357. HOW TO CREATE A DOUZEN AND A WHOLE BUNDLE OF ALTERNATIVE SIMPLICIAL SUB-MELODIES OVER A CHORD PROGRESSION SO AS TO CREATE A MULTITUDE OF IMPROVISATION VARIATIONAL FULL MELODIES

 As we have mentioned earlier in many other posts,when starting from a chord progression so as to improvise melodically, one good starting point is to create at first a simple melody as simple as the chord progression e.g. one note per chord which we have called simplicial submelody (like a one note per chord bass line). 

E.G.  Let us start with achord progression inspired from the laton  jazz melody blue bossa in G major

Em       Am

D7       G

C         Am

B7        Em

Then we add one note per chord (mainly  the middle 3rd whcich discriminates majors from minor) and so we get the (we simboloze the notes of the G major by the numbers 1,2,3,4,5,6,7) 

1             4

Em       Am

7            3

D7       G

6            2

C         Am

5#          6

B7        Em

Till now we have not bridged the gap between the complexity of an improvisational melody and a chord progression (or complexity of the simplicial submelody).

But since for a chord of 3 notes we also have 3 possible notes for the simplicial submelody  corresponding to being  the 1st 2nd or 3rd, or 1st voice 2nd voice and 3rd voice, we may as well create many more simplicial sub-melodies that are x1% 1st voice x2% 2nd voice and x3% 3rd voice (x1%+x2%+x3%=100%) to the original simplicial submelody  . 

Now we do have the bridge between the complexity of one chord progression and the complexity of the improvisation melody. For each variation of the simplicial submelody (we may create easily a bundle and a dozen  of then for each  triad x1%+x2%+x3%=100% ) we ceate an alternative improvisation melody which is simply an embelishment of the corresponding simplicial submelody with waving of 2nds (or 3rds or 4ths and 5ths) and embelishment which is usually adding notes between two notes of the simplicial submelody as "bridge" or "bass-line" connectingthe two succesive underlying chords of the chord progression.

More advanced considereations include perceiving small melodic themes for any pair of succesive chords, and then variations of them by translations, inversions and dilations. 

356. IMPROVISATIONS OVER A FAST ROTATION OF TRIADS OF CHORDS (1M,4M,5M7 OR 3M7, 6m , 2m) IN A DIATONIC SCALE IS ALMOST EQUIVALENT TO SINGLE ROOT CHORD IMPROVISATION.

 Examples 

https://www.youtube.com/watch?v=7YtoffeiZKs&ab_channel=OrlandoMaracaValle

A fast rotating triad can be at 240 beats per minute

(harmonic minor better sweet mambo dance)

6m (2 beats)  2m (1 beat) 3M7 (1 beat)

Ot 

(Clearly happy) 

1M  (2 beats)  4M  (1 beat) 5M7 (1 beat)

355. CHROMATIC TONALITY BASED ON TWO DIATONIC SCALES IN MELODIC RELATION

354. CHROMATIC TONALITY BASED ON TWO DIATONIC SCALES IN CHROMATIC RELATION

353. THE 8-NOTES SCALE OF NATURAL OVERTONES AT THE 4TH OCTAVE : IN SEMITONES 2-2-2-1-1-2-1-1 OR 2-2-1-2-1-2-1-1 AND ITS CHROMATIC TONALITY

 

THIS SCALE IN THE MODE  1 2 2 2 1 1 2 1

.

IS ALSO KNOWN AS THE 8-NOTES Neapolitan Major and Minor mixed

IT OCCURS AS THE 8 OVERTONES 8th-9th-10th-11th-12th-13th-14th-15th-16th AT THE 4TH OCTAVES OF OVERTONES ON ALL BRASS WIND INSTRUMENTS. IT IS  ESPECIALLY MUCH OF USE IN THE BAROQUE NATURAL HORNS AND BAROQUE NATURAL TRUMPET AS WELL AS IN THE BAROQUE AND MODERN FRENCH HORN.

E.g. if the root of the scale is C the harmonics from 8 to 16  are   the notes 

c-d-e-f#-g-g#-a#-b-c

See also https://en.wikipedia.org/wiki/Harmonic_series_(music)

As far as harmony and chords is concerned this 8-notes scale adds to the standard  7-notes diatonic scale  c-d-e-f-g-a-b-c the next major or minor chords

1) e-g#-b = E= 3M

2) d-f#-a=D=2M

3) g-a#-d=Gm=5m 

This harmony but also the blue notes of this 8-notes scale (f#, g#, a#) can be also obtained by

superimposing to th C diatonic scale the two neigboring scales in the wheel by 4ths and the harmonic minor , in other words for the C diatonic it would be the  F diatonic (will give a#) and G diatonic (will give  f#) and the A harmonic minor (will give the g#).

AS ALTERNATIVE ROUNDING

We may round the 8-notes chromatic overtones scale at the 4th octave of the overtones to the notes (in C major root)

c-d-e-f-g-g#-a#-b-c

 2-2-1-2-1-2-1-1

Which is known alaso as inverse Zirafkend: Arabic, Melodic Minor Bebop

Or

Inverse Shostakovich

Or 

JG Octatonic

(See post 227) 

As far as harmony and chords is concerned this 8-notes scale adds to the standard  7-notes diatonic scale  c-d-e-f-g-a-b-c the next major or minor chords

1) e-g#-b = E= 3M

2) g-a#-d=Gm=5m 

352. THE 2-DIMENSIONAL SEQUENTIAL-CONTINUOUS OVERTONES+SLIDING IMPROVISATION MODE FOR TROMBONES

THE 2-DIMENSIONAL SEQUENTIAL-CONTINUOUS OVERTONES+SLIDING IMPROVISATION  MODE FOR TROMBONES

 In this improvisation mode, we shift from center-note to center-note in the improvisation not directly by a jump but sequentially through vertical shift-Jump (slur)  in the overtones and correction by sliding  the slide. 

As we have mentioned elesewhere it is  sufficient that at least 50% of the time the notes fits with the underlying chords for the result to be acceptable in listening. Thus the 49% of the time we may shift by overtones and sliding till we find a new center-note where we stay for much longer time. 

It may be a non-thinking experimental method without realizing which notes we play.

We may start the shift for the desired direction either vertically by overtones jumps or horizontally by sliding the slide. 

The difference e.g. with an harp or piano or panflute is  that in such improvisation we have only one dimension both geometrically and as pitch while with a trombone we have two dimensions one local geometric with the slide and one with the embouchure by overtones (partials).

351. 3*3=9 SIMPLEST TYPES OF SHAPES OF DYNAMICS OF MELODIC THEMES

 

(This post has not been written completely yet)

As with t he static harmony we have initially 3 types of chords (power chord, major chord minor chord) so with the simplest dynamics of melodic themes we have 3 initial shapes, that are inflated to 3*3=9 basic shapes of dynamics (or called in other posts (Dolphin words) of melodic themes.

We enlarge more on this below.

HERE THE BASIC 9 SHAPES OF THE DYNAMICS OF SIMPLE MELODIC THEMES

1) SIMPLE  HORIZONTAL MOVE

2) SIMPLE UP MOVE

3) SIMPLE DOWN MOVE 

4) DOWN CYCLIC MOVE

5) UP  CYCLIC MOVE

6) DOWN DOWN MOVE

7) UP(DOWN) MOVE

8) UP-UP MOVE

9) DOWN (UP) MOVE

TO THESE BASIC 9 SHAPES WE MAY ASSIGN A NUMBER LIKE 3 ,4 5 ETC WHICH SIGNIFIES WITH HOW MANY NOTES ARE REALIZED.'

THE EXACT SIZE OF THE INTERVALS WITH WHICH SUCH SHAPES ARE REALIZED DEPEND ON THE UNDERLYING CHORDS.

GIVEN THE UNDERLYING CHORDS AND THE NUMBER 3,4,5 ETC OF NOTES WITH WHICH SUCH SHAPES ARE TO BE REALIZED WITH SOME BEATS DETERMINES ALMOST  COMPLETELY THE MUSICAL THEMES.