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Definition - 1
Bridges are links between two (usually identical) Chord Pattern Entities.
In the study of "Form", a Bridge is usually identified by the letter "B",
the Entities being identified by the letter "A",
the most common combinations being "AABA", and its ternary version "ABA".
A Bridge is attached to the Entity which follows it, not to the one that precedes it.
The breath before a Bridge is therefore deeper than the one after it.
We could say that a Bridge is a kind of antecedent, its consequent being the next Entity.
It usually ends on a DOMINANT, as many antecedents do,
but it does not necessarily begin with a TONIC, as antecedents do,
because the TONIC has been firmly established in the preceding Entity.
As a matter of fact, a Bridge can begin on just about any chord,
and one can hardly find a better place to be harmonically audacious.
Definition - 2
As stated in Definition-1, at the larger levels of grouping, in Form,
A represents an Entity, and
B represents a Bridge.
We will now add that, at the smaller levels of subdivision,
A represents an Antecedent, and
C represents a Consequent,
each of which can be re-subdivided by a and c -
aA cA and aC cC.
Now for a few equations -
A = A + C
A = aA + cA
C = aC + cC
B = cA
which seems to coincide perfectly with our Definition-1,
and which will be very useful in our future observations.
We will present the generation of Bridges from the simplest, and shortest,
to the longer and more complex.
One-Cell Entities
The M3 Pattern
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As we know, chord progression M3 is TONIC / DOMINANT (C6 / G),
the most basic way to reach the DOMINANT (within the nucleus).
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This is a weak progression, identical to the COUNTER / TONIC progression (F6 / C).
We could even say that the TONIC is a COUNTER of the DOMINANT.
This is the chord pattern which we find as -
B in Twinkle, Twinkle, M3333, and
cA in M5324 (the list is too long to include here).
It is also cA in ALL the patterns of the central column of the Table of Chord Patterns.
It is occasionally dominantized (Cm6 / G), but usually left in its weak diatonic state.
In the study of Bridges, we will consider M3 an Entity, despite its "weakness".
The M1 Pattern
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As we also know, chord progression M1 is ANTE-1 / DOMINANT (D(m)7 / G),
less basic than M3, reaching the DOMINANT from the tail.
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When it is dominantized, this is a strong progression,
identical to the DOMINANT / TONIC progression (G7 / C).
We could even say that the dominantized ANTE-1 is a DOMINANT of the DOMINANT.
This is the chord pattern which we find as -
B in Mexican Hat Dance, M1111, and
cA in Polly, Put The Kettle on, M5154.
It is usually dominantized (D7 / G as in Mexican Hat Dance), but occasionally left in its weak diatonic state.
The M3 And M1 Patterns
Both Together
At first sight it would seem impossible to have two different Chord Patterns at the same time.
That is because we only see one rhythmic level at a time.
As soon as we accept several levels simultaneously, which is their normal behavior,
we immediately see that one progression can be at a smaller level, and another at a larger level.
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A chord of ANTE-1 is placed as a tenant
on the second half of the Off-beat of an M3 cell.
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In order to accomodate the ANTE-1, the TONIC must pass into the Shadows (Metamorphosis 4).
We see that we now have the M1 pattern (probably dominantized) at Level -1
all the while maintaining the weak M3 pattern at Level 0,
which we will indicate as M3(1), TONIC-ANTE-1 / DOMINANT (C6-D7 / G).
The DOMINANT is approached from both sides at different rhythmic levels.
This is the chord pattern which we find as -
B in Bye, Bye, Blackbird, see M5*1 (at a smaller level, which we will see later),
cA in the verse of My Bonnie, M53(1)54
TONIC-COUNTER / TONIC \ TONIC-ANTE-1 / DOMINANT \ (C6-D7 / G)
TONIC-COUNTER / TONIC \ ANTE-1-DOMINANT / TONIC,
with the ANTE-1 dominantized (D7).
Two-Cell Entities
With the M3 Pattern
Preceded by the M5 Pattern
The only satisfactory antecedent to the weak M3 cell seems to be the M5.
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Two cells at Level 0,
M53, TONIC / TONIC \ TONIC / DOMINANT,
(C / C \ C6 / G).
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This is the chord pattern which we find as -
B in the French song J'ai du bon tabac, M5353, and
A in M5324, (see the list and the Table of Chord Patterns).
Another "antecedent-oriented" bridge, a complete A and not a cA.
With the M1 Pattern
There seem to be two possibilities of antecedent here -
one ending on the COUNTER, and
one ending on the DOMINANT
Preceded by the M7 Pattern - Symmetry
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Two cells at Level 0,
M71, TONIC / COUNTER \ ANTE-1 / DOMINANT
(C(7) / F6 \ D7 / G),
with an open Metamorphosis 4
between COUNTER and ANTE-1.
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This is the chord pattern which we find as -
B in Quando, Quando and Santa Claus Is Coming To Town, both M7711
(C7 / F \ C7 / F \ D7 / G \ D7 / G).
There is an interesting Symmetry between the two cells of this pattern with -
the M7 two "notches" (of Chrominicism) flatter (lower on the Harmonic Staff) than the M1.
Shadows
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Both TONIC and COUNTER in the Shadows,
becoming ANTE-2 / ANTE-1,
M7*1, ANTE-2 / ANTE-1 \ ANTE-1 / DOMINANT,
with no Metamorphosis 4.
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The ANTE-2 is advantageously dominantized (A7 / Dm \ D7 / G).
The Symmetry remains between the two cells of this pattern, this time with -
the M7* one notch sharper (higher on the Harmonic Staff) than the M1.
Preceded by the M3 Pattern
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Two cells at Level 0,
M31, TONIC / DOMINANT \ ANTE-1 / DOMINANT,
(C6 / G \ D7 / G), with no Metamorphosis 4.
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This is the chord pattern which we find as -
B in the second half of Rudolf The Red-nose Reindeer, see M6431,
with an interesting Bass line - C / D \ D / G.
A most unusual Bridge, the M64 Pattern transposed to the DOMINANT with -
the M31 one notch sharper than the M64.
We will see it again in the 4-cell entities.
With the M3(1) Pattern
Preceded by the TONIC
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The TONIC pick-up creates a smaller Level 0 with two cells,
M51, TONIC / TONIC \ ANTE-1 / DOMINANT (C / C6 \ D7 / G),
with Metamorphosis 4 on the second TONIC.
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This is the chord pattern which we find as -
A in Polly, Put The Kettle On, M51 (C / C6 \ D7 / G).
Note that, with the two TONIC chords at the beginning,
this is an "antecedent-oriented" bridge, a complete A and not a cA.
Shadows
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The second TONIC chord is placed in the Shadows,
becoming an ANTE-2,
M5*1, TONIC / ANTE-2 \ ANTE-1 / DOMINANT,
(C / Am7 \ D7 / G)
with an open Metamorphosis 4 between TONIC and ANTE-2.
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This is the chord pattern which we find as -
B in Bye, Bye, Blackbird, M5*1,
TONIC / ANTE-2 \ ANTE-1 / DOMINANT (C6 / A7 \ Dm(7) / G7),
with the ANTE-2 dominatized (A7), but the diatonic ANTE-1 without MOTRIX.
The ANTE-2 is often dominantized (as in Bye, Bye, Blackbird).
Preceded by the COUNTER
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Two cells of Level 0,
M61, COUNTER / TONIC \ ANTE-1 / DOMINANT
(F6 / C \ D7 / G),
with Metamorphosis 4 on the TONIC.
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This is the chord pattern which we find as -
B in Lichstensteiner Polka, M61, and
cA in Jingle Bells, M61,
(both F6 / C \ D7 / G).
The COUNTER is rarely dominantized.
There is an inverse Symmetry between the two cells of this pattern with -
the M6 sharpening and the M1 flattening.
Shadows
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Both COUNTER and TONIC in the Shadows,
becoming ANTE-1 / ANTE-2,
M6*1, ANTE-1 / ANTE-2 \ ANTE-1 / DOMINANT
(Dm6 / Am \ D7 / G),
with no Metamorphosis 4.
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This is the chord pattern which we find as -
B in Au clair de la lune, M6*1 (Dm6 / Am \ D7 / G).
The diatonic sharpening ANTE-1 (Dm6) is already a dominant (in the Diatonic Minor Mode),
and the first cell should technically be indicated w4 and not M6*,
the complete pattern indicated as w4M1.
This is a very effective way of using a change of mode.
The same inverse Symmetry here, with the chord of D on the Off-beat of each cell (first Dm6 and then D7).
Preceded by the DOMINANT
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Two cells of Level 0 with DOMINANT Off-beat,
M41, DOMINANT / TONIC \ ANTE-1 / DOMINANT,
(G7 / C6 \ D7 / G),
with Metamorphosis 4 on the TONIC.
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Another case of Symmetry here with -
the M4 one notch flatter than the M1.
This pattern will later be "opened", with the M4 as cA, and the M1 as cC.
Shadows
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Both DOMINANT and TONIC in the Shadows,
becoming ANTE-3 / ANTE-2,
M4*1, ANTE-3 / ANTE-2 \ ANTE-1 / DOMINANT
(Em7 / Am \ D7 / G),
with no Metamorphosis 4.
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This is the chord pattern which we find as -
B in I Got Rhythm, M4*1, and
cA in , .
The ANTE-3 is often dominantized (E7 / Am \ D7 / G),
as in I Got Rhythm where all the ANTES are dominantized (E7 / A7 \ D7 / G7).
The same Symmetry here, but this time with -
the M4* two notches sharper than the M1.
Four-Cell Entities
All of these 4-cell entities are the pasting of two 2-cell entities,
the first ending with M4, DOMINANT / TONIC (the cA), and
the second ending with M1, ANTE-1 / DOMINANT (the cC).
The TONIC of M4 and the DOMINANT of M1
produce an M3 at Level +2.
Here again, we will always have an M1 within an M3.
With Similar aA and aC
In this group, the aA and the aC will be identical,
with the cA being M4, and the cC being M1,
to assure the M3 at Level +2.
There is no real Symmetry between A and C in this group.
Ending with M51  TONIC / TONIC \ DOMINANT / TONIC \ TONIC / TONIC \ ANTE-1 / DOMINANT
This a fairly simple pattern which is very effective in the Three-quarter Shadows.
Ending with M61  COUNTER / TONIC \ DOMINANT / TONIC \ COUNTER / TONIC \ ANTE-1 / DOMINANT
Another simple pattern which is very effective in the Three-quarter Shadows.
Ending with M41  DOMINANT / TONIC \ DOMINANT / TONIC \ DOMINANT / TONIC \ ANTE-1 / DOMINANT
This one is a little repetitive but very effective in the Three-quarter Shadows.
Ending with M71  TONIC / COUNTER \ DOMINANT / TONIC \ TONIC / COUNTER \ ANTE-1 / DOMINANT
This pattern offers two possibilities of Shadows -
one where only the M7 TONIC / COUNTER
is in the Shadows, ANTE-2 / ANTE-1 (see below), and
one in the Three-quarter Shadows.
Shadows
 ANTE-2 / ANTE-1 \ DOMINANT / TONIC \ ANTE-2 / ANTE-1 \ ANTE-1 / DOMINANT
Don't forget the version in Three-quarter Shadows.
Ending with M31
 TONIC / DOMINANT \ DOMINANT / TONIC \ TONIC / DOMINANT \ ANTE-1 / DOMINANT
The Bass is interesting - C / G \ G / C \ C / D \ D / G.
With Similar A and C
In this group, there will always be Symmetry between the A and the C -
the A one notch flatter than the C.
The cA will always be M4, and the cC will be M1, as they were in the previous group.
Ending with M51
 COUNTER / COUNTER \ DOMINANT / TONIC \ TONIC / TONIC \ ANTE-1 / DOMINANT
There is more movement with a few Shadows (see below).
Shadows
 COUNTER / ANTE-1 \ DOMINANT / TONIC \ TONIC / ANTE-2 \ ANTE-1 / DOMINANT
Ending with M61  DOMINANT / ANTE-1 \ DOMINANT / TONIC \ ANTE-1 / ANTE-2 \ ANTE-1 / DOMINANT
Here again, the diatonic sharpening ANTE-1 is already a dominant (in the Diatonic Minor Mode),
and the third cell should technically be indicated w4 and not M6*,
the complete pattern indicated as M94w4M1.
Ending with M41  TONIC / COUNTER \ DOMINANT / TONIC \ DOMINANT / TONIC \ ANTE-1 / DOMINANT
Shadows
 ANTE-2 / ANTE-1 \ DOMINANT / TONIC \ ANTE-3 / ANTE-2 \ ANTE-1 / DOMINANT
The Off-beats would probably all be dominantized.
Ending with M71  ANTE-1 / DOMINANT \ DOMINANT / TONIC \ ANTE-2 / ANTE-1 \ ANTE-1 / DOMINANT
Ending with M31  COUNTER / TONIC \ DOMINANT / TONIC \ TONIC / DOMINANT \ ANTE-1 / DOMINANT
This is the chord pattern which we find as -
B in Rudolf The Red-nose Reindeer, M6431.
The first and fifth chords (COUNTER and TONIC) could advantageously be diminished
as they are in Rudolf The Red-nose Reindeer (F+6+1 / C/G \ G7 / C \ C+6+1 / G/D \ D7 / G).
Three-quarter Shadows
With M5351  ANTE-2 / ANTE-2 \ ANTE-2 / ANTE-3 \ ANTE-2 / ANTE-2 \ ANTE-1 / DOMINANT
This is the chord pattern which prompted us to investigate this 3/4* process, and which we found as -
B in Bella Nina (an Italian children's song), M5*3*5*1.
It seemed evident to us that, from a generative point of view, this pattern was basically M5353,
with the melody a third higher (except for the last note which remained the same).
Placing the first three cells in the shadows imposed M1 at the end rather than M3, and
there seemed to be no reason why this considerable use of shadows could not be applied to other patterns.
The first three cells are evidently in the Chromatic Minor Mode,
and could be indicated m535 rather than M5*3*5*,
the complete pattern indicated as m535M1,
a most effective way of using a change of mode at the beginning of a bridge.
With Similar A and C  This pattern was basically M147*1 in the preceding section
ANTE-1 / DOMINANT \ DOMINANT / TONIC \ ANTE-2 / ANTE-1 \ ANTE-1 / DOMINANT
before placing the two first cells in the shadows.
The Symmetry in that pattern had -
the M14 one notch flatter than the M7*1.
In its present 3/4* state, the Symmetry has -
the M1*4* two notches sharper than the M7*1.
This is the chord pattern which we find as -
B in , , and
A in , .
If we dominantize each Off-beat at Level 0, B7 / Em \ E7 / Am \ A7 / Dm \ D7 / G,
we remain firmly in the Diatonic Major mode (C major), with all the ANTEs resolving in a flattening direction.
Clik on the image as usual.
If we dominantize each Off-beat at Level +1, Bm7-5 / E \ E7 / Am \ Am7-5 / D \ D7 / G,
the A of this pattern is really in the Chromatic Minor Mode (A minor), Clik
and should technically be indicated m14 (with the m4 automatically dominantized)
rather than M1*4*,
the complete pattern indicated as m14M7*1.
Another effective way of using a change of mode.
With Similar aA and aC  This pattern was basically M7471 in the preceding section
TONIC / COUNTER \ DOMINANT / TONIC \ TONIC / COUNTER \ ANTE-1 / DOMINANT
before placing the three first cells in the shadows.
There is no Symmetry in this pattern, either in the basic or the present versions.
This is the chord pattern which we find as -
B in , , and
A in , .
The A of this pattern is really in the Chromatic Minor Mode,
and should technically be indicated m74 (with the m4 automatically dominantized)
rather than M7*4*,
the complete pattern indicated as m74M7*1,
or possibly m747M1.
 This pattern was basically M4441 in the preceding section
DOMINANT / TONIC \ DOMINANT / TONIC \ DOMINANT / TONIC \ ANTE-1 / DOMINANT
before placing the three first cells in the shadows.
There is no Symmetry in this pattern, either in the basic or the present versions.
This is the chord pattern which we find as -
B in , , and
A in , .
The A of this pattern is really in the Chromatic Minor Mode,
and should technically be indicated m44 (with the m4 automatically dominantized)
rather than M4*4*,
the complete pattern indicated as m44M4*1,
or possibly m444M1.
 This pattern was basically M5451 in the preceding section
TONIC / TONIC \ DOMINANT / TONIC \ TONIC / TONIC \ ANTE-1 / DOMINANT
before placing the three first cells in the shadows.
There is no Symmetry in this pattern, either in the basic or the present versions.
This is the chord pattern which we find as -
the complete verse in Bye, Bye, Blackbird, M5*4*5*1.
The A of this pattern is really in the Chromatic Minor Mode,
and should technically be indicated m54 (with the m4 automatically dominantized)
rather than M5*4*,
the complete pattern indicated as m54M5*1,
or possibly m545M1.
 This pattern was basically M6461 in the preceding section
COUNTER / TONIC \ DOMINANT / TONIC \ COUNTER / TONIC \ ANTE-1 / DOMINANT
before placing the three first cells in the shadows.
There is no Symmetry in this pattern, either in the basic or the present versions.
This is the chord pattern which we find as -
B in , , and
A in , .
The A of this pattern is really in the Chromatic Minor Mode,
and should technically be indicated m64 (with the m4 automatically dominantized)
rather than M6*4*,
the complete pattern indicated as m64M6*1,
or preferably m646M1.
On to Melo-lines
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