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10 Melodic and rhythmic devices DECORATION SEQUENCE IMITATION INVERSION AUGMENTATION DIMINUTION A composer may use various melodic and rhythmic devices - what we might describe as musital ‘tricks of the trade’ — to and variety to a musi in some way. The most im below, based on this musical Beethoven's Third Piano Concerto ortant of these devices are illustrat 2S Here, the melody is decorated or varied by the addition of ornaments and other extra not A phrase of the melody may be ower pitch. This is ¢ ‘One vocal or inst then is immediately imitated, or copied, by another part bringing in mental part sets off with a snatch of melo If complete melody is strictly imitated in this way, the result is canon or round (as, for example, Frére Jacque The tune may be rising in pitch in the original version now fall, and vice versa By ted ~ ‘turned upside down’ ~ so that intervals The melo of longer value. This is Or the composer may use diminution ~ presenting the melody in notes OSTINATO A melodic, or rhythmic, fragment may be repeated over and over again as an ostinato (Italian: ‘obstinate’: te.) SYNCOPATION By using syncopation, the composer alters in some way the expected stress of the beats in a bar ~ perhaps by placing a rest on a strong. beat, or placing an accent on a weak beat Assignment 20 Play or listen to this tune (borrowed from the Finale of Beethoven's Fifth Symphony) eae fori In each of these examples, identify the melodic or rhythmic device which is used to treat the above tune: Hiidbdatele » Qe SCT rere ripe » o Pettus of FSR = eee Assignment 21 Try your own skill at using some of these musical devices. Take the Sse (a) augmentation; (b) diminution; (c) inversion; (4) decoration Afterwards, play over your examples, making any adjustments which 27