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

to assist the

is,

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,

conception.

The

into the latter are

nor

agencies which conduce to the transition from the former

touched upon

in

paragraphs 125

to 129,

which

maybe

briefly

scanned, here, without harm.

The

reasons for urging such a course of technical practice upon students

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

1st,

because the prime object of all theoretical study in music

melody.

be,

and command of
of

all

natural laws, pave the

its

other phases of discipline in music

successful studies in sight-reading,

for

is,

or should

thorough apprehension of the conditions of correct melody,

way

to the full

and easy reception

they are the only natural preparation

harmony, counterpoint, form,

instru-

mentation and interpretation.

2nd, because
with

all

musical practice, productive or reproductive, in

all

other operations of

fore qualified exactly

mind and body,

is

the formation of these habits, and guide

proper channels,
tional

common
is

there-

in early

them

life.

The

effort to

con-

as early as possible into

therefore obviously the most valuable that a wise educa-

purpose can induce.

Whether
to

is

and

according to the quality and energy of the habits which

have been contracted, by accident or intention,

trol

the result of habit,

there are laws governing melodic conduct, or not,

which an answer

will

be found in the book

itself.

(iii)

OS

is

a question

I!.

to

It is

bc^innine;

be Inferred from the above,

:'..

LTTJf

the twelfth or thirteenth

It

111

of the latter.

Bat

it

before

Harmony

fa

effii

ient

in

the

.is
,'ri

collateral

Harmony

harmonic study;

of ben<

01

number

fit

to

in

either

regular alter-

of times each

For

achieved.

movement

this reason, the

The musical

illustrations

in

is

is

exercised,-precisely ns pro-

thoughtfully repeated.

until

its

aim,

It

the fixing

course should cover a

full

a system of

is

of habits,

is

likely to

-a'

fa

this

be absorbed by the pupil

quite as readily through sensuous contact with melodic sounds, as

mud

year.

have been made unusually copious, because

particular phase of musical education

induction.

ts.

manifestly proportionate to the

is

any other item of pianoforte technique depends upon the

which must be persisted

drill,

be derived,

nness with which each lesson

study,

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

The degree

taken up, or entirely independent

probably prove most

will

Ok

from the beginning, or

<1

Not. however, as S rule, before

tbe best results will be gauv

tli.\t

in life.

by mental

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

ay from, the key-board.

Percy Goetschius, Mus. Doc

Boston, Mass.

September, 1W9.

EXERCISES IN MELODY-WRITING.
DIVISION ONE.

ESSENTIAL TONES.
CHAPTER

THE SCALE-LINE, REGULAR.

MAJOR.
1.

Any

I.

series of single tones is a

depends upon the choice and duration

conditions of good melody are:

Melody.

The

quality of the melody

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

is

monotony.

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.

may follow the line

MAJOJR SCALE,

melody

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

ft

nun
...ir,

I.

when

missible,

tlicv

OOttflriB

wmaa

and Conse.pientlv invariably per-

.mUn.Uum of

tin- N

llf

o-eol
ir.>
-.1

tad

divided into hro olaeeee:

'-t'l

which oonstitnte the Tonio

They occupy

innoiiie oora of the key, ,, pur. 18 are fnaetiv.

bermonk repeee, and arc therefore Inert, no4

they

lit

7
ill.

Tin- direction,

<&.

pi In

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:

,
stops.

and the degree of urgency, of the movement aro

<'f eeoh Active icale-etep, ami its proximity to the

dieteted by the location

Mereet iiieotive or oentra]

The tendenoy is most urgent

The tendenoy
tion

The

its

direction

LB

somewhat

less

urgent in tho (ith step, and

its

direc-

u downward*

(c) Still Leal urgent in the

(d)

7th icale-step, and

iijiirn nl.

is

(b)

aa follows:
in the

4th

stop,

tendency also downward.

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

exterior Interior

major.

The progression
it-

II.

of an Active bcale-step iu tho proper direction is

solution.

ral illubtrations:

Ex. 3.
!

2.

5= j= m-j r\f~rm

EXEKGISES IN MELODY-WRITING,
(par. 9b.)

^^

Allegrettn.

I.

I.

'

II.

Mendelssohn.

ffi

T TJ - U = Wi4f^ ^= *Pi
a

See

also,

Ex.

5;

Ex.

18.

No.

3;

Ex.

36,

No.

12;

Ex.

50.

THE 4:-MEASURE PHRASE.

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.

erally

The Phrase

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);

accented beat of the fourth

;

Cadence.

Ml

IN-

Til us (in

l...I.\

W1.J11N.,.

Tfui.-.

lii\
a.

I>npl

!-

=EES|

Besides

tli.

i |>I.i

11. .1

in

Chap.

np

itep-wise progressions,

rding
1 1

II

"..

i.-

rhythm

n.

;l

t>

the

Ill,

or

ji.ir.

down

Primary Bole,

first

18. 19.

it

is

the line of the

everywhere, per-

.If

(a)

To

*:

repeat a IONS, OflMM or oftener.

-I--

For example:

'-S^a
7

Caret.

II

rep

rap

See also Ei

T
ping one

3.

Num. I anJ C

Ex.

32,

eic.

No. 3, Ex.

30,

Noa.

1, 8.

9;

Ex. M.

ipward or downward by the interval of n

(b)

diatonic scale-step.

If this skip of a third is

third,

i.

e.,

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).

A. WtC in

Inactive tones.

For

illustration:

IN MEIiODV-WIUTING.

From Active

tones, in the proper direction.

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

LESSON
A cumber

MO.)

1.

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

regard to the following limitations and directions:

(1)

Only

(2)

Without modulations,

(3)

As 4-measuie Phrases, according

(4)

In

(5)

The rhythm

in

major keys.

i.

e.,

each melody in one key throughout.

strictly uniform,

Ex.
(6)

e.,

i.

f, according to the chosen measure,

(see

to the

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

models of Ex.

4.

and G/4-measure, successively.

one tone to each beat, as P, f or

excepting

the final cadence-tono

4).

The

scale-line, tone-repetitious,

and an occasional skip

of a third

Of the latter, only one at a time (perhaps returning,

Ex. G), not two successive leaps in the same direction.

are to be employed.
as

shown
(7)

in

No

violation of the natural tendency of Active scale-steps

mitted in this lesson.

2

Each

is

to

move

in the proper direction.

is

per-

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.

yri.. .pi

is

CHAPTKK

ukitinu.

II.

BOALE LINE, EXCEPTIONAL.

Tin:

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:

HM

ii

0.

It

ktuiul

is

alwaya poeeible to evade

t.'ii.l.

hcv,

<>f

tin-

three A<t

-
All

th.

i.

.^.

II

-.-Hl

fc

F
irrog.

reg.

irrog.

T*
tang

reg.

irreg.

-t^^^^^^

irr..;

II

r. i;.

M^^P^

-EEc

irrcg.

Sec also Ex.

47,

No.

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

than that of

tlio

loss objectionable,

because the tendency of the 4th scale-step

is less

urgent

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

2.

A number

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.

IN

II

Ml

..!>

CHAPTER
Tii

!:

OHOBD
I'kim \i;v

A melody may follow

\:\.

U lilllMJ.

in.

LIN
Kt

B.

r.

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.

The "Soale-line" may be abandoned

j.

the ehord-linc

for the " Chord-lino," or

subject to a
the scale-line, at any point in a melody,

f<>r
-t

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

it

fcu -ffi

iv.

c-e-g.

ehord of c; and they

m <d that chorddiuo in any order. Thus:

Lettere, o-4-g, constitute the

fifth,

^=

^^=^

may appear

as

EXEItOTRES TN MELOPY-WRITrNO.

13

pOSBlbtoi

bnt extreme.
Jt

im^

FUNDAMENTAL HARMONIC PRINCIPLES.

17. Each key comprises three

classes or families of chords, called

respectively the

Tonic class;

Dominant class; and

Second- Dominant or Sub- Dominant

class.

18. The Tonic 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
;

Tonic Triad, or
O Major.
Ex. 12.

I.

i
Subordinate Tonic Triad, or VI.
O Major.

3 tones, a

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

nn any
3 tones,

Dominant 7th-chord,

4 tones, g

7 (

order.

Five-Seven

").

(the latter a chord-seventh).

rxriicisrs is
Iv>minanl th chord. \*

nunant

mfi^m

ututino.

Fit Vine ".

-

Tlh. Iiicvm,
|

!=

\Viih..iu

:.

Dwataaat th inmmp.

*
Without Root,

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.

Sr. .>ni>-1>mminant or

T';.'

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.
of

Beooad Doariaeat Triad.

IT.

'

Ex.

14

in

Second iv.minant Tthchord.

II'.

Tonea,

S>il.

eaUad IV.

c.

lot

Ton*. o

e.

called

IV.

with omitted Root).

mnvenionco

dominant 7th chord (property, the

i*

Very

c.

Bab dominant Triad (properly, the

i:

e^n

=5=
d

any order.

n II".

with omitted Root).

rare

IN MELODY-WRITING.

Summary
1.

16

(C-major)

Tonic

claaa.

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

rules

which govern the succession, or move-

ments, of these chord-classes are as follows:

The chords

(a)

lowed by) any

other

The chords

(b)

of the Tonic class may progress into

chord of the same key.
of the

Dominant

Dominant chord

e.,

may be

fol-

class can only progress easily into those

of the Tonic class, preferably into the

gression of a

(i.

more

I,

rarely into the VI.

into one of the

The

Second-Dominant

pro-

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

observance of the

23.

paragraphs 4-6),

latter facilitates, largely, the correct application

that careful

of the former,

necessary to be fully conscious of the qnality

by skips in the melody, and to control their movements accordingly.

and name

Nevertheless,

it

is

of the chord-lines represented

KULES FOR SINGLE

24.
chord.

SKIPS.

Each single skip must obviously represent,

For example (C-major)

no chord

(par. 19

at present,

some good

ft)

Ex. 16.
f

???"*"

?!

VI. not as good as

TV

???

or II

(par. 18)

all

good.

???

???

is

16

in LOD1 wki

<?

iin.i.

\.

???

_*.".

dngle limitation,

-..n-ti\.\

upward

i.imi.iiis

or

leap

downward.

1 1

and

al

even

approached

(par.

B. Btep

natural
.1

in.

binding apoo the

chord lin< -.
While it

ooi

conduct then scalo^tbpt in ths

(<>

peotiTe

of

the

manner

in

which*

.luit

=1^7

V
i

all

regular

[mgolar imt

IV

II

P-.
H

SI

IV

C. Btep

(par. 18)

good).

they are

Thus:

).
1

VI

proper

ohord-line, without objection, lo the

regular.

ImguJat

tone,

rale of inherent melodic

'.

made from anj

be

niiiv

The

lequently,

(p

tiim-f

II

IV

good

good).

.^-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.

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.

likely to turn,

Thus:

^r*t

fix. 18.

=t=

:.V1I better,

nil*,

-a

as

than

-the followiu^:

^^m

W&

5t

AtrM'Ei ssniiN.

See

Ex.

also,

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

32,

36,

2;

Nos. 4, 14. 18, 19, 20; Ex. 52, No. 5; Ex. 60, No. 2, Ex.
Ex. 100, No. 3; Ex. 101, No. 5; Ex. 117, Nos. 11, 12.

64,

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.

*1)

m
From d down

(b) At the

to either of these tones.

same time,

if

m
*2)

From/ to

either of these.

*3)

To

either.

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.

Ex. 20.

Thus:

|=

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*

Ma
It is

pur.

rule of

and important

nil.-,

MPI

Up

10 Hiiv Active

btNBM

b.

their

tone in

/Vom any

Ioim

from

iiny

.'.

1-

lis,,

give* emphasis

'J'*,

the Utter, iiiim.lv

iift.r thai

I.I

t>

the

Htill

more binding

hut

direction

direction qpjMtttt

tli.'

tone up ward to the

Resolution provides for

mitiinil

In the

(though seldom beyond an

tlio

f>tli

or 4th

change of

Tim-:

ftp,

M^=E^

u
fn.ip alUiet

fruin citl.,

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
Tt

fb)

ooutm

also possible,

already Been

89.

par. jt
If

the Active tones

approached by a wide leap irregularly

fire

the direction eorrmpemdimg to their He-solution: up to the 7th, down to

the 6th or 1th Btops), it will either afford an additional opportunity of
obtaining the irregular progressions given in par. l(i illx. 7), in keeping with
the rule of par. 26 'turning, after a wido skip"); thus:
(in

(b) Or.

better,

it

Ex. 23.

will
v..

-II

0-ma.'m

Poiilitfiil.

lifraun^of th* \
of th* \

extmn* OTgmej
7th

nc.-ile-8t<-i;

par.

60

be found expedient to take advantage of the

back at the second following tone. Thus:

to turn

Hig

All better tiian those f

.'JO.

- ^ ^
\

.>

#*<*

license of par. 27 a,L

t
'

The

Ex

2'.'.

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:

ward (according
to

be made).

pir.M
Ex. 24.

IP

pur 27

,--

a.

1-^'^lj^T^'l^^lll

IN

MELODY-WRITING.

LESSON
A

large

number

in all the species of

The

scale-line

3.

of original 4-measure Melodies, in all

measure prescribed

in

Lesson

and skips of a 3rd to be used

single wide skip*

(i.

1.

major keys, and

The rhythm uniform.

and, besides these,

as before;

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

e.,

narrow leap) may occur, according to the above

melody when completed.

CHAPTER

rules.

Sing, and play, each

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.

Vr

jor.I.
I
C -major,

6.

5.

9.

7.

V 7

(par. 6 o).

(par. 6 a)

And

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

innii-iy,

i.

f.,

it

in. iv

Ml

be

Will

l...|'\

till;,

ia

IN'..

higher, ot lower, oetave-

11

Thus:

r.

JJ

\jk
nil

<
\

|Mi

fcpv+B
38. Tins Important

rale eppeara to bare

skip which foliowi after the Male-line >

t.i iUd thu onward to Mine tunc whioh

t/i>-

some bearing apon a

mm

direction

it

is

ringla

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.

1 1

tration:

A(v

Ex. 27

meM

g^^^a^^^^P^^
Ex. lo,

-i.

pMXl

I I I

.'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).

bettor

K'xxl

Ex.28.

fe

'.IT>.

Thus:

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

dency of the

checked,

is

first

tone),

image of the chord-line.

in

and by

Thus:

good
Ex. 30.

^^
V

si

complete

36. The skip

Conip. Exs. 17

& 21.

is only advisable when it occurs either in

or as derivative of the Dominant-7th chord-line.

of a seventh

keeping with par. 28 a

Thus:

Ex. 31.

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

MXIiODl "KITIMi

IN

ill

In other words, th< cliord-line

rhythmic design.

tin-

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,

.rt-

uilv

t..

tli.'

1 1

lif

ft

Ulnstration:

I.

AlUtfr.'.

:\^'

'1=

'/,

G.

Each chord

r,.

lino

'

mwa.

';,

diom.

measure.

AtUgntU

:\H. All

Bee also, Ki. M,

roll -

n<>

IOi

Ex.

f.2.

No

C;

Ex

61.

No

ft

melodic formations of four consecutive tones, to which the

of the drip do not appear to extendi must be controlled by the

many places in a melody where

Harmony ezerta orer melody hi peculiarly manifest
(par. IB), eepeoiallj when the location of the accented tones is considered.
Anions theae (brmationa maj be classed:
ttiona of ehord-$U00e$$Um\ lor there are

the influence whioh

EXK11CISKS IN MELODY-WKITINa.

23

(a) Certain successions of skips in opposite directions.

For example:

better

(par. 21 b.)

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.

All good

Ex.34.

"4
^^^^
r^^^
I

i=f=4=H^

Ex.

i^^

TTj

V.

2.

img^Edjgp

IN

Ml l.nl'V-tt l.lllN<i.

'V'^m

;|._~> '-IR

liKKTiifivcs.

j^L^U-M

i^g -i.

rr-\'j_j\.
Ax

.:<:.

ii

N... KJ

Jllt.UIMS.

tin-

hrewide leaps whioli represent the

tones of ro different oontignon (melody-lines,
1.

!.

3.

i:

MM

Alltgro.

Lj

<

c.

n-F^+j^T
;^^^;
l

-I

^T^r

'

=5

dSfeS

:.

*3=FM^

IX.

prmentaiio* of

'rims:

:'...;>.

lf<-

aUemak

II

=^<

fl

K mujor.
._>,

30.

N. H.-

I'upils
-i>n,

they

may omit

this

la.-t

So. I

Ex. O.

BTo. B;

who are not yet

Ex.

ti.Y

sufficiently familiar with

'

^n,

7, 8.

the chords and the

are likely to find these minuter distinctions confusing.

If so,

for

a time,

paragraph, or any other troublesome paragraphs,

Suek run/union ran only arise

with perfect safety.

No. 5; Ex. 117. \o.

Indie trtattnenl.

If

from

the use of (he irregular

and

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

tone, along the scale, in cor-

responding direction;

paragraph 24,

Each

single skip representing

some good Chord-line;

paragraph 26,

Changing the
paragraph 28

direction, after a wide leap;

a,

Approaching an Active tone

in the direction opposite to that of its Resolution;

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

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

all

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.

Andante.
(par. 13)

(9 a)

Ex. 36

Chord

Sc.

Chord.

all

the foregoing chapters; the

<KH IN

MELODY-W1UTTNO.
IlBTHOV*M.

;|'

T /k.'-i^H
s<.

...

iu>p.

Heitiiovbk.

f^|r^|.l:.

==|.'::;|

=|

Ch..rd

7.

; _.

.=| j

^|

Ch..

Sc.

^U/jro.
(13)

fc'

':

Ji

(386)

(6a)

(The farther analysis

O.

is left

to the student).

Allegro.

I?
*fc

=F=?
*"

7?

r*

J]
(10)

(9 a)

(6 b)

BTEBOIBES IM MXLODY-WKITCNa.

13.

Moderate.

27
MOZAKT.

(26)

(6 a)

(276)

(66)

13. Andante.

(25)

piferd^
"

**

'

#-"

'

'
'

'

--J

(29 a)

(37)

(37)

14:. Lento.

ty-'

3_4-L-&^-1

^J-P

tJ-S'

'

g,.

Il

(10)

(26)

BBg^^^^^^N^fe^^
*~^r

(10)

1G.

Maestoso.

fHH

-|

1-

3tZ=t

>

I
(10)

MENDEL8S0HIT

*=**

r-^zf^=F=m=E=&^

17.

Andante.

(10)

r^
(36)

18. AU^ro.

j^^=T
lO.

Al&pro.

^^^^^^g

^n

MKLODY-W

IS

l.lIISil.

-r
ti3

.a

i2flj

"

ii

.i

mm

10. all

uamhu "Tom RsuTtom"

I..ki..ii

.1.

:vll

LESSON
A

ec tie-line
ii.

t,

and

nnmber

large

ipocios ol

of

and ohord-linea

to

in

Lea on

be employed,

aooording to the given directions.

Revie* the aote

par. BO.

Bing, and play, each

Lesson

to

N'.

Lou.

v.. lixw),

4.

4-measnre melodies,

Measure prescribed

(O. Bchlrmor,
"!

LOMOfl

major keys, and

in all
1.

in the

tho

in all

The rhythm uniform,

Tho

moat comprehensive man*

Recollect, and apply freely, par.

1;

and

9a

par. 89, thoroughly.

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

V.

MINOR.
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.

<:

X*

c minor, harmonic

Tho nam*

in 1>oth

-"

:
(arm.

dlTMttona.

*^=?
SigMtore,

3 fiiU.

KXKUCISI'H IN MF.MiDY-WllITINO.

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).
All melodic

basis of

this,

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

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

limitation for

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

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

Ex.

7,

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:
7

Ex. 38.

C -minor.

Ex.

^il^^^l
6 ? ? ?

? ? ? 6

The

flat is

inserted before a for greater clearness.

This also affects a portion of Ex.

no others.

17,

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

28,

43. This

succession

is

nevertheless possible, though very rare, as

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

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

Ex.

15,

e.,

(i.

obrior.:?

the Domi-

chord no.

7,

with

Thus:

a?).

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

The flat before a is,

of course, superfluous.

Ex. 40.

This progression, like that of Ex.

larity of carrying the 6th scale-step

upon

it,

29, is

upward

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

in the direction of its Resolution (par. 28

leaping

down

6).

And, like the former, and like the irregularity of Ex. 38,

it is

possible

KXriU-ISF-S I*

n\ -utiitu fr.un

ehord

Ihinitii.xli >d-7tli

*Wj.

minor.

'

i:i

minor

'

\'

'

i\

chord lim\ either from that of the

or EtOB

Um

Thus:

II.

" A.

-v. I.. .--II

'

the well-nigh Intolerable interval of tin- augmented fiftli

Further,
minor, In leaping tron the 8rd icnle step np to the Ttli itep, end

i.".

In

Thne:

a.

,\

''

Mn.nl'T WI1ITH',

*-*lM ,.^J'W&
?? ? ?
Cmmor. (Ill

Thi*

(for

Is

checked by several rules,

pur.

21, par. 28

A,

par. 6a.

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

Tli.'

(par.

erm

???
?)

'*

down

to Step 7,

.'5

i,

tration:

Ex. 48.
II

pood

C minor

Krrry mu/iral

N. B.

il I

u it rat ion

given in Chnptrrt I

inted in the corresponding minor key (explained

in

to

IV

is

to

be

reviewed and

Ex. 37).

Additional general illustrations

M>NDKlSOH5.

1. lihyrw

te

Ex. 44.

^rH^^r^^^M^EEi

Lpr. 31

Bioor.

3. Adlfin.
,

/-

^j

pur

II

J
Lpr. 3

T-

r.

U-J

EXERCISER IN MELOPY-WRrTTNn.

See

Ex.

also,

55,

No.

Ex. 61, No.

Leesou 11, all

Ex.

1(5,

65,

No.

No.

Ex.
No. 7

7; 18,

large

number

129,

LESSON
A

.31

I. AlUgro.

3. Adagio.

21,

Nos. 5, 6 : and " Tone-Rklatio.xb,'

No. 4; 22, No. 4.

5.

of 4-measure melodies, in all the

the species of Measure prescribed in Lesson

details precisely as in

Lesson

4.

minor keys, and

Rhythm

uniform.

all

All

Avoid monotony.

CHAPTER

VI.

DIVERSITY OF RHYTHM.
46. The rhythmic

1.

effect of a

REGULAR.

melody may be heightened by employing

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

chapters).

(a)

The

disposition of these values

is

Regular,

"When the comparatively longer

(i. e., heavier) tones

occupy
the accented beats, or accented beat-fractions
and, vice versa,
when the comparatively shorter (i. e., lighter) tones occupy
unaccented beats, or beat-fractions.
Thus:
;

A
Ex. 45.

regular

rhythm

Ml

IS

..|>Y-\VKITIN<1.

n n
j

J.

(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:

"I

Ex. 46.

\~

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
.

by one or two
The
ID re
paint

divisions.

mMUM given

all

IS.

Bzs.

Id

8, 7, .t2

(excepting Now.

They re
Lmbou
Hoe.

oonsferaeted in regular rhythm.

Bee

slno, "

Ton

i:>

Rhythmic

ltioks,"

diversity

is

to
l.

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.

derived from uniform rhythm by the

fol-

lowing methods:
(a)

By employing

J J J

tho dot;

-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

j.

Further, diversity

(W By

is

J3-J
J

JOT;

.t .-

j.rocurcd

placing tea or mora tones

in

a measure tlian the

number

of its

EXERCISES IN MEI..ODY- WRITING.

3/4 moasure, loss or more than three

gives addition, the other gives division, of beats.
Thus:

fundamental heats; for instance, in

tones.

The

first

88

34

l-\l

IS

.--.

mv. Uk

-it- .- rt:iin t..

WKITINli

if

the oohea
.

Ml l.cl'l

used ander oonditiona that preserve or

erf* emphasise the itntotaral unity of
be permiaeible and ef&otiye.

Melody;

the

I'.l

II.

LI
\.

,.

nnmber

<.

uniform rhythm, and

melodiee Invented

of the

the

diveraifJF

thonl altering the

nnmber

Invent a Large

It.

nown

48 a,

in par,

Bmploy every ipa

to

make

minor

ill

preoeding loeeona. in

in

nnmber

of tonee in the original form).

regular forme aooording

t'.

new melodiee with diversified rhythm,

A very /no rests maj be inserted.
e,

Measure presoribed
i

ireful

"f

and

la

rhythm

Loeeon

in

1;

anil

writs

;//<<</-'.

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-

teacher,

of these

may

l>e

two lessons aa navel

harmonised, by pnpila

CHAPTER

in

oorrootod and approved

Harmony.

VII.

PERIOD-FORM.

Till-

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

51.

(n) T:

aooording to par.
>~ith<n-

Put

it

'
e 1. gins BXaotly like any sinplo Phrase,
enda, not with the Perfect oadenoe (8 6), but

!'

Semioadenoe, upon an aooented beal of 1

lth measure,
one of ike three tonee which eompoee the Dominant Trim!.

witli a so-called

wtik

8a

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.

x^

sfcfe

Ex. 49.

Antecedent Phrase.
1.

3.

2.

4.

ipp *ai

Consequent Phrase
5.

2. Antecedent Phrase.

h-f^eSS

cMj

A -major.

?=;

^4=n

j-*~ i

~*

:(=?):

(Ex. 22).

Consequent Phrase.

Like meas.
See

also,

Ex.

2.

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,

and then

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-

1; until, finally,

cedent.

struction. "

Thus:

Ex.50.

=
:=
r
G-mjor.

BMSOI

36

-I-

'

s.^

both of

:..

ft

and

19

.|.

brief Rest

at

tiki

60); tee par,

19.

LESSON
A

large

number

of B DM

par. 51; at Brst, several

ally

inn

inserted, chiefly

then play, eftoh melody,

After correction,

differ

is

demonstrated

in

8.

melodies, in Period-form, according to

end then gradu-

(pur. 53).

1;

the semioadenoe.

and par.

39.

Avoid monotony.

Sing, and

when completed.

somo

the Construction

from that

(after)

:it

Lesson

is

of these Period-melodies

mny bo harmonized.
Consequent may

parallel, the harmonization of tho

of tho (melodically similar) Antecedent.

CHAPTER
IRREGULAR

of

oadmtm

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

n the note to

Whore

-II

diversified (but regular); all tho species of

ion 1; differenl

may be

j|=

parallel construction (pur. 52),

in

more and more contrasting

Rhythm

example!

Mr.i.npv whitimi.

'

-I-

tpproprifttraeM Of
tins.-

in

VIII.

RHYTHM.

B4i B iew pur. 46a, thoroughly.

The disposition of various timo-valucs
Regular rhythm are violated, namely,

is

Irregtdar, when the conditions

When

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.

cupy comparatively

For
parison)

illustration (the regular forms, Ex.

:

-to,

aro here repeated, for com-

EXERCISES IN MEIiODY-WIUTINO.

m%)

\'Tj

regular

)-=
4

p=~>

0*

irregular

>==Wj-]

.".

tt

regular

/- n_TJ

irregular

regular

tf

>

37

1==

I
j

irregular

3.

>

j.

nlj

.n

}73

rj

regular

irregular

regular

hJl|JS^3|3
slightly irregular

J3.|fc.j|frT3h

irreguiar

regular

j.

/I

inegular

ft

I J

/3 |)773
A

/"j

*.. .!
|

regular

Ji

j. j

Ij j.

j J

jtj

/h
A

r*

irregular

1~n
:

jLtj

regular

In other words

slightly irreg

|/3

Ji-

jj_0

jJj l/jj

if

3.1
the tone

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

the rhythmic disposition

is

>

>

3t3 3t3|-

upon the

first beat (or any other accent) is

any other tone in the same group (measure),

Regular,

otherwise Irregular.

KXBUCIHH
r,r,.

For InBtonoe, upon

:. t

the degree of

dynomie
upon whioh the tone ia miHto en Bth-note only, it is more
En Ex. 51 e, measure 6 ii more

freotion

pnlae entitled

tiieguler to looete e J-note, than a J-note.

end
8, or measun
.".

whtn

upon

the tone end the oomperotiye

<'f

Quality, or length, "f the heel ox

.-..

liITIN.i.

of irregulsrity depends^ of oouroe,

penoj between the length

ploned.

ItELODl u

tN

never objeetioneble, netpHttg

not elweya poeitiTelj wrong, eren then, though usually
other words,
i

a rhythmie Bgnree

ar.'

l:i

An

Irregular rhjthmio figure

mey elweya be

justified

by racwrring;

following group >r measure;

aome, not onreeeoneblj remote, eorrt$ponding meeenre;

cither immedietely, in the

namely: mee on
meesurea end
For exemple:

.".,

and
and 6,

'2

">.

or

:s

end

nest'

and

'2

or 1

7,

4,

of the four-measure Phrase;

und 8

1.

*=*

Kt.
rectified, In fol-

lowing

minor.

and

of the eight-measure Period.

1. ifoiUralo.

1>

or in

BCHVKAB*.

'

II
rocurri'iire in

corresponding mtiMWTHa

(j>ar.

Mbxdilsbohx.

. AtUgrttto.

G -mnjcir.
3.

p^
I

irreg

I.rntn

-j*^

12uu)

t
J

Lrectiflod

by recurrence.-

II

EXEKCISES IN MELODY-WIUTJNO.

F.

Lirreg

Lreourrenoea

7. Andante.

2^

^3

-r-

-*

Lirro^.

8.

See also, Ex.

Yigoroso.

36,

No.

Jr

Schumann.

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.

10;

Examine "Tone-Relations," Lesson

(b) Illustrations

of

a very

measure, which appears to

13,

No. 4;

16,

No. 2

32,

common rhythmic

demand no

justification

Nos

and

2;

Ex.

4; 35,

80,

No.

No.

3.

2;

irregularity in triple

(m

f V are found

in Ex. 32, No. 5 (end); Ex. 55, No. 2 (end); Ex. 5G, No. 2 (end); etc.

LESSON
A

number

9.

4-measure and 8-measure melodies, with Irregular

rhythmic measures, according to the above rules, particularly par. 56. It
large

of

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
.

prescribed

Any
Ant.,',

nt

may bo made,

Period-form,

ike tenet

qfthe Dominami Tried

<j).

toele-etep of the prevailing kej

,1,

needed

ia par. 51

1 1

Phrase; but

it

ia

may be

chosen, thus to end

tlio

well to avoid the key-note itself, oh this

for the final (perfeot) eadenoe.

is

For example:

U-iuaJor.

ggp^E^

^n

AiLD

Ljuio

r,

Bm.'

F^B

W^^-

F-niajor.

Home, Swket IIomk."

In

Ex

52. Ni> B,

the

MkdeoM of the

tirst

Pbra.se

is

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.

JLl-I
Ei.5-1.

'J

Thus:

EXKKCISES IN MliLODY-WlilTCNa.

i=^s=

11

(par.

=T--,- ^=#=1^

~r

=M=X

=F=F

Mb).
A

=^

B*

~f

A
4

(Ex. Jl-1).

Seo

also.

Ex.

30,

No.

14

Ex.

57,

LESSON
A number of

No. 2; Ex.

58,

No.

1.

lO.

8-measure melodies in Period-form,

-with the exceptional

forms of semicadence explained above.

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)

(2)

60. The " Repetition "

steps.

may assume

the form

Of an exact Repetition; or
Of a Sequence.
is

literal

recurrence,

upon the

self-same scale-

Thus
1. Moderate.

Folk-Sono.

(par. 56 b)

KXEKC1M-'

II

UKIXIDY-WIUTIMO.

is

S, AlU^fiL>

'

ii urn

<;i.

The " Seqnenoe "

st&sr weak tiepe,

11

01

>. iiiiim

ia

un.il.ili

'

.1

li \

Hi

lir.i'i.

group <>f tones upon

aboye ok beloa the original tones.

a reproduction of the

rtain tateiTal-distanoe

TIiuh:
Si.xiernto.

1.

Ei.

tegg=^j

K.

^uMUm

F
J

3.

ltpt

Iii;1ii i.

^^

AlUjTttLi

*
equeuoe

primp

E.

tt2.

The

t<-p

group or

Initial

(par.

II

M6)

higher.

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.
">,

Ex.57

(par.

At Bx.
hvtt (the

Folk Sono

=F=P

aeq nenoe

II

step lower.

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

with tin- aeeeat

it
Ex. '>". N"
'-'.

npon the cth

W a)

thn

'.'

.*'.7

In

i,

hi v. rj

lnin;

of the

'lluntralinns of

tin-

'j

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

At Ex.

56,

No.

3,

it

bo^ioa

meaanre.

ran-

rbyUimic k'"P contains, are

r.
j;i

currriiro of a croup of Ittt or

v '" i"

Bj

82

mOTt

befttl

than the funilnmoutal

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.

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,

7 are the repetition of

whole Period.
i

C.

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)

At

(2)

During

initial

This rule

is

the

point of contact of the symmetrical groups, or,

1. Andante.

(Ex.

Gkikg.

43--2).

jj^U-U^j
group

N,B>
i

re P-

4.

tempo.

Lento.

(Ex. 31)

(Ex.

(Ex. 29) (par. 6 c)

16)

(par. 6 a)
n. n.

D.

5.

group

n.b.

sequence
(Ex.

Allegro.

j
r

(par. 566).

G-minor.

3. Any

faultless

analogoiis to that of par. 56, in reference to the amelioration

by symmetrical recurrence. For illustration:

of irregularities of rhythm,

tyi

any perfectly

the sequential recurrence of

group.

8)

\m

KXEIU'IHKH IN

t!

Th

<ir>.

iniimfcMt

M KM

'I

V -WHITINO.

ImportaiMM of brief

1 1 1

No.

00,

R*t1-w par

Ml

49.

4.

Ki
No J.

. U...

Ki

60.

largo

number

of 4

ir

17,

Nos.

1,

:i,

Ex. 6G, No. 2;

:J.

40

N..

Ki.

r,4.

Ki
He,

J,

Ki
Ki.

LESSON
tious

mui of the qrmmet.

rniirrrmv, and exhibit Um

rests, ut tin-

groups, lo .inphiusi/.n tin- rtY.-i-t of

syntax of the Phrases, is demonstrated in Ex.
ricftl

N..

No

Mi.

J,

I'i.

Ki.

Mi NVJ; Kx
No. 1.

51*.

N'-m. I,

100,

11.

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

widening

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,

s^
(par. 6f.o)

&s

(par.

^5

fl

mod. rep.

**<
mod, rep.

.
|

F-major.

3. Moderate.

fioft)

n. u.

Chofu.

EXIBCI8ES IN MELODT-WBITINa.
3. AlUgretU

N. D.

fzb:

group

G.

FOLK-SOHO.

^Eppa

n. n.

tW

46

j_^

(expanded)
mud. seq.

rood. seq.

Brkthovkx.
4.. Allegro.

m*vj

J-r+

-*g-

fc=

D
modified seq.

6.

AUegro.

^
jtexi&mmf&JIkm
m

J]

CJ- minor.

rood. rep.

6. Lento

tt=

*~

.group
GS-minor. L5

_.

See

also,

Ex.

52,

No.

^_i

3,

measure

and

3;

Ex.

52,

mod.

No.

pare last 4 tones with

67. Further, the

5,

seq.

(|)(Ex.

measures

and

40).

5;

Ex.

56,

No.

1,

com-

first 4.

repetition or sequence

may be

partial; that

is,

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

con-

For

illustration:
1. AUegro.
(par. 666)

lA

Ex.

A.

n.

b.

group, complete

portions of initial group-

PiU
3.

'

nJ

Allegro.

^e-f
iW^4
F.

seq. compl.

5-

g^s

^=z:
:2=zt

group

mod. seq.

partial sequenoes

x=t=f

II

RXKBriHM

is

Mn.i'1'V WUITINfl.

'i-^

j-J.jj.:;--j

'

r<|.,

,^

rxmct

"

LLz'l'

II

sequenoe may appear in a

This very effective mode of reoiiRenoe is comparatively harmless (not jeopardizing the reoognisabilitj of tho original

more

Further,

<*s.

rarely, the repetition or

dUFerent rhythmic form.

group):
(1)

If the

(2)

If

rangement

sum ofbeaU remain*

sum

tlit>

(of

exactly

is

the

tame; or

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

prosodic

or doubled, BO that tho

aooented and unaccented tones)

in

not altered.

ar-

Thus:
Bkitiiovk*.

Ex. 61.

3.

Jt

Lento.

-^-,

4-.

(Ex. 58, Vo. L)

.

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,

may appear

in

still

more

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.

47

(2) From adopting a group which contains, originally, less or more

than the number contained in a fundamental rhythmic group.

It is least objectionable
tinios in succession,

when the

becda

irregular recurrence appears Bereral

until the original rhythmic location

is

regained.

For

illustration:

m=m
1. AUecjr

Ex. 62.

JJMj .jj-LjU

J.
j

-b -Hl

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

3.

3.

AUegro.

sg^-^ Uj
F-minor.

it

*-*-y~*- J ^THRi

groups,
2 beata

4L.

Beetfiovex.

Allegro.

Allegro.

5. Moderato.

(par. 64)

Crimp,
|

-l

(par. 81).

2 beats

seq.
|

mod,

od.

seq. exi

*(*)

6. APtgro.

(Ex. 35).

feF 2-*-

1
|

2 iH-'ttH

1"

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

DUIBOVS*.

Iyargo.

Fx. 68.

3. Largo.

'

Brahma.

or:

~'

<

irrnnn

rout

NO

ilir

Any

11.

tempo.

irrnnii

y^f=hM fr^^^p^^BI
_
<"'"

'

lir

-1.

O.

(Ex.

52.

No.

modified

ihimI

Mkhpilmohh.

Q).

Yivaee.

0*0
*

co " t<1ir

.^cronp

,"ric dir.

J".

Moltn moderato.

Epi-j-Uj

"*

,w J
j

~u partlv
^ont.

^^B

"J*

-*

riinM-tion

fT gronp

pnrtlv
[C t direction
,

(par 81)

(par 27 o)

(2Ho)

(08)

(26)

(28 a)

IN METjODY-WRnTN'O.

Soo also, Ex.

No.

7,

4, first

49

throo tonoa, moasuros

LESSON

and

3.

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.
of 4

No changes

of key.

After correction, a few of these melodies

CHAPTER

may be

harmonized.

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.

Ex.64

Thus:
Antecedent

Jliipilteis

==.

MlKUII

Oeaaeqaeat

II
i

aateeedeol

:i.

*-\--

^3l

i
Ei?.

!
'

nr

5
1

E r ""P

CoiiHrqurnt

Bee rJeo, V\.

N.

B.

Moording

B7,

No.

2;

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

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

to

the rules of Chapters VII and IX;

awhile) adjust his

own

but the pupil can easily (and must, yet

exercises to those rules.

72. Analogously,

the device of recurrence in Contrary direction (par, 70)

scale, to the ((instruction of the Conse*

may be applied on the same broad

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.

LESSON
A

number

large

22,

No.

27,

No.

i8,

No.

6.

13.

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

will not interfere with the given rules of the ca-

dences.

The extent

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)
tion)

to

is

Consequent are derived from the corresponding measures of the

of the

Antecedent;

not

necessarily the beginning; the derivation

any point.
Major and minor

at

up

to 9/8 or 9/4.

changes of key.

Beview, carefully, the directions given in Lesson

where

occur

alternately.

All species of Measure,

No

may

8,

and apply them,

suitable.

CHAPTER

XIII.

ALTERED SCALE -STEPS; MAJOR.

73. The

Scale-line

of certain steps

or

may be

modified by the

by the Substitution

chromatic Inflection

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

Bt i

CmJor.

in tho vitjnr m<xlr

'

(arranged

in

Urn order of theil

Mi pi

thmghoat

in.licatm raised,

_ Indicate

lowered):
.Minium

i^i^l^^^l
I

4th Stop,
raised

p.

_>

(narkad

Id Stop,
)

II

BXBBOXSBS in MKLoiiY-wurrrNo.
tion,

par.

of its

.13

76 a); or from any tone upward to the lowered 6th Step (becanse

downward

Thus:

resolution).

C-miijor, throughout.
(all Roo.1).

6-

lab

(d) Very rarely, the raised tones may be approached with tho opposite
from below,
in the direction corresponding to their reso-

leap, namely,

For example:

lution.

all ?

Ex. 70.

^4

all??

PfEES^B^S=JgggEEfl
C-major.

On

(e)

the contrary, the lowered 6th Step (being a more natural inflec-

tion than any other of the altered tones)

may

easily

only, however, along

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

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

of the altered Scale-steps

is

as follows:

The lowered Step descends, generally step-wise.

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

Ex.72.
;

i.

e.,

to the next higher

Thus:

^^=H

3
i

^fezH

C-major, throughout.

( b ) Exceptions

may

leap

upward

or

The lowered 6th

Step, for the reason given in par. 75

downward, along any obvious chord-line.

This

is

e,

also

possible with the best raised Steps (namely, the raised 4th and 2nd), but
and hazardous, because of the difficulty of confirming an obvious

rare,

xuBcuiiH

is

MKLoDY-wamHa.

chord-line, without cancelling the prevailing key;

see par. 77.

For

illus

tratiou:

(0

inn

>;.m~Ii

hrtra)

71

mivj.T,

Ihioaghoal
iar.lv

(Ex. 40)

[mprobftblt ehord

lini<, iu

(,'.

20

* ???

(c) Further, the

rtdted 4:h

and 9nd

totemwatd to the original tones,

which review

par. 10,

Ex.74.

Slept are, rarely,

exactly

preued chromed-

aooording to the principle of

Thus:

p^^ii^S
(not

C -ni;iji>r.

(uut eb)

ffi]

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.

=s^b
,

76.

:>

Ab

major.

2. AVUgro.

II
Al> major.

3.

(Ex. 08, U)

Alltgro.

afeEB fe^s
A-niajor. throughout

.V*

t3

EXEKCISES IN MELODY- WUITINO.

i
D-major, throughout

55

r^^fe
#--

<>. Moderate.

D
7.

SCIIUHKUT.

major, throughout.

Largo.

(Ki. 74)
Afr-niajor,

throughout
See

also,

Ex.

CJ,

No. 2

(eg)

and glanco at

LESSON
A number

par. ^8.

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
of 4

No

beat in length, occasionally longer.

less fckan a full

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.

=^r^Efeg
C

minor, throughout.

the

Altered Scale-stepa.

(Ex. 37)

Ex.7G.

(in

=#=

>

4th Step,

7th Step,

6th Stop,

raised.

loweiod

raised.

2nd

St.].,

lowered.'

IN

Ml

LOD1 -WIUTINO.

<-nn doI be
ooTiToniontlj enmmaTimfl as the Altered Stops of
major; they must be in.li- >tiilfii ly memoriied.
t

7i>.

similar ko

fa)

The rules for their

khoM goreming tin'

raieed ith step (whieb

The

nearly, tin. ugh not precisely,

liaakinaiit urt*

u1ut.i1 St.'ps

appoaw

..f

major.

alike [0 major and minor]

in

kha

ohromatic Inflection of, and ai substitution

fur, the original Btep; i. a., it may be Introduced ohromatioallj (par. 75a),
<>r from kha neareel
neighboring Btep (pur. 756)orwith a skip from any

may occur both

only one thai

me

(par. 75c).

ai

Thus:

Ex.77.
augm. 2nd

C minor, throughout

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-

(h)

matically, hut
beai

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

For general

illustration

iU'
l

'

f
T

57

AU'gro.

1.

Bz.

MKLODY WIUTINU.

Hmtiioven.

w
'

'

(-

II

Bektuovkn.

Mendelssohn.

P^ ^-kUHtL #=^M=^g
1

J]

Mendelssohn.

4+

rMH*-^:
.ft

E-minor

/change of key\

#-
."

pir. 81.

See

also,

This b
Ex.

flat is

64,

No

A number
Lesson 14.

of 4

fr

a non essential embellishing tone.

2 (Bb in 2nd measure,

LESSON
flected Steps.

) E-minor.

par. 77

in 7th measure)

in

Minor, with occasional

IS.

and 8-measure melodies,

Review par. 39

FJ

and

in-

a// the directions given in

KH IN

ill

LuDY-WlUTXNd.

CHAPTER

xv.

MODULATION. OB CHANGES OF KEY.

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

mbm

other key.

This

effects

the line of

its

own

scale,

Bo-called Modulation.

;i

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

In the

tir.st

of sonic

ease, the

The

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.

of a Mrf.ratotaf bay.

^a-minor

(3-siguature).

jxG->aJor(3

From C-major

p-signature), into

e-minor

(;J

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

Mi -minor
^f-minor

Capital

lottOTl indicate

major

e-minor

1>>

ft

).

(38

"
"
"

).

(2JJ

).

).

(-0 -signature).

(8t?

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

).

).

"

(^ EP-major (3t>

).

(4$

<^-ininor (4$
K.l). niil jr

Or: from A!>-major (1^-signature), into

).

A-major (3$-signature).

(^E-major
Or: from f^-minor (3#-signature), into

"
"
"
"

"
"
"
"

).
).

).
).

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:

^
^

ST
-^

Ex. 81.

into citlior

one

relat5il

n
II

__

C major

-*

*"

1^-

I-

C-iuujor.

v^t mtiniext

or:

*
C C=
koyn ff-

of th five next

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=

3. C-maj.

3S
3.

C-niaj.

>-*-

IB

^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.;

IS

MI.I.ol'Y

WKIIINO.

tht> fiWdfag twin <>r som> Othet fcOM

from At prtetdtmg our, U Instantly, it very
No. l, would be more definite thus:

bo that

Is.

new key
Ex. 82A,

ttisti>i</ui*hes th?

'/''/

h<><>h,

introduced.

B2E

bffn

80.

E-*s III

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

A.

If this

montal transformation

thf lust tone of one scale

dou

(pur.

not btiong

t<>

85a)

is

progression will need to be made, at that point,

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

not possible: that

is, if

t/f coating ivy, then a chromatic

by

simply inserting an

Thus:

S3
-jp

If such a chromatic movement be necessary, it should be foreand properly approached, i. e., in the corresponding direction. Thus:

87. (a)
een,

Ex.84.-

Not**

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.

Thus:

e^^^^(r^
C

k 85||

5^-H

7l|

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.

For general
1.

Ex.87.

$
3.

84-2)

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

Moderate

Bach.

teB^j-^'

q^if-^-^z^

*=T

Allegretto.

3-zlz

-A t*#
M-

-J-y^-^-^

f-f-^r-

(par. 88)

G_

mf^^^m^^ut^
3.

Allegretto.

^^

Beethoven.

(par. 88)

(par. 87 a)

4=. Allegro.

i.

tsffii
3

_
88. Whether the
steps

(i.

e.

a-

foreign tones in a

melody are merely

altered tones), or the indicators of Modulation

entire scale, into that of another key),

(i.

inflected Scalee.,

change of

depends

Partly upon the location of the foreign tone in the prevailing key;
it must conform to the lists given for
major and minor in Exs. 66 and 76. But,
(1)

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

majority ol OBOea, niuy treat the foreign

without Abandonnin-iitary inllectiou

in<

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

Mali).

lesson
A nnmbei

o!

4-meaanrc melodies

In

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

in

new

key.

Ex. B6, No,

afeaaure, from 8/8 to

altered Stop

may bo

~.

may

12/8;

serve ai a genera] model.

the

rhythm

Erery Bpeciee of

freely diversified.

An

occasional

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.

(b) In the larger species of

sient

s
Measure

(0/8, 9/8, 12/8),

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.

py

Ex.

a.

t=F

il? *"V.

(par 02)

JE fc^g I=fl

TT
JLl

F-

Allegretto.

5zl

j^==* H^-l^

LESSON
A number of 4-nieasure
A. In
and return
I?.

J2

17.

melodies in Phrase-form:

the smaller species of Measure, with one transient modulation,

(par. 89 a).

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

either Phrase; but they are likely to have especial bearing

any point

in

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

The Dominant key

original signature);

and

The Relative key

(the

The Dominant key

selected for the semicadence are,

(one sharp more, or one

same

flat less,

than the

signature).

particularly appropriate for the semicadence of

a Period beginning in major; the Relative key for one beginning in minor:
is

MI I.iIiY-WlimNCl.

though boUl urt< possible faf either DB0d6| Mid other next-related keys also.
the Sulnlonnnant key (OBfl Hat more,
Tin' most unusual is u MOniOftdttHM

Or one sharp

1.
ii

th;m the original signature).

less,

Pot

illustration

"

Anlocixlciit.
All!'

B-

Hi

^SCS

=V:

(overUppinR Scal-

lines

-\g~* -

eo par. 03)

During the Consequent Phrase any transient modulations may bo made,

final cadence must fall upon the Tonic of the original key.

but the

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

llegro.

$E3^

[^^l^gHHi

-*l

j==^
Bk.
fi.

Jlndanfe.

MENI>EL880HN.

i<\

LESSON
A number

of

up

to

Begin

in

l'J.

this devico of chro-

major and minor Uomatnlj;

all

species of

CHAPTER
OVERLAPPINa
99.

nsa.

1.1

and S-measun> melodies, illustrating

matic modulation.
Ifencore (9

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

and ezoeptiona] method

of modulation,

common, but moro

reproson

difficult

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

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,

Eor

it

is

true,

will

illustration:
SCIILJlKltT.

Ex. 92.

-is
B

3. AIUqto.

SniniERT.

3^

V
(keys not nextrol.)

Bb

:ii

KXHBCISE8 IN MELODY-WRITING.
.%. Allegro.

87
BRITnOVBtl.

ifeggip^^ifiteig^
5.

Allegro.

6.

Allegro mod.

(Ex. 60)

g^B-i^

Hg=^=;rx=rf

-#-*-

fe *^r

^^-!.t~+h^m

AH

fcsi

IE

P=

Ah

8. Largo.

3=EEgEEgEEE^E3
i

aE

EXKKCtSK.4 TN MEMUY-\Vll!IINO.

88
.>..

the krv
th.< r

Uaai of

MgrMBMBt

Thii

$u>>*tttutin>i the

of Imj1_i.ii

tppotiU modt

(i.

<.,

in

frequently turned to account in

minor for major) of

niujur for iniiuir, or

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

t<>w:ir<l

MUjro.

1.

Warms.

(Pr

Ex. 98.

-h^-H-=^=

>

;.

__-_-U

-'i

major
MK><l>t..MOHir.

(par 91)

^E

>

B5 *=t

_dl

b-minor.
B in.ij.ir_

LESSON
A nnmbor
common tones

of 4

20.

and 8-mea.snre melodies, with modulations throngn

At first into

(by overlapping scales), as explained above.

Then experiments may also be made with more

The general harmonic (chord) basis must bo kept well in

next-related keys only.

remoto keys.
mind.

CHAPTER

XX.

MODULATION IN SEQUENCES, AND AT CADENCES.

05. The broadest range
(1)

By
By

of exceptional modulations

sequential recurrences (par. 64);

is

that afforded

and

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)

(or cadence), in

other means.

For example:

Umnmumma,

\. Aiitjr.un.

(sequence*-, All

MXl

r.-l.

kcyt)

KXIRCIBES IN MELODY-WRITING.
Largo.

t^PjJsjji^feltgfefl
J

A_m_J

a-

(sequences; keys remote)

^IJJ^ro.

4,.

*&

It

^^s

(par. 64)

5.

Allegro.

g- v .

jr

* s=t

U.

..

v^.).

(par. 66)

Beethoven.

ac

S3

^=F=]

*=F

EEgEj

mr^^
-I

(par. 91)

^i^^e
*

=
*=fc

Bfefc^ilig^BI^l

fc=^
<?

IN MKUHJY-WIUTINt.1.

7U

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.

T?
fc)x.

For

illustration:

_________________

1. Allegro.

rH

95.
(x raised Scale-steps.)

Mekdblbbohx.

^^Fgg^Epp
^fe
T=F
3. AUegr

obi arxnzxa

7j

LESSON
A number

of nn'

ohroms

19

meMOIM,

The ohrom

-ions.

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

not extend beyond B or

('.

with occasional continuous

mail

nil'-, tin-

briouslj essential,

succession hhould

tones,

CHAPTER
Tin:

XXII.

DOUBLE-PERIOD.

97. Tlio Double-period generally embraces 10 measures; that is, four

Phrases of four measures cadi, closing respectively with cadences in the
4th, sth, 13th ami 16th measures.
Compare par. 50.
i>8. fa) The first of these is a light scmicadencc, and may be made
nj)on any St. tp of the original key, as no modulation is likely to occur
during the first Phrase of this longer design.

fb) The scrawl one is apt to be a perfect cadence, falling upon

Tonic note of some next-related key,
best, as indicated in par. 90,
Dominant key (most commonly in a major melody), or the Relative
(usually in a minor melody); or perhaps the Relative of the Dominant;

either the
(c)

The

Sub-dominant or

its

the
the

key
very

Relative,

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.

from the melody of tho

715

pair (totally contrasting construction).

first

For

illustration:

Andante

1.

tranquillo. (Strictly parallel construction

1.

Ex. 96.

bfe

3.

2.

4.

J-ZlJ

>

,'

=&==

major, throughout.

(par. 58)

t532

^
Mkndklsbohn.

10.

si
3.

13

12.

11.

15.

14.

J
like

2. -like 3. 2 Iike

Z I like 5 -Z I like 6 Z ZS

16.

-N-0

'-<&-

Allegretto. (Partly parallel construction.)

tt 3=r=ft -ffri

-B)

like

Phrase

PjA^Z.l^_ f

1-

#-

zzzazaz:

74

MKI.oDY WlUTINti.

LESSON
A

nninlxT nf

Hoaa,

Bugfainfag

The

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

ir.-inru.Mun- Dmilili' periods,

in

major

md

the prinetpd ipeaiei oi Ifea an

hiinnoniziition of

tho teacher,

28.

i.

i.

thOM m&lodiea,

may bo undertaken bj

ft

B/8,

I.

::_\ B/8).

after OOrreo tion

and approval bv

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

all

the tones in a melody need be essential,

special consideration in the process of harmonization.

and generally

are,

no more than

i.

Many

e.,

calling for

tones

may

unessential adjuncts of the principal

(i.

be,
e.

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

3.

essential)

1.

"l

(x unessential)

tiF

Ex.97.Hfe=^t

*TVI

CI

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,

Thus

embelUahing, or Inharmooia konea.

eaantial

niflo.lv is

articulate. 1.

eMJ

t.>

devised, or tLuB

l.m inoi.i/.o.

THE SUSPENSION.
lOl.
scale-line,

Any tone whirli proyrrsHtfi st<p-xiisr fnlonp tho

may be tied lo the following, next lower or

Hi

i.k

<ir

chromatically)

T.

higher, tone, uiul tlniH ba held over during a fraction of tho value of the latter, as

embelliahjnent by 8upetttioHm

Tuna:

'

Kinlu

Orilul llne-

^IM^^f^E
original lino.

^=cbf=l
lli.-ihcct

with the

Suh|h<iiii1oii (.)

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)

The

soil, -step

obligatory

tial tone, is its

Resolution

shown

Suspension forward into the essen-

result, they may be redeemed by recur*

5Ga; see Ex. 100, Nos. 2 and 7.

rhythm

in par.

(d) Instead of using a

of the

(par. 7).

(c) If irregularities of
rence, precisely as

(Leading-tone), or raised Steps.

movement

tie,

the tone

may be

struck again, as repetition:

EXBRCIflKfl IN

And

form

in fact, in this

MRLODY-WRnTKO.

may

it

repetition, as indicated in par. 9 a,

and practiced

77

more than simple tone-

signify no

freely in all the preceding

lessons.

When

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)

eral effect

is

(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

some good

1.

For general

chord-line.

fel

Ex. 100.

illustration:

AlUgro.

Trrrr

F='=t

Original line-

embellished with
chord-

Schubert.

line

W 7

f_h_

_^

m-4

3=

S &^m

suspensions-

3.

Allegretto.

3.

Allegretto

fi

i$f

:*=t

i=*z

Ab-major.

IS

Db- major.
Repetition, emb.

Bkethovzm.

mm=d=t
T.K

J-."

=z

^ifl

*==t

II

^'
1

'

'
i

f f
i

fonn-

r^

'

fr
.-,

UKIOKY-WKITINO.

IN

grr

>

il

1 -'

XKIiCI.sKS

**i^^l

'i~

'

BOBUBUX.

tssjgEEfc:

-0

'

..II

I
1

Original form

/,:;

3^.
^EEESEZZg^gg^^gi^^
Ah

7.

AIU.jto.

-m

eIIJl

Q--?-far&tJ
rV

BKTIIOVFN.
S.

Unoiunn.

f=^

;-

"Tone-Relations," Lessons 57 and

LESSON

58.

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

number

of 4

and 8-measure melodies (major and minor

alternately) with special application of the Suspension.

ire,

and modulate

difttinotlj as
(i.

o.,

he writes

at option.

it,

Use

all

ipeeiee of

The pupil must not only hear each tone

but must endeavor to realize tho chord-basis also

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

N. B.

Ml

"Li WIUT1NO.

Al^ra

r..

in the

IN

This embellishment involves tone-repetition from

Suspension, and

lies solely in

is

one beat into the next, as

often not distinguishable from the latter at

the purpose, or conception, of the writer, but

all.

The difference

may manifest

itself

clearly

through the following conditions:

(1)

The Anticipation

(2)

It is

(3)

If

is

generally a very short tone;

not tied to the following repetition, but

is

re-struck;

embellishment by Anticipation, the second of the two similar tones

essential one, and
sion, the

may progress

second tone

step-wise.

will

This, again,

So also Ex.

5.

in

any manner;

be the

prove to be the unessential one, and must progress

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

of former,

will

embellishment by Suspen-

depends upon the chord-basis.

LESSON
A. A number

if

00.

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.
104.

RtncE III.

Any skip of a third

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

1.

may be

filled out,

Allegro.

as
#

Ex. 102.

melody,

=r

Original form.

SrilUBKRT,

p jfcit&t_,i-t

r +*=
j

-.
]

-j
|

=^f4

Embellished with Passing-notes (X)-

(Dominant 9th chord-

3. AUtgreHo.

^^p^p
^.~.
m
^|SEJ^SEEB
MOZART.

E&fe^ S^EEg

t-

in mki

n niriMi.

no

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:
l <>..

Til.-

tratifnie. Tiiwrti

>

awkward raytaai

Ex. 103.

-'i1

(ri^iinl liuo-

r~f
onil).

jj

better:

.j

with unarmitcd
1 1

t .

|gg

ii

crab, with aeernttd

Pa ring uotos.
i

i *i^^p|^^
s

orig. skip,

{*.

.Andanfe.

good:

good:

possible:

^fKNnr.r.fiBorrN.

^ ^gUiuJ.m

LESSON
A. A numhor

rj f rf

aa

20.

of former melodies, to bo embellished with occasional

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

1$.

Now

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

Yariotu Bpeoiee

<>f

Measure,

with ooccuional

Passing-notes, as

shown above.

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

neglected.

KXJBRCISES IN MELODY-WHITINQ.

CHAPTER

88

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

awkward
X X

#=?=

*=F

^s

!=*=&

Original line-

possible:

Bkkthovek.

better:

4.

AUegro.

5. AUegro.

-*- x

x y

-Li

-*

6. Andante.

7U

rr=i

^5

E3
#-

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

They differ in effect from the Altered Steps, which are

more transient, und therefore obviously tmtumtttd.

tones, in being

For larger spaces, alternate diatonic and chromatic passing-notes niny

bo used in immediate succession in the same direction. For example:
Beethoven.

M^.

=F1

Ex. 105.

Ah

Mrxdklsbohx.

3. AUejro.

3.

Allegro.

gfe 3=3
Ji y

w wn*ijang

..
l

<"

V.
4,. AUtgretto.

(E x.

109)

(Ex. Ill)

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.

BXKBClHia IN MEI/ODT-WUITINQ.

Ifl

A.

[l.V

AUtyrttto

[/

^T]

:iiliL_-

|i^'

^=

(chromitic puaainc note*)

IV

AhL

109. The
lessons,

are best

device of tone-repetition, employed throughout the foregoing

may bo applied even to passing-notes. Such repeated passing-notes

when they are of sufficient time-value, and importance, to be partly

"essential " in effect.

Thus:

1. AlUgro.

ScnunKRT.

3. Andante eon moto.

(110b)

Ex. 107.

3. AU

Rut.

molte.

jj-^a

i-

fe

^^^N

KXKHCISK8 IN MKIiODY-WJUTINO.

-4.

87

Pruto

O.

Allegro.

LESSON
A. Former
tdiatonic,

27.

melodies, to be embellished with occasional passing-notes

chromatic, and repeated), at skips of any

but with

strict

melodies, with direct application of these passing-notes.

The

size,

/egard to a sensible rhythmic result.

B. New

material of former lessons

must be remembered, and employed.

CHAPTER

XXVII.

NEIGHBORING NOTES.
-

110.

Rule

(a)

TV.

Any essential

tone in a simple melodic line, or a

may be embellished by

weighty tone whether essential (harmonic) or not,

placing either
(b)

its

higher or

its

Very frequently the

lower

Neighbor

be/ore

it.

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.

either of the
the accented fraction of a beat, and the values are
the simplest, and by far the most common form, is that

may occupy
But

XXERCISM

h whirh
Thun:

all

tones

three

IN

MFXODY-WmTTNO.

belong to tho sumo beat, or rhvthmio group.

C VI
IV
Ex. 108.

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

tour

wkwrd

rli

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

yttim

tono repetition, eiuucllmhc

irrej;.

rhythm:

0=r

^g^Fpi

111.

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

II

is,

that the

its own principal tone, while the latter passes on into another
Compare Ex. 103, No. 1, with Ex. 108, carefully. In other words, the

former turnt back into

essential

tone.

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),

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,

by "uniform recurrence"

usual,

but

In this case, some

their irregularity is counteracted, as

For example:

(par. 56a).

Regular:

If-O-gtJL*

Ex. 110.

UP,-#-# -|__

I I

emuelliabnient-

original line-

Irregular, but uniform:

2.

Vivace.

embellishment uniform

G-major.

D-major.

u
ife

emb. regular-

MOZABT.

KX*BCIH1CS IN MEIXUIT-WIUTINO.

AU*fr:

4..

M*

'-'

-I'

'

Mi.r.AkT.

fL

,t^U

N. B.

groups

is

In any case,

tho rhythmic arrangement of such successive (or corresponding)

almost certain to be uniform.

1 1.'5.

Further, the noUUion of tho neighboring-notes

is

subject to the

following rules:
(1)

The

ing scale.

u}>per

neighbor must always agree with the lino of the prevail-

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.

m^^m^m^'?^

minor, throughout.

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

chosen.

which the lower whole

J1

almost always

step is

Thus:

Probably thus in every key con-'

g, excepting Afr-iuajorv
where it is the Loading tone:

taining

Ex. 112.

II

,\b-

Soniewhat uncommon..

3.

Allegro.

>/

6+

g-niinor,

throughout-

LESSON

A. A number

'

(Ex.76)

28.

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
lessons), to

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

XXVIII.

HHEGHBOBXNG NOTES, CONTINUED.

114.

Those,

in

tones inuy be nlttged

mum

fundamental, wnbalHihing groups of three

m\, or more tODM in many ways:

to four, live,

(1) By adding to the B-tOM group (either before or after) any tone
which belongs to the choril-linc of the MMBtttl tone. Thus:

1. F.uir tone croups?

11

jrdL
C

throu^lmut.

3. AlUyro.

ie^^^lsgllplii
orig.

(2

form-

By adding

N.3.

Review

passing-note.*.

a passing-note (before or after).

par. Ill, in

And bear

in

reference to the distinction between neighboring and

mind, while studying these somewhat confusing forms, that

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

(par.

110

6).

its

principal

tone

LRRCIBE3 IN MELODY-WRITINQ.

For

illustration.

emb.

1.

In 4-tone group*.

^i^g^f?^^^^
X X

fc

"^i^^rif
orig. tones

orig.

3.

-mm^^m

tones

Allegro.
|

4 tone

Bkkthoviw.
|

A. Allegro.

/r

Ffe&
B2

f=^*|iT

ffi^FFt=4^=3

(115)

(3)

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:

which

may

awkward rhythm

1.

Ex. 115.
5-tone groups-

2.

Allegro

Wbbkk.

ZT-

5.

nui

Allegro.

m^^m

IP^H

G. AlUgro.

A3

-^._.^

(Ex.

m_

(Ey

U)

Chopih.

[A'^V

=3:

Jit*
j

8 tone
t

g^^^^^^^^^^^i
S. AlUgro.

(Ex. 113)

^j

O.

Allegro.

(Ex.114)

EXERCISES IN MEIiODT-WBITINO.
lO.

96

Allegro.

later:

Chopin.

CJV-

(4)

109).

More

rarely,

by repetition

of the neighboring-note (similar to par.

Thus:
1.

Andante.

N. B.

SCIU'DKItT.

o o

f m m m jES.

Ex. 116,

fc:-

ft4

s-

#,-#-

^E^r

P^

g^^^P^^P^
3.

Allegro.

FJI-

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

X
V-

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

-o

IE

o-

^&b=b

IN

Ml I.H)V-\VlUTINO.

LESSON
A. A lew tarmac melodiM
these larger groups,

indicated
11.

Um

iii

New

either

la

:it

29.

uniform rhythm, to bo ftnballiahed with

OOOasional single points, or throughout, as

preceding lesson.

melodies, with especial

reference

to

these forms of cmbel-

lithmeai

CHAPTER

XXIX.

NEIGHBORING-NOTE AS APPOGGIATURA.
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

tions of its principal

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;

r?=*zt

irgij

CH1IMltl.il

tnib. with

AppOgg. MMMBtad-

Li in

unaccouted

to lie

2. AlUfro.

mm^^^mm
later

(accented App.)

oris. lin_

4. AtUyro.

EXERCISES IN MELODY-WRITINQ.

^'^^

f jg^fel
5.

97

^rfei

Allegro.

original lino-

o^

cmb. (unaccented

^~-*-

^s

A pp.)

^^^^^^gtess^a

r>

Chopin.

<

App)

(acc

O. ftwto.

7.

*- t. 3= tL *- t. *-

emb. (unacc. App.)

Lento.

original line (38c)

fc

i>

lJ

b=S
J=g=r

Schumann.

'

>r U^ uU

8. Moderate.
orig. line (38 c)-

Ml LOHY-WKITINO.

IS

:*#-Hf^^E

-^

[W

^.

H. H.

IV
lO.

Alltjro.

iss

v Ihraoghoat

',

II'

IV

MFHom/wonx.

mm

11. (ronlinwitiwi of Kx.

Scill-MANH.

10.',,

Xo

5) l.rntn.

C^^3:fe^Vggg^^^
Dt

iS^i^sss

12.

oris- lino.

=t

Ar-7ro.

d^-tn
-

G-m^jor.

mod.

rep.

'
'

^
E

Tho choice between upper or lower neighboring-note, as appoggiamay be determined, primarily, by the rules given above;i a., either

(2)

tura,

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.

boRt embellishort-

or any of the;
following

^=t

-thus, with

upperneighbor
:

essential tones.

possible, but misleading.

__i__Jzi be8t
I

thns. with

lower neighbor:

=r*===J^^E3
l

^'n_|l J
,

~]

essential tones-

33

&

possible, but misleading:

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

in No. 5 (second measure),

(3)

The notation

of the appoggiatura

rules given in par. 113 (Exs. Ill

(4)

The presence

and

is

defined exactly according to the

112).

of an appoggiatura justifies exceptions to the rule of

same direction, given in par. 31 (Ex. 25, Nos. 6, 11,

successive skips in the

12, 13, 14).

For example:
AndanU.

Ex. 119.

Schubert.

^^m

e=

See also Ex. 121, No.

5.

KXinCISEH IM MEI/ODT-WIUTTKQ.

100

LESSON
A- A number

of former molodioa, to

30.
bo embellished with tho appog-

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

(in

melodies of uniform rhythm).

B. Now

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

Measure, with especial reference to this form

Former deviooa must bo borne in mind and omployed.

various species of
lishment.

of embel-

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

tm-u

eoib

S^Pil^

fc

IN MEIXJDY-WIUTIWO.

101

^
I

3.

Allegro.

Ah

Eb

V7

orig. line.

5.

Lento.

'fr

-0

Gb

G.

=l

^^^

?F

i-

AUegretto.

jEj>-lter:-frrf

m
!

^=r

44-

^EEE

uuuicisKa is

t&A

HELODT-wnmso.

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

:

rt

a
h.

i-

Any,

117.

<r
D

V.

nnH

nr

V
tv

|f

Ere in. -iitly the

Donble-appoggiatnra

is

^
Choi

pn

11

or.

as fol

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

ad

nppei and lower neighbor

rhythmic form. Thus:

in

BUCceuion,in either order, and in any rational

Ex. 122.

^^m^^^^m^^
a.

I5KKT1IOVIX.

aiujto.

--'\'^m
3.

7^F

IS

Allegro.

Sii

EXERCISES IN MELODY-W1CITINO.

4.

103

Allegro.

Eb

5.

rresto.

eif^^E^

^l^^^^fl
emb.

Orig.

6.

liue..

cf-minor.

illfrtfro.

^^^^gH^lS

7.

~
'

.Andante.

'

*-

-'o

x H

MOZAHT.

'

8.

1
'

X^

f-min.

'

"
AbV.

X^

Allegretto.

Bmtrovik.

~i

XRBCISIi3 IN MELODV- WHITING.

118. In ruro
is InemnMd

nct4-s

pinK on Into

kfai

InitlllOW.

Ibfl

anM&tUl

Uipho

niiinl>-r <>f

bj ratoning

thru,

to

to tho

IntepOMd neighboringAnt nppoggifttam Mom

TIiuh:

ton.-.

^^3^mm

^=\3=

Kx. 128

tj

EuentioJ tone emb. with Triple appo^x

3. AlUgr

T^
I

"

'
I

===

ES ^feffgg:

Original line

;*

3.

a*. 2

*.

.alkfrffto.

f^Hll
C

ii^s

I-

Schubert.

S. AtUgro.
,

":

-r r-it^ T-j-r

K---..C

O.

*.

AtUtjrtUo grazioto.

'-\

U.
Original line-

EXERCISES IN MKIiODT-WIUTINO.

5__

U*^

czco

ioo

r^*-

o_ ==t^

-o

E-m^jor.

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

KXr.li. 1--K.S

.ft.

MKI^I>Y WKiriNU.

AlUtr*

Hi

initial liu.

m uvimm

PH-fU

\l

Men thronghont tho

must befoBotoed By a ttep- wt$t Rt$oluHtm into
prinfijml tone, either Immediately, or after nwinging over into tho
l

-O. The

oppoait

tho neighboring-note, as

strict rulo of

pxeeeding ohepten,
its

IS

is,

that

it

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-

(a)

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'^

3.

'

AXLtjra.

(wo Er

123-2).

II

EXKRCISEH IN MKLODY-WIUTINQ.

107

Allegretto.

Emb.

(later)

6. Adagio.

*
:fcfc

Beethoven.

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-

2.

m^mmsmm

Allegro.

Ex. 7G
J

Not

l>5,

unless tbo key remains

Cora

throughout.

L..._

XSBCXSKM

I OS

IS

MKI.ODY WKiriNM.

rarely, this derioe

rt.nl

Lng.

between
Thus:
1.

Ex.

tie]

Andantf

&E

i:

i<
I

reversed;

nee,

i.

s.,

the tower neighbor:

Therolei oorrespond

to

ho

S3SPH
Mo/.AKT.

b(7

5.

AXUqto.

VHatds.

-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.

^^^^a^i

UJ

LESSON
A. A number

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

U. New melodies, with

shown above.

special reference to these embellishments.

KIZBCI8ES IN liELODY-WTUTIUO.

CHAPTER

100

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

rules are: that the fundamental tones (the germ) shall form a
and natural melodic figure, at least free from extreme

perfectly f/udtless

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.
irregularities;

122. Hence, an

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

The following

illustrations are to

be very studiously examined and

analyzed:
1.

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=

i'iii

melodic evoliitiou-

3. Germ (chord

Allegro.

linc-n):

Tr0i&\
IV

4. Gorm*

melodic form.

(chord line*):

2=U

r^r^s

g^y^p-^P^^^a^
melodic form-

IN MELODY-WRITING.

f'J.r

. Adagio.
Germ

fJLbM >

Ill

^m^ fu'

J J

j_ui

119
C.riu

ft

(.

hi.

Hy c*Jr

IN MKl.nl.Y KlIINW

lin.-i

^ir^

AU/jr<rro.

L'

#
I

'#

"
,

y_

r^t; feJ=^

HUfHJJF/fl
_=
10. Qrn

AlUjro

(calt>):

s*

>

1 ^.

Hfc

Itrms (scale and chord):

g^

*'2
*

otcz|-V-^
I

J,

'

hj

+T=H

=a=

-4--

>

ta

KXEKCI8ES IK MKLODY-WIUTIKO.
Allegro

113

mmi.

SCHUBBBT

&

ss

fes^E9g|i=E=rI
si

13. Germs:
chord

irr-y

^l^^l^=M=

Allegro.

&7

S=t
t=*=t=F

Ejfazz^l

Melodic form (expanded to double measures).

^^^^a^g^^^^pn
h

14,. Germ (descending and ascending

fc=t
:c

3rds):

K"-^

e=e

F=t=ft

Alfe^ro.

^^-I-tH^^^^^N^^^

EXERCISES IS MPLol'YWKITINO.

114
I".

'

'

'

r_L
n;.

--

'

;i^rrfro.

"J
J
li

Jy

d-

J=
(96)

It

4~TjP^ jKH^=Mf5^
f~
i

"

'r

^
17.

_lf

AtttgrtUo.

-p-

-|.;^S|
"

Male

3^S%

"

^5^

--I

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

of treatment.

This is one of the most obvious and natural phases of the apparently
but in reality very manifest, Science of Originality.

occult,

LESSON
The evolution
4, 8,

of complete, ornate

and

33.
characteristic,

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

mic methods shown

in the

and rhyth-

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-

i:xn:nsK.s is MKLODY-wnrriNO.

116

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

'-,'-'

if'

%fg

3 r~

.-

1;

>

-*~2 rl

Aliejro mof/o.

^^

~~~~
#

F=F

original melodic phrase..

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

*-

modified recnrrenco-

C.

AlUgretto.

FJ. original phraso.

&
inodifiod recurrence.

(120a)

KXBKCISES IN MELODT-WIUTINO.

-again
Jater

1-

L.

JT.

>

3ZE^
#
**
-{

modified recurrouce.

117

mmm
CHoriN.

7. Adagio.

Ej

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

3
,

f^^a^^fesspg^g

pliiaao.

.:

-''00
^

Utr:--i

iniKlill.il

a2

'

'0tfJt=}*&

m UWM

te * #
= ,-=r-

ft.in>.

'
_-

Q
inixlifi)

<l

recurrence.

Bekthovik. Sym.

=T_z:-tU=fil=f:
T t
'I

-4-

r-rttt

lO.

r*

9.

lJ

Larghetto.

modified repetition.

M^^^r*^^'^ik

modified recurrence

(incl.

mod.

rep.).

EXERCISES IN MEEOU*- WHITING.

^^^BWte^l

-0-

^^~~^*-

12. Adagio.

119

***t

^*.

^~

* X

#*3

^^^P
r

stj^*~^7
AiT

Beethoven.

a^toidi
1

Original figure

disguised sequence-

13.

(comp. par.

B
Germ

Adagio, espressivo.

121.)

(mod. sequence):

Eg^i^a^a
Melodic form.

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.

KXCR.IHRd IS MIILODY -WKITINO.

120

It

(i.riu <i<juonoo):

Mozaiit.

lfV AlUgro

gratinio:

^=frU^^=^
l

A Ordinal

lino

m_

,1

n-p

^^^a
la*t figure,

Thin la*t illustration comes undor tlitt head of "manipulation"

more upon rhythmic modification than melodic embellishment.

LESSON
A. Former,

agpaaded..

In goQerali it

based

34.

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

tition.

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

CONCLUSION.

stated in the Preface, the foregoing

is

a course of systematic

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
exercise in

establish iu early youth.

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

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.
(b)

127.

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

more advanced

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

nn.liihitions of

poetic erproaaion,

And

their parallels in the

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,

(b)

change,

when
more

nation,

The

effect

of ttep-wiee

progressions

is

morease or decrease of the djegree or

that of gradual
stress of feeling.

and smooth
Whereat,

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,

The musical sense

of a tone is powerfully influenced by its location

rhythmic group. If it bo placed upon the accented beat,
or if its time-value be increased, such musical meaning as it possesses
(absolute or comparative), is brought out with corresponding force.
And,
on the other hand, its location upon an unaccented beat, or its contraction to
a brief time-value, diminishes the effect and value of its musical meaning.
(f)

and value

(g)

in the

The

definition of tonal meanings,

and the bearing

of the

above upon

may be roughly stated thus:

The chord-root is po w erful; the

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.

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.

sion

Appoggiaturas aro similar, but usually

created.

is

nounced

123
still

more pro-

iu effect.

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

principal rules of vocal setting are:

That the rhythmic

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,
I.

and unimportant words should be

vice versa, unaccented syllables

set to

comparatively unaccented, lower, or shorter, tones.

II.

That the emotional contents of the text should be corroborated, by

employment of the distinctions of melodic expression above

consistent

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

'

Ex.l31.FEi5i

dim.

-n0Thy

f-minor.

2.

re

buke

ken

hi*

heart.

Allegro; joyous, vigorous expression.

cresc.

Ex. 132.

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

.>lui

r,
eAarm

tn^

tiyJU.

35.

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

The Four-measure Phrase

Chapter

II

The Major

Chapter

III

The Chord-line

Chapter IV

Scale-line, Exceptional

5
7
10
12

Second Primary Rule

Fundamental Harmonic Principles

12

Rules for Single Skips

15

The Chord-line, Continued.

Summary of Rules (par. 39)
Miscellaneous Illustrations (Ex. 36)

13

19

24
25

Minor

28

Chapter VI

Diversity of Rhythm, Regular

31

Chapter VII

The Period-form

34

Chapter VIII

Irregular Rhythm

36

Chapter IX

Exceptional Semicadences

40

Syntax of Melody

41

Chapter

Chapter

Repetition and Sequence, Exact

Chapter XI

Syntax of Melody, Continued

Repetition and Sequence, Modified

Chapter XII

Syntax of Melody, Continued

Application to the Period-form

41

44

44
49
49

Chapter XIII

Altered Scale-steps, Major

51

Chapter XIV

Altered Scale-steps, Minor

55

Modulation, or Changes of Key

58

Modulation, Continued

62

Chapter

XV

Chapter XVI

Transient Modulations

62

126

I'AIW

"|-

r.

I'o.VTKN is.

MM
Ciiai-ih. XVII.

OuMIUIW

.Monri.ATMN,

AppliMtlOB
ClIAI-TKK

Will..

('im-ir-i.

\I\

to Pi n.
I

III.

Overla]>]>i:iK BOftlt

Mom

I'iim-teu

XXI

Chapter XXII

An.

is

is

63

form

..NUM.

M-iTivii

CiuiiEK XX

63

G5

HI

66

li&M

G6

BbQUBBOM, and at Cidincii

68

Chromatic Mr.h.nv

70

The Duuule-pkkiod Form

72

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

Cbapter XXIII

DlBTlHUTlOM

hetween Essential and Uh-

RsSI.NTIAL Tf)NKS

Tho

The

CHArrrn XXIV
QfUI

ieii

XXV

The

CHAPTER XXVII

79
(single)

Passing note (successive)

81

83

Chromatic Pussing-note

84

Repeated Pseaing note

86

NBOHBOBXHO-NoTI*
.

75
76

Anticipation

The Passing-note

Ciiimii XXVI

Chapter XXVIII.

Suspension.

.Nei.hihoi-.ino-notes,

87

Continued

9'2

CHArTEIt

XXIX

Nl IGIUioUINO-NOTE AS APPOQC.LATURA

CHAPTER

XXX

DOITILE-APPOOOIATURA

100

Chapti

XXXI

Appoggiatura, Continued

105

i;

Unresolved Neighboring-note

Evolution of Melodic Germs

Melodic Evolution, Continued

Chapter XXXII
Chapter XXXIII

Disguised Recurrences

Chapter XXXIV.

Melodic Expression
Vocal Betting

96

106
109
11",

116
121

122

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