326. HOW THE BLUES HEXATONIC SCALE FITS WITH THE 12-BARS BLUES? CHROMATIC TONALITY IN IMPROVISATION IN 12-BARS BLUES.

According to the wikipedia (https://en.wikipedia.org/wiki/Blues_scale), a 6-notes version of the major country-blues  scale is e.g. the 

C, D, D♯/E♭, E, G, A, with interval structure 2-1-1-3-2-3. Or if we prefer a root at D, then  D-E-F-F#-A-B-D. While if we prefer the root A it will be A-B-C-Db-E-Gb-A . 

In general 6-7-1-2b-3-5b-6 We notice that we utilize the 2b and 5b blue notes of the diatonic scale only in place of the 2 and 5 and we omit the 4 note. 

On the other hand historically the Byzantine emptire was utilizing many 7-notes scales, not possible to include in the Bach equal tempered 12-notes chromatic scale. But 3 chromatic scales of them are possible more or less to include, Two of the chromatic such scales are the harmonic minor (e.g. from the A natural minor we derive the harmonic minor by giving a sharp at G, thus  A B C D E F G# A , with interval structure 2-1-2-2-1-3-1) and the double harmonic minor (an additional sharp to d  thus  A B C D# E F G# A ,  with interval structure 2-1-3-1-1-3-1). They  where used mainly in religious hymns in the Churchs. But the 3rd such chromatic scale was used mainly in the Emperors palace and other cosmic events and was called parachromatic (see e.g.  http://www.huygens-fokker.org/docs/modename.html    http://www.huygens-fokker.org/scala/ ). The Byzantine parachromatic scale is called also inverse Persian or  Purvi Theta scale. The part 2-1-1-3 is also known as samba pentachord in arabian culture, while the part 1-1-3 is known since ancient Greece time as the tonal tetrachord of the chromatic family. The interval structure of  the parachromatic Byzantine scale is 2-1-1-3-1-1-3 . Thus starting from D , it would be D, E, F, Gb ,A, Bb, B , D While if we prefer the root A it will be A-B-C-Db-E-F-Gb-A  or 6-7-1-2b-3-4-5b-6. We notice that we utilize the 2b and 5b blue notes of the diatonic scale only in place of the 2 and 5 .  We may observe that it is a 7-notes version of the Blues scale, and a tuning table for a harmonicas at the D4- major 6-notes Blues-country scale and a D4- parachromatic 7-notes scales are given below. (see also article https://simplerguitarlearning.blogspot.com/2019/06/235-parachromatic-byzantine-overtone.html )

On the oter hand the 12-bars blues is aparticular chord progression over the main major triad of hords ofthe diatonic scale 1-2-3-4-5-6-7-1 

1M, 4M, 5M.

We must remember that because these 3 chords cover all 7 notes ofthe diatonic scale any melody over them can be harmonized with these 3 chords.

But as in practice jazz music follows the rule that to accompany a piece of melody with achord it is sufficient at least 50% of the time that they sound notes of the chord it is obviousuthat we may have melodies with notes over the 5 blue notes or chromatic notes 2b, 3b, 5b, 6b, 7b as well provided tthat at least 50% ofthe time sound notes of the diatonic scale.

Therefore we may utilize the harmonic minor= 6-7-1-2-3-4-5#-6 , double harmonic minor= 6-7-1-2#-3-4-5#-6 , byzantine parachromatic=6-7-1-2-3b-4-5b-6, or blues hexatonic scale=6-7-1-2-3b-5b-6. Below is a video that goes even further allowing chromatic notes to sound 100% ofthe time during one of the chords 1M, 4M, 5M.

PIZZA BLUES METHOD (=CHROMATIC IMPROVISATION IN BLUES)

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


HARMONIZING ALL 5 BLUE NOTES OR CHROMATIC NOTES (2b  3b   5b   6b and 7b)  FROM THE 7 NOTES OF THE DIATONIC SCALE TO THE 12 NOTES OF THE FULL WESTERN MUSICAL (CHROMATIC) UNIVERSE

I BELIEVE THAT THE MAIN USE OF THIS CONCEPT IS IN JAZZ WHERE THE ROLE OF  THE DIATONIC SCALE (TONALITY) IS RATHER LOOSE,IN THE SENSE THAT IT IS REQUIRED AT LEAST 50% OF THE TIME THE NOTES OF THE MELODY AND CHORDS TO BE IN THOSE OF THE DIATONIC SCALE AND THE REST OF THE TIME IN THE 12-NOTES FULL CHROMATIC SCALE. THUS THE TYPES OFTHE CHORDS WITH ROOTS ON THE REST OF THE NOTES OF THE 12-NOTES CHROMATIC SCALE COMPARED TO THE 7-NOTES DIATONIC SCALE IS SO AS TO APPLY FOR THE REST OF THE MELODY AND ITS CHORDS. E.G. THE SOFTWARE MIDI-GUITAR ALLOWS WITH AN ARPEGGIATOR TO ACCOMPANY AUTOMATICALLY ANY MELODY WITH CHORDS OVER THE MELODY'S NOTES, THAT IN PRACTICE ARE CHORDS THAT  SOUND ONLY FOR THE CENTERS OF THE MELODY THAT ARE NOTES THAT SOUND LONGER. THERE ARE THOUGH OTHER USES OF THIS 12-NOTES SCHEME OF HARMONIC PERSONALITIES.

This concept also can be considered as chromatic wheels of chords or chord-scales as described in post 83. They can be considered either as 12-cycle of chords or only as 7-cycles of chords. Such 12-steps scales of chords can be considered also as scales of chords derived by perturbation a diatonic scale of chords (see also post )

It gives also a system to create chords that cover any scale ( but not necessarily belong to it too ) , including of course the diatonic scale modes.

But it is also a system to adopt and re-harmonize a song from its original chord progression to another that has the particular personality  (as we may change a song from a minor mode to a major mode and vice-versa) or asit it ususal in swing Jazz and Gypsy Jazz to re-harmonize songs.

HOW IT APPLIES TO SONGS

RE-HARMONIZATION TO AN PARTICULAR HARMONIC PERSONALITY 

1) The way that the table below can be used on an existing song with melody written say on a known particular diatonic scale and mode (at least in its musical score)   is the next.

2) Take the known chord progression of the song, and substitute, each chord of it with root R with the corresponding chord of root R  in the table below. 

3) The step 2)  applies to all possible roots R in the 12-notes chromatic scale, and in the 7 tone scale of the song too (covering the case of chords outside the 7-notes scale in the case of multiple modulations to different scales during the song).  We may consider the 12-notes redundant and use only the 7-notes. But if we would start from a song not written on single diatonic scale, but in many scales with modulations, and still inside the 12-notes scale, the step 2) can still apply. Notice that the this re-harmonization is not a 1-1 correspondence of chords , and two different chords with the same root at different times may result to the same chord of the 12-notes personality scale of chords.

 4) The result is that there is a change in the "personality" of the sound of harmony of the song. By changing the chord-type we may need to change some of the notes of the melody to fit in the new type chord as it was flitting to the old type of chord. This is in accordance to our philosophy which in general defines the harmony of a song not through a single scale but throughout chord progression (see post 49) 

For the definition of the chords see e.g. www.all-guitar-chords.com, or the internet.

M symbolizes  major, m symbolizes  minor, dim=diminshed, aug=augmented.

For example C63=CEA, C65=CGA, C42=CDFG, C43=CEFG, C7#9=CEGBbD#, Cm7b5=CEbGbBb, Cm11=CEbGBbDF, Cdim9=CD#F#A#D, C9#11=DF#CEBb , Cm67=CEbGAB

C2=CDEG,

One particular more familiar way to utilize this table for a song already written in one of the scales major, minor, harmonic minor, or the modes Mixolydian, Phrygian, Dorian ,  so as to give it the corresponding jazz personality, is to alter a major or minor chord of the song and at any root, with the attributes below (dim, ,7, 63, 65, 9, 11, 7#9 etc) and making it thus sound with a different personality. This concept is based on tonality but it is actually beyond one only scale and tonality, it is different than the substitutes the concept of modulation, it is re-harmonization and is based rather on the concept of covering sets of chords of all possible steps of any melody. 

The set of chords of a personality, is indeed based on tonality, but only at the level of the chords. Not at the level ofthe melody. The melody need not be within a diatonic scale. The fact that personality chords are defined even for steps outside a diatonic scale makes it clear.

COMPOSITION   IN A PARTICULAR  HARMONIC PERSONALITY 

Another way to utilize it, is to compose songs regardless of scale, but utilizing the chords of a particular personality , and as the chords of a personality have roots all the 12 notes, one has all possible roots for chords of the song  over a melody with all possible notes. This concept resembles  tonality but it is actually beyond one only scale and tonality.  It substitutes the concept of modulation and is based rather on the concept of covering sets of chords of all possible steps of any melody, creating so composite chord-melodies (see also post 11).

ALTERNATIVELY, the table below can be used as a guide of the kind of chord we would choose in the maximal correspondence of each note of a melody with a chord with the root on it before we simplify the chord progression to one with fewer chords.

Still, ALTERNATIVELY we may use the corresponding chord types as in the table when the underlying note of the simplicial sub-melody (see post 65 ) is the one in the corresponding position in the full 12-notes scale.

Steps of the chromatic scale/Harmonic Personality

1

1#

2

2#

3

4

4#

5

5#

6

6#

7

Righteous(Major)

M(ajor)

Dim7

m(inor)

Dim7

m

M

Dim7

7

Dim7

m

4,2

Dim7

Honest (major)

M

Dim7

m

Dim7

m

M

Dim7

7

Dim7

m

M

dim

Hopeful (Mixolydian)

M

M

m

M

dim

M

m

m

M

m

M

dim

Serious (Phrygian)

m

M

6,3

M

6,3

m

6,3

dim

M

6,5

m

6,5

Upbeat(Mixolydian)

M

M

m

M

m

M

M

M

M

m

M

dim

Searching(Dorian)

m

M

m

M

dim

M

dim

m

M

dim

M

dim

Lonely (major)

7

Dim7

m7

Dim7

7

7

Dim7

7

7

7

7

7

Funky(Mixolydan)

7#9

7

m7

9

m7

9

7

7

7

m7

6,3

7

Sad(minor)

m7

M

6,3

M7

6,3

m7

6,3

m7

M7

6,5

M

6,5

Romantic(major)

M

6,3

m7

6,3

m7

M7

6,3

9s

6,3

m7

M

m7b5

Boogie(major)

7

Dim7

7

Dim7

7

7

Dim7

7

Dim7

7

7

7

Noble(major)

M

6,3

m

6,3

6,3

M

6,3

M

4,3

6,3

4,2

6,3

Bittersweet(Harmonic minor)

m

6,5

m7b5

M

Dim7

m

Dim7

7

M

m7b5

M

dim7

Adventurous(H-minor)

m

M

6,3

M

6,3

m

6,3

m

M

6,5

M

6,5

Striving(minor)

M7

M

6,3

M7

6,3

m7

6,3

m7

M7

6,5

M

6,5

Sophisticated(major)

6,9

Dim7

m11

Dim9

m7

M9#11

Dim7

13

Dim7

m11

9#11

Dim9

Miserable(mixolydian)

13

Dim7

m11

Dim9

m11

13

Dim7

13

Dim7

m11

9#11

Dim9

Complex(major)

2

6,3

m11

Dim7

m6,7

2M7

6,3

9s

2M7

6,3

2

6,3

An alternative way of course would be to correspond personalities only to the 7 modes, and then besides the 3-notes chords with roots one every note of the 7-tone mode, add all the other notes to make 12-notes of the chormatic scale, and extend, the triads to 4-notes chords making sure the added note (that would be of the melody) is always the highest. In this way 5 mores composite chords (for chord-melodies) are added to the mode which is now the chromatic 12-tone scale.

Still an alternative and simple way is  to consider the above table only at the 7 steps of a diatonic scale, and use it to adopt the chord progressions of single diatonic scale harmony songs , to a  new one  (the roots of the chords are kept the same) but the harmony of the song changes and possible and some of the notes of its melody.

Such personalities therefore is a generalization of the 7 modes of the diatonic scale , to any scale of any number of notes and in a different way..

We may compare the above method of personalities with the Personalities of the modes of the   as it was traditional to define in older music but which cannot be played anymore in the 12-equal semitones of Bach. .

325. MELODIC IMPROVISATION WITH TETRACHORDS DEFINED EACH ONE BY ONE CHORD

A tetra-chord (ana ncient greek word meaning 4-strings) is simple a 4-notes scale.

A tetrachord defined by a major or minor chord is simply 4 notes that include the 3 notes of a minor or major chord and also a 4th one (thus an 4 notes extension of the chord with 2nd or 4th).

The next are the 9 4-chords defined by major or minor chords


Diatonic gendre (part also ofthe stanrd pentatonic scale)
major: (2-2)-3  (major with 2nd)
minor: 3-(2-2) , (minor with 4th)
Enharmonic gendre
major 4-(1-2) , (major with 4th)
major 4-(2-1) , (major with 4th)
minor (2-1)-4 ,(minor with 2nd)
minor (1-2)-4 ,(minor with 2nd)
Chromatic gendre
major/minor  (3-1)-3 , (major with 2nd or minor with 4th)
major (1-3)-3 , (major with 2nd)
minor 3-(3-1) , (minor with 4th)


When we improvise we just  put consecutivlly a repetitive combination of  the previous 10 patterns
 in which ever combination and permutation our feelings indicate.
If we are are set to be inside a single diatonic scale, then we just take care to spend more time in the even or odd order of notes and less in the intermediate and imediatly the melody has a nice underlying structure of chords. We may switch this long/short order from even to odd order of notes and vice versa as the feelings require.
Each 4-chord  can be played with our 4 fingers of the left hand.

Such an improvisation defines  also the chord progression that accompanies it. And as the chords have the 3 basic relations of Chromatic, Melodic , Harmonic, so also these tetrachords cab be  in the chromatic , melodic, harmonic relation 
If we utilize two or three consecutive in time such tetrachords we may define melodic themes that are accompanied with 2 or 3 chords as in post 313 E.g. for 2-hords such melodic  themes the net notes will be at most 8.

324 IMPROVISATION ON FRETLESS STRINGS WITH THE 3 GENDRES OF ANCIENT GREEK TETRACHORDS

To make this improvisation one needs a fretless strings isntrument like a ud, cello, viola, violin etc
The one must kow the 3 basic ancient greek music 4-chords

1) The diatonic gendre 4-chord which is in semitone intervals the pattern 2-2-1 (and all  permutaions of it)
It is suposed to reflect balanced feelingsof joy or sorrow

2) The enharmonic  gendre 4-chord which is in semitone intervals the pattern 4-1/2-1/2 (and all  permutaions of it)
It is suposed to reflect feelings of joy. The 1/2 semitone in the cello fingerboard is about one mail finger width

3) The chromatic  gendre 4-chord which is in semitone intervals the pattern 1-3-1 (and all  permutaions of it)
It is suposed to reflect feelings of sorrow.

When we improvise we just  put consecutivlly a repetitive combination  of  the previous 3 patterns
(2-2-1), (1-3-1), (4-1/2-1/2) in which ever combination and permutation our feelings indicate.
Each 4-chord  can be played with our 4 fingers of the left hand.

Of course we may improvise as well with chord-terrachords, in other words 4 notes having totla sum in intervals a pure 5th (7 semitones) and including 3 notes of minor , major  chord. See post 325

E.g. the next 10 4-chords:
major: 2-2-3
minor: 3-2-2 ,
major 4-1-2 ,
major 4-2-1 ,
minor 3-3-1 ,
 minor 3-1-3
major 3-1-3 ,
major 1-3-3 ,
minor 2-1-4 ,
minor 1-2-4 

323. THE BEST WAY TO LEARN THE FRETBOARD OF ANY OPEN (OVERTONES) TUNING.

See alo post 13 for learning the fretboard ofthe guitar

When having many string instruments it is more wise to have different tunings too. Especially if we utilize a digital (midi controller) fretbaord that supports practically any tuning, it is a need to have a unified and efficient way to learn fast the fretboards of any tuning and in particular open (overtone) tunings that sound better and have an umderlying unity in their pattern.

THE BEST WAY TO LEARN THE FRETBOARD IN ANY OPEN TUNING (E.G, OVERTONES TUNINGS OR E.G. THE  TUNING IN THE POST   ) IS BY CONCEIVING THE FRETBOARD AS OF A DIATONIC INSTRUMENT, MARK THE DEFAULT PREFERED DIATONIC SCALE ON THE FRETBOARD, AND LEARN THE 3-NOTE CHORDS NORMAL FORMS (ON 3 CONSECUTIVE STRINGS) IN THIS SCALE AND TUNING.

THEN FIGURE OUT THE BASIC 3 INVERSIONS OF A TRIAD CHORD (EQUIVALENT TO THE DEA-SYSTEM) AND CORRESPOND TO EACH INVERSION D, OR E OR A,  THE MODE OF THE DIATONIC SCALE THAT IT GIVES. 

THEN LEARN THE MINOR CHORDS HARMONIC TRIPLET OF CHORDS AND MAJOR CHORDS HARMONIC TRIPLET OF CHORDS OF THE DIATONIC SCALE WITH ANY CONVENIENT INVERSION ON THE FREBOARD.

I use this method to play all over the fretboard on the next tunings. Because an open tuning is a chord, all the tuning below have almost isomorphic placements of harmonic triads of minor or major chords of the diatonic scale with their 3 inversions around each normal form triad chord of the diatonic scale on the fretboard. We will enlarge with diagrams on it.

I have usually the next tuning on my string instruments

1) Standard guitar tuning and ukulele (Venezolano cuatro) tuning 4-3M-4

2) Cavaco (Brazilian  cuatro)  tuning 4-3M-3m

3) 1st overtones tuning 5-4-3M-3m-4 (as in post 191 and 301) for 6 strings, or less

4) Troll or Black mountain or Calico open tuning 5-4-3M on 4 (courses) strings instruments (see post 301)

5) Inverted  ukulele tuning   5-6m-5 on 4 (courses) strings instruments as in post 308

6) 5th overtones open tuning 4-3M-3m-4-5 as in post 301, for 6 strings or less
For less than 6 strings we keep the higher part of the tuning so as to have the interval of 5th at the two highest notes E.g. for 4 strings it would be 3m-4-5

7) 6th overtones tuning 5-4-3M-4-5 as in post 301, for 6 strings or less. It is a balanced tuning  as far as major-minor triads is concerned and it has also the very interesting inverse  4-5-6m-5-4 . 

8) The alternating minor-major 3rds of harmonic guitra tuning 3m-3M-3m as in post 164 for 6 strings or less and in particularthe panduri tuning 3M-3m for 3-course string instruments 

We enlrage more on this.

322. THE BASIC CHROMATIC TRIPLET OF CHORDS OF ANY MODE OF THE DIATONIC SCALE

We cannot stress much the importance of triads of chords (but also of notes intervals and scales) in improvisation.

A good application is to realize that as a diatonic scale is characterized as chords on the wheel by 4ths by its 3 chords on the steps 1M, 4M , 5M  (harmonic triplet of chords) ,  OR 7d 1M 2m (chromatic tripler of chords) the same can apply for the modes of the diatonic scale.

Besides the basic harmonic triplets (in other words a sequence of 3 chords X1,X2,X3 so that X1-X2 , X2-X3 are harmonic relations od chords, in other words chords that their roots differ by an interval of 4th (5th)) , there are also the chromatic triplets (in other words a sequence of 3 chords X1,X2,X3 so that X1-X2 , X2-X3 are chromatic relations od chords, in other words chords that their roots differ by an interval of 2nd). BOTH  ARE BASIC TYPES OF TRIPLETS. In other words with the 3 CHORDS OF THE TRIPLET WE CAN ACCOMPANY ANY MELODY IN THE DIATONIC SCALE. WE CANNOT HAVE THIS PROPERTY OF BEING HARMONICALLY A BASE OF 3 CHORDS FOR MELODIC TRIPLETs (in other words a sequence of 3 chords X1,X2,X3 so that X1-X2 , X2-X3 are melodic relations of chords, in other words chords that their roots differ by an interval of 3rd) 

The chords of a mode of a diatonic scale at the steps 1,4,5 (or 7,1, 2) of it characterize its mood.

For example for the mixolydian mode of the diatonic scale from C ,(G, A, B , C, D, E, F, G) the chords at the steps 1,4 ,5 are the G, C, Dm) thus the 1, 2, 5 or I, ii, V of the original ionian and are the base of blues jazz.


Based on this perception, the 7 modes of the diatonic scale have the following chord triads:

(that is chords on their 1st 4th and 5th step, and we symbolize by m=minor M=major d=diminsihed.

1. IONIAN  :  CHROMATIC TRIPLET (7d, 1M, 2m)
2. DORIAN  :  CHROMATIC TRIPLET (1M, 2m, 3m )
3. PHRYGIAN : CHROMATIC TRIPLET(2m,3m, 4M)
4. LYDIAN:  CHROMATIC TRIPLET(3m, 4M, 5M)
5. MIXOLYDIAN: CHROMATIC TRIPLET (4M, 5M, 6m)
6. AEOLIAN:  CHROMATIC TRIPLET (5M, 6m, 7d)
7. LOCRIAN:  CHROMATIC TRIPLET (6m, 7d, 1M)

We may compare the basic chromatic triplets with the basic harmonic triplets (see also post 222)

1. IONIAN  :  HARMONIC TRIPLET (1M, 4M, 5M)
2. DORIAN  : HARMONIC TRIPLET (2m, 5M, 6m)
3. PHRYGIAN : HARMONIC TRIPLET (3m, 6m, 7d)
4. LYDIAN: HARMONIC TRIPLET  (4M, 7d,1M)
5. MIXOLYDIAN: HARMONIC TRIPLET  (5M, 1M,2m)
6. AEOLIAN: HARMONIC TRIPLET (6m, 2m, 3m)
7. LOCRIAN: HARMONIC TRIPLET  (7d, 3m, 4M)


Besides these 2 types of basic triplets we have also a 3rd type X1 X2 X3 , where X1-X2 is a chromatic relation and the X2-X3 is an harmonic relation or vice versa. We may call them the mixed
basic chromatic-harmonic triplets. E.g.  the basic triplet that is used sometimes in blues 1M 2m, 5M , is such as 1M-2m have chromatic relation while 1M-5M harmonic relation.

To convert a basic harmonic triplet to another chromatic or mixed basi triplet we utilize correspondences where we correspond each of the 3 main major chords of the diatonic scale with their lower minor relative and the 5M7 with the 7d. Therefore

2m<->4M
3m<->5M
6m<->1M
7d<-> 5M7

The same arguments may apply for the chromatic tonality where some of the mnor chords become major and some of the major chords minor. E.g. We have the harmonic triplet (3M7, 6m ,2m ) of the frygian mode and the harmonic triplet (7M7-3M7-6m) of the Locrian mode which are combined with the more standard harmonic triplets of the diatonic tonality of the dorian mode (2m-5M7-1M) or the myxolydian mode (5M7-1M7-4M) .

For  alternative basic chromatic triplets of the chromatic tonality (that corresponds to the harmonic minor and double harmonic minor) we have the triplets (we notice that thsi type of chromatic tonality gives for the basic chromatic triplets, cases of 2 major chords and one minor, thus the major chords are dominating!)


IONIAN MODE: 7M-1M-2m
DORIAN MODE: 1M-2m-3M
FRYGIAN MODE: 2m-3M7-4M
LYDIAN MODE: 3M-4M-5M
AEOLIAN MODE: 5M-6m-7M
LOCRIAN MODE: 6m-7M-1M

321. THE TECHNIQUE OF GHOST CHORDS IN CREATING MELODIC LINES ACCOMPANIED BY A CHORD AND THE NOTES OF A SECOND OR 3RD GHOST CHORD AT AN INTERVAL OF 2ND , 3RD OR 4TH CLOSE TO IT

THE TECHNIQUE OF GHOST CHORD IN CREATING MELODIC LINES ACCOMPANIED  BY A CHORD BY UTILIZING THE NOTES OF THAT CHORD AND THE NOTES OF A SECOND GHOST CHORD AT AN INTERVAL OF 2ND OR 3RD OR 4TH CLOSE TO IT (CHROMATICALLY OR MELODICALLY  OR HARMONICALLY RELATED  CHORD)

We have discussed in other posts (see e.g. post 92 ,103 ,104, 183 and 364) the concept of chromatic or diatonic closure of a 3-notes chord  or vector chord and how we can create melodic lines accompanyed by this chord with notes also from the other notes of the closure oft he chord.

Here we modify a little this technique and instead of utlizing the closure of a chord (e.g. instead of utilizing the [CM]=c-d-e-f-g, which is the closure of the chord CM=c-e-g in the C major diatonic scale) we utilize  the neigbor chord  Dm=d-f-a or Bdim =b-d-f.  We may call it ghost-chord. But very often this  chord is the next or the previous in the chord-progression of the song. We may also use 2 ghost chords the first a 2nd away and the second a 3rd away in t he same direction. In this way at each note ofthe initial chord is shapeb a threechord (3notes subscale). 

It may even better be a relative chord (roots a third apart) in other words in a melodic relation to the basic chord, or a chord that the root is a 4th or 5th away, in other words in harmonic relation with the original.  Obviously if the ghost chord is in melodic relation with the original, we utilize melodic themes inside three-chords over the notes ofthe original chord. If the ghost chord is in harmonic relation with the original, we utilize melodic themes inside tetrachords over the notes of the original chord. It is instructive of course to notice which tetrachords appear between the current chord and the ghost chord (see post 364).

The most obvioys choice of the ghost chord is  the previous or next chord from the current in the chord progression. and the 2nd ghost chord thr relative chord a 3rd away in the same direction. 

Each order of notes in normal position of  the two chords (1st, 2ns, 3rd etc) define corresponding intervals (di-chords) , three-chords and tetrachords , where the melodic  themes take place. (See also  post 364). 

It is quite obvious that when the ghost chord has a melodic relation (roots at a distance of interval of 3rd) the melodic themes are easier harmonized with the current chord because the 2 of the three notes ofthe three-chord are most often already inside the current chord.

In order to have that the final melodic theme will be still harmonizable by the initial chord (in the example the C major) it is required a timing and rhythm that gives at least 50% of the time of the melodic line to be of the notes of  the initial chord.

This technique sounds even better if in the chord progression of the song, the previous or the next chord of the Cmajor is the  Dm or the Bdim. But this is not necessary in general.

It is obvious that this technique can be used when we want the melodic line to be accompanied by 2 or 3 chords as in post 313 , we just apply it for each part of it that it is accomapnied by one of t he 2 or 3 chords.

We should remark that for hexatonic-scales harmonicas, that the blow row gives one chord and the draw raw another chord thiw techniques occurs naturally as we improvise in the harmonica, but we stay longer in the blow row or longer in the draw row.

We may create such nice loops, of 2  chords and parallel melodic themes with arpeggiator application in ipad like chordion, dot melody, arpeggist , fugue machine, ioniarics polyrhitmic arpeggiator etc (see post  12 )