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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Thursday, November 18, 2021
Thursday, November 4, 2021
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.
Sunday, October 31, 2021
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.
MIMICKING
ASSIMILATION
INNOVATION.
Thursday, October 28, 2021
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.
Friday, October 1, 2021
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.
Friday, September 3, 2021
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 |
2m | 2M | 6M | 6M |
3M | 5M | 1M | 1M |
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
1M | 1M | 1M | 1M |
2m | 2M | 6M | 6M |
3M | 5M | 1M | 1M |