0. Preface

The Generation of Melo-rhythmic Patterns for each melody is quite similar
          to the Generation of Rhythm and to the Generation of Harmony.
     1. One starts from Basic Materials, in this case the Fundamental Melo-rhythmic Cell.
     2. Then one applies various forms of Transformations which we call Procedures
          - Division of large note-values, producing the smaller levels
          - Multiplication (copy, repeat) of the Fundamental Cell, producing the larger levels
          - Fission of a cell, dividing it into two identical parts
          - Fusion of several cells producing a single larger Melo-rhythmic Entity.
     3. The Symmetry produced (or destroyed) by these procedures
          is observed during the generative process
               as proper equilibirium of this symmetry must be maintained.
     In the application of this process of generation,
          transformations will not necessarily be applied in the order given above (and below).

1. The fundamental Melo-rhythmic Cell (at Level 0)

1.1. Definition
1.1.0. The Basic Materials of this generation will be the Fundamental Melo-rhythmic Cell
     which is indicatedKM(a Kinetic Off-beat and a static, Masculine, Beat),
          and placed at the end of the Melo-rhythmic Pattern,
               possibly at the end of Melo-rhythmic Entities grouped within the complete Pattern,
     very much the same way that the Fundamental Melo-harmonic Cell
               (4, DOMINANT-TONIC)
          is placed at the end of a Melo-harmonic Pattern.
1.1.1. The Masculine rhyme on its Beat (an undivided ""), static (without movement),
     offers a maximum amount of final rest (followed by a breath); and
1.1.2. its completely Kinetic Off-beat, without any breath to interrupt its movement,
     offers a maximum amount of movement before the rest.

1.2. Two variations are already possible at this primitive, basic (0) size
1.2.1. The Off-beat may be preceded by a pick-up of varying length and subdivision -
     1.2.1.1. one note (maximum at-2) "", indicatedp2, (as inAuld Lang Syne),
          the largest level amount possible at-2without displacing the position of0,
     1.2.1.2. three notes (maximum at-3) "", indicatedp3, (as inOh, When The Saints),
          two notes "", will be indicatedp2, like "", (as inShe'll Be Coming' Round The Mountain),
          one note "", will, for the present, be simply indicatedp, (as inOh Where, Oh Where),or
     1.2.1.3.seven notes (maximum at-4) " ", indicatedp4, (as inNever On Sunday),
          six notes " ", will be indicatedp3, like "", (as inQuando, Quando)
          five notes " ", will for the present be indicated like six notesp3,
               (as inThe Shadow Of Your Smile),
          four notes "", will be indicatedp2, like "",
          three notes "", will be indicated as four notes,
          two notes "", and one note "" will simply be indicatedp.
1.2.2. The static quality of the Beat of this fundamental cellM- 'may be diminished,
          if no Beat of greater static quality precedes it -
     1.2.2.1. by substituting the snapped Feminine rhymeF--. '(as inLondon Bridge),
          which diminishes the static quality slightly, or, less frequently (mostly in 3/4),
     1.2.2.2. by substituting the full Feminine rhymeF=- '(as inTannenbaum),
          which diminishes the static quality more.
1.2.3. The fundamental cell may eventually be submitted
     to the procedures of Division, Fission, and Multiplication.

It is almost impossible to find a case where the Fundamental cell, in its basic state (K1M, possiblypK1M,K1F, orpK1F) remains unchanged by some form of Procedure. However, a simple and approximate example might be better than nothing.

In the fourth and last cell ofPolly Put The Kettle On
           p2K1M- \ / '
     we find the Fundamental Cell in a basic form, without the presence of any procedure.
          However, you will see in theGenerationson the next page,
               that the cell is not as pure and virginal as it might seem.

2. Procedures of Generation

2.0. Intro

Transformations
Four processes of Transformation will be applied to this Fundamental Cell,
     gradually working "backward" toward the beginning of the complete pattern,
          (as is the case with the Melo-harmonic patterns).

2.1. Division

Definition
2.1.0. The first transformation is the division of the large note-values,
     especially those of the Off-beat of a cell,
          and which creates a smaller level with each subdivision.
2.1.1. at-1in two parts "", indicated "K1" (as inTwinkle, Twinkle),
     (this seems the minimal subdivision possible for the Off-beat to possess the required movement)
2.1.2. at-2in four parts "", indicated "K2" (as inAura Lee),
2.1.3. at-3in eight parts " " , indicated "K3"
     (as inShe'll Be Coming ' Round The Mountain), and even
2.1.4. at-4in sixteen parts " ", indicated "K4"
     (as in the verse ofNever On Sunday).
Here is an excellent example of a song
     whose Melo-rhythm consists uniquely of the Fundamental Cell with Division.

In the second and last cell of the verse ofNever On Sunday
     which takes two complete rows of the Box (spread out over three rows),
           p4K4M- \ / _ '
     we find the Fundamental Cell in a basic form,
          a seven-note pickup, on the first line,
          a thirteen-note Off-beat, on the second line
          a masculine rhyme Beat, on the third line.
     Division was the only procedure applied.
          Multiplication will evidently be needed to repeat the Fundamental Cell without the slightest changes.
               This is one of the rare songs where neither Fission nor Fusion are applied.

2.2. Multiplication

2.2.1. Definition
The second (simplest and most common) of these transformations, is that of Multiplication,
     which consists of copying or repeating,
     which may be applied once or several times, and
     which creates the larger levels as it doubles the length of the pattern each time.
This is the only obligatory procedure.

2.2.2. Number of Repeats
2.2.2.1. Applied once to the Fundamental Cell, producing a two-cell result at +1,
     This is what must happen toNever On Sundayin order to complete the verse.
2.2.2.2. Applied twice to the Fundamental Cell, producing a four-cell result at +2.
2.2.2.3. It may also be applied after the procedures of Division and Fission
     have been applied to the Fundamental Cell.

Here is the complete 2-cell verse ofNever On Sunday
      2x (p4K4M)-2x ( \ / _ ')
          with two rows for each cell (four complete rows in all),
     All that was needed was to Multiply (repeat) the Fundamental Cell once.
          Still no Fission or Fusion.

2.3. Fission

Definition
2.3.0. The third transformation is that of Fission,
     where a cell is split into two (usually identical) parts,
          forming smaller Melo-rhythmic Entities.
2.3.1. This fission usually occurs at the beginning of the Melo-rhythmic Pattern by
     replacing the Off-beat by a copy of the Beat, but
     maintaining its pick-up (if there is one), and adding it to the Beat,
          thus placing a breath in the middle of the cell, between the Off-beat and the Beat, and
     making the Off-beat and Beat (with their possible pick-ups) of identical Melo-rhythm.

Application
2.3.2. This fission may be applied with any of the possibilities of the fundamental cell -
     the length and subdivision of pick-up , and
     any form of rhyme -
          a masculine rhyme, anMMcell
               (ex: \ _ ' / _ 'as inOh, When The Saints) or
          a feminine rhyme, anFFcell
          (ex: ' / 'as inMary Had A Little LamborJingle Bells).

The Off-beat
The subdivision of the Off-beat (see 2.1.0.) is not involved here
     since the pattern of the Off-beat disappears and is replaced by that of the Beat.

Variations of the MM cell
There are several variations of theMMcell (see 2.3.2), always with sufficient pick-up (three to six notes) -
2.3.3.p3F=p3Mas inThe Old Refrain
2.3.4.p3Mp3F- p3Mp3Mas inQuando, Quandowith the feminine fusion on the Beat of the first cell
2.3.5.p3Mp3F- p3Mp3F-as inTres Palabras, using only the antecedent of 2.3.4.

The FF cell
With or without pick-up, theFFcell is by far the most popular,
     used extensively as the fusion between cells or sections
2.3.6. without pick-up, as inJingle Bells, Mary Had A Little Lamb, London Bridge
2.3.7. with pick-up as inVoyage au Canada(Charles Trenet).

Here is the complete 4-cell chorus ofNever On Sunday
      4x (p3Mp3M)-2x ( \ _ / _ ' \ _ / _ ')
          with two rows for each cell (eight complete rows in all).
     Only the first and fifthps remain undivided into
          Still no Fusion, only an uninterupted succession ofMrhymes.

2.4 Fusion

2.4.0. The fourth transformation is that of Fusion,
     where, after Multiplication, two or more cells are tied together
          to form a larger Melo-rhythmic Entity.

Joining the two cells of +1 (KM KM),
     with a reduction of the static inertia of the Beat of the first cell,
2.4.1. by placing a Feminine Rhyme in the middle (KF= KM, possiblyKF- KM), or
2.4.2. by placing a Pick-up in the middle (KM pKM), or, on occasion,
2.4.3. by using both means (KF= pKMorKF- pKM).
     This is what we call aLanger Hinge, in the middle of a 2-cell Melo-rhythmic Entity

Here are the last two cells ofTwinkle, Twinkle, Little Star
      { K1F= K1M }-{ / ' \ / ' }
          with a cell in each row.
     These cells were originally
           K1M K1M- / ' \ / '
     Fusion was achieved by placing a Feminine RhymeF=on the first cell,
          thereby reducing the breath and tying the two cells together into one Rhymic Entity.

Joining four cells of +2,
2.4.4. by applying the feminine rhyme (or the pick-up)
     on the Beat of the second cell (in the middle).
There are numerous examples in the followingGenerationsection.

Fusion is normally applied at the end of a pattern,
          as in theMI-MI-MA
     contrary to Fission which is normally applied at the beginning,
          as inJingle Bells.

3. Symmetry

3.1 Once procedures have been applied, the next step is to observe the Symmetry
     which exists between different elements of the pattern,
     and which is essential to the equilibrium of the pattern.
3.2. If the symmetry is insufficient (less than two, in other words, none at all),
          then a repeat will be required.

Example - with a cell in each row (two rows in all).
     The first two cells ofJingle Bellswere originally identical.
           K2M- / (as in the last cell).
     - Once Fusion had changed the Beat of the first cell
          from MasculineM-to FeminineF=- ',
     - and Fission had changed its Off-beat,
          from KineticK-to FeminineF=- ',
     there was increased Symmetry within the first cellF=F=- ' / 'but
          there was no symmetry left between the two cells.
     Repetition was by the fact obligatory.

3.3. If the symmetry is excessive (more than three, in most cases everywhere),
          then a change is required, usually in the Off-beat of the last cell.
     Examples includePolly Put The Kettle On.

Three types of Symmetry
3.4. There are three types of symmetry
     3.4.1. Between the Off-beats of different cells (indicated "ObOb")
               resulting from Fusion at +1.
          Example
               - InTwinkle, Twinkle,with the patternK1F= K1M- / ' \ / '
                    the Off-beats () have the same Melo-rhythm.
               - In Aura Lee , with the patternK2F= K2M- / ' \ / '
                    the Off-beats () have the same Melo-rhythm.
               - InRed River Valley, with the patternp2K3F-- p2K3M-
                          \ / ._' \ / . '
                    the Off-beats ( ) have the same Melo-rhythm.
     3.4.2. Between complete cells, with Off-beats the same and Beats the same (indicated "cell")
               resulting from Fusion at +2.
          Examples includeMary Had A Little Lamb,between the first and third cells.
     3.4.3. Between the Off-Beat and the Beat of the same cell (indicated "ObB")
               resulting from Fission of a cell.
          Example
               - InJingle Bells, with the patternF=F=- ' / '
                    both the Off-beat and the Beat ( ') had the same Melo-rhythm.
3.5. Another important element in the equilibrium of the pattern is the process of increasing level size.
     This consists of a gradual evolution, during a Melo-rhythmic Pattern,
          passing fromsmallertolargerlevels.
     The main actor in this progressive operation seems to be the breath,
          its depth and the frequency of its occurence.
     Although the levels do not actually change, the breaths draw the attention of the listener
          from0(which has a breath after the beat of each cell) the normal point of focus,
          to-1(with a breath after the Off-beat as well as one after the Beat of a split cell)
               at the beginning of the song, and eventually
          to+1(with two cells tied together and the breath only after the second cell)
               at the very end of the song.

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