-progression, as we will find them by shifting up or down and staying more time when the results is more harmonic. If it is a song, with its chord progression this actually would be a kind of simplicial submelody of a counter melody of the melody of the song. We may conceive it as a kind of simplicial countermelody, in the sense that it consists during each underlying chord mainly from a single notes of the underlying chord, thus certainly fitting harmonically to the melody of the song. Still another way to conceive this parallel improvisational melody is to think of it as simultaneously 1st 2nd and 3rd voice, but changing if it is 1st 2nd or 3rd voice and mainly with hysteresis (counterpoint) following the underlying chords and their changes rather than the changes of the notes of the main melody.
See also posts 118, 128, 197, 183, 102, which contain more ideas.
We remind the reader that two melodies sounding simulteneosuly may be assumed as fitting harmonically, if the duration of inervals of 3rd and 5th (and inversions) are more than 50% at a first basic ranking and more than 80% at a more demanding ranking , of the total time compared to the duration of the interavals of 2nds. And the same with a melody and a chord sounding sumulteneosuly. Or more generally we may defone counterpoint of k-melodies sounding simulteneously, if and only if the simulteneous intervals of all pairs of melodies that are of 3rds and 5ths (or inversions) have total duration more than 50% at a first basic ranking and more than 80% at a more demanding ranking , compared to those by intervals of 2nds.
That is why when turning the singing improvisation to a melody of a musical instrument, it is more convenient to do so with, an harp, or a panflute, or an harmonica , then in general a diatonic instrument etc.
Of course as we excersise more, we learn to create small melodic themes instead of only one note, and then translate them or invert them chromatically, melodically or harmonically.
A practice that would implement the above in easier way is
(See also post 271 about learning many instruments simulteneously utilizing simplicial submelody improvisation system and post 275 about whistling)
1) Download the song as an mp3 file , then open it in Audacity, and utilize its function of finding the chords.
2) We look at the chord progression and try to identify the main diatonic scale , from which it may deviate chtomatically.
3) Then we choose the appropriate instrument that may diatonic at this scale or even chromatic. It may be a wind instrument like harmonica, flute, clariphone sax etc or it may be a bowed instrument like violin , metric-lyra celo-lyra (see post 264) or other stings instruments like cuatro, guitar, bouzouki, mandolin, mandola, etc.
4) At first we whistle the simplicial counter-melody while the song is playing.
5)We may also record the whistling in the computer, while we listen in one only earphone and in one ear, the parallel song from the mobile or another computer. This may create an entereily new song and new melody and even different chord progression inspired and stimulated by the initial parallel song. That is why a more likable way of the whistling melody should not be considred as a "mistake" but as a more likable melody of a new song, inspired from the initial.
6) Then we repeat the whistling simplicial counter-melody with the chosen instrument
7) If we are multi-intrument player, we rotate the instruments from the easiest to the more demanding (e.g. harmonica, then celtic harp, then chinese panflute, then marked scale cuatro, then fretted-lyra , then straight flute, then clariphone or sax etc) playing similar simplicial counter-melodies for this song. If we do that we try to identify ourself the with the simplicial counter-melody and consider that we actually we laer a simplicial counter-melody for thsi song rtaher than that we learn the particular instrument that we play). See also post 271.
A METHOD TO CREATE THEORETICALLY BUT ALSO PRACTICALLY SIMPLICIAL COUNTER-MELODIES:
A practice that would implement the above in easier way is
(See also post 271 about learning many instruments simulteneously utilizing simplicial submelody improvisation system and post 275 about whistling)
1) Download the song as an mp3 file , then open it in Audacity, and utilize its function of finding the chords.
2) We look at the chord progression and try to identify the main diatonic scale , from which it may deviate chtomatically.
3) Then we choose the appropriate instrument that may diatonic at this scale or even chromatic. It may be a wind instrument like harmonica, flute, clariphone sax etc or it may be a bowed instrument like violin , metric-lyra celo-lyra (see post 264) or other stings instruments like cuatro, guitar, bouzouki, mandolin, mandola, etc.
4) At first we whistle the simplicial counter-melody while the song is playing.
5)We may also record the whistling in the computer, while we listen in one only earphone and in one ear, the parallel song from the mobile or another computer. This may create an entereily new song and new melody and even different chord progression inspired and stimulated by the initial parallel song. That is why a more likable way of the whistling melody should not be considred as a "mistake" but as a more likable melody of a new song, inspired from the initial.
6) Then we repeat the whistling simplicial counter-melody with the chosen instrument
7) If we are multi-intrument player, we rotate the instruments from the easiest to the more demanding (e.g. harmonica, then celtic harp, then chinese panflute, then marked scale cuatro, then fretted-lyra , then straight flute, then clariphone or sax etc) playing similar simplicial counter-melodies for this song. If we do that we try to identify ourself the with the simplicial counter-melody and consider that we actually we laer a simplicial counter-melody for thsi song rtaher than that we learn the particular instrument that we play). See also post 271.
A METHOD TO CREATE THEORETICALLY BUT ALSO PRACTICALLY SIMPLICIAL COUNTER-MELODIES:
IMPROVISATION METHOD BASED ON A SET OF CHORDS AND MELODIC LINES BRIDGING THE HIGHEST NOTES OF EACH OF THEM. APPLICATION WITH STRUMMING WITH CUATRO, CAVAQUINHO, UKULELE , HARMONICA VIOLIN, WINDS ETC
The application idea is that when the chord is realized with a voicing on the highest 4 (or all 4) strings , we create melodic lines on the highest string bridging the highest notes of two succesive chords. Because of a inherent phenomenon of the human sound perception , when we are strumming and chaning the chords with in-between such melodic lines, the musical perception clearaly heres a melody, which is that of the highest notes. If it was not the highest notes the melodic lines would be more often lost in listening in the strumming.
Such chord-bridging melodic lines use a last small part of the previous chord duration and a small initial part of the new chord duration. During the rest ofthe time there is strumming of the chord or a achord arpeggio or variations of small melodic themes inside the chord by intervals of 3rd or 4th/5th. Thus melodic-harmonic variaonions. While when bridging two succesive chords there may be melodic themes variations by intervals of 2nd 3rd or 4th/5th (thus chromatic-melodic-harmonic).
This technique utilizes the simplicity of the information of the set of chord and translates it it to a simple information about the partition of the types of variations of simple melodic themes with the time placement and duration of the chords.
With this technique we may create simplicial counter-melodies parallel to melody.
Such chord-bridging melodic lines use a last small part of the previous chord duration and a small initial part of the new chord duration. During the rest ofthe time there is strumming of the chord or a achord arpeggio or variations of small melodic themes inside the chord by intervals of 3rd or 4th/5th. Thus melodic-harmonic variaonions. While when bridging two succesive chords there may be melodic themes variations by intervals of 2nd 3rd or 4th/5th (thus chromatic-melodic-harmonic).
This technique utilizes the simplicity of the information of the set of chord and translates it it to a simple information about the partition of the types of variations of simple melodic themes with the time placement and duration of the chords.
With this technique we may create simplicial counter-melodies parallel to melody.
It applies verty easily when utilizing a chromatic harmonica (see post 274), but also a violin (especially marked at a particular diatonic scale, so that we can identify chord-triad shapes on it after a convenient tuning) and finally also on a diatonic wind.
