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.

131. THE SPIRITUAL USE OF FLUTES IN WORDLESS SACRED INCANTATION AND MEDITATION RITUAL FOR SOUL CONSCIOUSNESS PRESENCE AND CREATION OF OUR DESTINY BY OUR ACHIEVING OUR GOALS, THROUGH (NLP) PROGRAMMING OF THE SUBCONSCIOUS

(This post has not been written completely yet)


INCANTATIONS, SOUL PRESENCE, PROGRAMMING OF  THE SUBCONSCIOUS (NLP), FLOW-STATE AND CREATION OF OUR DESTINY THROUGH ACHIEVING OUR GOALS.

In the history it is well known that the Shakuhachi flute (usually in D4 pentatonic ) was used in a Zen sacred wordless and human voiceless meditation for inner peace and soul consciousness presence.

Similarly  the Ney flute (usually chromatically in B3, starting from A3) was used for sacred pray , ceremonies and wordless and human voiceless meditation.

The aulos winds in Ancient Greece and Hellenistic period in religious ceremonies.

And the Bansuri flute (in E4 major starting from B3)  in Hindustani  sacred wordless and human voiceless meditation.

It is often considered that wordless and human voiceless incantation and meditation for inner peace and soul consciousness presence may become  stronger than the voiced (inner or out) with words incantation!


It is the wordless part here which is important. Animals do sing (e.g. birds) But most of them although communicate partially with wordless telepathy , they do not organize sounds in words with syntax. It is said that that the whistling of the Dolphins and Whales is an exception  of an organized trinary language as they say that they are sentient animals and not simply animals.

Sometimes humans also do not have the appropriate words or concepts for inner communication with the soul consciousness, and therefore a musical soundscape maybe closer to the abstract mind which is closer to the soul consciousness compared to the concrete mind.

There is also the breath awareness that the flute require and the breath is a gate between the conscious and subconscious, as breathing is controlled both consciously  and subconsciously. As a contrast the heart beating is controlled mostly subconsciously.

Tony Robins a renowned coach of personal development, insists that  incantations even with outspoken words are his daily practice (10 mins minimum per day) for creating his belief system and programming his subconscious mind , and strengthening his desires for the  goals his has set. He explains that incantations create a heightened excitement emotional state which metaphorically speaking is like "the fire needed to shape a metal" in programming the subconscious for the appropriate beliefs and resources so as to achieve our own set worthy goals. He and the NLP theory (Neuro-Linguistic Programming) calls it the creation (or conversely the collapse and elimination) of belief-anchors.  The sounded of an incantation and or an accompanying musical instrument  is also  a response stimuli based on our belief system for the right inner state. He explains also that incantations involve most of the functions of the inner and outer senses, like vision, hearing, kin-aesthetics etc  therefore it is an integrated training of the  subconscious (NLP=neuro-linguistic programming) and the body  for the necessary resources and entering the "flow-state" for achieving our goals and desired states of existence. 

IN THIS MEANING-BASED RATHER THAN MUSICAL SYNTAX BASED IMPROVISATION, AS NLP SUGGESTS WHEN CREATING THE MUSICAL SOUNDS WE ALSO CREATE MENTAL IMAGES RELEVANT TO THE MEANING OF THE SOUNDS, WHICH BY THE CREATED EMOTIONS ARE EMOTIONALLY LINKED TO THE MENTAL IMAGES AND  THUS FACILITATING OUR DAILY ACTIVITIES AND PERQUISITE OF OUR GOALS

Magnetic scans of the human brain during playing  of a musical instrument show a unprecedented activation of almost all  the parts of the human brain, the centers of vision, the centers of hearing, the centers of  motions control, the emotional side, etc and no other activity is so catalytic in synthesizing all most all the functions and departments of the brain.

The sounded of an incantation and or an accompanying musical instrument  is also  a response stimuli based on our belief system for the right inner state.

Therefore  incantations outspoken or wordless  with the help of a musical instruments is an integrated way to create our desired state of existence through programming of the subconscious , achieving our goals  and shaping our destiny. 

130. MEANING VERSUS SYNTAX BASED IMPROVISATION: THE MELODIES IMPROVISATION METHOD OF EMOTIONAL DESCRIPTIVE "STORY TELLING" OR POST-ACTIVE/PRO-ACTIVE MEDITATIVE SIMULATIONS OF ACTIVITIES

(This post has not been written completely yet)

This method of improvisation perceives  that musical themes as the pitch shape of actual natural language spoken propositions. Except that here there is not language (English or German , or Chinese, or Greek etc). So each musical phrase consists of "Dolphin words" (see post 101) that make a proposition with a integrated emotional-melodic meaning. IN THIS MEANING-BASED RATHER THAN MUSICAL SYNTAX BASED IMPROVISATION, AS NLP SUGGESTS WHEN CREATING THE MUSICAL SOUNDS WE ALSO CREATE MENTAL IMAGES RELEVANT TO THE MEANING OF THE SOUNDS, WHICH BY THE CREATED EMOTIONS ARE EMOTIONALLY LINKED TO THE MENTAL IMAGES AND  THUS FACILITATING OUR DAILY ACTIVITIES AND PERQUISITE OF OUR GOALS


When improvising you must imagine that you speak to a non-judgmental friendly audience and you tell them a story. E.g. the story of an emotionally intersecting day from the morning til the night. The story has a beginning a middle and an end. If this was real each proposition and phrase would have an pitch dynamics shape.  

You do not speak really the phrase bu you play in the musical instrument, this pitch dynamic shape for every proposition of the story.

The story has layered organization , in to propositions , phrases, paragraphs and chapters. Thus here the ideas of higher order formal language (Dolphin language) as in post 114.

The "story" may that of a past historic record of activities which is easier to follow, but it can very well be pro-active simulation or description of dreamed future activities that will bring great joy. From thsi point of view such improvisation is a kind of musical meditation (see also post 131).

To prepare yourself for such a musical , without words story, practice in playing melodically (as simple sequences of Dolphin words) the next emotional descriptives.

1) Question

2) Casual assertion

3) Protesting emotions

4) Sweet words of affection or love

5) Angry insult

6) Neutral speaking

7) Relaxing sinking

8) Exciting proposition

9) Enthusiastic announcement

10) Pushing emotionally away someone

11) Asking for a favor

12) Sad announcemnt

13) Positive Emotions when taking off by an airplane

14) Expressing fear

15) Expressing worries

16) Expressing joy

17) Expressing anxiety

etc.

To experiment with pitch dynamic shapes that correspond the above emotional repressions, it helps to use at first, a sliding whistle, before they are  converted to discrete scale notes , melodic moves.

IN A WIND INSTRUMENT AT THE MEANING BASED VERSUS SYNTAX-BASED IMPROVISATION , IT IS MORE NATURAL TO START FROM THE ROOT OF THE 2ND OCTAVE OF THE WIND INSTRUMENT, DESCEND TOWARD THE ROOT OF THE FIRST OCTAVE, AND THEN ASCEND AGAIN AND END EITHER AT THE ROOT OF THE 2ND OCTAVE OR EVEN BETTER AT A HIGHER NOTE (E.G. FIFTH DOMINANT )  OF THE 2ND OCTAVE.  

A "Secrete" coding of the melodic notes in meditative improvisation , with "meanings" can be provided through colors an levels of "self" as in this blog here

http://10-colored-logics.blogspot.com/search/label/1.%20Introduction

1) Personal development perspective:
To develop better and more sensitive integrated and parallel  thinking.

We accuse logic and we prefer emotions. But there is not only one logic. 

Logic here is not in the mathematical sense. It is more of a direction of reasoning and perspective  of biased thinking.
Utilizing many colored logics in deciding and finding the feelings for our actions, may radically improve the success of our efforts and achievements. 
By engaging many colored logics as our chance of expression, we may improve human relations, and liberate them from lies, fear, feelings of guilt, humiliation, superstitions,   pretence and deception.

The self or ego spectrum of  the above colors, inside the mortal personality are as follows:
(The numbering is from the steps on a 7-notes diatonic scale at any mode)

1st root note= Infrared hat =I am that I have/ I need (or negatively I do not) therefore I exist 
2nd note= red hat = I am that  I feel /I desire (or negatively I do not) therefore I exist 
3rd step= yellow hat =I am that I do /I connect (or I synthesize) (or negatively I do not) therefore I exist 
4th step= green hat =I am that I love  (emotion of unity)/ I an in emotions (or negatively I do not) therefore I exist 
5th step(dominant)= turquoise hat =I am that  I express (or negatively I do not) therefore I exist 
6th step= Blue hat = I am that I think/I reason (or negatively I do not) therefore I exist 
7th step= Violet hat =I am /I am aware / I intent/ I am that I am


Major chord= White hat = I am that I interpreter-illuminate (or negatively I do not) therefore I exist 
Minor chord= Black hat =I am that I see without being seen (or negatively I do not) therefore I exist 

Power chord= Grey hat = I am that I am consistent-fair-objective (or negatively I do not) therefore I exist 


another context of correspondences of the 7 notes is the next

2) Hatha Yoga perpsective (see e.g. http://en.wikipedia.org/wiki/Hatha_yoga): When thinking with each of the 7 colored logics then the corresponding aether center (charka) with its color is energized. So parallel thinking with these 7 colored logics, is essentially types of meditation. For the hatha yogi, the infrared logic corresponds to the center at the base of the spine, the  red  (orange)  logic at the center of genitals, the yellow logic to the center of the solar plexus, the green logic to the center of the heart, the turquoise logic to the throat center, the blue logic to the center of the front of the head and the ultraviolet logic to the center at the top of the head. 
Of course we should not forget that minor aether centers exist also below the base of the spine. E.g. at the knees, at the hocks, at the soles etc. and if we were to include them, we would choose a different correspondence. 
If the hatha yogi is a powerful yogi,  for whom the aether-vision has opened, it is supposed that he can see with his physical eye , the color of the corresponding aether center, of the human aether body.  (About the concept of aether, see also http://thenewuniversalattraction.blogspot.gr/2012/04/nspiredby-12-universal-laws-from.html ). Now Hatha yoga reports that the base of the spine center is red, the center of the genitals orange, the solar plexus center yellow, the heart center green, the throat center cyan, the fron of the head center blue (indigo), and the top of the head center violet. Of course untill the eather vision has opened for most of the  people, or science was found ways to photograph the color of the aether centers, we are to remain in uncertainty. When the color of the aether centers will be the object of science, then maybe medicine will have discovered  also a powerful way to heal through colors. Till that time we will   assume the present correspondence of colors and logics as rather symbolic and as a color code.
I must point out here nevertheless that  Correlating our abstract EGO (soul level) with our physical body is not necessarily a virtue that may help us in evolution! 

Remark about the number 7 

I must remark here that the appearing seventuality here (7 colours, 7 bodily aether centres,) is only symbolic not literally 7. I believe that when science will enhance the knowledge of the electromagnetic field, and discover all of the aether, the aether centres that will be recorded in the human body will be more than 7. In the periodic system of chemical elements it seems that we do have a real appearance of the number 7, as all of the stable, 8-periods of the molecules. From this we may derive the symbolic interpretation of the number 7=a finite number a of layers (unknown or variable) that signifies all the layers that exhaust a "tree of creation" (like the material reality in the case of the periodic system)

Nevertheless, I must remark here that there are a lot of spiritual people, that strongly insist, that CORRESPONDING SOUL-EGO QUALITIES (THE COLOR LOGICS) WITH BODILY CENTERS IS NOT AT ALL AN EVOLUTION OF THE HUMAN EXISTENCE RATHER A BRAKE AND DELAY IN EVOLUTION ! Therefore we should not take the Hatha yoga perspective as the only deeper truth about the subject. 


3) Time scheduling perspective

Furthermore there is the time-correspondence of notes ( a story of the week with non-linear narrative)

1st step root=Sunday

2nd step= Monday

3rd step=Tuesday

4th step= Wednesday

5th step Thursday

6th step Friday

7th step Saturday