Intro

Definition
MeloHarmony (also called Melodic Harmony) is both rhythmically and tonally structured -
       Rhythmically, it will be basically binary,
          but can eventually be subjected to transformations which will produce the "irregular" forms,
               starting with ternary structures, presented in Rhythm-Transformations
     Tonally, it will be basically major (in the key of C),
          but it can be transposed into other keys, or modes
          and can be subjected to all forms of Transformation,
               except Metamorphoses (which are included in its Chord Patterns).

Chord Patterns
Chord patterns are constructed backwards from the final cadence,
     in this case from the fundamental, strong DOMINANT / TONIC cadence,
          placed in a Level 0 cell
               (the DOMINANT chord on the Off-Beat and the TONIC chord on the Beat).
As is our custom,
     all the examples which follow are in the diatonic major mode (Key of C)
          and could be transposed into any other key (by moving the Window)
     all of the examples are also possible in the inverse diatonic minor mode, and
          most of them are also possible in the two chromatic modes, major and minor.
     Modes and chords are colored according to their sharp or flat MEDIANs.

The Harmonic Staff

   We will now look at an efficient way of representing chords and their progressions.

The Melodic Staff of 5 lines which we have been using for centuries
     is in the Quantitative Dimension of PITCH,
          from notes of low frequency up to notes of high frequency.

The Harmonic Staff of 2 lines which we propose here
     is in the Qualitative Dimension of PITCH, in the Chrominicism of the notes,
          from the flat notes (or chords) up to the sharp notes.
     The six chords will be disposed exactly as they are in the Window:

	- the 3 minor chords (in the top) are placed above the top line (the ANTE-3, Em7),
	on the top line (the ANTE-2, Am7),
	below the top line (the ANTE-1, Dm7), and
	- the 3 major chords (in the bottom) are placed above the bottom line (the DOMINANT, G7),
	on the bottom line (the TONIC, C),
	below the bottom line (the COUNTER-DOMINANT, F6).

- the major TONIC chord, in the center of the bottom group,
     is evidently on the line
          surrounded, on either side, by its DOMINANT and COUNTER-DOMINANT, and
- the minor Tonic chord, in the center of the top group, will, in its mode,
     also be on the line (even when it serves as an ANTE-2 in the Major Mode)
          surrounded, on either side, by its DOMINANT and COUNTER-DOMINANT.

The Identification Numbering of Chord Progressions

Since this numbering system is meant to be used in the Four Strong Modes
     a prefix will be required to identify the specific mode involved -
          M for the Diatonic Major (flattening - descending)
          w for the Diatonic Minor (sharpening - ascending)
          m for the Chromatic Minor (flattening - descending), and
          W for the Chromatic Major (sharpening - ascending)
               Upper-case for the major modes, lower-case for the minor modes.
               Right-side-up (M or m) for the flattening modes, up-side-down (W or w) for the sharpening modes.
When no letter-prefix is present, the Diatonic Major Mode (flattening) will be understood.

Ending on the	Flattening (Descending)	Stable	Sharpening (Ascending)
DOMINANT
TONIC
COUNTER

	Chord progression 1 will be ANTE-1 / DOMINANT (Dm7-G)      (Click graphics for sound)
	Chord progression 2 will be DOMINANT / DOMINANT (G(7)-G(7))
	Chord progression 3 will be TONIC / DOMINANT (C6-G)
	Chord progression 4 will be DOMINANT / TONIC (G7-C)
	Chord progression 5 will be TONIC / TONIC (C-C)
	Chord progression 6 will be COUNTER-DOMINANT / TONIC (F6-C)
	Chord progression 7 will be TONIC / COUNTER-DOMINANT (Cmaj7-F)
	Chord progression 8 will be ANTE-1 / ANTE-1 (Dm(7)-Dm(7)) possibly COUNTER / COUNTER (F(6)-F(6))
	Chord progression 9 will be DOMINANT / ANTE-1 (G6-Dm)

Cell
  Each progression forms a rhythmic cell, Off-Beat / Beat,
     preferably at Level 0.

This numbering is an efficient abbreviation for complete chord patterns which is valid in any key. It might seem fastidious and unnecessary to some, and we will try not to abuse of it. These nine one-cell chord progressions remain within the nucleus of the major Mode with the possible exceptions of progressions 1 and 9 which use the ANTE-1. We say “possible” because it is not yet certain whether the ANTE-1 belongs to the nucleus or not - more of this later.

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