470. ESTAS TONNE METHOD OF PRODUCING 20 OR 55 MINUTES OF CONTINUOUS IMPROVISATIONAL MESMERIZING MUSIC

 See also post 74.

Estas Tonne composes and improvises such music with the guitar.

https://www.youtube.com/watch?v=GBiVq2MsCbs

https://www.youtube.com/watch?v=xk3BvNLeNgw

https://www.youtube.com/watch?v=747hJQNJpeg

https://www.youtube.com/watch?v=7gphiFVVtUI

Estas Tonne, is concentrating very often in permuting the chords of the basic harmonic triad of harmonic minor E.g. 3M7-6m-2m , and with varying arpegios and ostinatos for each one. Then extending it to 4M-3M7-6m-2m, Thus alternating melodic chrd transitions like  6m-$m or 2m-4M , and adding chromatic transitions like 3M7-4M. 

Finally after spending much time on that extending it to the 6 harmonic cycle

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

Some times instead of extending to the harmonic 6-cycle, he transposes harmonically e.g. to 

6M7-2m-5m-1M7-4M-BbM7. 

He may alternate the 3M7-6m fast or double the duration of each chord of the harmonic pair 

3M7-6m, and get the harmony in slow motion.

The overall result is that by taking a well kown diatonic or chromatic diatonic harmony of a song with the arpeggios and ostinatos (riffs) the result is a 20- or even 55-minute musical improvisational piece! 

The key ideas are

1)  Harmonic structure =minimal (e.g. a triad Bm-Em-Am but varied with 7th and 6ths)
2) Rhythm, fast but chord duration=maximal
3) Soloing=minimal
4) Chord Harping=maximal
5) Octaves variation across the fretboard=maximal (like improvising one note on many octaves)
6) Volume variations=maximal
7) Pitch ascension, descending by octaves=maximal
8) Ocean feeling=maximal

469. FELLINGS OF TRAVELLING MOTION AND THE EMOTIONS IN A MELODY

CHROMATIC=BY LAND OR STANDING

MELODIC= BY SEA OR MOVING

HARMONIC=BY AIR OR FLYING

468. HOW TO SYMBOLIZE CHORD TRASITIONAL CHROMATIC ARPEGGIOS (OSTINATOS) SO AS TO MODULATE THEM IN NEXT CHORD TRANSITIONS

 If 1,1#, 2, 2# ,......7, 1 is the full 12-notes chromatic scale based on a 7-notes diatonic scale, and

a1, a3 , a5 , a7 is the first chord C1 while 

b1, b3, b5, b7 is the 2nd chord C2

The transitional chromatic arpeggio is a choice of notes some from the first line and some of the 2nd line of the

C1: A1, a2,A3 , a4, A5 ,a6,  A7 

C2:  B1, b2,  B3, b4, B5, b6, B7

capitals are inside the chords small outside the chords. 

Such a pattern applies by substituting different chords transitions C1->C2.

467. WHAT IS THE SYSTEMATIC RE-HARMONIZATION OF A SONG BY GYPSY JAZZ? IT IS THE RELATIVIZED HARMONIC REFINMENT.

WHAT IS THE SYSTEMATIC RE-HARMONIZATION OF A SONG BY GYPSY JAZZ? 

IT IS THE RELATIVIZED HARMONIC REFINMENT.

RELATIVIZED HARMONIC REFINMENT= 

1) We substitute a major chord X, with an harmonic pair (Y1,Y2) (harmonic pair means that Y1, Y2 have a distance at the roots an interval of 4th, that is Y1 resolves to Y2, so that usually Y1 is a chord with a 7nth) 

2) and so that either Y1 or Y2  is relative to X  (melodic relation which means the roots or middle note have a distance an interval of 3rd ) including the case Yi=X, and including 2nd relative (same root but the one major the other minor chord) , 

3) And the other chord to the relative can be major or minor.

An example is converting the chord progression 

4M  1M  5M7 1M as a cycle , to the gypsy jazz re-harmonized chord progression as a cycle 

(2m, 5M7), (1M, 4maj7), (7dim7, 3M7) , (3m, 6M7). 

(See also post 466) 

466. SUBSTITUTING THE CLASSICAL HARMONIC MINOR PROGRESION 2m 6m 3M7 6m with the Harmonic 7 cycle (2m 5M7) (1M 4maj7) (7dim7 3M7) (6m 6M7).

 Example  the reel  Beatrix by Sharon Shannon. 

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