369. 3 OR 4 CHORDS HARMONICAS

 3 OR 4   CHORDS HARMONICAS

In this post we describe some (15 types ) of easy playing and good sounding 3-4 chods harmonicas. Of course we should remember that if we want all 7 chords of the diatonic scale in the harmonica we must utilize the cyclic tuning. The value of lesser number of chords in the harmonics is simply to focus on specific styles harmony simpe improvisations 

The rule for 2 or 3 or 4  chords-based  tunings is that 

1) horizontally either in the blow row or in the draw row are not allowed intervals other than 3rds, 4ths, 5ths for reasonsof harmony. 
2) But any inversion of the chord is allowed

3) And of course you try to put as many notes of the diatonic scale as possible and with the right pitch order, so that in cyclic  sequence they are in the smalest possible intervals

The way to play such harmonicas is  better not uniform distribution of time among the notes but to spend more time in the 3 zones (either blow or draw) of 3 consecutive notes that define the pattern of the 3 or 4 chords this  3+3 +3 holes.

The role of such 3 or 4 chords tuning of harmonicas is not to play all possible songs and melodies (this is best done by the cyclic tuning) but to improvise on melodies that are accompanied only with these 3 or 4 chords AND  to play easily only these 3 or 4 chords as it is

simple to know where to find them. This combination of solo playing and chord playing when estricted to 3 or 4 chords only is best done with such tunings and not with the universal cyclic tuning than can play of course the same thing but in a quite more difficult way requiring significant skill. If the improvisation melody in such 3-4 chords harmonicas requires passing notes  that exactly missing notes from the sequence ofthe diatonic scale, then bending of notes might apply. On the other hand the missing notes define subscales of the diatonic scale that are beautiful and fitting best with the chords

We remind the reader what the letters inthe next mean

M=major 

m=minor

d=diminished

The most obvious layout  of the 1M 4M 5M major chords ofthe diatonic scale that has 3 times the 1M

 2 times the 5M and one time the 4M is  the next for the Fmajor scale

The chord positions are as in the next table

	1	2	3	4	5	6	7	8	9
blow	1M			4M			1M
draw	5M			1M			5M

with tuning table 

This pattern of 3 basic chords,of the Ionian mode (major),can apply also to all 7 modes, as  each mode

harmonically can be characterized by its 3 main chords A1 (root) A4 (on 4tth step) A5 (on the 5th step.

1	2	3	4	5	6	7	8	9
blow	A1			A4			A1
draw	A5			A1			A5

So all the modes are the next triads of chords

IONIAN= 1M-2M-5M

DORIAN=2m-5M-6m

FRYGIAN=3m-6m-7d

LYDIAN=4M-7d-1M

MIXOLYDIAN=5M-1M-2m

AEOLIAN=6m-2m-3m

LOCRIAN=7d-3m-4M

E.g. the FRYGIAN mode would be 

1	2	3	4	5	6	7	8	9
blow	3m			6m			3m
draw	7d			3m			7d

with

A1=3m               A4=6m      A5= 7d

If we want to set the 3 basic major chords of a diatonic scale 1M, 4M, 5M at the blow row ,together with their closest from below diminished chords (that resolve to them) that is 7dim, 3dim, 4#dim , then this is possible with a bonus of two additional chords apearing in the draw row the 3m and 6m.
Here is how this can be done for the G major diatonic scale in the next table. The 3 basic major chords are Gmajor, Cmajor Dmajor in the blow row, and the 3 diminished chords that the resolve to them at the draw row are the  F#dim, Bdim, C#dim. The bonus chordss are the Bm and Em. The total 3 octaves scale has interval structure  2-2-1-2-4-1-4-1-2-2-1-4-4-1-2-2-1-2-2

The chord positions are as in the next table

	1	2	3	4	5	6	7	8	9
blow	1M			4M			5M
draw	7d			3d			4#d

If someone does not want to utilize the resolving diminshed chords and wants to remain inside the diatonic scale on way to do it is as in the next table for the C major scale

	1	2	3	4	5	6	7	8	9
blow	1M			4M			1M
draw	7d			5M			7d

Notice that the main goal of such a tuning is not to play all posible songs of the C major scale (this is done by the cyclic tuning) but to play songs and improvise over the 3 major chords of the scale 1M 4M 5M.

Still another version of the 1M 4M 5M that has 3 times the 1M 2 times the 5M and one time the 4M is  the next forthe Fmajor scale

The chord positions are as in the next table

	1	2	3	4	5	6	7	8	9
blow	1M			4M			1M
draw	5M			1M			5M

And still another alternative is the

	1	2	3	4	5	6	7	8	9
blow	1M			1M			4M
draw	7d			5M			1M

With tuning table at  the C major the one below

If on the other hand we want to substitute the 4M chord with the minor relative 6m , then a possible tuning for the F major scale would be the next table

	1	2	3	4	5	6	7	8	9
blow	1M			6m			1M
draw	7d			5M			7d

While if we want as in the blues to substitute the 4M with the lower relative chord 2m, then a possible tuning would be as in the next table for the G major scale. IN MY OPINION THE RICHTER TUNINGI SNOT THE OPTIMAL TUNING TO PLAY IMPROVISATIONS OVER THE TRIAD OF CHORDS I  ii   V (or 1M 2m 5M) . The next tuning iS CLOSER TO THE OPTIMAL FOR IMPROVISATIONS OVER THE TRIAD I  ii   V.

	1	2	3	4	5	6	7	8	9
blow	1M			2m			1M
draw	7d			5M			7d

Stil another version o 1M , 2m 5M is the next for the C major scale

	1	2	3	4	5	6	7	8	9
blow	1M			5M			1M
draw	7d			2m			7d

We may compare it with  the Richter tuning

	1	2	3	4	5	6	7	8	9
blow	1M			1M			1M
draw	5M			2m			7d

For a minor chords triad like the iii, vi, ii, (3m , 6m, 2m) the next table of tuing is a way for the Bb diatonic scale

	1	2	3	4	5	6	7	8	9
blow	6m			2m			6m
draw	3m			6m			3m

The full 3-octaves scale in semitones for te abive harmonica is 2-1-4-3-2-3-2-1-4-2-1-4-3-2-2

Notice that there in it the inverse of the Greek-Richter pentatonic 2-1-4-3-2 (see post 117 ) which is maximal harmonic, and is repeating twice in the full 3-octaves scale. Also there is the 3-2-3-2 which is 4 notes part of the standard pentatonic scale 3-2-3-2-2.





For triads like  1M 4M 3m the next table is a  way for the G major diatonic scale

	1	2	3	4	5	6	7	8	9
blow	1M			4M			1M
draw	7d			3m			7d

MORE TUNIGS ARE POSSIBLE WITH 4 CHORDS LIKE THE NEXT PATTERNS

	1	2	3	4	5	6	7	8	9
blow	4M			5M			4M
draw	1M			2m			1M

	1	2	3	4	5	6	7	8	9
blow	4M			5M			4M
draw	3m			1M			3m

	1	2	3	4	5	6	7	8	9
blow	1M			4M			1M
draw	7d			3m			7d

	1	2	3	4	5	6	7	8	9
blow	4M			5M			4M
draw	1M			6m			1M

368 A CLASSICAL METHOD OF SINGLE INSTRUMENT IMPROVISATION-COMPOSITION: VERTICAL HARMONY BY 3 OR 4 NOTES CHORDS AND SIMULTENEOUS MELODIC THEMES IN 3 OR 4 NOTES TETRACHORDS TRANSLATED OR INVERTED VERTICALLY ACROSS THE NOTES OF A CHORD AND ELONGNATED HORIZONTALLY WHEN BRIDGING CHORD TRANSITIONS.

 A CLASSICAL METHOD OF SINGLE INSTRUMENT IMPROVISATION-COMPOSITION: VERTICAL HARMONY BY 3 OR 4 NOTES CHORDS AND SIMULTENEOUS MELODIC THEMES IN 3 OR 4 NOTES TETRACHORDS TRANSLATED OR INVERTED VERTICALLY ACROSS THE NOTES OF  A CHORD AND ELONGNATED HORIZONTALLY WHEN BRIDGING CHORD TRANSITIONS.   

SINGLE CHORD IMPROVISATION: We may as alternate or sound as drone  the root chord of a scale as power chord (only an  interval of 5th) with melodic themes (of 3 or 4 notes and inside  a three-chord or tetrachord ) based on each of the  the 3 notes of the root 3-notes or 4 notes chord and translated or inverted melodically by intevals of 3rd across the 3 or 4 notes of the roor chord. We make sure of course that the notes of the chords in total during  the chord, sound at least 50% of the time duration. 

E.g. in  the Dorian mode of the C diatonic sacle and with an harp,  here

https://www.youtube.com/watch?v=NomPFFmycDo&ab_channel=rharp111

https://www.youtube.com/watch?v=9BD1y0TOk3o&t=774s&ab_channel=Buddha%27sLounge

MANY CHORDS-CYCLE  IMPROVISATION: We do the same as with the one chord for each chord of the chord-cycle. with melodic themes (of 3 or 4 notes and inside  a three-chord or tetrachord ) based on each of the  the 3 notes of the underlying  3-notes or 4 notes chord and translated or inverted melodically by intevals of 3rd across the 3 or 4 notes of the roor chord. We may sure thatthe melodic centers are notes of the underlying chord. At the chord transition one of the previous three-chords or tetrachords of the melodic theme becomes the bridge between the 2 consecutive chords and we constinue as before.  

The cycle of the chords may be fixed (Predetermined harmony) or improvised also during the melody improvisation (unpredicted harmony).

367.ALL 2-chords HARMONICAS OF HEXATONIC SUBSCALES OF THE DIATONIC SCALE THE HARMONIC MINOR THE MELODIC MINOR AND THE 7-NOTES BLUES SCALE

 In  the next we will describe harmonicas with hexatonic scales and two only chords 

(See also https://simplerguitarlearning.blogspot.com/2020/01/291-hexatonic-scales-for-harmonica.html ) or posts 291   and 274

THESE 2-CHORD HEXATONIC HARMONICAS ARE NOT DESIGHNED SO MUCH TO PLAY ALL POSSIBLE MELODIES ON A SINGLE HARMONICA BY BENDING AND OVERBLOW BUT TO MAKE EASY IMPROVISATION ON HEXATONIC SUBSCALES OF  THE SCALES DIATONIC, HARMONIC MINOR, 7-NOTES BLUES (INVERSE HARMONIC MINOR) , DOUBLE HARMONIC MINOR, MELODIC MINOR ETC .

 SUCH 2-CHORDS IMPROVISATIONS ARE COMMON IN CUBA AND LATIN JAZZ FOLK MUSIC, GREEK ISLANDS MUSIC, IRISH MUSIC ETC

ALL OF THE HEXATONIC TUNING  IN THIS DISCUSSION HAVE A SINGLE CHORD AT THE BLOW ROW AND ANOTHER SINGLE CHORD AT THE DRAW ROW.

I  have ordered in Seydel company and play all of the next harmonicas of diatonic gendre  chromatic gendre and enharmonic gendre hexatonic sub scales of  the diatonic scale of the harmonic minor scale and invererse harmonic minor scale (Blues 7-tonic scale ) and when I will find time I  will upload sound files with improvisations of them. Of course I think it is much cheaper instead of ordering so many custom 2-chords hexatonic harmonicas as below, to just tune the digital harmonica Lekholm DM48 which I also have and it is fun to try these tunings and easy improvisations on them 

In the examples below for reasons of simplicity I use the C major scale and the A harmonic minor scale, but my hexatonic harmonicas are in many scales like Bb major , Fmajor G major , G minor etc

The best sounding are the next from the 3 list below

a) LOCRIAN:d1M    B-C-D-E-F-G-B  in semitones 1-2-2-1-2-4  and over the Blow-Draw 2 chords Bdim-Cmajor (also called enharmonic major) It is also called Genus Secundum 6-tonic scale.

b)  the 3.7) 7th mode   in semitones 1-2-1-2-2-4  based on the 2 chords 

G#dim-Amin  (hexatonic enharmonic minor)

c) the  IONIAN/MYXOLYDIAN: M2m       C-D-E-F-G-A-C in semitones 2-2-1-2-2-3 and over the Blow-draw 2 chords Cmajor Dminor

                                             or  G-A-B-C-D-E-G and over the Blow-Draw 2 chords Gmajor Aminor (also called Celtic minor hexatonic)

d) 3.5) 5th mode  E-F-G#-A-B-C-E  in semitones 1-3-1-2-1-4  based on the 2 chords 

Emajor-Fmajor  

and the 

e) 2.3) 3rd mode Eb-F-Gb-A-Bb-C    (or in semitones 2-1-3-1-2-3)  based on the 2 chords Ebmin-Fmajor (Erik Satie hexatonic scale)

ALL OF THE HEXATONIC TUNING  IN THIS DISCUSSION HAVE A SINGLE CHORD AT THE BLOW ROW AND ANOTHER SINGLE CHORD AT THE DRAW ROW.

ACTUALLY ANY TWO SUCCESIVE CHORDS IN THE DIATONIC SCALE (E.G. 7DIM-1M, OR 4M-5M, 3M-4M, 5M-6m , 6m-7dim) CAN BE USED FOR AN APPROPRIATE  TWO-CHORD HEXATONIC TUNING HARMONICA.

THUS WE WILL HAVE THE NEXT 6 TYPES OF CHORD PAIRS IN THE HARMONICA WHICH ARE CHORDS IN DIATONIC CHROMATIC RELATION (the roots are separated by an interval of 2nd) 

e.g. if the 7-notes diatonicscale is the C-D-E-F-G-A-B-C in semitones 2-2-1-2-2-2-1  then

M=MAJOR m=MIOR d=DIMINSIHED

1,2,3 etc =number of semitones that the roots are apart

1) IONIAN/MYXOLYDIAN: M2m       C-D-E-F-G-A-C in semitones 2-2-1-2-2-3 and over the Blow-draw 2 chords Cmajor Dminor

                                             or  G-A-B-C-D-E-G and over the Blow-Draw 2 chords Gmajor Aminor (also called Celtic minor hexatonic)

2) DORIAN: m2m                D-E-F-G-A-B-D in semitones 2-1-2-2-2-3  and over the Blow-Draw 2 chords Dminor-Eminor (also called Celtic major hexatonic)

3) FRYGIAN: m1M             E-F-G-A-B-C-E in semitones 1-2-2-2-1-4  and over the Blow-Draw 2 chords Fmajor-Eminor (also a hexatonic version of the 

                                              akebono 5-notes scale)

4) LYDIAN: M2M                     F-G-A-B-C-D-F  in semitones 2-2-2-1-2-3  and over the Blow-Draw 2 chords Fmajor-Gmajor (also called an alternative 

                                             version of Celtic major scale)

5) AEOLIAN: m2d                  A-B-C-D-E-F-A  in semitones 2-1-2-2-1-4  and over the Blow-Draw 2 chords Aminor-Bdim 

6) LOCRIAN:d1M                     B-C-D-E-F-G-B  in semitones 1-2-2-1-2-4  and over the Blow-Draw 2 chords Bdim-Cmajor (also called enharmonic major) 

But we also present many other non-diatonic chromatic pairs that involve also augmented chords and a re met in the harmonic minor (which apears also in the overtone sequence)  double harmonic minor, melodic minor (which apears also in the overtone sequence)  etc

E.G. 

m2M (Erik Satie hexatonic of the harmonic minor heptatonic)

M2dim (hexatonic from melodic minor)

m1m

M3m

M1M (Hexatonic from the harmonic minor)

aug2M

dim1m

m6m

aug3aug

dim1aug

etc

In the future I will upload sound files that show how such harmonicas sound as I have more  than 30 different such hexatonic scales 2-chords harmonicas  with different emotional moods. With a simple 2-chord backtrack they are an excelelnt simple way to learn and practice improvisations of any type of emotional mood.

2) ALL 7 HEXATONIC SCALES FROM THE 7 MODES OF THE 7-NOTES BLUES SCALE (OR INVERSE HARMONIC MINOR SCALE)

Some og these hexatonic scales of the inverse harmonic minor are also hexatonic scales of the diatonic scale or the melodic minor or the double harmonic minor!

7-NOTES BLUES SCALE C-D-Eb-F-Gb-A-Bb  (or in semitones 2-1-2-1-3-1-2) also inverse harmonic minor scale, with chords 

Cdim, Dminor, Ebminor, FMajor, Gb augmented , A diminished , Bb major

2.1) 1st mode C-D-Eb-F-Gb-A-C    (or in semitones 2-1-2-1-3-3)  based on the 2 chords Cdim-Dm

2.2) 2nd mode  D-Eb-F-Gb-A-Bb-D   (or in semitones 1-2-1-3-1-4)  based on the 2 chords 

Dmin-Ebmin (hexatonic caval double harmonic minor too)

2.3) 3rd mode Eb-F-Gb-A-Bb-C    (or in semitones 2-1-3-1-2-3)  based on the 2 chords Ebmin-Fmajor (Erik Satie hexatonic scale)

2.4) 4th mode F-Gb-A-Bb -C-D-F    (or in semitones 1-3-1-2-2-3)  based on the 2 chords 

Fmajor-Gbaug ( inverse hexatonic neapolitan )

2.5) 5th mode  Gb-A-Bb-C-D-Eb-Gb   (or in semitones 3-1-2-2-1-3)  based on the 2 chords 

Gbaug-Adim

2.6) 6th mode A-Bb-C-D-Eb-F-A    (or in semitones 1-2-2-1-2-4)  based on the 2 chords Adim-Bbmajor (hexatonic enharmonic major, or hexatonic Locrian mode) 

2.7) 7th mode  Bb-C-D-Eb-F-Gb-Bb   (or in semitones 2-2-1-2-1-4)  based on the 2 chords 

Bbmajor-Cdim (Hexatonic melodic minor too)

3) ALL 7 HEXATONIC SCALES FROM THE 7 MODES OF THE 7-NOTES HARMONIC MINOR SCALE .

Some og these hexatonic scales of the inverse harmonic minor are also hexatonic scales of the diatonic scale or the melodic minor or the double harmonic minor!

7-NOTES HARMONIC MINOR  SCALE A-B-C-D-E-F-G#-A  (or in semitones 2-1-2-2-1-3-1) with chords                               Aminor-Bdim-Caug-Dminor-EMajor-FMajor-G#dim-Aminor

3.1) 1st mode A-B-C-D-E-F-A   in semitones 2-1-2-2-1-4  based on the 2 chords 

Amin-Bdim  (Aelian diatonic too)

3.2) 2nd mode B-C-D-E-F-G#-B  in semitones 1-2-2-1-3-3  based on the 2 chords Bdim-Caug 

3.3) 3rd mode C-D-E-F-G#-A -C in semitones 2-2-1-3-1-3  based on the 2 chords Caug-Dminor (Neapolitan Hexatonic too)

3.4) 4th mode  D-E-F-G#-A-B-D  in semitones 2-1-3-1-2-3   based on the 2 chords Dminor-Emajor (Erik Satie hexatonic)

3.5) 5th mode  E-F-G#-A-B-C-E  in semitones 1-3-1-2-1-4  based on the 2 chords 

Emajor-Fmajor  

3.6) 6th mode F-G#-A-B-C-D-E-F   in semitones 3-1-2-1-2-3  based on the 2 chords 

Fmajor-G#dim  

3.7) 7th mode   in semitones 1-2-1-2-2-4  based on the 2 chords 

G#dim-Amin  (hexatonic enharmonic minor)

FROM THE 7-NOTES MELODIC MINOR THE HEXATONIC SUBSCALES NOT COVERED BY THE PREVIOUS ARE THE NEXT

E.g. let the 7-notes melodic minor A-B-C-D-E-F#-G#-A in semitones 2-1-2-2-2-2-1 and chords

m-m-aug-M-M-m-d the next are additional hexatonic

C-D-E-F#-G#-A-B-D in semitones 2-2-2-2-1-3 and 2 chords Caug-Dmajor

B-C-D-E-F#-G#-B  in semitones 1-2-2-2-2-3 and 2 chords Bminor-Caug

F-G#-A-B-C-D-F#  in semitones 2-1-2-1-2-4 and 2 chords F#minor-G#dim

THE WAY TO LAYOUT THE TUNING BASED ON THE HEXATONIC SCALE IS DIRECT BECAUSE 6 NOTES MAKE AN OCTAVE AND THEN WE REPEAT 3 TIMES. FURTHERMORE THE ODD OR EVEN NOTS MAKE THE ONLY 2 CHORDS 

E.g. for the LOCRIAN mode above (or Enharmonic major) which is  one of the best sounding hexatonic harmonicas 

6) LOCRIAN:d1M                     B-C-D-E-F-G-B  in semitones 1-2-2-1-2-4  and over the Blow-Draw 2 chords Bdim-Cmajor (also called enharmonic major)

We would chose the best sounding chord as blow and less good sounding chord as draw (as inhale drawing last in time less and is psychologically natural to resolve in the blow -exhale) thus the natural layout would be

[attachment=0]LOCRIAN_ENHARMONIC_MAJOR_1M_7dim_C3 (1).gif[/attachment]

In the table below valves are  at all notes but this is simply indicative and not optimal if you choose which notes you want to bend and overblow.

366. Revealing observations in the beatiful improvisation of the violonist Stephan Grappelli: Three separate rythmic densities levels of the melody which spans at each melodic phrase 3 octaves.

 When someone is listening the free improvisations of the famous violonist Stephan Grappelli he is amazed from the reachness and beauty of the melodic improvisation

When the melodic perception is trained two obervations are readily made that reveal part of the factors of beauty and richness

A) Each melodic phrares is not limited as usually in 1-1,5 octaves, but it gives the sence of freedom by expanding in to no less than whole 3 octaves!

B) The rhythmic density of the melody is in to 3 separated and not mixed areas ,the very slow, the normal , the very fast. 

E.g. very slow= whole or more and  certainly not faster that halfs , (nirvana, alpha brain waves )

Normal=1/4 quarters (normal talking, beta brain waves)

Very fast =1/16 sixteenths (furious  or crazy dance, gamma  brain waves) 

In this way one does not get bored listening while he feels free and with wide range of emotions or brain waves (gamma, beta, alpha). 

C) Besides waving around melodic centers at slower or middle parts, and creating some repetitive melodic themes patterns, there is also runs that are like sweep picking in guitar among two chords of the scale that are neighboring in other words in chromatic relation. (see post 215 ) 

365. THE DANCING CONCEPT OF IMROVISATION REFINEMENT OR FILLING OF A MELODY.

 This concept is coming from improvisations that are of songs that are used for dancing, and somehow not very slow dancing.

The idea is that when we sing and dance, usually the steps with the feet are more or double as many as the notes of the song in the voice. 

So we utilize as refinement or filling of the melody with "dancing steps" up and down on the scale around the note of similar pattern as the dancing steps left and right (or back and forth) of the particular dance!

See also the post  347  about cloud statistical or probabilistic improvisation which is similar concept.

Τhe horizontal concept of threechords and tetrachords to create a melody as "dancing in tetrachord around  the longer lasting notes" ( about one for each chord)  is an alternative to the old fashioned idea of a small melodic theme and then variatiions by translation, inversion and elognation

364. CHROMATIC THREECHORDS , TETRACHORDS AND PENTACHORDS AS THE BASE OF CREATING SIMPLICIAL COUNTERMELODIES AND BASSLINES FOR MELODIES.

 CHROMATIC THREECHORDS , TETRACHORDS AND PENTACHORDS AS THE BASE OF CREATING SIMPLICIAL COUNTERMELODIES AND BASSLINES FOR MELODIES. 

(SEE ALSO FOR POST 225, 321  and 325 ) 

AS IN HARMONY THE BASIC CONCEPT  IS THAT OF 3-NOTES CHORD, IN SIMPLICIAL COUNTERMELODIES THE BASIC CONCEPT IS A CHROMATIC TRIAD (TRICHORD) IN OTHER WORDS 3 SUCCESIVE NOTES SEPARATED BY INTERVALS OF 2NDS (CHROMATIC)

THERE ARE THE DORIAN-AEOLIAN  OR DECELERATING  (IN SEMITONES 2-1) THREECHORD, 

THE FRYGIAN-LOCRIAN  OR ACCELERATING  (1-2)  , 

AND THE IONIAN-LYDIAN-MYXOLYDIAN  OR UNIFORM (2-2) 

USUALLY EACH MELODIC TRHREECHORDS IS COVERED BY ONE UNDERLYING CHORD! 

    SUMMARIZING 

From the harmonic minor and double harmonic minor and Neapolitan scale (see below about tetrachords) we get the next thre-chords of the chromatic gendre

1-3

3-1

1-1

And also from the enharmonic gendre

SUMMARIZING 20  THREECHORDS(3-notes subscales)

3 DIATONIC GENDRE (EQUILIBRIUM, TRANQUILITY)

1-2

2-1

2-2 

3 CHROMATIC GENDRE (LYRIC, SAD )

1-3

3-1

1-1

4+10 COMMON FROM THE ENHARMONIC GENDRE (EPIC,HAPPY)

4 CHORD ARPEGGIO TYPES

3-4 (MINOR CHORD)

4-3 (MAJOR CHORD)

3-3 (DIMINSHED CHORD FROM THE DIMINISHED SCALE)

4-4 (AUMENTED CHORD)

2-3

3-2

5-3

3-5

5-2

2-5

5-7

7-5

THE ANCIENT GREEK ENHARMONIC GENDRE

1-4

4-1

(FROM THE ANCIENT GREEK 1/2-1/2-4)

THE NEXT LIST IS THE SIMPLICITY THAT DERIVES BOTH MELODY AND HARMONY

THE SHORT LIST IS ONLY 11 =3+3+5 MELODIC TRIADS OR THREECHORDS

3 DIATONIC GENDRE (EQUILIBRIUM, TRANQUILITY)

1-2

2-1

2-2 

3 CHROMATIC GENDRE (LYRIC, SAD )

1-3

3-1

1-1

5 CHORD ARPEGGIO TYPES , ENHARMONIC GENDRE

2-VOICES HARMONY

5-4 (5TH POWER CHORD)

3-VOICES HARMONY

3-4 (MINOR CHORD)

4-3 (MAJOR CHORD)

3-3 (DIMINSHED CHORD FROM THE DIMINISHED SCALE)

4-4 (AUMENTED CHORD)

THE EVEN SHORTER  LIST IS ONLY 9 =3+3+3 MELODIC TRIADS OR THREECHORDS

3 DIATONIC GENDRE (EQUILIBRIUM, TRANQUILITY)

1-2 (FRYGIAN, EVITZ)

2-1 (IONIAN, MUSTAAR)

2-2 (LYDIAN, ATZEM)

3 CHROMATIC GENDRE (LYRIC, SAD )

1-3

3-1

1-1

3 CHORD ARPEGGIO TYPES , ENHARMONIC GENDRE

2-VOICES HARMONY

5-4 (5TH POWER CHORD)

3-VOICES HARMONY

3-4 (MINOR CHORD)

4-3 (MAJOR CHORD)

THUS WHEN WE IMPROVISE FOR A SIMPLICIAL COUNTERMELODY WE "LISTEN" INSIDE US THE MELODIC TRIAD OR THREECHORD WE WANT AND WE PLAY IT ON THE CHROMATIC INSTRUMENT (CONTRABASS, CELLO, TROMBONE OR VIOLIN ETC)

AS 3-NOTES CHORDS USUALLY  EXTEND TO 4-NOTES CHORDS SIMILARLY THE CHROMATIC TRIADS (TETRACHORDS) ARE EXTENDED TO CHROMATIC TETRADS (TETRACHORDS) AND PENTACHORDS (CHROMATIC PENTATONICS) WITH TOTAL LENGTH A INTERVAL OF 4TH OR 5TH , WHICH WAS  ALSO THE BASE HALF-OCTAVE SCALE IN ANCIENT TIMES. 

SO FOR EACH CHORD THERE IS NOT MORE THAN A PARALLEL CHROMATIC TRIAD OR TETRACHORD OR CHROMATIC PENTATONIC AS SIMPLICIAL COUNTERMELODY.

Nevertheless if we are akling about the fast dancing countermelody of a singing melody then for each chord amd its 3 notes thaere are 3 tetrachords to make such countermelodies with many notes. 

 USUALLY THE CHROMATIC TETRACHORDS OCCUR AS "BRIDGES:  OF THE UNDERLYING CHORDS. I such a combination From  we realize that we are utilizing about as many tetrachords as the undrlying chords of the harmony of the chord progression.

Converselly in  general   EACH MELODIC TETRACHORDCHORD IS COVERED BY TWO UNDERLYING CHORD! 

It is important  to notice that , the simplicial countermelody has the same simplicity as the harmony of the chord progression of the song, but somehow it might be easier to play, as it ususally requires only a main scale to know in advance and as it can vary , it does not require remembering the chord progression, although it does require to be listening familiar with the song and it harmony.

We may notice that this improvisation technique may be considered "horizontal" because it utilizes smale consecutive in the scale sequences of notes almsot up to 50% of the time. The :horizontal improvisation ususally has more than 50% of steps that are intervals of 2nds. On the other hand a "vertical" improvisation is the one that we can play with  a  guitar , when we play the chord progression and during the time of a chord we play arpeggios of the chord. Such "vertical" improvisations have more than 50% of the time intervals of 3rds and 4ths or 5ths. 

The current method differs from that of the chromatomelodic themes method of composing melodies as in post 340, not only because with chromatomelodic thems we compose  melodies rather than simplicial countermelodies , but also because a chromatomelodic temes sounds during a single chord of the chord progression while in the current method with tetrachords , during a single chords sounds usually a single note and the terachords sounds as a bridge of notes to go to te stable note ofthe next underlying chord.

In fact the horizontal concept of threechords and tetrachords to create a melody as "dancing in tetrachord around  the longer lasting notes" ( about one for each chord)  is an alternative to the old fashioned idea of a small melodic theme and then variatiions by translation, inversion and elognation

Simplicial countermelodies (drone countermelodies) with the sliding effect of violin or trombone   can be done with the digital instrument Geoshred pro in the tablet (https://www.youtube.com/watch?v=JTW3WUVDRhM&ab_channel=JordanRudess) where the slidibg of the finger across the digital string has the same effect as the slide of the trombone. It requires of course to have tune the strings in the geoshred pro as the overtones of a brass instrument, 

We may classify the diatonic tetrachords or diatonic gendre tetrcahords (in other words occuring in diatonic scale by the position of the 1st note as with modes. But 

1) The Ionian 1st tetrachord 2-2-1 is identical with the Myxolydian 5th (Major sound, decelerating move) 

2) The Aeolian 6th tetrachord 2-1-2  is identical with the Dorian 2nd tetrachord (Minor sound)

3) The Frygian (syntono) tetrachord 1-2-2 is identical with the Locrian tetrachord (Strong minor sound or accelerating move) 

4) The Lydian tetrcahord 2-2-2 is the only one whise total legth is 6 semitones larger than a 4th (major sound or uniform, transitional requiring resolution)  .

5) Thus there are 4 only diatonic tetrachords the Ionian (major sound) , Dorian (minor sound) , Frygian (strong minor sound) )and Lydian (transitional major sound requiring esolution). 

From other celebrated scales we derive more tetrachords;

From the harmonic  minor

6-7-1-2-3-4-5#-6 or in semitones 2-1-2-2-1-3-1 we derive  additional tetrachords of the chromatic and enharmonic gendre the 

1-3-1 and

2-1-3 (diminsihdd chord with 2nd) and

3-1-2 (diminished chord with 4th) and 

1-2-1

From the double harmonic  minor 

6-7-1-2#-3-4-5#-6 or in semitones 2-1-3-1-1-3-1 we derive  additional tetrachords of the chromatic gendre the 

1-1-3 and 

3-1-1 

From the  Inverse Persian scale or Purvi Theta scale (3-1-1-3-2-1-1) or Byzantine parachromatic scale 

we get the tetrcahord of the chormatic gendre

3-2-1

From the double melodic minor or Arabic scale  or leading wholetone or neopolitan major scale see also post 21)  (1-2)-(2-2)-(2-2-1) w get the additional tetrachord

2-1-1

from the Neapolitan scale  (different from  the major and the minor Neopolitan)= (1-3-1)-1-(-2-2-2) we get the inverse tetrachord ofthe previous

1-1-2 

From the MAJOR BLUES SCALE  (ALSO CALLED COUNTRY SCALE) C; D; Eb;E; G; A; C  with interval structure 2-1-1-3-2-3. as wel as from the stanrd pentatonic scale we get the enharmonic gendre tetrachords

2-3-2 and 

3-2-3 

Thus we may summarize about 4+6+14+3=24+3  tetrachords (SEE ALSO FOR POST 225) (NOTIVE THAT HERE THE CLASSIFICATIONIS BASED IF THE EXIST IN A 7-NOTES SCALE, WHILE IN POST 225 IF THE HAVE TOTAL LENGTH AN  INTERVAL OF 4TH) 

DIATONIC GENDRE

1) 2-2-1 (IONIAN, RAST)

2) 1-2-2 (FRYGIAN , SYNTONO, KURDI)

3) 2-2-2 (LYDIAN)

4) 2-1-2 (AEOLIAN OUSAK)

CHROMATIC GENDRE

5) 1-3-1 (HIJAZ)

6) 1-1-3 (parachromatic, blues)

7) 3-1-1 (double harmonic minor)

8) 1-1-2 (ANCIENT GREEK TONAL)

9) 2-1-1 (SABA, blues, double melodic minor or Arabic)

10) 1-2-1 (blues)

ENHARMONIC GENDRE

11) 3-2-1 (diminished chord with 4th)

12) 3-1-2 (diminished chord with 4th)

13) 1-2-3 (diminished chord with 2nd)

14) 1-3-2 

15) 2-3-1

16) 2-1-3 (diminished chord with 2nd)

17) 2-3-2 (from the pentatonic scale)

18) 3-2-3 (from the pentatonic scale)

19) 4-1-2  (from the blues 6-note scale, major chord with 4th)

20) 4-2-1 (major chord with 4th))

21) 2-4-1  (minor chord with 2nd at inversion)

22) 2-1-4 (minor chord with 2nd, suss)

23) 1-2-4 (minor chord with 2nd , suss)

24) 1-4-2 (minor chord with 2nd at inversion)

FROM THE ANCIENT GREEK ENHARMONIC GENDRE

25) 1/2-1/2-4

26) 1/2-4-1/2

27) 4-1/2-1/2

It is very instructive to notice that these diatonic tetrachords have applications in conceiving the pattern on the slide of the default Bb scale of the trombone in a very simple way (thesame with he other brass winds with valves) 

The basic overtones of the trombone are (in notes of the default scale( 1-5-1'-3'-5'-1''. Thus only 3 different steps of the diatonic scale the root chord 1-3-5. And the simple pattern is that 

1) The overtone 1, has in its slide (descending pitch) the Ionian-Myxolydian tetrcahord

2) The overtone 5, has at its slide the Dorian-Aeolina tetrachord

3) The overone 3 , has at its slide the Frygian-Locrian tetrachord

For the brass winds with the valves, as the the highest note of these tetrachords is always the not-valved-pressed, it  is more instructive to correspond to the overtones  the threechords, and we have that 

1) The overtone 1, has in its valves  (descending pitch) the Ionian-Lydian-Myxolydian- threehord

2) The overtone 5, has at its slide the Dorian-Aeolina threechord

3) The overone 3 , has at its slide the Frygian-Locrian threechord