375.

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.

(Royal Wiirtembcrg Professor)

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

object of this course of musical discipline

is,

to assist the

voung

student (whether or not he expects to become a composer) to form and to

cultivate habits of correct melodic thought.
It is

simply a carefully graded course of exercise in melody-invention,

nor

conception.

The

agencies which conduce to the transition from the former

into the latter are

touched upon

in

paragraphs 125

to 129,

which

maybe

briefly

scanned, here, without harm.

The
1st,
be,

reasons for urging such a course of technical practice upon students

of music (general, as well as special students) are two-fold:

because the prime object of all theoretical study in music

is,

or should

melody.

thorough apprehension of the conditions of correct melody,

its

and command of
of
for
all

natural laws, pave the

;

way

to the full

and easy reception

other phases of discipline in music

they are the only natural preparation

successful studies in sight-reading,

harmony, counterpoint, form,

instru-

mentation and interpretation.

2nd, because
with
all

all

musical practice, productive or reproductive, in

common
is

other operations of

mind and body,

is

the result of habit,

and

there-

fore qualified exactly

according to the quality and energy of the habits which

in early
life.

have been contracted, by accident or intention,

trol

The

effort to

con-

the formation of these habits, and guide

is

them

as early as possible into

proper channels,
tional

therefore obviously the most valuable that a wise educa-

purpose can induce.

there are laws governing melodic conduct, or not,
will
is

Whether
to

a question

which an answer

be found in the book

(iii)

itself.

OS

I!.

It is

to

be Inferred from the above,

LTTJf

tli.\t

tbe best results will be gauv

<1

bc^innine;

:'..

in life.

Not. however, as S rule, before

the twelfth or thirteenth

It
111
.

before

Harmony

fa

taken up, or entirely independent

effii

of the latter.

Bat

it

will

probably prove most

ient

.is
,'ri

collateral
;

study,
either

Ok

Harmony
in

from the beginning, or

in

the

harmonic study;

regular alterts.

nation with chapters of the latter, or interlined strictly according to subjei

The degree

of ben<

fit

to

be derived,

is

manifestly proportionate to the

is

nness with which each lesson

01

exercised,-precisely ns pro-

any other item of pianoforte technique depends upon the

number
drill,

of times each

movement
in

is

thoughtfully repeated.
its

It

is

a system of

which must be persisted

until

aim,

the fixing
full

of habits,

fa

achieved.

For

this reason, the

course should cover a

year.
this

The musical

illustrations

have been made unusually copious, because

is

particular phase of musical education

likely to

be absorbed by the pupil

quite as readily through sensuous contact with melodic sounds, as

induction.

by mental

Therefore, they are to be studied as faithfully as the text, both at,

mud

-a'

ay from, the key-board.

Percy Goetschius, Mus. Doc

Boston, Mass.

September, 1W9.

EXERCISES IN MELODY-WRITING.
DIVISION ONE.

ESSENTIAL TONES.
CHAPTER
MAJOR.
1.
I.

THE SCALE-LINE, REGULAR.

Melody.

Any

series of single tones is a

The

quality of the melody

depends upon the choice and duration conditions of good melody are:

of each successive tone.

The general

Coherency, throughout each chain of three or four

successive tones;

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.

First Primary Rule.

3.

melody

may follow the line MAJOJR SCALE,

of the

upward or down/ward, with almost

unlim i ted freed o m.
This yields the smooth species of movement called diatonic, conjunct,
sr step-wise progression.

npm
I.

ft

nun
...ir,

wmaa
.mUn.Uum of

and Conse.pientlv invariably perllf

missible,
o-eol

when

tlicv

OOttflriB

tin- N

ir.>
-.1

divided into hro olaeeee:

tad

'-t'l

innoiiie oora of the key, ,, pur. 18 are fnaetiv. bermonk repeee, and arc therefore Inert, no4
:
i

which oonstitnte the Tonio They occupy

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,

dieteted by the location

and the degree of urgency, of the movement aro <'f eeoh Active icale-etep, ami its proximity to the
aa follows:
in the

Mereet iiieotive or oentra] The tendenoy is most urgent

is

7th icale-step, and

its

direction

iijiirn nl.
LB

(b)

The tendenoy
tion

somewhat

less

urgent in tho (ith step, and

its

direc-

u downward*
4th
stop,

(c) Still Leal urgent in the

tendency also downward.

(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.

inclination of the 2nd BOale-etep

1st

lustration:

C
7.
called

major.

exterior Interior

The progression
it-

of an Active bcale-step iu tho proper direction is

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.

THE 4:-MEASURE PHRASE.

erally

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

the line of the everywhere, per-

.If

(a)

To

repeat a IONS, OflMM or oftener.

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

ipward or downward by the interval of n

diatonic scale-step.
If this skip of a third is

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

the present lesson).

For

illustration:

A. WtC in

Inactive tones.

IN MEIiODV-WIUTING.

From Active

^^^j^Ff^ k^J
(par.

tones, in the proper direction.

MO.)

LESSON
A cumber
(1) (2) (3) (4)

1.

of original melodies (at least one in each key), with strict

regard to the following limitations and directions:

Only

in

major keys.

Without modulations,

i.

e.,

each melody in one key throughout.

to the

As 4-measuie Phrases, according

In

models of Ex.

4.

2/2, 2/4, 3/2, 3/4, 3/8, 4/4, 4/8, 6/8,

and G/4-measure, successively.

one tone to each beat, as P, f or
the final cadence-tono

(5)

The rhythm

strictly uniform,

i.

e.,

f, according to the chosen measure,

(see

excepting

Ex.
(6)

4).

The
in

scale-line, tone-repetitious,

and an occasional skip

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

violation of the natural tendency of Active scale-steps

per-

mitted in this lesson.

2

Each

is

to

move

in the proper direction.

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.

BOALE LINE, EXCEPTIONAL.

th.
i.

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

alwaya poeeible to evade

hcv,
<>f

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.

Sec also Ex.

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:

BXXROISES IN MELODY- WRITING.

11

good
*

good

Somewhat
tlio

loss objectionable,

because the tendency of the 4th scale-step

is less

urgent

than that of

other Active tones (par. Gc).

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

Skip of 3rd from Active tones. Irregular (conip. Ex.

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.

\:\.

A melody may follow

the

line

of tiny good

CHORD
upward
itni
<>/

downward, with almost uniim-

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 "Soale-line" may be abandoned

f<>r
-t

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

reoogniaing and employing the principal ohord-linea correctly.

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,

hord third, chord

fifth,

c-e-g.

Lettere, o-4-g, constitute the

it

iv.

ehord of c; and they m <d that chorddiuo in any order. Thus:

may appear

as

fcu -ffi

^=

^^=^

EXEItOTRES TN MELOPY-WRITrNO.

13
bnt extreme. Jt

m
respectively the

pOSBlbtoi

im^
classes or families of chords, called

FUNDAMENTAL HARMONIC PRINCIPLES.

17. Each key comprises three
Tonic class;

Dominant class; and Second- Dominant or Sub- Dominant

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
;

18. The Tonic class

Tonic Triad, or O Major. Ex. 12.

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

"

The Five ").

Major.

Bx.13.gp
3 tones,

nn any
g
-

order.

d
").

Dominant 7th-chord,

7 (

Five-Seven

4 tones, g

(the latter a chord-seventh).

rxriicisrs is
Iv>minanl th chord. \*

mfi^m
-

ututino.

Fit Vine ".

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

class consists of a clnster

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.

Second iv.minant Tthchord.

II'.

=5=
d
f

c.

e^n
Very
rare

Bab dominant Triad (properly, the

T
.

with omitted Root).

i:
i*

Tonea,

c.

eaUad IV.

lot

mnvenionco

S>il.

dominant 7th chord (property, the

n II".

with omitted Root).

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

every major key, daily for a time, at the

key-board, and in writing.

21. The few primary

(a)

rules

which govern the succession, or move-

ments, of these chord-classes are as follows:

The chords
other

lowed by) any

(b)

of the Tonic class may progress into chord of the same key.
of the

(i.

e.,

may be

fol-

The chords

Dominant

class can only progress easily into those

I,

of the Tonic class, preferably into the

more

rarely into the VI.

The

pro-

gression of a

Dominant chord

into one of the

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

of chord-succession, are so fully confirmed by the

rules of inherent melodic tendency (explained in

paragraphs 4-6),

that careful

observance of the

latter facilitates, largely, the correct application

is

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

of the chord-lines represented

KULES FOR SINGLE

24.
chord.

SKIPS.
at present,

Each single skip must obviously represent, For example (C-major)

no chord

some good

(par. 19

ft)

Ex. 16.
f

?!

???"*"

???

???

???

VI. not as good as

(par. 18)

TV

or II

all

good.

16

is

in LOD1 wki

iin.i.

<?
_*.".

\.
???
1 1

II

W
1

U
r

dngle limitation,

leap

niiiv

be

made from anj

tone,

-..n-ti\.\

upward
(p

or

downward.

The

rale of inherent melodic

ooi
,

i.imi.iiis

lequently,

binding apoo the chord lin< -. While it

and
'.

tiim-f
al

natural
.1

(<>

conduct then scalo^tbpt in ths

of

proper

ohord-line, without objection, lo the

the

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,

No. 1; Ex. Ex. "55, Nos. 1,

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

the scale-tone that follows the skip in the same

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

" tarniug, after a wide leap " will be evaded altogether.

Thus:

Ex. 20.

|=

See Ex. 21-1. *

* These two progressions aro doubtful in rule of par. 6 a, and that of par. 26.

any

case, for they involve a violation of both the

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

the Utter, iiiim.lv

/Vom any
.'.

(though seldom beyond an

tone up ward to the
tlio
f>tli

from

or 4th

btNBM
direction
iift.r thai
1-

their
ftp,

mitiinil

Resolution provides for

change of

Tim-:

b.

u
fn.ip alUiet

M^=E^
fruin citl.,
r v

from
.'.;

all h.-r

Bs* also pat M| sad Ki

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

the Active tones

fire

approached by a wide leap irregularly

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;

lifraun^of th* \ of th* \

par.

60

(b) Or.

better,

it

will
v..

license of par. 27 a,L

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

of original 4-measure Melodies, in all

major keys, and

in all the species of

scale-line

measure prescribed

in

Lesson

1.

The rhythm uniform.

and, besides these,

and skips of a 3rd to be used

(i.

as before;

single wide skip*

e.,

each wide skip followed by the scale-line, or by a

rules.

narrow leap) may occur, according to the above melody when completed.

Sing, and play, each

CHAPTER

IV.

THE CHORD-LINE, CONTINUED.

31. Review par. 13, and Ex. 11. If the melody is to continue, after a wide skip, with another skip in the same direction (contrary to the general principle of par. 26), it may pass into any tone which harmonizes with the tones of the preceding skip, and so on, as far as the skips extend in the same This rule represents simply the application of the second Pridirection. mary Rule (par. 13) in a broader sense. For example:

Ex. 25.
jor.I. I C -major,

Vr
5.

V 7

6.

7.

(par. 6 o).

9.

(par. 6 a)

And
7

the flame in the direction of

figure.

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

higher, ot lower, oetave-

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

some bearing apon a

direction
.

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

repetition of a tone (par. 9 a) arrests, to a certain extent, the

operation of the ralea of the Bkip (par. 26 end 31).

K'xxl

Thus:

bettor

Ex.28.

fe

'.IT>.

The most objectionable progression

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

image of the chord-line.

good
Ex. 30.

Thus:

i
Ex. 31.

^^
V
:

si
Conip. Exs. 17

complete

& 21.

36. The skip

of a seventh
;

keeping with par. 28 a Thus:

is only advisable when it occurs either in or as derivative of the Dominant-7th chord-line.

Possible, but hazardous.

^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;

Bee also, Ki. M,

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

the influence whioh

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

(a) Certain successions of skips in opposite directions.

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^

"4 ^^^^ r^^^

I
Ex.
2.

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-

hrewide leaps whioli represent the tones of ro different oontignon (melody-lines,

1.

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

No. 5; Ex. 117. \o.

30.
they

N. H.-

I'upils
-i>n,

who are not yet

sufficiently familiar with

the chords and the

If so,

are likely to find these minuter distinctions confusing.

may omit

this

la.-t

paragraph, or any other troublesome paragraphs,

for

a time,

with perfect safety.

'

Suek run/union ran only arise

^n,

from

the use of (he irregular

and

Indie trtattnenl.

If

the student will avoid these, and limit him-

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

the Scale-lino or Chord-line'

and, besides these, paragraph 4,

Proper Resolution of the Active Scale-steps;

paragraph 10,

Overcoming natural tendency, by approaching the

responding direction;

tone, along the scale, in cor-

paragraph 24,

Each
paragraph 26,

single skip representing

some good Chord-line;

Changing the
paragraph 28

direction, after a wide leap;

a,
in the direction opposite to that of its Resolution;

Approaching an Active tone

and paragraph 31,

Successive leaps in same direction representing a good collective chord-effect.

These few rules practically

suffice

for primary melodic conduct, and, once firmly

all

established in the mind of the pupil, as habits of melodic thought,

exceptional and

irregular forms of melodic succession will be found to follow as a matter of course, and

regulate themselves, sooner or later.

Additional miscellaneous illustrations of

figures in parenthesis refer to paragraphs
1.

all

the foregoing chapters; the

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)

(The farther analysis

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
.

uamhu "Tom RsuTtom"

I..ki..ii
1

mm

.1.

:vll

LOMOfl

(O. Bchlrmor, "!

N'.

v.. lixw),

Lou.

LESSON
A
large

4.
in all
1.

nnmber

of

4-measnre melodies,
in

major keys, and

in all

tho

ipocios ol
ec tie-line
ii.

Measure prescribed
to

Lea on

The rhythm uniform,

Tho
9a

and ohord-linea

be employed,

in the

moat comprehensive man*

par. 89, thoroughly.

t,

aooording to the given directions.

par. BO.

Recollect, and apply freely, par.

1;

and

Revie* the aote

to

Lesson

and

Bing, and play, each

melody when completed.

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:

42. The most noteworthy

limitation for

tion to par. 10, as far as the 6th

minor melodies, is an excepand 7th scale-steps are concerned. These

should not appear in immediate succession, as a very general rule.

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

inserted before a for greater clearness.

Ex.

28,

This also affects a portion of Ex. no others.

succession
is

17,

Ex. 20, Ex. 22, and a portion of

43. This

nevertheless possible, though very rare, as

(i.

obrior.:?

derivation from the chord-line of the Diminished-7th chord

e.,

nant-9th chord, in the minor mode, incomplete,

a?).

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.

The flat before a is, of course, superfluous.

This progression, like that of Ex.

larity of carrying the 6th scale-step

29, is

checked either by the irregu(par. 6 6), or of

6).

upward

leaping
it is

down

upon

it,

in the direction of its Resolution (par. 28

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\

chord lim\ either from that of the

Ihinitii.xli >d-7tli

ehord

,\

'

i:i

minor

or EtOB

Um

II.

Thus:

*Wj.
i.".

i
minor.
'

''

'

\'

" A.

-v. I.. .--II

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

checked by several rules,

'*

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

inted in the corresponding minor key (explained

Ex. 37).

Additional general illustrations

1. lihyrw

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.

Ex. 61, No. Leesou 11, all

;

8
;

Ex.

65,

No.

1(5,

No.

7; 18,

Ex. No. 7
;

129,
;

21,

Nos. 5, 6 : and " Tone-Rklatio.xb,' No. 4; 22, No. 4.

LESSON
A
large

5.

number

of 4-measure melodies, in all the

1.

minor keys, and

uniform.

all

the species of Measure prescribed in Lesson

details precisely as in

Rhythm

All

Lesson

4.

Avoid monotony.

CHAPTER
46. The rhythmic
chapters).

VI.

DIVERSITY OF RHYTHM.
effect of a

REGULAR.

melody may be heightened by employing

tones of different time-values (instead of uniform beats, as in the preceding

(a)

The

disposition of these values

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:
;

"When the comparatively longer

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.
-

oonsferaeted in regular rhythm.

Bee

Ton

i:>

ltioks,"

They re Lmbou Hoe.

I

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

derived from uniform rhythm by the

fol-

lowing methods:
(a)

By employing

tho dot;

J J J

-J. /Ji

I J

any other process of lengthening one or moro of the original

tones;

I J J J =

-T3=

: J J J

J- J

J3-J
J

JOT;

j.

.t .-

Further, diversity

is

j.rocurcd
in

(W By

placing tea or mora tones

a measure tlian the

number

of its

EXERCISES IN MEI..ODY- WRITING.

88

fundamental heats; for instance, in

tones.

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

-it- .- rt:iin t..

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'.

uniform rhythm, and

diveraifJF

rhythm

in

regular forme aooording

thonl altering the

It.

nnmber

of tonee in the original form).

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

Bmploy every ipa

i

Measure presoribed
I
ill

Loeeon

1;

anil

writs

minor

;//<<</-'.

ireful

to

make

Bhorter tonee eteential (see pax. 100).

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

two lessons aa navel

in

oorrootod and approved

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

60); tee par,

19.

LESSON
A
ally

8.

large

number

of B DM
in

inn

melodies, in Period-form, according to

par. 51; at Brst, several

parallel construction (pur. 52),

(pur. 53).

end then gradu-

more and more contrasting

Rhythm
may be

diversified (but regular); all tho species of

ion 1; differenl

Measure preeoribed major and minor keys, alternately. An oootuioncd reel

:it

inserted, chiefly
n the note to

(after)
1;

the semioadenoe.

Lesson

and par.

39.

Avoid monotony.

Sing, and

then play, eftoh melody,

when completed.

After correction,

somo
is

of these Period-melodies

Whore
differ

the Construction

parallel, the harmonization of tho

mny bo harmonized. Consequent may

from that

of tho (melodically similar) Antecedent.

CHAPTER
IRREGULAR

VIII.

RHYTHM.
is

of

B4i B iew pur. 46a, thoroughly. The disposition of various timo-valucs Regular rhythm are violated, namely,

Irregtdar, when the conditions

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)

illustration (the regular forms, Ex.

:

-to,

aro here repeated, for com-

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

longer than, or at least as Zon<7 as,

first beat (or any other accent) is any other tone in the same group (measure),

the rhythmic disposition

Regular,

otherwise Irregular.

KXBUCIHH
r,r,.

tN

ItELODl u

liITIN.i.

of irregulsrity depends^ of oouroe,

<'f

upon

the degree of

penoj between the length

ploned.

the tone end the oomperotiye

i
:. t

Quality, or length, "f the heel ox

freotion

For InBtonoe, upon

pnlae entitled
.".

tiieguler to looete e J-note, than a J-note. end 8, or measun

i

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

Irregular rhjthmio figure

mey elweya be

justified

by racwrring;

cither immedietely, in the

following group >r measure; aome, not onreeeoneblj remote, eorrt$ponding meeenre;
nest'

or in

namely: mee on meesurea end For exemple:

1

.".,

'2

and and 6,

">.

or

'2

and
or 1

4,

of the four-measure Phrase;

and

:s

end

7,

und 8

of the eight-measure Period.

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.

See also, Ex.

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;

Examine "Tone-Relations," Lesson

(b) Illustrations

No. 4;

16,

No. 2

32,

Nos

and

4; 35,

No.

3.

of

a very

common rhythmic
justification

irregularity in triple

measure, which appears to

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.

Then invent new

ones, with immediate ref-

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

qfthe Dominami Tried

tlio
is

prescribed

ia par. 51

<j).

Any
Ant.,',
,1,

toele-etep of the prevailing kej

may be

chosen, thus to end

nt

Phrase; but

it

ia

well to avoid the key-note itself, oh this

needed

for the final (perfeot) eadenoe.

For example:

U-iuaJor.

ggp^E^

^n
is

AiLD

Ljuio

Bm.'

r,

F^B

m
In

F-niajor.

W^^Home, Swket IIomk."

the

Ex

52. Ni> B,

MkdeoM of the

tirst

Pbra.se

made upon

tbo Tonic

this ia very excep-

tional, but, of course, possible.

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

next lower, scale-step, as obvious grace-note.

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

8-measure melodies in Period-form,

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

recurrence, or reproduction of the group,

(1)

may assume

the form

(2)

Of an exact Repetition; or Of a Sequence.

is

60. The " Repetition "

steps.

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.

The " Seqnenoe "

11

ia

a reproduction of the

st&sr weak tiepe,

01

rtain tateiTal-distanoe

group <>f tones upon aboye ok beloa the original tones.

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

with tin- aeeeat it Ex. '>". N"

'-'.

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

four nirxiiiri'S, or an entire l'hrae.

currriiro of a croup of Ittt or
v '" i"

At Ex.
befttl

56,

No.

3,

it

bo^ioa

npon the cth

In

of the
tin-

meaanre.
r.
j;i

'lluntralinns of

ran-

mOTt

than the funilnmoutal

rbyUimic k'"P contains, are

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.

7 are the repetition of

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.

64. Besides the obvious

there
is

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

point of contact of the symmetrical groups, or,

the sequential recurrence of

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.

(Ex. 29) (par. 6 c)

(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

groups, lo .inphiusi/.n tin- rtY.-i-t of syntax of the Phrases, is demonstrated in Ex.

1 1 1

ir

mui of the qrmmet. rniirrrmv, and exhibit Um

Nos.
1,
:i,
1
,

17,

Ex. 6G, No. 2;

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

and 8-ineuMure melodist, with symmetrical

repeti-

ami sequences of tone-groups, as explained above.

CHAPTER

XI.

MELODIC SYNTAX, CONTINTJED.

REPETITION AND SEQUENCE, MODIFIED.
GO. The recurrences of tone-groups, both as repetition and as sequence, need not bo thus exact, as shown in the preceding chapter, but may bo modified, or varied, Rlightly (not to such an extent as to render their recognition difficult or uncertain), as follows:

(a) By adding one or more intermediate tones; omitting particles of the initial group
;

possibly,

also,

by

(b)

By

altering one or another of the original intervals of melodic

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-

pare last 4 tones with

first 4.

67. Further, the

illustration:
1. AUegro.

repetition or sequence

may be

partial; that

is,

con-

sisting in the recurrence of only a portion of the original group.

For

(par. 666)

Ex.

lA
A.
.

group, complete

seq. compl.

PiU
3.
Allegro.

n.

b.

portions of initial group-

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

dUFerent rhythmic form.

sequenoe may appear in a This very effective mode of reoiiRenoe is comparatively harmless (not jeopardizing the reoognisabilitj of tho original
<*s.

Further,

rarely, the repetition or

group):
(1) (2)

If the
If
tlit>

sum ofbeaU remain*

tame; or
or doubled, BO that tho
in

sum

exactly

<//>i'</'</,

prosodic

ar-

rangement

(of

aooented and unaccented tones)

not altered.

Thus:
Bkitiiovk*.

Ex. 61.

3.

Lento.

(Ex. 58, Vo. L)

.
.

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)

may result: From such parHat

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

irregular recurrence appears Bereral

is

until the original rhythmic location

regained.

For

illustration:

Ex. 62.

m=m
1. AUecjr

JJMj .jj-LjU

J.
j

-b -Hl

jjroup of 2 I>.ju.m in | triple dmmJ

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

Soo also, Ex.

7,

No.

4, first

throo tonoa, moasuros

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.

After correction, a few of these melodies

may be

harmonized.

CHAPTER

XII.

MELODIC SYNTAX, CONTINUED.

THE PERIOD, RESUMED.
71. The recurrence by Sequence may be utilized on a broad scale, as a guide for the movements of the Consequent Phrase of a Period-form. In this
case again, as in par. 52, the construction is "parallel," the only difference being, that "sequence" is substituted for "repetition," in the conduct of

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

Bee rJeo, V\.

B7,

No.

2;

"T(ixk-i:si.atioxs," Leeaon 48,-3.

N.

B.

In Nos. 1 and 2 of the above example, the cadence-tones are not defined

Moording

to

the rules of Chapters VII and IX;

but the pupil can easily (and must, yet

awhile) adjust his

own

exercises to those rules.

72. Analogously,

may be applied on the same broad

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*

doin in regard to the modifications explained in par. 66.

Such melodies are known as Periods of "opposite construction"; compare pan. 52 and 53. For example:

Ex.

66

BXXBOISSS IN MELODY- WHITIN G

See

alao. "

TONK-KKLATIOK8," Lobsou

18,

No.

22,

No.

27,

No.

i8,

No.

6.

LESSON
A
large

13.

number

of 8-measure melodies in Period-form, applying the

devices of sequence, and of contrary direction, for such a portion of the

Consequent Phrase as
dences.

will not interfere with the given rules of the ca-

The extent
tion)
is

of coincidence (either as sequence, or in the opposite direc-

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

Consequent are derived from the corresponding measures of the

Antecedent;

not

necessarily the beginning; the derivation

may

occur

at

any point. Major and minor

alternately.

All species of Measure,

up

to 9/8 or 9/4.

No
where

changes of key.
8,

Beview, carefully, the directions given in Lesson

suitable.

and apply them,

CHAPTER
may be

XIII.

ALTERED SCALE -STEPS; MAJOR.

73. The
Scale-line
;

modified by the

chromatic Inflection

of certain steps

or

by the Substitution

of such chromatically inflected

steps for the corresponding original ones.

N. B.

A chromatic progression

is

the inflection of a letter, by means of an Acci-

dental

The chromatic inflections are to be effectuated strictly in accordance with what are known as the "Altered Scale-steps."

EXERCISES IS MELODY-WHIMS,,

TheSC STC ii-i follOD frequency and sxoelle&i

Origtaal

in tho vitjnr m<xlr

(arranged

in

Urn order of theil

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-

tion than any other of the altered tones)

only, however, along irregular skip, from above, Thus: in the prevailing key.

may

easily

be approached with an

some obvious chord-line

(Ex. 42)

(Ex. 40)

Ex. 71.

76. (a) The regular

Resolution (par.
7),

(to

a certain extent obligatory) progression, or

is

of the altered Scale-steps

as follows:

The lowered Step descends, generally step-wise. The raised Steps all accent?, generally step-wise,
Scale-step.

i.

e.,

to the next higher

Thus:

Ex.72.
;

^^=H
:

3
i

^fezH
Step, for the reason given in par. 75
e,

C-major, throughout.

( b ) Exceptions

The lowered 6th

may
rare,

leap

upward

or

downward, along any obvious chord-line.

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.

chord-line, without cancelling the prevailing key;

For

illus

(0
71

>;.m~Ii

inn

hrtra)

mivj.T,

Ihioaghoal
iar.lv

(Ex. 40)

[mprobftblt ehord

lini<, iu

(,'.

I
par. 10,

20

* ???

(c) Further, the

rtdted 4:h

and 9nd

Slept are, rarely,

preued chromed-

totemwatd to the original tones,

exactly

aooording to the principle of

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

EXEKCISES IN MELODY- WUITINO.

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

beat in length, occasionally longer.

No

changes of key are

to take place (par. 77).

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.

ALTERED SCALE-STEPS; MINOR.

78. The inflections of the harmonic minor scale are as follows order of comparative importance)
Original Scale-steps.
(Ex. 37)

(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

The rules for their khoM goreming tin'

liaakinaiit urt*

nearly, tin. ugh not precisely,

u1ut.i1 St.'ps

..f

major.
in

fa)

The

raieed ith step (whieb

appoaw

alike [0 major and minor]

kha

only one thai

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

may occur both

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

fonts tlnwl (mil) thus)

.11 (all
1

',,,,,1, good)

C-miuor, throughout,

Only as ofautgM of key (Chap. XV).

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-

tions are possible, as seen in the following:

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

a non essential embellishing tone. 2 (Bb in 2nd measure,

See

also,

64,

No

FJ

in 7th measure)

LESSON
A number
flected Steps.

IS.
in

of 4

and 8-measure melodies,

;

Minor, with occasional

in-

Review par. 39

par. 77

and

a// the directions given in

Lesson 14.

KH IN

ill

LuDY-WlUTXNd.

CHAPTER

xv.

MODULATION. OB CHANGES OF KEY.

HI. A melody may be OOnduoted sway from
Into tlmt of

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

JV, F-major {} *s d-minor (>

" " " "

). ).
).
]

).

(^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?

(NiD^-majoT(6t> V, U>-miuor (5t>

" " " "

).
).

). ).

B.

Capital

lottOTl indicate

major

1>>

ft

small letters, minora.

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.

new key Ex. 82A,

Is.

B2E

bffn

good, ibnai i"n pOMibl*(Sz. IJ I'"-

E-*s III

A.

80.

If this

montal transformation

(pur.
t<>

85a)

is

not possible: that

is, if

thf lust tone of one scale

dou

not btiong

t/f coating ivy, then a chromatic

progression will need to be made, at that point,

by

simply inserting an

accidental (see par. 73, N. B.).

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.

illustration (capitals, major; small letters, minor):

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

melody are merely

(i.

inflected Scalee.,

e.

altered tones), or the indicators of Modulation

change of

entire scale, into that of another key),

(1)

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

largely (very often entirely^upon the

IN MKK<I>Y-WRITIN(.

option of

tin-

OOmpOMT, who,

in the

lOOe, i" kit h-irmimi; ttioit, either

in<

majority ol OBOea, niuy treat the foreign without Abandonnin-iitary inllectiou

i

lag the key), or an a modulatory tone (pnning on into the ooReaponding

Mali).

lesson
A nnmbei
in

in.

o!

4-meaanrc melodies

In

Phrase-form, beginning alternately

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.

Ex. B6, No,

~.

may

serve ai a genera] model.

Erery Bpeciee of

afeaaure, from 8/8 to

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),

(b) In the larger species of

sient

two or more

tran-

modulations may be made in one phraae; only, however, amaug tho

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:

the smaller species of Measure, with one transient modulation,

In larger Measures, with two or more transient modulations, and

return (par. *9b).

CHAPTER

XVII.

MODULATION, PERIOD-FORMS.
OO. Changes
of

key may occur

in the Period-form, at

any point

in

either Phrase; but they are likely to have especial bearing

upon the semi-

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

best and most

common keys
and
(the

selected for the semicadence are,

flat less,

The Dominant key

original signature);

(one sharp more, or one

than the

The Relative key

same

signature).

particularly appropriate for the semicadence of a Period beginning in major; the Relative key for one beginning in minor:
is

The Dominant key

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,

th;m the original signature).

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.

Period-form, according to the

Chapters VII and IX, containing modulations (and occasional altered Steps) as explained above. Every species of Measure;
directions given in

major and minor beginning, alternately.

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

That the melody progress

close the
par. 84).
!

first

chromatically, from the Step chosen to key, into a proper tone of the desired key (Rule III,

Thus:
.

Beethoven.

Ex. 91. EifeEE:

-**
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

and S-measun> melodies, illustrating

Begin
in

this devico of chroall

matic modulation.

major and minor Uomatnlj;

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.
!>;*.

Sm-li overlapping of scales, a vory

of modulation,

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

and ezoeptiona] method

reproson

common, but moro

difficult

which affords timo and 6; Ex.91, No. 5).

tion),

to

apprehend tho transformation (Ex.

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

<.,

niujur for iniiuir, or

frequently turned to account in minor for major) of

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.

(by overlapping scales), as explained above.

and 8-mea.snre melodies, with modulations throngn At first into

next-related keys only.

Then experiments may also be made with more The general harmonic (chord) basis must bo kept well in

CHAPTER

XX.

MODULATION IN SEQUENCES, AND AT CADENCES.

05. The broadest range
(1)

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

sequential recurrences (par. 64);

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

not to overpower the impression of tho prevailing key.

1. Allegro.

For

illustration:

_________________

T?
fc)x.

rH

95.
(x raised Scale-steps.)

^^Fgg^Epp ^fe T=F

3. AUegr

Mekdblbbohx.

7j

obi arxnzxa

LESSON
A number
ohroms
of nn'
r

19

meMOIM,

with occasional continuous

-ions.

The ohrom

mail

briouslj essential,

tilth not less th:in u full Deal in value; ftnd,

nil'-, tin-

succession hhould

not extend beyond B or

('.

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

third one is again a light semicadence,

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

from the melody of tho

illustration:

first

pair (totally contrasting construction).

For

1.

Andante

tranquillo. (Strictly parallel construction

1.

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

'-<&-

Allegretto. (Partly parallel construction.)

-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

ir.-inru.Mun- Dmilili' periods,

in

major

md

according to the ibo?0 direrminor alternately; modnlnting ut option;

8
i.
I

the prinetpd ipeaiei oi Ifea an

i.

ft

B/8,

I.

::_\ B/8).

The

hiinnoniziition of

thOM m&lodiea,

after OOrreo tion

and approval bv

tho teacher,

may bo undertaken bj

pnpfll btiniliur with the process.

EXERCISES IN MEL.ODY-W1UTINQ.

75

DIVISION TWO.

UNESSENTIAL, OR EMBELLISHING, TONES.

CHAPTER
XXIII.

DISTINCTION BETWEEN ESSENTIAL AND UNESSENTIAL TONES.

100. Not
and generally
all

the tones in a melody need be essential,

i.

e.,

calling for

special consideration in the process of harmonization.

are,

Many

tones

may
(i.

be,
e.
t

no more than

unessential adjuncts of the principal

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

embelUahing, or Inharmooia konea.

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

(Leading-tone), or raised Steps.

of the

The

obligatory

movement
(par. 7).

Suspension forward into the essen-

tial tone, is its

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.

(d) Instead of using a

the tone

may be

struck again, as repetition:

EXBRCIflKfl IN

MRLODY-WRnTKO.
signify no

77

And
lessons.

in fact, in this

form

it

may

more than simple tonefreely in all the preceding

repetition, as indicated in par. 9 a,

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.

"Tone-Relations," Lessons 57 and

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

and 8-measure melodies (major and minor

alternately) with special application of the Suspension.

Use

all

ipeeiee of

and modulate
he writes

at option.

The pupil must not only hear each tone

difttinotlj as
(i.

it,

but must endeavor to realize tho chord-basis also

o.,

tho harmonic accompaniment).

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

This embellishment involves tone-repetition from

is

one beat into the next, as

all.

Suspension, and

often not distinguishable from the latter at

The difference
itself

lies solely in

the purpose, or conception, of the writer, but

may manifest

clearly

through the following conditions:

(1) (2) (3)

The Anticipation
It is If

is

generally a very short tone;

is

not tied to the following repetition, but

re-struck;
will

embellishment by Anticipation, the second of the two similar tones

essential one, and
sion, the

be the

may progress
will

in

any manner;

if

embellishment by Suspen-

second tone

prove to be the unessential one, and must progress

step-wise.

This, again,

depends upon the chord-basis.

So also Ex.

5.

No. 3; aud " Tonk-Relationh," Lesson

00.

LESSON
A. A number
of former,

23.

simple, melodies, to be embellished with

occasional Anticipations.
Ii.

Now

melodies, with Anticipations,

and an occasional Suspension.

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.

Any skip of a third

melody,

may be

filled out,

1.

Allegro.

Ex. 102.

as #
f

=r

u
SrilUBKRT,

Original form.

p jfcit&t_,i-t

r +*=
j

-. ]

-j |

=^f4

Embellished with Passing-notes (X)-

(Dominant 9th chord-

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 .

crab, with aeernttd Pa ring uotos.

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$.

of former melodies, to bo embellished with occasional

Passing-notes, where skips of a 3rd occur.

Now

melodies, 4 and 8 measures, major and minor alternately, in

<>f

Yariotu Bpeoiee

Measure,

with ooccuional

Passing-notes, as

shown above.

Suspensions, Anticipations., and other material of peat lessons must not bo

neglected.

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

See Uo, Ex.

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

^=

(chromitic puaainc note*)

AhL

109. The
lessons,

device of tone-repetition, employed throughout the foregoing

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.

"essential " in effect.

1. AlUgro.

3. Andante eon moto.

(110b)

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.

melodies, to be embellished with occasional passing-notes

size,

chromatic, and repeated), at skips of any

but with

strict

/egard to a sensible rhythmic result.

B. New

melodies, with direct application of these passing-notes.

The

material of former lessons

must be remembered, and employed.

CHAPTER

XXVII.
-

NEIGHBORING NOTES.
110.
(a)

Rule
its

TV.

Any essential
its

weighty tone whether essential (harmonic) or not,

placing either
(b)

tone in a simple melodic line, or a may be embellished by

be/ore
it.

higher or

lower

Neighbor

Very frequently the

essential tone precedes, as well as follows, the

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)

The group may assume almost any rhythmic form;

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

belong to tho sumo beat, or rhvthmio group.

C VI IV
Ex. 108.
-

[]\'^B\l li\ri_'\r^}3

ctubvlllshod with iu-i^hbonn^ uutc (o).

tour

wkwrd

rli

yttim

tono repetition, eiuucllmhc

irrej;.

rhythm:

0=r

^g^Fpi
m
is,

II

111.
essential

The difference between the Neighboring-note and the Passing-note

that the

former turnt back into

tone.

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

therefore a local embellishment, the latter a progressive one.

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

emu. with lower

o.

EXERCISES IN MELODY-WMTIHO.

i$^m^^m^^^^^m
exceptional-

S3
Or
(2),

^^^
UP,-#-# -|__

in a series of

such groups, each may bo turned the same way,

irrespective of the direction into the next essential tone.

of the groups will be Irregular,

but

In this case, some their irregularity is counteracted, as

usual,

by "uniform recurrence"

(par. 56a).

For example:

Regular:

Ex. 110.
original line-

If-O-gtJL*
emuelliabnient-

I I

Irregular, but uniform:

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,

tho rhythmic arrangement of such successive (or corresponding)

groups

is

almost certain to be uniform.

1 1.'5.

Further, the noUUion of tho neighboring-notes

is

subject to the

following rules:
(1)

The

u}>per

neighbor must always agree with the lino of the prevail-

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

EXIUIC1SES IN MELODY- WRITING.

scale-step (the Leading-tone), for

J1

which the lower whole

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

of simple melodies in uniform, rhythm (from the first five

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

be embellished with 3-tone groups,

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.

HHEGHBOBXNG NOTES, CONTINUED.

Those,
in

mum

tones inuy be nlttged

to four, live,

fundamental, wnbalHihing groups of three m\, or more tODM in many ways:

(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:

1. F.uir tone croups?

B
C

j
I

11

jrdL
throu^lmut.

3. AlUyro.

ie^^^lsgllplii
orig.

form-

(2

By adding

a passing-note (before or after).

reference to the distinction between neighboring and

N.3.

Review

par. Ill, in
in

passing-note.*.

And bear

mind, while studying these somewhat confusing forms, that

its

every neighboring-note must be preceded, as well as followed, by

(par.

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

one and then

the otlier

neighboring- note between

reiterations of their principal tone.

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

of the neighboring-note (similar to par.

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-

H^3=x ^ritr^r^-^^^J- ^-^

I
1

-fif-F m-L-U_Ld =fc=t 1

-o

o-

IE

^&b=b

IN

Ml I.H)V-\VlUTINO.

LESSON
A. A lew tarmac melodiM
these larger groups,
either
:it

29.

la

uniform rhythm, to bo ftnballiahed with

OOOasional single points, or throughout, as

indicated
11.

iii

Um

preceding lesson.
reference

New

melodies, with especial

to

these forms of cmbel-

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.

emb. (unacc. App.)

original line (38c)

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.

11. (ronlinwitiwi of Kx.

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
:

possible, but misleading.

__i__Jzi be8t
I

thns. with

lower neighbor:

=r ===J^^E3 *
l

^'n_|l J
,

~]

essential tones-

m
(3)

33

possible, but misleading:

m
and
112).

&
is

in No. 5 (second measure),

This rule prevails almost throughout Ex. 117; the only exceptions occur and in No. 8 (second half of each measure).

The notation The presence

of the appoggiatura

defined exactly according to the

rules given in par. 113 (Exs. Ill

(4)

successive skips in the

12, 13, 14).

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

giatnra, in 2-tone groups; cither at single points, or at each tone throughout

melodies of uniform rhythm).

B. Now
lishment.

melodies, 4 and 8 measures, major and minor alternately, in

of embel-

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.)

en. <!. affect, both the

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

treatment conform For example:

to the rules

and

illustrations of the preceding chapter.

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.

^.u:l^ -'>>~ ttda

:

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

nppei and lower neighbor rhythmic form. Thus:

in

BUCceuion,in either order, and in any rational

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.

XRBCISIi3 IN MELODV- WHITING.

nct4-s

118. In ruro is InemnMd

kfai

InitlllOW.
to

Ibfl

niiinl>-r <>f

Uipho

thru,

bj ratoning
ton.-.

to tho

IntepOMd neighboringAnt nppoggifttam Mom

pinK on Into

anM&tUl

Kx. 128

tj

^=\3=

EuentioJ tone emb. with Triple appo^x

^^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.

of former melodies, to be embellished -with the

Double

appoggiatura, in the 3-tone and 4-tone groups above illustrated; eitha

occasionally, or continuously.

B. New

melodies, 4 and 8 measures, major and minor, in various specie

of Measure, with special reference to this

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)

neighbor ol that principal tone.

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.

with the Unresolved neighbor (uppor)-

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,

unless tbo key remains

Cora

throughout.

I OS

XSBCXSKM

IS

MKI.ODY WKiriNM.
i<
I

rarely, this derioe

rt.nl

reversed;

i.

s.,

the tower neighbor:

to
t

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.

U. New melodies, with

special reference to these embellishments.

KIZBCI8ES IN liELODY-WTUTIUO.

100

CHAPTER

XXXII.

EVOLUTION OF MELODIC GERMS.

in

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

be very studiously examined and

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 ^.

Itrms (scale and chord):

*'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

Melodic form (expanded to double measures).

^^^^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

4~T jP^ jKH^=Mf5^ f~

i

'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,

12 or 16 measures in length (major and minor alternately, and in all

species of Measure), out of simple germs, imitating the melodic

and rhyth-

mic methods shown

in the

above example.

CHAPTER

XXXIII.

MELODIC EVOLUTION, CONTINUED.

124. Further, the application of these embellishing processes may serve to disguise, or to heighten the effect of, Eepetitions, Sequences, and
Recurrences of former figures or phrases in general. Review the text of Chapters and XI; see Ex. 100, No. 3; Ex. 106, No. 4; Ex. 115, No. 10; and examine and analyze the following, thoroughly:

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.

t. Allfjro modrratn (120a)

._,_,..-. _.......;. ,. original melodlo lino

mod

repetitio repetition

Bin

.-

1;

>

'-,'-'

if'

%fg

3 r~
#
:

-*~2 rl
~~~~

^^
t
C.
AlUgretto.

Aliejro mof/o.

F=F

original melodic phrase..

p^^^^^m^s^m
-*?

*-

modified recnrrenco-

(120a)

FJ. original phraso.

&
inodifiod recurrence.

KXBKCISES IN MELODT-WIUTINO.

117

-again
Jater

1L.

JT.

>

3ZE^ # **
-{

modified recurrouce.

mmm
CHoriN.

7. Adagio.

Ej

t^g^ffif^^j^p r^inrmodified recurrence.

3
,

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.).

EXERCISES IN MEEOU*- WHITING.

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

* These tones represent a "passing-group" (109, extended), in sequential formation.

120

KXCR.IHRd IS MIILODY -WKITINO.

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.

or new, and 8-nieasuro melodies, with embellished repe-

1$.

Melodies, of optional length, with special application of the modi-

fied (embellished) repetition, sequence,

and recurrence.

Simple harmonic accompaniment may be added,

the teacher.

at the discretion of

EUCRCISEB IN MKLOUT-WKITIUQ.

121

CHAPTER XXXIV.
MELODIC EXPRESSION.
125. As
exercise in

CONCLUSION.
is

stated in the Preface, the foregoing

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.

present course of melodic practice.

HI

KXKiwirtErt IN

MMUOtl

WBBM

VOCAL SETTING.
ins. Thi
and
i".

it

natural and wholeeome artificial stimulus of deflniti

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

details of melodie afleeta, irhioh

And

their parallels in the

nn.liihitions of

poetic erproaaion,

may be deaeribed approximately

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,

morease or decrease of the djegree or

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)

The musical sense

in the

and value

(g)

The

definition of tonal meanings,

and the bearing

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.

may be roughly stated thus: The chord-root is po w erful; the

The chord-7th and

and even obtrusive
accented, their effect
(in
is

9th, and the suspensions, are keen, conspicuous, proportion to the degree of their dissonance); if

heightened;

if

prolonged, the effect of strain or ten-

EXEIICISE3 IN MELODY- WR1T1NO.

123
still

sion

is

created.
iu effect.

Appoggiaturas aro similar, but usually

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.

principal rules of vocal setting are:

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,

That the rhythmic

vice versa, unaccented syllables

and unimportant words should be

set to

comparatively unaccented, lower, or shorter, tones.

II.

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

1. Recitative; pathetic expression.

Moderate

Largo.

mp

~=

'

~ZL

P
-n0-

dim.

Ex.l31.FEi5i
f-minor.

Thy

re

buke

ken

hi*

heart.

2.

Allegro; joyous, vigorous expression.

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.

setting of linos, and of brief stanzas, from church

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.

Afterwards, very numerous studies in metrical Phrase, Period, or

Double-period form.
After correction and approval by tho teacher, they

may bo harmonized,

or provided with a simple instrumental accompaniment.

126

TABLE OF CONTENTS.
DIVISION ONE.

ESSENTIAL TONES.
page

Chapter

Majob.
First

The

Scale-link,

Regular

Primary Kule

5 7 10
12

The Four-measure Phrase

Chapter
II
III

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

The Chord-line, Continued. Summary of Rules (par. 39)

Miscellaneous Illustrations (Ex. 36)

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

Chapter XI Chapter XII

Syntax of Melody, Continued

Repetition and Sequence, Modified

44

44
49 49
51

Syntax of Melody, Continued

Application to the Period-form

Chapter XIII
Chapter XIV Chapter

Altered Scale-steps, Major Altered Scale-steps, Minor

Modulation, or Changes of Key

55 58 62
62

XV

Chapter XVI

Modulation, Continued
Transient Modulations

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63

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72

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XXI

Chromatic Mr.h.nv

Chapter XXII

The Duuule-pkkiod Form

DIVISION TWO.
UNESSENTIAL, OR EMBELLISHING, TONES.
Cbapter XXIII
Definition or

DlBTlHUTlOM

hetween Essential and Uh75

76 79

RsSI.NTIAL Tf)NKS

Tho
CHArrrn XXIV
QfUI
ieii

Suspension.

The The

Anticipation
(single)

XXV

The Passing-note

81

Ciiimii XXVI

Passing note (successive)

83
84

Chromatic Pussing-note

Repeated Pseaing 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

Chapter XXXII Chapter XXXIII Chapter XXXIV.

Evolution of Melodic Germs Melodic Evolution, Continued

Disguised Recurrences
.
. .

116
121

Melodic Expression
Vocal Betting

122

14 K\ TO DESK PROM

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