THE 6 BASIC FACTORS IN THE PERCEPTION AND COMPOSITION OF MELODIC SENTENCE (THEME)
The 6 basic factors are
1) The macroscopic parts morphology of the melody (macro layer) .
E.g.
A1= 1ST IDEA MELODIC THEME OR SENTENCE (INNOVATION) , SYLLABLES 1-4
A2=1ST IDEA AGAIN REPEAT OR VARIATE -ESCALATE (MIMIC), SYLLABLES 4-8
A3=MUTATION-CONTINUATION (ASSIMILATION 2ND INOVATION) SYLLABLES 9-12
A4 =CLOSURE WITH ASCENZA OR CADENZA
(COMPLETION INTEGRATION ) SYLLABLES 13-15
We may permute the 4 parts to
A1= 1ST IDEA MELODIC THEME OR SENTENCE (INNOVATION) , SYLLABLES 1-4
A3=MUTATION-CONTINUATION -CONTRAST IDEA (ASSIMILATION 2ND INOVATION) SYLLABLES 4-8
A2=1ST IDEA AGAIN REPEAT OR VARIATE (MIMIC), SYLLABLES 9-12
A4 =CLOSURE WITH ASCENZA OR CADENZA (COMPLETION INTEGRATION ) SYLLABLES 13-15
2) The Quality: Chromatic, melodic , harmonic character of the melodic theme (micro layer) . Analogy of intervals of 2nds (chromatic) 3rds or 6th (melodic) and 4th or 5th (harmonic ) It is the arpeggio-tail aspect of the melodic theme
3) Chord harmony of the melodic theme (micro layer). Order of appearance of intervals of 3rds minor or major and where, which is essentially the harmony of the underlying chord(s). The 3 notes of the chord symbolize also the 3 types of waves up-ending wave, middle-ending wave , down-ending wave.
4) Cycles dynamics of the melodic theme (middle layer). Wave-up, Wave-down dynamics or topology of the melody (structure of "Dolphin words" as termed elsewhere in this book). This includes cadenzas and ascents. Besides the trinity wave-up, wave-down and wave horizontal, we have also mainly a trinity again of further waving. Thus a wave up is very often through 3 sub-waves a) long wave up, b) short wave down, c) long wave up. While a wave down is very often through 3 sub-waves a) long wave down, b) short wave up, c) long wave down. And a flat horizontal wave is most often through 3 sub-waves a) short wave up or down , b) short wave down or up c) short wave up or down.
5) Power of 2 micro-rhythmic expansion of the melodic theme (nano layer, quantitative poetic micro-meter and syllabic poetic macro-meter) . The use of orders of rhythmic speed as powers of 2 (whole, notes, half, quarters, eighths etc). The poetic macro-meter is the constant number of syllables in the lines of a poem (e.g. 15-syllables poetry). This is usually translated in the melody that the melodic-themes bridges of pairs of chords are always of the same duration or number of notes as in the poetry
Usually we may impose a poetic measure or meter (https://www.youtube.com/watch?v=S13Tg3RAUW4&ab_channel=OSUSchoolofWriting%2CLiteratureandFilm) as combination or pattern of long-short notes where the long has double duration compared to the short
E.g. alternation of long-short, is the trochaic poetic measure. (https://www.youtube.com/watch?v=SBTKb5a1gSA&ab_channel=LocalGemsPoetryPress)The long note is in the chord, the short may be outside the chord. In this way we know that the melody fits the underlying chord. The trochaic poetic meter is identical with the swing rhythm of dancing. The word also trochaic in ancient Greek has the same root with the
wheel= trochos and it means "of the type of wheel". Other poetic measure can be applied as long as they are divided in to two parts of long-shorts, so that one part has longer duration and must be from notes mainly inside the underlying chord, while the shorter part possibly from notes mainly outside the chord.
6) Instrument's or voice's timbre (super nano layer) . The timbre and nature of the playing instrument (continue sound, string or wind etc)
When improvising or composing the most important are the nano, micro middle layer and finally the macro layer)
IF WE WANT TO SIMPLIFY IT TO 3 ONLE FACTORS THEN THESE ARE
A) 1) The macroscopic parts morphology of the melody (macro layer)
B) 4) Cycles dynamics of the melodic theme (middle layer). Wave-up, Wave-down dynamics or topology of the melody (structure of "Dolphin words" as termed elsewhere in this book). This includes cadenzas and ascents. This may include the nano-rhythms in the theme (notes duration divided by powers of 2 or nano-layer)
C) 3) Chord harmony of the melodic theme (micro layer). Order of appearance of intervals of 3rds minor or major and where, which is essentially the harmony of the underlying chord(s). This may include percentage of intervals of 3rds or higher (arpeggio parts) and intervals of 2nd (tail parts).
Also at the meso (=medium) and micro layer, the main 4 factors are
1) Up, Down or flat vector-waving and is meaning (including which octave)
2) Density of notes per time unit (many notes theme, very few notes theme)
3) Percentage of harmonic or melodic intervals (acceleration) to the chromatic intervals (deceleration).
4) The poetic micro-meter and macro-metter in the melodic theme.
WHAT THE LISTENER NOTICES MAINLY WHEN LISTENING TO MUSIC
A listener notices mainly the next factors with the following order due to simplicity of perception
1) The rhythm if it is slow or fast
2) The timbre of the instrument or voice that sounds the melody (is continuous like violin or flute , or discrete like mandolin or guitar etc)
3) The emotional meaning of the melody (sad, happy, resolving to serenity or escalating to tension etc)
4) The structure of the arrangement (few or many instruments etc)
5) The emotional meaning of the harmony behind the melody
