413. THE VERY SIMPLE CONCEPT OF CHORD-MODULATION OF A MELODIC THEME OVER 2 OR 3 CHORDS BY CHANGING THE UNDERLYING CHORDS

 This is a very simple and very usefull in improvisation and composition concept of chord-modulation , which is different from the concept of modulation by changinf the modes of the scale, and thus cahnging the melody.

E.g. Let a say that the melody are the notes x1, x2, x3 x4 x5 x6 over the chords A=(a1,a2,a3)  and B=(b1,b2b3)  with x1=a1, x3=a3, x4=b1, x6=b3. 

We changethe chords A , B to A'=(a'1,a'2,a'3) B'=(b'1,b'2,b'3) . Then modulating the same melodic theme over the new chords means that we keep the pitch order relations and rhythm of the new melodic theme but we change the notes so that now it fits the new chords. Most probaly the a1 to a'1 , a3 to a'3 , b1 to b'1 and b3 to b'3. 

This concepts allows to create nice melodies once a) the chord progression is predetermined b) an initial melodic theme has been created over a pair or triple of chords.

There are mainly 3 rules for the creation of melodic themes

1) Utlize 2 or 3 consecutive chords for none melodic theme

2) Make it connected by 2nds inside the main scale to give it naturality of singing

3) If one more of the 2 pr 3 chords are chromatic relative to the main scale make the melody pass from the external to the diatonic scale chromatic notes of the chords.

Here are 6 rules see also post 402 

1) CHOSE THE TYPE OF CHROMATIC-TONALITY HARMONY 

2) COMPOSE THE CHORD PROGRESSION AFTER THE CHOSEN CHROMATIC TONALITY

3) PARTITION THE CHORD PROGRESSION TO SINGLETS, PAIRS, TRIPLETS ETC OF CHORDS THAT  WOULD SUPPORT BRIDGING MELODIC THEMES

4) COMPOSE THE SIMPLICIAL SUBMELODY (A DEFAULT IS THE MIDLLE NOTES OF THE CHORDS) 

5) COMPOSE THE MOVE OF THE BRIDGING MELODIC THEMES BY THE TRIAD UP-DOWN-STATIONARY BY FOLLOWING PRINCIPLES OF BALANCE AND THE EMOTIONS OF THE UNDERLYING PARTITIONED SEGMENT OF CHORDS. ONE POLARITY FOR EACH PARTITIONED SEGMENT OF CHORDS. 

6) COMPOSE THE RHYTHMIC PATTERN OF THE BRIFGING MELODIC THEMES AND THEMSELVES TOO.

412 THE MOST COMMON IN BRAZIL FULL CHROMATIC TONALITY OF 12 NOTES THROUGH 3 DIATONIC SCALES IN HARMONIC RELATION

 3 Diatonic scales in harmonic relation e.g.

G, C F.

Chords from the 3 diatonic scales  the numbers are the notes of the middle diatonic scale

G      7m      2M                      4#M

C           1M 2m 3m (3M7) 4m 5M 6m 

F                                               5m     7b M

Thus 6 chromatic chords

3M7,  5m, 7b M, 7m,  2M 4#M

2 ofthem are with roots outside the middle diatonic scale.

There are mainly 3 rules for the creation of melodic themes

1) Utlize 2 or 3 consecutive chords for none melodic theme

2) Make it connected by 2nds inside the main scale to give it naturality of singing

3) If one more of the 2 pr 3 chords are chromatic relative to the main scale make the melody pass from the external to the diatonic scale chromatic notes of the chords.

Basic Jazz Chord Progressions

·        Major ii-V-I  (2m-5M-1M) . The major ii-V-I is easily the most important chord progression to get a handle on when it comes to jazz. ...

·        Minor ii-V-i. This chord progression has the same function as the previous major ii-V-I, but of course is in a minor key. ... (In 6 Aeolian mode would give the chords 7m 3M 6m  and in the Ionian mode it would be 2m  5M  1m )

·        Major I-vi-ii-V. ...(1M-4m-2m-5M)

·        Minor i-vi-ii-V. (In 6 Aeolian mode would give the chords 6m 2m 7m 3M and in the Ionan mode it would be 1m 4m 2m 5M)

The next is an example of a chord progression for a song with full chromatic harmony based on 3 diatonic scales in harmonic relation e.g. G major C major F major

Here is an example of a paritioned chord progression with chords from 3 tonalities related harmonically (this is common inthe harmony of brazilian songs) e.g. C-F-G.

I have improvised at first these chords inthe ukulele,soI that i like them and make the necesary corections

The melodic phrase chords are 3 , and I write the chord progression so that each line is a traid of melodic phrase chords. 

For simplicity all chords have the same duration

1st verse minor feeling, the translation of t he melodic theme is upwards. It is inthe tonalitis C and  F (with harmonic minors)

Dm      E7      Am

Gm      A7      Dm

1st chorus resolution to a major triad, which is alower shift ofthe melodic theme

Bb       C7       F

Here the next verse moves to the tonality G

E7       Am        Am

B7       E7          Am

Again a chorus resolution to major triads of the toanlity G

C        B7         G

Am   D7          G

Chromatic shift to the 7nth degree of the toanlity G as a new verse

F#7    Bm     Bm

B7     Em      Em

And a resolution to tonal of G tonality

D7      G        G

Now we add the simplicial submelody notes of the melody , one note per chord

We try it in a convenient instrument . I did so in the ukulelel and also on the digital ukulele (Geoshred) in the tablet.  I try to whistle also  threr simplicial submelody

1st verse minor feeling, the translation of t he melodic theme is upwards. It is inthe tonalitis C and  F (with harmonic minors)

Dm  (f5)     E7  (g#4)     Am (c5)

Gm   (Bb5)   A7  (c#5)    Dm  (f5)

1st chorus resolution to a major triad, which is alower shift ofthe melodic theme

Bb  (d5)     C7   (e5)    F (a4)

Here the next verse moves to the tonality G

E7  (e5)     Am    (a5)    Am  (a4)

B7   (f#5)    E7    (g#5)      Am  (e6)

Again a chorus resolution to major triads of the toanlity G

C   (e5)     B7    (d#5)     G  (b4)

Am  (c5)    D7   (f#5)       G  (g5)

Chromatic shift to the 7nth degree of the toanlity G as a new verse

F#7   (F#5)  Bm   (b4)   Bm  (b4)

B7    (f#5) Em   (b5)     Em  (B5) 

And a resolution to tonal of G tonality

D7  (d5)    G (g4)       G (g4)

Finally we write all these in a midi editor and and we enhance the simplicial submelody to an actually rhythmic melody with transition notes also outside the chords. 

In this way it is as if we write a text first fromthe verbs then the subject  and obkect ofthe verb and then the relations of the phrases. 

Here si another example

https://www.youtube.com/watch?v=4JHA1SIJkNM&ab_channel=DrKCostas

411. THE MOST COMMON FULL CHROMATIC TONALITY WITH ALL 12 NOTES AND 5 CHROMATIC CHORDS WITH ROOTS IN THE DIATONIC SCALE

 

6 Diatonic chards= 1M 2m 3m 4M 5M 6m

5 Chromatic chords=3M7 (from harmonic minor) 6M7 , 7M7 (from double harmonic minor)  5m

it contains all 5 blue or chromatic notes

 5# from the 3M7

2# from the 7M7

1# from the 6M

4# from 7M7 

7b= from 5m 

There are mainly 3 rules for the creation of melodic themes

1) Utlize 2 or 3 consecutive chords for none melodic theme

2) Make it connected by 2nds inside the main scale to give it naturality of singing

3) If one more of the 2 pr 3 chords are chromatic relative to the main scale make the melody pass from the external to the diatonic scale chromatic notes of the chords.

Basic Jazz Chord Progressions

·        Major ii-V-I  (2m-5M-1M) . The major ii-V-I is easily the most important chord progression to get a handle on when it comes to jazz. ...

·        Minor ii-V-i. This chord progression has the same function as the previous major ii-V-I, but of course is in a minor key. ... (In 6 Aeolian mode would give the chords 7m 3M 6m and in the Ionian mode it would be 2m  5M  1m )

·        Major I-vi-ii-V. ...(1M-4m-2m-5M)

·        Minor i-vi-ii-V. (In 6 Aeolian mode would give the chords 6m 2m 7m 3M and in the Ionan mode it would be 1m 4m 2m 5M)

An example of a  song chord progression with the simple full chromatic harmony is the next

3M7-> 6m

5M7-> 1M 

2m  6m

3M7 6m

5m 6M7

2m 2m 

7M7  3M7

6m 6m 

Here is another example 

https://www.youtube.com/watch?v=4YESQFQJR0Y&t=2s&ab_channel=DrKCostas

410. PARTIONING AN HARMONIC CYCLE OF CHORDS IN CONSECUTIVE PAIRS GIVES CHROMATIC SEQUENCES AND PARTIONING IN TRIADS GIVES MELODIC SEQUENCES. APPLICATIONS IN THE COMPOSITION OF MELODIES

 Example 1. let us take as an example the famous song by Saint Preux, concert for one voice. 

1) Structure and size of the melodic theme based in the type of transition of chords, in the singles, pairs or triplets of underlying chords.

2) Sequemce of melodic themes modulating, chromatically (pairs of chords) , melodically (triplets of chords) or harmonically (singles of chords). 

Harmonic cycle partitined in consecutive pairs

1.B   3.A     5. G  7. F      ( Chromatic sequence) 

2.E    4.D     6. C              (Chromatic sequence) 

Or combining the andaluzian cadenze too

   1.A     3. G  5. F        7. E     ( Andaluzian cadenza) 

    2.D     4. C   6. Bb     8. A      ( Andaluzian cadenza) 

From the latter we can get the very nice chord progression for a  song

Am->GM->FM->EM

Dm->CM->BbM->AM

Am->Dm->GM->CM->FM->BbM->EM->Am

Harmonic cycle partitined in consecutive triplets

1.B    4.D     7. F      ( Melodic sequence) 

2.E     5. G                

3.A     6. C                ( Melodic sequence) 

THE NEXT ARE 6 STEPS IN COMP0SING A MELODY SEE ALSO POST 402.

1) CHOSE THE TYPE OF CHROMATIC-TONALITY HARMONY 

2) COMPOSE THE CHORD PROGRESSION AFTER THE CHOSEN CHROMATIC TONALITY

3) PARTITION THE CHORD PROGRESSION TO SINGLETS, PAIRS, TRIPLETS ETC OF CHORDS THAT  WOULD SUPPORT BRIDGING MELODIC THEMES

4) COMPOSE THE SIMPLICIAL SUBMELODY (A DEFAULT IS THE MIDLLE NOTES OF THE CHORDS) . For each partition segment of chords, the last note of the simplicial melody ofthe last chord is the main note of the simplicial submelody for this segment. 

5) COMPOSE THE MOVE OF THE BRIDGING MELODIC THEMES BY THE TRIAD UP-DOWN-STATIONARY BY FOLLOWING PRINCIPLES OF BALANCE AND THE EMOTIONS OF THE UNDERLYING PARTITIONED SEGMENT OF CHORDS. ONE POLARITY FOR EACH PARTITIONED SEGMENT OF CHORDS. E.g. partition segments ending in minor chord may be down-moves and those ending in major chord an up-move. If we assume the x-axis the time and the y-axis the pitch (the simplicial submelody set as basic pitch zero level) we may symbolize a rhythmic melodic bridge with a flag. Glag symmetric to a vertical axis are melodic bridges with inverse rhythmic pattrn. So such arrangments of the melody are like geometric frieze patterns and their 7 types of symmetry (see link below) . Of course most melodies are asymmetric

https://en.wikipedia.org/wiki/Frieze_group

6) COMPOSE THE RHYTHMIC PATTERN OF THE BRIDGING MELODIC THEMES AND THEMSELVES TOO.

409. THE 4-3M-4-3m-4 (e.g. F2-Bb2-D3-G3-Bb3-E4) TUNING OF THE GUITAR (F-MAJOR LYDIAN-DORIAN-DORIAN-LOCRIAN)

408. THE 4-3m-4-3M-4 (e.g. F2-B2-D3-G3-B3-E4) TUNING OF THE GUITAR (C-MAJOR LOCRIAN-MIXOLYDIAN-MIXOLYDIAN-FRYGIAN)

407. TUNING OF 4-STRINGS INSTRUMENTS WITH CONSECUTIVE RELATIVE MODES PER 3 CONSECUTIVE STRINGS IN THE PATTERN OF INTERVALS 5TH-6TH-5TH E.G. D2-A2-F3-C4 (AEOLIAN-IONIAN MODES)

 See also post 308 , 90 and 164 (Mexican instrument Jarana tuning)

The pattern of intervaslamong the strings are  5-6m-5 and 5-6M-5  where by 5 we denote interval of 5th (7 semitones) and by 6m interval of 6th minor (8 semitones)  and by 6M interval of 6th major (9 semitones) .

The modes are defined the the 3-notes chords that are shaped as triads across 3-consecutive strings.  The first chord is the open 3-strings chord. 

Pairs of modes , all the 7 , that can be tuning in this way 

AEOLIAN-IONIAN  e.g. D2-A2-F3-C4     (f -major) pattern 5-6m-5 

IONIAN-FRYGIAN  e.g. F2-C3-A3-E4      (f major) pattern 5-6M-5 

DORIAN-LYDIAN  e.g.   G2-D3-Bb3-F4   (f major) pattern 5-6m-5 

FRYGIAN-MIXOLYDIAN e.g. A2-E3-C4-G4  (f major) pattern 5-6M-5 

LYDIAN-AEOLIAN  e.g. Bb1-F2-D3-A3 (f major) pattern 5-6m-5 

MIXOLYDIAN-LOCRIAN e.g.  C2-G2-E3-Bb3  (f major) pattern 5-6M-5 

LOCRIAN-DORIAN e.g.  E2-Bb2-G3-D4  (f major) pattern 5-6m-5 

In total the advantages of this inverse tuning (e.g. D2-A2-F3-C4 )relative to the standard 4-strings tunings (e.g. C3-F3-A3-D4) are the next

1) It has two intervals of 5th among the strings that it sounds better in open and barre chords compared to intervals of 4th. 
2) It has larger range
3) It has the one-fret triad major  chords at higher strings and the one-fret triad minor chords at the lower strings,  thus  favors a bit mor joyfull music of major chords
4) It is more ergonomic in the fingers when playing the A-shape and E-shape chords The D-shape triad chords are almost the same difficulty. (the minor triad D-shape is slightly more difficult).

5) The 4-strings  chords span 2 octaves and have more magical and reach sound.

6) Because the chords are in one or 3 only frets, their arpeggios also and neighboring melodies are in fewer frets thus easier to play as finger picking style. 

Similarly we could utilize the inversions involving intervals of 4th and 3rds (instead of 5ths and 6ths) and have again all 7 pairs of relative modes

IONIAN-AEOLIAN  e.g. C2-F2-A3-D4     (f -major) pattern 4-3M-4 

FRYGIAN-IONIAN e.g. E3-A3-C4-F4     (f major) pattern 4-3m-4 

LYDIAN-DORIAN  e.g.   F2-Bb2-D3-G3   (f major) pattern 4-3M-4  

MIXOLYDIAN-FRYGIAN e.g. G2-C3-E3-A3  (f major) pattern 4-3M-4     

AEOLIAN-LYDIAN  e.g. A2-D3-F3-Bb3 (f major) pattern 4-3m-4   

LOCRIAN-MIXOLYDIAN e.g.  Bb2-E3-G3-C4  (f major) pattern 4-3m-4 

DORIAN-LOCRIAN e.g.  D3-G3-Bb3-E4  (f major) pattern 4-3m-4