Name, 6 Melodic Organization A, Following are 10 themes from symphonies by or atibuted to Franz Joseph Haydn, Some are based on a motive and some are not. 1. Analyze each theme. 2, If the theme is based on a motive, circle the motive and each recurrence. Remember, a motive is a short melodic rhythmic figure of just a few notes that is repeated (sometimes with modifications) enough times for the listener to be aware of its existence, 3. If the theme is not based on a motive, write “no” at the end of the score 1, Symphony no, 103 in B-flat Major (“Drum Roll”, I, mm, 1-4, eaG Wis Embellished = an ee 2. Symphony no. 104 in D Major (“London”), 1, mm, 17-20. 4, Symphony no. 104 in D Major (“London”), IV: Finale, mm, 3-8 Pur Coe esas a 5. Symphony in C Major (“Toy”). Attributed to Hayda, composed by Angerer. Motive embellished (rhythmically augmented) Tt 6, Symphony in C Major (“Toy”). Attributed to Haydn, composed by Angerer. 7. Symphony in C Major (“Toy”). Attributed to Haydn, composed by Angeter.44 eee 8. Symphony in C Major (“Toy”). Attributed to Haydn, composed by Angerer. 9, Symphony no. 101 in D Major (“Clock”), II: Menuet, mm. 1-8. 10, Symphony no. 101 in D Major (“Clock”), IV: Finale, mm. 14. Gis FSS Following are three phrases. Using the phrase relationships requested, add an additional phrase, Create a period when adding the parallel and contrasting phrases. 1, A major: © = Examples of possible answers Modified repeated: Contrasting: PARTB The Structural Elements of Music nuns nsnstesanusnash-umuetaiancnede botnets sonalName, 2, Cminor: Examples of possible answers: ‘Modified repeated: Examples of possible answers: Modified repeated: Contrasting: CHAPTER6 Melodic Organization 4546 Following are six melodies. Study each carefully and indicate the following 1. A phrase diagram. Give the length of each phrase and its relationship (o other phrases. ‘a. = The first phrase and any that are an exact repetition. a! = Any subsequent phrase that is a modified repeated version of the frst phrase. ‘ap = A phrase following a that is in parallel relationship to it b= The next phrase after a that is contrasting to it (and any later phrases thet are an exact repetition of B). B= Any subsequent phrase that is a modified repeated version ofthe b phrase. bp = A phrase following b that is in parallel relationship to it. Continue this procedure through ¢, d,e, and so on, ¢s needed. 2. Point out any melodic organization you find, such as: sequence extension of a phrase m compression of a phrase phrase member change of mode 3. The first melody is completed for you as a model. 1-12 ig se ore sheet geno EGiucim le States alee 7 ————— 4 Fae ee 2 = a Ee 9 Oa OMA mo MH RI was 36 3738 39 dg 41.2 43a AS do 4748 49 051-5253 Phrase diagram: Phrase Phrase Phrase Number Length ‘Relationship 1 1-19 a 2 20-360 3 3753} Melodic organization: 4-5 is a sequence with 6-7 9-12 is a sequence with 13-16 20-23 is a sequence with 24-27 30-32 is a sequence with 33-35 Same sequences in third phrase as in second Phrase member: 1-8 Phrase member: 9-19 ‘Motive 20-22 appears 10 times in phrases 2 and 3. PARTB The Structural Elements of Mu:Name. 1. Schubert: Sonata in A Major, D. 959, II: Rondo, sum. 1-16. (ee a eeedeeesieeG 7 89 wW Wt 12:13 14 15 67 19 20 2 Bmw 2% oF 28 29 30 31 2 334 eT a 43 48 4 460 47 a8 50 31 5253 S455 56ST 5859 Phrase diagram (follow the model: Phrase Phrase Phrase Number Length Relationship 1 1-15 a 2 16-31 ap 3 3244 0b 4 45-59 Melodic organization: Phrase — Phrase Number Members 1 1-6; 7-15 2 16-21; 22-31 4 51; 52-59 CHAPTER6 Melodic Organization arfererrt 2. Schubert: Sonata in C Minor, D. 958, HI: Allegro, mm. 1-16 (transposed and adapted) B yy 42m BM 6 6 Mw w H 3B 3 35 367 BRD DAL DH AAS 57 HB ——— - eS 3 a) Phrase diagram (follow the model): Phrase Phrase ‘Phrase Number Length Relationship 1 116 a 2 13200 ob 3 3348 a 4 49-62 bp Melodic organization: A single thythmic motive is repeated throughout: 47 PART B The Structural Elements of Music | 1Name. 3. Haydn: Allegro Hob. 11:73/4, mm. 1-16 (transposed and adapted). 10203 4 5 6 7 8 9 WM 2 13 1561718 19 2 2 2 2 mM 2 2% 27 WwW 2 33193 M35 46 37 Pf fpece SI 45 47 «48 49 50 S152 53 5455 So S77 SBS CL: GASH CGT GRO Phrase diagram (follow the model): Phrase Phrase Phrase Number Length Relationship 1 148 Period : nae Double Period 3 Seer 4 55-70 apt PN Melodie organization: ‘The rhythm is identical in all but phrase 2, in which the Jedd appears one beat earlier. Phrase Phrase Number Members 1 1-8, 9.418 2 19-26; 27-36 3 37-45-54 4 55-62; 63-10 CHAPTER6 Melodic Organization 494, Allegretto (England). 1 ees ett dae ete @aataELg OEE: o nt Rp Be a 2 2 ww RB 3 M3536 3738 39 P o 42 8 re ee ee ee) 50 Phrase diagram (follow the model): Phrase Phrase Phrase Number Length Relationship 7 ie @ Period 2 10-16 ap 3 1125} 7 2633p Modified repeated 5 Saas aug 6 4450 op Melodic organization: Sequences: 3-5 with 6-8 (tonal) 37-39 with 40-42 (tonal) ‘Two rhythmic motives: 4. J and J 4 PARTB The Structural Elements of Musicames secre eee eceeeeeeeeeeeetaE 5. Andante con moto (Spain). GHATS HEED) 101112 13 14 15 16 71819 2% 21 a Bw 8 6 MR 9 0 31 =. pee = # Foe pe ey 3233 M4 353637 38 39 40 414243 44 4546.47 48.49.5051 2 3 Sh 555657 5859 HL Ow Phrase diagram (follow the model): Phrase Phrase Phrase Number Length Relationship 1 19 a 2 2 ob 3 2331 ¢ 4 32400 a 5 asa 6 54640 od Melodic organization: Internal phrase extensions at 21 and 52 ‘Two shythimic motives: 4.4 J ana J, dd Phrase Phrase Number — Members 2 10-16; 17-22 5 41-47; 48-53 CHAPTER6 Melodic Organization 516. Moderato (England). 12 3 456789 W 1 12 1 14 15 16 17 18 19 20 wf Pp crese. nf 2 2 2B WM 27 wWI 3H 32 33 M35 36.37 38-39-40 AT P erese. nf 2 Buss 4 HO COSTS SSS GST Phrase diagram (follow the model): Phrase Phrase ‘Phrase Number Length Relationship 1 121 a 2 22-45 ap Three-phrase period 3 46-57 ob Melodie organization: Phrase Phrase Number Members 1 1-11; 12-21 2 22-32; 33-45 3 46-52; 53-57 52 PARTB The Structural Elements of Music‘Name, i D. Expand the following phrase in the three ways requested. Expansion atthe be Internal expansion; expansion: E. Add a phrase with change in mode to the following phrase by Mozart, ‘Mozart: Symphony in G Minor, K, 183, 1: Trio, ot Ap» » _» * fee, ee G. Add a sequence segment to this two-meastre melody. The added segment should be in C melodie minor and should ‘end with an implied perfect authentic cadence (in € minor). CHAPTER 6 Melodic Organization 53Per eree |. Add a sequence segment to this two-measure melody. The added segment should be in F major and should end with a perfect authentic cadence (in F major). Continue this two-measure melody with a false sequence of two measures. Refer to the Menuet and Tio from the Sonata in E Major, Hob. XVI13 by Haydn on page 209, 1, Considering only the melody (highest voice), divide the composition into phrases. (Indications for twelve phrases are provided below, but alternate analyses may result in greater or fewer numbers.) Phrase 1: measures _1_ through Phrase 7: measures 29 through 32 | Phrase 2: measures 5 through 8 Phrase 8: measures __33__ through __42__ | Phrase 3: measures 9 through _14_ Phrase 9: measures 43 through __46 Phrase 4: measures 15 through __18_ Phrase 10: measures 47 _ through 52 Phrase 5: measures _19__ through _24 Phrase 11; measures through Phrase 6: measures 25 _ through __28 Phrase 12: measures through 2. Indicate phrase relationships using letters as described in the tex. Phrase 1 a Phrase 4 a Phrase 7 a’ Phrase 10d” _ Phrase 2 _b Phrase 5 _p! Phrase 8 _e_ Phrase 11 Phruse 3 _¢_ Phrase 6 _d. Phrase 9 Phrase 12 __ 3, Indicate melodic repetitions (use measure numbers), Aand 15-18 Mand 12 S-6and 19-20 _19and29, 29-30 and 47-48 4, Indicate melodie sequences (use measure numbers and name the types of sequences), 5-6 tonal) _ 25-26 (tonal) ——33.40 (tonal) ___ —19-20(tonal) _____ 29-30 (tonal) 43-44 tonal), 47-48 (tonal PARTB The Structural Elements of Music entiation manent kata etnaName. K. Following are twelve excerpts from compositions. Analyze each melody in the following manner: 1. Indicate the climax tone with a box: rf Fa) rr 2. Indicate ascent pitches with an ascending line: 3. Show descent pitches with a descending line: 4, Circle notes of the tonic triad r 12) r @ 5. Number the scale pitches that conclude the phrase or period. Remember that scale degrees 3 and 3 must occur in that order but may be scattered throughout the excerpt, while {is always the final pitch ofthe phrase or period. (Ex. British Folk Song. Eb 1. Allegro (England), mm. 1-8. bh: CHAPTER6 Melodic Organization 55Nene ‘ida, act MI, scene I: March, mm: 91-94, 2 4 Repeats previous descent 5, Schubert: “Das Wander” (The Wandering) from Die Schdne Millerin (The Miller's Beautiful Daughter), op. 25, no. 1, D. 795, mm, 5~7. mm, 303-310. ee ee ee ee ee = 8. Mendelssohn: Ein Sommernactstraum (& Midsummer Night's Dream), op. 21, no. 5, Allegro molto comodo, mm. 148-155, 56 PARTB The Structural Elements of MusicName. 9, Russian Folk Song. 10. German Fotk Song. Qos eae re a Review “This chapter introduces many terms that are used to describe the structure and organization of melody. Use the list of terms at the beginning of the chapter (page 119 of the text) as the basis for your review. Define each term for yourself and then check your definition with the appropriate section of the chapter. Carefully examine the melodies that are given as exaraples in the chapter. Play or sing each melody and observe the labels applied to it Choose a few pieces from a collection of traditional and patriotic songs, a hymnal, or some similar music with clear plurases and a text. a. Find the key of each piece. b. Identify phrases by the given punctuation marks in the text, c. Foreach phrase identify the cadence type (authentic, plagal, etc.). Some phrases may be in keys other than the key of the piece as a whole, and you may not be able to identify the cadence type in every case Examine the length of the phrases. Are all phrases the same length? Are the phrases grouped together into periods? How do you know? Are the periods parallel, contras phrase, or double? How can you tell? . Does the melody contain repeated melodie motives? Look at music you are currently learning or that you have learned in the past. See if you can find an example of each of the elements of metody in the list atthe beginning of the chapter , three CHAPTER 6 Melodic Organization 57