This is where we leave the black/white division of The 2 Faces of Music
          to examine various shades of gray, of more or less Melody or Development.
     Theconcept ofAntecedent/Consequent (AC)is worth considering,
               theAdevelopmental (YANG%44%) and theCmelodic (YIN%41%),
          with both theAand theCsubdivided with its ownaand its ownc,
               offering the 4-section bi-levelaA,cA,aC,cCstructure.
     TheAABAandABAforms are also worth considering,
               in this case, with a melodicA(YIN %41%) and a developmental bridgeB(YANG %44%).
          Since theBis both development and antecedent,
               antecedentchord patterns, likeM7(I-IV)andM3(I-V) seem developmental, and
               consequent chord patterns, likeM6(IV-I) andM4(V-I) seem melodic.
     It is interesting to see how meloharmonic chord patterns fit into these forms.
          Example -Twinkle, Twinklewith itsABA-
                Awith chord patternM5664(I-I, IV-I, IV-I, V-I) and
               the bridgeBwith chord patternM3333(I-V, I-V, I-V, I-V).

Preface
Philosophical Dichotomies
Music Dichotomies
Melody and Development
Harmony Dichotomies
Cultural Habits
Intuition and Knowledge

On to theWelcome page
Back to theHome page