138. IMPROVISATION FOR MEDITATION WITH A MELODY IN A SCALE ACCOMPANIED WITH THE ROOT OR SINGLE NOTE OF THE SCALE

(This post has not been written completely yet)

This type of improvisation is of the simplest and beautiful ones. Practically no chord accompanying of the melody is used. The only simple harmony is the continuous sounding of a single note which is usually the root of the scale. For this single not accompanying is used usually a monochord string instrument, but it could be used a guitar and other instrument making a conscious trill or repetitive hitting of one note.

Here are examples of it by Shastro with bansuri flute

 https://www.youtube.com/watch?v=i7YsFn22F1g

https://www.youtube.com/watch?v=mi2WtNfmfJI&list=PLV1q2ZPK3-lCbyLxCrLC3v8HmBB3B8s8o

https://www.youtube.com/watch?v=bjLZujyt-Dw&t=542s
etc

The characteristics of this type of improvisation are:

1) The monotone continuous background sounding of the root of a single (diatonic) scale

2) Rather slow e.g. 58 beats/min (like whales or dolphin whistles) suggesting an ocean feeling.

3)  Melodic themes, of this single diatonic scale that are mainly independent and integrate their meaning by themselves and not by the plot and combination of them.

4) The beauty of the total melody is the statistics of its "Dolphin words" (order-topological shapes of melodic themes) 

Extensions of this type of improvisation are if instead of a single note we repeat a single interval of pure 5th or single triad chord.



 If one wants to add more clear harmony inside the scale, he could "walk" all the sequence of chords by 4ths"  iii7->iv7->ii7->V7->I7->IV7->iii7 etc

ONCE ONE HAS MASTERED THSI SIMPLE FORM OF IMPROVISATION HE WILL PROCEED TO THE MORE GENERAL METHOD AS IN POST 296 ABOUT MODES AND LONGITUDINAL CHORDS.

137. 5-notes /4-notes sub-scales improvisation on any 7-notes scale. Pentatonic scales contained in the diatonic , the harmonic minor (1st Byzantine minor) and harmonic double minor (2nd Byzantine minor) 7-notes scales.

(This post has not been written completely yet)

One of the most beautiful melodies improvisations is to go up and down in a 7-notes scale but only with 5 steps (5-notes sub-scales) or 4-steps (4-notes subscales or chords). We do not need to go up and down with the same 5-notes/4-notes  sub-scale, but we need to go up or down from root to higher or lower octave next root,  with only 5-steps or 4-steps (creating thus a 5-notes/4-notes  subscale).  The reason, of course, is that in this way we increase the percentage of intervals of 3rds and even we might make them more than intervals of 2nds in the melody, thus we increase the harmony in the melody. Beautiful melodies are created especially if the underlying 7-notes scale is the harmonic double minor (2nd Byzantine minor) scale.

In a 7-notes scale flute, this is done by keeping 2-times or 3-times during ascending or descending the scale, two fingers as if tight together. We change each time which of these fingers would be.

We show in this post that the well known Japanese pentatonic scales like Akebono, Insen etc of Koto music and many more unknown but beautiful pentatonic scales are contained in the Harmonic minor (1st Byzantine minor) and harmonic double minor (2nd Byzantine minor, or Gypsy minor or Hungarian minor ) scale.

We list 5 more,  and beautiful, 5-notes scales of the 7-notes harmonic double minor scale 

136. ABSTRACT COMPOSITION OF MELODIES THAT CAN BE REALIZED WITH ANY CHORD PROGRESSION AND SCALE

(This post has not been written completely yet)

The concept of order-topological shape of a melodic theme, and also as Dolphin word, allows for abstract composition of melodies, by taking, of course, in to account the standards of the beauty of the melodies based on their statistical profile of the basic order-shapes of Dolphin-words. Then we may accompany and fit them to any chord progression and scale! 

Thus in this way harmony composition through chord progressions and scales, and melody composition can become independent before we blend them in the same coexistence and simultaneous mutual shaping of each other

The beauty of the melodies where their  statistical profile of positive or negative melodic themes is regulated continues  to apply to such a composition of melodies (see post 134)

This post should be read together with post 101 and 107.

The 3 polarities +, - 0 of a melodic theme, and the 3 basic shapes of them: Expansion, Contraction and Cycles. Ascending, Descending, Stationary melodic themes.

The 3 polarities + , -, 0 , are the correspondent to the melodic themes that the chord types major, minor and power chord are for harmonic triads.

The 3  basic shapes of them: Expansion, Contraction and Cycles, are the correspondent to the melodic themes that the chord extension  types like with 4th, with 6th with 7nth  are for harmonic triads.

The beauty of melodies based on their statistical profile of the basic order-shapes of Dolphin-words. 

E.g. >= 2/3=66% positive melodic themes, and < 1/3=33% neutral or negative melodic themes.

135. WHY ANY NOTE OF THE DIATONIC SCALE FITS TO ANY MAJOR OR MINOR CHORD OF THE SAME DIATONIC SCALE IN IMPROVISATION

(This post has not been written completely yet)

In the next we will show that any note of the diatonic scale fits harmonically with any major of minor chord of the same diatonic scale because the number of harmonic  mutual intervals created (that is intervals of 3rds, 6ths, 45ths, or 4ths) is greater than the number of chromatic intervals created (that is intervals of 2nds or 7nths).

Of course this does not mean that a note fits the same well with any of the chords of the same diatonic scale. Not at all!

This is mild statement to that claim of jazz that any note of the 12-notes chromatic scale fits in improvisation with any major or minor chords as long as the type and number of created intervals chromatic  or harmonic dissonant or consonant is desirable as musical and expression effect.
See e.g. https://www.youtube.com/watch?v=IzWEyHTu_Zc&t=102s

Based on this remark we may understand better , why playing constantly a single but any chord of a diatonic scale, and then melodies over the chord-courtyard mode of the scale of it (see post 103) we result with a valid and beautiful sounding improvisation.
Many happy dancing  Irish songs that have only one or only two chords are based in this. Similarly many Greek Cretan folk dancing songs with a bowed string instrument called lyra or flutes (spyrohaviolo, thiampoli , bagpipe etc) area also based on this, as all the song  again has only one chord or two chords, while the melodies over this simple harmony  are fast , dense , happy and with many embellishments. 

134. The beauty of melodies based on their statistical profile of order-shapes of Dolphin-words

(This post has not been written completely yet)

This post should be read together with post 101 and 107.

The 3 polarities +, - 0 of a melodic theme, and the 3 basic shapes of them: Expansion, Contraction and Cycles. Ascending, Descending, Stationary melodic themes.

The 3 polarities + , -, 0 , are the correspondent to the melodic themes that the chord types major, minor and power chord are for harmonic triads.

The 3  basic shapes of them: Expansion, Contraction and Cycles, are the correspondent to the melodic themes that the chord extension  types like with 4th, with 6th with 7nth  are for harmonic triads.

The beauty of melodies based on their statistical profile of the basic order-shapes of Dolphin-words. 

E.g. >= 2/3=66% positive melodic themes, and < 1/3=33% neutral or negative melodic themes.

133. Choosing a rythm in improvisation after a speach sentence

(This post has not been written completly yet)

A way to choose a rhythm is to use the patterns of number the syllables and loudness  of syllables in a sentence: E.g. The sentence "I feel better" imposes the rhythm 1010, where by 0 is denoted a less loud beat and by  1 a louder beat. The phrase "My name is Mary" would give the rhythm 1010110  etc. If the proposition was "Good morning my friend"  the rhythm would be 11011. etc This methods comes from older times when music and rhythm was also the poetic syllables rhythm. 

132. A DAILY MUSICAL INCANTATION

A DAILY MUSICAL INCANTATION


1. Every day and every year
    in every way, I get free
     and more free

2. Every day in every way
    I restore the right weight
    and the right nutrition for me.

3. Every day in every way
    I restore the health of
    the awareness, the mind, the heart
    and the body.

4. Every day in every way
    I refine my perception
    and my knowledge.

5. Every day in every way
    I restore my integrity
    and my congruence.

6. Every day in every way
    I feel grateful
    I feel connected
    I feel love
    I feel happy.

7. Every day and every year
    in every way
    I develop cooperation
    and more cooperation.

8. Every day in every way
    I help people
    to help themselves.


9. Every day in every way
    I get stronger
    I get richer.


10. Every day and every year
    in every way
    I develop and work-out
    a planetary progressive will.

11. Every day and every year
     in every way
     I get conscious
     and more conscious.

12. Every day and every year
      in every way
      I contribute to the evolution
     of the planetary civilization.

13. Every day and every year
      in every way
     I restore the true beliefs
     for our world.

14. Every day and every year
      in every way
      I restore the speed
     of evolution
     of  the human soul.

15. Every day and every year
      in every way
      I restore the life
      and beauty
      in our planet.

16. Every day in every way
      I create in arts
      I create in sciences

in excellence

and more excellence.

17. Every day and every year
      in every way
      Consciously and unconsciously
       I raise my frequency
      I create a better self
I create a greater self
in equality and service

18. Every day and every year
      in every way
      together with other people
      we create progressive
       habits and laws of the society
      for a better and more fair and happy world.

19. Every day and every year
     in any way
     I cimb-up the ladder
    of self-responsibility

   
20. Every day and every year
    in every way
    I re-examine and re-assure
    my habits
    and  my worthy goals.

 21. Every day and every year
    in any way
    I get close to my goals
    I restore the courage to go on.

22. Every day in any case
      I play the music
      of this incantation.