(This post has not been written completely yet)
We may create such nice loops, of 2 or 3 or more chords and parallel melodic themes as "dolphin words" with arpeggiator applications in ipad like chordion, dot melody, arpeggist , fugue machine, ioniarics polyrhitmic arpeggiator etc (see post 12 )
We must notice that many application create looping melodic themes that are any sequence of notes, which allows for the loop to be acctually a repeating sequence of smaller melodic thems M1 M2 M3 ...Mn (or "dolphin words") one for each chord C1 ,C2 C3,...Cn of the cycle of chords.
1) As a first step we must compose the progression of cycles and vectors of the independent parts of the melody of the song (as Simplicial Dolphin Words) and their repetition pattern
2) Next we correspond the range of the melodic cycles or vectors among the octaves numbered as in the piano (1st 2nd...6th 7nth etc)
3) As a 3rd step we compose the harmony by choosing the "scale" of chords that will make the chord progression. This is the tools of harmony which are somehow independent from the tools of the melody.
4) As a 4th step we compose the chord sub-progression that accompanies (harmonizes) the cycle (of simplicial melodic moves) and the chord sub-progression that accompanies (harmonizes) the vectors (of simplicial melodic moves).
We may create such nice loops, of 2 or 3 or more chords and parallel melodic themes as "dolphin words" with arpeggiator applications in ipad like chordion, dot melody, arpeggist , fugue machine, ioniarics polyrhitmic arpeggiator etc (see post 12 )
We must notice that many application create looping melodic themes that are any sequence of notes, which allows for the loop to be acctually a repeating sequence of smaller melodic thems M1 M2 M3 ...Mn (or "dolphin words") one for each chord C1 ,C2 C3,...Cn of the cycle of chords.
1) As a first step we must compose the progression of cycles and vectors of the independent parts of the melody of the song (as Simplicial Dolphin Words) and their repetition pattern
2) Next we correspond the range of the melodic cycles or vectors among the octaves numbered as in the piano (1st 2nd...6th 7nth etc)
3) As a 3rd step we compose the harmony by choosing the "scale" of chords that will make the chord progression. This is the tools of harmony which are somehow independent from the tools of the melody.
4) As a 4th step we compose the chord sub-progression that accompanies (harmonizes) the cycle (of simplicial melodic moves) and the chord sub-progression that accompanies (harmonizes) the vectors (of simplicial melodic moves).
