See also post 321 and 364.
This book is for learning music composition and improvisation , based on more abstract mathematics of the music, the rhythm and the musical instrument and with new musical practice. It is a new awareness and method to link mental perception-images, the creation of feelings and finger actions. The true goal of composition and improvisation is the existential process of creating and listening it. It is both individually healing and socially celebrating.
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Monday, March 8, 2021
Friday, February 19, 2021
360. COMPOSING MELODIES WITH CHROMATOMELODIC CHORD-BASED MICRO-THEMES OF 4 NOTES IN A DIATONIC CHROMATIC TONALITY
COMPOSING MELODIES WITH CHROMATOMELODIC CHORD-BASED MICRO-THEMES OF 4 NOTES IN A DIATONIC CHROMATIC TONALITY
In this technique of composing melodies we follow the next steps
(see also post 102 for another technique quite similar and also 296 about the concept of longitudinal chords)
1) We utilize mainly 4 notes melodic themes over a diatonic scale, such that if 1-2-3-4 ar the notes of each of them then at least one interval of succesive notes are intervals of 2nd and the rest are intervals of 3rds and more generally succesive intervals of 3-notes chord in normal form or inversions of it (thus it may be an interval of 4th too) . Thus the term chromatomelodic themes (one chromatic interval of 2nd 2 melodic intervals of 3rd) based on chords. Thus we may perceive such 4-notes themes as arpeggios of a chord with 6th or 7nth or sus2 or sus4 or partial arpeggios of vector-chords. Obviously simnce for each such micro-theme of the melody corresponds a chord, these melodic micro-themes are in one to one correspondence with chords which canbe used as underlying chords that fit to the melody. Neverthless , there are fewer chords than can fit as underlying chord progression such melodies.
This technique can be easily realized in the 2-dimensional Musix pro application on the tablet,where such chromatomelodic themes have a specific and fixed patterns in the 2-dimensional layout.
2) Statistically mainly the 3 notes that are of intervals of 3rd are on notes of the diatonic scale that make a chord of the diatonic scale ,major , minor or diminished.
3) We walk though the scale in this way, up or down with linked such thems or even juming with larger intervals of 4thor 5th and when we want sadness we utilized minor or dished or augmented chords , and when happiness major chords with 7nths. But we may get out of the diatonic scale at the 5 possible blue notes 1#, 2#, 4# 5# , 7b, thus creating a particular chromatic tonality.
4) If someone is playing the guitar or piano, might utlize this idea to compose chord progressions (randomn or repeating) wihin chromatic tonality from the next 15 chords over a diatonic tonality.
1M, 1m 2m, 2M7 3m 3M7 4M 4m 5M7 5m 6m 6M7 7d 7M7 7m.
5) Of course when translating and repeating the chromatomelodic theme as a different chord it is charming to utilize the same root for the chord but of a different type (e.g first minor then dimished, first major then minor, first major 7nth then with 6th etc ) in other words use chords with 2 or more common notes like the relative chords. In thsi way we may temporarili shoft to other scales relevant to the originaldiatonic like harmonic minor, neapolitan, double harmonic minor , blues etc.
5) We may repeat the same idea with 5-notes themes 1 or 2 succesive intervals of 2nds and 2 or 3 succesive intervals of 3rds.
7) Obviously such chromatomelodic themes are easier played with the trombone at the 2nd octave (which is the melodic ovtave ofthe overtones) or the french horn at the 1st octave, as the 3rds are by slur jumps on the overtones while the 2nds by the slide.Simlarly ar very easier played with chromatic harmonicas.
Here is an example by Tommy Dorsey "I am getting sentimental over you"
https://www.youtube.com/watch?v=T86ZPzcF8OA&ab_channel=JohnShanks
Saturday, February 13, 2021
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
- Οι αρμονικες (overtones) στην πρωτη οκταβα 1-2 δινουν την τονικη
- Οι αρμονικες (overtones) στην δευτερη (αρμονικη) οκταβα 2-3-4 δινουν το power5 chord (και μινορε και ματζορε)
- Οι αρμονικες (overtones) στην τριτη (μελωδικη) οκταβα 4-5-6-7-8 δινουν την μειζωνα συγχορδια
- 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.
Friday, January 29, 2021
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
Thursday, January 28, 2021
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.
Friday, January 22, 2021
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)