465. THE MAJOR-MINOR INDIFFERENCE RULE IN (12 BARS) BLUES IMPROVISATION

 According to this rule, the melodic improviser so as to improvise may assume either a major or a minor or both  scale over the 3 chords of the blues.

https://www.youtube.com/watch?v=C8EAAVxvB4A&ab_channel=JamesHargreavesGuitar

464. THE CHORDS SCALE INDEPENDENCE RULE IN (12 BARS) BLUES IMPROVISATION.

     According to this rule, at each change of a (major) chord in the blues, the melodic improviser assumes a change of the scale too with root note the root of the (major) chord! Thus he makes 3 transpositions

Actually this rule may go far beyond  the 12 bars blues, to any chord progression!

https://www.youtube.com/watch?v=C8EAAVxvB4A&ab_channel=JamesHargreavesGuitar

463. THE PASSEPARTOUT OF IMPROVISATION AND COMPOSITION . RHYTHMIC PATTERNS HARMONIC TRANSITIONS AND MELODIC SHAPES INVARIANTS.

 Since the most detailed ontology is at the melody, then the 3 invariants (rhythmic, harmonic, motion shape) occur as invariants of the melody too. 

For years I have been looking for the most comprehensive and convenient concept for improvisation and composition from the simplest to the most complex ie starting from rhythm then harmony then melody. I had found it parts but not in total. Listening to a young street musician explaining how she improvises a steel percussion instrument called hand pan that plays also melodies, she flashed my intuition. ....the most comprehensive concept is something very well known in mathematics and geometry ......

https://www.youtube.com/watch?v=PEuwaKR0cbY&t=50s&ab_channel=AmyNaylor-HandpanConnect

It is Felix Klein's Erlangen program idea that every 

geometric structure is defined by the group of 

transformations that leaves it invariant.

Here that every musical structure is defined and created 

by the rhythmic harmonics and melodic invariants of their 

variations......

This girl said about  the repetition of the invariants in 

improvisation: "repetition is your friend".

I called the description of this in the context of music the 

PASSEPARTOUT of musical improvisation and 

composition.

You keep one of the 3, rhythmic pattern harmony 

(chords transitions)  melodic shape fixed and change 

the other two and thus you create the music, 

 provided the emotion approves it.

You keep the rhythmic pattern constant and change 

the melodic shape or the harmony (chords transitions) 

You keep the harmony (chords transitions)  constant and 

change the rhythmic pattern or the melodic shape

Keep the melodic shape constant and change the rhythmic 

pattern  or harmony (chords transitions).

462. VECTORS, WAVES AND SPIKES IN DIATONIC CHROMATIC OSTINATOS

 VECTORS, WAVES AND SPIKES

The identification and method of composition of them is based on the next concepts

1) As melody it has 3 layers (Simplicial submelody of the harmony, melodic arpeggio , diatonic chromatic arpeggio or ostinado)

2) Within each chord, it has 

2.0) A single note from the simplicial submelody

2.1) A projected and simplified melodic arpeggio

2.2) The full diatonic chromatic ostinado, which consists from

a) Diatonic chromatic maxima VECTORS

b) Diatonic chromatic RIPPLES or waves or cycles or oscillations

c) SPIKES (jumps with intervals higher than 2nd)

461. ABOUT THE RHYTHM OF MELODIES

 https://www.youtube.com/watch?v=WTj-b6oD-Ks&ab_channel=HackMusicTheory

https://www.youtube.com/watch?v=TbDUsEmbsPw&ab_channel=HackMusicTheory

460. WHEN COMPOSING THE CHORD PROGRESSION AFTER COMPOSING THE MELODY IT IS ALWAYS IMPORTANT TO IDENTIFY AT FIRST THE SCALES OF THE MELODY.

459. THREE MODULATED CHORD PROGRESSIONS OF ANY MELODY

https://www.youtube.com/watch?v=kr8XbNHk5QA&ab_channel=SoundGuitarLessonsWithJared

SIMPLICIAL SUBMELODY =1 5 1 4 1 

The 3 chord progressions

1M 5M7 1M 4M 1M

6m   3m  6m  2m  6m

4M  1M  4M   7dim  4M

Actually at least 5^3=125 alternative chord progressions for the melody

We can infer that for any harmonic pair of successive notes of the simplicial submelody n1, n2

The corresponding chords are either a) in harmonic relation  majors b) in harmonic relation minors

c) In melodic relation from minor to major d) In melodic relation from major to minor

Therefore emotionally the harmonic transition of 2 successive (consecutive)  chords of 2 successive (consecutive) notes of the simplicial submelody are one of the 4

1) happy to happy (harmonic transition)

2) sad to sad  (harmonic transition) 

3) sad to happy (melodic transition)

4) happy to sad  (melodic transition).