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Thursday, August 12, 2021

395. RANDOMIZING THE SEQUENCE OF AN HARMONIC CYCLE OF CHORDS BY INTERPOLATING MELODIC AND SUPERCHROMATIC CHORD TRANSITIONS BY MAJOR CHORDS .60% harmonic chord transitions, 30% melodic transitions, 10% superchromatic transitions.

 RANDOMIZING THE  SEQUENCE OF THE CYCLE BY INTERPOLATING MELODIC AND  SUPERCHROMATIC CHORD TRANSITIONS. 60% harmonic chord transitions, 30% melodic transitions, 10% superchromatic transitions. 

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 the red pairs are melodic transitions 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 


Another example is a piece of Gypsy jaz with the following 3 parts of chord progressions

The  t=n is the measures and each measure has two beats. The Beats are fast 220 per minute.

A    6m t=4   2m t=4

      3M7 t=4   6m t=4


B   4M t=2  5M7 t=2

      3m  t=2 6M7 t=2

      2M7  t=4 5M7 t=4


C  1M t=8

     4M  t=2 5M7 t=2

     3m t=2  6M7 t=2

     2m t=2 5M7 t=2

    1M  t=2 6M7 t=2

     2M7 t=4 5M7 t=4 


It is based on the harmonic 6 cycle of chords 3->6->2->5->1->4 

And it has 66% harmonic transitions 17% chromatic transitions ans 17% melodic transitions



CHROMATIC TONALITY OVER THE  RHYTMIC AND HARMONIC PATTERN  OF 12-BARS BLUES.


In the blues (that may be somehow considered a type of rapsody concept collective composition and improvisation) the rhythm is  also standardized to e.g. 12-bars blues, which corelated the rhyrhmic measures with the sequence and duration of the 3 chords 1M, 4M 5M or  1M 2m 5M.

And we may subtitute 


5M with 3m or  7d

But more generally in chromatic tonality we may substitute one of the basic 3chords with some ofthe chords of the chromatic tonality thus we may substitute


1M  with 3M or 6M (besides 3m, 6m)

4M with 2M or 6 M (Besides 2m, 6m)

5M with 3M or 7M. (besides, 3m, 7d) 

e.g. 

1M1M1M1M
2m2M6M6M
3M5M1M1M


Wednesday, July 7, 2021

394. THE SIMPLE OVERTONES FLUTE AND THE 7-NOTES SCALE DOUBLE HARMONIC MINOR AND 8-NOTES SCALE SHAMBA.

 Normally an overtone flute plays a major chord with 7nth with the overtones


The overtones 2-3-4-5-6-7-8 are as steps in diatonic scale the

1-5-1'-3'-5'-7'-1''

Now by closing half the only end hole of  the overtone flute we may get the 7 major chord 

7-4#-7'-2'#-4'#-7'b-7'' 

When closing fully the only one end hole we get the same notes of the initial major chord but with one octave lower. 

From a simple point of view the 1 major chord together with  and 7 major chord givea  hexatonic scale which is a subscale ofthe 7-notrs double harmonic minor scale! 

Furthermore as the root chord is with a 7nth 1-5-1'-3'-5'-7'-1'', actually a 7-note scale is defined

1-2#-3-4#-5-7b-7-1'  with interval structure in semitones  3-1-2-1-3-1-1, which is nothing else than the double harmonic minor ! (In this book, a scale is a mode with all  its cyclic permutations) .


But there is also another insteresting complication. 

For some reason which is that the overones in the various octaves do not fall exactly upon the notes of the piano or bach scale, instead of 3 note with a close hole weget a 2 note . This in total

we get an 8-notes scale  the 

1-2-2#-3-4#-5-7b-7-1'  which isnothong else than the INVERSE SAMBA SCALE (8 notes scale) .

In semitones the Shambach scale is 2 1 1 3 1 2 1 1Sabach (Sambah): Greece

See post 227

In the post 375 we discuss how by opening 6+1 new holes we get all the 12-notes chromatic scale and the fully chromatic overtones flute !