This section consists of a series of Song-Generations, starting with those composed of the shortest (one-cell) entities. There will be repeats of the songs which we have seen previously as examples of definitions or procedures. We feel that this repetition is worthwhile because the accent is here on generation and not on analysis.

One-cell Melo-rhythmic Entities

With a Kinetic Cell

We will start with the old favorite Never On Sunday
         because very few songs have such a simple, repetitive, Melo-Rhythm.

Generation of the Melo-rhythmic Pattern of the verse of Never On Sunday
1. Fundamental Cell - the last two complete rows - an elaborate
         p4K4M - \ / _ ' at -40,
                   with a maximum pick-up of seven notes, thirteen notes in the Off-beat,
                   and a Masculine rhyme (_) on the Beat, followed by the final "breath".
2. Repetition of the cell - the total four complete rows -
         p4K4M p4K4M - \ / _ '
                              \ / _ ' at -4+1,
                   with a breath between the two,
         will be applied to allow development of the Melo-lines Pattern for the complete "A" section
                   (The Melo-harmonic Pattern, like the Melo-rhythmic Pattern, is a repeat of the Fundamental Cell).
         There is no Fusion in this pattern, and no real Symmetry since there is only Repetition.
3. Symmetry - This considerable use of Repetition willl be discussed in Analysis.

With a Split Cell

Generation of the Melo-rhythmic Pattern of the chorus of Never On Sunday
1. Fundamental Cell - seventh and eighth rows -
         p3KM - \ / _ ' at -40,
         with a Pick-up of four notes, two notes in the Off-beat,
                   (the number of notes in the Off-beat are of no significance because they will disppear in the Fission)
         and a Masculine Rhyme (_) on the Beat, followed by the final "breath".
2. Fission of the Fundamental Cell -
         the Pick-up is attached to the Masculine Rhyme of the Beat, and
                   the Off-beat takes the form of the Beat, producing
         p3Mp3M - \ _ ' / _ '
                   with a breath between the Off-beat and the Beat.
3. Repetition of the split Fundamental Cell - fifth, sixth, seventh, and eighth rows -
         p3Mp3M p3Mp3M - \ _ ' / _ ' \ _ / _ ' at -4 +1
                   with a breath between the two cells, added to the smaller breaths within each cell.
                             The first Pick-up has the subdivision removed, becoming
                   p3Mp3M p3Mp3M - \ _ ' / _ ' \ _ / _ '
         This Repetition allows the development of the Melo-Harmony Pattern.
4. Repetition of the two Fundamental Cells - the complete eight rows -
         2x (p3Mp3M p3Mp3M) - 2x ( \ _ ' / _ ' \ _ / _ ' )
                             at -4+2
                   with breaths everywere, large between and small within the four cells
                             completing the Melo-Rhythmic pattern of the chorus of this song.
         There is no Fusion in this pattern, and no real Symmetry since there is only Repetition.
5. Symmetry - This considerable use of Repetition willl be discussed in Analysis.

Generation of the Melo-rhythmic Pattern of Down In The Valley
1. Fundamental Cell - third and fourth rows -
         p2KM - \ / . ' at -40,
                   with a Pick-up of three notes, two notes in the Off-beat,
                             (the number of notes in the Off-beat are of no significance
                                       because they will disppear in the Fission)
                   and a Masculine Rhyme (. ') on the Beat, followed by the final "breath".
2. Fission of the Fundamental Cell -
         p2Mp2M - \ . ' / . '
                   with a breath in the center of the cell.
3. Fusion of the Fundamental Cell -
         with a Feminine Rhyme F= - '
                   which diminishes the breath within the cell considerably
         p2F=p2M - \ ' / . '.
4. Repetition of the Fundamental cell
         p2F=p2M p2F=p2M - \ ' / . ' \ ' / . ' at -4+1.
                   with an added breath between the two cells.
5. Change of Meter from 4/4 to 9/19
         by fusing -2 and -1,
                   the second in each group of four (in each ) technically disappears
                             changing the meter to 3/4
         by fusing -4 and -3,
                   the second in each group of four (in each ) technically disappears
                             changing the meter to 9/16.
         The process of "squeezing" is applied at each ternary level.

Two-cell Melo-rhythmic Entities

In a Two-cell entity, the two cells are joined either
         by a Feminine Rhyme on the Beat of the first of the two cells, or
         by a Pick-up before the Off-beat of the second of the two cells,
                   two variations of the Procedure of Fusion.

With Kinetic Cells

The obvious candidate to lead-off this section is evidently Twinkle, Twinkle, Little Star
         with its minimal Division (only at -1).

Generation of the Melo-rhythmic Pattern of Twinkle, Twinkle, Little Star
1. Fundamental cell - second half of the sixth row -
         K1M - / ' at -10,
                   no Pick-up, two notes in the Off-beat, Masculine Rhyme,
                             followed by the final "breath".
2. Repetition of the cell - the whole sixth row -
         K1M K1M - / ' / ' at -1+1,
                   with a breath between the two cells (still two Entities).
3. Fusion with a Feminine Rhyme on the Beat of the first of the two cells
         (F= - ')
                   (half-way through the pattern - the Langer Hinge)
         K1F= K1M - / ' \ / '
                   diminishes the breath considerably, fusing the two cells into the same entity.
4. Repetition of the two-cell pattern - fifth and sixth rows -
         2x (K1F= K1M) - 2x ( / ' \ / ' ) at -1+2,
                   to allow complete generation of the Melo-harmonic and Melo-lines Patterns
                             for the "A" section of the song.
5. and 6. Repetition of the four-cell pattern twice, at -1+4.
         The first group of four cells will be removed to produce the large ternary +3+4
                   required for the "ABA" form of this song - the complete six rows
         6x (K1F= K1M) - 6x ( / ' \ / ')
7. Symmetry - There is probably an excess of Repetition here
         and it might be advantageous to have Feminine Rhymes in the "B" section,
                   at end of the third and fourth rows,
                             as is the case in the French Ah! Vous dirai-je, maman.
         This considerable use of Repetition willl be discussed in Analysis.
                   So will the use of a pick-up (rather than a Feminine Rhyme) in the middle of the third row.

Generation of the Melo-rhythmic Pattern of Love Me Tender
1. Fundamental Cell - eighth row -
         K2M - / ' at -20
                   no Pick-up, four notes in the Off-beat, Masculine Rhyme,
                             followed by the final "breath".
2. Repetition of the Fundamental Cell - seventh and eighth rows -
         K2M K2M - / ' / ' at -2+1
         with a breath between the two
3. Fusion with a Feminine Rhyme on the Beat of the first of the two cells - end of the seventh row -
         F= - '
                   (half-way through the pattern - the Langer Hinge)
         K2F= K2M - / ' \ / '
                   diminishes the breath considerably, fusing the two cells into the same entity.
4. and 5. Repetition will be subsequently applied twice - the complete eight rows -
         producing four such sections, with breaths between them
                   4x (K2F= K2M) - 4x ( / ' \ / ' ) at -2+3
         for the complete "AABA" form.
6. Symmetry - the exact repetition of the same Melo-rhythmic Pattern for the four sections (entities)
         seems to produce excessive symmetry.

Generation of the Melo-rhythmic Pattern of Comin' Through the Rye
1. Fundamental Cell - fourth row -
         K2M - / ' at -20
                   no Pick-up, four notes in the Off-beat, Masculine Rhyme,
                             followed by the final "breath".
2. Repetition of the Fundamental cell - third and fourth rows -
         K2M K2M - / ' \ / ' at -2+1
3. Fusion of the two cells with a Feminine Rhyme at the center ( - the Langer Hinge)
         on the Beat of the first of the two cells - end of the third row -
                   changing M to F+ - ' to '
         K2F+ K2M - / ' \ / '
4. Repetition of these two cells - the complete four rows -
         2x (K2F+ K2M) - 2x ( / ' \ / ' ) at -2+2
5. Symmetry - all seems satisfactory
         This is, of course, the simplified version, without the spreads and snaps, not the performed version.

Generation of the Melo-rhythmic Pattern of Rock-A-Bye Baby
1. Fundamental Cell - eighth row -
         K2M - / ' at -20
                   no Pick-up, three notes in the Off-beat, Masculine Rhyme,
                   followed by the final "breath".
2. Repetition of the Fundamental Cell - seventh and eighth rows -
         K2M K2M - / ' \ / ' at -2+1
                   with a large breath between the two cells.
3. Fusion of the two cells - end of the seventh row -
         by placing a Feminine Rhyme in the center,
                   on the Beat of the first of the two cells (- the Langer Hinge)
         K2F+ K2M - / . ' \ / '
                   reducing the size of the central breath between the two cells.
4. and 5. Repetition will be applied twice - the complete eight rows -
         4x (K2F+ K2M) - 4x ( / . ' \ / ' ) at -2+3
                   with a large, entity breath after every even line.
6. Change of Meter into 3/4
         4x (K2F+ K2M) - 4x ( / ' \ / . ' )
7. Symmetry - the repetition is somewhat excessive with the same Melo-rhythmic Pattern four times.
         Moreover, the words do not respect the Feminine Rhyme of the Fusion perfectly -
                   it appears at the end of the first and seventh lines
                   but is replaced by a Pick-up at the end of the third and fifth lines
                             which places the small breath sooner, before the pick-up.
         This will be discussed in greater detail in Analysis.

Generation of the Melo-rhythmic Pattern of Auld Lang Syne
1. Fundamental Cell - fourth row -
         p2K2M - \ / . ' at -20
                   one note Pick-up, four notes in the Off-beat (two notes on "Lang"), Masculine Rhyme,
                   followed by the final "breath".
2. Repetition of the Fundamental Cell - third and fourth rows -
         p2K2M p2K2M - \ / . ' \ / . ' at -2+1
3. Fusion of these two cells with a Feminine Rhyme in the center ( - the Langer Hinge)
                   on the Beat of the first of these two cells, at the end of the third row
         replacing M by F= and . ' by '
                   reducing the length of the breath between the two cells,
         p2K2F= p2K2M - \ / ' \ / . '
4. Repetition of these two cells - the complete four rows -
         2x (p2K2F= p2K2M) - 2x ( \