(This post has not being written fully yet)
Here in this post we refer to the pitch-order shape of a mrlodiv theme as "Dolphin Word" . In the next vide we may see how to creat Dolphin words.
MELODIC MATHS BY MAX MARTIN AND GERM-PATTERN SYSTEMS OF CREATING MELODIC THEMES AND MUTATIONS OF MELODIC THEMES AND RHYTHMS
In the next videos one can see how melodic themes of notes (but also of chords) and mutations of them plus repetitive combinations of them, can be created by keeping invariant an initial germ-pattern of interval shifts and pause (GERM PATTERN) of a note (or chord) or of initial pattern of sequence of melodic themes of notes or chords after seeminly random pauses (omittings) of the parts of the fixed pattern.
https://www.youtube.com/watch?v=7HPkTMYoJnI
https://www.youtube.com/watch?v=sb3e4Mq6y3s
https://www.youtube.com/watch?v=w0-Ljf5gm4A
https://www.youtube.com/watch?v=Fc16Y1gKUDc
https://www.youtube.com/watch?v=w0-Ljf5gm4A
A connected dolphin words is also germ-pattern of order of pitch in melodic themes, and could be symbolized as a sequence of plus , zero and minus signs (+ - + 0 ++ -- 00 ) etc
Further informationcan be given as exponents about how many semitones or scale steps up or down are the + , and - signs.
AN INTERCATIVE MODE OF VARYING MANUALLY ONTHE TOUCHSCREEN THE ORDER SHAPE ("DOLPHON WORD" ) OF MELODIC THEMES IS VERY WELL REALIZED WITH THE APPLICATION OSCILAB
https://www.youtube.com/watch?v=_AiDOCG-Vdk
Comparing the melody with a speaking language suggests the next correspondence
Let us correspond to each vowel a number of steps inteval shift insidea scale
E.g.
empty space=pause
A=0 step
E= 1 steps
I= 2 steps
O=3 steps
OU=4 steps
Then the content of vowels of any phrase can be translated as a GERM-PATTERN for creating melodic themes as muttaions of this germ-pattern (and latter also repettitive combinations of them)
Here in this post we refer to the pitch-order shape of a mrlodiv theme as "Dolphin Word" . In the next vide we may see how to creat Dolphin words.
MELODIC MATHS BY MAX MARTIN AND GERM-PATTERN SYSTEMS OF CREATING MELODIC THEMES AND MUTATIONS OF MELODIC THEMES AND RHYTHMS
In the next videos one can see how melodic themes of notes (but also of chords) and mutations of them plus repetitive combinations of them, can be created by keeping invariant an initial germ-pattern of interval shifts and pause (GERM PATTERN) of a note (or chord) or of initial pattern of sequence of melodic themes of notes or chords after seeminly random pauses (omittings) of the parts of the fixed pattern.
Melodic themes of notes can be considered and created also as repettitive combinations of a small set of interval-steps (pitch transformations) in a scale plus a pause wchich may be called MELODIC GERM . A melodic germ as basic invariant can give many melodic themes with an internal affinity which can be considered a system of muttations of melodic themes
https://www.youtube.com/watch?v=7HPkTMYoJnI
https://www.youtube.com/watch?v=sb3e4Mq6y3s
https://www.youtube.com/watch?v=w0-Ljf5gm4A
https://www.youtube.com/watch?v=Fc16Y1gKUDc
https://www.youtube.com/watch?v=w0-Ljf5gm4A
A connected dolphin words is also germ-pattern of order of pitch in melodic themes, and could be symbolized as a sequence of plus , zero and minus signs (+ - + 0 ++ -- 00 ) etc
Further informationcan be given as exponents about how many semitones or scale steps up or down are the + , and - signs.
AN INTERCATIVE MODE OF VARYING MANUALLY ONTHE TOUCHSCREEN THE ORDER SHAPE ("DOLPHON WORD" ) OF MELODIC THEMES IS VERY WELL REALIZED WITH THE APPLICATION OSCILAB
https://www.youtube.com/watch?v=_AiDOCG-Vdk
Comparing the melody with a speaking language suggests the next correspondence
Let us correspond to each vowel a number of steps inteval shift insidea scale
E.g.
empty space=pause
A=0 step
E= 1 steps
I= 2 steps
O=3 steps
OU=4 steps
Then the content of vowels of any phrase can be translated as a GERM-PATTERN for creating melodic themes as muttaions of this germ-pattern (and latter also repettitive combinations of them)
As we remarked in post 9 about the simplicial sub-melody , and also in post 72 and in post 69, the simplicial sub-melody can be multi-layered, in other words there are simplicial sub-melodies of simplicial sub-melodies This is an idea of that exists also in other sciences (e.g. stratified-sampling in statistics, multi-scale organisation of data in digital maps like google-maps , fractals with self-similarity , multi-order syntax of languages in linguistics, higher-order formal languages of logic , etc) and is a simplifying organization idea, where similar organization patterns in different scales are used to create an entity.
Here of course this entity is the full melody. Researcher of Bach have proved that he was utilizing also this method in counterpoint, where a single melodic theme, occurs in very slow time and large range, then in faster time-scale and finally in fastest recognizable time-scale as the main theme of the counterpoint.
See also post 282
Here for reasons of simplicity we describe a 2-levels Dolphin language for melody composition.
Here of course this entity is the full melody. Researcher of Bach have proved that he was utilizing also this method in counterpoint, where a single melodic theme, occurs in very slow time and large range, then in faster time-scale and finally in fastest recognizable time-scale as the main theme of the counterpoint.
See also post 282
Examples of such progressions of simplicial melodic themes (or Dolphin words) are the next (each vector-arrow is an oriented interval that fits to a single or more underlying chord(s)).
Or
Or
Or
Or
AS THE COMBINATION SIMPLICIAL MELODIC MOVES (ORIENTED INTERVALS, SEE POST 282) CREATE PATTERNS THAT ARE CALLED "DOLPHIN WORDS" , WE MAYS AS WELL CLASSIFY THE "SIMPLICIAL DOLPHIN WORDS" . The simplest such patterns are of course the 3: 1) THE CYCLE 2) THE ASCENDING SEQUENCE 3) THE DESCENDING SEQUENCE.
Here for reasons of simplicity we describe a 2-levels Dolphin language for melody composition.
We showed in post 101 how the order-topological shapes of melodic themes or Dolphin-words are used to compose a melody. We also discussed in post 72, how the simplicial sub-melody can be used to organize a full melody as starting or ending points of melodic themes of the full melody. Nevertheless what we point-out here in this post is that the simplicial sub-melody could have been composed also my order-topological shapes of the Dolphin language, and in particular that it can be one or 1-3 only Dolphin words that are not only longer in time duration but also larger in pitch-range. Then the next rule may be applied
Rules of interaction of simplicial sub-melody and full melody
Rule of melodic centers
There Dolphin words, or order-topological shapes of the full melody, that contain (e.g. end but also may can start too or may have in the middle too) , a note of the simplicial sub-melody, which is its center or its goal. So there is at least one such a Dolphin word corresponding to every note and chord of the simplicial sub-melody
Rule of harmony of the centers
The duration of the center or goal note (a note of the simplicial sub-melody) totally in all its occurrences during it, is the longest among the duration of the notes of the Dolphin word or order-topological pattern, and preferably is larger, than the total duration of all the other notes of the Dolphin word. Notice that that we talk about the total duration of this center in ALL its occurrences that can be MANY.
Rule of subdivision and of trinary harping combinations (by 3rds) The single note of a simplicial sub-melody and Dolphin-word as in the Rule of melodic centers may be divided in to many smaller Dolphin-words usually 2, 3 or 4. Possibly of long-short part micro-rhythmic as in post 92 that the simplest order-topological pattern is an up , down or horizontal arrow, long a note inside the chord and short a note possible but not necessarily outside the chord. The distance of the long-short note is usually a 3rd, and the long is double duration from the short We call such system of elementary Dolphin-words trinary harping combinations by 3rds. If such micro-words are an up or own or horizontal arrow, then we prefer to have a balance of all proportions of up or down in any such subdivision. By choosing appropriately the proportions of up-down-horizontal any slope ,melody can be composed, that goes from anywhere to anywhere and at the same time being in harmonic-fitness with he underlying chords!
Such melodies that are created in this way by consistent sub-division e.g. to 4, are usually fast rhythmic melodies as in the Irish reels, or Greek Cretan lyre, or as in Bach in classical music etc , that is, faster than a usual human voice melody. Nevertheless if we do not utilize the current rule of subdivision, then the previous two rules may created a middle complexity full melody, that a human voice can sing.
There are 3 reasons why the full melody might be in the mode of trinary harping combinations of Dolphin-words of long-short part.
a) It is an easy way to incorporate notes outside the chord in the melody while the melody is fitting to the chord, and at the same time have a rhythmic sounding
b) It gives fast melodies that for skilled instruments players gives an impressive listening
c) It gives high harmonic statistical profile with high percentage f intervals of 3rds, if the internal distance of the notes in the elementary Dolphin-word is mainly intervals of 3rds
d) All of the above global properties of the melody are succeed from its very small building blocks.
An example of such a melody is the Irish melody Blacksmith hornpipe http://ungaretti.racine.ra.it/ireland/music/blakhorn.mid
Another example is the Irish melody "The frost is all over"
http://www.contemplator.com/tunebook/midimusic/frost.mid
Rule of subdivision and of trinary harping combinations (by 3rds) The single note of a simplicial sub-melody and Dolphin-word as in the Rule of melodic centers may be divided in to many smaller Dolphin-words usually 2, 3 or 4. Possibly of long-short part micro-rhythmic as in post 92 that the simplest order-topological pattern is an up , down or horizontal arrow, long a note inside the chord and short a note possible but not necessarily outside the chord. The distance of the long-short note is usually a 3rd, and the long is double duration from the short We call such system of elementary Dolphin-words trinary harping combinations by 3rds. If such micro-words are an up or own or horizontal arrow, then we prefer to have a balance of all proportions of up or down in any such subdivision. By choosing appropriately the proportions of up-down-horizontal any slope ,melody can be composed, that goes from anywhere to anywhere and at the same time being in harmonic-fitness with he underlying chords!
Such melodies that are created in this way by consistent sub-division e.g. to 4, are usually fast rhythmic melodies as in the Irish reels, or Greek Cretan lyre, or as in Bach in classical music etc , that is, faster than a usual human voice melody. Nevertheless if we do not utilize the current rule of subdivision, then the previous two rules may created a middle complexity full melody, that a human voice can sing.
There are 3 reasons why the full melody might be in the mode of trinary harping combinations of Dolphin-words of long-short part.
a) It is an easy way to incorporate notes outside the chord in the melody while the melody is fitting to the chord, and at the same time have a rhythmic sounding
b) It gives fast melodies that for skilled instruments players gives an impressive listening
c) It gives high harmonic statistical profile with high percentage f intervals of 3rds, if the internal distance of the notes in the elementary Dolphin-word is mainly intervals of 3rds
d) All of the above global properties of the melody are succeed from its very small building blocks.
An example of such a melody is the Irish melody Blacksmith hornpipe http://ungaretti.racine.ra.it/ireland/music/blakhorn.mid
Another example is the Irish melody "The frost is all over"
http://www.contemplator.com/tunebook/midimusic/frost.mid
Usually of course the center-note together with 2 other notes of the Dolphin word, are the chord-notes of an underlying chord of the Dolphin-word, and these 3 notes in total last longer that the total duration of all other notes of the Dolphin word.
Since in post 104 we described how to derive a simplicial sub-melody from a chord-progression, then we may understand that also a chord-progression may have the structure (e.g. at the roots of the chords) of very few Dolphin-words!
As the simplicial sub-melody is simpler than the full melody it is natural to start composing from the simplicial sub-melody. And this is the main reason that on post 9, I suggest a composition method of songs that starts with the harmony of the chord-progression (which corresponds to a simplicial sub-melody) as this is a simpler setting (It is also the setting of the jazz improvisation).
So here I propose a composition method of melodies starting from the simpler structure of its simplicial sub-melody.
The starting note a of a Dolphin word that ends at a note x of a simplicial sub-melody, can be x itself, or x' an octave higher than x or an octave lower than x, or it is a 5th or 4th higher or lower etc. It can be a note in the same underlying chord of x , but it can be also a note of the previous chord of the underlying chord of x.
Of course when improvising, we do simultaneously the improvisation of the simplicial sub-melody at first which is an easier task as general directions and "stations" of a "journey" and then the details of the full melody E.g. choosing at first how many octaves and in which octave to start and where to go end E.g. start at he 2nd higher octave on the 5th go down till the root of the first lower octave but not directly with free chosen waves, and then move up again in the second octave but end at the root of the second higher octave.
See also post 102 which essentially a similar idea.
Since in post 104 we described how to derive a simplicial sub-melody from a chord-progression, then we may understand that also a chord-progression may have the structure (e.g. at the roots of the chords) of very few Dolphin-words!
As the simplicial sub-melody is simpler than the full melody it is natural to start composing from the simplicial sub-melody. And this is the main reason that on post 9, I suggest a composition method of songs that starts with the harmony of the chord-progression (which corresponds to a simplicial sub-melody) as this is a simpler setting (It is also the setting of the jazz improvisation).
So here I propose a composition method of melodies starting from the simpler structure of its simplicial sub-melody.
The starting note a of a Dolphin word that ends at a note x of a simplicial sub-melody, can be x itself, or x' an octave higher than x or an octave lower than x, or it is a 5th or 4th higher or lower etc. It can be a note in the same underlying chord of x , but it can be also a note of the previous chord of the underlying chord of x.
Of course when improvising, we do simultaneously the improvisation of the simplicial sub-melody at first which is an easier task as general directions and "stations" of a "journey" and then the details of the full melody E.g. choosing at first how many octaves and in which octave to start and where to go end E.g. start at he 2nd higher octave on the 5th go down till the root of the first lower octave but not directly with free chosen waves, and then move up again in the second octave but end at the root of the second higher octave.
See also post 102 which essentially a similar idea.
