302. METHOD OF IMPROVISATION BY AN UNACOMPANIED SINGLE DIATONIC INSTRUMENT OR STRING INSTRUMENT WITH A SCALE MARKED ON THE FRETBOARD , BY SMALL MUSICAL THEMES AND PERPETUAL VARIATIONS BY TRANSLATION FROM S TRING TO STRING , INVERSION AND MUTATION. .

METHOD OF  IMPROVISATION BY AN UNACOMPANIED SINGLE DIATONIC INSTRUMENT NOT SUPPORTING CHORDS OR  STRING INSTRUMENT THAT DOES NOT SUPPORT WELL CHORDS WITH A SCALE MARKED ON THE FRETBOARD , BY SMALL MUSICAL THEMES AND PERPETUAL VARIATIONS BY TRANSLATION FROM S TRING TO STRING , INVERSION AND MUTATION. 

THE KEY-WORD HERE IN THE 4TH GENERATION DIGITAL MUSIC FOR THE MUSICAL-THEORETIC IDEAS OF THIS   POST (AS FAR AS MORDEN SOFTWARE FOR MUSIC MAKING IS ) IS MELODY-SEQUENCERS 

THE TERM  SEQUENCER MEANS HERE A LOOP OR RHYTHMIC CYCLE OF   A  MELODIC THEME THAT IS VARIATED INTERACTIVELY BY THE USER  IN A MELODIC SEQUENCER.

THERE MANY GOOD SOFTWARE PROGRAMS FOR THIS COMPOSITION AND IMPROVISATION LIKE FUGUE MACHINE, YAMAHA MOBILE SEQUENCER, THUMPJAM ETC. ALSO ARPIO  AND ARPEGGIONOME FOR GENERAL ARPEGGIOS ALTERNATED WITH MELODIC IMPROVISATIONS

For example when we improvise over a wind like a direct flute , or clariphone, or panflute, or with a violin or lyra, which does not support very well chords.

In the case string instruments with fingerboard or fretboard , it helps if the default diatonic scale of the instrument is marked on the fingerboard.

HERE THE IMPORTANCE OFTHE CHORD IS SUBSTITUTED WITH THE IMPORTANCE OF A SMALL MELODIC THEME (E.G. OF 3-4 NOTES) 

THIS SMALLMELODIC THEME IS PERPETUALLY VARIED. IF THE TUNING OF THE STRING INSTRUMENTS IS A GOOD ONE LIKE THE OVERTONES TUNING (SEE POST 301 AND 191), THE VARIATIONSCAN BE FROM STRINGT O STRING MORE-OFTEN THAN JUST TRANSLATING IT OVER A SINGLE STRING. WE APPLY ALSO INVERSIONS AN WE MUTATE THE THEME, SO THAT THERE IS NOT EXCESSIVE REPETITION.

The melocic part of the improvisation shoud have symmetries or in other words a structure of simple melodic theme, with its variations.

0) An affine pattern of the melody which is independent of a realization in  a mode or in a scale (see post 97)

1) Reflection to a horizontal axis (time)

2) Reflection to a  vertical axis (pitch)

3) Point symmetry to a time point

4) Pitch translation

5) Recursive pitch waving ascending or descending.

6) Cyclic or balanced behavior   in ascending-descending.

7) Dilation on the size of intervals (waved changing of the 3 melodic densities or speeds). Usually the melody starts with low melodic speeds or densities , accelerates to higher speeds or densities and then decelerates again to lower speeds or densities, as is also the motion of bodies in dancing.

8) Statistical types of symmetries.

HERE ARE MORE IDEAS IF THE INSTRUMENT SUPPORTS CHORDS

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

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 ofthe 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. I have a composed collection of more than 800 chord progressions in tonality , chromatic tonality and general multitonality in which I can resort to improvise with melodic bridges metween the chords as in 10) and 11) below.

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 BASE IDEAS


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 mutations. The structure of the melodic themes may mimic the chords accompanying a melody. Instead of chords here we may have an isokratic a drone  or intermittently repeating melodic theme , which may be an "arpeggio" of the closure of a chord, and over this we add sequentially a higher octave melodic theme that is varied and evolves.

MIXED CHORD AND MELODIC THEMES IDEAS

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 next below at 11) 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.

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 a cross-over vertically at the local overtones "gate" which is of course an extended overtones arpeggio of a major or minor chord.

301. THE MIRACULUS 1ST AND 2ND OVERTONES (2ND TILL 7NTH) TUNING (5-4-3M-3m-3M) FOR THE 6TH STRING GUITAR , DOBRO AND OUD

A 2nd version of the 1st overtones tuning  (see post 191)  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 (7-5-4-3-5 ) in numbered steps of the diatonic scale 1-5-1'-3'-5'-1"

AND IF WE WANT TO HAVE THE INTERVAL OF 5TH AT THE TWO HIGHEST STRINGS AS IT SOUNDS BETTER WITH CLARITY (AS IS THE CAE ALSO WITH THE CHARANGO TUNING) WE SET THE CUATRO CAVACO FIRST LOWER AND THEN HIGHER THE TROLL TUNING INVERTED THUS

G2-C3-E3-G3-C4-G4 INTERVALS (4-3M-3m-4-5) or in semitones (5-4-3-5-7 ) in numbered steps of the diatonic scale 5-1'-3'-5'-1"-5" and as overtone orders it is 3-4-5-6-8-12 overtones. 

We may call it 5th version of the overtones tuning.

Furthermore a slight variation of thsiversion of overtones tuning so as to include the stanrd ukulele-guitar tuning (or venezuela cuatro) and thsu be more familiaer in at least 4 strings is the 

C2-G2-C3-E3-A3-C4 INTERVALS (5-4-3M-4-3m) or in semitones (7-5-4-5-3 ) in numbered steps of the diatonic scale 1-5-1'-3'-6'-1" It is an open tuning of th root  major with 6th as the open tuning of ukulele.

Still another variation of the overtones tuning which includes not only the ukulele (venezuela cuatro) but also the charango tuning  besides of course the troll tuning and the 3-string Bouzouki tuning is the C2-G2-C3-E3-A3-E4 INTERVALS (5-4-3M-4-5) or in semitones (7-5-4-5-7 )   which is symmetric as we see and in numbered steps of the diatonic scale 1-5-1'-3'-6'-3" It is an open tuning of the root  major with 6th as the open tuning of ukulele and charango.

We may compare these tuning with that of the fado guitar that in interavls it is (5-2-5-4-2) E.g. C-G-A -E-A-B) it is an open major chord with 6th and major 7nth

The current 2nd overtone tuning  tuning unlike the 1st overtones tuning in post 191 WHICH is FROM THE 1ST OVERTONE TO THE 6TH, here it is FROM THE 2ND OVERTONE TO THE 7NTH



(it is an  open tuning and  an major chord with major 7nth)

In intervals of 5th 4th 3rd itis  5-4-3M-3m-3M

E.G.FROM C2 as C major scale IT IS C2-G2-C3-E3-G3-B3

FOR D MAJOR IT IS 

D2-A2-D3-F#3-A3-C#4

FOR F MAJOR IT IS 

F2-C3-F3-A3-C4-E4

For such an F major tuning and for optimal tensions the 4th D3 string of the standard guitar must be changed to a 3rd G3 string, and the 6th E2 string of the stnard guitar must be changed to a 6th A2 string.


FOR G-MAJOR IT IS

G2-D3-G3-B3-D4-F#4

FOR Bb major it is 

Bb2 F3 Bb3 D4 F4 A4

FOR Eb IT IS 

Eb2-Bb2-Eb3-G3-Bb3-D4


1)The part 5-4-3M  IS THE  SWEDISH TROLL TUNING of the violin

2) The part 4-3M is the tuning of 3 of the string of the guitar , and of ukulele, and of the Greel 4-strings bouzouki.

3) The part 4-3M-3m is the Brazilian cuatro (cavaco) tuning

4)And the part 3M-3m-3M is the melodic-harmonic tuning as in post 90 which has the maximal number of major-minor chord triads on  the fret board.

5) The part 5-4 is also a Greek 3-string bouzouki and it has the maximum number of 1 or 3 frets power chords among all other tunings.

6) The part 3M-3m is also the tuning if the instrument panduri.

The logic of this tuning is similar to the logic that a trumpet is played.

The 6 strings correspond to the overtones from 2 to 7 of the blowing stength of the trumpet player. The frets of the guitar correspond to the valves and keys of the trumpet.

For all these reasons as it contains tunings of 6 different instruments ,  it  makes  miracles as improvisation tuning for the Guitar.

SOMEHOW PLAYING IN SUCH A GUITAR IS LIKE LEARNING SIMULTENEOUSLY 5 DIFFERENT INSTRUMENTS 1) A GREEL 3-STRING BOUZOUKI, 2) A SWEDISH TROLL TUNING VIOLIN , 3) A BRAZILIAN CUATRO, 4) A RUSSIAN PANDURI, 5) A MELODIC-HARMONIC CUATRO.


One of the great advantages compared to the standard guitar tuning his is that

1) The  part of the tuning 4-3M-3m-4M allows for standard cuatro playing or ukulele palying of chords. The part 4-3M for standard guitar or ukulele chords. Thus when soloing on the highest 1st string, we may accompany by the opena= major root  chord at 2nd 3rd and 5th string.
2) The Swedisg troll part of the tuning 5-4-3M allows for accomanying with  a power root chord 5-4 (whichs is also the tuning of the Greek and Irish 3-string Bouzouki) at strings 6th, 5th, 4th  , complicated soloing on the 2nd and 3rd  (from higher) string that normally would require many major or minor chords for accomanying. 

Thus this tuning combines techniques of the ancient 1st generation music with the techniques of the 2nd generation classical period of music.

It is a great way to link the guitar to the unity of one musical note and its overtones,and at the same time have it as open-chord tuning (it is a an major chord with major 7nth)

OTHER ADVANTAGES OF THE 1ST OR 2ND OVERTONES TUNING COMPARED TO THE STANRD GUITAR ARE 

3) The shapes of the 3 inversions of the major , minor chords and dominat 7nth are in total utilzing less consecutive frets each chords thus it is has higher dnesity of chord-triads and thus it is played easier than the standard guitar
4) It  is open tuning thus it allows for nice open strings root-chord (either as power-chord or as major chord) accompanying of soling on a string and inside the scale.
5) The shapes of the patterns of the chords  especially for the 1st overtone tuning 
5-4-3M-3m-4 are rather symmetric around the 3rd string (for the higher 5 strings) therefore easier to comprehend and play in improviations where it is orefered to play 3-consecutive strings or 4-consecutive string chords only.
6) Because it includes the above 4-5 instruments  of 3 or 4 string it is easy to play when you know the simpler instruments.  Conversely playing  this guitar makes you learn all the above instruments.
7) As it is an open major chord shape ,  the corresponding one fret major chord pattern sounds better as voicing comprated to the corresponding 3 inversions of major chords in the standard guitar , because it is the sequence of harmonics from 2 to 8 (excluding the 7nth).
8) Especially the 2nd overtones tuning (all overtones from 2nd to 7nth , 5-4-3M-3m-3M) in its major or minor chord triads has more normal forms compared to the normal forms of the standrad tuning, thus it sounds better.
9) Because the chords are in one or 2 only frets, their arpeggios also and neighboring melodies are in fewer frets thus easier to play as finger picking style. 



A variation of this 2nd overtone so as to include the ukulele tuning rather than the cuatro cavaco tuning is (for C major ) the C2-G2-C3-E3-A3-C4   (5-4-3M-4-3m). Notice that it still includes the troll tuning . It is open chord 6m7 tuning. 

Or C2-G2-C3-E3-A3-E4   (5-4-3M-4-5) which is combination of the Swedish troll tuning and charango tuning. Still open 6m7 chord or 1M6

Or  C2-G2-C3-E3-G3-C3  5-4-3M-3m-4    (Open 1Major chord) which is a version of the 1st overtones tuning (see post 191 ) which start from the 2nd ove tone and ends to the 8th overtone omittingthe 7nth  overtone .

300. THE TROLL-PANDURI-CUATRO (UKULELE) 3M-3m-4-3M-4 TUNING OF THE 6-STRING GUITAR AND OUD

This 3M-3m-4-3M-4 TUNING wa mentioned in the post 165.

The part 3M-3m is a panduri tuning.
The  part 4-3M-4is a ukulele (cuatro) tuning

The 6th, 4th 3rd and 2nd strings (in interval distances it is 5-4-3M) is aSwedish troll tuning

The 6th, 4th 3rd strings (in interval distances it is 5-4) is a greek 3-string bouzouki.


Because ofthe above inclusions this tuning is quite remarkable and I use it in some of my 6-string guitars and OUD.

a permuted version of it is the tuning is the 4-3M-4-3M-3m. The 4-3M-4 is a ukulele cuatro while the 4-3M-3m is Brazilian cuatro or cavaco. So it may be called double cuatro.

The inclusion of the troll tuning (although not in consecutive strings ) gives the next advantage



a) The ukulele part of the tuning 4-3M-4 allows for standard guitar playing of chords
b) The Swedish troll part of the tuning 5-4-3M allows for accomanying with  a power root chord 5-4 , complicated soloing on the 2nd (from higher) string that normally would require many major or minor chords for accomanying. 

Thus this tuning combines techniques of the ancient 1st generation music with the techniques of the 2nd generation classical period of music.

299. THE TROLL-CHARANGO TUNING OF THE 6-STRING GUITAR OR OUD 5-4-3M-4-5

This tuning 5-4-3M-4-5 is called so because the part 5-4 is the tuning of a 3-string bouzouki and the part 5-4-3M is the Swedish troll violin tuning , while the part 4-3M-4-5 is the tuning of a charango. It is an open tuning.

E.g. FOR C MAJOR

C2-G2-C3-E3-A3-E4

OR


C3-G3-C4-E4-A4-E5

One of the great advantages of this tuning is that

a) The ukulele part of the tuning 4-3M-4 allows for standard guitar playing of chords
b) The Swedisg troll part of the tuning 5-4-3M allows for accomanying with  a power root chord 5-4 , complicated soloing on the 2nd (from higher) string that normally would require many major or minor chords for accomanying. 

Thus this tuning combines techniques of the ancient 1st generation music with the techniques of the 2nd generation classical period of music.

298 THE TROLL-UKULELE 5-4-3M-4 AND TROLL-CAVACO 5-4-3M-3m TUNING OF THE 5-STRING GUITAR OR OUD

The  5-4-3M-4 tuning is  called so because the part 5-4 is a 3-string bouzouki and the part 5-4-3M is the Swedish troll violin tuning while the part 4-3m-4 is a  ukulele

https://www.youtube.com/watch?v=bhjBVcIXzR4&fbclid=IwAR3_Y_ln_CX6wvSNf75wtGSf_sbmmjK6lnSbgIcraOzXZKtfNueX4YDmpgo

THE CALICO OR BLACK MOUNTAIN TUNING IN THE NEXT VIDEO IS ALSO THE SWEDISH TROLL TUNING

https://www.youtube.com/watch?v=BzlYRqI842E

E.g. G2-D3-G3-B3-E4

We may compare it with the charango tuning which is the 4-3M-4-5  e.g. for C major

G3-C4-E4-A4-E5



The troll-cavaco tuning is the 5-4-3M-3m e.g. G2-D3-G3-B3-D4. It is in all 5 strings an overtone tuning friom overtone 2 to overtone 6. (order of harmonic ofa  fundamental frequency : 2-3-4-5-6)


One of the great advantages of these tunings is that

a) The ukulele or cavaco part of the tuning allows for standard guitar playing of chords
b) The Swedisg troll part of the tuning allows for accomanying with  a power root chord 5-4 , complicated soloing on the 2nd (from higher) string that normally would require many major or minor chords for accomanying.

Thus this tuning combines techniques of the ancient 1st generation music with the techniques of the 2nd generation classical period of music.

297 . COMPARISON OF CUATRO (4-STRINGS) TUNINGS , CAVAQUINHO (4-3M-3m) ,UKULELE (4-3M-4) , SWEDISH TROLL TUNING (5-4-3M).

For the G major open tuning, these 3 different tunings are


UKULELE, GREEK BOUZOUKI, VENEZUELA CUATRO: D3-G3-B3-E4
BRAZILIAN CAVAQUINHO: D3-G3-B3-D4
 (THIS IS OVERTONE TUNING TOO, 3-6 OVERTONES SEE POST 191)

SWEDISH VIOLIN TROLL TUNING:
(SEE E.G. https://roaringwaterjournal.com/tag/troll-tuning/)
G2-D3-G3-B3

 (THIS IS OVERTONE TUNING TOO, 2-5 OVERTONES SEE POST 191)


THE COMPARISON IS ABOUT HOW MANY FRETS ARE REQUIRED FOR THE MAIN CHORDS PATTERNS LIKE 3 INVERSIONS OF MAJOR, 3 INVERSIONS OF MINOR AND 3 INVERSIONS OF MAJOR DOMINAT 7NTH

SCORES UKULELE=26
(MAJORS=3+3=3=9, MINORS=3+3+3=9 DOMINANT 7NTH=2+3+3=8. 9+9+8=26)

BRAZILIAN CAVAQUINHO=24
(MAJORS=3+1=3=7, MINORS=2+2+3=7 DOMINANT 7NTH=4+3+3=10. 7+7+10=24)

SWEDISH VIOLIN TROLL TUNING=22
(MAJORS=3+1+3=7, MINORS=2+2+3=7 DOMINANT 7NTH=2+3+3=8. 7+7+8=22)

https://www.youtube.com/watch?v=bhjBVcIXzR4&fbclid=IwAR3_Y_ln_CX6wvSNf75wtGSf_sbmmjK6lnSbgIcraOzXZKtfNueX4YDmpgo

THE SWEDISH TROLL TUNING  WHEN APPLIED TO MANDOLIN IS ALSO CALLED IN AMERICA CALICO (OR BLACK-MOUNTAIN) TUNING
https://www.youtube.com/watch?v=BzlYRqI842E

Therefore the stanrd ukulele is the worse on the number of consecutive frets used for the basic chord the overtone brazilian cuatro (cavaco) comes 2nd and the best is the Swedish troll overtone tuning which is not known to be used for cuatros or bouzouki tunings and for chords!
Of course one should note also that the Swedish troll tuning has less major-minor triad patterns compared to the other twotunings but as a compensation it has more and simpler power-chord triads of 5th, 4ths and 3rds.

I have set this Swedish troll tuning to a 
Greek Bouzouki, 
a ukulele, 
a mandolin 
and a viola.

One of the great advantages of this troll tuning is that

a) The ukulele part of the tuning 4-3M allows for standard guitar playing of chords

b) The Swedisg troll part of the tuning allows for accomanying with  a power root chord 5-4 , complicated soloing on the 2nd (from higher) string that normally would require many major or minor chords for accomanying.

Thus this tuning combines techniques of the ancient 1st generation music with the techniques of the 2nd generation classical period of music.

296. MODES OF A SCALE AS LONGITUDINAL CHORDS AND AS A METHOD OF MIDDLE-SCALE /MICRO-SCALE MELODIC THEMES IMPROVISATION AND MODULATIONS FOR NON-POLYPHONIC INSTRUMENTS THAT DO NOT SUPPORT CHORDS.

MODES OF A SCALE AS LONGITUDINAL CHORDS AND AS A METHOD OF MACRO-SCALE /MIDDLE-SCALE MELODIC THEMES IMPROVISATION AND MODULATIONS FOR NON-POLYPHONIC INSTRUMENTS THAT DO NOT SUPPORT CHORDS.

We have discussed already in post 262 (also post 92) , how the 5-notes scale-closure of 3-notes chord, can serve as sub-scale for improvisations under tis chord,

We may apply this idea to power chord e.g. c-g-c'  , which spans an octave , and consider as 5-fold closure of thispower chord the notes (in the example) c-e-g-a-c'  or  c-e-g-b-c'

Furthermore , even for a triad chord like the c-e-g, we may extend the concept to 2 alternative hexatonic scale, that can serve as space for melodic improvisation under this chord,
a) the c-d-e-f-g-a-c'
b) the c-d-e-f-g-b-c'

(see also post 92  )
Again because the notes of the chord c, e,g, c' are more than the notes outside the chord a melodic improvisation which spends time uniformly distributed among the notes, is a melody that is accompanied by the chord.

But also we may apply the rule that for a melody to be acompanied by a chord it is adequate that at least 50% of the time it is occupied by notes of the chord. (see post 111 , and 138 )
This rule was applied when we had improvisation in a diatonic scale, accompanied by the root-chord ofthe scale. (see post 138)

Or in general improvisations of any mode of the diatonic scale, accompanied by the chord of the first note of the mode.
(see also post 222 about the modes of the diatonic scale as triads of chords)
Here we claim that the harmony of each mode ofthe diatonic scale is the chord of its first note. So we have the next 7-cases

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

1. IONIAN    (1M)

2. DORIAN   (2m)

3. PHRYGIAN (3m)

4. LYDIAN   (4M)

5. MIXOLYDIAN  (5M)

6. AEOLIAN    (6m)

7. LOCRIAN  (7d)

Therefore , instead of the five notes c-d-e-f-g. as sub-scale fitting the chord c-e-g, we may take all the major-mode 7-notes c-d-e-f-g-a-b-c'  
It may be considered after all as a chord with 2nd, 4th, 6th and 7nth!


Therefore we may identify that the  LONGITUDINAL CHORD=MODE of 7 notes, instead that the longitudinal chord e.g. of c-e-g is only the c-d-e-f-g. (see post  262 and post 292).

Therefore when improvising either as a single instrument (as in post 292 ) or with chord accompanying (as in post 294 ), and especially when our improvisation instrument is essentially not support polyphonic chords (like a flute, clarinet, saxophone, panflute, Lyra, violin, mandolin etc)

We may apply all we know and perceive about the role of chords in improvisation  to the Longitudinal chords-modes of the scale. So the effect of changing the chord, and also the hidden simplicity of the underlying chords-cycle is translated here as the hidden  simplicity of longitudinal-chords-modes cycle. The improvisaion at worse is of about equal time among the notes,but it is better if we spend more time on the notes of ofthe root-chord of the mode.

From this point of view the main 3-relations of the modes are
a) Chromatic : (the roots are in a diatance of 2nds or inverses
b) Melodic : (the roots are in a distance of 3rds or inverses)
c) Harmonic: (the roots are in a distance of 4ths or 5ths )

BECAUSE THE HARMONY OF THE CHORDS OF A MELODY IS A HIDDEN SIMPLICITY IT IS CRUCIAL IN MODERN MELODIC IMPROVISATIONS TO INDENTIFY THIS SIMPLICITY ON THE OBSERVABLES OFCTHE MELODY.

Hereis an example of improvisation that utilizes thsi idea,over 12-bar blues chord cycle 
C-G-D, Normally all the chords together are in the G-major scale. Here the musician takes one step further : Each time he is in one of the chords C-G-D he considers that he is in the Ionian mode of C major scale of G major scale and D major scale,and still ...other relevant scales.

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

THE EMOTIONAL AFFECTION CENTER THAT TRADITIONALLY IS AT THE ACCOMPANYING CHORD, NOW IT IS AT THE MODE-LONGITUDINAL CHORD AND THEREFORE AT  EACH NOTE OF THE MACRO-SCALE MELODIC THEME (WHICH AS WE SEE IN POST 292 CORRESPONDS AND EXPANDS ALSO TO THE MIDDLE-SCALE MELODIC THEME.

1) THE CYCLE OF THE MODES AND THEIR 3-RELATIONS (CHROMATIC-MELODIC-HARMONIC) DEFINE THE MODULATIONS-TRANSLATIONS OF THE MIDDLE-SCALE MELODIC THEMES
THE MIDDLE-SCALE MELODIC THEMES   ARE MOST OFTEN CRATED OVER THE BASIC RHYTHMIC PATTERN. THEY MAY BE CONSIDERED IN DANCING SONGS AS PERCURSION INSTRUMENT AND CONTAIN THE MICRO-SCALE MELODIC THEMES.  THE MICRO-SCALE MELODIC THEMES  ARE USUALLY MADE  FROM INTERVALS OF 2NDS (CHROMATIC-RHYRHMIC MELODIC MICRO-THEMES). NEVETHELESS IN IRISH FOLK MUSIC EVEN THE MICRO-THEMES ARE FROM INTERVALS OF 3RDS OR 4THS/5THS (MELODIC-HARMONIC-RHYTHMIC  MICRO-THEMES).  WHILE THE MISSLE-SCALE MELODIC THEMES WHEN THEY MOVE INSIDE THE MODE-LONGITUDINAL-CHORD ARE TRANSLATED BY INTERVALSOF 3RDS AND 4THS/5THS.
THEY ARE USUALLY WAVES AND EMBELISHMENTS AROUND SINGLE NOTES (OF THE UNDERLYING CHORD) AND START OR/AND END ON THIS NOTE
WE SHOULD DISCRIMINATE BETWEEN TRANSLATIONS OF THE MICRO-SCALE MELODIC THEMES WITHIN A MODE-LOMGITUDINAL CHORD (CALLED ALSO ROTATIONS) AND TRANSLATIONS AMONG MODES-LOMGITUDINAL CHORDS (CALLED ALSO MODULATIONS) .
THE MOST OBVIOUS TRANSLATIONS-ROTATIONS OF MICRO-THEME INSIDE A CHORD IS OF COURSE BY THE INTERVALS OF THE CHORD OT INVERSIONS OF IT, THSU 3RDS, 4THS/5THS.

A longitudinal-chord-mode should contain melodic micro-themes, that are translated, inverted, and mutated by changing mode (modulations) or moving inside the mode.

We create the micro-melodic themes usually from intervals of 2nds but sometimes from intervals of 3rds/4ths/5ths, within a mode and we translate and invert then either inside the mode-chord or by changing the mode by intervals mainly of 3rds, 4ths or 5th. (melodic, harmonic translations) and rarely by itervals of 2nds (chromatic translations)

2) THE MACRO-SCALE MELODIC THEMES ARE MAINLY FROM THE SIMPLICIAL SUB-MELODY AND REFLECT THE PATTERNS OF MODULATIONS (TRANSLATIONS) OF THE MICRO-MELODIC THEMES. THEREFORE THE CHORDS OF THE MELODY CAN BE TRACES EITHER AS SUBSCALES MODES-LONGITUDINAL CHORDS, OR AS SUBSETS OF TRANSLATIONS OF THE MICROMELODIC THEMES.

WHEN THE VIOLIN-LYRA  IS TUNED WITH OVERTONE TUNIGS LIKE 4-3M-3m (e.g. g-major: D4-G4-B4-D5  , OR f-major: C3-F4-A4-C4 OR c-major: G3-C4-E4-G4) then the strings are the Ionian, Frygian and Myxolydian modes,and trabsfering the micro-theme transversal onanother sring is always an interval of 3rd, 4th/5th thus easy to realisze the improvisation. Even if the violin-lyra  is tuned by 4-3M-4 (e.g.  g-major: D4-G4-B4-E5  , OR f-major: C3-F4-A4-D4 OR c-major: G3-C4-E4-A4) , by changing the string we have transposition of the theme by 4th , or 3rd , and still is more or lesspossible and convenient. We may have the default diatonic scale of the violin-lyra marked on the fretboard, and usethe patternsof the 3-notes chords as patterns of the centers for translations ofthe micro-themes. If the instruments is flute, panflute, etc no such convenience,but still intevals of 3rd, 4th/5th are easy to visualize on the finger-holes. 

3) APLYING THIS TECHNIQUE OF MIDDLE-SCALE MELODIC-THEMES THAT ARE VARIED ACCORDING TO THE NOTES OF THE CHORDS AND THE CHORDS-TRANSITIONS AND ALSO INVERTED AND MUTATED AS WELL  IS CREATED AN ENDLESS STREAM OF SOLOING MUSIC WITH HARMONY AND RECOGNIZABLE THEMES. 
THE EMOTIONAL AFFECTION CENTER THAT TRADITIONALLY IS AT THE ACCOMPANYING CHORD, NOW IT IS AT THE MODE-LONGITUDINAL CHORD AND THEREFORE ALSO AT  EACH NOTE OF THE MACRO-SCALE MELODIC THEME (WHICH AS WE SEE IN POST 292 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 USUALLY AT 240-480 bpm. 

WE MUST NEVER FORGET THAT A FAST MELODIC INSTRUMENTAL PLAYING IS NOT ALWAYS THE BEAUTY IN MUSIC.

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) etc

IN THE GOOD IMPROVISATION IT IS THE (USUALLY SLOW) FLOW OF THE EMOTIONS THAT MUST SHAPE THE KINETIC ACTION OF THE FINGERS ON THE INSTRUMENT AND MELODY AND NOT THAT  THE HABIT OF THE ACTION OF THE FINGERS ON THE INSTRUMENT AND MELODY THAT SHOULD SHAPE THE FLOW OF THE EMOTIONS!