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Thursday, January 23, 2020

289. IMPROVISATION SYSTEM WITH THE SIMPLICIAL SUB-MELODY OF THE COUNTER-MELODY (THUS SIMPLICIAL COUNTER-MELODY) OF A SONG.

(This post has not being written yet completely)

See also post  102, 111, 138, 275 , 280 , 287, 102, 256, 257, 118, 128, 197, 183, 271, 290



Learning to improvise by singing over  any chord progression of a song.

The ability of this is after we have mastered improvisation as in post 288.

 Generally speaking at least 50% of the time the notes of the improvisation should belong to the underlying  chord.
Of course a more strict improvisation would be to require that 50% of the time the notes are notes of the underlying  chord and the rest of the time, notes between them, thus in the vector-chord or closure inside the diatonic scale, of the underlying chord. (e.g. if the underlying chord is  c-e-g, then the closure of the chord or the vector chord is  the c-d-e-f-g. Alternatively we may usea chord and one at chromatic relation to it as external notes, e.g. S major and d minor or C major and B diminsihed)

In this, we start with a song with its chord-grogression.  We use again the rule that that 50% of the time the notes are notes of the underlying chord and the rest of the time, notes between them thus in the vector-chord or closure inside the diatonic scale, of the underlying chord, or more generally notes of the diatonic scale that donot belong to the underlying chord.
The simplest idea is to go up or down in a linear pitch order of the notes of a diatonic scale, spending more time each time in the closure of the underlying chord and at least 50% on the notes of the underlying chord. Initially there is no need for waving and embelishments. Only a linear sequence that goes up or down from chord-closure to chord-closure depending on the underlying chord. We do not even need to know the chords of the chord-progression, as we will find them by shifting up or down and staying more time when the results is more harmonic. If it is a song, with its chord progression this actually would be a kind of simplicial submelody of a counter melody of the melody of the song. We may conceive it as a kind of  simplicial countermelody,  in the sense that it consists during  each underlying chord mainly from a single notes of the underlying chord,  thus certainly fitting harmonically to the melody of the song. Still another way to conceive this parallel improvisational melody is to think of it as simultaneously 1st 2nd and 3rd voice, but changing if  it is 1st 2nd or 3rd voice and mainly with hysteresis (counterpoint) following the underlying chords and their changes rather than the changes of the notes of the main melody.

See also posts 118, 128, 197, 183,  102, which contain more  ideas.
We remind the reader that two melodies sounding simulteneosuly may be assumed as fitting harmonically, if the duration of inervals of 3rd and 5th (and inversions) are more than 50%  at a first basic  ranking and more than 80% at a more demanding  ranking , of the total time compared to the duration of the interavals of 2nds. And the same with  a melody and a chord sounding sumulteneosuly. Or more generally we may defone counterpoint of k-melodies sounding simulteneously, if and only if the simulteneous intervals of all pairs of melodies that are of 3rds and 5ths (or inversions) have total duration more than 50%  at a first basic  ranking and more than 80% at a more demanding  ranking ,  compared to those by intervals of 2nds.

That is why when turning the singing improvisation to a melody of a musical instrument, it is more convenient to do so with, an harp, or a panflute, or an harmonica , then in general a diatonic instrument etc.
Of course as we excersise more, we learn to create small melodic themes instead of only one note, and then translate them or invert them chromatically, melodically or harmonically.

A practice that would implement the above in  easier way is

(See also post 271 about learning many instruments simulteneously utilizing simplicial submelody improvisation system and post 275 about whistling)

1) Download the song as an mp3 file , then open it in Audacity, and utilize its function of finding the chords.  
2) We look at the chord progression and try to identify the main  diatonic scale , from which it may deviate chtomatically. 
3) Then we choose the appropriate instrument that may diatonic at this scale or even chromatic. It may be a wind instrument like harmonica, flute, panflute, clariphone sax etc or it may be a bowed instrument like violin , metric-lyra celo-lyra (see post 264) or other stings instruments like cuatro, guitar, bouzouki, mandolin, mandola, etc. 
4) At first we whistle the simplicial counter-melody while the song is  playing paying attention mainly not the the melody but the underlying chord progression.
5)We may also record the whistling in the computer, while we listen in one only earphone and in one ear, the parallel song from the mobile or another computer. This may create an entereily new song and new melody and even different chord progression inspired and stimulated by the initial parallel song.  That is why a more likable way of the whistling melody should not be considred as a "mistake" but as a more likable melody of a new song, inspired from the initial.
6) Then we repeat the whistling simplicial counter-melody with the chosen instrument
7) If we are multi-intrument player, we rotate the instruments from the easiest to the more demanding (e.g. harmonica, then celtic harp, then chinese panflute, then marked scale cuatro, then fretted-lyra , then straight flute,  then clariphone or sax etc)  playing similar simplicial counter-melodies for this song. If we do that we try to identify ourself  with the simplicial counter-melody and consider that we actually we are player of a simplicial counter-melody for this song rather than aninstrument player that we learn  the particular instrument that we play). See also post 271.

A METHOD TO CREATE THEORETICALLY BUT ALSO PRACTICALLY SIMPLICIAL COUNTER-MELODIES:


 IMPROVISATION METHOD BASED ON  A SET OF CHORDS AND MELODIC LINES BRIDGING THE HIGHEST NOTES OF EACH OF THEM. APPLICATION WITH STRUMMING WITH CUATRO, CAVAQUINHO, UKULELE , HARMONICA VIOLIN, WINDS ETC



The application idea is that when the chord is realized with a voicing on the highest 4 (or all 4) strings , we create melodic lines on the highest string bridging the highest notes of two succesive chords. Because of a inherent phenomenon of the human sound perception , when we are strumming and chaning the chords with in-between such melodic lines, the musical perception clearaly heres a melody, which is that of the highest notes. If it was not the highest notes the melodic lines would be more often lost in listening in the strumming.
Such chord-bridging melodic lines use a last small part of the previous chord duration and a small initial part of the new chord duration. During the rest ofthe time there is strumming of the chord or a achord arpeggio or variations of small melodic themes inside the chord by intervals of 3rd or 4th/5th. Thus melodic-harmonic variations. While when bridging two succesive chords there may be melodic themes variations by intervals of 2nd 3rd or 4th/5th (thus chromatic-melodic-harmonic).
This technique utilizes the simplicity of the information of the set of chords and translates it it to a simple information about the partition of the types of variations of simple melodic themes with the time placement and duration of the chords.
With this technique we may create simplicial counter-melodies parallel to melody.
It applies verty easily when utilizing a chromatic harmonica (see post 274), but also a violin (especially marked at a particular diatonic scale, so that we can identify chord-triad  shapes on it after a convenient tuning) and finally also on a diatonic wind.

Friday, January 10, 2020

288. Method of Gradual learning of Improvisation by singing : At first within a chord and then on the basic 3 types of chord transitions: Chromatic, Harmonic., Melodic Finally on any cycle of chords. Parallel songs.

(This post has not being written yet completely)

See also post  138, 275 , 280 , 287, 102, 256, 257, 118, 197, 183.


1) Learning to improvise by singing over a single chord.


This phase is much like the slow melody improvisation , taht is used in meditation music and inner instrospection. It helpd to be slow, at first and even without rhytm or tempo at all. Then faster with arhythm. We aasume the chord as the root chord of a mode of the diatonic scale, and we improvise mainly inside the diatonic scale,  using all the 7 notes. But we may even use for short time any of the chromatic 5 notes, that would complete the 7-notes diatonic sacle, to the full 12-notes chromatic scale. Generally speaking at least 50% of the time the notes ofthe improvisation should belong to the root chord.
Of coure a more strict improvisation would be to require that 50% of the time the notes are notes of the root chord and the rest of the time, notes between them, thus in the vector-chord or closure inside the diatonic scale, of the root chord. (e.g. if the root chord is  c-e-g, then the closure of the chord or the vector chor is  the c-d-e-f-g.)

2) Learning to improvise by singing over a chord transition: Harmonic, Melodic, Chromatic.

Any chord transition , of any pair of chords of a diatonic scale, after converted to the minimal value would be either a major or minor  interval of 2nd , thus chromatic transition, or a major or minor interval of 3rd, thus melodic transition, or an interval of 4th or 5th, thus harmonic transition.
Again a rather strict improisation is  to require that 50% of the time the notes are notes of the root chord and the rest of the time, notes between them thus in the vector-chord or closure inside the diatonic scale, of the root chord.


3) Learning to improvise by singing over  any chord progression .


In this phase , we start with a cycle of chords of a diatonic scale which is repeating. We use again the rule that that 50% of the time the notes are notes of the underlying chord and the rest of the time, notes between them thus in the vector-chord or closure inside the diatonic scale, of the underlying chord, or more generally notes of the diatonic scale that donot belong to the underlying chord.
The simplest idea is to go up or down in a linear pitch order of the notes of the diatonic scale, spending more time each time in the closure of the underlying chordand at least 50% on the notes ofthe underlying chord. Initially there is not need for waving and embelishments. Only a linear sequence that goes up or down from chord-closure to chord-closure depending on the underlying chord. We do not even need to know the chords of the chord-progression, as we will find them by shifting up or down and staying more time when the results is more harmonic. If it is a song, with its chord progression this actually would be a kind of simplicial submelody of a counter melody of the melody of the song. See also posts 118, 197, 183,  102, which contain more  ideas.
That is why when turning the singing improvisation to a melody of a musical instrument, it is more convenient to do so with, an harp, or a panflute, or an harmonica , then in general a diatonic instrument etc.
Of course as we excersise more, we learn to create small melodic themes instead of only one note, and then translate them or invert them chromatically, melodically or harmonically.

4) PARALLEL SONGS: Learning to improvise by singing parallel to a familiar and likable song. The simplicial counter-melody (see post 289 )

Here is one of the most beatiful and insteresting parts of the gradual leraning process of improvisation: We put a likable and familiar song in our , mobile, or ipad, or lapto, or tablet, and we put only one earphone oin one ofthe ears,better on the left ear, which is simpler perception ofthe sounds, while we leave open our right ear. Then as the song progresses, we sing parallel to it. Here comes the most interesting part: WE FOLLOW OUR HEART FOR  OUR IMPROVISed MELODIC LINES AND NOT NECESSARILY THE HARMONY OR MELODY OF THE BACKROUND SONG. Most of the times we will follow the harmony (chord progression) of the song and in some time intervals a similar melody too, but if our feelings suggests we may deviate even from the harmony or rhythm of the songs to a completely different song of our own making! In this way we are not singing the background song but a completly different song, although we may return at some times to the harmony (chord progression) of the background song. Sometimes our own harmony and melody will turn out to be better than that of the background song. And this makes us fell beatiful as valuable composeres of new songs. The backround song has served only as insiring stimulation, for our own improvsed song!

Monday, December 23, 2019

287. IMPROVISATIONAL SONGS THAT THEIR CHORD PROGRESSION IS A SLIGHTLY CHANGING SEQUENCE OF REPEATING CYCLE OF CHORDS.

 See also post 280 about IMPROVISATIONAL SONGS THAT THEIR CHORD PROGRESSION IS A  REPEATING CYCLE OF CHORDS.

The most obvious slightly changing sequence of repataing cycke of chords is when the cycle of chords is a triangle.

E,g. From sad to joyful


3m->6m->2m  (repeated n-times) and then
5M7->6m->2m (repeated n-times) and then
5M7->1M->2m (Blues triangle repeated n-times) and then
5M7->1M->4M (repeated n-times)

Or

3m->6m->2m  (repeated n-times) and then
3m->6m->4M (repeated n-times) and then
3m->1M->4M (repeated n-times) and then
5M7->1M->4M (repeated n-times)

Or

3m->6m->2m  (repeated n-times) and then
3m->1M->2m (repeated n-times) and then
5M7->1M->2m (Blues repeated n-times) and then
5M7->1M->4M (repeated n-times)

Or

3m->6m->2m  (repeated n-times) and then
3m->1M->2m (repeated n-times) and then
3m->1M->4M ( repeated n-times) and then
5M7->1M->4M (repeated n-times)


Or

3m->6m->2m  (repeated n-times) and then
3m->6m->1M (repeated n-times) and then
3m->5M7->1M ( repeated n-times) and then
5M7->1M->4M (repeated n-times)

Or

2m->3m->6m  (repeated n-times) and then
5M7->3m->6m (repeated n-times) and then
5M7->1M->6m ( repeated n-times) and then
5M7->1M->4M (repeated n-times)

etc

Wednesday, December 18, 2019

286. HOW TO COMPOSE IMPROVISATIONAL INTRODUCTORY COUNTER-MELODIES TO A KNOWN SONG.

(This post has not been written completly yet)


The main idea is to apply the method below to a selected subset of chords of the chords of the song. Usually at thre "refren" or happier repeating part of  the song.

 IMPROVISATION METHOD BASED ON  A SET OF CHORDS AND MELODIC LINES BRIDGING THE HIGHEST NOTES OF EACH OF THEM. APPLICATION WITH STRUMMING WITH CUATRO, CAVAQUINHO, UKULELE , HARMONICA VIOLIN, WINDS ETC



The application idea is that when the chord is realized with a voicing on the highest 4 (or all 4) strings , we create melodic lines on the highest string bridging the highest notes of two succesive chords. Because of a inherent phenomenon of the human sound perception , when we are strumming and chaning the chords with in-between such melodic lines, the musical perception clearaly heres a melody, which is that of the highest notes. If it was not the highest notes the melodic lines would be more often lost in listening in the strumming.
Such chord-bridging melodic lines use a last small part of the previous chord duration and a small initial part of the new chord duration. During the rest ofthe time there is strumming of the chord or a achord arpeggio or variations of small melodic themes inside the chord by intervals of 3rd or 4th/5th. Thus melodic-harmonic variations. While when bridging two succesive chords there may be melodic themes variations by intervals of 2nd 3rd or 4th/5th (thus chromatic-melodic-harmonic).
This technique utilizes the simplicity of the information of the set of chord and translates it it to a simple information about the partition of the types of variations of simple melodic themes with the time placement and duration of the chords.
With this technique we may create simplicial counter-melodies parallel to melody.
It applies verty easily when utilizing a chromatic harmonica (see post 274), but also a violin (especially marked at a particular diatonic scale, so that we can identify chord-triad  shapes on it after a convenient tuning) and finally also on a diatonic wind.

285. HOW IS IT POSSIBLE WHEN LEARNING AND REMEMBERING MELODIES TO REDUCE THEIR INFORMATION TO AS LITTLE AS THE INFORMATION OF ITS CHORD PROGRESSION? THE ROLES OF SIMPLICIAL SUBMELODY AND SIMPLICIAL MELODIC THEMES ("DOLPHIN WORDS")

(This post has not been written completly yet)
See also post 70 and post 282

Dolphin words are beatifully composed with the arpeggiator

Dot Melody of https://www.olympianoiseco.com/

https://www.olympianoiseco.com/apps/dot-melody/


Most musical instruments players, memorize their musical pieces, by just playing them sufficient many times, and letting the subconscious memorize them.

There are neverthless short notes about a melody that helps to remember it (especially when the target is an improvisation over the melody) which are not more complicated than the  chord progression which underlies the melody.

Here are hints for it

1) Determine and take note of the root of at least one main diatonic scale from which the melody may deviate and the melody has  maximal number of notes in it among other diatonic scales  (there may be more than one!) . 
2) Determine and take  a note of the parts A B C etc and repetion (loop) pattern of them
3) Determine initial-final note of  each melodic theme in the parts as it varies , as well as lowest and highest note of it and take a note of it attached to  the part
4) Determine and take a note of the longest central notes that define the simplicial submelody that should not me more than the chords of the chord progression

After all the above 4) aspects of  partial information about the melody , listen to it sometimes to refresh the memory about it, and then improvise on  it without changing the information that you took notes. Chose the best version that you feel better , and play it as your own version of the melody.

When creating improvisational variations, or remembering melodies that we must improvise, we must start from the simple and proceed to the more complicated.

And the simple in a song is the chord progression. The corresponding simplicity in the melody is the simplicial sub-melody as defined  in various types of it (melodic harmonic , chromatic etc) in previous posts.
The next level of simplicity is of course the progression of simplicial melodic moves or melodic themes as defined in post 282, which is also called the "Dolphin words".

Once these levels of simplicity are defined and remain invariant,  the rest of the variation  is creating connecting and transient notes, between them (the notes of the simplicial sub-melody and the notes of the simplicial move-themes) which can be quite arbitrary, without spoiling the compatibility of the  melody with the chord progression and which will create an improvisational variation of the melody. 

An excellent example is the well known song Petite Fleur by Sidney Bechet in G major scale.
We will utilize only the simplicial submelody not the simplicial melodic moves in this song .

The chord progression (simplified) is the next

C->B7->Em->F#->B7
C->B7->G->Am->G->Am->Em->F#->B7
C->B7->Em->F#->Em->E7->Am->D7->G
C->B7->Em->F#->Em->E7->Am->D7->G

A less simplified chord progression would be the next

C->B7->Em->F#->B7
C->B7->(D7)->G->Am->(D7)->G->(B7->Em)->Am->(B7)->Em->(C)->F#->B7
C->B7->Em->F#->(B7)->Em->E7->Am->D7->G
C->B7->Em->F#->(B7)->Em->E7->Am->D7->G

And with the simplicial sub-melody notes in parenthesis (one note per chord of the simplified chord progression) it becomes


C(c)->B7(b)->Em(g)->F#(f#)->B7(b)
C(c)->B7(b)->G(d)->Am(c)->G(b)->Am(a)->Em(g)->F#(f#)->B7(f#)
C(c)->B7(b)->Em(g)->F#(f#)->Em(e)->E7(d)->Am(c)->D7(c)->G(b)
C(c)->B7(b)->Em(g)->F#(f#)->Em(e)->E7(d)->Am(c)->D7(c)->G(b)

Now any convenient linking notes between those of the simplicial sub-melody that we feel we like to play within the rhythm will create an improvisational variation of the melody.

Other examples are in Cretan mandinodies (kondilies) . In such cases because the chord progressions is very short of two only chords, the successful layer of simplicity that will remain invariant is the simplicial melodic moves.



A METHOD T O CREATE THEORETICALLY BUT ALSO PRACTICALLY SIMPLICIAL COUNTER-MELODIES:

 IMPROVISATION METHOD BASED ON  A SET OF CHORDS AND MELODIC LINES BRIDGING THE HIGHEST NOTES OF EACH OF THEM. APPLICATION WITH STRUMMING WITH CUATRO, CAVAQUINHO, UKULELE , HARMONICA VIOLIN, WINDS ETC



The application idea is that when the chord is realized with a voicing on the highest 4 (or all 4) strings , we create melodic lines on the highest string bridging the highest notes of two succesive chords. Because of a inherent phenomenon of the human sound perception , when we are strumming and chaning the chords with in-between such melodic lines, the musical perception clearaly heres a melody, which is that of the highest notes. If it was not the highest notes the melodic lines would be more often lost in listening in the strumming.
Such chord-bridging melodic lines use a last small part of the previous chord duration and a small initial part of the new chord duration. During the rest ofthe time there is strumming of the chord or a achord arpeggio or variations of small melodic themes inside the chord by intervals of 3rd or 4th/5th. Thus melodic-harmonic variaonions. While when bridging two succesive chords there may be melodic themes variations by intervals of 2nd 3rd or 4th/5th (thus chromatic-melodic-harmonic).
This technique utilizes the simplicity of the information of the set of chord and translates it it to a simple information about the partition of the types of variations of simple melodic themes with the time placement and duration of the chords.
With this technique we may create simplicial counter-melodies parallel to melody.
It applies verty easily when utilizing a chromatic harmonica (see post 274), but also a violin (especially marked at a particular diatonic scale, so that we can identify chord-triad  shapes on it after a convenient tuning) and finally also on a diatonic wind.

Tuesday, December 3, 2019

284. COMPOSING THE 3 SIMPLICIAL "DOLPHIN WORDS" (CYCLIC OR ASCENDING/DESCENDING MELODIC THEMES) WITH THE 3 BASIC TYPES OF CHORD TRANSITIONS: HARMONIC, MELODIC , CHROMATIC

(This post has not been written completely yet)

We may create such nice loops, of 2 or 3 or more chords and parallel melodic themes as "dolphin words"  with arpeggiator applications in ipad like chordion, dot melody, arpeggist , fugue machine, ioniarics polyrhitmic arpeggiator etc (see post  12 )
We must notice that many application create looping melodic themes that are any sequence of notes, which allows for the loop to be acctually a repeating sequence of smaller melodic thems M1 M2 M3 ...Mn  (or "dolphin words")  one for each chord  C1 ,C2 C3,...Cn of the cycle of chords.

1) As a first step we must compose the progression of cycles and vectors of the independent parts of the melody of the song (as Simplicial Dolphin Words) and their repetition pattern


2) Next we correspond the  range of the melodic cycles or vectors among the octaves numbered as in the piano (1st 2nd...6th 7nth etc)


3) As a 3rd step we  compose the harmony  by choosing the "scale" of chords that will make the chord progression.  This is the tools of harmony which are somehow independent from the tools of the melody.

4) As a 4th  step we compose the chord sub-progression that accompanies (harmonizes) the cycle (of simplicial melodic moves) and the chord sub-progression that accompanies (harmonizes) the vectors (of simplicial melodic moves).


Sunday, December 1, 2019

283. THE SIMPLICIAL SUB-MELODY AND THE SIMPLICIAL MELODIC MOVES AS A METHOD OF CREATING IMPROVISATIONAL VARIATIONS OF A MELODY

THE KEY-WORD HERE IN THE 4TH GENERATION DIGITAL MUSIC FOR THE MUSICAL-THEORETIC IDEAS OF THIS   POST (AS FAR AS MORDEN SOFTWARE FOR MUSIC MAKING IS ) IS MELODY-SEQUENCERS 

THE TERM  SEQUENCER MEANS HERE A LOOP OR RHYTHMIC CYCLE OF   A  MELODIC THEME THAT IS VARIATED INTERACTIVELY BY THE USER  IN A MELODIC SEQUENCER.

THERE MANY GOOD SOFTWARE PROGRAMS FOR THIS COMPOSITION AND IMPROVISATION LIKE FUGUE MACHINE, YAMAHA MOBILE SEQUENCER, THUMPJAM ETC. ALAO ARPIO  AND ARPEGGIONOME FOR GENERAL ARPEGGIOS ALTERNATED WITH MELODIC IMPROVISATIONS



When creating improvisational variations, we must start from the simple and proceed to the more complicated.

And the simple in a song is the chord progression. The corresponding simplicity in the melody is the simplicial sub-melody as defined  in various types of it (melodic harmonic , chromatic etc) in previous posts.
The next level of simplicity is of course the progression of simplicial melodic moves or melodic themes as defined in post 282, which is also called the "Dolphin words".

Once these levels of simplicity are defined and remain invariant,  the rest of the variation  is creating connecting and transient notes, between them (the notes of the simplicial sub-melody and the notes of the simplicial move-themes) which can be quite arbitrary, without spoiling the compatibility of the  melody with the chord progression and which will create an improvisational variation of the melody. 

An excellent example is the well known song Petite Fleur by Sidney Bechet in G major scale.
We will utilize only the simplicial submelody not the simplicial melodic moves in this song .

The chord progression (simplified) is the next

C->B7->Em->F#->B7
C->B7->G->Am->G->Am->Em->F#->B7
C->B7->Em->F#->Em->E7->Am->D7->G
C->B7->Em->F#->Em->E7->Am->D7->G

A less simplified chord progression would be the next

C->B7->Em->F#->B7
C->B7->(D7)->G->Am->(D7)->G->(B7->Em)->Am->(B7)->Em->(C)->F#->B7
C->B7->Em->F#->(B7)->Em->E7->Am->D7->G
C->B7->Em->F#->(B7)->Em->E7->Am->D7->G

And with the simplicial sub-melody notes in parenthesis (one note per chord of the simplified chord progression) it becomes


C(c)->B7(b)->Em(g)->F#(f#)->B7(b)
C(c)->B7(b)->G(d)->Am(c)->G(b)->Am(a)->Em(g)->F#(f#)->B7(f#)
C(c)->B7(b)->Em(g)->F#(f#)->Em(e)->E7(d)->Am(c)->D7(c)->G(b)
C(c)->B7(b)->Em(g)->F#(f#)->Em(e)->E7(d)->Am(c)->D7(c)->G(b)

Now any convenient linking notes between those of the simplicial sub-melody that we feel we like to play within the rhythm will create an improvisational variation of the melody.

Other examples are in Cretan mandinodies (kondilies) . In such cases because the chord progressions is very short of two only chords, the successful layer of simplicity that will remain invariant is the simplicial melodic moves.

 IMPROVISATION METHOD BASED ON  A SET OF CHORDS AND MELODIC LINES BRIDGING THE HIGHEST NOTES OF EACH OF THEM. APPLICATION WITH STRUMMING WITH CUATRO, CAVAQUINHO, UKULELE , HARMONICA VIOLIN, WINDS ETC



The application idea is that when the chord is realized with a voicing on the highest 4 (or all 4) strings , we create melodic lines on the highest string bridging the highest notes of two succesive chords. Because of a inherent phenomenon of the human sound perception , when we are strumming and chaning the chords with in-between such melodic lines, the musical perception clearaly heres a melody, which is that of the highest notes. If it was not the highest notes the melodic lines would be more often lost in listening in the strumming.
Such chord-bridging melodic lines use a last small part of the previous chord duration and a small initial part of the new chord duration. During the rest ofthe time there is strumming of the chord or a achord arpeggio or variations of small melodic themes inside the chord by intervals of 3rd or 4th/5th. Thus melodic-harmonic variaonions. While when bridging two succesive chords there may be melodic themes variations by intervals of 2nd 3rd or 4th/5th (thus chromatic-melodic-harmonic).
This technique utilizes the simplicity of the information of the set of chord and translates it it to a simple information about the partition of the types of variations of simple melodic themes with the time placement and duration of the chords.
With this technique we may create simplicial counter-melodies parallel to melody.
It applies verty easily when utilizing a chromatic harmonica (see post 274), but also a violin (especially marked at a particular diatonic scale, so that we can identify chord-triad  shapes on it after a convenient tuning) and finally also on a diatonic wind.