444. THE FOUR VARIATIONS-PARTS MORPHOLOGY OF A MELODY OVER A MELODIC THEME OR SENTENCE THAT FITS TO THE 15-SYLLABLES POETRY

 A1= 1ST IDEA MELODIC THEME OR SENTENCE (INNOVATION) , SYLLABLES 1-4

A2=1ST IDEA AGAIN REPEAT OR VARIATE -ESCALATE (MIMIC), SYLLABLES 4-8

A3=MUTATION-CONTRASTING-CONTINUATION (ASSIMILATION 2ND INOVATION) SYLLABLES 9-12

A4 =CLOSURE WITH ASCENZA OR CADENZA 

(COMPLETION  INTEGRATION ) SYLLABLES 13-15

We may permute the 4 parts to 

A1= 1ST IDEA MELODIC THEME OR SENTENCE (INNOVATION) , SYLLABLES 1-4

A3=MUTATION-CONTINUATION -CONTRAST IDEA (ASSIMILATION 2ND INOVATION) SYLLABLES 4-8

A2=1ST IDEA AGAIN REPEAT OR VARIATE (MIMIC), SYLLABLES 9-12

A4 =CLOSURE WITH ASCENZA OR CADENZA  (COMPLETION  INTEGRATION ) SYLLABLES 13-15

https://www.youtube.com/watch?v=ucNWbawSiZM&ab_channel=RyanLeach

https://www.youtube.com/watch?v=Z8uYdzU_ZR8&ab_channel=RyanLeach

https://www.youtube.com/watch?v=u-c9DPNHZp8&ab_channel=JustWriteMusic

This morphology can be either as melodic themes within a single chord , or as melodic themes as chord transitions or even over 3 chord transitions.

After this macroscopic morphology of the melody we may focus on the intervals statistical frequency in the melody (chromatic, melodic harmonic intervals). The order with which the melodic intervals appear in the melody corresponds to the harmony. 

Here a relevant video

https://www.youtube.com/watch?v=yKUKKcNqlTg&ab_channel=ComposingAcademy

https://www.youtube.com/watch?v=ei652x61Tbk&ab_channel=MusicMatters

Finally the other factor in the melody is the wave-up wave-down dynamics and the emotional meaning he convey.

THE rest 5 BASIC FACTORS IN THE PERCEPTION AND COMPOSITION OF MELODIC SENTENCE (THEME) 

The rest 5 basic factors are

2) Chromatic, melodic , harmonic character. Analogy of intervals of 2nds (chromatic) 3rds or 6th (melodic) and 4th or 5th (harmonic ) It is the arpeggio-tail aspect of the melodic theme

3) Chord harmony. Order of appearance of intervals of 3rds which is essentially the harmony of the underlying chord(s)

4) Cycles dynamics. Wave-up, Wave-down dynamics or topology of the melody (structure of "Dolphin words" as termed elsewhere in this book). This includes cadenzas and ascents. 

5) Power of 2 rhythmic expansion. The use of orders of rhythmic speed as powers of 2

6) Instrument or voice timbre. The timbre and nature of the playing instrument (continue sound, string or wind etc) 

https://www.youtube.com/watch?v=k9UBLSMz6XM&ab_channel=DemisHellen

443. METHOD OF COMPOSITION OF SONGS BASED ON THE 8 BARS BLUES 8BB RHYTHMIC-HARMONIC PATTERN AND MODAL CHROMATIC PAIRS OF CHORDS

 The general  rhythmic harmonic pattern of 12 bars blues denoted by  12BB  CONTAINS THE NEXT 8-BARS BLUES PATTERN

They are in improvisational monotonicity and simplicity between the 1-chord improvisation for meditation and the 12 bars blues improvisations. 

Let X1 X2 X3 be an harmonic triad of chords , in other words consecutive in the wheel by 4ths. They may be major or minor chords then the general 12 bars blues rhythmic-harmonic pattern is the next 

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

  

THE 8-BARS BLUES PATTERN IS ONLY THE  NEXT WITH 2 CHORD OR 3 CHORDS

X2	X2	X2	X2
X1	X1	X2	X2

Or the 

X2	X2	X3	X3
X1	X1	X2	X2

In the general scheme we might allow for any arrangement of X1 ,X2 X3 on he above squares

If the Xi  X1 X2, X3 AS 3 CHORDS are major denoted by M or minors then we have 8 types of such general 12 bars blues rhythmic-harmonic patterns

MMM

MMm

mMM

MmM

mmm

mmM

MmM

mMm  

If the Xi  , X1 X2  AS TWO ONLY CHORDS are major denoted by M or minors denoted by m then we have 4 types of such general 8 bars blues rhythmic-harmonic patterns.

MM

Mm

mM

mm

Here we do not restrict that X2 has to be in harmonic relation with X1, but it can be also in melodic relation or chromatic relation. 

A usual rhythm is 120 bpm and 2,3, or 4  beats per bar. 

This gives that one such 8BB has duration at most about 8 seconds thus about 6-8 repetitions of this 8BB pattern will give a song a little less or more than 3 minutes duration.

Now the general concept of composing sings based on the 12bB patterns is based on the next

a) We start with a 8BB as unit block and we modulate it or transpose it about 6-9 times

b) We alter the 8BB pattern substituting any of the instances of each of the Xi chords i=1,2 with relative minor or major chords if the X1 X2 is an harmonic pair. And in general with any other diatonic chord if not. 

In the guitar such an improvisation is mostly easy if the guitar is tuned in one of the open overtones tuning. E.g. Open D tuning. 

Also at the meso (=medium) and micro layer, the main 4 factors are 

1) Up, Down or flat vector-waving and is meaning (including which octave) 

2) Density of notes per time unit (many notes theme, very few notes theme)

3) Percentage of harmonic or melodic intervals (acceleration) to the chromatic intervals (deceleration).

4) The poetic micro-meter and poetic macro-meter  in the melodic theme.

In order to create the melody we may proceed as follows.

1)We compose 2 or 3  simplicial sub-melodies one for each part of the song ,  with one note per chord and bar , over the cycle of chords preferably at a chromatic sequence ascending and descending .  In this way we may have more than one note of the simplicial sub-melody per chord but only one per chord and bar. 

If we use keyboards (and this may also be e.g. digital harp in the tablet as in ThumbJam)  , the way to create the melody is the next. For each  lines in the 16 Bar Blocks which is usually a  pair of chords , we layout the chords in the keyboard to see their mutual topology and overlapping. Then we compose 5-6 versions of the melody, by one up or down wave within each chord, which are usually one vector-wave for half or full the chord (123 , or 1234565 or 543 for 3-notes chords or 7654321 for chords with 7nth etc in trochaic poetic meter) . We use balancing structure e.g. if the first is up the next is down and vice verse. But two ups or two downs are for emphasis too. We may split the vector-wave to arpeggio and tail or only arpeggio. We choose the version that we like best and expresses best the emotions we want. We use not one only octave necessarily but 2 or even 3. Starting from high, in high octaves and descending down 1 or 2 octaves is a bird-like melodic approach. If we use harmonica the themes waves for each chord or pair of chords are quite more free. If we use guitar , violin , flute, it is more or less as with the keyboard but again a little more free to follow the constraints and conveniences of the instrument.   

2) We create moves or waves or cycles for each note of the simplicial sub-melody by sequencing during the chord with two types of notes a fast (usually outside the chord) and a slow of double duration on the notes of the chord again ascending or descending with smaller waves. I this way more than 50% of the time of the duration of the melody will be notes of the chord. We may apply the pattern of 4 waves-cycles. Initial idea- variational continuation-contrasting mutation-closure. E.g. Down cycle-down cycle modulated-up cycle-wave shrinking and ending to middle note. Or vice versa Up cycle-Up cycle modulated-Down cycle-wave shrinking and ending to middle note. It is important to realize that such a  wave or cycle need not be 100% over a chord but it can be over a pair of chords as chord-transition theme (x% over one chord y% over the next x%+y%=100%) and sometimes as themes over three chords. Thus each melodic theme of the 4 phases of it may correspond to 4 bars and the 4 melodic themes may rhythmically correspond to the 4 times the 4 bars (2 cycles of 8BB) 

3) We arrange a continuous sound instrument to play the simplicial sub-melody only and a discrete sound (guitar mandolin etc) to play the full waves melody.

Thus

X2

X2

X2

X2

=1st theme

Or 

X3

X3

X2

X2

=1st theme

X1

X1

X2

X2

=Opposition and closure

Or it may be  X2 X2=A theme  X3 X3=B theme X1 X1= C theme

Thus in total

AA or 

BA

and 

CA

We may summarize in short

1) We compose the simplicial sub-melody per bar and chord, which defines the orientation of the waves within a chord.

2) We compose the  poetic measure of the melodic themes (long short notes combinations) 

3) We compose the bridging transition to the next chord

4) We arrange for continuous sound (simplicial sub-melody and bass) and discrete sound instruments. 

For example for Aegean islands (Greece) improvisational folk melodies (mandinades) condylies) with violin or Lyra, the next factors prevail.

1) "Poetic meters" over the same note sometimes notes up to 8 notes. The density of the notes is high. E.g. with 4 notes per  measure-bar and a beat of 80-100 bars per minute gives a tempo of 320-400 beats-notes per minute.

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. The simplistic sub-melody of such a waving melody is essentially an arpeggio of the underlying chord.

An example of such a way of composition is the song of Edith Piaf , la vie en rose.

Examples is music by the trombonist Cesar B

https://www.youtube.com/watch?v=1U0bQipcsg0&ab_channel=T%C3%A9l%C3%A9Confinement

https://www.youtube.com/watch?v=-gPttpNcn_g&ab_channel=WorldStreetMusic

The difference in easiness and familiarity when composing songs based on this method compared to no method, is as the difference of walking by feet compared to moving by a car (the car=8BB pattern)

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

1M7-2m=IONIAN or Dorian

2m7-3m=DORIAN or Frygian

3m7-4M=FRYGIAN or Lydian

4M7-5M=LYDIAN or Myxolydian

5M7-6m=MYXOLYDIAN or Aeolian

6m7-7d=AEOLIAN or Locrian

7d7-1M=LOCRIAN or Ionian. 

(see also post  364 , 225 and 325  )

Thus the X2=2nd chord of the chromatic pair and X1-first chord of the chromatic pair in its major 7nth form. 

In such a way the 3+4 notes of the two chords make all the 7 notes of the diatonic scale and cover free improvisation over it. 

Here are ideas of a melody morphology. 1st idea  bars 1-2 Repeat 1st idea  bars 3-4 continuation bars 5-6 , closure bars 7-8

This fits also to 15-syllables poetry where each line is 2 parts of the melody 

With the words, syllables 1-4 1st idea repetition syllables 5-8

Continuation syllables 9-12, closure syllables 13-15 

https://www.youtube.com/watch?v=ucNWbawSiZM&ab_channel=RyanLeach

https://www.youtube.com/watch?v=u-c9DPNHZp8&ab_channel=JustWriteMusic

We add here a simple technique to improvise over such 8BB chords patterns  too with the tenor trombone which emphasizes the glissando ability of the trombone..

We must notice that from any note we are in the diatonic scale during a chord there is always a note of the chord at most an interval of 3rd away! 

1) So the method is tho start with an arbitrary note and correct it with the slide by at moist an interval of 3rd to a note that fits the chord

2) When we want to a much higher or lower note during the chord or because the chord changed we just blow harder or softer for a higher or lower overtone (partia) at the same position and then we correct it if necessary with the slide! 

3) The whole process becomes easier if we are on the 3rd octave of overtones where the overtones form the major tonal chord (with a  7nth) . And for thsi the best idea is to utilize a french-horn mouthpiece for the tenor trombone!

If we are capturing the diatonic mode with a pair of chords in chromatic relation (in harmonicas it would be an hexatonic harmonica) then the 8BB pattern will give if we have a theme for a single type of chord.

Ionian-Ionian

Myxolydian-Ionian

or 

Ionian-Lydian

Myxolydian-Ionian

If we want a diatonic model per pair of chords then X2 X3 is a Lydian mode and X1 X2 is an Ionian mode, thus

Lydian 

Ionian

And for hexatonic harmonicas with a chromatic pair of chords  it would be the chords

(3m 4M)= Lydian

(7d 1M)=Ionian 

442. METHOD OF COMPOSITION OF SONGS BASED ON THE 12 BARS BLUES 12BB RHYTHMIC-HARMONIC PATTERN

The general  rhythmic harmonic pattern of 12 bars blues denoted by  12BB is the next

Let X1 X2 X3 be an harmonic triad of chords , in other words consecutive in the wheel by 4ths. They may be major or minor chords then the general 12 bars blues rhythmic-harmonic pattern is the next 

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

  

If the Xi  X1 X23 are major denoted by M or minors then we have 8 types of such general 12 bars blues rhythmic-harmonic patterns

MMM

MMm

mMM

MmM

mmm

mmM

MmM

mMm

A usual rhythm is 120 bpm and 4 beats per bar. This gives that one such 12BB has duration about 24 seconds thus about 6-8 repetitions of this 12BB pattern will give a song a little less or more than 3 minutes duration.

Now the general concept of composing sings based on the 12bB patterns is based on the next

a) We start with a 12BB as unit block and we modulate it or transpose it about 6 times

b) We alter the 12BB pattern substituting any of the instances of each of the Xi chords i=1,2,3 with relative minor or major chords.

The difference in easiness and familiarity when composing songs based on thsi method compared to no method, is as the difference of walking by feet compared to moving by a car (the car=12BB pattern)

In the guitar such an improvisation is mostly easy if the guitar is tuned in one of the open overtones tuning. E.g. Open D tuning. 

Also at the meso (=medium) and micro layer, the main 4 factors are 

1) Up, Down or flat vector-waving and is meaning (including which octave) 

2) Density of notes per time unit (many notes theme, very few notes theme). This is relevant to  if the melody is close to layer 1 , 2, or 3 of a melody .

3) Percentage of harmonic or melodic intervals (acceleration) to the chromatic intervals (deceleration).

4) The poetic micro-meter and poetic macro-meter  in the melodic theme.

In order to create the melody we may proceed as follows.

1)We compose 2 or 3  simplicial sub-melodies one for each part of the song ,  with one note per chord and bar , over the cycle of chords preferably at a chromatic sequence ascending and descending .  In this way we may have more than one note of the simplicial sub-melody per chord but only one per chord and bar. 

If we use keyboards (and this may also be e.g. digital harp in the tablet as in ThumbJam)  , the way to create the melody is the next. For each  lines in the 16 Bar Blocks which is usually a  pair of chords , we layout the chords in the keyboard to see their mutual topology and overlapping. Then we compose 5-6 versions of the melody, by one up or down wave within each chord, which are usually one vector-wave for half or full the chord (123 , or 1234565 or 543 for 3-notes chords or 7654321 for chords with 7nth etc in trochaic poetic meter) . We use balancing structure e.g. if the first is up the next is down and vice verse. But two ups or two downs are for emphasis too. We may split the vector-wave to arpeggio and tail or only arpeggio. We choose the version that we like best and expresses best the emotions we want. We use not one only octave necessarily but 2 or even 3. Starting from high, in high octaves and descending down 1 or 2 octaves is a bird-like melodic approach. If we use harmonica the themes waves for each chord or pair of chords are quite more free. If we use guitar , violin , flute, it is more or less as with the keyboard but again a little more free to follow the constraints and conveniences of the instrument.   

2) We create moves or waves or cycles for each note of the simplicial sub-melody by sequencing during the chord with two types of notes a fast (usually outside the chord) and a slow of double duration on the notes of the chord again ascending or descending with smaller waves. I this way more than 50% of the time of the duration of the melody will be notes of the chord. .We may apply the pattern of 4 waves-cycles. Initial idea-variational continuation-contrasting mutation-closure. Or only3 phases  Initial idea=position , Contrasting idea =opposition , and finally closure  E.g. Down cycle-down cycle modulated-up cycle-wave shrinking and ending to middle note. Or vice versa Up cycle-Up cycle modulated-Down cycle-wave shrinking and ending to middle note. It is important to realize that such a  wave or cycle need not be 100% over a chord but it can be over a pair of chords as chord-transition theme (x% over one chord y% over the next x%+y%=100%) and sometimes as themes over three chords. Thus each melodic theme of the 3 phases of it may correspond to 4 bars and the 3 melodic themes may rhythmically correspond to the 3 times the 4 bars (1 cycles of 12BB), Thus  

X2

X2

X2

X2

=1st theme

X3

X3

X2

X2

=opposition

X1

X1

X2

X2

=closure

Or it may be  X2 X2=A theme  X3 X3=B theme X1 X1= C theme

Thus in total

AA

BA

CA

3) We arrange a continuous sound instrument to play the simplicial sub-melody only and a discrete sound (guitar mandolin etc) to play the full waves melody.

We may summarize in short

1) We compose the simplicial sub-melody per bar and chord, which defines the orientation of the waves within a chord.

2) We compose the  poetic measure of the melodic themes (long short notes combinations) 

3) We compose the bridging transition to the next chord

4) We arrange for continuous sound (simplicial sub-melody and bass) and discrete sound instruments. 

For example for Aegean islands (Greece) improvisational folk melodies (mandinades) condylies) with violin or Lyra, the next factors prevail.

1) "Poetic meters" over the same note sometimes notes up to 8 notes. The density of the notes is high. E.g. with 4 notes per  measure-bar and a beat of 80-100 bars per minute gives a tempo of 320-400 beats-notes per minute.

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. The simplistic sub-melody of such a waving melody is essentially an arpeggio of the underlying chord.

An example of such a way of composition is the song of Edith Piaf , la vie en rose.

 CHROMATIC TONALITY AND ALL 7 MODES MODULATIONS OVER THE  RHYTMIC AND HARMONIC PATTERN  OF 12-BARS BLUES.

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.

1M 1M 1M 1M 4M 4M 1M 1M 5M 5M 1M 1M    It is standard in tonal harmony that we may substitute a chord with another which is usually one of its minor relative chords. Thus here in this pattern we may substitute 1M  with 6m or 3m 4M with 6m or 2m  e.g. if we substitute 4M with 2m then  1M 1M 1M 1M 2m 2m 1M 1M 5M 5M 1M 1M

And we may subtitute 

5M with 3m or  7d

But more generally in chromatic tonality we may substitute one of the basic 3chords with some ofthe chords of the chromatic tonality thus we may substitute

1M  with 3M or 6M (besides 3m, 6m)

4M with 2M or 6 M (Besides 2m, 6m)

5M with 3M or 7M. (besides, 3m, 7d) 

e.g. 

1M	1M	1M	1M
2m	2M	6M	6M
3M	5M	1M	1M

When making the substititutionw it is good to keep the rule of the previous article, that is

 60% harmonic chord transitions, 30% melodic transitions, 10% superchromatic transitions. 

As alternative methods we have that the chord progression of the 12 bars blues can be shifted to all the 7 modes ofthe diatonic scale, so that it can produce different tonal or chrmatic tonal 12-bars blues 

Here are all the 7 modes of the chord progression for the 12 bars blues

IONIAN                  1M 4M 1M 5M 1M 

DORIAN                 2m 5M 2m 6m 2m

FRYFIAN                3m 6m 3m 7d 3m

LYDIAN                  4M 7bM 4M 1M 4M  (chromatic tonality because of the 7b)

MIXOLYDIAN        5M 1M 5M 2m 5M

AEOLIAN                6m 2m 6m 3m 6m

LOCRIAN                7d 3m 7d 4#M 7d  (chromatic tonality because of the 4#)

If we are capturing the diatonic mode with a pair of chords in chromatic relation (in harmonicas it would be an hexatonic harmonica) then the 12BB pattern will give if we have a theme for a single type of chord.

Ionian-Ionian

Lydian-Ionian

Myxolydian-Ionian

If we want a diatonic model per pair of chords then X2 X3 is a Lydian mode and X1 X2 is an Ionian mode, thus

Ionian 

Lydian 

Ionian

Or 

Lydian 

Lydian 

Ionian

And for hexatonic harmonicas with a chromatic pair of chords  it would be the chords

(3m 4M)= Lydian

(3m 4M)=Lydian

(7d 1M)=Ionian 

A JOY-BASED PATTERN TO COMPOSE SONGS INSPIRED FROM THE EARLY NEW ORLEANS  BLUES JAZZ SONGS.

 See also post 430, 322, 426, 216. 215, 205

We remind also that the simplest and most effective way to compose songs (the music without  the words) is starting from the simplest and proceeding with the more complicated. Thus the order is

A) First the rhythm and morphological parts of the song

B) Then the harmony with the chord progression

C) Last the simplicial melody and the full melodic themes for each chord or chord transition of the chord progression (possibly with tail and arpeggio parts). 

The idea for this structure in composing soengs is from the new Orleans jazz songs. 

The joy of the composition of such songs is not only on he next below 

a) system of joyful  harmony and chord progression creation but also

 b) on the joy of the rhythm rhythm which is at least 180 bpm . Furthermore we may use fast notes double the main tempo for reasons of joy.  

c) joy from the melodic waving so that  if we label + and up-move in a waving and by - an equal time and interval down move of the waving the total waving score of the melody is plus. In simpler terms we may have melodic themes as waves that are by 2nds and start and end a 3rd lower or higher (higher is more joyful) thus withing a chord. Furthermore we may use fast notes double the main tempo for reasons of joy. Then chord changes are modulations of the melodic theme. 

Joy from the harmony: 

A1) The center of the songs is a joyful triplet of major chords in harmonic relation, in other words the

classical 5M, 1M , 4M. It is set in a sequence that corresponds to a rhythmic pattern. E.g. 

(1M, 4M, 1M 5M7)   with equal duration per chord. Thus a 4-fold rhythm. 

Usually, because the triplet of major chords has two harmonic relations (5M-1M) and (1M-4M) the rhythmic  pattern is divided in 2 , each part corresponding to one of the two harmonic relations. 

Simplistic counter-melody soloing could be on the 7-1-2 triad notes around the 1st semitone of the diatonic scale (1-2-1-7-1) or on the 2-3-4 triad notes around the 2nd semitone of the diatonic scale (3-4-3-2-3)

Or alternatively a 3-fold rhythm as follows  (1M, 4M, 1M, 5M7 , 1M) where the first 2 chords and the last chord have  double duration the time compared to the 3rd and 4th. So in rhythmic units it is (2, 2 1,1,2).

This initial harmonic and rhythmic center of the songs is repeated two times (at least) and corresponds to a joyful refrain, from which nevertheless the songs starts returns and ends.

Each time that we return to the central chord progression, it is not necessary to return with the same melodic theme. It can be different. 

A2) Then after each (1M, 4M, 1M, 5M7 , 1M) repeated twice we interpolate a less joyful rhythmically isomorphic pattern, derived with one of the 5 systems of substitutions of the major chords of the central part. (X1, X2, X3, X4 , X5) This may be called the couples of the song and have duration at least half of the duration of the central part, so as to guarantee that the joyful part has more duration than the possibly sad part. 

The system of substitutions are the next 5, which preserve the harmonic relations of the initial central chord progression. The substitutions are based on melodic (relative chords ,2 common notes) relations of the chords. That is why the 2m can also be substituted with 7bM and the 7d with the 2m, while the 7M7 with the 2#m and 5#m. 

Primary a, b substitutions

                                                      5M   1M   4M

substituted with                             3m    6m   2m (which 2m can again be substituted with 7bM)

or with                                          3M7   6M7 2M7

Primary c, d substitutions

                                                      5M   1M   4M

substituted with                             7d    3m   6m

or with                                          7M7   3M7 6M7

Secondary a, substitutions

                                                      5M   1M   4M

substituted with                             5m    1m   1m

A most intersecting is the double substitution e.g.  1M with (3M7 6m) with teh same duration

or  5M with (7M7, 3m)  or 4M with (6M7, 2m)  .

And also the transformation of the harmonic relation to chromatic with the substitution

of 5M7 resolving to 1M with  7m shifting to  1M or 1m

Of  1M resolving to 4M with   3m shifting to 4M or 2m.

We may extend the major harmonic triplet to a major harmonic 5 cycle as follows

in the 5M7 1M7 4M , if the 1M->4M is substituted by  6M7 -> 2M7 we resutlt in a 5 harmonic cycle 6M7-2M7 5M7 1M 4M

In general we have a Universal adequacy of the substitutions in the sense that if we have a melodic  theme within a chord and we want to have a

 a) harmonic (by 4ths or 5ths) modulation of it 

b) melodic (by 3rds) modulation of it 

c) Chromatic (by 2nds) modulation of it 

it is always possible with the above melodic substitutions of the chords. 

These substitutions introduce, blue notes outside the diatonic scale, that are included in the chords, and may define harmonic minor scales, double harmonic minor scales, blues scale etc. 

The preference order o introducing blue notes is the next

 Diatonic scales in harmonic relation with the focus diatonic scale

1.  7b                  (5m)

2. 4#                 (7M7, 2M7)

harmonic or double harmonic minors

3. 5#                (3M7, 4m)

4. 1#               (6M7)

Neapolitan , double harmonic minor) 

5.  2#   (7m7, 1m) 

So the chord progression of the whole song is a sequence of pairs of pieces as follows

(1M, 4M, 1M, 5M7 , 1M)

 (X1, X2, X3, X4 , X5)

The first corresponds to joy and lasts twice as the second which corresponds to degrees of sadness.

The joy of the composition of such songs is not only on he previous 

a) system of harmony and chord progression creation but also b) on the rhythm which is at least 180 bpm and 

c) melodic waving so that  if we label + and up-move in a waving and by - an equal time and interval down move of the waving the total waving score of the melody is plus 

Here are ideas of a melody morphology. 1st idea (1st 2 bars) Repeat 1st idea ( bars 3 and 4) continuation, (bars 5,6,7,8) closure (9,10,11,12)

https://www.youtube.com/watch?v=ucNWbawSiZM&ab_channel=RyanLeach

We add here a simple technique to improvise over such 8BB chords patterns  too with the tenor trombone which emphasizes the glissando ability of the trombone..

We must notice that from any note we are in the diatonic scale during a chord there is always a note of the chord at most an interval of 3rd away! 

1) So the method is tho start with an arbitrary note and correct it with the slide by at moist an interval of 3rd to a note that fits the chord

2) When we want to a much higher or lower note during the chord or because the chord changed we just blow harder or softer for a higher or lower overtone (partia) at the same position and then we correct it if necessary with the slide! 

3) The whole process becomes easier if we are on the 3rd octave of overtones where the overtones form the major tonal chord (with a  7nth) . And for thsi the best idea is to utilize a french-horn mouthpiece for the tenor trombone!

The next video is a well known experiment with many interpretations.

In our case of musical composition we interpret it that the big balls or rocks are the simple but macroscopic factors of a musical piece that should come first . Here are

1) The rhythm and parts of the song (8, or 12 or 16 or 32 bars blocks)

then the

2) the chords

3) simplistic sub-melody or bass

4) The melody etc.

441. TWO TYPES OF 12 BARS BLUES AND THEIR MELODIC VERSIONS.

Normally the 12 bars blues have  the timing chord structure

A

1M 1M 1M 1M

4M 4M 1M 1M

5M 5M 1M 1M

But there si also a 2nd type which staye less time in the root chord and is focusing of same rimming  chord transitions which is the 

B

1M 1M 4M 4M

4M 4M 1M 1M

5M 5M 1M 1M

Now if we apply the melodic triangulation on them with intermediate minor chords in consecutive melodic relation  we get  the next melodic versions of them

A melodic

1M 1M 1M 6m

4M 6m 1M 3m

5M 3m 1M 1M

B melodic 

1M 6m 4M 4M

4M 6m 1M 3m

5M 3m 1M 1M

440. CHROMATIC MELODIC AND HARMONIC MODULATIONS OF MELODIC THEMES.

 

https://www.youtube.com/watch?v=ucNWbawSiZM&ab_channel=RyanLeach

 A1= 1ST IDEA MELODIC THEME OR SENTENCE (INNOVATION) , SYLLABLES 1-4

A2=1ST IDEA AGAIN REPEAT OR VARIATE (MIMIC), SYLLABLES 4-8

A3=MUTATION-CONTINUATION (ASSIMILATION 2ND INOVATION) SYLLABLES 9-12

A4 =CLOSURE WITH ASCENZA OR CADENZA 

(COMPLETION  INTEGRATION ) SYLLABLES 13-15

https://www.youtube.com/watch?v=ucNWbawSiZM&ab_channel=RyanLeach

CHROMATIC MODULATION=SHIFT OF THE MELODIC THEME-SENTENCE AN INTERVAL OF 2ND WITHIN THE DIATONIC SCALE. IT WILL CHANGE IT MODE OF COURSE

MELODIC MODULATION=SHIFT OF THE MELODIC THEME-SENTENCE AN INTERVAL OF 3RD WITHIN THE DIATONIC SCALE. IT WILL CHANGE ITS MODE OF COURSE

HARMONIC MODULATIONS=SHIFT OF THE MELODIC THEME-SENTENCE AN INTERVAL OF 4TH OR 5TH WITHIN THE DIATONIC SCALE. IT WILL CHANGE ITS MODE OF COURSE

https://www.youtube.com/watch?v=u-c9DPNHZp8&ab_channel=JustWriteMusic

439. RHYTHMIC LAYERS BY POWERS OF 2 OF A MELODIC THEME THAT CAN BE HARMONIC, MELODIC OR CHROMATIC.

 

Each melodic theme has temporal layers. E.g. its First layers is from equal duration say quarters. 

The 2nd layers is from eighths thus half the duration or double the speed

The 3rd layer is from 16nths thus again half the duration of the previous layers notes or double the speed of the previous layer.

Now at each layers we may have the attribute of harmonic, melodic chromatic iff  the corresponding intervals of consecutive notes are 4th or 5th, 3rds or 2nds correspondingly. 

1st, 2nd 3rds CHROMATIC VECTORS IN MELODIC AND HARMONIC RELATION AS STRUCTURE OF A TEMPORAL LAYER AS ABOVE PF THE THEMES OF A MELODY. 

1st, 2nd 3rds CHROMATIC VECTORS (denoted by e1,e2,e3)  are simply very short melodic themes that are chromatic move of a chromatic  internal of 2nd  and  of 1 ot 2 or 3 notes  either inside the 7-notes diatonic scale or  inside the chromatic 12-notes scale.They have a fixed rhythmic speed of quarters or eights of 16nths etc. 

Such melodic themes are the smallest and shortest span in the scale. Each such triplet melodic theme can substitute a note of the simplicial sub-melody.

But there are 2 more categories as follows which are essentially arpeggios!.

1st, 2nd 3rds MELODIC  VECTORS (denoted by m1,m2,m3)  are simply very short melodic themes that are melodic move of an internal of  3rd or 6th and of 1 ot 2 or 3 notes  either inside the 7-notes diatonic scale or  inside the chromatic 12-notes scale.

1st, 2nd 3rds HARMONIC   VECTORS (denoted by h1,h2,h3)  are simply very short melodic themes that are melodic move of an internal of  4th or 5th or 8th and of 1 ot 2 or 3 notes  either inside the 7-notes diatonic scale or  inside the chromatic 12-notes scale.

https://www.youtube.com/watch?v=ucNWbawSiZM&ab_channel=RyanLeach

438. TRIANGULATION OF CHROMATIC CHORD TRANSITIONS TO HARMONIC-MELODIC CHORD TRANSITIONS.

 The idea is based on the intervals relation  in diatonic steps  1=4-3 , or in words interval of 2nd=interval of 4th-interval of 3rd. 

Thus we substitute the next pairs of chords and chromatic transitions with melodic-harmonic transitions

1M->2m        =>  1M  4M 2m

2m->3m         =>   2m  5M  3m

3m -< 4M      =>   3m  1M 4M 

4M -> 5M    =>    4M 2m 5M

5M -> 6m    =>   5M  1M 6m

6m-> 7d      =>    6m 4M  7m  (7bM)

7d  -1M      =>     7m 5M 1M. 

Which by the way derives the next harmonic-melodic 16 cycle

1M  4M 2m 5M 3m 1M 4M 2m 5M7 1M 6m 4M 7M7 5M 5M7 1M