This section consists of a series of Song-Generations, starting with those composed of the shortest (one-cell) entities. There will be repeats of the songs which we have seen previously as examples of definitions or procedures. We feel that this repetition is worthwhile because the accent is here on generation and not on analysis.

One-cell Melo-rhythmic Entities

With a Kinetic Cell

We will start with the old favorite Never On Sunday
     because very few songs have such a simple, repetitive, Melo-Rhythm.

Generation of the Melo-rhythmic Pattern of the verse of Never On Sunday
1. Fundamental Cell - the last two complete rows - an elaborate
     p4K4M - \ / _ ' at -40,
          with a maximum pick-up of seven notes, thirteen notes in the Off-beat,
          and a Masculine rhyme (_) on the Beat, followed by the final "breath".
2. Repetition of the cell - the total four complete rows -
     p4K4M p4K4M - \ / _ '
                \ / _ ' at -4+1,
          with a breath between the two,
     will be applied to allow development of the Melo-lines Pattern for the complete "A" section
          (The Melo-harmonic Pattern, like the Melo-rhythmic Pattern, is a repeat of the Fundamental Cell).
     There is no Fusion in this pattern, and no real Symmetry since there is only Repetition.
3. Symmetry - This considerable use of Repetition willl be discussed in Analysis.

With a Split Cell

Generation of the Melo-rhythmic Pattern of the chorus of Never On Sunday
1. Fundamental Cell - seventh and eighth rows -
     p3KM - \ / _ ' at -40,
     with a Pick-up of four notes, two notes in the Off-beat,
          (the number of notes in the Off-beat are of no significance because they will disppear in the Fission)
     and a Masculine Rhyme (_) on the Beat, followed by the final "breath".
2. Fission of the Fundamental Cell -
     the Pick-up is attached to the Masculine Rhyme of the Beat, and
          the Off-beat takes the form of the Beat, producing
     p3Mp3M - \ _ ' / _ '
          with a breath between the Off-beat and the Beat.
3. Repetition of the split Fundamental Cell - fifth, sixth, seventh, and eighth rows -
     p3Mp3M p3Mp3M - \ _ ' / _ ' \ _ / _ ' at -4 +1
          with a breath between the two cells, added to the smaller breaths within each cell.
               The first Pick-up has the subdivision removed, becoming
          p3Mp3M p3Mp3M - \ _ ' / _ ' \ _ / _ '
     This Repetition allows the development of the Melo-Harmony Pattern.
4. Repetition of the two Fundamental Cells - the complete eight rows -
     2x (p3Mp3M p3Mp3M) - 2x ( \ _ ' / _ ' \ _ / _ ' )
               at -4+2
          with breaths everywere, large between and small within the four cells
               completing the Melo-Rhythmic pattern of the chorus of this song.
     There is no Fusion in this pattern, and no real Symmetry since there is only Repetition.
5. Symmetry - This considerable use of Repetition willl be discussed in Analysis.

Generation of the Melo-rhythmic Pattern of Down In The Valley
1. Fundamental Cell - third and fourth rows -
     p2KM - \ / . ' at -40,
          with a Pick-up of three notes, two notes in the Off-beat,
               (the number of notes in the Off-beat are of no significance
                    because they will disppear in the Fission)
          and a Masculine Rhyme (. ') on the Beat, followed by the final "breath".
2. Fission of the Fundamental Cell -
     p2Mp2M - \ . ' / . '
          with a breath in the center of the cell.
3. Fusion of the Fundamental Cell -
     with a Feminine Rhyme F= - '
          which diminishes the breath within the cell considerably
     p2F=p2M - \ ' / . '.
4. Repetition of the Fundamental cell
     p2F=p2M p2F=p2M - \ ' / . ' \ ' / . ' at -4+1.
          with an added breath between the two cells.
5. Change of Meter from 4/4 to 9/19
     by fusing -2 and -1,
          the second in each group of four (in each ) technically disappears
               changing the meter to 3/4
     by fusing -4 and -3,
          the second in each group of four (in each ) technically disappears
               changing the meter to 9/16.
     The process of "squeezing" is applied at each ternary level.

Two-cell Melo-rhythmic Entities

In a Two-cell entity, the two cells are joined either
     by a Feminine Rhyme on the Beat of the first of the two cells, or
     by a Pick-up before the Off-beat of the second of the two cells,
          two variations of the Procedure of Fusion.

With Kinetic Cells

The obvious candidate to lead-off this section is evidently Twinkle, Twinkle, Little Star
     with its minimal Division (only at -1).

Generation of the Melo-rhythmic Pattern of Twinkle, Twinkle, Little Star
1. Fundamental cell - second half of the sixth row -
     K1M - / ' at -10,
          no Pick-up, two notes in the Off-beat, Masculine Rhyme,
               followed by the final "breath".
2. Repetition of the cell - the whole sixth row -
     K1M K1M - / ' / ' at -1+1,
          with a breath between the two cells (still two Entities).
3. Fusion with a Feminine Rhyme on the Beat of the first of the two cells
     (F= - ')
          (half-way through the pattern - the Langer Hinge)
     K1F= K1M - / ' \ / '
          diminishes the breath considerably, fusing the two cells into the same entity.
4. Repetition of the two-cell pattern - fifth and sixth rows -
     2x (K1F= K1M) - 2x ( / ' \ / ' ) at -1+2,
          to allow complete generation of the Melo-harmonic and Melo-lines Patterns
               for the "A" section of the song.
5. and 6. Repetition of the four-cell pattern twice, at -1+4.
     The first group of four cells will be removed to produce the large ternary +3+4
          required for the "ABA" form of this song - the complete six rows
     6x (K1F= K1M) - 6x ( / ' \ / ')
7. Symmetry - There is probably an excess of Repetition here
     and it might be advantageous to have Feminine Rhymes in the "B" section,
          at end of the third and fourth rows,
               as is the case in the French Ah! Vous dirai-je, maman.
     This considerable use of Repetition willl be discussed in Analysis.
          So will the use of a pick-up (rather than a Feminine Rhyme) in the middle of the third row.

Generation of the Melo-rhythmic Pattern of Love Me Tender
1. Fundamental Cell - eighth row -
     K2M - / ' at -20
          no Pick-up, four notes in the Off-beat, Masculine Rhyme,
               followed by the final "breath".
2. Repetition of the Fundamental Cell - seventh and eighth rows -
     K2M K2M - / ' / ' at -2+1
     with a breath between the two
3. Fusion with a Feminine Rhyme on the Beat of the first of the two cells - end of the seventh row -
     F= - '
          (half-way through the pattern - the Langer Hinge)
     K2F= K2M - / ' \ / '
          diminishes the breath considerably, fusing the two cells into the same entity.
4. and 5. Repetition will be subsequently applied twice - the complete eight rows -
     producing four such sections, with breaths between them
          4x (K2F= K2M) - 4x ( / ' \ / ' ) at -2+3
     for the complete "AABA" form.
6. Symmetry - the exact repetition of the same Melo-rhythmic Pattern for the four sections (entities)
     seems to produce excessive symmetry.

Generation of the Melo-rhythmic Pattern of Comin' Through the Rye
1. Fundamental Cell - fourth row -
     K2M - / ' at -20
          no Pick-up, four notes in the Off-beat, Masculine Rhyme,
               followed by the final "breath".
2. Repetition of the Fundamental cell - third and fourth rows -
     K2M K2M - / ' \ / ' at -2+1
3. Fusion of the two cells with a Feminine Rhyme at the center ( - the Langer Hinge)
     on the Beat of the first of the two cells - end of the third row -
          changing M to F+ - ' to '
     K2F+ K2M - / ' \ / '
4. Repetition of these two cells - the complete four rows -
     2x (K2F+ K2M) - 2x ( / ' \ / ' ) at -2+2
5. Symmetry - all seems satisfactory
     This is, of course, the simplified version, without the spreads and snaps, not the performed version.

Generation of the Melo-rhythmic Pattern of Rock-A-Bye Baby
1. Fundamental Cell - eighth row -
     K2M - / ' at -20
          no Pick-up, three notes in the Off-beat, Masculine Rhyme,
          followed by the final "breath".
2. Repetition of the Fundamental Cell - seventh and eighth rows -
     K2M K2M - / ' \ / ' at -2+1
          with a large breath between the two cells.
3. Fusion of the two cells - end of the seventh row -
     by placing a Feminine Rhyme in the center,
          on the Beat of the first of the two cells (- the Langer Hinge)
     K2F+ K2M - / . ' \ / '
          reducing the size of the central breath between the two cells.
4. and 5. Repetition will be applied twice - the complete eight rows -
     4x (K2F+ K2M) - 4x ( / . ' \ / ' ) at -2+3
          with a large, entity breath after every even line.
6. Change of Meter into 3/4
     4x (K2F+ K2M) - 4x ( / ' \ / . ' )
7. Symmetry - the repetition is somewhat excessive with the same Melo-rhythmic Pattern four times.
     Moreover, the words do not respect the Feminine Rhyme of the Fusion perfectly -
          it appears at the end of the first and seventh lines
          but is replaced by a Pick-up at the end of the third and fifth lines
               which places the small breath sooner, before the pick-up.
     This will be discussed in greater detail in Analysis.

Generation of the Melo-rhythmic Pattern of Auld Lang Syne
1. Fundamental Cell - fourth row -
     p2K2M - \ / . ' at -20
          one note Pick-up, four notes in the Off-beat (two notes on "Lang"), Masculine Rhyme,
          followed by the final "breath".
2. Repetition of the Fundamental Cell - third and fourth rows -
     p2K2M p2K2M - \ / . ' \ / . ' at -2+1
3. Fusion of these two cells with a Feminine Rhyme in the center ( - the Langer Hinge)
          on the Beat of the first of these two cells, at the end of the third row
     replacing M by F= and . ' by '
          reducing the length of the breath between the two cells,
     p2K2F= p2K2M - \ / ' \ / . '
4. Repetition of these two cells - the complete four rows -
     2x (p2K2F= p2K2M) - 2x ( \ / ' \ / . ' ) at -2+2.
5. Symmetry - everything seems satisfactory.
NOTE - the first of each Off-beat, as well as the first of the first and third Beat,
     is habitually performed dotted ..

Generation of the Melo-rhythmic Pattern of Red River Valley
1. Fundamental Cell - fourth row -
     p2K3M - \ / . ' at -30
           two notes pick-up, six notes in the Off-beat, Masculine Rhyme (less the pick-up),
               followed by the final "breath".
2. Repetition of the Fundamental Cell - third and fourth rows -
     p2K3M p2K3M - \ / . ' \ / . ' at -3+1,
          with a breath between the two
3. Fusion with a Feminine rhyme on the Beat of the first of the two cells - end of the third row -
     F-- - ._ ' (a double snap)
          (half-way through the pattern - the Langer Hinge)
     p2K3F-- p2K3M - \ / ._ ' \ / . '
           diminishes the breath considerably, fusing the two cells into the same entity.
4. Repetition will be subsequently applied once - the complete four rows -
     to allow generation of the Melo-harmonic and Melo-lines Patterns
     2x ( \ / ._ ' \ / . ' ) at -3+2.
5. Symmetry - everything seems fine.

Generation of the Melo-rhythmic Pattern of Oh Where, Oh Where Is My Little Dog Gone?
1. Fundamental Cell - fourth row -
     pK3M - \ . / _. ' at -30
          one note Pick-up, five notes in the Off-beat (two notes on the second "where"), Masculine Rhyme,
               followed by the final "breath".
2. Repetition of the Fundamental Cell - third and fourth rows -
     pK3M pK3M - \ . / _. ' \ . / _. ' at -3+1
          with a large breath between each cell.
3. Fusion with a Feminine Rhyme in the center - end of the third row - the Langer Hinge
      . ' instead of _. '
          reducing the size of the breath between the two cells.
     pK3F+ pK3M - \ . / . ' \ . / _. '
4. Repetition of these two cells - the complete four rows -
          to complete the Melo-lines Pattern of this song.
     2x (pK3F+ pK3M) - 2x ( \ . / . ' \ . / _. ' ) at -3+2
5. Change of Meter into 6/8 time -
     2x (pK3F+ pK3M)
     - \ / . ' \ / ._ ' \ / . ' \ / ._ '
6. Symmetry - Note that a second Pick-up note creeps in before the third cell,
          at the end of the second row, in the very center of the piece,
     an excellent choice, which makes the central breath slightly shorter than the final breath,
          but still longer than the small breaths at the end of the first and third rows.
     Bonus points will be added in Analysis.
          However, the Feminine Rhymes (at the end of the first and third rows) are not identical.

With Split Cells

Generation of the Melo-rhythmic Pattern of Autumn Leaves
1. Fundamental cell - fourth row -
     p3KM - \ / _ ' ,
2. Fission of the cell - breathing at the next smaller level (-1),
     p3Mp3M - \ _ ' / _ ' , at -30.
          Off-Beat and Beat are now identical, each a "mini" Melo-rhythmic Entity.
3. Repetition of the pattern - third and fourth lines -
          to allow complete generation of the Melo-harmonic Pattern (the circle),
     MM MM - \ _ ' / _ ', \ _ ' / _ ' at -3+1
4. Fusion with a Feminine Rhyme in the center - end of the third row - the Langer Hinge
     F- - _ ' instead of M - _ '
          reducing the size of the breath between the two cells.
     p3Mp3F- p3Mp3M - \ _ ' / _ ', \ _ ' / _ '
5. Repetition of these two cells - the complete four rows -
          to complete the Melo-lines Pattern of this song.
     2x (p3Mp3F- p3Mp3M) - 2x ( \ _ ' / _ ', \ _ ' / _ ' )
           at -3+2
6. Symmetry - everything seems fine.

Generation of the Melo-rhythmic Pattern of Quando, Quando
1. Fundamental cell - fifteenth and sixteenth rows -
     p3KM - \ / _ ' ,
2. Fission of the cell - breathing at the next smaller level (-1),
     p3Mp3M - \ _ ' / _ ' at -30.
          Off-Beat and Beat are now identical, each a "mini" Melo-rhythmic Entity.
3. Repetition of the pattern - rows thirteen to sixteen -
          to allow complete generation of the Melo-harmonic Pattern,
     2x (p3Mp3M) - 2x ( \ _ ' / _ ' ) at -3+1
4. Fusion with a Feminine Rhyme in the center - end of the fourteenth row - the Langer Hinge
     F- - _ ' instead of M - _ '
          reducing the size of the breath between the two cells.
     p3Mp3F- p3Mp3M -
           \ _ ' / _ ' \ _ ' / _ '
5. and 6. Repetition of these two cells twice - the complete sixteen rows -
          to complete the "AABA" structure of this song.
7. Symmetry - in a valiant attempt to avoid excessive symmetry,
     the subdivision of the first three Pick-ups in the "B" section (the "Bridge")
          have been changed to
               at the beginning of the ninth, tenth, and eleventh rows.
     The overall length of the Pick-ups remains the same.

With Split and Kinetic Cells

Generation of the melo-rhythmic pattern of Jingle Bells
1. Fundamental cell - fourth row -
     K2M - / ' at -20,
          no Pick-up, four notes in the Off-beat, Masculine Rhyme,
               followed by the final "breath".
2. Repetition of the cell - third and fourth rows -
     K2M K2M - / ' \ / ' at -2+1,
          with a breath between the two cells.
3. Fusion with a Feminine rhyme on the Beat of the first cell - end of third row - the Langer Hinge
     F= - '
          (half-way through the pattern)
     K2F= K2M - / ' \ / '
          diminishes the breath considerably, fusing the two cells into the same entity.
4. Repetition of the two cells - the complete four rows -
     K2F= K2M K2F= K2M - / ' \ / ' \ / ' \ / ' at -2+2
5. Fission of the first cell, breathing at the next smaller level (-1) - first row
     F=F= - ' / '
          Off-Beat and Beat are now identical.
6. Supplementary Fusion of the last two cells - third and fourth rows -
          by placing a Pick-up before the fourth cell - at the end of the third row
     F=F= K2M K2F= p2K2M - ' / ' \ / ' \ / ' \ / '
7. Repetition will be subsequently applied to the whole four rows
          with exactly the same Melo-rhythmic Pattern, and even the same words,
     to allow complete generation of the Melo-harmonic and Melo-lines Patterns
8. Symmetry - Repetition is crucial, in this case, because, with the Fission of the first cell,
     there is very little Symmetry left between the four cells.
It is interesting to also note where the phrasing is dotted ( . ) -
      ' / ' \ . / ' \ . ' / ' \ / '
     and that the last is not dotted.

Generation of the Melo-rhythmic Pattern of Aura Lee
1. Fundamental Cell - eighth row -
     K2M - / ' at -20
          no Pick-up, four notes in the Off-beat, Masculine Rhyme,
               followed by the final "breath".
2. Repetition of the Fundamental Cell - seventh and eighth rows -
     K2M K2M - / ' / ' at -2+1
          with a breath between the two cells
3. Fusion with a Feminine Rhyme on the Beat of the first cell - end of the seventh row -
     F= - '
          (half-way through the pattern - the Langer Hinge)
     K2F= K2M - / ' \ / '
          diminishes the breath considerably, fusing the two cells into the same entity.
4. and 5. Repetition will be subsequently applied twice - the complete eight rows -
          producing four such 2-cell sections, with breaths between them
     4x (K2F= K2M) - 4x ( / ' \ / ' )
6. Fission will be applied to the first cell of the third section - fifth row -
          to produce the "B" section of an "AABA" form - fifth and sixth rows -
     F=F= K2M - ' / ' \ / '
          and a solitary Pick-up p2 - will be inserted in the last section, between its two cells.
     2x (K2F= K2M), F=F= K2M, K2F= p2K2M
     - 2x ( / ' \ / ' ),
           ' / ' \ / ' , / ' \ / '
7. Symmetry - the split cell at the beginning of the "B" section
     prevents excessive symmetry in the Melo-Rhythm

Commentary
The comparison between Aura Lee and Love Me Tender is inevitable -
     They are both the same melody and have only minute differences in the music -
          the split cell at the beginning of the bridge (the "B" section), and
               the Pick-up added between the last two cells, as well as
          the change of the last two notes in the Off-beat of the last cell
               occur only in Aura Lee.
     All of these differences seem advisable
          and profitable to the Symmetry of the Melo-Rhythm and the Melo-Lines.
     More of these commentaries in Analysis.

Generation of the Melo-rhythmic Pattern of Der Tannenbaum
1. Fundamental Cell - on the sixth line -
     p2K2F= - \ / ' at -20
          a one-note Pick-up, four notes in the Off-beat, Feminine Rhyme,
               followed by the final "breath".
2. Repetition of the Fundamental Cell - fifth and sixth lines -
     p2K2F= p2K2F= - \ / ' \ / ' at -2+1
     with a breath between the two
3. Subdivision of the Beat of the first of the two cells - end of the fifth line -
      ' becomes '
     p2K2F= p2K2F= - \ / ' \ / '
4. and 5. Repetition twice producing four 2-cell entities,
     the first of which is removed in the "ABA" form - the complete six rows.
6a. Fission of the first cell in each "A" section - end of the first and fifth rows -
          uniquely with the words, the note-values remaining the same -
     p2F=p2F= p2K2F= - \ ' / ' \ / '
6b. Subdivision of the Beat in the second cell of the "B" section - end of the fourth row -
     p2K2F= p2K2F= - \ / ' \ / '
7. The complete "ABA" - the six rows -
     p2F=p2F= p2K2F= p2K2F= p2K2F= p2F=p2F= p2K2F=
      \ ' / ' \ / ' \ / ' \ / ' \ ' / ' \ / '
8. Changing the Meter to 3/4 -
      \ ' / ' \ / ' \ / ' \ / ' \ ' / ' \ / '
          Dots are frequently used in performance, especially in the of the first and fifth rows.
9. The Symmetry seems quite satisfactory.

With One- and Two-cell Entities

Generation of the melo-rhythmic pattern of Happy Birthday
1. Fundamental cell - fourth row -
     p2K2M - \ / . ' at -20,
          two notes pick-up at -3 , three notes in the Off-beat, Masculine Rhyme,
               followed by the final "breath".
2. Repetition of the cell - third and fourth rows -
     p2K2M p2K2M - \ / . ' \ /. ' at -2+1,
          with a breath between the two cells.
3. Repetition of the two cells - the complete four rows -
     p2K2M p2K2M p2K2M p2K2M -
           \ / . ' \ / . ' \ / . ' \ / . ' at -2+2
          with breaths between the four.
4. Fusion with a Feminine rhyme on the Beat of the third cell
     F= - '
          at the end of the third row - the Langer Hinge
     - p2K2M p2K2M p2K2F= p2K2M -
           \ / . ' \ / . ' \ / ' \ / .
     diminishes the breath considerably, fusing the last two cells into the same entity
          and applies a MI-MI-MA form to the complete pattern.
5. Changing the meter to 3/4:
      \ / ' \ / ' \ / ' \ / '
          with -2 and -1 fused into one ternary level -2-1.

Generation of the melo-rhythmic pattern of She'll Be Coming 'Round The Mountain
1. Fundamental cell - fourth row -
     p2K3M - \ / . ' at -20,
           pick-up at -3 , eight notes in the Off-beat, Masculine Rhyme,
               followed by the final "breath".
2. Repetition of the cell - third and fourth rows -
     p2K3M p2K3M - \ / . ' \ / . ' at -2+1,
          with a breath between the two.
3. Repetition of the two cells - the complete four rows -
     p2K3M p2K3M p2K3M p2K3M
      \ / . ' \ / . ' \ / . ' \ / . ' at -2+2,
          with breaths between the four.
4. Fusion of the two last cells with a Feminine rhyme on the Beat of the third cell
     F+ - '
          at the end of the third row - the Langer Hinge
     p2K3M p2K3M p2K3F+ p2K3M
      \ / . ' \ / . ' \ / ' \ / . '
          diminishes the breath considerably,
               fusing the last two cells into the same entity, and applying the MI-MI-MA form.
5. Fission will be applied to the third cell, changing it to
     F+F+ - \ ' / '
          producing the completed pattern -
     p2K3M p2K3M p2F+p2F+ p2K3M
      \ / . ' \ / . ' \ ' / ' \ / . '
6. Symmetry - everything seems fine.

Generation of the melo-rhythmic pattern of Oh When the Saints
1. Fundamental cell - fourth row -
     p3K2M - \ / _ ' at -20,
          three notes pick-up at -3 , four notes in the Off-beat, Masculine Rhyme,
               followed by the final "breath".
2. and 3. Repetition of the cell twice - the complete four rows -
     p3K2M p3K2M p3K2M p3K2M
     - \ / _ ' \ / _ ' \ / _ ' \ / _ '
          at -2+2,
4. Fission of the first cell - the first row -
     p3Mp3M - \ _ ' / _ '
5. Fusion with a Feminine Rhyme of the last two cells - third and fourth rows - the Langer Hinge
     F- - _ '
          diminishes the breath considerably,
               fusing the last two cells into the same entity, and applying the MI-MI-MA form.
     p3Mp3M p3K2M p3K2F- p3K2M -
\ _ ' / _ ' \ / _ ' \ / _ ' \ / _ '
6. Symmetry - all seems fine.
     There are even two MI-MI-MAs here -
          a small one in the first two rows, and
          a large one in the four rows.

Four-cell Melo-rhythmic Entities

With Kinetic Cells

Generation of the melo-rhythmic pattern of Polly Put The Kettle On
1. Fundamental Cell - fourth row
     K2M - / ' at -20,
          no Pick-up, four notes in the Off-beat, Masculine Rhyme,
               followed by the final "breath".
                    (All this happens at "6. Symmetry".)
2. Repetition of the Fundamental Cell - third and fourth rows
     K2M K2M - / ' / ' at -2+1,
          with a breath between the two cells.
3. Fusion of the two cells with a Feminine Rhyme - end of the third row - the Langer Hinge
          F= - ' on the Beat of the first of the two cells
     K2F= K2M - / ' \ / '
          diminishes the breath considerably, fusing the two cells into the same entity.
4. Repetition of the two cells - the complete four rows
     K2F= K2M K2F= K2M - / ' \ / ' \ / ' \ / ' at -2+2,
          with a breath between the two entities.
5. Fusion of the second and fourth cells with a Feminine Rhyme - end of the second row
          to tie the four cells into one single entity
     K2F= K2F= K2F= K2M - / ' \ / ' \ / ' \ / '.
6. Symmetry - there is excessive ObOb-symmetry (four times) and
     the Off-beat of the fourth cell - beginning of the fourth row -will be reduced to K1 - .
7. Fusion will be increased between the last two cells
          by the addition of a pick-up (p2 - ') between them
     - end of the third row
          (typical procedure of increasing the level size at the end).
     K2F= K2F= K2F= p2 K1M - / ' \ / ' \ / ' \ / '
8. Symmetry - all now seems fine.

With Split and Kinetic Cells

Generation of the melo-rhythmic pattern of Mary Had A Little Lamb
1. Fundamental Cell - fourth row
     K2M - / ' at -20,
          no Pick-up, four notes in the Off-beat, Masculine Rhyme,
               followed by the final "breath".
2. Repetition of the Fundamental Cell - third and fourth rows
     K2M K2M - / ' \ / ' at -2+1,
          with a breath between the two cells.
3. Fusion of the two cells with a Feminine Rhyme - end of third row - the Langer Hinge
          on the Beat of the first of the two cells
     K2F= K2M - / ' \ / '
          diminishes the breath considerably, fusing the two cells into the same entity.
4. Repetition of the pattern - the complete four rows
     K2F= K2M K2F= K2M - / ' \ / ' \ / ' \ / ' at -2+2
          with a breath between the two entities.
5. Fusion of the second and fourth cells with a Feminine Rhyme - end of second row
     (F= - ')
          to tie the four cells into one single entity
     K2F= K2F= K2F= K2M - / ' \ / ' \ / ' \ / '
6. Symmetry - there is excessive ObOb-symmetry (four times) and
7. Fission will be applied to the second cell - second row - changing it to
     F=F= - ' / '.
8. Fusion will be increased between the last two cells by the addition of a pick-up () between them
          (typical procedure of increasing the level size at the end end of the entity - end of third row).
     K2F= F=F= K2F= p2K2M - / ' \ ' / ' \ / ' \ / '

Generation of the melo-rhythmic pattern of London Bridge
1. Fundamental Cell - K2F- - / . ' at -20,
          followed by the final "breath".
                    (The reduction of the division of the Off-beat happens at "8.")
2. Repetition of the Fundamental Cell -
     K2F- K2F- - / . ' \ / . ' at -2+1,
          with a breath between the two cells.
3. Fusion of the two cells with a full Feminine Rhyme - end of third row - the Langer Hinge
     F= - '
          on the Beat of the first of the two cells
     K2F= K2F- - / ' \ / . '
          diminishes the breath appreciably, fusing the two cells into the same entity.
     Note that the final F- has a deeper breath than the middle F=.
4. Repetition of the two cells - the complete four rows
     K2F= K2F- K2F= K2F- -
           / ' \ / . ' / ' \ / . ' at -2+2,
               with a breath between the two entities.
5. Fusion of the second and fourth cells with a Feminine Rhyme - end of second row
     F= - '
          to tie the four cells into one single entity
     K2F= K2F= K2F= K2F- - / ' \ / ' \ / ' \ /. '
          Once again, note that the final F- has a deeper breath than the middle F=.
6. Symmetry - there is excessive ObOb-symmetry (four times) and
7. Fission will be applied to the second cell - end of second row - changing it to
     F=F= - ' / '
8. There is no longer excessive ObOb-symmetry (only three times)
     but it is still possible to reduce the Off-beat of the fourth cell to K1 - .
          Note that further fusion was not increased between the last two cells by the addition of a pick-up.
     This is probably due to the presence of the final snap which reduces the sense of "finality" at the very end of the song, leaving the rhythm slightly "open", with an antecedent quality, less "final" than the "true" end (with the normal M) and thus less in need of further fusion.
     K2F= F=F= K2F= K1F- - / ' \ ' / ' \ / ' \ / . '

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