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Monday, June 14, 2021

380. CREATING HARMONY OF A SONG BY CONNECTED ARCS IN THE HARMONIC WHEEL BY 4THS , SELECTING MINOR-MAJOR CHORD AND EXTENDED THE ARC SIMILARLY WITH THE MELODIC AND THE CHROMATIC WHELL.

 

Here the basic principlses are 


1) We add as few new roots for chords as possible (besides the 7 roots ofthe 7 notes of the diatonic scale)

2) Thus restricting to changing the types of the chord to an other type among the Major, minor, diminished, augmented


Examples of full chromatic tonality:

 By utilizing two cycles of 7 chords as connected arcs in the wheel by 4ths.  The first cycles is all the diatonic  7d-3m-6m-2m-5M-1M-4M 

The seconds 7-cycle turns some minors to majors and the 5m to 5m

It is the cycle  7M-3M-6M-2M-5m-1M-4M 

The melodies o play should be based on the middle 3rd notes of the chords. 

An alternative pair of 8-cycles of chords is the next

4#m-7m-3M-6m-2m-5M-1M-4M

The seconds 8-cycle turns some minors to majors. 

4#M-7M-3M-6M-2m-5M-1M-4M


The 4 types of chromatic tonality as in the post 379 are examples of the current post method too.


RANDOMIZING THE  SEQUENCE OF THE HARMONIC CYCLE BY INTERPOLATING MELODIC AND  SUPERCHROMATIC CHORD TRANSITIONS BY MAJOR CHORDS.

When we are as above ina harmonic 6 cycle or 7 cycle or 8 cycle , instead of runningthe cycle with its harmonic sequence order, we may randomize the sequencing by utlizing 


a) Super-chromatic transitions, in other words transition that the roots  of the chord diffe by a semitone onle (thus only 2 such transitions possible)

b) Melodic trasnitions, in other words transitions that the roots of the chords differ by a mior or major 3rd. In such melodic trasnitions the musical effect is more exciting when both chords are of major type.


An example of such a nice harmony is  the song "song for two Pamelas" by David Grisman and Tony Rice.

https://www.youtube.com/watch?v=w9YdcbzcL6Y&ab_channel=TonyRice-Topic

Here the 7 cycle is 7M7-> 3M7-> 6m (6M7)-> 2m (2M7)-> 5M7-> 1M-> 4M

and th red pairs are melodic trasnitions while the blue pair superchromatic transitions

In other words we avoid the simple chromatic and not super chromatic, transitions. 

6m  4M  3M7

6m 6M7 2m

5M7  1M  4M

4M7 3M7 6m

6M7 1M7 4M 

4M7 2M7  5M7 

5M7 3M7 6m

4M7 3M7 2m 

4M7 6M

6m 2m 7M7

7M7 3M7 6m

6M7 2m

5M7 1M 

379. THE POWER OF MELODIC TRANSITIONS IN CHROMATIC TONALITY: TYPES OF STANDARD CHROMATIC TONALITY INVOLVING HARMONIC MINORS EQUIVALENT TO TRANSPOSITIONS AND MELODIC OR DOUBLE MELODIC TRANSITIONS

 

We discuss here   the 4-cycle   5M-1M-4M-7bM and the coresponding  transitions to harmonic minors triads (which are transition to a major chord a  major third higher thus double  melodic upper transition (first to the upper relative minor and then to the relative major with the same root) or a minor third lower double melodic  lower  transition). With these double melodic transition we may smoothly introduce the minorization of the major chords of the triad as well as the majorizations of the minor chords of he scale instead of direct double relative change onthe same root!

The correspondence of the simpler of such two cycles 

5M-1M-4M and 

3M7-6m-2m   

is such that the roots differ by an interval of 3rd thus melodic transition from majors to minors and vice versa.

Once the harmonic minor is added to its original troads of majors , we have also chords for an andalucian cadenza) 

1) for the 5M->    to the triad 7M7-3m-6m  (harmonic 3 minor, andaluzian cadenza 3m-2M-1M-7M)

2) for the 1M->    to the triad 3M7-6m-2m  (harmonic 6 minor, andaluzian cadenza 6m-5M-4M-3M

3) for the 4M->  to the triad 6M7-2m-5m (harmonic 2 minor, andaluzian cadenza 2m-1M-7bM 6M

4) for the 7bM->    to the triad 2M7-5m-1m    (this involves the blue notes of the 7-notes blues scale and it is also an hamonic 5 minor , andaluzian cadenza 5m-4M-3bM-2M

On the other hand if we make the double melodic lower transition then we have


1) for the 5M->    to the triad 3M7-6m-2m  (harmonic 6 minor, andaluzian cadenza 6m-5M-4M-3M)

2) for the 1M->    to the triad 6M7-2m-5m  (harmonic 2 minor, andaluzian cadenza 2m-1M-7bM-6M

3) for the 4M->  to the triad 2M7-5m-1m (harmonic 5 minor, andaluzian cadenza 5m-4M-3bM 2M

4) for the 7bM->    to the triad 5M7-1m-4m    ( hamonic 1 minor , andaluzian cadenza 1m-7bM-6bM-5M

If the arc of majors is longer like  7M-3M-6M-2M-(5M-1M-4M-7bM)

Then we add also the upper relative major transitions (upper double melodic) 


1) for the 2M->    to the triad 4#M7-7m-3m  (harmonic 7 minor, andaluzian cadenza 7m-6M-5M-4#M)

2) for the 6M->    to the triad 1#M7-4#m-7m  (harmonic 4# minor, andaluzian cadenza 4#m-3M-2M-1#M

3) for the 3M->  to the triad 5#M7-1#m-4#m (harmonic 1# minor, andaluzian cadenza 1#m-7M-6M 5#M

4) for the 7M->    to the triad 2#M7-5#m-1#m    ( hamonic 5# minor , andaluzian cadenza 5#m-4#M-3M-2#M


Of course all the above structure of triads of majors transitioning to triads of major-min-min (harmonic minors)  ,is tralslated also in to a structure of pentachords (internal to a chord) and tetrachords (bridge transitioning bewteen chords) which is a structured platformed forthe creation and composition od improvisational melodies. And for major chords the inner pentachords of the chord are called major pentachords while for minor chords minor pentachords.  Similarly for augmented and diminished chords , they are called augmanted an diminshed pentachords.



The preVious melodic transitiosn are ofte 2nd order (because e.g. the 1M->3M is in 2 steps 1M->3m and 3m->3M) . Neverthleless there are also 1st order melodic transitions and here we give 3 examples of minorĪ¹zation of the majors 

MINORIZATIONS

1)  (5M-1M-4M)-> (4m-1M7)

2)  (4M-5M-1M)-> (1m-5M7)

1)  (1M-4M-5M)-> (5m-2M7)






Sunday, June 13, 2021

378. EXAMPLES OF CHROMATIC TONALITY FROM NEW OLRLEANS JAZZ

 We may  take as an example the Tuba Skinny album  in  Italy of New Orleans Jazz

https://www.youtube.com/watch?v=8QeGi4HGkCk&t=1047s


1) 
 5 cycle of major chords=2M7-5M- 1M -4M-7bM

2) 

tetrad of major chords=2M7-5M 1M 4M

cycle of chords with minors=1M-4m



3)

triad of major chords=5M 1M 4M

cycle of chords with minors=3M7-6m-6M7-2m

4) 

triad of major chords=5M 1M 4M

cycle of chords with minors=3M7-6m


5) 

4 cycle of major chords=2M7-5M 1M 4M

cycle of chords with minors=6M7-2m

6)


5 cycle of major chords=5M 1M 4M 7bM 3bM


377 4 WAYS TO CREATE FULL CHROMATIC TONALITY

 As we have mentioned in the articles about chromatic toanlity, the full chromatic toanlity is created

when besides the 7 notes of the original diatonc scale 1,2,3,4,5,6,7, we also utilize the 5 chromatic or blue notes  1#, 2#, 4# , 5# , 6# .

The 4 methods are 


1) Utilizing the lower and upper relative major diatonic (6 major and 4 major) as in the post 373

2) By utilizing the harmonic minor which adds the blue note 5#, the double harmonic minor which adds the blue notes 2# and 5# and the 7b inverse harmonic minor or 1 blues heptatonic scale which adds the blue notes 2#, 4#, 6#. In total all 5 blue notes thus full chromatic tonality. It canbe done also by utilizing only the harmonic minor and the blues heptatonic scale without  the double harmonic minor. 

3) By utilizing the 1# diatonic scale or the 1b diatinic scale in addition to the 1 diatonic scale! Thus two diatonic scales with the  roots one semitone away.

4) By utilizing two cycles of 7 chords as connected arcs in the whell bu 4ths.  The first cycles is all the diatonic  7d-3m-6m-2m-5M-1M-4M 

The seconds 7-cycle turns some minors to majors and the 5m to 5m

It is the cycle  7M-3M-6M-2M-5m-1M-4M 

The melodies o play should be based on the middle 3rd notes of the chords. 

An alternative pair of 8-cycles of chords is the next

4#m-7m-3M-6m-2m-5M-1M-4M

The seconds 8-cycle turns some minors to majors. 

4#M-7M-3M-6M-2m-5M-1M-4M





376. EXAMPLES OF HAPPY AND NICE CHROMATIC TONALITY HARMONY

 Examples of happpy and nice chord progressions  in chromatic tonality in Portugues guitar folk music (E.g. Jorge Fontes  https://www.youtube.com/watch?v=A6c34JP3JsE&t=150s&ab_channel=tbanjotbanjo )


1) 
triad of major chords=5M 1M 4M

cycle of chords with minors=1M-4m-7bm

2) 

triad of major chords=5M 1M 4M

cycle of chords with minors=6M-2m-5M

3) 
triad of major chords=5M 1M 4M

cycle of chords with minors=5M-1M-4m

4) 

triad of major chords=5M 1M 4M

cycle of chords with minors=5M-1m-4m

5) 
triad of major chords=5M 1M 4M

cycle of chords with minors=2M-5m

6) 
triad of major chords=5M 1M 4M

cycle of chords with minors=3M-6m-2m

7) The 5) and 6) together

1st triad of major chords=5M 1M 4M
1st cycle of chords with minors=7M7-3M-6m-2m (double harmonic minor)

2nd triad of majors  7M7-3M7-6M       (shifts in the upper relative major scale) 
2nd cycle of chords with minors=4#M7-7m (as if harmonic minor in in   2 major scale) 

8) 

triad of major chords=5M 1M 4M

cycle of chords with minors=6m-2m-5M

9) 

1st triad of major chords=5M 1M 4M

1st cycle of chords with minors=3M-6m-2m

2nd triad of major chords=7M7 3M7 6M  (upper relative major scale) 

2nd cycle of chords with minors=4#m-7m-3M-6M

10) 

1st triad of major chords=5M 1M 4M

1st cycle of chords with minors=1M-4m-7bm

11) 1st triad of major chords=5M 1M 4M and then 2 cycles of  double harmonic minors

when at 5M transition to the cycle  (7M7-3M7-6m-2m)  
and  when at 1M transition the the cycle  (3M7-6M7-2m-5m).



2nd cycle of chords with minors=2M-5m