Beruflich Dokumente
Kultur Dokumente
76
^duc.
Dej^t,
EXERCISES
MELODY -WRITING
A
SYSTEMATIC COURSE OF MELODIC COMPOSITION, DESIGNED FOR THE USE OF YOUNG MUSIC STUDENTS, CHIEFLY AS A COURSE OF EXERCISE COLLATERAL WITH THE STUDY OF HARMONV
BY
PERCY GOETSCHIUS,
Mus. Doc.
A uthor
oj
'The Material Used in Musical Composition" 'The Theoky and Practicb of Tone-Relations The Homophonic Fokms op Musical Covhositk 'Models of the Principal Musical Forms," ktc.
'
New York:
G.
SCHIRMER.
Copyright,
><>u
by G. Schirmer
(H)
PREFACE
i.
The
is,
to assist the
voung
nor
conception.
The
touched upon
in
paragraphs 125
to 129,
which
maybe
briefly
The
1st,
be,
is,
or should
melody.
and command of
of
for
all
way
to the full
instru-
all
common
is
other operations of
is
and
there-
The
effort to
con-
them
proper channels,
tional
Whether
to
a question
which an answer
itself.
OS
I!.
It is
to
tli.\t
<1
bc^innine;
:'..
in life.
before
Harmony
fa
of the latter.
Bat
it
will
ient
.is
,'ri
collateral
;
study,
either
Ok
Harmony
in
in
the
harmonic study;
regular alterts.
The degree
of ben<
fit
to
be derived,
is
exercised,-precisely ns pro-
number
drill,
of times each
movement
in
is
thoughtfully repeated.
its
It
is
a system of
until
aim,
the fixing
full
of habits,
fa
achieved.
For
year.
this
The musical
illustrations
likely to
by mental
mud
-a'
Boston, Mass.
September, 1W9.
EXERCISES IN MELODY-WRITING.
DIVISION ONE.
ESSENTIAL TONES.
CHAPTER
MAJOR.
1.
I.
Any
The
depends upon the choice and duration conditions of good melody are:
The general
Unity, in the design and effect of the complete melodic sentence; and
Interesting movements, exhibiting sufficient variety
to banish every trace of
monotony.
is
2. The choice of successive tones (aside from the question of durations) subject, fundamentally, to two Primary Rules of melodic movement.
3.
melody
of the
npm
I.
ft
nun
...ir,
wmaa
.mUn.Uum of
missible,
o-eol
when
tlicv
OOttflriB
tin- N
ir.>
-.1
tad
'-t'l
innoiiie oora of the key, ,, pur. 18 are fnaetiv. bermonk repeee, and arc therefore Inert, no4
:
i
pi In
they
lit
outward impulse. the 7th, 8th, it h end 2nd seele-ctepe, arc AcHie, beoenee there, outride of thi* eirole of hermonio repoee, end are orged by their Impulse to regain the oondition of reei For illustration:
r
<&.
7
ill.
,
stops.
Tin- direction,
and the degree of urgency, of the movement aro <'f eeoh Active icale-etep, ami its proximity to the
aa follows:
in the
its
direction
iijiirn nl.
LB
(b)
The tendenoy
tion
somewhat
less
its
direc-
u downward*
4th
stop,
(d)
The
is evenly balanced between tho and 3rd steps, from which it is (practically) equally distant. For that reason it need not be considered in this connection.
1st
lustration:
C
7.
called
major.
exterior Interior
The progression
it-
II.
solution.
ral illubtrations:
Ex. 3.
!
2.
5= j= m-j r\f~rm
EXEKGISES IN MELODY-WRITING,
(par. 9b.)
I.
Allegrettn.
^^
I.
'
II.
ffi
T TJ - U = Wi4f^ ^= *Pi
a
r
See
also,
Mendelssohn.
Ex.
5;
Ex.
18.
No.
3;
Ex.
36,
No.
12;
Ex.
50.
8. The smallest complete melodic sentence, called the Phrase, genembraces four ordinary measures. (a) When regular, it begins with one of the (inactive) tones which conThese may be placed upou the first (accented) stitute the Tonic Triad. beat of the first measure; or one, perhaps more, beats be/ore the first full measure. If the Phrase begins, thus, with one or more preliminary tones, their value is to be subtracted trom the final measure.
accented beat of the fourth
;
upon an measure (upon either accent, if a compound measure) and preceded by either of the three tones which constitute the Dominant Triad (see par. 19). This ending is called the Perfect
(b)
closes with the Tonic (i.e., the key-note);
The Phrase
Cadence.
IN-
Ml
l...I.\
W1.J11N.,.
Til us (in
I
Tfui.-.
lii\
a.
I>npl
;l
II
rhythm
p
"..
|
|
!-
=EES|
Ill,
ji.ir.
i |>I.i
11. .1
in
Chap.
18. 19.
Besides
tli.
itep-wise progressions,
t>
np
or
down
it
rding
n.
i.1 1
the
first
Primary Bole,
is
.If
(a)
To
For example:
*:
-I-F
3.
'-S^a
7
Caret.
I
(b)
II
rap
rep
eic.
See also Ei
Num. I anJ C
Ex.
32,
No. 3, Ex.
30,
Noa.
1, 8.
9;
Ex. M. third,
e.,
T ping one
i.
made from an
If made from an Active Inactive lone, it invohis uo obligation whatever. aoaleetep [namely, from the 7th, 6th or 4th, as stated in par. 6d, the 2nd seale-sfc p is aol Bnbjecl to any of the rules of aetive steps), the consaqnenoea No subsequent consideration is direction of the leap. depend upon 1 -:irv if the melody makes the leap in the proper direction (from tho tale-step upward, from the 6th or 4th step downward, as is to be
<
done
in
For
illustration:
A. WtC in
Inactive tones.
IN MEIiODV-WIUTING.
From Active
^^^j^Ff^ k^J
(par.
MO.)
LESSON
A cumber
(1) (2) (3) (4)
1.
Only
in
major keys.
Without modulations,
i.
e.,
models of Ex.
4.
(5)
The rhythm
strictly uniform,
i.
e.,
excepting
Ex.
(6)
4).
The
in
scale-line, tone-repetitious,
of a third
are to be employed.
as
shown
(7)
Of the latter, only one at a time (perhaps returning, Ex. G), not two successive leaps in the same direction.
is
No
per-
Each
is
to
move
Examples
and Gb.
Note The work should bo, at present, merely the mechanical application of the given rules; these rules are to become habits, formed and established, as habits are, by persistent systematic effort. After regular, collect melodic movement has become a habit of thought, the tones will soon invest themselves, more or less unconsciously, with feeling and purpose; and all Sxceptional progressions will lie likely to rectify or justify themselves. At the same time, the student intttl endeavor to hear each tone as he writes it down, without the aid of an instrument, and must not desist until he can thus mentally follow, accurately, every melodic movement. Further, each melody, when completed, must lie sung, and then tested at the key-board, but not until completed ; the invention must bo prosecuted away from any instrument.
is
yri.. .pi
ukitinu.
CHAPTKK
Tin:
1
II.
o., bo counteract BeeolntJon, MmJ iteps, Mid foitM tln-in t<> j>r< >grean m Um opposite direction, bj approaching them, along the Una <f the in the BOrreeponding ii. -., oppoeite) direction. TLi.s cuuliruia tho r ! example:
0.
It
is
HM
ii
ktuiul
t.'ii.l.
tin-
three A<t
-
All
fc
.^.
irrog.
II
-.-Hl
F
reg.
irrog.
T*
tang
irreg.
reg.
-t^^^^^^
r. i;.
II
irr..;
-EEc
No.
1
i
M^^P^
irrcg.
47,
Ex.
52,
No.
2.
If approached in the direotion <>f th.-ir Ibvsolution, alonp the scale, 1 1. however, the natural iucliuutiuu reinforced, uud must be fulfilled, at
i.->
present.
Thua:
11
good
*
good
Somewhat
tlio
loss objectionable,
is less
urgent
than that of
In other words, the melody, in pursuing the line of the scale upward, may turn back (if desired) at any point excepting the 7th scale-step; in pursuing the line of the scale downward, it can turn at any point excepting the 6th or 4th step.
1 2. As intimated in par. 9 b, the skip of a third may be made in either from an Active scale-step. An obligation is involved only when the leap of a third is made contrary to the natural tendency of the Active tone; in which case the melody must immediately turn back, either by a leap, to the preceding tone, or by step-wise progression. For illusdirection, even
tration
6,
B).
Ex.9.
LESSON
A number
2.
of original 4-measuve melodies (at least one in each major key), according to all the directions of the preceding lesson, excepting (7);
both the regular and irregular progressions of the Active scale-steps are to The danger of monotony, arising from the uniformity of be employed. rhythm, must be counteracted by variety of tone-succession; avoid moving about in the narrow compass of the same 3 or 4 tones, and, as a rule, avoid returning too frequently to the same tone, especially on corresponding beats
of consecutive measures.
II
IN
Ml
..!>
U lilllMJ.
CHAPTER
Tii
!:
in.
OHOBD
I'kim \i;v
LIN
Kt
i
B.
r.
\:\.
the
line
of tiny good
CHORD
upward
itni
<>/
freedom*
This yields tin* bon vigorous species of movement called disjunct, or by skip ot leap and affords the neoosaary oontraai with khe step-wise pro,
.
MS.
j.
the ehord-linc
for the " Chord-lino," or subject to a the scale-line, at any point in a melody,
fictions.
The influence of Bjucmohx [la., the construction, relation and don of CHOKDe) npoo melody-formation is so great and constant, that this i-* probably the most vital of the two Primary Rules. Unless already familiar with the elementary conditions <>f Harmony, tin* pupil must study tin- following brief ipomtion so thoroughly, and transfer all illustrations to tii. r key s" frequently and peraeveringly, as to acquire absolute freel.".
dom
in
Che tones which OOnstitute a chord arc found by adding one higher 8rd after another, to tin- fundamental tone which is to he the rmu, and the f the chord i"f its name, quality, and relation to other chords).
1 i\.
Thus,
for the
"chord
of <"":
Ex. 10.
chord
nx.t,
fifth,
c-e-g.
it
iv.
may appear
as
fcu -ffi
^=
^^=^
EXEItOTRES TN MELOPY-WRITrNO.
13
bnt extreme. Jt
m
respectively the
pOSBlbtoi
im^
classes or families of chords, called
class.
consists of two chords, one erected upon the first Tonic note, and called the Tonic Triad or " Tlie One" (marked and one of subordinate rank erected upon the sixth scale-step, and called 1) " Tlte Six" (marked VI); the latter is much less common than the I. These Tonic chords are limited to three Tones, hence their title " Triad." Thus, in C-major:
scale-step, or
;
I.
i
Subordinate Tonic Triad, or VI. O Major.
m
3 tones, a
-
J
c
-
Botnowhat rare.
19. (a) The Dominant class consists of a cluster of chords erected upon the fifth scale-step, or Dominant. These chords may embrace as many as five tones, the lowermost of which (the root) is often omitted. They are erected and named as follows in C-major:
Dominant Triad,
or
"
Major.
Bx.13.gp
3 tones,
nn any
g
-
order.
d
").
Dominant 7th-chord,
7 (
Five-Seven
4 tones, g
rxriicisrs is
Iv>minanl th chord. \*
mfi^m
-
ututino.
nunant
Tlh. Iiicvm,
|
!=
\Viih..iu
:.
Dwataaat th inmmp.
d
f
*
Without Root,
o
a.
(b) To th Dominant class bclnnps also a Tria<l of subordinate rank, apaoted npon 11m (JUrd scale-step (the III); it is so ran- and unimportant that it may ba ignored altogether in connection with melody-invention, it ii nut a "good" chord (par. 13). i I
.
'JO.
of
T';.'
Sr. .>ni>-1>mminant or
BuB-DomdUBT
ohordj ereotod apon the axond soale-step, in precisely the same manner as thoso on the Dominant, containing five tones, with frequent omissions of Tims, in C-major: the root.
Beooad Doariaeat Triad.
'
IT.
Ex.
14
in
any order.
II'.
=5=
d
f
c.
e^n
Very
rare
T
.
i:
i*
Tonea,
c.
eaUad IV.
lot
mnvenionco
S>il.
n II".
Ton*. o
e.
called
IV.
IN MELODY-WRITING.
16
Summary
1.
(C-major)
claaa.
Tonic
Ex.15
N.
B. This
table
must be reproduced
in
rules
The chords
other
of the Tonic class may progress into chord of the same key.
of the
(i.
e.,
may be
fol-
The chords
Dominant
more
The
pro-
gression of a
Dominant chord
Second-Dominant
class is
uncommon, and need not be considered in melody-invention. ( c) The chords of the Second-Dominant class pass most readily into those of the Dominant class; but they may also be followed by those of the Tonic.
22. N.B.
Tliese rules
paragraphs 4-6),
that careful
observance of the
of the former,
necessary to be fully conscious of the qnality by skips in the melody, and to control their movements accordingly.
Nevertheless,
it
23.
and name
SKIPS.
at present,
some good
(par. 19
ft)
Ex. 16.
f
?!
???"*"
???
???
???
TV
or II
all
good.
16
is
in LOD1 wki
iin.i.
<?
_*.".
\.
???
1 1
II
W
1
U
r
dngle limitation,
leap
niiiv
be
tone,
-..n-ti\.\
upward
(p
or
downward.
The
i.imi.iiis
lequently,
and
'.
tiim-f
al
natural
.1
(<>
proper
even
in.
peotiTe
manner
in
which*
they are
approached
(par.
1
1
).
Thus:
B. Btep
regular.
VI ImguJat
.luit
(par. 18)
good).
=1^7
IV
II
c
IV
all
C. Btep
regular
P-.
H
i
IV
good).
^
good
i
SI
[mgolar imt
.^-j.^
j^gf
./*
'
f
.^.^
(Xs
XKKclSIS
IN
MIMiUV-Wlill'IM!.
11
leap of a Third (called a "narrow" skip), as has been seen, is Any larger leaps than this (called "wide" skips) aresubject to the following general condition:
20. The
always permissible.
likely to turn,
After a wide skip (i. e., any distance beyond a third) the melody is very and progress, by scale or chord-line, in the opposite direction.
Thus:
fix. 18.
=t=
^r*t
W&
:.V1I better,
as
-a
nil*,
than
-the followiu^:
5t
^^m
AtrM'Ei ssniiN.
64,
See
also,
Ex.
32,
36,
2;
Nos. 4, 14. 18, 19, 20; Ex. 52, No. 5; Ex. 60, No. 2, Ex. Ex. 100, No. 3; Ex. 101, No. 5; Ex. 117, Nos. 11, 12.
No. a
27. (a) If the melody, however, violates this rule, by continuing in the same direction after a wide skip along the line of the scale, it should, as a, In other words, while it is rule, pass on only one step, and then turn. always more natural to turn back immediately after a wide leap, it is usually sufficiently correct to do so at the second following tone. Thus:
Ex. 19.
m
From d down
m
to either of these tones.
*2)
m
From/ to
either of these.
*3)
*1)
To
either.
(b) At the
same time,
if
direction chances to be one of the Active tones, it is more than likely to assert its natural tendency and resolve properly, in which case the rule of
Thus:
Ex. 20.
|=
any
1-
1*
MPI
I.I
lis,,
Ma
and important
It is
i
rule of
t
pur.
'J'*,
give* emphasis
t>
the
Htill
more binding
In the
nil.-,
hut
Up
10 Hiiv Active
tone in
Ioim
iiny
tli.'
direction qpjMtttt
/Vom any
.'.
from
or 4th
btNBM
direction
iift.r thai
1-
their
ftp,
mitiinil
change of
Tim-:
b.
u
fn.ip alUiet
M^=E^
fruin citl.,
r v
from
.'.;
all h.-r
N*,.
must not be Inferred, howerer that this is necessary. It is of though fur Leea regular, to leap upon an Active tone in tin' other direction >i. e up ard to the 7th scale-step, and downward to the tf though only along aomo perfectly good chorddine, aa
fb)
Tt
,
ooutm
i
also possible,
already Been
par. jt
If
89.
(in
fire
the direction eorrmpemdimg to their He-solution: up to the 7th, down to the 6th or 1th Btops), it will either afford an additional opportunity of obtaining the irregular progressions given in par. l(i illx. 7), in keeping with the rule of par. 26 'turning, after a wido skip"); thus:
I
t
'
.>
-II
I
#*<*
-^ ^
\
|
Poiilitfiil.
0-ma.'m
extmn* OTgmej
7th
nc.-ile-8t<-i;
60
(b) Or.
better,
it
will
v..
to turn
be found expedient to take advantage of the back at the second following tone. Thus:
Ex. 23.
The
Hig
All better tiian those f
Ex
2'.'.
.'JO.
ward (according
to
be made).
leap of an octave is allowed from any tone, upward or downto the low or bigb pitch of the tone from which the leap is This is simply a wider version of par. 9a. For illustration:
pur 27
a.
pir.M
Ex. 24.
IP
,--
1-^'^lj^T^'l^^lll
IN
MELODY-WRITING.
LESSON
A
The
large
3.
number
measure prescribed
in
Lesson
1.
as before;
e.,
narrow leap) may occur, according to the above melody when completed.
CHAPTER
IV.
Ex. 25.
jor.I. I C -major,
Vr
5.
V 7
6.
7.
(par. 6 o).
9.
(par. 6 a)
And
7
Hh
???
-&
??
&
-#
???
-*-
32. If the last tone of the faulty groups (faulty, because the last tone does not harmonize with the preceding tones) be desired, it may always be
jo
v
Ml
l...|'\
Will
IN'..
innii-iy,
i.
f.,
it
in. iv
be
till;,
ia
11
r.
Thus:
\jk
nil
JJ
|Mi
<
I
fcpv+B
38. Tins Important
rale eppeara to bare
t/i>-
skip which foliowi after the Male-line > t.i iUd thu onward to Mine tunc whioh
1 1
mm
ringla
it
is
always best
bean obriona affinity to the ruling What this raling impreoeding Male-tonea harmonic impraarion of 1 For illusnrewoon ia, dependi ohiefij upon the locution of the accent.
tration:
Ex. 27
A(v
g^^^a^^^^P^^
Ex. lo,
-i.
meM
I I I
pMXl
.'14.
The
Thus:
bettor
Ex.28.
fe
'.IT>.
Baaated fourth,
formed
in
is, probably, that of the augmajor by the leap from the 4th scale-step ap to
EXEIM'ISES IN MKLODY-WKITINO.
21
the 7th step, and vice versa, from the 7th scale-step down to the 4th step.
Thus:
7 '
Ex. 29.
each case, both by par. G (the inherent tenpar. 28 b (the irregular leap to an Active tone). It is, however, possible to justify it as derivation from the line of the Incomplete Dominant-7th chord (Ex. 13), if it is an entirely obvious This progression
is
checked,
in
dency of the
first
tone),
and by
Thus:
i
Ex. 31.
^^
V
:
si
Conip. Exs. 17
complete
& 21.
of a seventh
;
^l^I^i^s
Allegro.
??
37. A succession of skips describing the line of some chord (as in Ex. 11), should, as a general rule, coincide in extent with the fundamental rhythmic groups, i. e., embracing in duple measure 2, 4 or 8 beats, in triple measure 3, G, 9 or 12 beats. In this way the cbord-imagea will confirm, and
IN
MXIiODl "KITIMi
In other words, th< cliord-line
ill
tint..
rhythmic design.
tli.'
1 1
.
.rt-
rhythmio group (through a ball or whole measure) ik">i la then exchanged, at the following aaaae^ It must i><> anderatood chord lino, ot f"r the eoehvline. :. i- "nlv ii >jmcrnl rule, BUDJCOt to nmny obvious niodilicaaally,
uilv
1
lif
ft
Ulnstration:
I.
AlUtfr.'.
:\^'
'1=
V
'/,
I
';,
mwa.
diom.
G.
r,.
Each chord
lino
'
measure.
AtUgntU
v
C;
n<>
IOi
Ex.
f.2.
No
Ex
61.
No
ft
:\H. All
roll -
melodic formations of four consecutive tones, to which the of the drip do not appear to extendi must be controlled by the
many places in a melody where Harmony ezerta orer melody hi peculiarly manifest (par. IB), eepeoiallj when the location of the accented tones is considered. Anions theae (brmationa maj be classed:
ttiona of ehord-$U00e$$Um\ lor there are
EXK11CISKS IN MELODY-WKITINa.
23
For example:
(par. 21 b.)
better
El. 33
(b) The interception of the Resolution of Active scale-steps (par. 7) by interposing an unaccented tone between the Active tone and its resolving tone. Here, the location of the tones in the measure is of dominating importance, as no other than unaccented tones can safely be inserted. If two tones are interposed, the Resolution may be evaded altogther. For
example:
A.
Ex.34.
All good
i=f=4=H^
V.
i^^
TTj
img^Edjgp
IN
Ml l.nl'V-tt l.lllN<i.
;|._~> '-IR
i^g -i.
'V'^m
liKKTiifivcs.
j^L^U-M
Ax
rr-\'j_j\.
.:<:.
ii
N... KJ
Jllt.UIMS.
tin-
aUemak
'rims:
prmentaiio* of
!.
:'...;>.
3.
lf<-
i:
MM
:.
dSfeS
I
*3=FM^
IX.
Alltgro.
Lj
c.
<
n-F^+j^T ;^^^; l
-I
II
'
=5
K mujor.
.
^T^r
._>,
=^<
7, 8.
fl
So. I
Ex. O.
BTo. B;
Ex.
ti.Y
30.
they
N. H.-
I'upils
-i>n,
may omit
this
la.-t
for
a time,
from
and
Indie trtattnenl.
If
XJPKVBBS
IN MKLODY-WlUTiyo.
28
self for awhile to the strict oDservance of the fundamentzi rules, and the regular modes
of melodic conduct, he can encounter no difficulty or embarrassment: namely, the two Primary Rules, paragraphs 3 and 13,
Movement along
paragraph 10,
paragraph 24,
Each
paragraph 26,
Changing the
paragraph 28
a,
in the direction opposite to that of its Resolution;
suffice
exceptional and
irregular forms of melodic succession will be found to follow as a matter of course, and
all
Andante.
(par. 13)
(9 a)
Ex. 36
Chord
Sc.
Chord.
<KH IN
MELODY-W1UTTNO.
IlBTHOV*M.
;|'
T /k.'-i^H
i
s<.
...
iu>p.
Heitiiovbk.
f^|r^|.l:.
Ch..rd
=|
==|.'::;|
Sc.
; _.
.=| j
^|
Ch..
7.
^U/jro.
(13)
fc'
':
Ji
(6a)
(386)
is left
to the student).
O.
Allegro.
I?
*fc
=F=? *"
7?
r*
P
(9 a)
J]
(10)
(6 b)
BTEBOIBES IM MXLODY-WKITCNa.
27
MOZAKT.
13.
Moderate.
(26)
(6 a)
(66)
(276)
13. Andante.
(25)
piferd^
"
(37)
**
'
#-"
'
'
'
'
--J
(37)
(29 a)
14:. Lento.
ty-'
3_4-L-&^-1
(26)
^J-P
1
(10)
tJ-S'
'
g,.
Il
BBg^^^^^^N^fe^^
*~^r
(10)
1G.
Maestoso.
fHH
-|
1-
3tZ=t
>
I
(10)
^
MENDEL8S0HIT
*=**
17.
r-^zf^=F=m=E=&^
(10)
Andante.
r^
(36)
18. AU^ro.
j^^=T
lO.
Al&pro.
^^^^^^g
^n
IS
MKLODY-W
l.lIISil.
E
ti3
-r
.a
i2flj
"
i
ii
.i
10. all
.
mm
.1.
:vll
LOMOfl
N'.
v.. lixw),
Lou.
LESSON
A
large
4.
in all
1.
nnmber
of
4-measnre melodies,
in
in all
tho
ipocios ol
ec tie-line
ii.
Measure prescribed
to
Lea on
Tho
9a
and ohord-linea
be employed,
in the
t,
and
to
Lesson
and
Lessons as have been corrected and apBooh melodies of these first prored by the teacher, may be harmonised, by those students whoso knowledge of Harmony enables them to perform the task successfully.
t
CHAPTER
MINOR.
V.
40. The true minor mode, that is, the "harmonic form, corresponds to the major scale of the same key-note, excepting that the 6th and 3d %oah* Tims: etept art fettered a ohromatia half-step.
C-major.
Ex.
<:
c minor, harmonic
X*
-"
:
(arm.
Tho nam*
in 1>oth
dlTMttona.
*^=?
SigMtore,
3 fiiU.
KXKUCISI'H IN MF.MiDY-WllITINO.
All melodic
this,
20
and harmonic movements in minor are regulated npon the the harmonic, form of the scale. Before proceeding farther, the student must familiarize himself absolutely with this derivation. Every minor scale must he written out, according to Ex. 37, and played repeatedly. And tho table of Ex. 15 is also to be written out in every minor mode (with lowered 3rd and 6th steps).
basis of
41. All the Scale-conditions and Chord-conditions of the major mode, explained in the preceding four chapters, are therefore similarly valid for minor, with a few self-evident limitations, as follows:
limitation for
measures 1 and 2, are therefore only valid in C-major, not in C-minor (Ex. 7, measure 3, however, is not involved in this restriction). Thus:
Ex.
7,
Ex. 38.
m
C -minor.
7
,
? ? ? 6
^il^^^l
6 ? ? ?
,
The
flat is
Ex.
28,
17,
43. This
obrior.:?
e.,
Ex.
the Domi7,
15,
chord no.
with
Thus:
Better (par. 28 a):
44. Further, an additional augmented fourth occurs in minor, formed by leaping from the 6th scale-step up to the 2nd stej); and vice versa, from the 2nd step down to the 6th step. Thus
Ex. 40.
29, is
upward
leaping
it is
down
upon
it,
And, like the former, and like the irregularity of Ex. 38,
possible
KXriU-ISF-S I*
Mn.nl'T WI1ITH',
n\ -utiitu fr.un
'
i\
Ihinitii.xli >d-7tli
ehord
,\
'
i:i
minor
or EtOB
Um
II.
Thus:
*Wj.
i.".
i
minor.
'
''
'
\'
" A.
In
r
the well-nigh Intolerable interval of tin- augmented fiftli Further, minor, In leaping tron the 8rd icnle step np to the Ttli itep, end
a.
Thne:
*-*lM ,.^J'W&
?? ? ? Cmmor. (Ill
???
?)
Thi*
Tli.'
erm
Is
pur.
21, par. 28
A,
par. 6a.
(par.
(for
on the contrary, is perfectly pood Hut the leep from step 7 up to step hed better be avoided 28a). as it represents a very improbable chord. For illusthe pre- nt
leep from Btep
down
to Step 7,
.'5
i,
tration:
Ex. 48.
II
pood
C minor
N. B.
Krrry mu/iral
il I
u it rat ion
given in Chnptrrt I
in
to
IV
is
to
be
reviewed and
Ex. 37).
M>NDKlSOH5.
Ex. 44.
te
^rH^^r^^^M^EEi
Bioor.
II
Lpr. 31
3. Adlfin.
,
pur
/-
^j
J
Lpr. 3
T-
r.
U-J
EXERCISER IN MELOPY-WRrTTNn.
3. Adagio.
.31
I. AlUgro.
See
also,
Ex.
55,
No.
8
;
Ex.
65,
No.
1(5,
No.
7; 18,
Ex. No. 7
;
129,
;
21,
LESSON
A
large
5.
number
all
Rhythm
All
Lesson
4.
Avoid monotony.
CHAPTER
46. The rhythmic
chapters).
VI.
DIVERSITY OF RHYTHM.
effect of a
REGULAR.
The
is
Regular,
(i. e., heavier) tones occupy the accented beats, or accented beat-fractions and, vice versa, when the comparatively shorter (i. e., lighter) tones occupy unaccented beats, or beat-fractions. Thus:
;
A
Ex. 45.
h
1
regular
rhythm
IS
Ml
..|>Y-\VKITIN<1.
J
J.
J
:
m
n n
j
m A
.
A
I
(b) Uniform division! <>f an entire measure (i. ., uniform l>ent*, or baa 1 fiaotiona) arealwaya regular, also, because they do not oontradiot tlio above conditions. Thne:
Ex. 46.
"I
.
1 I
It is geserallj advisable to moid oaing extreme time-values in the For instance, in 9 or measure, J-notea (as ram Phrase-melody. of two boats) anil v*- notes (as simple division) may both occur; occasionally dotted half-note, or 16th-note; bnt the whole note would be rare, and In other words, the beats indicated 82nd-notea almosl onl of the question. in the signature should constitute the fundamental or average tune-value this may 1** augmented by one or two (rarely three) additions, <>r diminished
1
.
\~
by one or two
The
ID re
paint
all
divisions.
Id
mMUM given
slno, "
Bzs.
i
8, 7, .t2
(excepting Now.
to
l.
-
Bee
Ton
i:>
ltioks,"
1 anil 5), nj .hi. 'M (excepting Hon, i". be carufolly rev ie w ed, from thin itandI
i.
5,
Bj 22, N'-s.
l.
_,
Sj no, N..s.
l, 4.
IS.
Rhythmic
diversity
is
fol-
lowing methods:
(a)
By employing
tho dot;
J J J
-J. /Ji
I J
I J J J =
-T3=
: J J J
J- J
J3-J
J
JOT;
j.
.t .-
Further, diversity
is
j.rocurcd
in
(W By
number
of its
88
The
first
3/4 moasure, loss or more than three gives addition, the other gives division, of beats. Thus:
34 the
l-\l
II.
I'.l
.--.
IS
Ml l.cl'l
WKITINli
Melody;
the oohea
.
mv. Uk
used ander oonditiona that preserve or erf* emphasise the itntotaral unity of be permiaeible and ef&otiye.
if
LI
\.
,.
<.
nnmber
of the
melodiee Invented
the
la
preoeding loeeona. in
t'.
diveraifJF
rhythm
in
nnmber
Invent a Large
nnmber
48 a,
i
"f
nown
in par,
and
new melodiee with diversified rhythm, A very /no rests maj be inserted. e,
in
Measure presoribed
I
ill
Loeeon
1;
anil
writs
minor
;//<<</-'.
ireful
to
make
LESSON
7.
A nnmber <>f fonr-meaenre melodiee in 9/8, 9 and 13/8 Measure, Rhythm diversified, regular forma; different major and minor keys, idl
ternatelv.
Such melodiee
by
tin-
of these
l>e
teacher,
may
harmonised, by pnpila
Harmony.
CHAPTER
Till-
VII.
PERIOD-FORM.
fW. Tho "Period" generally embraoee s mennureR; that is, tirn phrases, meaanree each. The first of these ie called tho Antecedent, the second one the Consequent Phra a
of
J
51.
(n) T:
!'
aooording to par.
witli a so-called
8a
Put
it
' e 1. gins BXaotly like any sinplo Phrase, enda, not with the Perfect oadenoe (8 6), but
:
wtik
>~ith<n-
Semioadenoe, upon an aooented beal of 1 lth measure, one of ike three tonee which eompoee the Dominant Trim!.
1 1
. -
(b) The Consequent Phrase follows, USUallj beginning on the same fseat with which the Antecedent began, ami ending, like any single Phra.se, with
EX*BCIS8 IK MEXODY-WIUTINU.
35
the Perfect cadence, upon an accented beat of the final (8th) measure, with the Tonic note. Thus (in C-major)
(Accented or nnacc. beg.)
Ex.48.
52. In the first few examples invented, the Consequent Phrase must correspond to the melody of the Antecedent, excepting the last 3 or 4 tones; these always differ, because of the diversity of cadence. The formation of such Period-melodies is called "parallel construction." For illustration:
1.
Antecedent Phrase.
Ex. 49.
sfcfe
x^
1.
2.
3.
ipp *ai
4.
Consequent Phrase
5.
2. Antecedent Phrase.
cMj
h-f^eSS
A -major.
Consequent Phrase.
^4=n
(Ex. 22).
?=;
i
j-*~ i
~*
:(=?):
Like meas.
See
also,
2.
Ex.
52,
No.
Ex.
53,
No.
2.
53. In each succeeding example, the extent of this similarity between the Phrases is to be diminished gradually, more and more tones in measure
7,
then
6,
1; until, finally,
cedent.
5, are to differ from those of measure 3, then 2, and then the entire Consequent Phrase is independent of its AnteThis ultimate formation is called the Period of "contrasting con-
and then
struction. "
Thus:
Ex.50.
= := r
G-mjor.
36
BMSOI
'
in
Mr.i.npv whitimi.
W
both of
-I-
-I:..
i i
'
.|.
j|=
-II
s.^
tpproprifttraeM Of
tins.-
ft
brief Rest
at
tiki
oadmtm
is
demonstrated
in
example!
19
and
19.
LESSON
A
ally
8.
large
number
of B DM
in
inn
Rhythm
may be
ion 1; differenl
inserted, chiefly
n the note to
(after)
1;
the semioadenoe.
Lesson
and par.
39.
Avoid monotony.
Sing, and
when completed.
After correction,
somo
is
of these Period-melodies
Whore
differ
the Construction
from that
CHAPTER
IRREGULAR
VIII.
RHYTHM.
is
of
B4i B iew pur. 46a, thoroughly. The disposition of various timo-valucs Regular rhythm are violated, namely,
the heavier (comparatively longer) tones in a measure octight bents or beat fractions of that measure; and, vice versa, when the tighter tones (brief, subdivisions of beats) occupy comparatively heavier pulses in the group.
When
cupy comparatively
For
parison)
-to,
EXERCISES IN MEIiODY-WIUTINO.
37
m%)
tf
n
*
\'Tj
j
I
>
/- n_TJ
.".
regular
irregular
tt
J
irregular
0*
regular
regular
>==Wj-]
# *
irregular
1
\
)-= 4
*
p=~>
1==
o a
|
I
j
3.
>
j.
nlj
irreguiar
.n
}73
regular
rj
regular
irregular
hJl|JS^3|3
slightly irregular
J3.|fc.j|frT3h
regular
A
j
j.
/I
inegular
jJj l/jj
|
|/3
ft
/3 |)773
I
jj_0
JiI
h
A
I J
A
J
A
J
|
/"j
A
*.. .!
| I
regular
slightly irreg
Ji
j. j
Ij j.
jLtj
A
i
j J
/h
A
i
/
3.1
the tone
is
jtj
-
r*
regular
irregular
1~n
In other words
:
>
>
3t3 3t3|-
if
upon the
first beat (or any other accent) is any other tone in the same group (measure),
Regular,
otherwise Irregular.
KXBUCIHH
r,r,.
tN
ItELODl u
liITIN.i.
upon
the degree of
freotion
pnlae entitled
.".
dynomie upon whioh the tone ia miHto en Bth-note only, it is more En Ex. 51 e, measure 6 ii more
.-..
whtn
l:i
never objeetioneble, netpHttg not elweya poeitiTelj wrong, eren then, though usually other words,
i
.
a rhythmie Bgnree
ar.'
An
mey elweya be
justified
by racwrring;
following group >r measure; aome, not onreeeoneblj remote, eorrt$ponding meeenre;
nest'
or in
.".,
'2
and and 6,
">.
or
'2
and
or 1
4,
and
:s
end
7,
und 8
1. ifoiUralo.
1.
Kt.
rectified, In fol1>
*=*
minor.
m
BCHVKAB*.
8
lowing
'
1
rocurri'iire in
II
corresponding mtiMWTHa
(j>ar.
12uu)
. AtUgrttto.
Mbxdilsbohx.
G -mnjcir.
p^
I
t
J
Lrectiflod
II
irreg
by recurrence.-
3.
I.rntn
-j*^
EXEKCISES IN MELODY-WIUTJNO.
F.
Lirreg
Lreourrenoea
7. Andante.
2^
8.
-rLirro^.
^3
-*
Jr
Yigoroso.
Schumann.
36,
No.
10;
Ex. 54, meas. C, 7; Ex. 58, No. 5; Ex. 62, Nos. 1 and Ex. 100, Nos. 2, 7; Ex. 117, No. 11; Ex. 129, No. 13.
13,
2;
Ex.
80,
No.
2;
No. 4;
16,
No. 2
32,
Nos
and
4; 35,
No.
3.
of
a very
common rhythmic
justification
irregularity in triple
demand no
(m
f V are found
in Ex. 32, No. 5 (end); Ex. 55, No. 2 (end); Ex. 5G, No. 2 (end); etc.
LESSON
A
large
9.
4-measure and 8-measure melodies, with Irregular rhythmic measures, according to the above rules, particularly par. 56. It
of
number
be well to limit this exercise to occasional rhythmic irregularities, introduced in Phrases or Periods of an otherwise regular and simple design. Extreme irregularities (par. 55) should be avoided.
will
Use the varieties of Measure prescribed in Lesson 1; different major and minor keys, alternately. At first, experiment with former melodies, modifying their rhythm
without altering the tones.
erence to Irregular rhythm.
Ifl
\ii.c isi:.S
IN
MiLODY-WlUTXMG.
CHAPTER
IX.
EXCEPTIONAL SKMKADENCES.
r*7 The Bemioadenoe, in theoenterof somewhat exceptionally! upon seme other than
.
I
1 1
Period-form,
may bo made,
ike tenet
prescribed
ia par. 51
<j).
Any
Ant.,',
,1,
may be
nt
Phrase; but
it
ia
needed
For example:
U-iuaJor.
ggp^E^
^n
is
AiLD
Ljuio
Bm.'
r,
F^B
m
In
F-niajor.
Ex
52. Ni> B,
MkdeoM of the
tirst
Pbra.se
made upon
tbo Tonic
J>8. Furtlier, the semicadence-tone may occasionally be shifted to the secoml beat of the group, especially in triple measure (3/4, 3/8, 6/8), instead In this of falling upon an accent (first beat of the group) us prescribed. oase it should, ai a rule, be preceded (on the accent) by the next higher, or
Thus:
JLl-I
Ei.5-1.
'J
EXKKCISES IN MliLODY-WlilTCNa.
11
i=^s=
(par.
Mb).
A
~f
,
Seo
~r
=F=F
Ex.
30,
=M=X
=T--,- ^=#=1^
=^
58,
(Ex. Jl-1).
also.
B*
No.
A 4
No.
14
Ex.
57,
No. 2; Ex.
1.
LESSON
A number of
forms of semicadence explained above.
lO.
-with the exceptional
CHAPTER
X.
SYNTAX OF MELODY.
59. The succession of tones in a Phrase or Period-melody, may be determined by a broader consideration than the application of given rules to each single unit of the melodic succession; namely, by the principle of symmetrical recurrence, applied to an entire group of consecutive tones.
The
may assume
the form
(2)
literal
recurrence,
upon the
self-same scale-
Thus
1. Moderate.
Folk-Sono.
(par. 56 b)
II
S, AlU^fiL>
KXEKC1M-'
is
UKIXIDY-WIUTIMO.
'
ii urn
>. iiiiim
'
un.il.ili
.1
li \
Hi
lir.i'i.
<;i.
ia
a reproduction of the
01
rtain tateiTal-distanoe
TIiuh:
1.
Si.xiernto.
Ei.
K.
tegg=^j
J
F
ltpt
Iii;1ii i.
^uMUm
3.
AlUjTttLi
*
E.
^^
equeuoe
1
II
primp
(par.
M6)
t<-p
higher.
tt2.
The
Initial
group or
figure, to
bo reproduced
in either of
these
ways, nmy be of almost any Length; but it is frequently exactly one measure, and, in any case, it ia almost certain to correspond <<> the fundamental rhythmic 6, (jrniij's, i. c, to include 2, 4 or 8 lii ;itn ia duple Measure, and or 12 bean similar to the conditions of pur. in triple Measure, (whioh review), and Further, the group may begin upon any beat of fur the same reasons. For illustration: the meaaure.
">,
'.'
.*'.7
Ex.57
(par.
W a)
Folk Sono
*
aeq nenoe
l
=F=P
II
step lower.
At Bx.
thn
hvtt (the
55. Xn. i, and Hx 5G, No, i, the initial figure mi nwm in: g, beginning with uueeentMl) beat At l'.\ 57, No, I, U la ery brief, on e Himrt meaeare, beginning At Ex. BO, Ha i, it coven two meo or< beginning with the second U-at At
1
i,
hi v. rj
lnin;
'j
At Ex.
befttl
56,
No.
3,
it
bo^ioa
In
of the
tin-
meaanre.
r.
j;i
'lluntralinns of
ran-
mOTt
Bj
82
EXEllCISKS IN
HELOSY- WK1TIM0.
48
63. Tho recurrences, by Repetition or Sequence, may take placo at any point in the Phrase or Period; though they are most common at the beginand, in any case, thus* represent corresponding rhythmic pulses (beats ning, or measures), as indicated in the last clause of par. 56.
In Ex.
whole Period.
i
C.
measure 3 is a soqnenoe of measure 2 (threo steps lower) and measures 5, 6 and measures 1, 2 and 3, that constitute the "parallel construction" of the 50, measure 2 is a sequence of measure 1, and measure 7 a sequence of In Ex. 53, No. 1, measure 6 ie a repetition of measure 2.
49,
,
In Ex.
structural merit of such unified formations, another important and peculiar advantage involved, namely:
The recurrence of a group of tones, by repetition or sequence, serves to rectify, or at least to justify, almost any irregularities of melodic succession which may occur,
(1)
(2)
At
the
During
group.
any perfectly
faultless
initial
This rule
is
of irregularities of rhythm,
1. Andante.
analogoiis to that of par. 56, in reference to the amelioration by symmetrical recurrence. For illustration:
(Ex.
43--2).
Gkikg.
tyi
3. Any
jj^U-U^j
group
N,B>
i i
re P-
j
r
r c
\m
(par. 566).
G-minor.
tempo.
(Ex. 31)
(Ex.
16)
4.
Lento.
(par. 6 a)
n. n.
D.
group
n.b.
sequence
(Ex.
5.
8)
Allegro.
t!
KXEIU'IHKH IN
M KM
'I
V -WHITINO.
<ir>.
ricftl
Th
iniimfcMt
ImportaiMM of brief
rests, ut tin
ir
17,
00,
No.
:J.
R*t1-w par
49.
Ml
4.
. U...
Ki
60.
Ki No J.
40
N..
Ki
He,
M
J,
Ki
Ki.
Mi.
N..
I'i.
Ki.
r,4.
No
J,
Ki.
100,
Mi NVJ; Kx No. 1.
51*.
N'-m. I,
LESSON
A
tious
11.
largo
number
of 4
repeti-
CHAPTER
XI.
(a) By adding one or more intermediate tones; omitting particles of the initial group
;
possibly,
also,
by
(b)
By
a step-wise progression to a narrow leap, or a narrow loop to a wider one, and vice versa. In this way the lines of the initial group are somewhat expanded or contracted, but, as a rule, without changing the original direction at any point. Thus:
succession,
widening
&s
F-major.
mod. rep.
s^
(par. 6f.o)
fl
.
|
(par.
fioft)
n. u.
Chofu.
^5
**<
mod, rep.
3. Moderate.
EXIBCI8ES IN MELODT-WBITINa.
3. AlUgretU
n. n. N. D.
46
tW
4
G.
fzb:
J
(expanded) mud. seq.
;
fc=
^Eppa
j_^
rood. seq.
FOLK-SOHO.
group
Brkthovkx.
4.. Allegro.
m*vj
J-r+
-*gmodified seq.
CJ- minor.
.group GS-minor. L5
_.
^ jtexi&mmf&JIkm m
L
rood. rep.
6.
AUegro.
J]
6. Lento
tt=
*~
^_i
mod.
seq.
(|)(Ex.
40).
See
also,
Ex.
52,
No.
3,
measure
and
3;
Ex.
52,
No.
5,
measures
and
5;
Ex.
56,
No.
1,
com-
first 4.
repetition or sequence
may be
partial; that
is,
con-
For
(par. 666)
Ex.
lA
A.
.
group, complete
seq. compl.
PiU
3.
Allegro.
n.
b.
H
g^s
mod. seq.
nJ
'
II
^e-f i W^4
F.
5-
^=z: :2=zt
partial sequenoes
x=t=f
group
RXKBriHM
is
Mn.i'1'V WUITINfl.
j-J.jj.:;--j
'i-^
r<|.,
rxmct
'
,^
more
the
is
LLz'l'
"
II
sequenoe may appear in a This very effective mode of reoiiRenoe is comparatively harmless (not jeopardizing the reoognisabilitj of tho original
<*s.
Further,
group):
(1) (2)
If the
If
tlit>
tame; or
or doubled, BO that tho
in
sum
exactly
<//>i'</'</,
prosodic
ar-
rangement
(of
not altered.
Thus:
Bkitiiovk*.
Ex. 61.
3.
Lento.
Jt
-^-,
4-.
JHr^ro. (Ex.
52,
No.
#).
rarely, the recurrence by repetition or sequence rhythmic location, i. p.., on other beats of tho measure. This shifting of the measure, and consequent alteration of tho original prosodic effect, is a very misleading device, and belongs, properly, only to the higher ranges of composition; for a time, yet, it should be avoided by tho student, unless ho oan succeed in obviating total confusion
09, Further,
in
still
more
may appear
a different
of measure.
It
(1)
recurrences as wero
shown
in Ex. 60,
No.
1;
or
HXXRCI8B8 IN MRTjODY-WIUTINa.
(2) From adopting a group which contains, originally, less or more than the number contained in a fundamental rhythmic group.
47
becda
It is least objectionable
tinios in succession,
when the
regained.
For
illustration:
Ex. 62.
m=m
1. AUecjr
JJMj .jj-LjU
J.
j
-b -Hl
3.
AUegro.
3.
Allegro.
Beetfiovex.
sg^-^ Uj
F-minor.
|
it
*-*-y~*- J ^THRi
(par. 81).
-l
groups, 2 beata
4L.
Allegro.
5. Moderato.
(par. 64)
Crimp,
|
2 beats
| |
seq.
mod,
,
|
seq. exi
od.
*(*)
6. APtgro.
(Ex. 35).
! I
feF 2-*1
|
1"
2 iH-'ttH
L
|
sequences, exact.
70. Finally, the recurrence may be modified by being turned bodily in the contrary direction (i. e., upside down). This is an. excellent device and
ISBS rS Mr.I/Ol>V-V\-UITTNO.
HuraiMd. In this cimc, particularly, (he raonrranof should seen In Ei 62, ouirapondiiig rhythmic locution (not shifted, rule-, should not \- subjected but MMording to the role of pur. 68); ami, as to any further confusing inotlilicution that may obscuro the syntactic purThus: pose.
phonlil be ftp* flj
immk
in
Iyargo.
DUIBOVS*.
Fx. 68.
3. Largo.
or:
'
Brahma.
<
~'
11.
Any
tempo.
irrnnn
rout
ilir
NO
irrnnii
y^f=hM fr^^^p^^BI _
<"'"
'
lir
ihimI
modified
j
-1.
(Ex.
52.
No.
Q).
Mkhpilmohh.
O.
Yivaee.
0*0
*
.^cronp
J".
co " t<1ir
i
| i
,"ric dir.
,
Moltn moderato.
Epi-j-Uj
"*
,w J
j
~u partlv
^ont.
-*
,
riinM-tion
fT gronp
"J*
(08)
pnrtlv [C t direction
,
^^B
,
(par 81)
(2Ho)
(par 27 o)
(26)
(28 a)
IN METjODY-WRnTN'O.
49
7,
No.
4, first
and
3.
LESSON
of 4
12.
and 8-measure melodies, with recurrences of toneA large number groups, by repetition or sequence, modified in the manners illustrated. Each device is to be exercised successively, in the order given above. Major and minor alternately; various species of Measure, from 2/4 to 12/8.
No changes
of key.
may be
harmonized.
CHAPTER
XII.
the second Phrase. The sequential formation need not be exact; it is far more likely to be merely an approximate guide for the Consequent Phrase. And it need not, generally will not, extend through the entire Consequent, but through o
portion only.
1.
Thus:
Antecedent
Ex.64
I
I
Jliipilteis
==.
Oeaaeqaeat
MlKUII
II
i
:i.
aateeedeol
i
Ei?.
|
^3l
E r ""P
*-\-1 ! '
nr
5
1
CoiiHrqurnt
B7,
No.
2;
N.
B.
In Nos. 1 and 2 of the above example, the cadence-tones are not defined
Moording
to
own
72. Analogously,
the device of recurrence in Contrary direction (par, 70) scale, to the ((instruction of the Conse*
possibly throughout the latter, though mnch more probably qui nt Phrase; during s portion, only, of its length; and, almost certainly, with some free*
Such melodies are known as Periods of "opposite construction"; compare pan. 52 and 53. For example:
Ex.
66
See
alao. "
TONK-KKLATIOK8," Lobsou
18,
No.
22,
No.
27,
No.
i8,
No.
6.
LESSON
A
large
13.
number
Consequent Phrase as
dences.
The extent
tion)
is
be shortened, gradually, in the later exercises, similar to the manner dictated in par. 53, until no more than brief figures (3 or 4 tones)
to
of the
Antecedent;
not
may
occur
at
alternately.
up
to 9/8 or 9/4.
No
where
changes of key.
8,
CHAPTER
may be
XIII.
modified by the
chromatic Inflection
of certain steps
or
by the Substitution
A chromatic progression
is
dental
The chromatic inflections are to be effectuated strictly in accordance with what are known as the "Altered Scale-steps."
EXERCISES IS MELODY-WHIMS,,
(arranged
in
Bt i
'
Mi pi
CmJor.
thmghoat
_ Indicate
lowered): .Minium
I
in.licatm raised,
p.
i^i^l^^^l
4th Stop, raised
_>
II
Id Stop,
)
(narkad
BXBBOXSBS in MKLoiiY-wurrrNo.
tion,
.13
par.
76 a); or from any tone upward to the lowered 6th Step (becanse
resolution).
of its
downward
Thus:
C-miijor, throughout.
(all Roo.1).
6-
lab
leap, namely,
(d) Very rarely, the raised tones may be approached with tho opposite from below, in the direction corresponding to their reso-
lution.
For example:
all ?
^4
all??
Ex. 70.
PfEES^B^S=JgggEEfl
C-major.
(e)
On
the contrary, the lowered 6th Step (being a more natural inflec-
only, however, along irregular skip, from above, Thus: in the prevailing key.
may
easily
be approached with an
(Ex. 42)
(Ex. 40)
Ex. 71.
(to
as follows:
The lowered Step descends, generally step-wise. The raised Steps all accent?, generally step-wise,
Scale-step.
i.
e.,
Thus:
Ex.72.
;
^^=H
:
3
i
^fezH
Step, for the reason given in par. 75
e,
C-major, throughout.
( b ) Exceptions
may
rare,
leap
upward
or
This
is
also
possible with the best raised Steps (namely, the raised 4th and 2nd), but and hazardous, because of the difficulty of confirming an obvious
U
tratiou:
xuBcuiiH
is
MKLoDY-wamHa.
see par. 77.
For
illus
(0
71
>;.m~Ii
inn
hrtra)
mivj.T,
Ihioaghoal
iar.lv
(Ex. 40)
[mprobftblt ehord
lini<, iu
(,'.
I
par. 10,
20
* ???
rtdted 4:h
and 9nd
preued chromed-
exactly
which review
Thus:
Ex.74.
p^^ii^S
(not
C -ni;iji>r.
ffi]
(uut eb)
77. Tlie inflected tones are not to bo considered as changes of the key, nor allowed to cancel the prevailing scale. They are controlled in their movements by the impression of the given key (or scale), which is to remain the satin- throughout each Phrase or Period-melody, for the present.
For general
illustration:
1. AlUgro.
n
Bkktiiovrx.
76.
;
:>
=s^b
,
Ab
2. AVUgro.
major.
II
Al> major.
(Ex. 08, U)
3.
Alltgro.
afeEB fe^s
A-niajor. throughout
.V*
t3
55
i
D-major, throughout
<>. Moderate.
r^^fe
#-SCIIUHKUT.
D
7.
major, throughout.
Largo.
(Ki. 74)
Afr-niajor,
throughout
See
also,
Ex.
CJ,
No. 2
(eg)
and glanco at
par. ^8.
LESSON
A number
of 4
14.
and 8-moasure melodies, in Major, with occasional inflected Steps. The alterations must not be so brief as to appear to be "grace-notes" only, but must be obviously essential tones; as a rule, not
less fckan a full
No
The first few exercises are to contain the best altered tones, and the modes of treatment; then experiments may be made with the more exceptional forms. Review par. 9a; par. 30; par. 39.
regular
CHAPTER
XIV.
(in
the
Altered Scale-stepa.
7
Ex.7G.
=^r^Efeg
C
minor, throughout.
4th Step,
raised.
=#=
7th Step,
>
6th Stop,
raised.
2nd
St.].,
loweiod
lowered.'
M
M
t
IN
Ml
LOD1 -WIUTINO.
<-nn doI be ooTiToniontlj enmmaTimfl as the Altered Stops of major; they must be in.li- >tiilfii ly memoriied.
7i>.
similar ko
liaakinaiit urt*
u1ut.i1 St.'ps
..f
major.
in
fa)
The
appoaw
kha
ohromatic Inflection of, and ai substitution fur, the original Btep; i. a., it may be Introduced ohromatioallj (par. 75a), <>r from kha neareel neighboring Btep (pur. 756)orwith a skip from any
ai
me
(par. 75c).
Thus:
Ex.77.
C minor, throughout
(h)
augm. 2nd
matically, hut
beai
Tho other altered tones, in minor, should not be introduced chromay appear only us suf>sti!ntiuns for the corresponding Steps; approaohed, M usual, from the nearest neighboring Step. The intro-
duction with a leap is more rare, excepting in the case of the tHiBOd '>th Step, which may be approached from any higher tone (par. 75c); and the low. red 2nd Step, to which a skip may be made from either side, along the
line of
an obvious chord.
Thus:
Ex. 78.
+J
.11 (all
1
',,,,,1, good)
C-miuor, throughout,
8O. Ah in major (par. 76 a), the raised Steps are resolved upward, the lowered Stops downward, generally to the adjacent Step. A few excep-
Ex.79.
-fl
C-miuor, throughout
* *+**
* $
W --Jy*
(only ilium
Eicri.ti.iii.il.
(par. 70
c)
(par.
3Sb
II
good
IM.IU'ISKS IN
MKLODY WIUTINU.
57
For general
1.
illustration
AU'gro.
Bz.
iU'
l
'
f T
*
'
S
1
Hmtiioven.
w '
(-
*
II
Bektuovkn.
Mendelssohn.
P^ ^-kUHtL #=^M=^g
1
J]
Mendelssohn.
4+
rMH*-^:
.ft E-minor
#-
."
/change of key\
{
pir. 81.
) E-minor.
fr
This b
Ex.
flat is
See
also,
64,
No
FJ
in 7th measure)
LESSON
A number
flected Steps.
IS.
in
of 4
in-
Review par. 39
par. 77
and
Lesson 14.
KH IN
ill
LuDY-WlUTXNd.
CHAPTER
xv.
the line of
its
own
scale,
mbm
other key.
of sonic
This
effects
;i
Bo-called Modulation.
may l>e permanent, or it may be only temporary. melody, after pausing orer into tlie new key, makes its (See "Tomb-Bklaxioks,''*!] perfect eadenoe npon the Tonic of the latter. of Lessons 88 and 89.) When, on the other hand, the modulation is temporary (or transient, as it is called), the melody follows the line of the new wale only for B time ( few bents), and thru returns to the Original key. (See "Tone-Relations," nil of Lesson 40.)
The cbango
tir.st
In the
ease, the
of a Mrf.ratotaf bay.
original scale should bo exchanged only for that Of these there are live, namely: one with the mum signature, two with the next higher, and two with the next lower signature Thus: (i. e. oue sharp more or less, or oue flat more or less).
H'2.
BUUI
I.
The
^a-minor
From C-major
p-signature), into
(3-siguature).
jxG->aJor(3
e-minor
(;J
). ).
).
]
).
(^E-major
Or: from f^-minor (3#-signature), into
A-major (3$-signature).
(4$
).
<^-ininor (4$
K.l). niil jr
). ). ).
Mi -minor
^f-minor
(38
(2JJ
(-0 -signature).
(^ EP-major (3t>
Or: from A!>-major (1^-signature), into
e-minor
(8t?
).
).
). ).
B.
Capital
lottOTl indicate
major
1>>
ft
83. Rule II. The change of key may bo made at any point in the Phrase, upon either an aooented or an unaccented beat. But it must, at pre .ut, take place after one of the three tones which constitute the Tonic cJiord,
kXKltCISES IN ttfiLObY-WlirTlNG,
t e., either after the 1st, the 3rd, or the 5th Step of the momentary scale (namely, the Inactive steps, par. 5). Thus:
Ex. 81.
ST -^
C major
^ ^
into citlior
relat5il
of th five next
* C C= koyn ff-
one
__
n II
or:
*"
1^-
I-
C-iuujor.
-*
v^t mtiniext
Q~3
1~
-|
mtonxt-
C-major.
III. The deflection of the melody into the desired scale reaching one of the Inactive tones indicated in Rule II, be effected by passing through any one of the five tones which constitute the chord of the Dominaut-9th, i. e., either the 5th, 7th, 2nd, 4th, or Gth Scale-steps of the desired key; in other words, an entrance may be effected into the de(Even these may sired key through any other than its 1st and 3rd Scale-steps. be used, as will bo seen in time; but not at present.) The most powerful of these "modulatory tones" is the 7th Scale-step (the so-called Leading-tone) still, all five are equally adequate, if properly approached and properly treated.
84. Rule
may,
after
85. (a) If possible, the last tone of the first key (one of the Inactive Steps given in Rule II) should be transformed mentally into a Scale-step of the prospective key. The melody then runs on, from the footing thus secured in the new scale, in exact accordance with former rules. For illustration:
1. C-maj.
-
Ex. 82 A.
*=F
=t=
m
3
IB
3. C-maj.
3S
3.
C-niaj.
>-*-
^m
(b) The most satisfactory result is gained (as far as the melody itself is concerned) by using, as soon as the new key is entered, a tone, or a group of tones, which indicates very distinctly the Dominant harmony of the key,
EXKKCIM.;
bo that
IS
MI.I.ol'Y
WKIIINO.
ttisti>i</ui*hes th?
tht> fiWdfag twin <>r som> Othet fcOM from At prtetdtmg our, U Instantly, it very No. l, would be more definite thus:
'/''/
h<><>h,
introduced.
Is.
B2E
bffn
E-*s III
A.
80.
If this
montal transformation
(pur.
t<>
85a)
is
is, if
dou
not btiong
by
simply inserting an
Thus:
S3 -jp
87. (a)
een,
If such a chromatic movement be necessary, it should be foreand properly approached, i. e., in the corresponding direction. Thus:
Ex.84.-
Not**
$
Thus:
ewxl.
Uiua:
I.
t7
^fl
(b) Or, the chromatic progression may be prepared by a wide leap from the opposite side, involving a change of direction, according to par. 2G.
k 85||
e^^^^(r^
C
1
7l|
5^-H
IN MELODY-WIUTINO.
61
xc; Or, finally, the chromatic inflection may be avoided, in the melody This involves the asitself, by moving step-wise in the opposite direction.
sumption of a Diminished-7th chord (i. e., the Incomplete Dominant-9th, in where the new key begins; and implies that the chromatic its minor form), tone is taken up in some other part of the harmonic body. Thus:
(comp Ex.
84-2)
For general
1.
Moderate
Bach.
Ex.87.
$
3.
3.
teB^j-^'
q^if-^-^z^
-J-y^-^-^
(par. 88)
*=T
Allegretto.
3-zlz
-A t*# MJ
f-f-^r-
G_
^^ut^ mf^^^m
Allegretto.
4=. Allegro.
(par. 87 a)
^^
a-
(par. 88)
i.
Beethoven.
tsffii
_
88. Whether the
steps
(i.
foreign tones in a
inflected Scalee.,
e.
change of
depends
Partly upon the location of the foreign tone in the prevailing key; it must conform to the lists given for major and minor in Exs. 66 and 76. But,
for in order to serve as altered Step,
(2)
It also depends,
much more
IN MKK<I>Y-WRITIN(.
option of
tin-
OOmpOMT, who,
in the
in<
Mali).
lesson
A nnmbei
in
in.
o!
4-meaanrc melodies
In
major and minor, with one [permanent] modulation in each, Into tome oext-related key, oloaing with the perfect oadenoe upon the Tonio of the
new
key.
~.
may
Erery Bpeciee of
12/8;
the
rhythm
freely diversified.
An
occasional
altered Stop
may bo
introduced.
CHAPTER
XVI.
MODULATION, CONTINUED.
Hi). The process of modulation is precisely tho same for trantiemi changes of key, as for tho permanent ones illustrated in tho preceding
lesson.
(a) In phrases in the smaller varieties of Measure, only one transient modulation is feasible, as a rule; i. e., the melody passes soon into ono of the five next-related keys, and, after a few beats, returns and closes upon Thus: tho Tonic of the original key.
Ex.88.
3.
AUtgretto.
s
Measure
(0/8, 9/8, 12/8),
two or more
tran-
BXBBOISXS IN JIKMiDV-WltlTTNO.
5 next-related .Keys of tho original scale, anil, in each case, returning to the Thus: latter and cadencing upon its Tonic, as usual.
Beethoven.
1. Allegretto.
il? *"V.
(par 02)
Ex.
py
a.
t=F
TT
JLl
JE fc^g I=fl
F-
Allegretto.
5zl
j^==* H^-l^
J2
LESSON
A number of 4-nieasure
A. In
and return
I?. (par. 89 a).
17.
melodies in Phrase-form:
CHAPTER
XVII.
MODULATION, PERIOD-FORMS.
OO. Changes
of
in the Period-form, at
any point
in
cadence, which may be made upon either one of the three tones of the Tonic Triad (Steps 1, 3 or 5) of a next-related key.
The
common keys
and
(the
than the
same
signature).
particularly appropriate for the semicadence of a Period beginning in major; the Relative key for one beginning in minor:
is
MI I.iIiY-WlimNCl.
though boUl urt< possible faf either DB0d6| Mid other next-related keys also. the Sulnlonnnant key (OBfl Hat more, Tin' most unusual is u MOniOftdttHM
Or one sharp
less,
Pot
illustration
1.
ii
"
Anlocixlciit. All!'
B-
Hi
=V:
^SCS
(overUppinR Scal.
-\g~* -
lines
eo par. 03)
but the
During the Consequent Phrase any transient modulations may bo made, final cadence must fall upon the Tonic of the original key.
LESSON
A number
of 8-measuro melodies in
18.
Chapters VII and IX, containing modulations (and occasional altered Steps) as explained above. Every species of Measure;
directions given in
EXERCISES IN MEI,ODY-WIUTINQ.
CHAPTER
XVIII.
MODULATION, CHROMATIC.
91. The change of key may be effected contrary to Rule II (par. 83), namely, after other than the Inactive 1st, 3rd or 5th Steps of the key, on
condition
first
chromatically, from the Step chosen to key, into a proper tone of the desired key (Rule III,
Thus:
.
Beethoven.
-**
Beethovkn.
3.
eft*
3ESJ
4.
.4
->-
^^a
-*l
llegro.
$E3^
[^^l^gHHi
Bk.
j==^
fi.
Jlndanfe.
MENI>EL880HN.
i<\
1.1
nsa.
LESSON
A number
Ifencore (9
l
l'J.
of
matic modulation.
species of
up
to
CHAPTER
OVERLAPPINa
99.
(
XIX.
SCALE-LINI'.s
lensn] exoeptioni to the three rnlei <>f modulation given in Chapend ill) may be justified by mentally transforming oertain tone or tone* oi one key (in> matter which icale-etepa they repre* sent) into aome planaible Btep <>r Step*, if possible into more urgent and f tli.- d.'sir.'d next-related key. and tln-n eontinning slong tln new lino, withont the formal observance of strict rules <'f modulation. Tliis may even apply to somo more distant key, if melodic conditions are
ter
XV
(especially II
favorable.
!>;*.
the application of par. a broader sense, and is based npon the general principle that a el mge of hey may atwaye be effected at (<>r through) any tone that is common to both heye eonoemed; especislly when two or more such common tones appear in succession, so that tlio lines of the keys overlap for a number of beats (se<j Ex. 90, No. 2, which illustrates tho point very strikingly); or where there is a pause in the melodic movement (a tone of comparatively long durata
reproson
difficult
to
92,
Nos. 3
usually result as a matter of course from tho application of tho strict rules given in Chapter XV; but it has a much wider operation, and extends to many cases not included in these rules.
This,
it
is
true,
will
Eor
illustration:
SCIILJlKltT.
Ex. 92.
-is
B
3. AIUqto.
3^
(keys not nextrol.)
SniniERT.
V
Bb
:ii
KXHBCISE8 IN MELODY-WRITING.
.%. Allegro.
87
BRITnOVBtl.
ifeggip^^ifiteig^
5.
Allegro.
(Ex. 60)
6.
Allegro mod.
Hg=^=;rx=rf
g^B-i^
fe *^r
-#-*-
^^-!.t~+h^m
AH
fcsi
P=
IE
Ah
8. Largo.
3=EEgEEgEEE^E3
i
aE
88
.>..
EXKKCtSK.4 TN MEMUY-\Vll!IINO.
Thii
t<>w:ir<l
MgrMBMBt
of Imj1_i.ii
(i.
in
$u>>*tttutin>i the
tppotiU modt
<.,
the krv
th.< r
Uaai of
whioh khe moduli.. ion wan obviously directed according to Tins is nraallj en eeey ekohengei beosnsa tho relationship. Boneeponding in the oorrmpomdtng major end minor keyi (L See Ex. 37. I\>r illustration: arly ooineideai
-
,
1.
MUjro.
(Pr
Warms.
__-_-U
Ex. 98.
-h^-H-=^=
D
major
>
-'i
;.
(par 91)
MK><l>t..MOHir.
^E
B5 *=t
b-minor. B in.ij.ir_
>
_dl
LESSON
A nnmbor common tones
remoto keys.
mind.
of 4
20.
Then experiments may also be made with more The general harmonic (chord) basis must bo kept well in
CHAPTER
XX.
of exceptional modulations
is
that afforded
taking advantage of any sufficiently well-defined pause, or break Sequential recurrences generally the line of the melody. involve, of themselves, such "breaks" in the melodic line, at tho points " Tho breaks, " or cadences, may, however, bo created by many of contact.
(2)
By By
and
(or cadence), in
other means.
For example:
\. Aiitjr.un.
Umnmumma,
(sequence*-, All
MXl
r.-l.
kcyt)
KXIRCIBES IN MELODY-WRITING.
Largo.
t^PjJsjji^feltgfefl
J
(sequences; keys remote)
A_m_J
a-
4,.
^IJJ^ro.
*&
It
^^s
v^.).
(par. 64)
5.
Allegro.
g- v .
* s=t
jr
U.
..
:
1
1
^=F=]
(par. 66)
S3
ac
*=F
=
EEgEj
mr^^
-I
r
Beethoven.
(par. 91)
^i^^e *
fc=^
<?
*=fc
Bfefc^ilig^BI^l
7U
IN MKUHJY-WIUTINt.1.
H.
AllfjrtUo.
BXSB0ISE8 IN MELODY-WH1TINO.
71
In the latter case, though they assert themselves (by their tdme-varties) more than intermediate tones, inserted between the tones of certain chord-lines in such a manner as
as essential tones, they prove to be, in reality, no
For
illustration:
_________________
T?
fc)x.
rH
95.
(x raised Scale-steps.)
Mekdblbbohx.
7j
obi arxnzxa
LESSON
A number
ohroms
of nn'
r
19
meMOIM,
-ions.
The ohrom
briouslj essential,
nil'-, tin-
succession hhould
('.
tones,
CHAPTER
Tin:
XXII.
DOUBLE-PERIOD.
97. Tlio Double-period generally embraces 10 measures; that is, four Phrases of four measures cadi, closing respectively with cadences in the 4th, sth, 13th ami 16th measures. Compare par. 50.
i>8. fa) The first of these is a light scmicadencc, and may be made nj)on any St. tp of the original key, as no modulation is likely to occur during the first Phrase of this longer design.
fb) The scrawl one is apt to be a perfect cadence, falling upon Tonic note of some next-related key, best, as indicated in par. 90, Dominant key (most commonly in a major melody), or the Relative (usually in a minor melody); or perhaps the Relative of the Dominant;
the the
key
very
either the
(c)
Sub-dominant or
its
Relative,
The
and may
fall
upon any
tono of the Tonic Triad (Steps 1, 3 or 5) of that next-related key into which tho melody may have boen conducted; for, during the third Phrase, modulations may be freely mads among any of the next-related keys, rarely to remote keys. The best keys for this cadence are, either the Sub-dominant
or
its
Relative.
The fourth Phrase may also modulate freely, for a measure or two, but must then turn back definitely into the original scale, and must close, naturally, with tho regular perfect cadence, upon the original key-note.
(d)
SM). (a) The designs given in Chapter VTT, in reference to parallel and mtrasting construction (par. 52 and B8), must be closely followed in the h i!f of the Double-period (i. e., Phrases 3 and 4): at first, the whole I / PkraeeS must correspond (perhaps with a few slight ohanges) to Phrase
1; and the greater part of Phrase 4 must pursue the line of Phrase the necessary difference of cadence asserts itself.
2,
until
fb) Then, in each succeeding example, the parallelism is to be diminished gradually until, ultimately, the BOOOnd pair of Phrases differs entirely
EXERCISES IN MELODY-WIUTINQ.
715
first
For
1.
Andante
2.
,
3.
4.
Ex. 96.
bfe
M
*
J-ZlJ
E
7
.
>
,'
=&==
major, throughout.
(par. 58)
t532
^
Mkndklsbohn.
10.
11.
12.
13
4
14.
15.
16.
si
3.
J
like
2. -like 3. 2 Iike
Z I like 5 -Z I like 6 Z ZS
-N-0
'-<&-
-B)
#-
tt 3=r=ft -ffri
zzzazaz:
like
Phrase
1-
PjA^Z.l^_ f
74
MKI.oDY WlUTINti.
LESSON
A
Hoaa,
28.
nninlxT nf
Bugfainfag
major
md
i.
ft
B/8,
I.
::_\ B/8).
The
hiinnoniziition of
thOM m&lodiea,
and approval bv
tho teacher,
may bo undertaken bj
EXERCISES IN MEL.ODY-W1UTINQ.
75
DIVISION TWO.
i.
e.,
calling for
Many
tones
may
(i.
be,
e.
t
no more than
the essential or important) tones, which latter they merely serve either to connect or to embellish.
Such embellishing tones have appeared in many of the foregoing illustrations, simply because their employment in composition is so common that but very lew examples could be found in which they are absent.
The distinction between Essential and Unessential tones is determined very largely by their length ; usually, a tone of the value of a full beat is a principal or essential one; and, of two, three, or four quick tones that constitute the subdivisions of a beat, one or more are almost certain to ha
unessential.
But this is only the general distinction. the true one depending, afte*. upon the relation of the tones, whether short or long, to the prevailing chord-line. For illustration
all,
1.
all
essential)
3.
"l
(x unessential)
1.
Ex.97.Hfe=^t
CI
tiF
*T VI
This being the case, it follows, here again, that a melody must be designed with strict regard to some harmonic basis, or subconscious chordconcept. (Review pars. 15, 23, 38.) The tones which agree with the momentary chord are the essential or harmonic tones; those which differ from it
KXKIM'IHEH IN KILODI-WBITINO,
eaantial
Thus
devised, or tLuB
articulate. 1.
niflo.lv is
eMJ
t.>
l.m inoi.i/.o.
THE SUSPENSION.
lOl.
scale-line,
Hi
<ir
i.k
T.
chromatically)
Any tone whirli proyrrsHtfi st<p-xiisr fnlonp tho may be tied lo the following, next lower or
Tuna:
higher, tone, uiul tlniH ba held over during a fraction of tho value of the latter, as
embelliahjnent by 8upetttioHm
*
Orilul llne-
'
^=cbf=l
lli.-ihcct
Kinlu
with the
Suh|h<iiii1oii (.)
^IM^^f^E
original lino.
embellished
This device is as simple as it is effective; and its result is invariably good, unless it be applied during some very irregular melodic progression, which the Suspension would probably aggravate.
102. (a) As a rule, the Suspension may best be introduced in descending step-wise progressions; but it is also good in ascending step-wise successions, especially when applied to tones which have a natural upward tendency, like the 7th
(b)
soil, -step
The
obligatory
movement
(par. 7).
Resolution
(c) If irregularities of
rence, precisely as
rhythm
tie,
shown
in par.
result, they may be redeemed by recur* 5Ga; see Ex. 100, Nos. 2 and 7.
the tone
may be
EXBRCIflKfl IN
MRLODY-WRnTKO.
signify no
77
And
lessons.
in fact, in this
form
it
may
and practiced
applied to single tones in a measure or group, the best genobtained at accented beats (as in Ex. 98, Nos. 2, 6 and 9, and in But it is possible at the beginthe majority of the following illustrations). ning of any beat, especially when occ\irring repeatedly, either in immediate succession (Ex. 99), or as recurrence at corresponding points (see par. 102 c).
(e)
When
is
eral effect
(f) If the tie, or reiteration, is applied at a skip in the melody, the result -will not be an inharmonic Suspension; but it will be correct if the
tones represent
1.
some good
AlUgro.
chord-line.
For general
illustration:
Ex. 100.
fel
W 7
suspensionsAllegretto.
F='=t
chordline
Trrrr
embellished with
Original line-
m
3.
Schubert.
f_h_
_^
m-4
3=
S &^m
3.
Allegretto
i$f
fi
i=*z
Repetition, emb.
:*=t
IS
Bkethovzm.
Ab-major.
Db- major.
mm=d=t
T.K
J-."
=z
*==t
^ifl
II
XKIiCI.sKS
IN
UKIOKY-WKITINO.
^'
1 -'
1
>
grr
il
'
'
i
n
-0
f f
i
fonn-
'
fr
.-,
M
| i f
r^
'
'i~
5
I 1 I
**i^^l
BOBUBUX.
*
'
tssjgEEfc:
Original form
..II
/,:;
3^. ^EEESEZZg^gg^^gi^^
Ah
AIU.jto.
-m
7.
eIIJl
Q--?-far&tJ
rV
BKTIIOVFN.
S.
Unoiunn.
f=^
;58.
LESSON
24.
A. Take a numbrr of former 4 or 8-nieasure melodies, and embellish then with occasional Suspensions, where convenient and effective, according to the above directions and illustrations.
D. Invent
ire,
number
of 4
Use
all
ipeeiee of
and modulate
he writes
at option.
difttinotlj as
(i.
it,
o.,
EXERCISES IN MELODY-WRITDJO.
CHAPTER
XXIV.
THE ANTICIPATION.
103. Rule II. Any essential tono in tho original (Bimple) melodic concept, or any weighty tone, whether essential or not, may be anticipated upon a fraction of the preceding beat, usually a very brief fraction. Thus:
Ex. 101
Original form-
j_.u^^=g=n
B-inajor
EX Kill
r..
IN
Ml
"Li WIUT1NO.
Al^ra
N. B.
in the
Suspension, and
The difference
itself
lies solely in
may manifest
clearly
The Anticipation
It is If
is
re-struck;
will
be the
may progress
will
in
any manner;
if
embellishment by Suspen-
second tone
step-wise.
This, again,
So also Ex.
5.
00.
LESSON
A. A number
of former,
23.
occasional Anticipations.
Ii.
Now
IN MELODY-WIUTINO.
CHAPTER XXV.
THE PASSING-NOTE.
between two successive essential or reduced to step-wise progression, by instating the intermediate scale-step as PaSftifig-note, Usually the Passing-note takes exactly half the value of the first tone, but it may be less than this (rarely more) according to the desired rhythmic effect. See also par. 102 c. For illustration
(or weighty) tones in a
104.
RtncE III.
may be
filled out,
1.
Allegro.
Ex. 102.
as #
f
=r
u
SrilUBKRT,
Original form.
p jfcit&t_,i-t
r +*=
j
-. ]
-j |
=^f4
3. AUtgreHo.
^^p^p
E&fe^ S^EEg
t-
^.~. m ^|SEJ^SEEB
MOZART.
n
l <>..
in mki
n niriMi.
In Um above illnsPaeeing*note generally oooore, ai within tho beat or group (notion "f the beet, mi anted by the Aral tone, and, ooneeqnently, without dieplaoing tho Bnl it Si alao poaaible t<> defer the PumbL tono of the original skip, lng~note (L .. to ^liift it forward) ao thai it anoroeohei apon the beet of tho eoond tone, thne aeraming the aootnt$d location, and dividing the Telne, <>f The rhythmic remit li often muoh Improved by thii meana, the lilt t-r. r rn unple:
Til.-
no
tratifnie. Tiiwrti
>
awkward raytaai
better:
Ex. 103.
-'i1
r~f
onil).
jj
1 1
.j
|gg
i
ii
(ri^iinl liuo-
with unarmitcd
t .
i *i^^p|^^
s
orig. skip,
good:
good:
possible:
{*.
.Andanfe.
^fKNnr.r.fiBorrN.
^ ^gUiuJ.m
LESSON
20.
rj f rf
aa
A. A numhor
1$.
Now
Yariotu Bpeoiee
Measure,
with ooccuional
Passing-notes, as
shown above.
KXJBRCISES IN MELODY-WHITINQ.
88
CHAPTER
XXVI.
PASSING-NOTES, CONTINUED.
106. A skip of & fourth may bo filled out, similarly, by inserting the two intermediate scale-steps successively, in the same direction. The two connected passing-notes may be both unaccented (i. e., located within the beat or rhythmic group of the first tone), or they may be disposed in any other manner between the two essential tones, according to the deCompare par. 105, and par. 102c. For illustration: sired rhythmic effect.
Ex. 104.
Original line
better:
=t
H
^s
*=F
Original line-
!=*=&
possible:
awkward X X
#=?=
better:
Bkkthovek.
4.
AUegro.
5. AUegro.
x y
-*- x
-Li
-*
E3
#-
7U
rr=i
^5
6. Andante.
KXKJU'ISEiJ IX
MKLODIWIUTma.
Mattes
36,
No.
17, first
measure
107. Adjacent scale-steps may bo connected by the intermediate chroSuch chromatic passing-notes nvitv tone (when the space is a whole step). actually corroborate, in origin and purpose, the Altered scale-steps (Chapters XIII Mad XIV), and are therefore more common in ascending, than in descending, succession.
0rmtiel
tones, in being
They differ in effect from the Altered Steps, which are more transient, und therefore obviously tmtumtttd.
For larger spaces, alternate diatonic and chromatic passing-notes niny bo used in immediate succession in the same direction. For example:
Beethoven.
Ex. 105.
=F1
Ah
M^.
w
3.
Allegro.
3. AUejro.
Mrxdklsbohx.
gfe 3=3
Ji y
4,. AUtgretto.
<"
..
l
w wn*ijang
V.
x
(Ex. Ill)
(E x.
109)
1XBBC18ES rs MELODY-WKITINO.
Saim-Sakns.
Dbl.
See also Ex.
75,
No.
7,
measure
1.
108. As the fourth is the widest interval that can occnr between contiguous chord-tones (namely, from the chord-fifth to the Root above), it follows that a line of intermediate passing-notes, inserted between still larger skips (5th, 6th, 7th or 8ve), can not consist exclusively of inharmonic tones, but most contain one or more chord-tones, also. The effect of the wliole conjunct group, however, will be that of unessential tones, especially in swift successions; and as such they are to be regarded and treated. For illustration (the harmonic " passing-notes indicated by x in parenthesis):
*
Ex. 106.
Beethoven.
2.
Allegro.
g^^^gfe
3.
Yivace.
Ifl
BXKBClHia IN MEI/ODT-WUITINQ.
A.
AUtyrttto
[l.V
^T]
[/
:iiliL_-
|i^'
IV
^=
AhL
109. The
lessons,
are best
may bo applied even to passing-notes. Such repeated passing-notes when they are of sufficient time-value, and importance, to be partly
Thus:
ScnunKRT.
Ex. 107.
i-
3. AU
molte.
jj-^a
fe
^^^N
Rut.
KXKHCISK8 IN MKIiODY-WJUTINO.
87
-4.
Pruto
O.
Allegro.
LESSON
A. Former
tdiatonic,
27.
but with
strict
B. New
The
CHAPTER
XXVII.
-
NEIGHBORING NOTES.
110.
(a)
Rule
its
TV.
Any essential
its
higher or
lower
Neighbor
neighboring-tone, thus constituting an embellishing group of three tones (i. e. the essential or principal tone and its recurrence, with the upper or lower neighbor between or, in other words, the neighbor inserted between an ordinary tone-repetition).
,
;
(c)
three tones
optional.
may occupy
But
either of the the accented fraction of a beat, and the values are the simplest, and by far the most common form, is that
XXERCISM
IN
MFXODY-WmTTNO.
h whirh Thun:
all
three
I
tones
C VI IV
Ex. 108.
-
[]\'^B\l li\ri_'\r^}3
tour
wkwrd
rli
yttim
irrej;.
rhythm:
0=r
^g^Fpi
m
is,
II
111.
essential
that the
its own principal tone, while the latter passes on into another Compare Ex. 103, No. 1, with Ex. 108, carefully. In other words, the
embellishment with a neighboring-note involves only one essential or weighty tone; the passing-note, on the contrary, always involves two different essential tones. The former
is
1 1 12. Whether tho upper or tbe lower neighbor is to be used, depends somewhat upon the location of the following tone in the original melodic line. Tho rules are:
(1) If the formation of the group is to be Regular, the upper neighbor taken when the next tone lies below; and, vice versa, the lower neighbor when the following tone lies higher; or, in other words, that neighbor is chosen which lies opposite the coming tone. In this way, the impetus imparted to tho final tone in the group by its embellishing neighbor, carries it naturally toward tho next tone. Thus:
is
Ex. 109.
detceudin;; lino
euib.
with upper
o.
ascending lino
o.
EXERCISES IN MELODY-WMTIHO.
i$^m^^m^^^^^m
exceptional-
S3
Or
(2),
^^^
UP,-#-# -|__
in a series of
but
usual,
by "uniform recurrence"
(par. 56a).
For example:
Regular:
Ex. 110.
original line-
If-O-gtJL*
emuelliabnient-
I I
2.
Vivace.
embellishment uniform
G-major.
D-major.
emb. regular-
u ife
MOZABT.
M
4..
KX*BCIH1CS IN MEIXUIT-WIUTINO.
AU*fr:
M*
-I'
I
'-'
'
Mi.r.AkT.
,t^U
fL
N. B.
In any case,
groups
is
1 1.'5.
is
subject to the
following rules:
(1)
The
u}>per
ing scale.
Thus:
???
Ex. 111.
^^^iP^g^SPB
Upper o, d in Eb major and c,
C, K, G, lij. Also in e minor (low tied 7Ul Btep), a, g-iuiuor.
C-major, throughout.-
Aiimajor, throughout.
minor, throughout.
m^^m^m^'?^
E
major.
(2) The lower neighbor may also agree in notation with the lino of the prevailing scale, and in melodies of a serious or stately character (or when But ordinarily, especially in the neighboring note is long) it does so.
graceful or rapid melodies, the lower neighbor lies a half-step below its prindpd Ume, irrespective of key; excepting when the principal tone is tho 7th
J1
step is
almost always
chosen.
Thus:
Ex. 112.
taining
Probably thus in every key con-' g, excepting Afr-iuajorv where it is the Loading tone:
i
,\b-
II
Soniewhat uncommon..
3.
Allegro.
>/
6+
(Ex.76)
g-niinor,
throughout-
LESSON
'
28.
A. A number
lessons), to
as shown above. They may be applied to an occasional single tone, in which case the rhythmic effect must be guarded; if unaccented beats are broken, the rhythm will be regular; if irregular, from any cause, the rhythm must be rectified by "recurrence." Or the groups may appear continuously, i. e., at each tone throughout
the melody, generally excepting the final (cadence) tone; this will constitute a " Bunning part."
B. New melodies, 4 and 8 measures, in various species of Measure, major and minor alternately, with special reference to the 3-tone group. The material of former lessons must not be neglected.
IS UKl.oL>Y-\UUTING.
CHAPTER
114.
XXVIII.
mum
to four, live,
(1) By adding to the B-tOM group (either before or after) any tone which belongs to the choril-linc of the MMBtttl tone. Thus:
B
C
j
I
11
jrdL
throu^lmut.
3. AlUyro.
ie^^^lsgllplii
orig.
form-
(2
By adding
N.3.
Review
par. Ill, in
in
passing-note.*.
And bear
principal
tone
110
6).
LRRCIBE3 IN MELODY-WRITINQ.
For
illustration.
1.
emb.
In 4-tone group*.
fc
"^i^^rif
orig. tones
i
^i^g^f?^^^^
X X
orig.
tones
-mm^^m
|
3.
Allegro.
4 tone
|
Bkkthoviw.
A. Allegro.
/r
Ffe& B2
(3)
f=^*|iT
ffi^FF t=4^=3
(115)
By
inserting
first
the otlier
This will result, at first, in groups of at least five tones then be enlarged, precisely as shown above. Thus:
1.
which
may
awkward rhythm
Ex. 115.
5-tone groups-
2.
Allegro
Wbbkk.
ZT-
nui
5.
Allegro.
m^^m
F G. AlUgro.
IP^H
1
A3
-^._.^
(Ex.
m_
(Ey
U)
Chopih.
[A'^V
x
:
=3:
Jit*
j
8 tone
t
^j
g^^^^^^^^^^^i
S. AlUgro.
(Ex. 113)
O.
Allegro.
(Ex.114)
EXERCISES IN MEIiODT-WBITINO.
lO.
Allegro.
96
later:
Chopin.
CJV-
(4)
More
Thus:
rarely,
by repetition
109).
1.
Andante.
N. B.
SCIU'DKItT.
X
Ex. 116,
o
f
o o
f m m m jES.
m
H
ft4
3.
i
s-
fc:-
#,-#-
^E^r
P^
g^^^P^^P^
Allegro.
FJI-
X V-
-o
o-
IE
^&b=b
IN
Ml I.H)V-\VlUTINO.
LESSON
A. A lew tarmac melodiM
these larger groups,
either
:it
29.
la
indicated
11.
iii
Um
preceding lesson.
reference
New
to
lithmeai
CHAPTER
XXIX.
NEIGHBORING-NOTE AS APPOGGIATURA.
tions of its principal
llf. The neighboring-note, instead of appearing thus ?)p(>re/m reiteraton<\ may, moreover, be placed simply hqfort the latter, prmstding it only, as prefixed grace-note, and forming an embellishing group of but A0 tones (oompsre par. 110a and b). In this connection it is lta details are subject to the rules given in Bailed an A poggiatUTUt
Chapter XXVII.
(1)
tional;
The rhythmic form, and the location, of the 2-tone group are opbut the appoggiatura is most commonly placed upon the aooented
fraction of the beat (like the suspension, or the accented passing-note, and,
changing the original location of the essential tone by shifting it forward); and the appoggiatura is quito frequently longer than its principal
like these,
tone.
For example:
mrfjj;
irgij
tnib. with
r?=*zt
9
unaccouted
Li in
CH1IMltl.il
AppOgg. MMMBtad-
to lie
2. AlUfro.
mm^^^mm
later
(accented App.)
4. AtUyro.
oris. lin_
EXERCISES IN MELODY-WRITINQ.
97
f jg^fel
5.
Allegro.
^'^^
^rfei
original lino-
cmb. (unaccented
A pp.)
^^^^^^gtess^a
o
o^
^~-*-
^s
*- t. 3= tL *- t. *-
r>
Chopin.
<
O. ftwto.
(acc
-
App)
7.
Lento.
fc
i>
lJ
b=S J=g=r
'
>r U^ uU
Schumann.
8. Moderate.
orig. line (38 c)-
IS
Ml LOHY-WKITINO.
:*#-Hf^^E
-^
Scill-MANH.
[W
^.
H. H.
IV lO.
II'
IV
Alltjro.
iss
X
v Ihraoghoat
mm
10.',,
MFHom/wonx.
Xo
5) l.rntn.
',
C^^3:fe^Vggg^^^
Dt
oris- lino.
iS^i^sss
=t
12.
?
Ar-7ro.
d^-tn G-m^jor.
'
'
mod.
rep.
^
E
(2)
tura,
Tho choice between upper or lower neighboring-note, as appoggiamay be determined, primarily, by the rules given above;i a., either
aooording to the direction into tho following essential tone (see Ex. 117, But, tfoa, 7, 9 and 11); or in uniform figures, as in Ex. 117, Nos. 2 and S. in practical composition, the utmost freedom is exercised in this choice. Tn general, the upper neighbor is the more common. The prreatest influence rted by the location of the preceding tone; for instance:
'>,
EXEBCT8ES IN MF.TiODY-WRTTTNQ.
99
An upward movement (especially with a skip) is usually made to the upper appoggiatura; and a downward progression to the lower one, of the following tone, of course. This simply corroborates the rule given in par. 28 a, and again in par. 75 c; i. e., the appoggiatura is best approached (from any distance) in the direction opposite to that of its Resolution (its obligatory step-wise progression into its principal tone). For illustration:
A.
Ex. 118.
or any of the; following boRt embellishort-thus, with
^=t
essential tones.
upperneighbor
:
__i__Jzi be8t
I
thns. with
lower neighbor:
=r ===J^^E3 *
l
^'n_|l J
,
~]
essential tones-
m
(3)
33
m
and
112).
&
is
This rule prevails almost throughout Ex. 117; the only exceptions occur and in No. 8 (second half of each measure).
of the appoggiatura
of an appoggiatura justifies exceptions to the rule of same direction, given in par. 31 (Ex. 25, Nos. 6, 11,
For example:
AndanU.
Ex. 119.
e=
^^m
See also Ex. 121, No.
5.
Schubert.
100
KXinCISEH IM MEI/ODT-WIUTTKQ.
LESSON
A- A number
(in
30.
bo embellished with tho appog-
of former molodioa, to
B. Now
lishment.
various species of
Measure, with especial reference to this form Former deviooa must bo borne in mind and omployed.
CHAPTER XXX.
DOUBLE-APPOGGIATURA
In a similar manner, and with similar, though much heightupper and lower neighbor may successively precede their mutual principal tone, as Douhl^-uppoggintura. The first nppoggiatura does not progress directly into its principal tone, but passes first over to the opposite neighbor (of the same principal tone), thus producing a new variety of Compare Ex. 108; and observe the distinction between the 3-tone group. this use oi both neighbors, and that illustrated in Ex. 115.
11(5.
(a.)
For example:
Ex.120.
essential tone
i<mb. with Double-apioj,'g.
(b) As usual, the group may appear in any reasonable rhythmic form; either of tho 3 tones may occupy the accented fraction of the beat or rhythmic group; and the time-values are almost wholly optional. The details of
to the rules
and
Ex.121
orig. line
eoib
tm-u
S^Pil^
fc
IN MEIXJDY-WIUTIWO.
101
^
I
3.
Allegro.
Ah
Eb
V7
orig. line.
5.
Lento.
?F
-0
^^^
'fr
=l
Gb
i-
G.
AUegretto.
jEj>-lter:-frrf
m
!
^=r
44-
^EEE
t&A
uuuicisKa is
HELODT-wnmso.
rt
i-
a
h.
Any,
<r
D
1
nr
nnH
I
is
|f
V
tv
Ere in. -iitly the
^
Choi
or.
11
117.
V.
Donble-appoggiatnra
pn
as fol
ad
lowed, by the principal tone, thna extending the Bgnree shown in Exs. 121 LOB to a new epeoiee ot four-tone gronp, whiofa is one of the most conTenient, effeotiye end oommon forma in the entire range of melodic embel* Lishment The reiteration of the principal tour is asperated by bath the
in
Ex. 122.
^^m^^^^m^^
a.
aiujto.
I5KKT1IOVIX.
--'\'^m
3.
Allegro.
7^F
IS
ii
S-
EXERCISES IN MELODY-W1CITINO.
103
4.
Allegro.
Eb
5.
rresto.
eif^^E^
Orig.
liue..
^l^^^^fl
emb.
cf-minor.
6.
illfrtfro.
^^^^gH^lS
~
'
~i
7.
.Andante.
'
*-
-'o
x H
MOZAHT.
^
8.
'
1
'
X^
f-min.
'
" AbV.
X^
Allegretto.
Bmtrovik.
nct4-s
InitlllOW.
to
Ibfl
niiinl>-r <>f
Uipho
thru,
bj ratoning
ton.-.
to tho
pinK on Into
anM&tUl
Kx. 128
tj
^=\3=
^^3^mm
'
I
I
TIiuh:
3. AlUgr
T^
I
"
===
ES ^feffgg:
Original line
;*
*.
a*. 2
*.
3.
.alkfrffto.
f^Hll
C
I-
ii^s
S. AtUgro.
,
Schubert.
K---..C
-r r-it^ T-j-r
I
O.
AtUtjrtUo grazioto.
" :
'-\
U.
Original line-
EXERCISES IN MKIiODT-WIUTINO.
ioo
5 __
E-m^jor.
U*^
czco
'^
r^**
o_ ==t^
-o
mLf
=0
ZirzZo
f-l
t^T
>:<?
LESSON
A. A number
31.
Double
B. New
form of embellishment.
CHAPTER XXXI.
APPOGGIATURAS, CONTINUED.
119. The Double-appoggiatura sometimes appears in connection with the Suspension, as "indirect Resolution " of the latter. The Suspension, as is made manifest in Chapter XXIII, is always a neighbor of the following essential tone, because of its invariable application at a step-wise progression, either above or below. Hence, it may be regarded as an appoggiatura, and be conducted first into the opposite neighbor, before the essential tone follows, precisely as shown in par. 116 a. For example:
106
.ft.
KXr.li. 1--K.S
IS
MKI^I>Y WKiriNU.
AlUtr*
Hi
initial liu.
\l
PH-fU
l
m uvimm
i
pxeeeding ohepten,
its
Men thronghont tho must befoBotoed By a ttep- wt$t Rt$oluHtm into prinfijml tone, either Immediately, or after nwinging over into tho
-O. The
strict rulo of
is,
tho neighboring-note, as
that
it
oppoait
(a)
peculiar, but quite oommon, exoeptfan to this rulo is, that the wpper neighboring-note, after properly following its principal tone, may In other words, lctj< down a 3rd. the vpper neighbor may iuterveuo betweeo two principal tunes that represent a dmeending ttep^wite progression. The remit il best when tho principal tones are both harmonic; but it is applicable to any weighty tones, even when one, or each of them, is a pass-
ing-note.
This. tho "Unresolved," neighboring-note is alwm/s unaccented, and usually atari (liko the anticipation, which it most resembles in origin and
charact.-r).
Thus:
Ex. 125.
CI
CI
einb.
Essential tones
2. AtUgro.
lk'^
'
m
(wo Er
123-2).
II
3.
AXLtjra.
EXKRCISEH IN MKLODY-WIUTINQ.
Allegretto.
107
Emb.
(later)
6. Adagio.
Beethoven.
* :fcfc
i
.
3=^=?=^
Original lino-
f&J If a modulation is made during a step-wise descending melodio passage which is to be embellished with the unresolved neighbor, the latter must agree in notation with the scale of the following principal tone, of which, as above stated, it is properly speaking an anticipation. Thus:
1. Essential tones-
126."
*=t=F
a-minoror C-major-
m^mmsmm
Ex. 7G
J
2.
Allegro.
L..._
Not
l>5,
Cora
throughout.
I OS
XSBCXSKM
IS
MKI.ODY WKiriNM.
i<
I
reversed;
i.
s.,
Lng.
between Thus:
1.
tie]
nee,
Therolei oorrespond
ho
Andantf
Ex.
i:
&E
S3SPH
Mo/.AKT.
b(7
VHatds.
5.
AXUqto.
-J
.-
;n
(d) When the rhythm is uniform, and the tempo rapid, as in Home of the above illustrations, these unresolved neighbors may often (not always) be analyzed as a Doublo-appoggiatura. Thus:
Ex. 128.
UJ
A. A number
^^^^a^i
LESSON
32.
of former simple melodies (including those of Lesson 24), Suspensions with indirect Resolution; and with un
to be embellished with
resolved neighboring-notes, as
shown above.
KIZBCI8ES IN liELODY-WTUTIUO.
100
CHAPTER
XXXII.
121. The application of these various classes of embellishments is apt, many cases, to be determined upon some broader basis than the general
purpose of ornamenting individual tones of a simple melodic line. The development or evolution of an elaborate melodic figure, or complete Phrase, out of two or three fundamental tones, by miscellaneous methods of embellishment and repetition, has been repeatedly exhibited in the foregoing examples; and while such products are not, as a rule, in advanced musical thought, the result of deliberate intention, they are none the less surely thus simple in their original germinal form, and must have existed in this simple form in the firmly established melodic habits of the composer, even when they appear to have issued spontaneously from his mind, directly, in their complete ornate and characteristic shape. This process of melodic evolution is so natural and so wholesome, and the evidences of its presence in classic melodic thought are so clear, so positive and so instructive, that its systematic exercise is of vital importance to the student who aims to acquire habits of healthy and facile melodic
conduct.
The only
irregularities;
perfectly f/udtless
rules are: that the fundamental tones (the germ) shall form a and natural melodic figure, at least free from extreme
and that the manipulation of it into an ornate Phrase shall be coherent, smooth, well-balanced (as concerns the rhythmic and syntactic exterior), and free from eccentricity.
ornate melodic sentence may conceal (perhaps so clevmay scarcely be heard, though it is certain to be felt) a part of the line of the scale; or the simplest elements of the Tonic chord, or Dominant chords.
erly that its presence
122. Hence, an
The following
analyzed:
1.
illustrations are to
Germ
(chord-line):
Ex.129.
Bbi_
AUtgretto.
=&
melodic evolntion.
HI
KXKIKI
-IVi
in
Mri.>nT-wnnTso.
l^ppg'-'^^hHI
ii.
<;.Tm (chonl
line):
? it -i'T:=n=i=
melodic evoliitiou-
i'iii
3. Germ (chord
linc-n):
Allegro.
Tr0i&\
IV
I
melodic form.
4. Gorm*
(chord line*):
2=U
r^r^s
g^y^p-^P^^^a^
melodic form-
IN MELODY-WRITING.
Ill
f'J.r
^m^ fu'
J J
j_ui
. Adagio. Germ
fJLbM >
119
i
M
C.riu
(.
IN MKl.nl.Y KlIINW
hi.
Hy c*Jr
lin.-i
ft
^ir^
L'
*
AU/jr<rro.
#
I
'#
"
,
y_
r^t; feJ=^
HUfHJJF/fl _=
10. Qrn
(calt>):
AlUjro
>
s*
otcz|-V-^
I
i
-4--
ta
>
Hfc
1 ^.
*'2
*
J,
'
hj
g^
=
=a=
+T=H
KXEKCI8ES IK MKLODY-WIUTIKO.
Allegro
113
mmi.
SCHUBBBT
ss
13. Germs:
chord
&
fes^E9g|i=E=rI si
irr-y
^l^^l^=M=
S=t
t=*=t=F
Allegro.
&7
Ejfazz^l
^^^^a^g^^^^pn
h
14,. Germ (descending and ascending
3rds):
fc=t :c
K"-^
e=e
F=t=ft
Alfe^ro.
^^-I-tH^^^^^N^^^
114
I".
EXERCISES IS MPLol'YWKITINO.
4
'
'
'
--
7
'
r_L
n;.
;i^rrfro.
f
"J
J
li
d-
Jy
"
J=
(96)
It
'r
_lf
"
^
17.
-p.
AtttgrtUo.
-|.;^S|
"
3^S%
--I
^5^
Male
J'-
I I
123. Such simple germs, derived directly from the scale, or from some primary chord-line, are, like the soil, common property, open to the use of all humanity.
EXEItCISKS IN MELODY-WRITING.
115
In the choice of these germs no originality can bo exercised, or proven, merely common souse. But their manipulation,VtR method, and the extent, of their embellishment and development, exhibits the individuality of the cr/mposer, the
particular quality and calibro of his innate mnsieal susceptibility, or the degree of discrimination and "taste" that he has acquired by persistent and thorough exercise of such established technical methods as those expounded in the present treatise, that may possibly lead onward into yet undiscovered
modes
occult,
of treatment.
This is one of the most obvious and natural phases of the apparently but in reality very manifest, Science of Originality.
LESSON
The evolution
4, 8,
33.
characteristic,
of complete, ornate
and
melodic sentences,
and rhyth-
in the
above example.
CHAPTER
XXXIII.
Ex. 130
modified rrpvtition-
116
i:xn:nsK.s is MKLODY-wnrriNO.
mod. rvMtitioD
^- J
naJ uipI.mIu-
^j=B^M^=d
Una
niixlilW reoiirr.-no>
ClIOPIH.
mod
repetitio repetition
Bin
.-
1;
>
'-,'-'
if'
%fg
3 r~
#
:
-*~2 rl
~~~~
^^
t
C.
AlUgretto.
Aliejro mof/o.
F=F
p^^^^^m^s^m
-*?
*-
modified recnrrenco-
(120a)
&
inodifiod recurrence.
KXBKCISES IN MELODT-WIUTINO.
117
-again
Jater
1L.
JT.
>
3ZE^ # **
-{
modified recurrouce.
mmm
CHoriN.
7. Adagio.
Ej
f^^a^^fesspg^g
.:
pliiaao.
Utr:--i
n
iniKlill.il
-''00 ^
.
' _-
'
'0tfJt=}*&
m UWM
ft.in>.
1
a2
te * # = ,-=r<l
Q
inixlifi)
recurrence.
Bekthovik. Sym.
9.
-4-
r-rttt
=T_z:-tU=fil=f: T t 'I
r*
lJ
lO.
Larghetto.
modified repetition.
M^^^r*^^'^ik
i
modified recurrence
(incl.
mod.
rep.).
119
^^^BWte^l
V
-0-
^^~~^*-
***t
^*.
^~
12. Adagio.
#*3
AiT
Original figure
a^toidi
stj^*~^7
1
* X
^^^P r
J
Beethoven.
disguised sequence-
13.
(comp. par.
121.)
Adagio, espressivo.
B
Germ
Eg^i^a^a
Melodic form.
(mod. sequence):
b^=4^g3Jgg^cS5^gj; a^fe^Kayi^-P^yi^g:
|feg^t^ fe=5S
^l
120
It
(i.riu <i<juonoo):
Mozaiit.
lfV AlUgro
l
gratinio:
^=frU^^=^
-
A Ordinal
lino
^
,1
m_
1
n-p
^^^a
la*t figure,
agpaaded..
Thin la*t illustration comes undor tlitt head of "manipulation" more upon rhythmic modification than melodic embellishment.
In goQerali it
based
LESSON
A. Former,
tition.
34.
1$.
and recurrence.
at the discretion of
EUCRCISEB IN MKLOUT-WKITIUQ.
121
CHAPTER XXXIV.
MELODIC EXPRESSION.
125. As
exercise in
CONCLUSION.
is
melody invention, only, not melody conception. For the latter there is, and should be, no other guide than the individual impulses of the maturing composer, founded upon, and controlled by, such natural and correct habits of melodic thought as he may have been fortunate enough to
establish iu early youth.
a course of systematic
The transition from invention into conceptior is signalized by the increasing assertion of personal emotional impulses {feeling, as distinguished from thought), through which the element called Expression is instilled into
the otherwise purely mechanical product, and the distinctions of Style, both
individual and general, are created.
126. The presence of this element of Expression is manifested by an independent inclination to discriminate between the following attributes of musical style:
(a) Between the major and minor Modes; the latter of which is more passionate and sombre, the former brighter and more vigorous in effect,
as a
common
(b)
rule.
Between the duple and triple species of fundamental Rhythm the former more sturdy, the latter more graceful. (c) Between rapid and slow Tempo, or degree of fundamental motion. This distinction influences, somewhat, even the technical formation of the melodic sentence; in slow, or moderate, tempi, there is likely to be more considerable ornamentation is appropriate and scale than chord-derivation even extreme necessary, and much diversity of tone-values is possible. contrary, more active in or rapid tempi, c&ortf-derivation is apt to On the over scale-derivation, predominate though rapid scale-passages (as embellishment by passing-notes) are by no means infrequent; less ornamentation appear, and diversity of likely to time-values is more limited, i. e. the is rhythm is more nearly uniform. (d) Between such conventional Styles as distinguish one class of composition from another (i. e. the Waltz from the Nocturne, the March from These are subject to no other laws than those of conthe Barcarolle, etc.). vention, or popular usage, and are best learned by observation.
more advanced
All of these general qualities of melodic conception demand the discipline of musical Form, and can therefore be exercised only experimentally and briefly, at the discretion of the teacher, in the
127.
HI
KXKiwirtErt IN
MMUOtl
WBBM
VOCAL SETTING.
ins. Thi
and
i".
it
aignifioaal Bxpreaeion la melody-inrention, [i that dforded by the mmoI The simply mechanical Of ' melodizing," of u UlM <>r stanza of text.
poaeible, khe rarying sbadai ol oloeely endeavor to follow and oonflrm, pootio and proaodk (at dim1amatAy) t iM||M| ol the given text, li calculate,! to arouse and develop tlio Btndent'i individual sense of Bxpraaakm, and prepare for its untraniiiieled operation in the domain of obtolutt (iustru-
neantal) nraaio.
l
-\K The
And
nn.liihitions of
poetic erproaaion,
fol-
lowa:
(<i) An amtnchng qnoccaai on ol tour-,, tlong the scale-line, indiealea, ordinarily, an increase of emotional tension, or emphasis; a deteenohng mo*
01
anion,
nation,
effect
(b)
The
of ttep-wiee
progressions
is
that of gradual
stress of feeling.
and smooth
Whereat,
change,
when more
the tones progress in tkipe, either way, these ohangea of feeling are tibru],t and positive, about in proportion to the size of the skips.
(c) The progression in chromatic tones is more se<luctir>> <>> }>,issian<a>>, as a rule, than diatonic (i. e., scale) successions, and usually in proportion to their speed.
(d) The changes in force indicated by tretcendo and diminuendo, arouse exactly similar impressions of increasing or decreasing volume or emphasis of feeling; the extremes of fortissimo and />ionissimo indicate, respectively, utmost power or HfloniW, and utmost gentleness or remoteness.
changes of force {nl>ruj>t forte, or piano effects) corroborate perhaps violent, impulses of em6tion; these may be emphasized by simultaneous sndden changes of register or pitch, i. e., wide skips, the effect of winch, M stated at />, is similarly abrupt and vigorous.
(e) Siuklen
swift,
of a tone is powerfully influenced by its location rhythmic group. If it bo placed upon the accented beat, or if its time-value be increased, such musical meaning as it possesses (absolute or comparative), is brought out with corresponding force. And, on the other hand, its location upon an unaccented beat, or its contraction to a brief time-value, diminishes the effect and value of its musical meaning.
(f)
and value
(g)
The
of the
above upon
them,
chord-third sweeter and more flexible; If placed upon the accented beats, or the chord-fifth soft and tender. lengthened, they impart these respective qualities to the entire rhythmic group in which they occur.
9th, and the suspensions, are keen, conspicuous, proportion to the degree of their dissonance); if
heightened;
if
123
still
sion
is
created.
iu effect.
more pro-
nounced
These, and other, distinctions may be tested iu the melodic examples given in this book, some of which should be reviewed with special reference to the quality of Expression.
130. The
I.
details in the melody should agree closely with the prosodic effects of the text; i. e., accented syllables and important words should be set to the comparatively accented, higher, or longer, tones; and,
set to
consistent
That the emotional contents of the text should be corroborated, by employment of the distinctions of melodic expression above
explained.
That notes set to separate words or syllables must be detached, in two or more notes set to one word or syllable must be connected, either by beam, tie, or slur. The following examples briefly illustrate these rules. The pupil may find numerous others, in English Oratorios, Cantatas, Anthems and Songs (i. e., composed originally to English words):
III.
notation; while
Moderate
Largo.
mp
~=
'
~ZL
P
-n0-
dim.
Ex.l31.FEi5i
f-minor.
Thy
re
buke
ken
hi*
heart.
2.
f
Ex. 132.
cresc.
3. Andante;
graceful expression
mp
133.
L.X-*
^=P^^
charm ing
-
tight.
IM
:N
MI.UiHV
V,
lilMNU.
TlXTDX.
ml^0^Q\C:
LESSON
The melodio
35.
r,
eAarm
-
.>lui
tn^
tiyJU.
hymn-
books; or from tbo Psalms and other parts of tho Bible; or from secular At first, a few BZeroieei in Recitative form, i. e., not strictly poetic writings.
metrical.
Double-period form.
After correction and approval by tho teacher, they
may bo harmonized,
126
TABLE OF CONTENTS.
DIVISION ONE.
ESSENTIAL TONES.
page
Chapter
Majob.
First
The
Scale-link,
Regular
Primary Kule
5 7 10
12
The Major
Scale-line, Exceptional
Chapter
The Chord-line
Second Primary Rule Fundamental Harmonic Principles
Rules for Single Skips
12
13
15 19
Chapter IV
24
25
28
31
Chapter
Minor
Diversity of Rhythm, Regular
Chapter VI
Chapter VII
The Period-form
Irregular Rhythm
34
Chapter VIII
Chapter IX
Chapter
36
Exceptional Semicadences
40
41 41
Syntax of Melody
Repetition and Sequence, Exact
44
44
49 49
51
Chapter XIII
Chapter XIV Chapter
55 58 62
62
XV
Chapter XVI
Modulation, Continued
Transient Modulations
126
I'AIW
r.
"|-
I'o.VTKN is.
MM
Ciiai-ih. XVII.
,
.Monri.ATMN,
OuMIUIW
to Pi n.
I
63
AppliMtlOB
ClIAI-TKK
('im-ir-i.
form
63
Will..
III.
..NUM.
G5 66 G6 68 70
72
\I\
M-iTivii
Overla]>]>i:iK BOftlt
HI
li&M
CiuiiEK XX
I'iim-teu
Mom
An.
is
is
XXI
Chromatic Mr.h.nv
Chapter XXII
DIVISION TWO.
UNESSENTIAL, OR EMBELLISHING, TONES.
Cbapter XXIII
Definition or
DlBTlHUTlOM
RsSI.NTIAL Tf)NKS
Tho
CHArrrn XXIV
QfUI
ieii
Suspension.
The The
Anticipation
(single)
XXV
The Passing-note
81
Ciiimii XXVI
83
84
Chromatic Pussing-note
86 87
CHAPTER XXVII
Chapter XXVIII.
CHArTEIt
. .
NBOHBOBXHO-NoTI*
.Nei.hihoi-.ino-notes,
Continued
9'2
XXIX
Nl IGIUioUINO-NOTE AS APPOQC.LATURA
96
100
105 106
109
11",
CHAPTER
Chapti
i;
XXX
XXXI
DOITILE-APPOOOIATURA
Appoggiatura, Continued
Unresolved Neighboring-note
116
121
Melodic Expression
Vocal Betting
122
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