Generation


home	news	cq	clips	color	definitions	rcode	chord symbols	numbering	contribution

Melody / Melo-Rhythm / Generation

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 favoriteNever 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- Sixteenth note \ Eight note / Half note _ 'at-4 0,
          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- Sixteenth note \ Eight note / Half note _ '
                \ / _ '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 inAnalysis.

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- Sixteenth note Eight note \ Half note / _ 'at-4 0,
     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 ( Half note _ Eight note ) 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- Sixteenth note Eight note \ Half note _ ' / _ '
          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- Sixteenth note Eight note \ Half note _ ' / _ ' \ _ / _ 'at -4 +1
          with a breath between the two cells, added to the smaller breaths within each cell.
               The first Pick-up has thesubdivision removed, becoming Eight note
           p3Mp3M p3Mp3M- \ Half note _ ' Sixteenth note / _ ' \ _ / _ '
     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 ( Eight note \ Half note _ ' Sixteenth note / _ ' \ _ / _ ' )
               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 inAnalysis.

Generation of the Melo-rhythmic Pattern of Down In The Valley
1. Fundamental Cell - third and fourth rows -
      p2KM- Eight note Sixteenth note \ Half note / . 'at-4 0,
          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 ( Half note . ') on the Beat, followed by the final "breath".
2. Fission of the Fundamental Cell -
      p2Mp2M- Eight note Sixteenth note \ . ' / . '
          with a breath in the center of the cell.
3. Fusion of the Fundamental Cell -
     with a Feminine RhymeF=- Half note Quarter note '
          which diminishes the breath within the cell considerably
      p2F=p2M- Eight note Sixteenth note \ ' / . '.
4. Repetition of the Fundamental cell
      p2F=p2M p2F=p2M- \ Half note Quarter note ' / . ' \ ' / . 'at-4 +1.
          with an added breath between the two cells.
5. Change of Meter from 4/4 to 9/19
     by fusing-2and-1,
          the second Quarter note in each group of four (in each Whole note ) technically disappears
               changing the meter to 3/4
     by fusing-4and-3,
          the second Sixteenth note in each group of four (in each Quarter note ) 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 evidentlyTwinkle, 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- Half note / Whole note 'at-1 0,
          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- Half note / Whole note ' / '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 - theLanger Hinge)
      K1F= K1M- Half note / ' \ / Whole note '
          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 ( Half note / ' \ / Whole note ' )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 ( Half note / ' \ / Whole note ')
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 FrenchAh! Vous dirai-je, maman.
     This considerable use of Repetition willl be discussed inAnalysis.
          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- Quarter note / Whole note 'at-2 0
          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- Quarter note / Whole note ' / '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=- Quarter note Half note '
          (half-way through the pattern - theLanger Hinge)
      K2F= K2M- / ' \ / Whole note '
          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 ( Quarter note / Half note ' \ / Whole note ' )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- Quarter note / Whole note 'at-2 0
          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- Quarter note / Whole note ' \ / 'at-2 +1
3. Fusion of the two cells with a Feminine Rhyme at the center ( - theLanger Hinge)
     on the Beat of the first of the two cells - end of the third row -
          changingMtoF+- Whole note 'to Quarter note '
      K2F+ K2M- / ' \ / '
4. Repetition of these two cells - the complete four rows -
      2x (K2F+ K2M)-2x ( Quarter note / ' \ / Whole note ' )at-2 +2
5. Symmetry - all seems satisfactory
     This is, of course, the simplified version, without the spreads and snaps, not theperformedversion.

Generation of the Melo-rhythmic Pattern of Rock-A-Bye Baby
1. Fundamental Cell - eighth row -
      K2M- Half note Quarter note / Whole note 'at-2 0
          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- Half note Quarter note / Whole note ' \ / '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 (- theLanger Hinge)
      K2F+ K2M- Half note Quarter note / . ' \ / Whole note '
          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 ( Half note Quarter note / . ' \ / Whole note ' )at-2 +3
          with a large, entity breath after every even line.
6. Change of Meter into 3/4
      4x (K2F+ K2M)-4x ( Quarter note / Half note ' \ / . ' )
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 inAnalysis.

Generation of the Melo-rhythmic Pattern of Auld Lang Syne
1. Fundamental Cell - fourth row -
      p2K2M- Quarter note \ / Half note . 'at-2 0
          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- Quarter note \ / Half note . ' \ / . 'at-2 +1
3. Fusion of these two cells with a Feminine Rhyme in the center ( - theLanger Hinge)
          on the Beat of the first of these two cells, at the end of the third row
     replacingMbyF=and Half note . 'by Quarter note '
          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 ( Quarter note \ / ' \ / Half note . ' )at-2 +2.
5. Symmetry - everything seems satisfactory.
NOTE - the firstof each Off-beat, as well as the firstof the first and third Beat,
     is habitually performed dotted Quarter note . Eight note .

Generation of the Melo-rhythmic Pattern of Red River Valley
1. Fundamental Cell - fourth row -
      p2K3M- Eight note \ Quarter note / Half note . 'at-3 0
          two notes pick-up, six notes in the Off-beat, Masculine Rhyme (less the pick-up),
               followed by the final "breath".
2. Repetition of the Fundamental Cell - third and fourth rows -
      p2K3M p2K3M- Eight note \ Quarter note / Half note . ' \ / . 'at-3 +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 third row -
      F--- Eight note Quarter note ._ '(a double snap)
          (half-way through the pattern - theLanger Hinge)
      p2K3F-- p2K3M- \ / ._ ' \ / Half note . '
          diminishes the breath considerably, fusing the two cells into the same entity.
4. Repetition will be subsequently applied once - the complete four rows -
     to allow generation of the Melo-harmonic and Melo-lines Patterns
      2x ( Eight note \ Quarter note / ._ ' \ / Half note . ' )at-3 +2.
5. Symmetry - everything seems fine.

Generation of the Melo-rhythmic Pattern of Oh Where, Oh Where Is My Little Dog Gone?
1. Fundamental Cell - fourth row -
      pK3M- Eight note \ Quarter note . / Half note _. 'at-3 0
          one note Pick-up, five notes in the Off-beat (two notes on the second "where"), Masculine Rhyme,
               followed by the final "breath".
2. Repetition of the Fundamental Cell - third and fourth rows -
      pK3M pK3M- Eight note \ Quarter note . / Half note _. ' \ . / _. 'at-3 +1
          with a large breath between each cell.
3. Fusion with a Feminine Rhyme in the center - end of the third row - theLanger Hinge
      Quarter note Eight note . 'instead of Half note _. '
          reducing the size of the breath between the two cells.
      pK3F+ pK3M- \ . / . ' \ . / _. '
4. Repetition of these two cells - the complete four rows -
          to complete the Melo-lines Pattern of this song.
      2x (pK3F+ pK3M)-2x ( Eight note \ Quarter note . / . ' \ . / Half note _. ' )at-3 +2
5. Change of Meter into 6/8 time -
      2x (pK3F+ pK3M)
     - Eight note \ Quarter note / . ' \ / ._ ' \ / . ' \ / ._ '
6. Symmetry - Note that a second Pick-up note creeps in before the third cell,
          at the end of the second row, in the very center of the piece,
     an excellent choice, which makes the central breath slightly shorter than the final breath,
          but still longer than the small breaths at the end of the first and third rows.
     Bonus points will be added inAnalysis.
          However, the Feminine Rhymes (at the end of the first and third rows) are not identical.

With Split Cells

Generation of the Melo-rhythmic Pattern of Autumn Leaves
1. Fundamental cell - fourth row -
      p3KM- Eight note \ Half note / _ ',
2. Fission of the cell - breathing at the next smaller level (-1),
      p3Mp3M- \ _ ' / _ ', at-3 0.
          Off-Beat and Beat are now identical, each a "mini" Melo-rhythmic Entity.
3. Repetition of the pattern - third and fourth lines -
          to allow complete generation of the Melo-harmonic Pattern (the circle),
      MM MM- Eight note \ Half note _ ' / _ ', \ _ ' / _ 'at-3 +1
4. Fusion with a Feminine Rhyme in the center - end of the third row - theLanger Hinge
      F-- Quarter note _ Eight note 'instead ofM- Half note _ '
          reducing the size of the breath between the two cells.
      p3Mp3F- p3Mp3M- \ _ ' / _ ', \ _ ' / _ '
5. Repetition of these two cells - the complete four rows -
          to complete the Melo-lines Pattern of this song.
      2x (p3Mp3F- p3Mp3M)-2x ( Eight note \ Half note _ ' / Quarter note _ ', \ _ ' / _ ' )
          at-3 +2
6. Symmetry - everything seems fine.

Generation of the Melo-rhythmic Pattern of Quando, Quando
1. Fundamental cell - fifteenth and sixteenth rows -
      p3KM- Sixteenth note \ Half note / _ Eight note ',
2. Fission of the cell - breathing at the next smaller level (-1),
      p3Mp3M- \ _ ' / _ ' at-3 0.
          Off-Beat and Beat are now identical, each a "mini" Melo-rhythmic Entity.
3. Repetition of the pattern - rows thirteen to sixteen -
          to allow complete generation of the Melo-harmonic Pattern,
      2x (p3Mp3M)-2x ( Sixteenth note \ Half note _ Eight note ' / _ ' )at-3 +1
4. Fusion with a Feminine Rhyme in the center - end of the fourteenth row - theLanger Hinge
      F-- Quarter note _ 'instead ofM- Half note _ Eight note '
          reducing the size of the breath between the two cells.
      p3Mp3F- p3Mp3M-
           Sixteenth note \ Half note _ Eight note ' / Quarter note _ ' \ _ ' / _ '
5. and 6. Repetition of these two cells twice - the complete sixteen rows -
          to complete the "AABA" structure of this song.
7. Symmetry - in a valiant attempt to avoid excessive symmetry,
     the subdivision of the first three Pick-ups in the "B" section (the "Bridge")
          have been changed to Sixteenth note Eight note
               at the beginning of the ninth, tenth, and eleventh rows.
     The overall length of the Pick-upsremains the same.

With Split and Kinetic Cells

Generation of the melo-rhythmic pattern of Jingle Bells
1. Fundamental cell - fourth row -
      K2M- Quarter note / Whole note 'at-2 0,
          no Pick-up, four notes in the Off-beat, Masculine Rhyme,
               followed by the final "breath".
2. Repetition of the cell - third and fourth rows -
      K2M K2M- Quarter note / Whole note ' \ / 'at-2 +1,
          with a breath between the two cells.
3. Fusion with a Feminine rhyme on the Beat of the first cell - end of third row - theLanger Hinge
      F=- Quarter note Half note '
          (half-way through the pattern)
      K2F= K2M- / ' \ / Whole note '
          diminishes the breath considerably, fusing the two cells into the same entity.
4. Repetition of the two cells - the complete four rows -
      K2F= K2M K2F= K2M- Quarter note / Half note ' \ / Whole note ' \ / ' \ / 'at-2 +2
5. Fission of the first cell, breathing at the next smaller level (-1) - first row
      F=F=- ' / '
          Off-Beat and Beat are now identical.
6. Supplementary Fusion of the last two cells - third and fourth rows -
          by placing a Pick-up Eight note before the fourth cell - at the end of the third row
      F=F= K2M K2F= p2K2M- Quarter note Half note ' / ' \ / Whole note ' \ / ' \ / '
7. Repetition will be subsequently applied to the whole four rows
          with exactly the same Melo-rhythmic Pattern, and even the same words,
     to allow complete generation of the Melo-harmonic and Melo-lines Patterns
8. Symmetry - Repetition is crucial, in this case, because, with the Fission of the first cell,
     there is very littleSymmetryleft between the four cells.
It is interesting to also note where the phrasing is dotted ( Quarter note . Eight note ) -
      Half note ' / ' \ . / Whole note ' \ . ' / ' \ / '
     and that the lastis not dotted.

Generation of the Melo-rhythmic Pattern of Aura Lee
1. Fundamental Cell - eighth row -
      K2M- Quarter note / Whole note 'at-2 0
          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- Quarter note / Whole note ' / 'at-2 +1
          with a breath between the two cells
3. Fusion with a Feminine Rhyme on the Beat of the first cell - end of the seventh row -
      F=- Quarter note Half note '
          (half-way through the pattern - theLanger Hinge)
      K2F= K2M- / ' \ / Whole note '
          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 2-cell sections, with breaths between them
      4x (K2F= K2M)-4x ( Quarter note / Half note ' \ / Whole note ' )
6. Fission will be applied to the first cell of the third section - fifth row -
          to produce the "B" section of an "AABA" form - fifth and sixth rows -
      F=F= K2M- Quarter note Half note ' / ' \ / Whole note '
          and a solitary Pick-upp2-will be inserted in the last section, between its two cells.
      2x (K2F= K2M), F=F= K2M, K2F= p2K2M
     -2x ( Quarter note / Half note ' \ / Whole note ' ),
           ' / ' \ / ' , / ' \ / '
7. Symmetry - the split cell at the beginning of the "B" section
     prevents excessive symmetry in the Melo-Rhythm

Commentary
The comparison between Aura Lee andLove Me Tenderis inevitable -
     They are both the same melody and have only minute differences in the music -
          the split cell at the beginning of the bridge (the "B" section), and
               the Pick-up added between the last two cells, as well as
          the change of the last two notes in the Off-beat of the last cell
               occur only in Aura Lee.
     All of these differences seem advisable
          and profitable to the Symmetry of the Melo-Rhythm and the Melo-Lines.
     More of these commentaries inAnalysis.

Generation of the Melo-rhythmic Pattern of Der Tannenbaum
1. Fundamental Cell - on the sixth line -
      p2K2F=- Quarter note \ / Half note 'at-2 0
          a one-note Pick-up, four notes in the Off-beat, Feminine Rhyme,
               followed by the final "breath".
2. Repetition of the Fundamental Cell - fifth and sixth lines -
      p2K2F= p2K2F=- Quarter note \ / Half note ' \ / 'at-2 +1
     with a breath between the two
3. Subdivision of the Beat of the first of the two cells - end of the fifth line -
      Half note Quarter note 'becomes '
      p2K2F= p2K2F=- \ / ' \ / '
4. and 5. Repetition twice producing four 2-cell entities,
     the first of which is removed in the "ABA" form - the complete six rows.
6a. Fission of the first cell in each "A" section - end of the first and fifth rows -
          uniquely with the words, the note-values remaining the same -
      p2F=p2F= p2K2F=- Quarter note \ ' / ' \ / Half note '
6b. Subdivision of the Beat in the second cell of the "B" section - end of the fourth row -
      p2K2F= p2K2F=- \ / ' \ / '
7. The complete "ABA" - the six rows -
      p2F=p2F= p2K2F= p2K2F= p2K2F= p2F=p2F= p2K2F=
      Quarter note \ ' / ' \ / Half note ' \ / ' \ / ' \ ' / ' \ / '
8. Changing the Meter to 3/4 -
      \ Eight note ' / ' \ / ' \ / ' \ / ' \ ' / ' \ / '
          Dots are frequently used in performance, especially in theof the first and fifth rows.
9. The Symmetry seems quite satisfactory.

With One- and Two-cell Entities

Generation of the melo-rhythmic pattern of Happy Birthday
1. Fundamental cell - fourth row -
      p2K2M- Eight note \ Half note Quarter note / . 'at-2 0,
          two notes pick-up at -3 , three notes in the Off-beat, Masculine Rhyme,
               followed by the final "breath".
2. Repetition of the cell - third and fourth rows -
      p2K2M p2K2M- Eight note \ Half note Quarter note / . ' \ /. 'at-2 +1,
          with a breath between the two cells.
3. Repetition of the two cells - the complete four rows -
      p2K2M p2K2M p2K2M p2K2M-
           Eight note \ Half note Quarter note / . ' \ / . ' \ / . ' \ / . 'at-2 +2
          with breaths between the four.
4. Fusion with a Feminine rhyme on the Beat of the third cell
      F=- Half note Quarter note '
          at the end of the third row - theLanger Hinge
     -p2K2M p2K2M p2K2F= p2K2M-
           Eight note \ Half note Quarter note / . ' \ / . ' \ / ' \ / .
     diminishes the breath considerably, fusing the last two cells into the same entity
          and applies a MI-MI-MA form to the complete pattern.
5. Changing the meter to 3/4:
      Eight note \ Quarter note / Half note ' \ / ' \ / ' \ / '
          with-2and-1fused into one ternary level-2-1.

Generation of the melo-rhythmic pattern of She'll Be Coming 'Round The Mountain
1. Fundamental cell - fourth row -
      p2K3M- Eight note \ / Half note . 'at-2 0,
           pick-up at -3 , eight notes in the Off-beat, Masculine Rhyme,
               followed by the final "breath".
2. Repetition of the cell - third and fourth rows -
      p2K3M p2K3M- \ / Half note . ' \ / . 'at-2 +1,
          with a breath between the two.
3. Repetition of the two cells - the complete four rows -
      p2K3M p2K3M p2K3M p2K3M
      Eight note \ / Half note . ' \ / . ' \ / . ' \ / . 'at-2 +2,
          with breaths between the four.
4. Fusion of the two last cells with a Feminine rhyme on the Beat of the third cell
      F+- Eight note '
          at the end of the third row - theLanger Hinge
      p2K3M p2K3M p2K3F+ p2K3M
      Eight note \ / Half note . ' \ / . ' \ / ' \ / . '
          diminishes the breath considerably,
               fusing the last two cells into the same entity, and applying the MI-MI-MA form.
5. Fission will be applied to the third cell, changing it to
      F+F+- Eight note \ ' / '
          producing the completed pattern -
      p2K3M p2K3M p2F+p2F+ p2K3M
      \ / Half note . ' Eight note \ / . ' \ ' / ' \ / . '
6. Symmetry - everything seems fine.

Generation of the melo-rhythmic pattern of Oh When the Saints
1. Fundamental cell - fourth row -
      p3K2M- Eight note \ Quarter note / Half note _ 'at-2 0,
          three notes pick-up at -3 , four notes in the Off-beat, Masculine Rhyme,
               followed by the final "breath".
2. and 3. Repetition of the cell twice - the complete four rows -
      p3K2M p3K2M p3K2M p3K2M
     - Eight note \ Quarter note / Half note _ ' \ / _ ' \ / _ ' \ / _ '
          at-2 +2,
4. Fission of the first cell - the first row -
      p3Mp3M- Eight note \ _ ' / _ '
5. Fusion with a Feminine Rhyme of the last two cells - third and fourth rows - theLanger Hinge
      F-- Quarter note _ '
          diminishes the breath considerably,
               fusing the last two cells into the same entity, and applying the MI-MI-MA form.
      p3Mp3M p3K2M p3K2F- p3K2M-
Eight note \ Half note _ ' / _ ' \ Quarter note / _ ' \ / _ ' \ / _ '
6. Symmetry - all seems fine.
     There are even two MI-MI-MAs here -
          a small one in the first two rows, and
          a large one in the four rows.

Four-cell Melo-rhythmic Entities

With Kinetic Cells

Generation of the melo-rhythmic pattern of Polly Put The Kettle On
1. Fundamental Cell - fourth row
      K2M- Quarter note / Whole note 'at-2 0,
          no Pick-up, four notes in the Off-beat, Masculine Rhyme,
               followed by the final "breath".
                    (All this happens at "6. Symmetry".)
2. Repetition of the Fundamental Cell - third and fourth rows
      K2M K2M- Quarter note / Whole note ' / 'at-2 +1,
          with a breath between the two cells.
3. Fusion of the two cells with a Feminine Rhyme - end of the third row - theLanger Hinge
           F=- Quarter note Half note 'on the Beat of the first of the two cells
      K2F= K2M- / ' \ / Whole note '
          diminishes the breath considerably, fusing the two cells into the same entity.
4. Repetition of the two cells - the complete four rows
      K2F= K2M K2F= K2M- Quarter note / Half note ' \ / Whole note ' \ / ' \ / 'at-2 +2,
          with a breath between the two entities.
5. Fusion of the second and fourth cells with a Feminine Rhyme - end of the second row
          to tie the four cells into one single entity
      K2F= K2F= K2F= K2M- Quarter note / Half note ' \ / ' \ / ' \ / Whole note '.
6. Symmetry - there is excessive ObOb-symmetry (four times) and
     the Off-beat of the fourth cell - beginning of the fourth row -will be reduced toK1-.
7. Fusion will be increased between the last two cells
          by the addition of a pick-up (p2- Quarter note ') between them
     - end of the third row
          (typical procedure of increasing the level size at the end).
      K2F= K2F= K2F= p2 K1M- / Half note ' \ / ' \ / ' \ / Whole note '
8. Symmetry - all now seems fine.

With Split and Kinetic Cells

Generation of the melo-rhythmic pattern of Mary Had A Little Lamb
1. Fundamental Cell - fourth row
      K2M- Quarter note / Whole note 'at-2 0,
          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- Quarter note / Whole note ' \ / 'at-2 +1,
          with a breath between the two cells.
3. Fusion of the two cells with a Feminine Rhyme - end of third row - theLanger Hinge
          on the Beat of the first of the two cells
      K2F= K2M- Quarter note / Half note ' \ / Whole note '
          diminishes the breath considerably, fusing the two cells into the same entity.
4. Repetition of the pattern - the complete four rows
      K2F= K2M K2F= K2M- Quarter note / Half note ' \ / Whole note ' \ / ' \ / 'at-2 +2
          with a breath between the two entities.
5. Fusion of the second and fourth cells with a Feminine Rhyme - end of second row
     (F=- Quarter note Half note ')
          to tie the four cells into one single entity
      K2F= K2F= K2F= K2M- / ' \ / ' \ / ' \ / Whole note '
6. Symmetry - there is excessive ObOb-symmetry (four times) and
7. Fission will be applied to the second cell - second row - changing it to
      F=F=- Quarter note Half note ' / '.
8. Fusion will be increased between the last two cells by the addition of a pick-up () between them
          (typical procedure of increasing the level size at the end end of the entity - end of third row).
      K2F= F=F= K2F= p2K2M- Quarter note / Half note ' \ ' / ' \ / ' \ / Whole note '

Generation of the melo-rhythmic pattern of London Bridge
1. Fundamental Cell -K2F-- Quarter note / Half note . 'at-2 0,
          followed by the final "breath".
                    (The reduction of the division of the Off-beat happens at "8.")
2. Repetition of the Fundamental Cell -
      K2F- K2F-- Quarter note / Half note . ' \ / . 'at-2 +1,
          with a breath between the two cells.
3. Fusion of the two cells with a full Feminine Rhyme - end of third row - theLanger Hinge
      F=- Quarter note Half note '
          on the Beat of the first of the two cells
      K2F= K2F-- / ' \ / . '
          diminishes the breath appreciably, fusing the two cells into the same entity.
     Note that the finalF-has a deeper breath than the middleF=.
4. Repetition of the two cells - the complete four rows
      K2F= K2F- K2F= K2F--
           Quarter note / Half note ' \ / . ' / ' \ / . 'at-2 +2,
               with a breath between the two entities.
5. Fusion of the second and fourth cells with a Feminine Rhyme - end of second row
      F=- Quarter note Half note '
          to tie the four cells into one single entity
      K2F= K2F= K2F= K2F-- / ' \ / ' \ / ' \ /. '
          Once again, note that the finalF-has a deeper breath than the middleF=.
6. Symmetry - there is excessive ObOb-symmetry (four times) and
7. Fission will be applied to the second cell - end of second row - changing it to
      F=F=- Quarter note Half note ' / '
8. There is no longer excessive ObOb-symmetry (only three times)
     but it is still possible to reduce the Off-beat of the fourth cell toK1-.
          Note that further fusion was not increased between the last two cells by the addition of a pick-up.
     This is probably due to the presence of the final snap which reduces the sense of "finality" at the very end of the song, leaving the rhythm slightly "open", with an antecedent quality, less "final" than the "true" end (with the normalM) and thus less in need of further fusion.
      K2F= F=F= K2F= K1F-- Quarter note / Half note ' \ ' / ' \ / ' \ / . '

Those on a Guided tour should click onin the Navigation Bar below.

Those browsing might wish to see the page which
comments
on these examples of generation.

Previous

Top

Next