400. SIMPLICIAL SUB-CHORD-PROGRESSION BESIDES SIMPLICIAL SUB-MELODY IN IMPROVISATION

 The simplistic invariant in our emotional subconsious is not only creating the simplicial sub-melody by the melody centers, but also the  simplicial sub-chord-progression

E.g. when in diatonic scale we play a chord progression involving 1M , 2m, 3m, 4M 5M 6m , we may

realize that the 3 minors 2m , 3m, 6m, are lower relative chords ofthe 4M, 5M, 1M and so we actually may havea salternative well fitting also chord progression one that has only the 3 majors 1M, 4M, 5M. which can of course be called the simplicial sub-chord-progression.

An example is to try to improvise melodically on the next quite long piece of gypsu jazz

https://www.youtube.com/watch?v=wy9LiSeDQiU&t=412s&ab_channel=LewisLuongRelaxationCafe

It becomes after some time easy, because it is as if improvising over a simple chord progression involving only the 1M, 4M, 5M. 

399. CLASSIFICATION OF THE METHODS TO LEARN IMPROVISATION THROUGH 3 CENTERS IN THE HUMAN PERSONALITY . MENTAL, KINAESTHETIC, EMOTIONAL.

 A VERY GOOD CLASSIFICATION PRACTICE OF THE METHODS TO LERN IMPROVISATION AND  MAKING FREE MUSIC SIMILAR WITH THE EASINESS WITH WICH WE SPEAK IS TO CLASSIFY  THE METHODS BY 

THE MENTAL CENTER (New concepts of musical theory. E.g. Chromatic tonality, harmonic, melodic , chromatic multitonality, statistical rules of intervals, chords types etc) 

THE KINAESTHETIC CENTER (Appropriation of the musical instruments with new convenient types of tuning, etc The triads chart of the  fretboard etc). The kinaesthetuc center we may analyze further to the 3 external sences of  

1) touching   

2) seeing  

3) listening 

THE EMOTIONAL CENTER (new techniques of training the emotional center through listening ,whistling etc)

We have mentioned elsewhere that the types of improvisation that we include are

 

1) Single instrument with or without chords

2) Predetermined harmony and chord progression by a musician , and improvisation in the melody by another musician

3) Improvised harmony by a musician and improvised melody my another musician

4) Two musicians improvising parallel counterpoint melodies within one or more scales. 

5) A musician improvising a new adoption , with melody and even chords over a predetermined song.

ETC.

Then with such technique we apply the 4 phases

MIMICKING

ASSIMILATION

INNOVATION.

398. 12 bars blues with power chords

 In  this interesting twist, we do not utilize to major chords 1M 4M 5M but the power 2-notes 3 voices chords  1P 4P 5P . Where 1P=1-5-1' , 4P=4-1-4" and 5P=5-1-5'

 

Similarly as in the post   396    may substitute the 1P 4P 5P with relative power chords like  2P 3P 6P 7P 

Why we do it? Because either if we are in the natural minor of the scale or the harmonic minor or the double harmonic minor, the chords remain the same and we have stable harmonic background with very rich melodic variations and transitions to other minor chromatic scales.

397. Brazilian choro chromatic tonality by 3 consecutive diatonic scales in the wheel by 4ths, with their harmonic minor aeolian modes.

 By studying the bazilian choro songs , and also the songs by Jacob do bandolim, which are consideed of expecially complicated harmony , a frequent pattern appears in the chromatic harmony.

There are 2 ways to perceive the patterns. A simple one which neverthless doe not reveal all the secretes and a more complicated which does.

The simple one is that chords utilized are a connected arc of 7 or 8 consecutive chords in the wheel by 4ths. We have commented in previous posts for such 7 cycles or 8-cycles And for  each such chord either the major or the minor or both are  ustilized.

A more revealing perceptions is the next : They are utlized 3 diatonic scales consecutive onthe wheel by 4ths. E.g. [G major C major F major] , or [f major , Bb major, Eb major] etc.

And furthermore each of these diatonic scales are in chromatic tomality derived by the harmonic minor version of its aelonian natural mode , or the double harmonic minor of its aelonian natural minor mode. 

When the harmonic minor version is utilized the 3m chord becomes 3M, and when the double harmonic minor version is utilized then the 7d becomes 7M chord as well. 

We may compare this type of complicated chromatic tonality with that of the post 373 which also utilizes 3 diatonic scales but in melodic not harmonic relation. 

As in the case of reharmonization as in the Gypsy jazz,so with choro, a simple chor progression, to reharmonize it within the choro harmony might require rules like

1) When a chord A  transitions to a next chord B and this transition is melodic (interval by 3rd) or chromatic (interval by 2nd) we reharmonize it by interpolation a 3rd  chord  major 7nth that resolves to B. (harmonic relations like G7->C) 

2) We substitute a major chord with its relative minor and vice versa  if this keeps the local sequence of the chords progression to a connected arc by 4ths in the wheel by 4ths.

With  this 2 rules we create a bias and preference to harmonic chord transitions rather than melodic or chromatic chord transitions.

396. CHROMATIC TONALITY AND ALL 7 MODES MODULATIONS OVER THE RHYTMIC AND HARMONIC PATTERN OF 12-BARS BLUES.

 

CHROMATIC TONALITY AND ALL 7 MODES MODULATIONS 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.

1M 1M 1M 1M 4M 4M 1M 1M 5M 5M 1M 1M    It is standard in tonal harmony that we may substitute a chord with another which is usually one of its minor relative chords. Thus here in this pattern we may substitute 1M  with 6m or 3m 4M with 6m or 2m  e.g. if we substitute 4M with 2m then  1M 1M 1M 1M 2m 2m 1M 1M 5M 5M 1M 1M

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. 

1M	1M	1M	1M
2m	2M	6M	6M
3M	5M	1M	1M

When making the substititutionw it is good to keep the rule of the previous article, that is

 60% harmonic chord transitions, 30% melodic transitions, 10% superchromatic transitions. 

As alternative methods we have that the chord progression of the 12 bars blues can be shifted to all the 7 modes ofthe diatonic scale, so that it can produce different tonal or chrmatic tonal 12-bars blues 

Here are all the 7 modes of the chord progression for the 12 bars blues

IONIAN                  1M 4M 1M 5M 1M 

DORIAN                 2m 5M 2m 6m 2m

FRYFIAN                3m 6m 3m 7d 3m

LYDIAN                  4M 7bM 4M 1M 4M  (chromatic tonality because of the 7b)

MIXOLYDIAN        5M 1M 5M 2m 5M

AEOLIAN                6m 2m 6m 3m 6m

LOCTIAN                7d 3m 7d 4#M 7d  (chromatic tonality because of the 4#)

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.

1M 1M 1M 1M 4M 4M 1M 1M 5M 5M 1M 1M    It is standard in tonal harmony that we may substitute a chord with another which is usually one of its minor relative chords. Thus here in this pattern we may substitute 1M  with 6m or 3m 4M with 6m or 2m  e.g. if we substitute 4M with 2m then  1M 1M 1M 1M 2m 2m 1M 1M 5M 5M 1M 1M

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. 

1M	1M	1M	1M
2m	2M	6M	6M
3M	5M	1M	1M

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 1

Sabach (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 !