Intro

Definition
MeloHarmony (also calledMelodic Harmony) is both rhythmically and tonally structured -
      Rhythmically, it will be basically binary,
          but can eventually be subjected to transformations which will produce the "irregular" forms,
               starting with ternary structures, presented inRhythm-Transformations
     Tonally, it will be basicallymajor(in the key of C),
          but it can be transposed into other keys, ormodes
          and can be subjected to all forms ofTransformation,
               exceptMetamorphoses(which are included in its Chord Patterns).

Chord Patterns
Chord patterns are constructed backwards from the final cadence,
     in this case from the fundamental, strong DOMINANT / TONIC cadence,
          placed in aLevel 0cell
               (the DOMINANT chord on the Off-Beat and the TONIC chord on the Beat).
As is our custom,
     all the examples which follow are in the diatonicmajormode (Key of C)
          and could be transposed into any other key (by moving theWindow)
     all of the examples are also possible in the inverse diatonicminormode, and
          most of them are also possible in the two chromatic modes,majorandminor.
     Modes and chords are colored according to theirsharporflat MEDIANs.

The Harmonic Staff

  We will now look at an efficient way of representing chords and their progressions.

The Melodic Staff of 5 lines which we have been using for centuries
     is in the Quantitative Dimension ofPITCH,
          from notes of low frequency up to notes of high frequency.

The Harmonic Staff of 2 lines which we propose here
     is in the Qualitative Dimension of PITCH, in theChrominicismof the notes,
          from the flat notes (or chords) up to the sharp notes.
     The six chords will be disposed exactly as they are in theWindow:

	- the 3minorchords (in the top) are placed above the top line (the ANTE-3, Em7),
	on the top line (the ANTE-2, Am7),
	below the top line (the ANTE-1, Dm7), and
	- the 3majorchords (in the bottom) are placed above the bottom line (the DOMINANT, G7),
	on the bottom line (the TONIC, C),
	below the bottom line (the COUNTER-DOMINANT, F6).

- themajorTONIC chord, in the center of the bottom group,
     is evidently on the line
          surrounded, on either side, by its DOMINANT and COUNTER-DOMINANT, and
- theminorTonic chord, in the center of the top group, will, in its mode,
     also be on the line (even when it serves as an ANTE-2 in theMajor Mode)
          surrounded, on either side, by its DOMINANT and COUNTER-DOMINANT.

The Identification Numbering of Chord Progressions

Since this numbering system is meant to be used in theFour Strong Modes
     a prefix will be required to identify the specific mode involved -
           Mfor the Diatonic Major (flattening - descending)
           wfor the Diatonic Minor (sharpening - ascending)
           mfor the Chromatic Minor (flattening - descending), and
           Wfor the Chromatic Major (sharpening - ascending)
               Upper-case for themajormodes, lower-case for theminormodes.
               Right-side-up (Morm) for the flattening modes, up-side-down (Worw) for the sharpening modes.
When no letter-prefix is present, the DiatonicMajorMode (flattening) will be understood.

Ending on the	Flattening (Descending)	Stable	Sharpening (Ascending)
DOMINANT
TONIC
COUNTER

	Chord progression1will be ANTE-1 / DOMINANT (Dm7-G)      (Click graphics for sound)
	Chord progression2will be DOMINANT / DOMINANT (G(7)-G(7))
	Chord progression3will be TONIC / DOMINANT (C6-G)
	Chord progression4will be DOMINANT / TONIC (G7-C)
	Chord progression5will be TONIC / TONIC (C-C)
	Chord progression6will be COUNTER-DOMINANT / TONIC (F6-C)
	Chord progression7will be TONIC / COUNTER-DOMINANT (Cmaj7-F)
	Chord progression8will be ANTE-1 / ANTE-1 (Dm(7)-Dm(7)) possibly COUNTER / COUNTER (F(6)-F(6))
	Chord progression9will be DOMINANT / ANTE-1 (G6-Dm)

Cell
 Each progression forms a rhythmiccell, Off-Beat / Beat,
     preferably atLevel 0.

This numbering is an efficient abbreviation for complete chord patterns which is valid in any key. It might seem fastidious and unnecessary to some, and we will try not to abuse of it. These nine one-cell chord progressions remain within the nucleus of the major Mode with the possible exceptions of progressions 1 and 9 which use the ANTE-1. We say “possible” because it is not yet certain whether the ANTE-1 belongs to the nucleus or not - more of this later.

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Those browsing might wish to start building theChord Patterns!