Cornell University Library MT 47.G59 Exercises In n:|t|j;aiiUyS 3 1924 022 370 559 fytmll Winivmiig Jilratg BOUGHT WITH THE INCOME FROM THE SAGE ENDOWMENT FUND THE GIFT OF $li»ttrg m. Sage Music '»9* H i .^.^d.i?^.SA. 7////.0.., snr 68g6-i Cornell University Library The original of tiiis book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/cletails/cu31924022370559 EXERCISES IN MELODY - WRITING] A. SYSTEMATIC COURSE OF MELODIC COMPOSITIOI^ DESIGNED FOR THE USE OF YOUNG MUSIC STUDENTS, CHIEFLY AS A COURSE OF EXERCISE COLLATERAL WITH THE STUDY OF HARMON"v BV PERCY GOETSCHIUS, Mus. Doc. (Royal Wtirtemberg Professor) Author of "The Material Usbd in Musical Composition" "The Theory and Practice of Tone-Relations' ~^— **The Homophonic Forms of Musical Composition" " Models of the Principal Musical Forms," etc. . New York: SCHIRMER 1908 Copyright, 1900, by G. Schirmer PREFACE I. The object of this course of musical discipline is, to assist the young 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, — not conception. The agencies which conduce to the transition from the former into the latter are touched upon in paragraphs 125 to 129, which maybe briefly scanned, here, without harm. The 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 is, or should be, fnelody. A thorough apprehension of the conditions of correct melody, and command of its natural laws, pave the way to the full and easy reception of all other phases of discipline in music ; they are the only natural preparation for successful studies in sight-reading, harmony, counterpoint, form, instru- mentation and interpretation. and, because all musical practice, productive or reproductive, in common with all other operations of mind and body, is the result of habit, and is there- fore qualified exactly according to the quality and energy of the habits which have been contracted, by accident or intention, in early life. The effort to con- trol the formation of these habits, and guide them as early as possible into proper channels, is therefore obviously the most valuable that a wise educa- tional purpose can induce. Whether there are laws governing melodic conduct, or not, is a question to which an answer will be found in the book itself. (iii) IV PREFACE. II. It is to be inferred from the above, that the best results will be gained by beginning this course of exercise early in life. Not, however, as a rule, before the twelfth or thirteenth year. It may be pursued before Harmony is taken up, or entirely independent of the latter. But it will probably prove most efficient as collateral study, interlined between the exercises of any standard text-book on Harmony ; either from the beginning, or in the later course of harmonic study; in regular alter- nation with chapters of the latter, or interlined strictly according to subjects. The degree of benefit to be derived, is manifestly proportionate to the degree of thoroughness with which each lesson is exercised, — precisely as pro- ficiency in scales or any other item of pianoforte technique depends upon the number of times each movement is thoughtfully repeated. It is a system of drill, which must be persisted in until its aim, — the fixing of habits, — is achieved. For this reason, the course should cover a full year. The musical illustrations have been made unusually copious, because this particular phase of musical education is likely to be absorbed by the pupil quite as readily through sensuous contact with melodic sounds, as by mental induction. Therefore, they are to be studied as faithfully as the text, both at, and away from, the key-board. Percy Goetschius, Mus. Doc Boston, Mass. September, 1899. EXERCISES IN MELODY- WRITING. DIVISION ONE. ESSENTIAL TONES. CHAPTER I. MAJOB. THE SCALE-LINE, EEGULAE. 1. Any series of single tones is a Melody. The quality of the melody depends upon the choice and duration of each successive tone. The general conditions of good melody are: Coherency, throughout each chain of three or four successive tones; Unity, in the design and effect of the complete melodic sentence; and Interesting movements, exhibiting sufficient variety to banish every trace of monotony. 2. The choice of successive tones (aside from the question of durations) is subject, fundamentally, to two Primary Bules of melodic movement. PmsT Pbimabv Rule. 3. A melody may follow the line of the MAJOB SCALE, tipward or downward, with almost unlimited freedom.. This yields the smooth species of movement called diatonic, conjunct, or step-wise progression. 5 EXERCISES IN MEIiODT-WKITING. 4. Step-wise progressions are regular, and consequently invariably per- missible, when they confirm the natural or inherent melodic inclination of (he so-called Active scale-steps (par. 6). 5. The seven steps of every scale are divided into two classes: The 1st, 3rd and 5th scale-steps (those which constitute the Tonic Triad, or harmonic core of the key, see par. 18) are Inactive. They occupy the centre of harmonic repose, and are therefore inert, not moving except in obedience to some outward impulse. The others, — the 7th, 6th, 4th and 2nd scale-steps, are Active, because they lie outside of this circle of harmonic repose, and are urged by their inherent impulse to regain the condition of rest. For illustration : Ex. 1. I C major. -»- -<9- 1 3 5 Inactive Scale-steps, (interior) IS= 7 2^ Active Scale-ste]^. i -^ I (exterior) 6. The direction, and the degree of urgency, of the movement are dictated by the location of each Active scale-step, and its proximity to the nearest inactive or central scale-step, — as follows jlju^ (a) The tendency is most urgent in the 7th scale-step, and its direction is upward. k (h) The tendency is somewhat less urgent in the 6th step, and its direc- tion is downv>ard. ^ (c) Still less urgent in the 4*/rtstep, — tendency also downward, (d) The inclination of the 2nd scale-step is evenly balanced between the 1st and 3rd steps, from which it is (practically) equally distant. For that reason it need not be considered in this connection. Ex. 2. i T^r=N^^i^ p( ;d^-d^ 'lg^l C major. exterior interior 7. The progression of an Active scale-step in the proper direction is called its Resolution. General illustrations:^ ^_^ ^ 1. * *•=■ 7 ▼- 4 ♦ a. 6 4 _^ 7 EXEKOISES IN MELODT-WBITINQ. (par. 9b.) Beethoven. ^ t!i. AUegretto. I. ^ JI. ^^ ^m P^-^^=^-i U ^ ^-»!-»— *-l- ]^ .*** 6. Andante. ^^^=f^ 6 7 Beethotbs. ^ 3^ H fV "6^^ y. Allegro. Brahms. 9. Jlfot2«rato. ^ te=t aefe H USKDELSBOHH. 8 ^& ^ =c * 6 See also, Es. 5; Ex. 18, No. 3; Ex, 36, Ko. 13; Ex. 50. T»-r THE 4:-MEASUE'fe PHRASE. 8. The Bmallest complete melodic sisntence, called the Phrase, gen- erally embraces four ordinary measures. fa) When regular, it bfegins with one of the (inactive) tones which con- stitute the Tonic Triad. These may be placed upon the first (accented) 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. fb) The Phrase closes with the Tonic (i.e., the key-note); upon an accented beat of the fourth 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 Cadence. EXERCISES IN MELODT-WKITING. Thus (in C-major) : Ex.4. 1. Triple rhythm. Acc^ted beginning. m -(f-iS m is Vnaecented beginning. (either) 3. Dnple rhythm. (either) I* ^ (t)- Y I .(«-)- i -^-^ * These chord-oaineB are explained in Chap. Ill, par. 18, 19. 9. Besides the step^-wise progressions, up or down the line of the major scale according to the first Primary Bule, it is eTeiywhere per- missible (a) To repeat a tone, once or oftener. For example: Moderato. Ex.5. i 3-r^. r -,^^ rep. rep. ^ ^ 7 Casxt. I i It t: rep rep See also Ex. 3, Kos. 5 and 6; Ex. 32, No. 3; Ex. 36, H'os. 1, 8, 9; Ex. 54. etc. (b) To progress upward or downward by the interval of a third, i. e., overleaping one diatonic scale-step. If this skip of a third is made from an Inactive tone, it involves no obligation whatever. If made from an Active scale-step (namely, from the 7th, 6th or 4th, — as stated in par. 6 d, the 2nd scale-step is not subject to any of the rules of active steps), the consequences depend upon the direction of the leap. No subsequent consideration is necessary if the melody makes the leap in the proper direction (from the 7th scale-step upward, from the 6th or 4th step downward, as is to be done in the present lesson). For illustration: A. From Inactive tones. Ex. 6. :i ^^m i if — » ^^i^— ^ =F^ m EXEBCISES IN MELODT-WKITING, B. From Active tones, in the proper direction. a ^ (par. 38 b.) LESSON 1. A number of original melodies (at least one in each key), with strict regard to the following limitations and directions: (1) Only in major keys. (2) Without modulations, — i. e., each melody in one key throughotit. (3) As 4-measure Phrases, according to the models of Ex. 4. (4) Jn^lSt^2f^^pl^p^'%l^^0^^ISt,&S', and 6^-measure, successively. (5) The rhythm strictly uniform, i. e., one tone to each beat, as f, f or j , according to the chosen measure, — excepting the final cadence-tone (see Ex. 4). (6) The scale-line, tone-repetitions, and an occasional skip of a third are to be employed. Of the latter, only one at a time (perhaps returning, as shown in Ex. 6), — not two successive leaps in the same direction. (7) No violation of the natural tendency of Active scale-steps is per- mitted in this lesson. Each is to move in the proper direction. Examples 2 and 6i. 270TE. — The work Bhonld be» at present, merely the meekanical application of the pven rnles ; these mles are to become habits, — formed and established, as habits are, by persistent systematic effort. After regnlar, correct melodic movement has become a habit of thought, the tones will soon invest themselves, more or leas nnconsciously, with feeling and purpose ; and all exceptional progressions will be likely to rectify or justify themselves. At the same time, the student must endeavor to hear each tone as he writes it down, without the aid of an iuBtmrnent, and must not desist until he can thus mentally follow, accurately, every melodic movement. Farther, each melody, when completed, must be sung, and then tested at the key -board, — but not until completed; the invention must be prosecuted away from any in- fitrument. 10 EXEECISBS IN MEIiODY-WEITINa. CHAPTER II. THE SCALE-LINE, EXCEPTIONAL. lO. It is always possible to evade the Besolution, i. e., to counteract the natural tendency, of the three Active scale-steps, and force them to pro- gress in the opposite direction, by approaching them, along the line of the scale, in the corresponding (i. e., opposite) direction. This confirms the first Primary Bule, in its fullest sense. For example: Ex. 7. e|^ It ^^ ^- i, ^J^-J-4 1 a All guod. 3. Allegro. 4 5 ^S^^s Beethoven. 7 6 ^m g=F reg. reg. reg. irreg. reg. 3. Allegro. 1 li i 4 BBETHOVBIf. 1 1 ^ 1 1 ' '"* -A y^—j— ~* ■^ irreg. reg. :<&&= -igHai i irreg. reg. ^ ■4. AlUgrMo. 4 Beethoven. I E^^^3=^ irreg. 5. AXlegro. irreg. reg. reg. 6 Mozart. ^fe ^ ^^^ Hr—f- -^—P—^ fc^3t I irreg. See also Ex. 47, Ho. 1 ; Bx. S2, No. 2. irreg. 11. If approached in the direction of their Besolution, along the scale, however, the natural inclination is reinforced, and m/ust be fulfilled, — at present. Thus: EXEECISES Df MEljODX--WErnNG. H good ? ? * good * Somewhat less objectioiiable, because the tendency of the 4th scale-step is less urgent than that of the other Active tones (par. 6 c). 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 3. As intimated in par. 9 h, the skip of a third may be made in either direction, even 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 illus- tration : Skip of 3rd from Active tones. Irregular (comp. Ex. 6, B). Ex.9. ? ? LESSON @. A number of original 4-measure melodies (at least one in each major key), according to all the directions of the preceding lesson, excepting (7); ,-Jjeth the regnisr and irregular progressions of the Active scale-steps are to be employed. The danger of monotony, arising from the uniformity of 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. 12 EXEECISES IN MELODY-WEITING. CHAPTER III. TBE CHOED-LINE. Seconu Pkimaet Ritle. t3. A ynelody may follow the line of any good CHORD upward or downward, with almost unlim- ited freedom. This yields the more vigorous species of movement called disjunct, or by skip (or leap) ; and affords the necessary contrast with the step-wise pro- gressions. 14. The "Scale-line" may be abandoned for the "Chord-line," or the chord-line for the scale-line, at any point in a melody, — subject to a few self-evident restrictions. 15. The influence of Hakmont (i.e., the construction, relation and succession of chords) upon melody-formation is so great and constant, that this is probably the most vital of the two Primary Rules. Unless already familiar with the elementary conditions of Harmony, the pupil must study the following brief exposition bo thoroughly, and transfer all illustrations to every other key so frequently and perseveringly, as to acquire absolute free- dom in recognizing and employing the principal chord-lines correctly. 16. The tones which constitute a chord are found by adding one higher 3rd after another, to the fundamental tone which is to be the root, and the index of the chord (of its name, quality, and relation to other chords). Thus, for the "chord of C": Ex.lO.^P P -3rd- _3rdl cluird-root, chord-third, chord-fifth, c-e-g. These letters, c-e-g, constitute the chord of c ; and they may appear as representatives of that chord-line in any order. Thus: Ex. 11. etc., etc. EXEKCISES DT MKLODY-WKITINO. 13 possible, bnt extreme. ^ etc. ^rrrTtf=^=t-ff=^rrrrrJ % FUNDAMENTAL HAKMONIC 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 jirst scale-step, or Tonic note, and called the Tonic TViad or " The One" (marked I) ; and one of subordinate rank erected upon the sixth scale-step, and called " The 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: Ex.12. Tonic Triad, or I. O Major. 3 tones, o • e •> g. Subordinate Tonic Triad, or VI. O Major. I ■g ..- — ^ ^ Stones, a - e; somewliat rare. 19. (a) The Dominant oiiAss 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 : Ex. 13. Dominant Triad, or V ( " The Five "). O Major. -in any order.- 3 tones, g b - d Dominant 7th-cboTd, V ( " Five-Seven ">. ^n any order. - 4 tones, g - b - d f (the latter a chord-aeventb). 14 EXEECISES IN MELODT-WKITING. Dominant Oth-chord, V* ("Five-N"ine"). i -o- s- 5 tones, g b d Dominant 7th, lucoraplete, „V'. a ( the latter a chord-ninth). -19- "Wlthout Boot, u - b - d - f. DominaDt 9th, Incomplete, oV'*. -tS*- S "Without Kuut, - b - d - f - a, (h) To the Dominant class belongs also a Triad of subordinate rank, erected upon the third scale-step (the III); it is so rare and unimportant that it may be ignored altogether in connection with melody-invention, — i. e., it is not a " good " chord (par. 13). 20. The Second-Dominant or Stjb-Dominant class consists of a cluster of chords erected upon the second scale-step, in precisely the same manner as those on the Dominant, — containing five tones, with frequent omissions of the root. Thus, in C-major: Second-Dominant Triad, II. C Major. Ex. 14. isz ^n any order. - ^ ^ 3 tones, d • f a. Second-Dominant Tth-chord, II''. i 119 ^ m 25^ 4 tones, d Sub-dominant Triad (properly, the qTI^, ■with omitted Eoot). Very rare. Tones, o - f - a - c, called IV, for convenience. Sab-dominant 7th chord (properly, the qTI^, with omitted Koot). Tones, o - f - a - o - e, called IV^. EXERCISES IN MEIiOI>T>WRITINa. 15 S-ammary (C-major): 1. Tonic class. 2. Dominant class. Ex. 15. -ig- -ig- -'■ f S-^, n IT VI aQ good C. Step 4, regular. 4 n or V IV Irregular (but good). g^^ li: IV or V» IV II or V (Ex. 8) (Ex. ^9) EXERCISES IN MEIiODT-WRITING. 17 26. The leap of a Third (called a "narrow" skip), as has been seen, is always permissible. Any larger leaps tlianthis (called "wide" skips) are subject to the following general condition: After a wide skip (i. e., any distance beyond a third) the melody is very iikely to turn, and progress, by scale or chord-line, in the opposite direction. Thus: fix. 18. —^ 11 H^^^=^ -jtz^-i -All better, as —a rule, than " — /: 3. 2 — the followiug : 3. Allegretto, Memdslssohn. =i^ -'■-••m-» 0- I -^-r See also, Ex. 32. No. 1; Ex. 36, Nos. i, U. 18, 19, 20; Ex. 52, No. 5; Ex. 60. No. 2; Ex. 64, No. 3; Ex. -55. Nos. 1, 2; Ex. 100, No. 3; Ex. 101, No. 5; Ex. 117, Noa. 11, 12. 27. (a) If the melody, however, violates this rule, by continuing in the same direction after a wide skip alonff the line of the scale, it should, as a rule, pass on only one step, and then, turn. lu other- words, while it is 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: t;x.l9. =^^ ± -»*5r^ i •1) *2) *3) *1) From d down to either of these tones. *2) From/ to either of these. *3) To either. (b) At the same time, if the scale-tone that follows the skip in the same •direction chances to be one of the Active tones, it is more than likely to assert its natural tendency and resolve properly, — in which case the rule of "turning, after a wide leap " will be evaded altogether. Thus: Ex. 20. ?? See Ex. 21-1. * ?? Ex. 21-2. * * These two progressions are doubtful in any case, for they involve a violation of both the Lrole of par. 6 a, and that of par. 26. 18 EXERCISES m MELODY-WKITING. 28. (a) The rule of par. 26 gives emphasis to the still more binding and important rule, that It is possible to skip to any Active tone in the direction opposite to the tendency of the latter, namely: from any tone (though seldom beyond an octave) downioard to the 7lh scale-step; from any tone upward to the 6th or 4th scale-step, — because their natural Besolutiou provides for the change of direction after the leap. Thus: Ex. 21. i =i?: rii=-a=E5te -r ^(^)- i from either from either See also par. 36; and Ex. 52, No. 5. from either (h) It must not be inferred, however, that this is necessary. It is of course also possible, though far less regular, to leap upon an Active tone in the other direction (i. e. , upward to the 7th scale-step, and downward to the 6th or ith step), though only along some perfectly good chord-line, as already seen (par. 24). 29. (a) If the Active tones are approached by a wide leap irregularly (in the direction corresponding to their Eesolution: up to the 7th, down to the 6th or 4th steps), it will either afford an additional opportunity of obtaining the irregular progressions given in par. 10 (Ex. 7), in keeping with the rule of par. 26 ("turning, after a wide skip"); thus: Ex. 22. L-^ i^?:? d= ^^1^^ Donbtfal, becanse of the extreme urgency of the 7th scale-step; par. 6a. (h) Or, better, it will be found expedient to take advantage of the license of par. 27a, — i. e., to turn back at the second following tone. Thus: to either Ex. 23. 1^ -t»- =^ i All better than those of Ex. 22. 30. The leap of an octave is allowed from any tone, upward or down- ward (according to the low or high pitch of the tone from which the leap is to be made). This is simply a wider version of par. 9a. For illustration: par. 26. par. 27 a. Ex. 24. r»^ r to either -^T ^^^^ m -^Sr. 7^ -**iV- I EXEEOISES IN MEIjODY-WKITING. 19 LESSON 3. A large number of original 4-measure Melodies, in all major keys, and in all the species of measure prescribed in Lesson 1. The rhythm uniform. The scale-line and skips of a 3rd to be used as before; and, besides these, ' single wide skips (i. e., each wide skip followed by the scale-line, or by a narrow leap) may occur, according to the above rules. Sing, and play, each melody when completed. CHAPTER IV. THE CHOED-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 direction. This rule represents simply the application of the second Pri- mary Kule (par. 13) in a broader sense. For example: 3. 3. Ex. 25. Fg^ I J^ f^g^=-a- ^ ^f^ J.^ I .^ ■ ' ^ 1 '>.^ ^g- C-m^or, I. V o'V 7. (par. 6 a). IV II - " '" O. (par. 6 a) lO. 11. (par. 19 b) 13. 13. 14,. r - fi- , I I I ] — * ? 11 -^"^ *^® same in the PiK I J-^-ig — I » w- I =^'^- — 1 — I— 1 \-^»-^X..^^^a — H opposite direction of Fgg \ , i * ' % t\^ i= ^- ^f=¥^J^''t='^—f-l\ each figure. ^ ^•- yjy .,s^ jj • & .^ jyj .^. 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 20 EXBECISES IN, MELODY-WEITING. reached by turning, — i. e., it may be taken in a higher, or lower, octave- register. Thus: Ex. 25-6. 26-7. 25-8. Ex. 26. :(3H all good 25-11. 25-12. (D 25-13. ^ =?^ etc. 33. This important rule appears to have some bearing upon a single skip which follows after the scale-line in the same direction; it is alway.s best to skip thus onward to some tone which beavs obvious affinity to the ruling harmonic impression of the preceding scale-tones. What this ruling im- pression is, depends chiefly upon the location of the accent. For illus- tration : Ex. 15-3. Ex.27. : — ^ *=F IV' Ex. 16, mea.'!. 4. A I P ^ 3=t t^ good good n' 34. The repetition of a tone (par. 9 a) arrests, to a certain extent, the operation of the rules of the skip (par. 26 and 31). Thus: good better Ex. 28. »^ ■♦ rep. -^1-+ >-^— - «i-: ±zt possible. 4 a 24 EXEB0I8ES m MELODT-WBITING. Halevi. I :^^#=t^ «-— »i- Eeethovek. ±==t: 5i Beethoven. 4 3 tJtzfz w=i=^ (Ex. 36, No. 3) (Ex. 36, No. 8) i Bbahms. 7 8 m -?:f- -0 0-Ji — ^ 3t±=t T=t: -4- j-i— «- -M — — ' ^cj Successive wide leaps which represent the alternate presentation of the tones of two different (contiguous) melody-lines. Thus: 1. jLny Tempo. 3. e,. ^^ SE^E^k^^^ May be represented : correctly by : i^^ ^^-r^ S=-^ 4-4- I I I =S ^s ^^ -* etc., etc. 1 S. ^ZZ£d'''o< Ci - ^l = £X Bach. I'-major. See also, Ex. 52, No. 6 i Ex. 62, No. 6 ; Ex. 95, No. 5 ; Ex. 117, Nos. 7, 8. 39. N. B. — Pupils who are not yet sufficiently familiar with the chords and the rules of chord-suooesslon, are likely to find these minuter distinctions confusing. If so, they may omit this last paragraph, — or any other troublesome paragraphs, — for a time, with perfect safety. Such confusion can only arise from the use of the irregular and exceptional phases of melodic treatment. If the student will avoid these, and limit him- aaa!»n»»ES m MELODY-yrmxnfa. 25 self for awhile to the slnci oDservance of the fundamentsi rulei, 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-line or Chord-line* an^, 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 direction, after a wide leap; paragraph 28 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 all the foregoing chapters; the figures in parenthesis refer to paragraphs: 1. Andante, (par. 13) (9 a) Ex, ;, 36. Efcl^ P P ' ■L_l I L (13)_ — I— SCHUBEKT. (3) (6 a) t I s Cbord-line Kep. 3. Moderato. Ch.. ^=^ H Eep. Ch.. (13) (66) Scale. BltAHMB. 'S^ (9- I =1= Chord Sc. Chord. Scale. 3. Allegretto. (13) ^ R— ^ . (6c) -ffi% ^ • p — ^^ •—w ^--* --^- — i — f-^_* — ; — (37) (37) f#u J J . -H— (37) (38 d) -1 — ?=H — ^1- Beethoven. 1 \ — if-H _, — ^-J F^-^ _« 1 , — — -f-^-J— J-^l Sc. Ch. So. Ch. Kep. Ch. 26 EXBBOISES IN MELODT-WBITINa. 4. AUegretlo. (13) 1^ (9 a) (36) (6 c) It (10) (66) Bestrotbm. ^^a Ch So. Bep. Ch Sc. Bep. Scale.. fS. AUegro. Ch. Sep. Sc Bep. Beethoven. i^i ->- ^*i^- ^te^ (13) Chord . Sc. Ch Scale.. 6. Allegro. (13) Ekkthoven. (9 a) g3E ' 1 y 'y*'" Chord.... TTTTTT.... 7. Allegro. (13) .. So. Bbbthoven. S± I B Chord.. i S. .Andante. (9 a) (9 a) (3) (3) ilt- E£=; ^^s^ ^^^UIJjj^i; Beethoveii. i * ^— ^^-»^ (6 c) (The farther aualysis is left to the stadent). O. Allegro. (38 1>) Beethoven. Ifc i »- I * f : ^ L»^ =t=!: (10) (90) lO* Larghetto. *« 5^ (36) ^-J^- (66) Beethoven. & =^^==' ^^ SE£ •— L-^J- (37) (37) (37) (37) 11. Fiuoce. Bach. •^ *^ (10) -• — • — I — »-*- I EZEBCISES IN HSIiODT-'VrRITINa. 27 13< Moderato. i (28 a) (26) (28a) (26) Mozart, ^ •- I J j W — »- i==t: (6o) (66) (276) 13> Andante. ^^^mm (25) Vkkdi. '-i^t^ I ■*- •" » * -I » ' ' 0- tb?^=r<- (37) 14< ijmto. (37) (29 a) Brahms. i A d=* ^m -*-3t- nznizq; ^ t=f -s> — ^ (26) (10) 15> Xento. Chopin. i ^ ..(2o) ^^^^^3 I ^ *- i=t=i= 1^ — * < * - (10) 16. Jlfa«sJoso. f^l^ =g« ^ 3==*— fc ^ (10) Mendelssohn. m ■» — »—i- ly. Ayidante. BOSBINI. ^^ I ^•-•- i ^-^^-r-f- Fr^ ^^Efe ±=^ e=e (10) 18. ^Eie^o. (36) Bebthotbn, 'WK^-M. 5^E^^ * #- ' J J I ^ - J J *-.i-=f -^ — * 19. AUegro. (30) (SSc. Haydn. ....) :&: ^ ^tts -•— ^ -#-^» (26) (86) (26) 28 EXERCISES IN MELODY- W KITINO. SO. AUegro. ** -+— •#■ • JL , • . 1 1 1 - m - -i ^^-(~ ^B-^ 1 ' ' 1 1 1 •'ill « 1 ■ 1 (Ex. 106) (13, aud (26) Beethoven. •=ic -# »- i =E^ -#— F» See also, Ex. 96, Nos. 1, 2: —and examine " Tone-Eelations " (G. Schirmer, N. T., 1900), Lea- sou 10. all; Lesson 13, all; Lesson 22, Nos. 2, 3 and 5. LESSON 4. A large mimber of 4:-measure melodies, in all major keys, and in all the species of Measure prescribed in Lesson 1. The rhythm uniform. The scale-line and chord-lines to be employed, in the most comprehensive man- ner, according to the given directions. EecoUect, and apply freely, par. 9 a aad par. 30. Review the note to Lesson 1 ; and par. 39, thoroughly. Sing, and play, each melody when completed. Such melodies of these first 4 Lessons as have been corrected and ap- proved by the teacher, may be harmonized, by those students whose knowl- edge of Harmony enables them to perform the task successfully. CHAPTER Y.^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 G:h and 3d scale- steps are lowered a chromatic half -step. Thus: Ex. 37. ^ C -major. =1?^ C-minor, harmonic form. The same in both directions. :izi =jz6 : Efa,t=J=d=d= i -^—tt -90- Signature, 3 fats. -v—iir EXEECISES IN ItELODT-WElTlNa. 29 All melodic and harmonic movements in minor are regulated upon the basis of this, the harmonic, form of the scale. Before proceeding farther, the student must familiarize himself absolutely -with this derivation. Every minor scale must be written out, according to Ex. 37, and played repeatedly. And the table of Ex. 15 is also to be written out in every minor mode (with lowered 3rd and 6th steps). 41. All the Scale-conditions and Chord-conditions of the major mode, explained in the preceding four chapters, are therefore simikn-ly valid for minor, — with a few self-evident limitations, as follows: 42. The most noteworthy limitation for minor melodies, is an excep- tion to par, 10, as far as the 6th and 7th scale-steps are concerned. These shovld not appear in immediate succession, as a very general rule. Ex. 7, measures 1 and 2, are therefore only valid in G-major, — not in C-minor (Ex. 7, measure 3, however, is not involved in this restriction). Thus: Ex. 38. ' ? " 6 6 ? ? ? ', 4 I =1 1 t T ^ | P^=Pfa^z^ ^P,^^^^ ^ C-minor. The flat is inserted before a for greater clearness. This also affects a portion of Ex. 17, Ex. 20, Ex. 22, and a portion of Ex. 28, — no others. 43. This succession is nevertheless possible, though very rare, as obvious derivation from the chord-line of the r)iminished-7th chord (i. e., the Domi- nant-9th chord, in the minor mode, incomplete, — Ex. 15, chord no. 7, with «?). Thus: Ex. 39. 'Chord-line. ' ' Chord. ' ^'"■^'^ '■P^':- -^"r- ^^ Better (par. 28 a): C-minor. „V9 „"V9 R'*' 44. Further, — an additional augmented fourth occurs in minor, formed by leaping from the 6th scale-step up to the 2nd step; and vice versa, from the 2nd step dovm to the 6th step. Thus: _ .„ I ^i_ hi I. 1 , ^- r I - I J T 1 The flat before a ia, JLX. 4U. p^^lLU-~v' ^ T- 1 I ^^nZ» I I of course, superfluous. This progression, like that of Ex. 29, is checked either by the irregu- larity of carrying the 6th scale-step upward (par. 6i), or of leaping down -upon it, in the direction of its Besolution (par. 28 b). And, like the former, and like the irregularity of Ex. 38, it is possible 30 EXERCSISES Df MELODX- WKITJJIG. to justify it as obvious derivation from a chord-line, — either from that of the Diminished-7th chord (oV° in minor), or from the H. Thns: Ex. 41. I 'chord-line. ' Chord. :feS EEEtE r—r^ better : jat lt2t -*T*- i C-minor. °yy > either. 45. Further, — the well-nigh intolerable interval of the augmented fifth occurs, in minor, in leaping from the 3rd scale-step up to the 7th step, and vice versa. Thus: Ex.42. |fcg -9t ? ? ? ? C-minor. (III?) ??? ? •?•- I This error is checked by several rules, — par. 24, par. 28 6, par. 6 a. The leap from step 3 down to step 7, on the contrary, is perfectly good (par. 28 a). But the leap from step 7 up to step 3 had better be avoided (for the present), as it represents a very improbable chord. For illus- tration: Ex. i=fe; :■ 43. ^fe &^^^l' 1=1 it good C-minor. -?-?- i (in) N. B. — Every musical illustration given in Chapters I to IV is to be reviewed and tested in the corresponding minor hey (explained in Ex. 37). Additional general illustrations: 1, Allegro. Mendelssohn. Ex. 44. 1^- rH'— I ^^ i^^ I Lpar. 31— E-miuoT. (Ex. 31). 3. Adagio. j-par. 13- 'Elrt. 40, 41. ' BunrasTEiK. fcS :»■ 1^1 ^3S :^ 4— g- -*7jr^=^ C-minor. Lpar. 3- 3. Adagio. Fj=dJ EX£BCISES IN MEIiOBT-WRlTLNG. Schumann. 4. Allegro. 31 Ebethoven. =t M i S i 4^=* 4- :fe^ G -minor. L ?3 Ex 43 C-miuor. £x. 39, SCHUBBUT. (par. 37 ) g -#-— J^*-- -#-bJ— 1— r ?Be: ^ 4- -0^ C-minor. ■ UEx. 39- ^Tn.r^ See also, Ex. 55, No. 3 ; Ex. 63, No. 8 ; Ex. 65, No. 1 ; Ex. 129, Nos. 5, 6 :— and ■■ Tone-E'SLatiosb,' Lesson 11, all; 16, No. 7; 18, No. 7; 21. No. i; 22, No. 4. LESSON S. A large number of 4-measnre melodies, in all the minor keys, and aU the species of Measure prescribed in Lesson 1. Bhythm uniform. All details precisely as in Lesson 4. Avoid monotony. CHAPTER VI, * "^ ^^^ DIVEESITY OF EHYTHM. BEGULAE. 46. The rhythmic effect of a 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 Regidar, 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: Ex.45. 2 4 S 4 ^ J j^ J n I ^ rj A J regular rhythm. A A J J J ^ I 4 S J n J. J" n J n J J n J n n eto. 32 EXERCISES Uf KELODY-WBXnsa. 4 A A A 5 J. J J J J J J.; J -n J n etc. 6 8 J. J / J A m 4 S d J /-T3 J. JTj etc. fJ^ Uniform divisions of an. entire measure (i. e., uniform beats, or "beat-fractions) are always regular, also, because they do not contradict the above conditions. Thus: Ex.46. ^ • • ^1 3 n 4. ^ ^ rj m etc. 47. It is generally advisable to avoid using extreme time-values in the «ame Phrase-melody. For instance, in 2/4 or 4/4 measure, J -notes (as sum of two beats) and J^- notes (as simple division) may both occur; — occasionaUy also a dotted half-note, or a 16th-note; but the whole note would be rare, and S2nd-notes almost out of the question. In other words, the beats indicated in the signature should constitute the fundamental or average time-value; this may be augmented by one or two (rarely three) additions, or diminished by one or two divisions. The melodies given in Exs. 3, 7. 32 (excepting Nos. 1 and 5), 34 and 36 (excepting Nos. 10, 11) are all constructed in regular rliytlira. Tliey are to be carefully reviewed, from this stand- point. See also, " Tone-Belatioks," Lesson 18, Nos. 1, 4, 5, 8 ; 22, iioa. 1, 2, 6 ; 30, K^os. 1, 4. 4:8. Khythmic diversity is derived from uniform rhythm by the fol- lowing methods: (a) By employing the dot; 3 4 J j j = j. /J; I J j = j. J^ n = r2 etc. (h) By any other process of lengthening one or more of the original tones; I J J J = J J^; I J J J J = J J /jorj JJJl, 6 S 71 , . . = J / LLSd' J. rTTTz etc. J'urther, diversity is procured — (c) By placing kss or more tones in a measure than the number of its BXBECISES IN MELODy--WEITINO. 33 fundamental beats; for instance, in 3/4 measure, less or more than three tones. 'The first gives addition, the other gives division, of beats. Thus: 3 4 J J J nnifonn J J J J n J. J" n 5 tones n n # • # tf • more rarely J 5 tones 7 toaea etc. The "triplet" will be regarded, at present, as 6/8 or 9/8 Measure. 49. Rests represent, commonly, the suppression of a portion of one of the original tones; — generally an unaccented fraction, in which case the Best follows the tone; sometimes, however, an accented fraction, in which case the Best precedes the tone which it represents, and as the equivalent of which it is to be treated. For illustration (the slurs indicate which tones the rests are borrowed from) : 1. AlleffTo. ^- ^^Ji ^ H#^^ ^^^^^ =i=?a: *-0- m H.si;r-^ MEST)Et.SBOnN'. J — u -and-f — \ f f ^i mEiE^ }\ t=t=t '•—*- 3. Allegretto. 4. Largo. Beethoven. ^if#=3 4- » '' =J=^ :^j±^:. tz:lL ?-^ a _^_^_ ♦-^s^- D-m%jor. See also, Ex. 56^ No. 2; Ex. 59, Do. 3; Ex 87, No. 2; Ex. 95. No. 4,- Ex. 102, No. 3; Ex. 106, No. 5; Ex. 117, No. 9. The employment of rests (which must be very sparing, at present) is subject to no other rule than that they must never be permitted to sever 34 EXERCISES IN MELODY-WBITIlfW. the continuity of the Melody; if used under conditions that preserve or restore the coherency, or perhaps even emphasize the structural unity of the sentence, they are certain to be permissible and effective. LESSON 6. A. Take a number of the melodies invented in preceding lessons, iu Uniform rhythm, and diversify the rhythm in regular forms according to par. 48a'and h (without altering the number of tones in the original form). B. Invent a large number of new melodies with diversified rhythm, regular, as shown in par. 48 a, i and c. A very feva rests may be inserted. Employ every species of Measure prescribed in Lesson 1; and write aUemaiely in the major and minor mode. Be careful to make all shorter tones essential (see par. 100). LESSON 7. A number of four-measure melodies in 9/8, 9/4 and 12/8 Measure. Ehythm diversified, regular forms; different major and minor, keys, al- ternately. Such melodies of these two lessons as have been corrected and approved by the teacher, may be harmonized, by pupils in Harmony. CHAPTER VII. THE PERIOD-FOBM. 50. The "Period" generally embraces 8 measures; that is, two phrases, of 4 measures each. The first of these is called the Antecedent, the second one the Consequent Phrase. 51.-YaJ The Antecedent Phrase begins exactly like any single Phrase, according to par. 8 a. But it ends, not with the Perfect cadence (85), but ■with a sq-called Semioadence, — upon an accented beat of the 4th measure, ■with either one of the three tones which compose the Dominant Triad. (b) The Consequent Phrase follows, usually beginning on the same beat ■with which the Antecedent began, and ending, like any single Phrase, -with EXEECISES nj MEtiODY-WEimiG. 35 the Perfect cadence, — upon an accented beat of the final (8th) measure, with the Tonic note. Thus (in C-major) : Ex. 48. {Accented or nnacc. beg.) Sei ni cadence Perf. Cadence. y 1 >» « 3 ■ I -d fe|Et=|E^ '^- — 3 1 — 5~ — 6 — 0. • „ II a *• ^'11 1 " « •' -#- -§■ -5- -9- , 62. Ill the first few examples invented, the Consequent Phi-ase must correspond to the melody of the Anlenedent, excepting the last 3 or 4 tones; these always difier, because of the diversity of cadence. The formation of such Period-melodies is called "parallel construction." For illustration: Ex.49. i 1. Antecedent Phrase. , 1- #-l- m ^ ■#— »■ :a=5 A-iuinor. v'\ H3 •^ Conseqnent Phrase. _I^*. SCHUMAHM. 8. — S I i I I ' l_i_ i i >^ ' P i— ^ =J=¥^ V I Like meas. 1. 3. Antecedent Phrase. 1. Like meas. 2. Like meas. 3. m :|fe=«^ *^ r*- TX -»-*- -#— *- 1 1 ^ A-maJor. (Ex. 22). M Consequent Phrase. 5. Beethovbn. 8. m T±l --^=^ Like meas. 1. Like meas. 2. See also, Ex. 52, 'So. I; Ex. 53, No. 2. 53. In each succeeding example, the extent of this similarity l^etween the Phrases is to be diminished graduoMy, — more and more tones in measure 7, then 6, and then 5, are to difier from those of measure 3, then 2, and then 1; until, finally, the entire Conseqnent Phrase is independent of its Ante- cedent. This ultimate formation is called the Period of "contrasting con- struction." Thus: Antecedent. Ex.50. %- ^ i- — I- G-major. 36 BXEBCISES IN MELODT-WKITINa. Consequent. _^^__^^^_ «.^^^^— ^..^ Folk-Song. |M ^ ^ Eg^i^ig5^^^^E n See also, Ex. 54; Zx 55, No. 2; Ex. 129, No. 1. The appropriateness of a brief Best at the cadences is demonstrated in both of these examples (49 and 50) ; see par. 49. LESSON 8. A large number of 8-measure melodies, in Period-form, according to par. 51; at first, several in parallel construction (par. 52), and then gradu- ally more and more contrasting (par. 53). Rhythm diversified (but regular) ; all the species of Measure prescribed in Lesson 1; difierent major and minor keys, alternately. An occasional rest may be inserted, chiefly at (after) the semicadence. Review the note to Lesson 1; and par. 39. Avoid monotony. Sing, and then play, each melody, ■when completed. After correction, some of these Period-melodies may be harmonized. Where the construction is parallel, the harmonization of the Consequent may differ from that of the (melodically similar) Antecedent. CHAPTER VIII. IRREGULAR RHYTHM. 64. Review par. 46 a, thoroughly. The disposition of various time-values is Irregular, when the conditions of Regular rhythm are violated, namely, When the heavier (comparatively longer) tones in a measure oc- cupy comparatively light beats or beat-fractions of that measure; and, vice ver.sa, when the lighter tones (brief, subdivisions of beats) occupy comparatively heavier pulses in the group. For illustration (the iregular forms, Ex. 45, are here repeated, for com- parison) : EXEECISES IN MELODY-WRITING. 37 regular irregular , TTTT^ tftf«#|#tftf## |# « S \ regular irregular regular J J ; J 7^' I J •nj rt J I 3t;-3 *n . I irregular 1 /|>j.n rsn j-j|i-3.T| regular irregular TTTT^. regular Blightly irregular. , ('^ t J J regular A I A J ^ I inegular . A I A A A I J. J^l I J .1 J. .^1 J ;:.! I A I A I A I I '^ I ^ I J J |j J. /|j J jjj l;ij 1.1 J J I inegular ii J ji jtt:' J I J n J J n J I- re; i J J J I J J r:' regular etc., as in ' slightly irreg. , «i ilj J slightly J Tj J. /I J J. I J J J|>J J J ^h irregular A A [A A I I A '^ 1 J . J ;^ I J . ml -• I J .^ J . I regular irregular In other words: if the tone npon the first heat (or any other accent) is longer than, or at least as long as, any other tone in the same group (measure),' the rhythmic disposition is Eegular, — otherwise Irregular. 38 EXEKOISBS IN MELODT-WBITING. 55. The degree of irregularity depends, of course, upon the degree of discrepancy between the length of the tone and the comparative dynamic quality, or length, of the beat or beat-fraction upon which the tone is mis- placed. For instance, ilpon a pulse entitled to an 8th-note only, it is more irregular to locate a J -note, than a J -note. In Ex. 51 c, measure 5 is more irregular than measure 6, or measures 3 and 4. 56. (n) Irregular rhythmic figures are never objectionable, excepting ■when isolated, — and not always positively wrong, even then, though usually so. In other words, An irregular rhythmic figure may always be justified by recurring; — either immediately, in the next following group or measure; or in some, not unreasonably remote, corresponding measure; namely: measures 1 and 3, or 2 and 4, of the four-measure Phrase; and measures 1 and 5, 2 and 6, 3 and 7, or 4 and 8 of the eight-measure Period. For example: Ex. 52. 1. lloderato. 1, •^ 1 ITTAff.. *- -'• ^S^ 1 — irreg- B-minor. J rectified, in fol- lowing measure. ^ '■ Schumann. 8 =F=l: i :t ^^ ± recurrence in corresponding measures. (par. 120 a) 2» Allegretto. MSKDELSSOHK. i -#— «- w ■^ - ^ I L i: ^^=i^ -^5sa- G-major. 1 — irreg. 3> Lento. -i L-rectified by recurrence.- ^ ■^ *-'■*- ^ -0^-U- ^ _ Chopin. ^ -iSL I :i* t— *-*- ^ I — irreg- B-minor. recurrence in corre- sponding measures. 4r* Allegro. Wagnee. I — irreg., C -major. 5. Allegro. (Ex. 21-2). ^ 1* — ^ ^ 4- C-m^or. irreg.. EXEBCISES IN MKLOBY-WBITINO. 39 "Wagnek. g^^ ^ ' f ^ r -^ recnrreuce, corre- apondiug nmasure. 6. Allegretto. (par. 37) E^g=^ ^S^ Beethoven. ^ ^ F. Ljrreg. — I y. Andante. I-reouiTencea.- Handel. *= ' » — • ^H 1 — • ± ■4^ *g I — irreg.- ■J LrecurreucB.- See also, Ex. 36, Ko. 10; Ex. 54, meas. 6, 7; Ex. 53, No. S; Ex. 62, Nos. 1 and 2; Ex. 80, No. 2; Ex. 100, Nos. 2. 7; Ex. 117, No. 11; Ex. 129, No. 13. Examine "Tone-Kelatioxs," Lesson 13, No. 4; 16, No. 2; 32, Nos. 3and4: 35, No. 3.) (b) UlnstrationB of a very common rhythmic irregularity in triple measnre, -which appears to demand nb justification (^* i* i*), are found in Ex. 32, No. 5 (end); Ex. 55, No. 2 (end); Ex. 56, No. 2 (end); etc. LESSON 9. A large number of 4-measure and 8-measnre melodies, with Irregul&r rhythmic measures, according to the above rules, — particularly par. 56. It wUl 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. 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. Then invent new ones, with immediate ref- erence to Irregular rhythm. iO EXEKCISES IN MELODT-WEIUNG. CHAPTER IX. EXCEPTIONAL SEMICADENCES. 57. The Semicadence, in the center of the Period-form, may be made, somewhat exceptionally, upon some other than the tones of the Dominant Triad (prescribed in par. 51 a). Any scale-step of the prevailing key may be chosen, thus to end the Antecedent Phrase; but it is well to avoid the key-note itself, as this is needed for the final (perfect) cadence. For example: Ex. 53. G-major. I t S ■ f 3^E fe ^^^ "AuLD Lang Sthe." i— *—*—*- ^ i -=-•■ -*sia- ■'—•—^ IV 3. :^ iSit f-major. * • Home, Sweet Home." D -*—&- -tt—»- Id Ex. 52, No. 5, the cadeoce of the first Phrase is made upon the Tonic ; this is very ezcep- tipnal, but, of course, possible. 58. Further, the semicadence-tone may occasionally be shifted to the second beat of the group, especially in triple measure (3/4, 3/8, 6/8), instead of falling upon an accent (first beat of the group) as prescribed. In this case it should, as a rule, be preceded (on the accent) by the nexi higher, or next lower, scale-step, as obvious grace-note. Thus: ' Ex. 64, #^=^^^ -±=±q=d— ^ =£; -H — r- =?=^ I42.4_^t=tb= G-major. EXEBCISES IN UEIiODY-WKITma. 41 Frt FOLE-SONG, ^ H« V- (par. 666). -»—f- ^ tr -•— i^ : i» f ^ -^■ -g—-S^ i I (Ex. il-1). See also, Ex. 36, No. U; Ex. 57, No. 2; Ex. 58, No. 1. LESSON lO. A number of 8-measure melodies in Period-form, with the exceptional forms of semicadence explained above. CHAPTER X. SYNTAX OP 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 grouji, may assume the form — (1) Of an exact Eepetition; or (2) Of a Sequence. 60. The " Eepetition " is a literal recurrence, upon the selfsame scale- )s. Thus: 1. Moderator FOLK-SONB. Ex.55. B=3^^J=1 =(=p -^— *- t=l= . rept-f itiim i tf 3. AUegretU>. ^ Pfe^^^S^^ *=-?-=* -*=i ^z=^ — • — » ^= I pronp tt Bhahms. i E^ group J L rep. -I (par. 566) 42 EXEKCISES IN MELODY-WKITING. 3. Allegretto. fca BUAHMg. -!■-•- I -^ — Kt '^ ^ zi: ^ , group C-minor. LS £_ , repetition (isolated rhytli. iireg.}. 61. The "Sequence" is a reproduction of the group of tones upon other scale-steps, a certain interval-distance above or below the original tones. Thus: 1. Moderato. Ex.56. Mendelssohn. ie * -*-. * r- ztzt: *-^ D. L group I . aeqnunce 3 steps higher. 9. Allegretto. Bbahmb. m m i E. .group sequence (par. 56 b) 1 step higher. 62. The initial group or figure, to be reproduced in either of these -ways, may be of almost any length; but it is frequently exactly one measure, and, in any case, it is almost certain to correspond to the fundamental rhythmic groups, i. e., to include 2, 4 or 8 beats in duple Measure, and 3, 6, 9 or 12 beats in triple Measure, — similar to the conditions of par. 37 (which review), and for the same reasons. Further, the group may begin upon any beat of the measure. For illustration: 1. Ex. 57. -fe^ 4=?=^ s s (par. 56 a) rOLK-SONG. ^3^ ^=^z -w—»- -* P p- p I group I I seqnence , X step lower. i 3. ^ ±=t: F. l: i =^ .j^=*^ MOZABT. m flequence, 1 step lower. -J At Ex. 55, No. 1, and Ex. 56, No. 1, the initial flgnre is one measare long, beginning with tte last (the unaccented) beat. At Ex 57, No. 1, it is very brief, — one short nieaanre, beginning -with the accent. At Ex. 60, Ko. 1, it covers two measures, beginning with the second beat At iEx. 57, No. 2, it is very long, — four measures, or an entire Fhrase. At Ex. 55, No. S, it begins upon the 6th beat of the 9/8 measure. Illustrations of the rare recurrence of a group of lesa or more beats than the fundamental Thythmlc group cuntains, are giveu in Ex. 62. EXERCISES IN MEIiODT-WElTING. 43 63. The recurrences, by Eepetition or Sequence, may take place at any point in the Phrase or Period; though they are most common at the begin- ning, — and, in any case, must represent corresponding rhyihmir, pulses (beats or measures), as indicated in the last clause of par. 56. In Ex. 49, measure 3 is a sequence of measure 2 (three steps lower) ; and measures 5, 6 and 7 are the repetition of measures 1, 2 and 3, that constitute the "parallel construction " of the whole Period. In Ex. 50, measure 2 is a seqaence of measure 1, and measure 7 a sequence of measure 6. In Ex. 53, No. 1, measure 6 is a repetition of measure 2. 64. Besides the obvious structural merit of such unified formations, there is 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 ike point of contact of the symmetrical groups, or, (2) During the sequential recurrence of any perfectly faultless initial group. This rule is analogous to that of par. 56, in reference to the amelioration of irregularities of rhythm, — by symmetrical recurrence. For illustration: X. Andante. (Ex. 43-a). Grieg. ■ g"''P "• =• \J!2l I (par. 566). G-minor. 3. Any tempo, (Ex. 31) i (Ex. 16) ^.»«. E|?-!i -i I J 73 | |ir:^hTv-j-j -- gj ^£a (Ex. 8) N. B. 5^^ i It C. I group seq. 4. Lento. 1 (Ex. 29) (par. 6 c) (par. 6 a) N. B. N. B. ^ L. Stark. ^5 — »H-«- -|— J ^^^ -)i—»- D. . group . N. B. I sequence etc. 5. AUegro. m (Ex. 8) N.B. u Chopin. Db. . STonp :^^=^ u EXEBCISES IN MELODT-WKITmO. 65. The manifest importance of brief rests, at the end of the symmet- rical groups, to emphasize the effect of their recurrence, and exhibit the syntax of the Phrases, is demonstrated in Ex. 47, Nos. 1, 3, 4; Ex. 56, No. 2; Ex. 59, No. 3; Ex. 60, No. 3. Eeview par. 49, and see alnn, Ex. 49, ]!To. 1 ; Ex. 50 ; Ex. 52, No. 4 : Ex. 56, TSo. 2 ; Ex. 59, Nos. 3, 4; Ex. eo, No 3; Ex. 64, No. 3; Ex. 95, No. 3; Ex. 100, No. 1. LESSON 11. A large number of 4 and 8-measure melodies, -with symmetrical repeti- tions and sequences of tone-groups, as explained above. CHAPTER XI. MELODIC SYNTAX, CONTINUED. REPETITION AND SEQUENCE, MODIFIED. 66. The recurrences of tone-groups, both as repetition and as sequence, need not be thus exact, as shown in the preceding chapter, but may be modified, or varied, slightly (not to such an extent as to render their recog- nition difficult or uncertain), as follows: (a) By adding one or more intermediate tones; — possibly, also, by omitting particles of the initial group ; (b) "By altering one or another of the original intervals of melodic succession, — widening a step-wise progression to a narrow leap, or a nar- row leap 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 chang- ing the original direction at any point. Thus: (par. 666) „ N. B. Chopin. Ex. 59. F-major. i 3. Moderatn. G. I group FoLK-SONa. i , mofl. Peq, etc. EXERCISES m MELODY-WBITINO. 15 3. Allegretto. 3t3 N. B. FOF.K-SONG. I -4= i- z*~^i G. . gTonp — »-.- (expaiiiled) iiitid. Heq. (coiitrautbd) . I mod. «eq. 4r. .i^ZIe^o. Beethoven. iS i 4 - ±±± i3t±±: _ group. 5 D. I 8th-lintea I I "Pq. -I I "•''■ _, I seq- I I seq. 5. Jfoderafo. EuBrasTEiN'. — I •- , seq. mod. ^ , seq. exact , ^ seq. rood, "(v) 6. AUegro. (Ex. 35). ^ Cbopin. I group, I 2 beats L sequences, exact. 70. Finally, the recurrence may be modified by being turned bodily in the amtrary direction (i. e., upside down). This is an excellent device and 48 EXERCISES IN MELODT-WRITDJa. should be freely exercised. In this case, particularly, the recurrence should appear in corresponding rhythmic location (not shifted, as seen in ^x. 62, but according to the rule of par. 63) ; and, as a rule, should not be subjected to any further confusing modification that may obscure the syntactic pur- pose. Thus: 1. Largo. Beethoven. Ex. 63. ■^ -? S- contrary direction. H im n.. S, Largo, or: S Brahms. T r "1 ^, Any tempo. H X 33n i-5=l::f=ir^t -P ^ coiit. dir. ^ j rep. 1 ^^ i * . nioclified ^^^^ #- I ffTonp '■ 1 cont. dir. I mod. . cont. dir. , 4=. (Ex. 52. No. 2). :^s Mesdei^sohn. £^ ii 1^ 'J m I gT-onp contr. dir. 5. Maestoso, -4 s =l=4=t: ■Wagnee. a s -»-* -&-•- -^-•-^- =it* -t-t-^ pronp J cont. direction G. Fiuace. ^ ^:^ Bizet. I ^ ^ -^—•-it — ?> 1 — m ^i^^-!L , ■#■ group orig. dir. 7* -SfoZto T^derato. -^— N- -1 L parti; cont. direction • gronp 8. ^ Allegro. (par. 36) :?2= (par. 27 n) (280) (26) partly J J cont. d irection (par. 81) - (26) (28 a) E-minor. -J L oont. dir. (26) BXEBCISES IN MELODT-WKlTlNa. (Ex. 43) 49 Brahhs. ^m i > r — I- — » _l L mod. recurrence See also, £x. 7, No. 4. first three tones, measarea 1 and 3. LESSON 12. A large number of 4 and S-measnre melodies, with recurrences of tone- grotips, by repetition or sequence, modified in the manners illustrated. Each deTice is to be exercised successively, in the order given above. Major and minor alternately; various species of Measure, from 2/4 to 12/8. D'o changes of key. After correction, a few of these melodies may be harmonized. CHAPTER XII. MELODIC SYNTAX, CONTINUED. THE PERIOD, RESUMED. 71. The recurrence by Sequence may be utilized on a broad scale, as a guide for the movements of the Consequent Phrase of a Period-form. In this case again, as in par. 52, the construction is "parallel," the only di£ference 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 miire Consequent, but through a portion only. Thus: 1. Antecedent £z.64. i 2ES Q , groop Consequent FOLK-SONG. ^ r r i l-r-Hi i^r Seqaence, entire, slightly mod. 50 BXEECISES IN MELODT-WBITINO. 3. Antecedent ^ (changeof key; par. 81) q=)= W -r> It i): 2=±i^ :(£ G-minor. , group ConBeqnent pj=d?: i IIBKDEI.6B0HN. :t=t i S ^^t^=l=^^^Fi^ = t* ^ I "'■ . Sequence, partial 3. Antecedent ^^ ^ -f—^ '±^=t P^=^ Eb. I group CouRequent N. B. #. "■»• ♦ MOZABT. ;5^ ^^ =^ T Sequence, sliglitly mod. See alao, Ex. 57, Ko. 2; " Tohe-Kblations," Lesson 48,-3. N.B. — In Noa. 1 and 2 of the above example, the cadence-tones are not defined according to the rules of Chapters VII and IX; but the pupil can easily (and must, yet awhile) adjust his own exercises to those rules. 73. Analogously, the device of recurrence in Contrary direction (par, 70) may be applied on the same broad scale, to the construction of the Conse- quent Phrase; — possibly throughout the latter, though much more probably during a portion, only, of its length; and, almost certainly, 'with some free- dom in regard to the laodiflcations explained in par. 66. Such melodies are known as Periods of "opposite construction"; corn- pare pars. 52 and 53. For example: 1. Antecedent Ex. 65, I - ^ Becnrrence in contrary direction. 3. Allegretto. =3=tt ^ =¥=^ EXERCISES IN MELODY-WRITINQ. Eecurreuce, largely in cou tr. direction See also, " TONB-BELATIOliS," Leeson 18, No. 7 ; 22, Ko. 3 ; 27, No. 1 ; 48, TSta. 6. LESSON 13. A large ntimber of S-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- tion) is to 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) of the Consequent are derived from the corresponding measures of the Antecedent; — not necessarily the beginning; the derivation may occur at any point. Major and minor alternately. All species of Measure, up to 9/8 or 9/4. No changes of key. Eeview, carefully, the directions given in Lesson 8, and apply them, where suitable. CHAPTER XIII. ALTERED SCALE -STEPS; MAJOR. 73, The Scale-line may bw modified by the chromatic Inflection of certain steps ; or by the Substitution of such chromatically inflected steps for the corresjiondinu; oiigiual ones. N. B. — A chromatic progression is the inflection of a letter, by means of an Acci- dental. The chromatic inflections are to h9. effectuated strictly in accordance with what are known as the " Altered Scale-steps. " 52 EXERCISES IN MELODT-WKITINt*. These are as follows, in the major mode (arranged in the order of theix frequency and excellence) : Original Scale-steps: Ex. 66. -I _^_ ^ _, C-major, tUronghont. Altered Steps (-)- indicates raised, -. indicates loirered): Less oommon : ^ ^^^m i: ^ 6th Step, 4th Step, lowered. raised. (marked 6 — ) (marked 4 -H) 2d Step. 5th Step, raised. raised. (2+) (S-I-) 1st Step, 6tta Step, raised. raised. (1 +) (8 +) 74. SnMMABY: Every Scale-step in major may be chromatically raised, i. e., inflected upward, — excepting the 3rd and 7th Steps (those which are followed, in ascending, by the half-steps). Only the 6th Scale-step, how- ever, may be lowered, i. e., inflected downward. 75. Every altered Step in major may appear, (a) Either as direct chromatic inflection of the original Step, that is, preceded by the latter; thus: Less common : Ex. 67. P -^—M 4=:t fefe ^ itirttJT ^ I See Ex. 72. C-major, tlironghont. (b) Or, as substituiion for the original Step. In this case, the altered Step may be approached from the neighboring Step, — best from that one which lies nearest the altered tone; and, as a rule, so as to avoid the interval of an augmented 2nd. Thus: A. Ex. 68. rteE ^ C-major, throaghont. ^ -^-r ^ B. rare: %-^^t^^rjY^J\lMn^Jk ^ ^^4^ ^ m Angm. 2nd8 (camp. Ex. 38). (c) Or the altered tone may be approached with a leap, exactly accord- ing to the rule of par. 28 a; i. e., with a skip from any not unreasonably distant tone downward to a raised Scale-step (because of its upward resolu- EXERCISES IN MEIiODT-WKITINa. 63 tion, — par. 76 a) ; or from any tone upward to the lowered 6th Step (because of its downward resolution). Thus: (all good) (Ex. 72) Ex.69. l^^^i^fcK^^ C-major, thronghout. (all good). 1^ ¥=i^^i=^ (d) Very rarely, the raised tones may be approached with the opposite leap, namely, from below, — in the direction corresponding to their reso- lution. For example: Ex. 70. w all??jt4 + -*-r. — ^"F h- all ? ? a - ..f^-^^^^ ^^m ^ C-major. (e) On the contrary, the lowered 6th Step (being a more natural inflec- tion than any other of the altered tones) may easily be approached with an irregular skip, from above, — only, however, along some obvious chord-line in the prevailing key. Thus: good (Ex. 42) (Ex. 40) Ex.71. 76. (a) The regular (to a certain extent obligatory) progression, or Resolution, (par. 7), of the altered Scale-steps is as follows: The. lowered Step descends, — generally step-wise. The raised Steps all ascend, — generally step-wise, i. e., to the next higher Scale-step. Thus: Ex. 72. ^fe ^totft g£ ^^p^g^t^f=H fe^ C-m%jor, througbont. (h) Exceptions : The lowered 6th Step, for the reason given in par. 75 e, may leap upward or downward, along any obvious chord-line. This is also possible with the best raised Steps (namely, the raised ith and 2nd), but rare, and hazardous, because of the difficulty of confirming an obviotis 54 EXERCISES IN MKLODY-WBITINa. ohord-line, without cancelling the prevailing key; see par. 77. For illna tratiou : (all good) (no choTQ) Ex.73. m^^^---=:\^i^^ ;but : — (7^ -. ^ I or :— 17^ :l==tei C-major, throaghoat. j?;1 ??! (Ex. 40) More rarely; 4+ 2- Improbable chord-lines, in C. 32fc t7 II' i ^=J= ?? F^ ??? f'c^ Further, the raised 4th and 2nd Steps are, rarely, pressed chromat- iccdly downward to the original tones, — exactly according to the principle of par. 10, which review. Thus: Ex.74 P N.B. 4 + tsjftEi^isiiS ±^^^^ I (not gb) C-majoT. (not eb) 77o The inflected tones are not to be 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 re- main the same throughout each Phrase or Period-melody, — for the present. For general illustration: Ex. 75. :&SE 1. Allegro. S -f •- ^ Beethoven. Ah major. i?t ^ F= =f=r a 2. AlUgro. Beethovem. I ^, :e?eE I Air 'mi^or. 3. AUegro. (Ex. 68, B) SCHUMAKN. m^ ^ =p=^ =s=q:?^ i :^ :|iJ^=- Frfl E-m^or. 4. AHegretto. Chopin. S U-H^ i lK=t A-majoi, thronghoat. EXERCISES IN MELODY-WRTITNa. 65 5> Andante. SCHUBEUT. m ps^ ■f. ^ '$< ^S I :i^ -•-* D-major, througbuut. G. Moderato. SCHUBBBT, mi *: :a *- ±=:i-- liz -zr- Wagxee. D-mujor» throughoat. 7. Largo, . 4+. tel^ ^B ^ i*-r- i i'-y- (Ex. 74) A&-m%jaT, thronghont See also, Ex. 62, Ko. 2 (cf ) ; and glance at par. 83. LESSON 14. A number of 4 and 8-measTire melodies, in Major, with occasional in- flected Steps. The alterations must not be so brief as to appear to be "grace-notes" only, but must be obviously essenftaZ tones; as a rule, not less than a full beat in length, occasionally longer. Ko changes of key are to take place (par. 77). The first few exercises are to contain the best altered tones, and the regular modes of treatment; then experiments may be made with the more exceptional forms. Eeview par, 9 a; par. 30; par. 39. CHAPTER XIV. ALTEBED SCALE-STEPS; MINOR. 78. The inflections of the harmonio minor scale are as follows (in the order of comparative importance) : Ex. 76. Original Scale-stepa. (Ex. 37) Altered Scale-stepa. 4 + B. _,^^ is^ -0m. =#*= I C-minor, throughout. 4th Step, 7th Step, 6th Stop, 2iid Step, raised. lowered. laiued. lowered. 66 EXBKOISES IN MELODT-WKITING. These can not be as conveniently summarized as the altered Steps of EQajor; they must be indejjendently memorized. 79. The rules for their treatment are nearly, though not precisely, similar to those governing the altered Steps of major. (a) The raised ith Step (which appears alike in major and minor) is the only one that may occur both as chromatic inflection of, and as substitution for, the original Step; i. e., it may be introduced chromatically (par. 75a), or from the nearest neighboring Step (par. 75 6), or with a skip from any higher tone (par. 75c). Thus; Ex. 77. (all good) Tare: (Ex. 68 B) tefe -4 ^-^^—f ^^=^ i G-minor. tlirougbout. angm. 2nd (b) The other altered tones, in minor, should not be introduced chro- matically, but may appear only as svhsttiviions for the corresponding Steps; best approached, as usual, from the nearest neighboring Step. The intro- duction with a leap is more rare, — excepting in the case of the raised 6th. Step, which maybe approached from any higher tone (par. 75c); and the lowered 2nd Step, to which a skip may be made from either side, along the line (f an obvious chord. Thus: Ex. 78.^ fe-p— ^^ t=EF dS^ Efe (only thus) C-mJnor, throughout. S s**- ii^^i (all good) Only aa changes of key (Chap. XV). I II ir 80. As in major (par. 76 a), the raised Steps are resolved upward, the lowered Steps downward, — generally to the adjacent Step. A few excep- tions are possible, as seen in the following: Ex. 79. i 4 + —Siii^rrz ilti^iilat: C-minor, throughout. Exceptional. (only thus) ^ (par, 76 c) (par. 38 i>. .) n good EXERCISES IN MELODY-WRITING. 57 For general illustration : 1. Allegro. Ex. 80. > I* ^5=t= if- .f ^ig: Bbsthotbn. -^—0- 1/ L ! I E-minor. F minor. i 3. Vivace. i- -^ MBmjsLssoinr. » i p^ i$t B-mlnor. 4. Allegro. MSITDBLSSOHIf. 4+ 4 + O-mlnor. 6. Allegro. Mbndelsbohn. i ^ 1 ^^w^ m^ tet -J>> — ^ ^ :^ g> . G-minor. N. is. . 6. Adagio. RnEINSTBIN. i^ -^ i „ r J— s^ 3=J=5=tJ=3trtt:^ t^3^ E-midbr /change of keyN „ . VT \ par. 81. ^E-minor i * Thie b'flat le a Don-eeseotial embellishing tone. See also, Ex. 64, No. 2 (Bl2 in Snd measare, FJ in 7th measure). LESSON 13. A number of 4 and S-measure melodies, in Minor, with occasional in- flected Steps. Review par. 39 ; par. 77 ; and all the directions given in Lesson 14. 58 EXSBOISES IN UEIiODT-'WBinNQ, CHAPTER XY. MODULATION, OB CHANGES OF KEY. 81. A melody may be conducted away from the line of its own scale, into that of some other key. This effects a so-called Modulation. The change of scale may be permanent, or it may be only temporary. In the first case, the melody, after passing over into the new key, makes its perfect cadence upon the Tonic of the latter. (See "Tonb-Eelations," all of Lessons 38 and 39.) When, on the other hand, the modulation is tem- porary (or transient, as it is called), the melody follows the line of the new scale only for a time (a few beats), and then returns to the original key, (See " Tone-EbiiAtions, " aU of Lesson 40.) 82. BxTLE 1. — The original scale should be exchanged only for that of a next- related Icey. Of these there are five, namely: one with the same signature, two with the neoct higher, and two with the neoct lower signature (i. e. one sharp more or less, or one flat more or less). Thus: »a-minor ([J-signature] IxCr-major (Jt " From C-major (t| -signature), into<^e-minor (J " |^F-major(tr " 1 d-minor {^ " ^ A-major (Sjf-signature). CoE-major (4jf " ). Or: from fJt-minor(3Jf-signature), into .^^cj-minor (4J " ). IvD-major (28 " ). ^b-minor (2J " ). I f-minor {# -signature). Or: from At^-major (4|T-signature), into < •• X Efr-major (Sir o-minor (3^ XDl7'-maior(5l7' btT'-minor (5l^ N. B.— Capital letters indicate major keys ; small letters, minors. 83. EtrcE n. — The change of key may be made at any point in the Phrase, upon either an accented or an unaccented beat. But it must, — at present, — take place after one of the three tones which constUvte the Tonic chord. EZEBCISES IN MELODY- WKll'lNG. 59 1 e„ either after the 1st, the 3rd, or the 5th Step of the momentary scale (namely, the Inactive steps, par. 5). Thus: Ex. 81. C-msyor. . ^nto either one— -of the five next-— ^^T-elated keys — EE C-m^or. . ^ -^-jntonext-- ■& related— ; ^ k eys. — i 4- -into next — related. — keys. "- — n C-major.. 84. EuiiB m. — The deflection of the melody into the desired scale may, — after reaching one of the Inactive tones indicated in Bule II, — be effected by passing tlirough any one of the five tones which constitvie ike chord of the Dominant-9th, i. e., either the 5th, 7th, 2nd, 4th, or 6th Scale-steps of the desired key; — in other words, an entrance may be effected into the de- sired key through any other tJian its 1st and 3rd Scale-steps. (Even these may be used, as will be 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. 85. (a) If possible, the last tone of the first key . (one of the Inactive Steps given in Bule 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.- EZ.82A. „6 . G-mm. letc— |] 3. C-m^.- „ 5 F-iuaj. 3. C-m^.- ,— f ^^"''^H ,2 . d-min. (h) 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, — 60 EXERCISES IN MELODT-WKITING. SO that the Leading-tone, or some other tone tliat distinguishes the new keif from the preceding one, is instantly, or very soon, introduced. Ex. 82 A, No. 1, would be more definite thus: Ex. 82 B. 1^ ==i=;=t -^— ^ G (T)- i -not as ^oort, thus;- Ibut possible (Ex. 7) :- ::s=:?f= i 6 G- i -82 A- :no.3.i ^-^ a 7 d 86. If this mental transformation (par. 8.5 a) is not possible: that is, if the last tone of one scale does not belong to the coming key, then a chromatio progression will need to be made, at that poin^ — by simply inserting an accidental (see par. 73, K. B.). Thus: Ex. 83. : *E i lEx. 81-3) 7 A-minor. 87. (a) If such a chromatic movement be necessary, it should be fore- Been, and properly approached, i. e., in the cm-responding direction. Thus: Ex. 84. ES^ ■sr- 3=^ 7 d -minor. i INot as- — good," —thus :— Tfl ^3^ — ^ ^^^^^^ (h) Or, the chromatio progression may be prepared by a wide leap from the opposite side, involving a change of direction, according to par. 26. Thus: c -I c -1 _ Ex. 85. :e^e^ -3z -» — •-etc. - fe -^—»-. -»_3#- ^^'^'-fl BXEBCISES m MELODY- WKiTlNG. 61 xej Or, finally, the chromatic inflection may be avoided, in the melody itself, by moving step-wise in the opposite direction. This involves the as- sumption of a Diminished-7th chord (i. e., the Incomplete Dominant-9th, in its minor form), — where the new key begins; and implies that the chromatic tone is taken up in some other part of the harmonic body. Thus: ■ -| (oomp Ex. 84-2) Ex. 86. :fe C I w. k s^J— ^^^=^^^ 1*" (comp. Ex. 85-1) J- ^a r3=t 4: -•— #^ -^ -S*4- For general illustration (capitals, major; small letters, minor): Ex.87. I 1. ^oderato. fe^J ^-»- Efe- -^*iir -I Bfe- Bach. g=j= i i^ I r i 3. Attegretto. i Bebthotek. f- ^-f^f- ±±i -W-?4 t« i 7 - g ^ -'hJ-'h^^^HSr ^ f^'S^^ ^^- i G_ (par. 88) 3. Allegretto. iff3=^ ^ Beethoven. ^ i m ^*±t 4l> AUegro. 1%. (par. 87 o) (par. 88) Beethoven. ^g-ft •r«?- ■*• 3S: fe f: f: £ I M i l l ■42- ■p- p p • t==t I 4-*^ 3 1 G 4 + G_ 88. Whether the foreign tones in a melody are merely inflected Scale- steps (i. e. altered tones), or the indicators of Modttlation (i. e., change of entire scale, into that of another key), depends (1) Partly upon the location of the foreign tone in the prevailing key; for in order to serve as altered Step, it must conform to the lists given for xaajor and minor in Exs. 66 and 76. But, (2) It also depends, much more largely (very often entirely), upon the EXERCISES IN MEIiODT-WBITINO. option of the composer, who, in the majority of oases, may treat the foreign tone, in his harmonization, either as momentary inflection (without abandon- ing the key), or as a modiilatory tone (passing on into the corresponding new scale). LESSON 16. A number of 4-measure melodies in Phrase-form, beginning alternately in major and minor, with one (permanent) modulation in each, into some next-related key, closing with the perfect cadence upon the Tonic of the new key. Ex. 86, No. 2, may serve as a general model. Every species of Measure, from 3/8 to 12/8; the rhythm freely diversifled. An occasional altered Step may be introduced. CHAPTER XVI. MODULATION, CONTINUED. 89. The process of modulation is precisely the same for transient changes of key, as for the permanent ones illustrated in the 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 one of the five next-related keys, and, after a few beats, returns and closes upon the Tonic of the original key. Thus: Ex. 88. 1. Andante. Schubert. & ^ Sg^T=5=^gp=^#]=3^ ^ if -iU-jL J C- 3. Allegretto. Beethoven. (b) In the larger species of Measure (6/8, 9/8, 12/8), two or more tran- sient modulations may be made in one phrase; only, however, among the KXESOISES IN MEIiODT-'WIiinNO. 5 next-related ^eys of the original scale, and, in each case, returning to the latter and cadencing upon its Tonic, as usual. Thus: 1. Allegretto. Ex. 89. itb^ ,rv. ♦ ?^=&^t -^— 1«- =t=t =P=FF Li F_ -^=3- *-»- Beethoven. (par. 92) ^ f f » U d- T- F F 1 1 ] n ^' (G- 3. AUegretto. Beethoven. i ; r .7 ^7^1~i^ ^?-f^d : -^9-^ 7 .7 a c Li '^ a — i-i e 1 c. -*-^s- LESSON 17. A number of 4-meaBure melodies in Phrase-form: A. In the smaller species of Measure, with one transient modulation, and return (par. 89 a). S> In larger Measures, with two or more transient modulations, and return {pax. J^b). CHAPTER XYII. MODULATION, PEBIOD-FOEMS. 90. Changes of key may occur in the Period-form, at any point in either Phrase; but they are likely to have especial bearing upon the semi- cadence, which may be made upon either one of the three tones of the Tonio Triad (Steps 1, 3 or 5) of a next-related key. The best and most common keys selected for the semicadence are, The Dominant key (one sharp more, or one flat less, than the original signature) ; and The Relative key (the same signature). The Dominant key is particularly appropriate for the semicadence of a Period beginning in major; the Eelative key for one beginning in minor; 64 EXEBCISE3 IN MELODY- WRITING. though both are possible for either mode, — and other next-related keys alsa The most unusual is a semicadence in the Subdominant key (one flat more, or one sharp less, than the original signature). For illustration: Ex. 90. 1. Moderato. Antecedent, m m -'-"-r i ft conseq. ^ SCHUHANir. ^^ 3i 3. Andante. m (overlapping Scale- i m^ -•— ^ -#-^t- -#H«^ » g-minor— Bt- :feE linea; see par. 93) j? -^ . . * I* I * I ^ =t -#-f- Beethoveh. -0 f y I y ^ i =^ ->H- Bt- During the Consequent Phrase any transient modulations may be made, but the final cadence must fall upon the Tonic of the original key. LESSON 18. A number of 8-measure melodies in Period-form, according to the directions given in Chapters Vn and IX, containing modulations (and occasional altered Steps) as explained above. Every species of Measure; major and minor beginning, alternately. EXERCISES IN MEIiODT-WRITINa. 6S CHAPTER XVIII. MODULATION, CHROMATIC. 91. The change of key may be effected contrary to Rule n (par. 83),— namely, after other than the Inactive 1st, 3rd or 5th Steps of the key, — on condition That the melody progress chromcUiccdly, from the Step chosen to close the first key, into a proper tone of the desired key (Rule HE, par. 84). Thus: Bx.91. 5^E i (reg.) Bfbthotkn. -f— i t^ ' T^^ ' 4 d \ G I C- ^^ Bbbthovek. i -^ — *- 4+(paT. ( Bb_ Bfe- 3. ra I 1^ ^ ^^^^m ^ -•-p-i t^Si: 1 •\ d * J b_ -i a- C_ A. Allegro. 35 i 'J Y^ &^ -^ — «t -T* — a* » J G_ i^ 4«.- BSETHOTEN. -« 0- -^r-Hi it==t L) Bb- fS. ^n(2an£«. I Mekdslsbohn. *= H« #- I -# — • • *- -I I ^ = 66 EXERCISES IN MKLOBT-WBITINa. LESSON 19. A number of i and 8-measure melodies, illustrating this device of chro- matic modulation. Begin in major and minor alternately; all species of Measure (2/1 up to 12/8). CHAPTER XIX. OVEBLAPPING SCALE-LINES. 92. General exceptions to the three rules of modulation given in Chap- ter XV (especially II and III) may be justified by mentally transforming a certain tone or tones of one key (no matter -which scale-steps they repre- sent) into some plausible Step or Steps, — ^if possible into more urgent and suggestive ones, — of the desired next-related key, and then continuing along the new line, without the formal observance of strict rules of modulation. This may even apply to some more distant key, if melodic conditions are favorable. 93. Such overlapping of scales, — a very common, but more difficult and exceptional method of modulation, — represents the application of par. 85 a in a broader sense, and is based upon the general principle that a change of keif may cdways be effected at (or through) any tone that is com/mcm, to both keys concerned; — especially when two or m,ore such common tones appear in succession, so that the lines of the keys overlap for a number of beats (sea Ex. 90, No, 2, which illustrates the point very strikingly) ; — or where there is a pause in the mslodic movement (a tone of comparatively long dura- tion), which affords time to apprehend the transformation (Ex. 92, Nos. 3 and 5; Ex. 94, No. 5). This, it is true, will usually result as a matter of course from the application of the strict rules given in Chapter XV; but it has a much wider operation, and extends to many cases not included in these rules. For illustration: 1. Andante. Ex. 92. -( SCHUBEBT. -$^ fe i G 1- D4- -5 II -1 7- G6- — 2- ■ o — *■ 111 Frt 3. Andante. SOHUBEHT. Il=q: i i -«*- I 3. Allegro. (keys not next-rel.) SCHUBEBT. ^ite= U I- (i>;inse) i Bfe- EXEBOISES IM HELOSY- WKITINO, 67 •4. Allegro. Brethovxn. ^c^.iijri\i- i=t (Ex. 66) m -* • I §3^t^|i^L^ ^ 5. Allegro. (Ex. 66) Chopin. ^ -» — # << »~ a^ ^f^^^t^^- Db- (pause) 6* AZZeyro mod. ^ I J < * ¥J=t ih» ' S ^^= ^=^=^1 ^ _<__^. •-•^^ir ^ Bkahms. I|i^; J '' W :== ^^ • s 4 1 4 -* t. Andante. 1^1 A\t I 1 -^— i ^ szzirji ^ T-#--*-i-^- ^ 5 O bb_ Eeethovek. m ^=^ fe^^^^ ^^zxzfcLTijJl bti^t ^ ^^=s=H -< . ii ^ i. y*f ^ blr- Ab_ 8. Largo. M\ CHoriN. ^ -(f)- -!-■' ^ ^■ Ab- 68 EXERCISES IN MBIiODT-WBITINa. 94. This agreement of key-lines is frequently turned to account in substituting the opposite mode (i. e., major for minor, or minor for major) of the key toward which the modulation was obviously directed, according to the rule of next-relationship. This is usually an easy exchange, because the lines of the corresponding major and minor keys (i. e., corresponding in key-note) are so nearly coincident. See Ex. 37. For illustration: Ex.93.Efe^^* 1. AlUgro. ^ >^^T'j;» (par. 95) _V-«-, IV- -^-—±sSE?i Wasneb. V- ^ ^1^ ^ :^JJf^ d -mi nor— D -major- 3. Andante. 1;^ (par. 91) Men-dslsbohx. ^ E=t: I I I ^ A ' J Cb-niinor_ I B-major— LESSON 20. A ntimber of 4 and 8-measure melodies, with modulations througn common tones (by overlapping scales), as explained above. At first into next-related keys only. Then experiments may also be made with mora remote keys. The general haAuonic (chord) basis must be kept well in mind. CHAPTER XX. MODULATION IN SEQUENCES, AND AT CADENCES. 95. The broadest range of exceptional modulations is that afforded (1) By sequential recurrences (par. 64) ; and (2) By taking advantage of any sufficiently wett-deflned pause, or break (or cadence), in the line of the melody. Sequential recurrences generally involve, of themselves, such "breaks" in the melodic line, — at the points of contact. The "breaks," or cadences, may, however, be created by many other means. For example: „ 1. Allegretto. ^__ Mendelssohn. Ex. 94. tip- t: E^ -T-i^ 3it: 1 (sequences ; all next-rel. keys) EXEKCISES IN MELODT-WEITING. S. Largo, Beethotbm. i ^&= ^^\=^^ m ESSEH: --^- ■M—*- ^=^ J Bfe 1 i — • I ;: :*^' ' ' ^i? d(2-)- ffiitn7t[^ ^ £^ t 5V^ ^p^fea * (aeqaenceB ; keys remote) J B ( Bb 1 a:: i :fet 4. ^Zle^^. Pe :t=:£ -*— aH ^^ ±zi: 5 * ^ * *^ ^ F^i^ i (par. 64), Beethoven. m -f ^- 1 ^ -iKi: ^^b^ EE^ -f etc. 5. AUegro. ^^:.^if'f-^£^^ 1 \ ^ • ' g - cj- a BlUHMB. fe=a?SE|^_^ Sm—*— — 0- ^^=i:=^n=^'- J I i*=fl!t i 70 EXERCISES IN MEIiODT-'WiaTINO. 7. Lento. cad. V Folk-Sons. I * m -) G- 8. ..litej^retta. "¥^' ^ :^ A:Jt^J_^-i-+- ^ F«- Efe- Chofih. az(2+)- -(1+)- See alao. Ex. 91, Ko. 1; Ex. 92, Ifos. 3 and 4; Ex. 95, Nos. 4 and 5. LESSON 21. A number of 4 and 8-measare melodies, with modulations in sequences, and at cadences or interruptions, as shown above. The transitions may be made either into next-related or remote keys, at option; and the melodies may close in any key, — best, however, upon the original Tonic. All species of measure. The sequences, and all breaks in the line of the melody, must be distinctly defined. A few melodies may finally be made, extending beyond the reg^ar 4 or 8-measure dimension (5, 6, — 9, 10, 12 measures in length). CHAPTER XXI. OHKOMATIC MELODY. 96. The principle of chromatic succession enunciated in par. 91 may be extended to a longer series of chromatic tones, — generally in similar direc- tion. Such chromatic lines may represent a succession of brief and abrupt changes of key; or, as is far more likely, they may embody simply the prin- ciple of altered Steps (Chapters XIII and XTV). EXEB0ISE3 IN MELODT-WBITINa. 71 In the latter case, thotigh they assert themselves (by their time-vahies) as essential tones, they prove to be, in reality, no more than intermediate tones, inserted between the tones of certain chord-lines in such a manner as not to overpower the impression of the prevailing key. For illustration: 1. Allegro. Ex. 95. 4=P= =t i — ^Si 1 r^ 1 2. =B (x raised Soale-stepa.) et- Bebthovem, i tf m '-f-0- =t:r^=p: fc ^ p rl}- f-'^T.r I I* — ^- =t=t (y raised Steps) 3. Andante. Mekdelbbohh. f|^ ^uitti^ -^^ ^t-JVr4f4 ^^ 3. AlUgro. (Ex. 106) m iisz ^ -*-j — ^ ^ < — • — — ^ t=M= =1=F MOZABT. I; f • {^ I H' i] ^ l> ,^ , rv l -p -i- I Ef ^=^ (modolatioDB) a- 4. Presto. Mendxlssohs. S. AUegretto. (par.95.al8o) Chopin. 72 EXEBCISE8 IN MELODX-WBITINa. LESSON 22. A number of melodies, 4, 8 or 12 measures, with occasional continuous chromatic successions. The chromatic tones must be obviously essential, each not less than a full beat in value; and, as a rule, the succession should not extend beyond 5 or 6 tones. CHAPTER XXII. THE DOUBLE-PEBIOD. 97. The Double-period generally embraces 16 measures; that is, four Phrases of four measures each, closing respectively with cadences in the 4th, 8th, 12th and 16th measures. Compare par. 50. 98. (aj The first of these is a light semicadence, and may be made upon any Step of the original key, as no modulation is likely to occur during the first Phrase of this longer design. (b) The second one is apt to be a perfect cadence, falling upon the Tonic note of some next-related key, — best, as indicated in par. 90, the Dominant key (most commonly in a major melody), or the Belative key (usually in a minor melody) ; or perhaps the Relative of the Dominant; very rarely, either the Sub-dominant or its Relative. (c) The third one is again a light semicadence, and may fall upon any tone of the Tonic Triad (Steps 1, 3 or 5) of that next-related key into which the melody may have been conducted; for, during the third Phrase, modu- lations may be freely made among any of the next-related keys, — rarely to remote keys. The best keys for this cadence are, either the Sub-dominant or its Belative. (d) 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 the regular perfect cadence, upon the original key-note. 99. (a) The designs given in Chapter VII, in reference to parallel and contrasting construction (par. 52 and 53), must be closely followed in the second half of the Double-period (i. e.. Phrases 3 and 4): at first, the whole of Phrase 3 must correspond (perhaps with a few slight changes) to Phrase 1 ; and the greater part of Phrase 4 must pursue the line of Phrase 3, — until the necessary difference of cadence asserts itself. (b) Then, in each succeeding example, the parallelism is to be dimin- ished gradually until, ultimately, the second pair of Phrases differs entirely EXEECISES IN MELODT-WRITENG. 73 from the melody of the first pair (totally contrasting constmction). For illustration: 1. Andante tranquillo. (Strictly parallel construction.) 1. 2. Ex.96. wm ,*-v ^-■-•—7 f -N-- ^-* » * ^ E-major. throngbout. :« (par. 56) W- B^ j=^ -*— ^- 3=3 ■•—'-»--* — ::^-.2 -likel.- 1^ m 10. 11. 12. 13 14. MEKDEL6B0HN. 15. 16. I -like2.T -like 4. like 5. -like 6.- -r- V I 3. Allegretto. (Partly parallel construction.) i :t: P I I ¥- gffg^ • j i ^ I * -B* * like Phrase 1 1 V I V Schubert. ^s i^^S tH-*- 75l ^ I Q 3. Lento. (Contrasting constmction./ I (Ex. 108) V J M ! *^ d=:t m :?z= -* d «- *—J- jtz± Bb I El^ y^=?^ 4 •- ^£ 4—^ U - i 4 4 r 1- MOZART. I 4 4 4 - Bfe f > X - 4 4 4 O 4 Eb- 74 EXEBCISES IN MEIiODY-WBinNQ. LESSON 23. A number of 16-measure Double-periods, according to the above direc- tions. Beginning in major and minor alternately; modulating at option; the principal species of Measure (3/4 4/4, 6/8, 3/8, 6/4, 3/2, 9/8). The harmonization of these melodies, after correction and approval by the teacher, may be undertaken hj pupils familiar with the process. EXEBCISES m UKLOOY-WBITINa. 75 DIVISION TWO. UNESSENTIAL, OR EMBELLISHING, TONES. CHAPTER XXIII, DISTINCTION BETWEEN ESSENTIAL AND UNESSENTIAL TONES. lOO. Not all the tones in a melody need be essential, i. e., calling for special consideration in the process of harmonization. Many tones may be, and generally are, no more than unessential adjuncts of the principal (i. 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 illnstrations. simply be- canse their employment in composition is so common that but very few examples coald be foand 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 con- stitute the subdivisions of a beat, one or more are almost certain to b& unessential. But this is only the general distinction, — the true one depending, aftet all, upon the relation of the tones, whether short or long, to the prevailing chord-line. For illustration: 1. ( all easential) 3. (x inessential) Ex.97. ( all easential) ». (x "nssBenHaH This being the case, it follows, here again, that a melody must be de- signed with strict regard to some harmonic basis, or subconscious chord- concept. (Beview pars. 15, 23, 38.) The tones which agree with the momen- tary chord are the essential or harmonic tones; those which differ from it 76 EXERCISES DJ MEIiODT-WBlTIKS. are unesBential embellishing, or inharmonic tones. Thus devised, or thus articulated, a melody is easy to harmonize. THE SUSPENSION. lOl. BcLE I. — Any tone which progresses step-wise (along the scale-line, or chromatically) may be tied to the following, next lower or higher, tone, alid thus be held over during a fraction of the value of the lat- ter, as embellishment by Suspension.- Thus: i Cx. 98. IP Original line- Embellished with the Suspension (s.) =1 tE^ ^^ m^^ ^ origiual line embelUshed 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 succes- sions, especially when applied to tones which have a natural upward ten- dency, like the 7th scale-step (Leading-tone), or raised Steps. (b) The obligatory movement of the Suspension forjrard into the essen- tial tone, is its Resolution (par. 7). fc) If irregularities of rhythm result, they may be redeemed by recur' rence, precisely as shown in par. 56 a; see Ex. 100, Nos. 2 and 7, (d) Instead of using a tie, the tone may be struck again, as repetition: Ex.99. (Ex. 98-7) _> I EZEB0ISE3 IM UEIiODY- WiUTlKS. 77 And in fact, in this form it may signify no more than simple tone- repetition, as indicated in par. 9 a, and practiced freely in all the preceding lessons. (e) When applied to single tones in a measure or group, the best gen- eral effect is obtained at (accented beats (as in Ex. 98, Nos. 2, 6 and 9, and in the majority of the following illustrations). But it is possible at the begin- ning of any beat, especially when occurring repeatedly, either in immediate succession {Ex. 99), or as recurrence at corresponding points (see par. 102 c). (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 cbord-line< For general illustration: 1. Allegro. Ex. 100. M EE=:£==e=zt =t=t ^E Original line^- chord- line embellished with Schubert. .1^ .— , i ig p^ f-^h*- ss #-^ -5=¥^ ■#=5- te±t SDspensions- 3. Allegretto. ^. m -j — etc. -#— • 1 — r-t -p— #- ^= Al7. Original form- embellished form SCHUBKKT. 3. AUegretto, ^ ^^^ W ifcr^: i^z-Sz-t ^ s t=l Ab-1 major. Db-msgor. Repetition, emb. felE W - M— i- ^-f-* ^ »=f^ -p — •— -» :«=t chord- line Beethoven. 78 EXERCISES IN MKLODT-W KITING. 4. Lento. m m irz-'^-^z Origioal form- emb. form SCHUBEltT. I fe =&=! i -^—-^ =p=i=f S. Moderaio. Schubert. Hg-- f \ r - f i -0 !&■ Original form- 6. Largo. embellished ifei -!-W- -# J^=5- P-3 a Bbetbotek. i ( J i..^ 'tT'^T-*-'^" *_ L> ^_1 — *-T- ^ 'l:: ^ ^ * Beethoven. ^J^ TR ^ ^ i S> Andantt. Mendelseohm. fc i & ^i=^ -» — ^ I « i - "Tohe-Bblationb," Lessons 57 and 58. LESSON 24. A, Take a nnmber of former 4 or S-measure melodies, and embellish them with occasional Suspensions, where convenient and effective, according to the above directions and illustrations. B. Invent a number of 4 and 8-measure melodies (major and minor alternately) with special application of the Suspension. Use all species of Measure, and modulate at option. The pupil must not only hear each tone distinctly as he writes it, but must endeavor to i-ealize the chord-basis also (i, e., the harmonic accompaniment). BXEBOISES IK MEIiOST-WRITIMa. va CHAPTER XXIV. THE ANTICIPATION. 103. RtniE II. — Any essential tone in the original (simple) melodic concept, or any weighty tone, whether essential or not, may be anticipated npon a fraction of the preceding beat, — usually a very brie/ fraction. Thus: 1. Lento. Ex. 101. i -t- :t ± 1 Original form- Ant. Ant. Ant. Ant. Ant. sd ^-^^^. fea^^ga ^^fefl^^ Schubert. Embellished with Aiiticipatiou8'(Ant.) 3. AlUgro. B-miQOT. 80 EXSBCISES IN MEIiODY-WKmNO. 5. A.ttegre. cifizdr i feE P^ -» — t- -*-»- ^^ tt a* *- Mendblbbohn. 2:* jL Ant, 6. Lento, Chopim. Ant. N. B. — This embellishment involves tone-repetition from one beat into the next, as in the Suspension, and is often not distinguishable from the latter at all. The difference lies solely in the purpose, or conception, of the writer, but may manifest itself clearly through the following conditions: (1) The Anticipation is generally a very »hoH tone; (2) It is not tied to the following repetition, but is re-struck; (3) If embellishment by Anticipation, the tecond of the two similar tones will be the essential one, and may progress in any manner; if embellishment by Suspen- sion, the second tone will prove to be the unessential one, and must progress step-wise. This, again, depends upon the chord-basis. See also Ex. 59, Ko. 3 ; and " Tonb-Belatioks," Lesson 60. LESSON 23. A. A number of former, simple, melodies, to be embellished with occasional Anticipations. B. New melodies, with Anticipations, — and an occasional Suspension. EXEBCISES IN VSLODY -WBinSa. 81 CHAPTER XXV. THE PASSING-NOTE. 104. KuiiE ill. — Any skip of a third between two successive essential (or weighty) tones in a melody, may be filled out, or reduced to step-wise progression, by inserting the intermediate scale-step as Passing-note, Usu- ally 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: Ex. 102. a 1. Allegro. £^ m w^ Original fonn- m m m SCBUBEBT. i ffi^^ ^ t= Embelliahed with Passing-notes (X)- 3. Allegro. ^m m ,SCHUBBRT. u Itt ■»—lt- X X B (Ddminant-9th chord- 3. Attegretto. SCHUMAKN. 82 ZaCSBOISES IN MELODY-WBHINO. 106. The Passing-note generally occurs, as seen in the above illns- trations, upon an unaccented fraction of the beat, — within the beat or group represented by the first tone, and, consequently, without displacing the second tone of the original skip. But it is also possible to defer the Pass- ing-note (i. e. , to shift it forward) so that it encroaches upon the beat of the second tone, thus assuming the accented location, and dividing the value, of the latter. The rhythmic result is often much improved by this means. For example: Ex. 103. ^ awkward rhythm : better: jjjd-CdUJgJj^ Original Uue- emb. with unaccented Passing-notea. emb. with accented Passing-notes. i a. i good: better: X m Original line- 3. ^a 3tt Original line^ good: awkward rh3rthin: i 3^a-4-j-»» i :&~ |sgB=BI^ b^Bt: orig. skip, good: good: possible: 5. Andante. X Mehdelbbohn. A-minor. LESSON 26. A. A number of former melodies, to be embellished with occasional Passing-notes, where skips of a 3rd occur. li. New melodies, 4 and 8 measures, major and minor alternately, in various species of Measure, — with occasioned Passing-notes, as shown above; Suspensions, Anticipations, and other material of past lessons must not be neglected. £Z£BCISES IN MEIiODZ-WBITINa. 83 CHAPTER XXYI. PASSING-NOTES, CONTINUED. 106. A skip of a fourth may be filled out, similarly, by inserting the two intermediate scale-steps successively, in tbe same direciion. 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 de- sired rhythmic effect. Compare par. 105, and par. 102c. For illustration: Ex. 104, I fe awkward : better: :«= 2!t Original line- X X embellished i !3. awkward ; X X -c„- -#— It. -»— fi Original line- better better : i^p -^^ 3. Prato. Beethoven. jiteE qt3= S i s ^ir^- EftL- V» I V 4. AUegn. Mozabt. 5. Allegro. ~^ — * CI- FL. Beethovek. 6. Andante. ■#- 81 EXEBCISES IN MELODX-WBITINS. Eft L- SCHUBBRT. MOZAHT. at r r I t=H^' ^' ' |L_^S 3 g A-minor. See also, Ex. 36, No. 17, first measnre. 107. Adjacent scale-steps may be connected by the intermediate chro- matte tone (where the space is a whole step). Such chromatic passing-notes actually corroborate, in origin and purpose, the Altered scale-steps (Chapters XHI and XIV), and are therefore more common in ascending, than in de- scending, succession. They differ in effect from the Altered Steps, which are essential tones, in being more transient, and therefore obviously unessential. For larger spaces, alternate diatonic and chromatic passing-notes may be used in immediate succession in the same direction. For example: 1. Adagio. Beethoven. Ex. 105. ^1 fe m ^ Ak ^-^^^^^^ m 1 3. Attegro. Mbkdelbsohic. 3. Attegro. XmX Beethovbr. lT rir ' I ft I I ^* w^^i^J^ , 1^ *r -^ -^ *- -^ 4. AttegrtUo. X (Ex. 109) X (Ex. 115) dl- EXEBCISES IN UXXjODY-WBITTKa. 85 Bizet. i^ *E ^^i^^^^^Pi n»_ 5. Lento. M Saim-Saeks. m ^ m -^—i^ =1^1^ DbL. =Sz See also £x. 75, No. 7, measure 1. 108. As the fonrth is the widest interval that can occnr between con- tignous chord-tones (namely, from the chord-fifth to the Boot 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 eflfect of the whole 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. 1. MUgr ljl¥=t= m ^P *^ A I- 3L:? •-V n- ■» ■*• Bbethotih. 3. Allegro. Beethovkw. GV- Beethoven. X ^ 66 EXEBCISES IH MEZiODT-WBITINa. ^. Allegretto. i ^p=e:lr-di ■•- A Bebthoven. i ^^id!(IEZ>j^E=^^=W=^^^=^ (chromatic pasBiog-notes) IV ^. Presto, tt, ^ tA> ^ X (X) XX AhL. Hatdh, *-i«- ^^^ ^~ ^ 7 ? * i7~ v f / r - :lij '^^ i 109. The device of tone-repetition, employed throughotit the foregoing lessons, may be applied even to passing-notes. Such repeated passing-notes are best -when they are of sufficient time-value, and importance, to be partly "essential " in effect. Thus: 1. Allegro, Ex 107. ^a SCUUBEBT. 3. Andante con moto. (110 6) tW±i -S 4 * i ^ ^^^ m -*-i — * a I- e I- X X SCHUBEBT. i 3. AVIP motto. Kaff. ^ j^^ l^ -0 » ^ f - i dL. IV_ EXEECISBS IN MELODY- WiUTlNG. 87 A. Presto. ^^ Chopis. ^c=f=k i -£^ — • f •^ — f— J- ~^X X X ^^"^ CL ^ 5. J.EIe^o. & Bbsthoten. ^=^ i =^= lV»_ iLESSON 27. A. Former melodies, to be embellished ■with occasional passing-notes {diatonic, chromatic, and repeated), at skips of any size, but with strict regard to a sensible rhythmic result, B. New melodies, with direct application of these passing-notes. The material of former lessons must be remembered, and employed. CHAPTER XXVII. NEIGHBOBING - NOTES. 110. (a) EtJiiE IV. — Any essential tone in a simple melodic line, or a ■weighty tone whether essential (harmonic) or not, may be embellished by placing either its higher or its lower Neiglibor htfore it. (h) Very frequently the essential tone precedes, as ■well as foUo^ws, 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 bet-ween; — or, in other words, the neighbor inserted between an ordinary tone-repetition). (c) The group may assume almost any rhythmic form; either of the three tones may occupy the accented fraction of a beat, and the values ai-e optional. But the simplest, and by far the most common form, is that IXEBCISES IN MIXiODT-'WItmNa. in which all three tones belong to the same beat, or rhythmic gronp. Thus: Ex. 108. essential ^ tone embellished with neighboring-notes (o)- awkward rhythm : better: I T-r-\fr^ -f ft- ^ i;^ tone-repetition. embelliBhed ineg. rhythm: pg uta: m -iar 111. The difference between the Neighboring-note and the Passing-note is, that the former turns back into its own principal tone, while the latter passes on into another essential tone. Compare Ex. 103, No. 1, with Ex. 108, carefully. In other words, the embellishment with a neighboring-note involves only one essential or weighty tone; the passing-note, on the contrary, always involves two d^erent essential tones. The former is therefore a local embellishment, the latter a progressive one. 112. Whether the upper or the lower neighbor is to be used, depends somewhat upon the location of the following tone in the original melodic line. The rules are: (1) If the formation of the group is to be Regular, the upper neighbor is 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 the final tone in the group by its embellishing neighbor, carries it naturally toward the next tone. Thus: Ex. 109. i =t -f "S- L- !_ i I ^ desceuding line— emb. with upptr o. ascending line — emb. with lower o. BXXBCISES IN MEIiOST- WKITIHO. 89 — I — * — I- -*-»«- L-^s=t =^ i ^^ Lento. ^ ^ 1 a^o =t=t t=n exceptional- =*^^^ ^ ^ Chopis. ^^ i t Or (2), in a series of such groups, each may be turned the same way, irrespective of the direction into the next essential tone. In this case, some of the groups will be Irregular, — but their inegularity is counteracted, as usual, by "uniform recurrence" (par. 56a). For example: Eegnlar: Ex. 110. i =t =t= ::p:»=P= *-h-* U-4-J— »-*-#. i=t t^\i=^->'i±=tzt=t original line- em belliab ment- H Irregnlar, bnt miiform : Q, Vivace. embellishment nniform— G-m^or. Beethovsk. ^^i^^^^ D-m£Uor. emb. regnlar— 3. AndatUe. MOZABT. S 9 *- :5t_^ i 90 EXEBOISES IN MELODT- WKITIHO. 4. Attegro. ^'+0—F-^f—f-^'—^~^ ;te T r r -f- -I — I- ei- MOZABT. I fc^^i= -o , o o -p ILm Jig^0j>< i^g ^EEE »— !»— X I W-ir- ^ ijr±t II'- T'- N. 6. — ^In any case, the rhythmic arrangement of snch snccessive (or corresponding) groups is almost certain to be uniform. 113. Further, the 9iotation of the neighboring-notes is subject to the following rules: (1) The upper neighbor must always agree with the line of the prevail- ing scale. Thus: ??? Ex. 111. m It ^^^]^s Upper o, dt\, io C. F, G, B^, Also in e minor EIz major and o, a, g-miuor. (lowered 7tU Step). i- In Aiz, Db-m^jor and Uz, f-minor. zM^ C-majoT, throughoat.- '^» f f l^- f — "^ is* ^^^^^ ^SEt -# ^ *-i^ Atz-major, throughout.- c-minor, tbroaghoat.. E-miyor. (2) The lower neighbor may also agree in notation with the line of the prevailing scale, and in melodies of a serious or stately character (or when the neighboring note is long) it does so. But ovdinarilv, especially in graceful or rapid melodies, the lower neighbor lies a Tialf-step below its prin- cipal tone, irreKpective of key; — excepting when the principal tone is the 7th ESEBCISES IN MELODT-WBITINQ. 91 scale-step (the Leading-tone), for which the lower whole step is aTmost always chosen. Thus: Ex. 112. : Q ' I , I Probably .: thus in every key con-Z g, excepting Afe-niajor,- is the Leudiiig-toue:- 3. Zento, -'-ft'— =H Afe- Somewbat imcomiaon.- g '/> j( Kt?)--; i 3. Allegro. * f- -»-•-*-«-#- -0- -j- 21: IB GI_ 3. Xdnto. a ^ f-t -4— >- •—ir* fcZlt H 1 1- -£^ Chopin. =te= IB EL. V9_ 3. Allegro. ^^ Ffl i ! T l r^ ^=j: IS^ -• — •— •--^tf 3* o — o — o — O' L_L_ ! I l EE -f d d d » !-•—*- o o o o Beethoven. I 1l -^—^ 1 ??= -* *T ^ - 96 EXEBCISES IN MEIiODZ-WKL'i'lNO. LESSON 29, A. A few former melodies in uniform rhythm, to be embellished with these larger groups, — either at occasional single points, or throughout, as indicated in the preceding lesson. B. Kev melodies, with especial reference to these forms of embel- lishment. CHAPTER XXIX. NEIGHBOBING-NQTE AS APPOGGIATUKA. 115. The neighboring-note, instead of appearing thus between reitera- tions of its principal tone, may, moreover, be placed simply before the lat- ter, — preceding it only, as prefixed grace-note, and forming an embellishing group of but two tones (compare par. 110 a and b). In this connection it ia called an Appoggiatura. Its details are subject to the rules given in Chapter XXVH. (1) The rhythmic form, and the location, of the 2-tone group are op- tional; but the appoggiatura is most commonly placed upon the accented fraction of the beat (like the suspension, or the accented passing-note, and, like these, changing the original location of the essential tone by shifting it forward) ; and the appoggiatura is quite frequently longer than its principal tone. For example: Ex. 117. orig. line- later (accented App.) 3. AUegro. :^ KTOZABT. 4. AUegro. i rr ^ ^Mnf i -»±=t: :fei: orig. line- emb.. orig. line- EXEBCISES IN UKLODY-trRmNa. 97 Mozart. ° .Tf , ii°0-°0f::t- emb . S. AUegro. rfr ■f- ^ -p- ■*. =t=t ^^ -t — r- -0 W 0- -t—f- -r I ^L original line— i J>.7i ^ 2 ♦ ° te^5^^ emb. (unacceuted App.)- Chopin. ^^El^ i G. Presto. (ace. App.) fel ! u I I- -J-J- -I k-U B^ -*— • j» J irP *=* f-minor. yT_ IV_ oV»- iSE ffiffi -•— rf— -o- ifc g^=f= ^ It Beethovbk. it=t It 9 3=t original Ubb (38e)- c-min. oV» emb. (nnacc. App.) -#-J- SCHU&UNN. S* Moderato. orig. line <3Sc)- ^-^ b-miB. Ti tT A Kiaj. A niaj. EUBIICBTEIV. emb. jtuBiKBTBis. 98 EXEBCISES IN MELODY- WKITINO. O, Allegretto. J o m ^^ 1 — 1 — »^ — ^— I ~i t-*- — •— p • 1* 1* r — P- -» — —0 1 V P -J — —J ^ f J -W-« ^:— ~i — =1 — \ — *":: — ^^ -| 1^^ — ^-h— • j u V ' . .^ — aT .en- IV- alL. SCHUHANH. lO. Allegro. i :|| » MENDEUSOmC. i -»-*- ^=?r^ X T^x X X E V thronghout X ^X 11. (continnation of Ex. 105, No. 5} Lento^ S^ mm f=*^ s *--=f Db orig. line— ^ H P- Sahit-Saghs. i E^ T-^i=^ liS. .^ZZepro, i 1^ Brahms. E^ G-mi^or. mod. rep, (2) The choice between upper or lower neighboring-note, as appoggia- tnra, may be determined, primarily, by the rules given above; — i. e., either according to the direction into the following essential tone (see Ex. 117, Nos. 6, 7, 9 and 11); or in uniform figures, as in Ex. 117, Nos. 2 and 8. But, in practical composition, the utmost freedom is exercised in this choice. In general, the upper neighbor is the more common. The greatest influence is apparently exerted by the location of the preceding tone; for instance: EZEBCISES IN MELODT-WRimfO. 99 An upward movement (especially ■with a skip) is nsnally made to the upper appoggiatnra; and a dovmward 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 appoggiatnra 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 ilhistration: Ex. 118. I W- -oraiiyof the- — following — essentia tones- ^ -heat embelliahed^: -thus, with upper- neighbor : g =i^=^ possible, bnt misleading: i=3= =S =^ I i B. ^ -best thus, with— -lower neighbor:— essential tones- P g possible, bnt misleading: This rule prevails almost throughout Ex. 117; the only exceptions occur in No. 5 (second measure), and in No. 8 (second half of each measure). (3) The notation of the appoggiatnra is defined exactly according to the rules given in par. 113 (Exs. Ill and 112). (4) The presence of an appoggiatnra justifies exceptions to the rule of Buccessive skips in the same direction, given in par. 31 (Ex. 25, Nos. 6, 11, 12, 13, 14). For example: Andante. SCHUBBRT. Ex. 119. m £ s m^ i FL. See also Ex. 121, ^a. 5. 100 EXERCISES IK MELODT-WBITINa. LESSON so. A. A number of former melodies, to be embellished with the appog- giatura, in 2-tone groups; either at single points, or at each tone throughout (in melodies of uniform rhythm). B. New melodies, 4 and 8 measures, major and minor alternately, in various species of Measure, — with especial reference to this form of embel- lishment. Former devices must be borne in mind and employed. CHAPTER XXX. DOUBLE-APPOGGIATUBA. 116. (a) In a similar manner, and with similar, though much height- ened, effect, both the upper and lower neighbor may successively precede their mutual principal tone, as Doiihle-appoggiaiwra. The first appoggiatura doBS not progress directly into its principal tone, but passes first over to the oppo- site neighbor (of the same principal tone), thus producing a new variety of the 3- tone group. Compare Ex. 108; and observe the distinction between this use of both neighbors, and that illustrated in Ex. 115. For example: Ex. 120. 'IB W i essential tone euib. with Duuble-appu^g. (b) As usual, the group may appear in any reasonable rhythmic form; either of the 3 tones may occupy the accented fraction of the beat or rhyth- mic group; and the time-values are almost wholly optional. The details of treatment conform to the rules and illustrations of the preceding chapter. For example: Ex.121. $fe -»-^ orig. line — emb.. ~or, more— -regular: _ -•-ft- (112-1) =t^^ EZ£BCISES IN MELODT-WBITIKa. 101 ^ ^^ «=£ n — r- -I — "-'- fElE£=£ -0-~ 1 3. Ttvoce. ^ -N. B._ — 0_ -•— I— «H -^ ^ ^^^ g— — am zit t-; - Chopih. -^ • ^ I 'd:=t d I- 3. AUegro. Beethoven. ^g-J-K ^ ^^^fcBE^lEg^ Abi- EkV- 4> J.IIsj'ro. Bbetbotbh. i G V orig. line- emb.- 6. Lento. Vekdi. i s -•—-#- ^g E^=Xi:g ; -/t — ^ ii?t i ■^ • 'H -^— ,^g- Gbi- V'_ e. Attegretto. S :fe ^-P^ ;:g ^^^1fe^^ i Ebl- etc. SCHUBEliT. J — ^ -f — -*- .g.-i»t.,r:-hJ— ; ^— *- EE= i?»=^E^ :!= =r— I — F I etc. /02 EXERCISES IN MBLODY-WEITINO. y. Allegro." ^ IL.- Chofih. 3t '-^i^ ?=5= ^ ;Si eJi- 8. Allegro. ^ Chopin. n i i f f i f -p i -#— #- 4 4 4 Dl? V'_ 117. Very frequently the Double-appoggiatura is preceded, as well as fol- lowed, by the principal tone, thus extending the figures shown in Exs. 121 and 108 to a new species of four-tone group, which is one of the most con- venient, effective and common forms in the entire range of melodic embel- lishment. The reiteration of the principal tone is separated by both the upper and lower neighbor in succession, — ^in either order, and in any rational rhythmic form. Thus: 1. Ex. 122. m 1 Slssential tone — embellished with iuterposed Bouble-appog. ^ Irregalar Thythm- i n WX^' ' ^ 3. iXlegro. w. ^a >_3 Elf3^ Beethotin. ^1^ ^ rj •\ \ I t±^=^ 1 1_ v»_ 3. AtUgro. Beethoven. F I EXEBCISES IN MEIiOSY-WBIXINO. 103 4. AUegro. Beethoven. -2 •- Hr f » ! f * -P •- I 3^ 1 t=t: =r=t L^ i ■ I Eb 5. Presto. Chopih. s ?=-/«- iSs^^^^^ Orig. line.- emb. ctf-minoT. ^^^^—^^ 6. jlZZe^o. i 5^5^E^ g ^.-zfer^^ -P=R«- ^ 3teJr± s#-o: -J-L-l-L r; o D I- SCHUHANN. DV. (94) MOZABT, p^^i^^^^^ V9 L ys I- .AbT- v» 8. AUegntto. BXETHOyiN. i > ■ ■ » h . P !^ -#— •- JH=i g^^fyx^ b!;I- V- (120 a) 101 EXEBCISES IN UELODX-VBITINa. 118. In rare instances, the number of these interposed neighboring- notes is increased to three, by retnming to the first appoggiatura before passing on into the essential tone. l?hus: 1. Ez. 123. ^^^^^^m i Essential tone — emb. with Triple-appogg.- a. Allegro. r , a emb. o - o o _ o o , ■ . f I g . — r-l — n— -» r-f-i P'.F ' ^m^ »-^-«*— 2-o— i— rTn F Original line- c I n_ MOZABT. al- 3. Allegretto. Waltz. ^S it?— B.»— °- gp^^gg 3i:3 CI- ^. Jlfod^ato. RUBINBTEIN. 5. Allegro. I i: SCHUBEST. ^^ ^EE # f H . — * •■ -t ^ h Ebi- 6. Attegretto grai^eo. ^^ Original line- EX£BCISES IN MELODT-WBirma. 105 i tf emb.- ff 4r=5Bi^ s E-m^or."^ ^ ft Brahms. :^ ZE* £=*= ^^g - »i — • - ^(z a LESSON 31. A. A number of former melodies, to be embellished with the Double appoggiatnra, in the 3-tone and 4-tone groups above illustrated; eithef 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 XXTTT, is always a neighbor of the following essential tone, — because of its invariable application at a step-wise progres- sion, — either above or below. Hence, it may be regarded as an appoggia- tnra, and be conducted first into the opposite neighbor, before the essential tone follows, precisely as shown in par. 116 a. For example: 1. CI fi., direct Kesolution. Gz. 124. l ^-f-l-r l^^ p Essential tones — Emb. ^ 1 Id direct Resolution, as Double-appug. =^ 3. AUegro. i Beethovkn. =t=l' ^^ ^ Ab V- 106 KtEECISES m MELODT-WElTINa. 4. Allegro. Prf im^ T Original liue- 120. The strict rule of the neighboring-note, as seen throughout the preceding chapters, is, that it must be followed by a step-wise Sesolution into its principal tone, — either immediately, or after swinging over into the opposite neighbor of that principal tone. (a) A peculiar, but quite common, exception to this rule is, that the upper neighboring-note, after properly following its principal tone, may leap down a 3rd. In other words, — the upper neighbor may intervene be- tween two principal tones that represent a descending step-wise progression. The result is best when the principal tones are both harmonic; but it is applicable to any weighty tones, even when one, or each of them, is a pass- ing-note. This, — the "Unresolved," — neighboring-note is always unaccented, and usually short (like the anticipation, which it most resembles in origin and character). Thus: 1. better: Ex.125. CI V C I- Basential tonea ?? i^i=B=F=rprnL3 emb. with the Unresolved neighbor (upper)— 3. AlUffro. |~£r^ i^ ^^^^^^ "^ cl_ Bbbthoveh. iS ^fT"f=tT i fc=t ■^5^- -laterr ?Z= 3. Allegro, (see Ex. 123-2). Mozart. EXERCISES IN MELODT-WEmNG. 107 m Allegretto, ^^^^ -J — -p -^-i" ~or: J - ^"■ ^ i Original line- Mozart. £e= ^1^^ ^^— ?- ^E^^ =^^ TT Original form- =t=^ ^ Hatdn. H i=i E^^^ Emb. (later)- 6. Adagio. Ik Beethoven. Original line- - I ! J ■. -I. — h—sr Emb. (b) 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. Essentiiil tones- Bx. 126. I 4- ^ » ^^ J d_ 1 J Emb. I d- OT C-majoT— 3. AVUgto. i b /w. ^rae ^ t: f-minor- ■ b b Schubert. * Not bt(, unless the key remains or a throaghoat. 108 EXEECISES IN MELODT-TrBITINa. (c) Much more rarely, this device is reversed; i. e., the lower neighbor is inserted between step-wise ascending tones. The rules correspond to the preceding. Thus: 1. Andante. Ex. 127. -w-r^ ±± S ^=5=3 ^^0'^ • « -«— ^=#: ±3- AlZ MOZAET. f L (119) bl?o"V»_ S. AUegro. ^-fl-fe «-2- iznz Hatdn. i (d) When the rhythm is uniform, and the tempo rapid, as in some of the above illustrations, these unresolved neighbors may often (not always) be analyzed as a Double-appoggiatura. Thus: Ex.128. '1^^ either :- Ii=± ^^^ i thas 4 |-and J~j~J~J J J ^. ; ^=3= i -»f— •- L»J LESSON 32. A. A number of former simple melodies (including those of Lesson 24), to be embellished with Suspensions with indirect Resolution; and with un- resolved neighboring-notes, as shown above. B. New melodies, with special reference to these embellishments. SZEBOISES IN MEIiODT* W KITING* 109 CHAPTER XXXIl. EVOLUTION OF MELODIC GEKMS. 121. The application of these various classes of embellishments is apt, in 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 com- plete 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 mitst 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 posi- tive 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 perfectly fauUless and natural melodic figure, at least free from extreme irregularities; 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. 122. Hence, an ornate melodic sentence may conceal (perhaps so clev- erly that its presence may scarcely be heard, — though it is certain to be feU) a part of the line of the scale; or the simplest elements of the Tonic chord, or Dominant chords. The following iUustrations are to be very studiously examined and analyzed: 1. Germ (chord-line): Ex. 129. i gE BbL. V»_ AUegretta. m. ?? 2fc melodic evolntion- .aj EXEKCISES IN MEliODT-WKITTSG. i ^ ^^'. ^-^ t7^- p^- ^-^ r-rr r —I ^ ' I V — 1 r -V— ? --J -H-t- -f^-j^^-l- il:==^ Bkethovew, •-#- 5^ -*^^a»-^ J- *^i* jxL^^ifz^ -0^^^-O-^ SaK i S. Germ (chord-line): ^^,- Visace. Beethoveh. ^-0- a a-i°- l=t J — h *— =pn-f ^^=^M «-»-H-:-#Jc:-ii -l_^'>> — bi CI_ melodic evolntion- 3. Germ (cbord-lmes): Allegro. Schubert. ^ q= § ^ =$: a L. ^:3E3^^ <-^ =^^ ^^^ lY I melodic form- ^, Germs (cliord-lizies): ^. W^ -and : f-miuor— Anda/nte. 7tli r^T-'- ^ -3 — -o- a2i=» ^ afE^&^ss -•— o 1 t^fc ^q=l» -f— ^ •— # f L- melodic form- ^and : a t » * ' ^ 7 o , 'F=t f T- Chopdi. Eis^?=^ ^=■=1= i (120 a) EXEECISE3 IN MBLODT-'WIUnNG. Ill S. Germ: AUegro. jt. -» » 1 fff S=t5i: -^-ji :»— •- T r e I melodic form- I 1 Chopin. T^^^ ■^-'-m ^ -^^^-^ m^^T^ =P=F (69) 6. Ada^, Germ: r M . TTl .?.?'f v-«7rj''i' r ' LLLr^ mel. form:- JU^^-J^ I I I Beethoven. I ^=^=fi : ^^^■mrri^LS^ 7. Germ (chiefly scale-line): i ra ElZ .AZIefrro. 2^ ^ m^ ^^^ • s f-— ^-— * — •- melodic ibrm- Beethoven. ^| :i_j _ J_ j^, l j I I ^ 1 -"==^ 8. Germ (complete scale): ^^ J \- ^ C Beabmb. i na • — ^ i^ i melodic form- 112 EXERCISES IN MBLODT-WBITING. 9. Germ (chiefly scale-line). -■a- s -p- ■X- ^± -4- D Allegretto. m i r~r r ? \r-tf-k ^=c=d^ • p 0^ g Z lU^L^ ^El^^ Melodic form- MOZAKT. «■•■^«.■•■ ^T-* #- • !» •* -— >> ii^^^ -1 — I — ^ — ^ H ^ 1 w — F- (120 d) lO. Germ (scale): :i3: f f AUegro. E3 Melodic forui- BBBTHOVXir. 11. Germ (modified acale-line): ^1 ip #= ^ -»-: Hp: 1: =t =t cl V fV I cIV' IIV V Allegretto. :S=^ ^^ ^^ 1 ^^^=^f^-'^ ^^ ^:^::^X^;^tz^ ^-^^r^^ ^-P#- Melodic form- I rt ibpte Beethoven. 1 S I »r^ fcifc ^5 ^i ^E* ^ 13. Germs (scale and chord): te EXBKCISES IN MELODT-WKIUNQ. 113 AUegro - a^ 14. Germ (descending and ascending 3rds): ^=—8*- 5:=P 5r=fe: ^ ~ ] » Til I ¥: 2: I XUegn. tf fe - y 1 ?i 1 5^^ — :;| 55^ 1 Si — : Melodic form- Bbahms. 114 EXEBCISES IN MELODT-WRITINO. IS. Allegro, $ ^ =# \ — M-+-4- - -hg^ modified repetition- 116 3. Allegro. EXEKCISEa IN MELODT-WKITINO. mod. repeAtion. ^■ ^ m^ zsn -nt—'^'-\y7 ■■: 1) X-*—* =i=3r=i Diz. original melodic line- later:- -T* -•- modified recurrence- fel^ a ChOI'IK. -ft #- -a 1 — lis-g ^i=^F=T m—^-~t—4- I —4—a- 4^ Allegro moderato. (120 a) ^ tes ^*?^SE*^ -later :• original melodic line- mod, repetition— Bbbthoven. ;i^ ^e^ .>o_a.ri- 1 5. Allegro molto. ^fee= =t= -• — 1«- original melodic phrase.. Bbbthoveic. ^ -r*-- f-?: ■F—0- f " *B »=^=Rg -# *- I later:- -^ I I -0—0^ modified recnrrence- 6< Allegretto. E^fcl (120 a) S PE •^ — *- -^ — :*- -^— *— *^^ FJ. original phrase- ; ^ fe.^,q=jj^lS1^2ff ^m s » =^ modified recairence. EXBBCIBES IN MELODY- WiUTUIO. 117 modified recnrroDce. ^^ Chopdi. ■^— » ^^ I -^— »- — ' — t-^i — I— i — ^^ ?• ^do^to. ii ^^^s^ ^ji -- f-t Jl' 7 i^: S I T original phrase. i=i- -v^ a- ^:^ M H^ :t"i^^^^ ^^^^ |=^^ modified reenrrence. :^= Hatdb. P= ^ J'J^^ gS H — I — ^- -I— I — p— I— 1 — m^ — ie-^J>^|-» Tl 8. AVUgretto. ■i9- Sva.. Cbofik. 118 EXEBCISE3 IN MEIiODT-WBITINO. O. Adagio molto. i: :F=?=F i s w [ g - ! r f -etc. ■-ft- — I k — I :t ^ Original phrase. -later :- ^^^^^^^^=^^m modified recnrrence. g^ — again — 4r-2— ZIIZDater : u -^•-(t- -I — !- — I — I 1- modified recnrrence. i — ! 1 1 1 1 1 -i 1 ' 1 1 * < I I I I I- ' » \ \ \ I \ m^y^ I ,^ -^ M rm—»*H ! ! ! I ^ ! ! ripT Beethoteh. Sym. 9. lO. hmghmo. modified repetition. M m ^ t^ - rg=z|--i^i^,f-^ri^.gr?rt^B modified recurrence (incl. mod. rep.}_ EXEBCISES IN ILEIiODX-WBIIIMa. 119 ^lT^T ♦ ?: ^* - ^ Chopin. m 4t. -.z: -^ I I III I A ^-j- i f— I- ::p=4: I I i nr v 11. AndartU. L± I AIIe^FO. If s . * -later ^ ^8 — 1 — r ■0 — m- Origmal phrase- mod. re- USNDSLBSOmf. ft I s »- > — ^r J 1 1 — s 1 1 -fi^0- ?=:^ i •- -f—»—P~ —d — I — >■ ^ -4 ^ 13. Aiagi'). I ■Hi* .■•-'. ! sj=4Mir-: Beethoven. 1 i=:^ -*-=rTH fc¥ i r • ^' ■ -s^- * ^ ^ -•-=- Ab-^ Original figure— f r seqiieno f\ m 13. (comjiL par. 121.) .^dajTio, espresstvo. iJ ■ J — 1 -•-^•—^—^ Germ (mod. aeqaence); EI2L. Melodic form. Bekthoveh. * These tones represent a "passing-gronp" (109, extended), in sequential formation. 120 14. BXSBCISES IK MELODX-WKl'l'INQ. Andante. 1 =;=t S 4 Germ (sequence): lielodic form. %k MOZABT. ^^ 4 •- ^ IS. XUtgro graxioio.** F^M. S -4-4- ! I *new' -#-^ -^-^ d ^ A .Original line I mod. rep. I tf N. B. N. B. r I M I J Beahhb. S (^¥^ #^^ifeS^ » j 1 *3 ^ Dttr "mod. rep. I last figure, expanded., ** This last illnstration comes nnder the head of "manipulation" in general; it is based more npon rhythmic modification than melodic embellishment. LESSON 34. A. Former, or new, 4 and 8-measnre melodies, with embellished repe- tition. B. Melodies, of optional length, with special application of the modi- fied (embellished) repetition, sequence, and recurrence. Simple harmonic accompaniment may be added, at the discretion of the teacher. ESEBCISES IN MEIiODY-WJUTpiQ. 121 CHAPTER XXXIY. MELODIC EXPRESSION. CONCLUSION. 125. As stated in the Preface, the foregoing is a course of systematic exercise in 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 ihougfit as he may have been fortunate enoiigh to establish in early youth. The transition from invention into conceptior is signalized by the in- creasing 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: — (aj 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. (b) Between the duple and triple species of fundamental Mhythm ; — 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 scaZe than chord-derivation; considerable ornamentation is appropriate and necessary, and much — even extreme — diversity of tone-values is possible. On the contrary, in more active or rapid tempi, cAorrf-derivation is apt to predominate over scale-derivation, though rapid scale-passages (as embel- lishment by passing-notes) are by no means infrequent; less ornamentation is likely to appear, and diversity of time-values is more limited, i. e., the rhythm is more nearly uniform. (d) Between such conventional Styles as distinguish one class of com- position from another (i. e., the Waltz from the Nocturne, the March from the Barcarolle, etc.). These are subject to no other laws than those of con- vention, or popular usage, and are best learned by observation. 137. All of these general qualities of melodic conception demand the more advanced discipline of musical Form, and can therefore be exercised only experimentally and briefly, at the discretion of the teacher, in ths present course of melodic practice. 122 EXEBCISES IN MEIiODY-WRITINQ. VOCAL SETTING. 128. The most natural and wholesome artificial stimulus of definite and significant Expression in melody-invention, is that afforded by the ■Bocal setiing, or " melodizing," of a line or stanza of text. The simply mechanical endeavor to follow and confirm, as closely as possible, the varying shades of poetic and prosodic (or declamatory) expression of the given text, is calcu- lated to arouse and develop the student's individual sense of Expression, and prepare for its untrammeled operation in the domain of absolute (instru- mental) music. 129. The details of melodic effects, which find their parallels in the undulations of poetic expression, may be described approximately as fol- lows: (a) An ascending succession of tones, along the scale-line, indicates, ordinarily, an increase of emotional tension, or emphasis; a descending suc- cession, relaxation. (b) The effect of step-wise progressions is that of gradual and smooth change, — increase or decrease of the degree or stress of feeling. Whereas, when the tones progress in skips, either way, these changes of feeling are more abrupt and positive, about in proportion to the size of the skips. (c) The progression in chromatic tones is more seductive or passionate, as a rule, than diatonic (i, e., scale) successions, and usually in proportion to their speed. (d) The changes in force indicated by crescendo and diminuendo, arouse exactly similar impressions of increasing or decreasing volume or emphasis of feeling; the extremes of fortissimo and pianissimo indicate, respectively, utmost power or nearness, and utmost gentleness or remoteness. (e) Sudden changes of force (abrupt forte or piano effects) corroborate swift, perhaps violent, impulses of emotion; these may be emphasized by simultaneous sudden changes of register or pitch, — i. e., wide skips, tha effect of which, as stated at 6, is similarly abrupt and vigorous. (f) The musical sense of a tone is powerfully influenced by its location and value in the rhythmic group. If it be 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. (g) The definition of tonal meanings, and the bearing of the above upon them, may be roughly stated thus : The chord-root is powerful; the chord- third sweeter and more flexible; the chord-fifth soft and tender. If placed upon the accented beats, or lengthened, they impart these respective qualities to the entire rhythmic group in which they occur. The chord-7th and 9th, and the suspensions, are keen, conspicuous, and even obtrusive (in proportion to tlie degree of their dissonance); if accented, their effect is heightened; if prolonged, the effect of strain or ten- EXEECISES IN MELODT-WBITINa. 123 sion is created. Appoggiaturas are similar, but usually still more pro- nounced in effect. These, and other, distinctions may be tested in the melodic examples given in this book, some of -which should be revie-wed with special reference to the quality of Expression. 130. The principal rules of vocal setting are: I. 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, vice versa, unaccented syllables and unimportant words should be set to comparatively unaccented, lower, or shorter, tones. n. That the emotional contents of the text should be corroborated, by consistent employment of the distinctions of melodic expression above explained. m. That notes set to separate words or syllables must be detached, in notation; while two or more notes set to one word or syllable must be con- nected, 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 (L e., composed originally to English words): 1. RecUaMve; pathetic expression. Moderato. Largo. mp - ~ p dim. Ex. 131. ^ •Ep^ Bakdel. -»?-*- ^ f-minor. Thy re • buke hath bro ken his heart. 3- AUegroj joyons, vigorons expression. f , cresc. Handel. Ex.132. [-major. Re-joiee! Re-joice! Re-joxce great -ly^ 3. Andante; graceftil expression. mp Ja.«-^ -\ — • — I — * -^^—4- "un-nj hanc - ed the eharm-ing sight, en . 121 EZEBCISES IN UEIiODY-WBITINa. n.-77f:AN-, Eatdh. ^ i hano -It—* ed it the charm - ing sight. LESSON 35. The melodic setting of lines, and of brief stanzas, from chnrch hymn- books; or from the Psalms and other parts of the Bible; or from secular poetic writings. At first, a few exercises in Recitative form, i. e., not strictly metrical. Afterwards, yery numerous studies ia metrical Phrase, Period, or Double-period form. After correction and approval by the teacher, they may be harmonized, or provided with a simple instrumental accompaniment. TUB END. 125 TABLE OF CONTENTS. DIVISION ONE. ESSENTIAL TONES. FAQB Chaftxb L ....MuoB. The ScALE-uKE, BeouijAb 5 First Primary Bale 5 The Four-measure Phrase 7 Chafteb n. The Majob ScaiiE-line, Exceptiokal lU Chaptke TTT, The Chobd-IiIiie 12 Second Primary Eule 12 Fundamental Harmonic Principles 13 Bules for Single Skips IS Chapteb IV The Choed-unb, Contintjkd 19 Summary of Bules (par. 39) 24 Miscellaneous niastrations (Ex. 36) 25 Chafteb V Minor 28 Chapteb VL DrvEBSiry or Ehythm, Eegulab 31 Chafteb VIL The Pbriod-pobm 34 Chapteb VIII Ibeequlab Bhythm 36 Chafteb IX. ExoeptioiiaIi Semicadences 40 Chafteb X. Syntax of Melody 41 Bepetition and Sequence, Exact 41 Chapteb XL Syntax op Melody, CoNTiunED 44 Bepetition and Sequence, Modified 44 Chapteb "^TT Syntax of Melody, Contindbd 49 Application to the Period-form 49 Chapteb yTTT Altered Scale-steps, Majob 51 Chafteb XIV. Altebed Scale-steps, Minor 55 Chafteb XV. Modulation, ob Changes op Key 58 Chapteb XVT Modulation, Continued 62 Transient Modulations 62 126 TABI;E OF CONTENTS. rAOB ChAPTBE XVII MoDiriiATION, CONTINDBD 63 Application to Period-form 63 Cbaptbe XVIII Modulation, Chbomatic 65 Chapter XIX. Modulation, Continued 66 Overlapping Scale-lines 66 Chapteb XX. Modulation in Sequences, and at Cadences 68 Chapter XXI Chromatic Melody 70 Chapter XXII The Double-period Foru 72 DIVISION TWO. UNESSENTIAL, OR EMBELLISHING, TONES. Chapter XXIII Definition of Distinction between Essential and Un- essential Tones 75 The Suspension 76 Chapter XXIV. The Anticipation 79 Chapter XXV The Pabsino-note (single) 81 Chapter XXVL The Passing-note (buccbssivb) 83 Chromatic Passing-note 84 Bepeated Passing-note 86 Chapter XXVII Nbighborino-Notes 87 Chapter XXVIII Neighbobino-notbs, Continued 92 Chapter XXIX. Neighboring-note as Afpoggiatura 96 Chapter XXX. Dodble-appoggiatuea 100 Chapter XXXI Appoggiatura, Continued 105 UnresolTed Neighboring-note 106 Chapter XXXII Evolution op Melodic Gerus 109 Chapter XXXIII Melodic Evolution, Continubd 115 Disguised Keourrences 115 Chapter XXXIV. . . .Melodic Expression 121 Vocal Setting 122