359. THE TROMBONE FOR EASTERN RAPSODY CONTINUOUS SIMPLICIAL COUNTERMELODIES BASED ON TETRACHORDS (E.G. FOR SIMPLICIAL COUNTER--MELODIES FOR SAITHIES, DAKTYLIES OF CRETE)

 At first we utlize the mode of playing  the trombone as the post 352 that we remind below.

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 horizontal dimension of the change of the pitch by the slide (6 semitones) corresponds to the ancient structure of scales of the music by tetrachords (5 semitones). The first octave of the trombone is a natural union of tetrachords joined by a whole tone (divorced tetrachords as was the ancient term)

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).

HOW TO MAKE BEAUTIFULL SIMPLICIAL COUNTERMELODIES WITH AN EASY IMPROVISATIONAL WAY WITH THE TROMBONE OR A STRING INSTRUMENT WITH OVERTONE TUNING.

 We remind the reader that a simplicial countermelody is a counterpoint parallel melody (that  by parts 2,3,or 1st voice)  with much fewer notes that the original melody , about one or twonotes per underlying chord. If it willbe at the lowest octaves it would be simpli called a bass line .

The current suggested method is based one two factors 

1) W may easily jump with the intsrument  a melodic (3rds)  or harmonic (4ths or 5ths) interval at any time. This is so e.g, with a trombone that we shift with the embouchure among the overtones,  and as usually we are either in the harmonic intervals 2nd ovtave of the overtones, or the 2nd melodic intervalsovtace of overtones. If we are in a string intrsument tuned by a set of succesive overtones e.g. troll tuning then again by shifting to the neighboring string we have the same easy effect.

2) We may easily make small chromatic intervals (of 2nds) moves. With the trombone thsi is done with the slide for a range of a 4th , 5th or half octave. For a string intrsument tuned by a set of succesive overtones this is done again easily by shifting longitudinally onthe same string.

The improvisational method of creating such beautufull simplicial counter melodies is as follows.

Modt often a melody with many notes has the majority of its intervals as chromatic interavls of 2nds and maybe some melodic (3rds) or harmonic (4ths, 5ths) intervals. But the simplicial countermelody can be more beautiful by havin the minority of the intervals as chromatic and the resy as melodic and harmonic in a way that there is strict sepration. 

1) The way to do is is that when the melody is moving we saty as much as possible on thesame note on the string onthe string instriment or on the same overtone across slide range in the trombone  ,and if necessary we make a small shift by in interval of semitone or tone (2nds, chromatic intervals) .

2) If this is not possible so we have an harmonically fitting countermelody or when we fell that we want to shift up or down we shift at the trombone by one or two  overones up or doen and we adjust the slide to have a note that fits. Similaly with the string instrument we shift by one or two strings and we adjust across the string to find a closest note that fits.

GIVEN A MINIMUM  LEAST NUMBER OF NOTES, AND STARTING FROM A  NOTE FIND THE MINIMUM TOTAL LENGHT (IN SEMITONES) PATH OF NOTES THAT CONTAINS THEM AND THAT FITS THE HARMONY. 

Of course the way to find  such solutions of simplicial counter melodies, is e.g. by starting with a note and staying there as long as the harmony is fitting. When the harmony deviates (will deviate in general, that is why we need to know in advance the harmony of the song) for a long time, we chose to shift either up or down, which ever melodically feels better, and we slide till the first note that we find that it fits (will fit for long) the harmony. We stay there and repeat the procedure. 

Obviously the result of it is a simplicial countermelody that separates the chromatic with the melodic and harmonic intervals, which is chromato-harmonic effect. 

THE TROMBONE FOR EASTERN RAPSODY CONTINUOUS SIMPLICIAL COUNTERMELODIES BASED ON TETRACHORDS  (E.G. FOR SIMPLICIAL  COUNTER--MELODIES FOR SAITHIES, DAKTYLIES OF CRETE)

The eastern songs inherited by anciet times rapsodies ar accompanied with a single power5 chord of the type 1-5-1 and with melodies inside a 4-notes scale the tetrachord as in posts 201, 203.   Such melodies when we sing them  have many embelishments of a fraction of the semitone around a note. So it is hard for the male voice to sing them. But with a trombone and its slide we can do  very good job!

The technique of Tommy Dorsey for the trombone is  best for such contunous and smooth simplicial submelodies. E.g. here are examples of the smooth technique of Tommy Dorsey

https://www.youtube.com/watch?v=qxjUsHra1tk&ab_channel=ElshayYehezkel

https://www.youtube.com/watch?v=Qmb_ae35QWU&t=2589s&ab_channel=HALIDONMUSIC

Although there is  no trombone in the next song it has such a type of eastern melody so we can listen why a trombone there with a simplicial countermelody of fewer notes and at a lower octave than the voice  would fit very well like a continuous bassline. 

https://www.youtube.com/watch?v=762B3kiJroY&ab_channel=KarolosKouklakis

ΚΑΣΤΡΙΝΟ ΜΟΥ ΦΟΥΛΙ (=αραβικο γιασεμι) (η ΧΑΝΙΩΤΙΚΟ ΜΟΥ ΓΙΑΣΕΜΙ Οταν τραγουδιεται στα Χανια αντι στο Ηρακλειο) ΕΝΑ ΟΜΟΡΦΟ ΤΡΑΓΟΥΔΙ ΑΠΟ ΤΑ ΑΥΤΟΣΧΕΔΙΑΣΤΙΚΑ ΤΩΝ ΡΑΨΩΔΙΩΝ Με την Ειρηνη Δερεμπεη στο θιαμπολι και τον Καρολο Κουκλακι στο μπουγλαρι https://www.youtube.com/watch?v=762B3kiJroY&ab_channel=KarolosKouklakis ΡΑΨΩΔΙΕΣ ΣΕ ΕΝΑ (ΔΙΑΤΟΝΙΚΟΥ ΓΕΝΟΥΣ ΣΥΝΤΟΝΟ) ΤΕΤΡΑΧΟΡΔΟ ΜΟΝΟ ΜΕ ΣΥΝΟΔΕΙΑ σταθερη ΤΟ POWER-5 CHORD στην ριζα του τετραχορδου . Η σε 7-τονικη κλιμακα, ειναι το τετραχορδο σε ημιτονια και ανιουσα 1-2-2 που ξεκινα απο την 3 νοτα (Φρυγιος τροπος) με συνωδεια σταθερη ενα power-5 chord το 3-7-3'. Το πολυ ενδιαφερον με αυτα τα τραγουδια (οπως και με τις περισσοτερες κοντυλιες η δακτυλιες η σαιθιες, η μαντινοδιες) ειναι πως ειναι φτιαγμενες με βαση την θεωρια της αρχαιας Ελληνικης μουσικη και οχι την συγχρονη. Δηλ κανονικα δεν παιζονται σε 7-τονικη κλιμακα αλλα σε 4-τονικη που λεγοταν τετραχορδο. Συνηθως στο διατονικο γενους συντονο (Qurdi, κιουρντι) τετραχορδο δηλ σε ημιτονια σε ανιουσα σε υψος 1-2-2 με ακολουδια απο μικρα ρυθμικα μελωδικα θεματα που επαμαλαμβανονται και συνοδευονται με μια μονο σταθερη συγχορδια τυπου power-5 chord δηλ 1-5-1' (σε ντο ματζορε θα ηταν ντο-σολ-ψηλο ντο) που δεν ειναι ουτε ματζορε ουτε μινορε συγχορδια. Επειδη τετοια τετραχορδα εμφανιζοντα σε μια συγχρονη 7-τονικη κλιμακα στην τριτη θεση (φρυγιος τροπος) το power-5 chord ειναι στην 3η θεση δηλ 3-7-3ψηλο. Στο προηγουμενο τραγουδι το καστρινο φουλι η αντιστοιχη συγχρονη διατονικη κλιμακα ειναι η μι-υφεση, η συγχορδια ειναι η Σολ-Ρε-Σολψηλο και η μελωδια στριφογυριζει κυριως στο τετραχορδο σολ- λα υφεση-σι υφεση-ντο που ειναι στην 3η θεση (φρυγιος τροπος) της μι-υφεση Στην αρχαια εποχη δεν υπηρχαν 7-τονικες κλιμακες μονο 4-χορδα με 4-νοτες σε ενα διαστημα 4ης,και οι μονες συγχορδιες ηταν οι διφθογγες συνηθως 1-5-1ψηλο (power5 chord). Η δε λυρα ηταν μικρη αρπα με 4 μονο χορδες ακριβως σε ενα τεταρχορδο. Ετσι παιζαν τις ραψωδιες (αλλα και οι μαντιναδες ειναι ραψωδια) Συχνα αλλαζαν το κουρδισμα της 4-χορδης λυρας (ιδιο και αυτο σε ολο το τραγουδι) απο το διατονικου γενους συντονο τετραχορδο σε καμια ντουζινα αλλα (εναρμονιου και χρωματικου γενους τετραχορδα) αλλα που δεν ανηκουν στην δυστικη 12-τονικη κλιμακα του Μπαχ και δεν παιζονται στο πιανο η στην κιθαρα μονο στο βιολι, στην λυρα η στο τρομπονι. Συνοδευαν παντα με μια power5 chord. Συνοδευαν σχεδον παντα ολο το τραγουδι με μια μονο μονο συγχορδια που ηταν και μινορε και ματζορε 1-5-1' (π.χ. ντο-σολ-ντο) η και τυπου τριτης αντι πεμπτης 1-3-1' (power3 chord) και διναν τρομερη ελευθερια στους ρυθμικους συνδυασμους στη μελωδια, ενω απο την αλλη δεν χανοντα σε 7-νοτες ειχαν μονο 4-νοτες να παιξουν και ετσι το ταξιμι ηταν ευκολο.Ετσι γινοταν μια ομορφη υπνωτιστικη μεθυστικη μουσικη, και το μη μονοτονο ηταν τα λογια η μαντιναδες της ραψωδιας που ειτε τα επαναλαμβαναν οπως στην ιλιαδα και οδυσσεια ειτε τα σκαρφιζονταν εκεινη την στιγμη αφου η μουσικη ηταν σταθερη βαση. Αρκετα απο τα εγχορδα οργανα μου τα κουρδιζω σε σειρα απο 4 η 6 (αναλογα με το πληθος χορδων) απο διαδοχικες αρμονικες της φυσικης σαλπιγκας . Το power-5 chord εμφανιζεται ως διαδοχικξ σειρα αρμονικων και στην δευτρη οκταβα των αρμονικων η στην 1η οκταβα της φυσικης αρχαιας σαλπιγκας χωρις βαλβιδες (η στο overtones flutes των σκανδιναβων και βορειων που δεν εχουν τρυπες παιζουν μονο με τις αρμονικες) Το ιδιο το κουρδισμα του 3-χορδου μπουζουκιου Ρε-Λα-Ρεψηλο που καταγεται απο την αρχαια ελληνικη πανδουρις (=εξολκληρου απο ξυλο σε αντιδιαστολη με την λυρα που φαινεται ειχε και μηξυλινα μερη ) ειναι επισης μια τετοια συγχορδια power-5 chord, οπως και ενα απο τα πολλα κουρδισματα στο 3-χορδο μπουλγαρι η στο σαζι ,ταμπουρα κλπ. Υπηρχαν δε και παληα τετοια κουρδισματα κρητικης λυρας, οπως ακομα σωζοντα τετοια κουρδισματα σειρας αρμονικων στο βιολι στην σκανδιναβια.

H πιο βασικη αρμονια και κλιμακες βγαινουν απο τις αρμονικες π.χ. στην αρχαια φυσικη σαλπιγκα χωρις βαλβιδες (η τα φλαουτα αρμονικων).

1. Οι αρμονικες (overtones) στην πρωτη οκταβα 1-2 δινουν την τονικη
2. Οι αρμονικες (overtones) στην δευτερη (αρμονικη) οκταβα 2-3-4 δινουν το power5 chord (και μινορε και ματζορε)
3. Οι αρμονικες (overtones) στην τριτη (μελωδικη) οκταβα 4-5-6-7-8 δινουν την μειζωνα συγχορδια
4. Οι αρμονικες (overtones) στην τεταρτη (χρωματικη) οκταβα 8-9-10-11--12-13-14-15-16 λογω του οτι πεφτουν εξω απο την δυτικη κλιμακα του μπαχ δινουν αναλογα με την στρογγυλοποιηση , την διατονικη 7-τονικη κλιμακα, την αρμονικη μινορε (χιτζαζ), την μελοδικη μινορε, την 6-τονικη κλιμακα των μπλουζ, την νεαπολιτανικη (neapolitan) κλπ. ΣΥΝΟΨΙΖΟΝΤΑΣ ΤΟΠΟΛΥ ΕΝΔΙΑΦΕΡΟΝ ΟΤΙ ΟΙ ΑΡΧΑΙΕΣ ΔΑΚΤΥΛΙΕΣ-ΤΑΞΙΜΙΑ ΠΑΙΖΟΝΤΑΝ ΜΕ ΜΙΑ ΜΟΝΟ ΣΥΓΧΟΡΔΙΑ ΤΥΠΟΥ 1-5-1 ΠΟΥ ΕΙΝΑΙ ΟΥΤΕ ΜΑΤΖΟΡΕ ΟΥΤΕ ΜΙΝΟΡΕ Η ΚΑΙ ΤΑ ΔΥΟ ΚΑΙ ΜΟΝΟ ΜΕΣΑ ΣΕ ΕΝΑ ΤΕΤΡΑΧΟΡΔΟ ΣΥΝΗΘΩΣ ΤΟ ΔΙΑΤΟΝΙΚΟΥ ΓΕΝΟΥΣ ΣΥΝΤΟΝΟ ΣΕ ΑΝΙΟΥΣA ΣΕ ΗΜΙΤΟΝΙΑ 1-2-2.

358. HOW TO LEARN TO PLAY THE HARP WHEN YOU ARE ALREADY A GUITAR PLAYER

 HOW TO PLAY THE HARP WHEN YOU ARE A GUITAR PLAYER

(See also  post 260)

When you are a guitar player and also you play the harp (e.g.like Edmar Castaneda) , then you have finger nails only at the right hand , not at the left hand, and also the right hand is faster and more skilled in playing melodies compared to the left hand. It is not like a piano player who he may have trained both hands to play almost at the same complexity level. Then in such a situation , the harp player starts in playing with the right hand the melodic improvisation and with the lelft hand the simplicial submelody at lower octaves, which are so that there is one note per underlying chord , thus slow in changing, like the chords in a chord progression. In fact we just play at first one note almsot randomnly with the left hand when we feel that the chord changes or when we finish with the melodic theme with the right hand, and if the note that almost randomnly we play is not the right feeling we create a chromatic bass line up ot down till we end to a note that feels well and is in the underlying chord. Then as the skill is evolved instead of one only note per chord of the simplicial submelody we may start playing the whole chord or a bass-line over the chord.

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