This is where we leave the black/white division of The 2 Faces of Music
          to examine various shades of gray, of more or less Melody or Development.
     The concept ofAntecedent/Consequent (AC) is worth considering,
               the A developmental (YANG %44%) and the C melodic (YIN %41%),
          with both the A and the C subdivided with its own a and its own c,
               offering the 4-section bi-level aA,cA, aC, cC structure.
     The AABA and ABA forms are also worth considering,
               in this case, with a melodic A (YIN %41%) and a developmental bridge B (YANG %44%).
          Since the B is both development and antecedent,
               antecedent chord patterns, like M7 (I-IV)and M3 (I-V) seem developmental, and
               consequent chord patterns, like M6 (IV-I) and M4 (V-I) seem melodic.
     It is interesting to see how meloharmonic chord patterns fit into these forms.
          Example - Twinkle, Twinkle with its ABA -
               A with chord pattern M5664 (I-I, IV-I, IV-I, V-I) and
               the bridge B with chord pattern M3333 (I-V, I-V, I-V, I-V).

Preface
Philosophical Dichotomies
Music Dichotomies
Melody and Development
Harmony Dichotomies
Cultural Habits
Intuition and Knowledge

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