Please handle this volume with care. The University of Connecticut Libraries, Storrs 3 ^153 Dm7flmD M en M O H O Ln EXERCISES IN MELODY - WRITING A. SYSTEMATIC COURSE OF MELODIC COMPOSITION, DESIGNED FOR THE USE OF YOUNG MUSIC STUDENTS, CHIEFLY AS A COURSE OF EXERCISE COLLATERAL WITH THE STUDY OF HARMONY BV PERCY GOETSCHIUS, Mus. Doc. {l(oyal IViirtemberg Professor) Author of "The Material Used 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: G. SCHIRMER 1903 COOKSON MUSIC UBHAW UNIVERSITY OF CONNECTiCUf STORRS. CONNECTICUT n s ^ e_ /Vi'r/'c /IT 11. ■^ OrS^ Copyright, 1900, by G. Schirmer 15209 This Book is a gift from i-lr s . F . S . V'/a r d we 1 1 / (ii) PREFACE The object of this course of musical discipHne is, to assist the young student (whether or not lie 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 tniisic is, or should ■be, melody. 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. 2nd, 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. (ih) 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. Rut it will probably prove most efficient as collateral study, interlined between the exercises of aiiy standard text-book on Hartnotiy ; 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 sam, — the fixing of habits,~{s. 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 aty and away fro7n, the key-board. Percy Goetschius, Mus. Doc. Boston, Mass. September, 1899. EXERCISES IN MELODY-WRITING. DIVISION ONE. ESSENTIAL TONES. CHAPTER I. MAJOE. THE SCALE-LINE, EEGULAB. 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 Rules of melodic movement. FrRST Primaey Rule. 3. A melody may follow the line of the MAJOR SCALE, upward or doivnward, with almost unlimited freedom. This yields the smooth species of movement called diatonic, conjunct, or step-wise progression. 5 EXERCISES IN MEIiODY-W'EITING. 4. Step-wise progressions are regular, and consequently invariably per- missible, when they confirm the natural or ijiherent melodic inclination of the so-called Active scale-steps (jjar. 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 : C major. Ex. 1. - y JL 1 i? on /y fZ Ott '<^ ^ OB ^ »J 13 5 Inactive Scale-steps, (interior) Active Scale-steps. 6 (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: (a) The tendency is most urgent in the 7th scale-step, and its direction is ninvard. (b) The tendency is somewhat less urgent in the Gth step, and its direc- tion is doivnivard. (c) Still less urgent in the 4:th step, — tendency also downivard. (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. For illustration : Ex. 2. - 7 6 4 2 =^ C major. 7 ~^^S^'^ exterior interior 7. The progression of an Active scale-step in the proper direction is called its Resolution. General illustrations: Ex. 3. - ii 3. 6 ^1^^^^^ 3. 7 6 4 4.-4 es ^^ etc. EXERCISES IN MELODY-WKITING. (par. 91}.) Beethoven. ■". Allegro. Brahms. ^ffrc — '5'- :^E :^=^: -*-^"*-a^ Mendelssohn. J ! iZ , ^L-TI* « — »«i^« — - 9. Moderato. »^ — azz= ^ — ^^iL: I 2e=f^ -• t^T^*- Mendelssohn. =]=t; =1= i H- • — « — ]'&- i 6 4 See also, Ex. 5; Ex. 18, No. 3; Ex. 36, No. 12; Ex. 50. THE 4r-MEASUEE PHEASE. 8. The smallest complete melodic sentence, called the Phrase, gen- erally embraces four ordinary measures. fa) When regular, it begins with one of the (inactive) tones which con- stitute the Tonic Triad. These may be jjlaced upon the first (accented) beat of the first measure; or one, perhaps more, beats before the first full measure. If the Phrase begins, thus, with one or more j^reliminary tones^ their value is to be subtracted from the final measure. (b) 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. EXKRCISE3 IN MELODY-WKHTNG. Thus (in C-major) : 1. Triple rbythni. Accented hetjinning. Ex.4. (either) 5K^ TTnaccented beginning. (either) I* 2. Dnple rhythm. '£: :^e= E^EES^EE («-)- eB * These chord-names 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 Rule, it is everywhere per- missible (a) To repeat a tone, once or oftener. For example: Moderate. Ex.5. • rep. £ -ff*K :t=t: zc: m 7 Caret. 4:=t: -#-!- ;ii :e=t: rep rep etc. See also Ex. 3, Nos. 5 and 6; Ex. 32, No. 3; Ex. 36, Nos. 1, 8, 9; Ex. 54. (b) To progress upward or downward by the interval of a iliird, i. e., overleaping one diatonic scale-step. If this skijj 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. Qd, 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 ])roper direction (from the 7th scale-stop upward, from the 6th or 4th step downward, as is to be done in th^ ju-rsent lesson). For illustration: A. From Inactive tones. Ex.6. ^3±j^y^Eg "n=T EXEECISES IN MELODY-WKITING. B. From Active tones, in the proper direction 1%^ ■Hii^* « U =1= =1: =1: (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 throughout. (3) As i-measure Phrases, according to the models of Ex. 4. [i) In 2/2, 2/4, 3/2, 3/4, 3/8, 4/4, 4/8, 6/8, and 6/4-measure, successively. (5) The rhythm strictly uniform, i. e. , one tone to each beat, as P, f or !*, according to the chosen measure, — excepting the final cadence-tone (see Ex. 4). (6) The scale-line, tone-rei^etitions, and an occasional skij) of a third are to be employed. Of the latter, only one at a time (perhajas 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 6&. Note. — The work should be, at present, merely the mrchanical application of the jriven rules; tliese rules are to become habitf, — formed and established, as habits are, by persistent systematic effort. After legular, correct n)elo9-mi ±=t I 3. Allegro. :k: ge=i= ^-- -25^. >-0—i- Beethoven. 4 i mB= E 4. Allegretto. 4 a^i Beethoven. 1 SEEgEE3^ ,.m-tt£ -isi- :^ -^—u irreg. 5. Allegro. irreg. res ^te= r=^=^=^ g tgJL MOZART. SE^ irreg. See also Ex. 47, No. 1 ; Ex. 52, No. 2. irreg. 11. If approached in the direction of their Resolution, along the scale, however, the natural inclination is reinforced, and must be fulfilled, — at present. Thus: EXERCISES rN MELODY- WKITING. 11 Ex. 8. - ^m ? ? ? good 4 ? ? ? 4 3 i: ^ Hj^ J^^ i i^^H good good *SomeTvhnt less objectiouable, because the tendency of the 4th scale-step is less urgent than that of tlie otluT Active tones (par. 6 c). In other words, tlie melody, in ijursniug the lino of the scale ^ipwnrd, may tnrn back (if desired) at any jioint excepting the 7tli scale-step; in jjursning the line of the scale doivnward, it can turn at any point excepting the 6th or tlrth stejj. 13. As intimated in par. 9 b, the skip of a third may be made in either direction, even from an Active scale-step. An obligation is involved only "tt'hen the leap of a third is made contrary to the natnral tendency of the Active tone; in which case the melody must immediately turn Z*ac^-,— either by a lea]), to the preceding tone, or by step-wise j^rogression. For illus- tration : Ex.9. Skip of 3rd from Active tones. Irregular (comp. Ex. 6, B). LESSON 2. A number of original 4-measnre melodies (at least one in each major key), according to all the directions of the preceding lesson, excepting (7); both the regular and irregular jorogressions 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-WKITING. CHAPTER III. THE CHOED-LINE. Second Pkijiaey Eule. 13. A -melody niaij follow tJie line of any good CHOBD iijnvard or downtvardf tvith almost unlhn- 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 jiro- gressions. 14. The "Scale-line" may be abandoned for the "Chord-line," or the chord-line for the scale-line, at any j^oint in a melody, — subject to a few self-evident restrictions. 15. The influence of Haemony (i. e., the construction, relation and succession of chokds) vpon 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 so 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. Tlie 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, 10. i ¥ -3ril tS^- -3r(l- chord-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 m any order. Thus: Ex. 11. -• e-g c-g-e e-c-g etc., etc. EXERCISES IN MELODT-WKITINa. 13 poasible, bnt extreme. g==j==i=q ==£ ^-H — p-F ^==j==-^[(:^=f=E^^ etc. FUNDAMENTAL HAEMONIC PKINCIPLES. 17. Each key comisrises three classes or families of chords, called respectively the Tonic class; Dominant class; and Secoyul-Domi7iant or Sub-Dominant class. 1 8. The Tonic class consists of two chords, one erected upon the first scale-step, or Tonic note, and called the Tonic Triad or " The One'' (marked I) ; and one of subordinate rank erected upon the sixth scale-stej), and called " Tfie 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. C Major. 3 tones, c - e - g. Subordinate Tonic Triad, or VI. Major. 3 tones, a - c - e ; somewhat rare. 19. fa) The Dominant class consists of a cluster of chords erected upon the fifth scale-step, or Dominant. These chords may embrace as many as five tones, the lowermost of which (the root) is often omitted. They are erected and named as follows in C-major: Dominant Triad, or "V (" The Five"). C Major. ^- - I Ex. 13. r - -te>- -6>- -^ in any order.; 4 tones, g - b - d - f (the latter a chord-seventh). 14: EXEECISES IN MELODY-WBITrNG. Dominant 9th-choril, V^ ("Five-Nine"). , ^ -^ m 5 tones, g - b - d - f - a (tlie latter a chord-ninth). Dominant 7th, Incomplete, o^^- 15> Without Root, - b - d - f . Dominant 9th, Incomplete, qV^ i 1 Without Root, - b - d - f - a. (b) To the Dominant class belongs also a Triad of subordinate rank, erected npon 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). iiO. The SECOND-DoinNANT or Sub-Domxnant 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. G Major. Ex. 14. m -in any order. - /5" 3 tones, d i; Second-Dominant 7th-chord, 11^. jj9 z? 4 tones, d - f - a - c. Very rare. Sub-dominant Triad (propeily, the qH^, with omitted Root). i -a Tones, o - f - a - c, called IV, for convenience. Sub-dominant 7th chord (properly, the qTI^, with omitted Root). « -a- JSl Tones, o - f - a - c - e, called IV^. EXERCISES IN MEIiODf-WRITING. 15 Summary (C-major) 1. Tonic class. Ex. 15. - 2. Dominant class. I TI .V^ Eare. ^ 3. Second Dominant class. II "Very rare. Rare. 'Z/- s s 119 N. B. — This table must be reproduced in every major key, daily for a time, at the key-board, and in writing. 21. The few primary rules wliich govern the succession, or move- ments, of these chord-classes are as follows: (a) The chords of the Tonic class may progress into (i. e., may be fol- lowed by) (iiiy other chord of the same key. (h) The chords of the Dominant class can only progress easily into those of the Tonic class, preferably into the I, more rarely into the VI. The pro- gression of a Dominant chord into one of the Second-Dominant class is uncommou, and need not be considered in melody-invention. (c) The chords of the Second-Dominant class pass most readily into those of the Dominant class; but they may also be followed by those of the Tonic. 22. N. B. — These rules of chord-succession, are so fully confirmed hy the rules of inherent melodic tendency (explained in paragraphs 4-6), that careful observance of the latter facilitates, largely, the correct application of the former, 23. Nevertheless, it is necessary to be fully conscious of the quality and name of the chord-lines represented by skips in the melody, and to con- trol their movements accordingly. EULES FOE SINGLE SKIPS. 24. Each single skip must obviously represent, ul pies nt, so;r,e chord. For example (Cmajor) : no chord Ul (par. 19 6) Ex. 16. - i 1^ d: ^^^ m i ? ? ? ? ? ? VI, not as good as TV or II. (par. 18) ? ? ? ??? ??? IT ^'' ^ =f^^^f=T^ S^^ all good 16 ;l II EXEKCISES IN MELODY-WKITING. s; P3^^^^:5^3^ ??? ? ? ? 35. Witli this single limitation, a leap may be made from any tone. Active o: Inactive, upward or downward. The rule of inherent melodic tendencies, or Eesolutioiis (par. 6) is, consequently, not binding upon the Active scale-steps during skips that constitute good chord-lines. While it is always smoother and more natural to conduct these scale-steps in the jyroper direction, they may leap along a good chord-line, without objection, in the opposite direction, — even irrespective of the manner in which they are approached (par. 11). Thus: A. Step 7, regular. 7 Ex. 17. ^-J^. itite ^_^Sr=£^j:^S| V V Irregular (but good). Y7 (Ex. 29) i; ^^^^^^=M^^^^H ?? B. Step 6, regular, 6 IV II Irregular (but good). VI (par. 18) ^^^E: -or ^ msar ^^m^ IV C. step 4, regular. 4 n IV VI all good 5^S =t 33 II or V^ IV Irregular (but good). V "^^^^^^^^^^ IV or V9 IV II or V^ (Ex. 8) (Ex. 29) EXERCISES IN MELODY-WEITING. 17 26. The leap of a Third (called a "narrow" skip), as has been seen, is always permissible. Any larger leajjs than this (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 likely to turn, and progress, by scale or chord-line, in the opposite direction. Thus: 1. ^^' ^^- ^pEggt^=^ ^=^? ^^^g=3 s^^ 3: A.11 better, as — , 5— a rule, than Z the following: EE= :1= Allegretto. Mendelssohn. ^^ #— . *^ -^^ m See also, Ex. 32, No. 1; Ex. 36, Nos. 4, 14, 18, 19, 20; Ex. 52, No. 5; Ex. 60, No. 2: Ex. 64, No. 3;. Ex. 15, Nos. 1, 2; Ex. 100, No. 3; Ex. 101, No. 5; Ex. 117, Nos. 11, 12. 37. (a) If the melody, however, violates this rule, by continuing in the same direction after a wide skip along the line of the scale, it should, as a rule, pass on only one stejD, and then turn. In other words, while it is always more natural to turn back immediately after a wide leap, it is usually sufficientlv correct to do so at the second following tone. Thus : *1) *2) *3) *1) From d down to either of these tones. *2) From /to either of these. *3) To either. (h) 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 ease the rule of " turning, after a wide leap " will be evaded altogether. Thus: Ex. 20. ' »' 0, 1 " "1 '1 h ^ J-^J- * ^■■-gj^- J— See Ex. 21-1. * Ex. 21-2. * good * These two progressions are doubtful in any caae, for they involve a violation of both the rule of par. 6 a, and that of par. 26 18 EXERCISES IN MELODY-AVEITING. 28. (a) The rule of par. 26 gives emphasis to the still more binding and imi^ortant rule, that It is possible to skip to any Active tone in the direction opposite to the tendency of tlie latter, namely: from any tone (though seldom beyond an octav(>) (Jownirard t) the 7tli scale-atep ; from any tone upward to the 6th or 4th scale-step, — because their natural Kesolutiou provides for the change of direction after the leap. Thus : 3. Ex. 21. m^^ It: (»-i- m fioii> wither from either See also par. 36 ; and Ex. 52, No. 5. frorn either m (b) 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 7/h scale-stej?, and doionumrd to the 6th or 4th step), though only along some jjerfectly 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 Resolution: iip to the 7th, down to the 6th or 4th steps), it will either afford an additional opportunity of obtaining the irregular jarogressions given in pai\ 10 (Ex. 7), in keeping with the rule of i^ar. 26 ("turning, after a wide skii?"); thus: Ex. 22. '^^-^-, -Jumar^- Doubtful, because of the extreme urgency of the 7th scale-step; jiar. 6a. (b) Or, better, it will be found expedient to take advantage of the license of pai-. 21 a, — i. e. , to turn back at the second following tone. Thus: to either Ex. 23. — ^B^# «- — *-m-^^\ 1 »^ " 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. V^^ gz ^lT^ i "^rT-^ ^^S= p^ to either EXEECISES IN MELODY-WKITING. 19 LESSON S. A large number of original ^-measure Melodies, in all major keys, and in all the species of measure prescribed in Lesson 1. The rlivthm uniform. The scale-line and skips of a ord to be used as before; and, besides these, single iride skips (i. e., each wide skip followed by the scale-line, or by a narrow h-ap) may occur, according to the above rules. Sing, and play, each melody when completed. CHAPTER IV. THE CHORD-LINE, CONTINUED. 31. Review par. 13, and Ex. 11. If the melody is to continue, after a wide skiiJ, with another skip in the same direction (contrary to the general ]5rinciple of ])ar. 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 re]:)resents simply the application of the second Pri- mary Rule (par. 13) in a broader sense. For example: Ex. 25. C-iuajor, I i; J5. -=-4S2- : ^^->^J : 6. — I ^"'"w^ — ' 7. (par. 6 a). d: =q=^i^ d =_ i^^=3; IV II ?? ^:i i 8. O. (par. 6 a) lO. 11. ±=d: *^^ r^ Vi*n BE^E^a 3=^ (par. 19 6) 13. 13. good 14.. ^ •*■ ??? -^9- i^ i^i^il And the same in the opposite direction of each figure. 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 EXERCISES IN MELODY-WKITING. reached by turning, — i. e., it may be taken in a Liglier, or lower, octave- register. Thus : Ex. 25-6 25-7. Ex. 26. 3^(3): all good 25-11. 25-12. d: -*— 4 (D 25-13. 25-14. i^ a ^- -:X * ^ o: £ etc. 33. This important rule appears to liave some bearing upon a single skip which follows after the scale-line in the same direction ; it is always best to skip thus onward to some tone which bears obvious affinity to the rtdinff harmonic impression of the preceding scale-tones. What this ruling im- pression is, depends chiefly uj)on the location of the accent. For illus- tration : Ex. 27. ^i^ -better:^ 3!!Ji=^t=p: IV good te: Ex. 16, meaa. 4. " :d== — — s *-^ — rood 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. :3^: -^- ^=P= T best -*'***s^- Ex. 18. Ex. 25. Ex. 19. better good be.st •^ ? ? rep 35. The most objectionable progression is, probably, that of the aug- mented fourth, — formed in major by the leap from the 4th scale-step up to EXERCISES XN MELODY-WKITING. 21 the 7th step, and vice versa, from the 7th scale-step clown to the 4th step. Thus: :± Ex. 29.1 B ? ? ? ? •? ? This progression is checked, in each case, both by par. 6 (the inherent ten- dency of the first tone), and by par. 28 6 (the irregular leap to an Active tone). It is, however, possible to justify it as derivation from the line of the Incomplete Dominant-7th chord (Ex. 13), if it is an entirely obvious image of the chord-line. Thus: Ex. 30. m good dl >5. 1^ nV better best :ii^ ^^5 ■h- =F= B 'V complete Comp. Exs. 17 & 21. 36. The skip of a seventh is only advisable when it occurs either in keeijing with par. 28 a ; or as derivative of the Dominant-7th chord-line. Thus: Ex. 31. ;l ^: P -* — etc ^ Possible, but hazardous. ^^fe^^E^Ej^g ^^^lEg-^-^^ 117 to either 1V7 Allegro. KUBINSTEIN. f iJB- t=3 i Y^ lU 37. A succession of skips describing the line of some chord (as in Ex. 11), should, as a general rule, coincide in extent with the fundamental rhythmic groups, i. e., embracing in duple measure 2, 4 or 8 beats, in triple measure 3, 6, 9 or 12 beats. In this way the cAorc?-images will confirm, and 22 EXERCISES ZN MELODT-TVKITrNG. even serve to indicate, the rhythmic design. In other words, the chord-line extends, usually, only to the end of a rhythmic group (through a half measure or whole measure) and is then exchanged, at the following accent, either for a new chord-line, or for the scale-liue. It must be understood that this, however, is only a general rule, subject to many obvious modifica- tions. For illustration: 1. Allegro. r. U. ^ F^fe^ — Ex. 32.Efer^ Schubert. I V7.... I. 1/2 meas. I/2 meas. ^/j meaa. 3. Allegretto^ a' SCHUBEKT. r-H— ^ ^,iz=q^^^l=ir===j;:^^w=|=i=^^^==^" -^====1=1:1 ^1 — »- — * |- ^l — h ' —^ — -I p — 9 1 ^- | ,^1 — g H I,'*' scale V I...'**'. II.."**" V 1/1 meas. V I II 7 V J/2 meas. J/2 meas. 1/2 meas. 3. Allegro. Schubert. ±3a-erf'± _*-i 0- -I 1 1 — #v«-»— -I- _^jt^e^_rietc C. I — 4 measures. V I 1/2 meas. 1/2 meas. 4=. Allegro. S l«--^J^ Verui. G. Each chord-line 1/2 measure. 5 . ^ Uegretto E. I V7 Change of chord-line at each accent. BllAHlIS. I 1 y See also, Es. 3G, No. 10; Ex. 52, No. 6; Ex. 61, No. 2. 38. All melodic formations of four consecutive tones, to which the above rules of the skip do not appear to extend, must be controlled by the regulations of cJ/ord-sticcession; for there are many places in a melody where the influence wliich Harmony exerts over melody is peculiarly manifest (par. 15), especially when the location of the accented tones is considered. Among these formations may be classed: EXEKCISES IN MELODY- WKITING. 25 (a) Certain successions of skips in opposite directions. For example: (par. 21 b.) better Ex. 33. V7. II '^-- IV.... VI good i: .js,.j: ^^t^^^ ^-~ ?? S^=^^: good A ::t= ::^± vr IV. i>^-r- /'Sj The interception of the Kesolution of Active scale-steps (par. 7) by- interposing an imacceiited tone between the Active tone and its resolving tone. Here, the location of the tones in the measure is of dominating importance, as no other than unaccented tones can safely be inserted. If two tones are interposed, the Resolution may be evaded altogther. For example: A. All good. Ex. 34. I ^^ ^ ^» " A " A _ _Z I " V V... v.... I Permissible r V... better A -i ^4zzt: ^i^PEi m Ex. 2. B. good ^¥=fc^- S±zdt better 6 possible. ^m d: C. All good- 4 rifi good ? ? good 4 .5 possible. 4 ^ tSeE= ^^— *^ EEg^^_ :^=M=ii:?: V7. 24 EXEBCISES IN MELODY-WKITING. Halevt. Beethoven. Beethoven. Beethoven. ^t=v- --H P0 (Ex. 36, No. 3) (Ex. 36, No. 8) ^**-.~^-^«- 6 * "# — < 1 5 -* — # 1 — W- Brahms. 7 8 p-*-F^^ H — t^^t^H tF=F=^-^ e--^^^ -;-=tl fcj Successive Avide leaps which represent the alternate presentatiun of the tones of two different (contiguous) melody-lines. Thus: 1. Any Tempo. 4 Ex.35.^^Ejz(^==( --(?rz:ptfi =.p^P Mav be represented — -t — — — conectl.Y b.v : *^^ I ^^Eii #=-• -^— *- 4. i _. — J — ^ — I — I — I — I — I — I — 1 — i — ^—- — .^ - ?ee£ i==t: -etc., etc. 5. Allegro. Bach ^e=^= 6. 11 Oder at 0. Bach. :ia I I "~->- ^t^ -* — p- F-niajor. See also, Ex. 52, No. 6; 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-succession, 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- EXERCISES IN MELODY-WKITING. 25 self for awhile to the strict observance of the fundamental rules, and the regular modes of melodic conduct, he can encounter no difficulty or embarrassment: namely, the two Primary Rules, paragraphs 3 and 13, — Movement along the Scale-line or Chord-line; and, besides these, paragraph 4, — Proper Resolution of the Active Scale-steps; paragraph 10, — Overcoming natural tendency, by approaching the tone, along the scale, in cor" responding direction; paragraph 24, — Each single skip representing some good Chord-line; paragraph 26, — Changing the 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. i:j) (9 a) Ex, 36. A tt « «_ -— Tzzt=t: (13)_ Schubert, (3) (6 a) —I- ---X 5^ 3. Moderato (13) Chord-line Eep Ch Rep Ch. (66) =F :q= Scale. Bkahms. =J^I I Chord Sc. Chord. Scale. 3. Allegretto. (13) 1 1 1 (6c) :J b"^ s ^ d 1 — 1 — -?^- — 1 — -J J -A, eS f-i^—^- — *— — V 9 — ^- rt= « Chord Sc. Chord . . (37) (37) (37) (38 6) Beetiiove.n. 3^ I -h- Sc. Ch. Sc, Ch. Eep, Ch, 26 EXERCISES IN MEIiODY-WKITING. 4. Allegretto. (13) (9(1) (36) (6 c) N (10) (66) l^t __^-_^_g. 3= -<&- :a: ^-x-*- #-^-# N Beethovbm. ^m Ch Sc. Eep. Ch Sc. Rep. Scale Ch, Kep. Sc Kep. Beethoven. J>. Allegro. JL ' ^^ :ri:zii|ip=p-?z -*-v — y ;=^=?: (13) Cliord 9 S •-r ^ -#-; — * Sc. Ch. Scale. 6. Allegro. (13) Beethoven. (9 a) ^ =1 Lj — -•— 1^= ^-^^fcfcH Chord . 7. Allegro. (13) Sc. Beethoven. -r^ I -2.-3: Chord. 8. Andante. (9ffl) (9 a) Beethoven. (3) (3) -ii_— ^ 3=^=^= h^'^=^~ l^^^^^ — |5=H 1- ,^J-_^ ^ -«■ (6c) (The further aualysis is left to the student). O. Allegro. (38 &) Beethoven. ^ — ^ — •- t=f 1 (10) (9 a) 10. Larghetto. A (36) 'ji^i= r_-^ — s;_zil— *: -•--- -*/: =TJ3z. (6&) Beethoven. -*— '-*-*- s (37) (37) (37) 11. Yivace. --^^ ^^^^^^ 1^ -I (37) fi—^- Bach. -j^-#- (10) :!;i=t i 12. Moderato. EXEKCISES IN MELODY- WKITING. (26) 27 I (28 a) (26) (28 a) Mozart. -«- =F= -^ — • ^^ E=£ t==S^ -» — ^- r — g^~r- (6a) 13. Andante. (66) (25) (27 6) Verdi. -^-8-- :^ :±=:=J: ,=1: •^-•-# _*_o_!_j a: :2z h^__j_ - — lim^z?: ^^?ill (37) (37) (29 a) 14. Lento. 1 1 ■ Brahms. ; C' '' -(2 »- -z]-z^= n — * '^ • • — -±-^H L^ L #-J -P— P '5' ^ ^ • -* b^zda (26) (10) 13. Lento. Chopin. -^ — *- ^— * — j-zg- 10 (10) IG. Maestoso. i6l- -_g——it — — ^""^ — ^ (10) :fti''^ — *-! — ft—. Mendelssohn. -g,_i — 9 »- f=F=^=F=^ -» 9 e — ^- C=t: ^ii^ 17'. Andante. Eossixi. ^t=^-^-^^"=F= (10) 18. Allegro. -S..-5— V- (36) Beethoven. * — •- m •- iH 19. Allegro. (30) (38c. Hatdn. --.) ;f^ =P5: * ' m 1 -1^^^ — I (26) (26) (26) 28 EXERCISES IN MELODY-WEITING. 30. Allegro. — * 1 — (Ex. 106) (13 aud (26) Bketiioven. See also, Ex. 96, Nos. 1, 2: —and examine "ToxE-REr.ATioxs" (G. Scliirmer, N. T., 1900), Les- son 10, all; Lesson 13, all; Lesson 22, Nos. 2, 3 and 5. LESSON 4. A large number 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. Recollect, and ajjply freely, par, 9 a and par. 30. Review the note to Lesson 1; and i^ar. 39, thoroughly. Sing, and play, each melody when comjDleted. 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 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 Gth and 3d scale- steps are lowered a chromatic half-step. Thus: Ex. 37. : 1^ C-mrijor. jz. zz: C-minor, harmonic form. The same in both directions. i=^ i^^ m =^i= #— ^ Signature, 3 flats. EXERCISES rN MELODT-WEITING, 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 similarly valid for minor, — with a few self-evident limitations, as follows: 42. The most noteworthy limitation for minor melodies, is an excei?- tion to par. 10, as far as the 6th and 7tli scale-steps are concerned. Tliese should not appear in immediate succession, as a very general rule. Ex. 7, measures 1 and 2, are therefore only valid in C-major, — not in C-minor (Ex. 7, measure 3, however, is not involved in this restriction). Thus: Ex. 38. -^ J^-JT f- s^g^ pg; -M* 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 Diminished-7th chord (i. e., the Domi- naut-9th chord, in the minor mode, incomplete, — Ex. 15, chord no. 7, with a?). Thus: Ex. 39. C-mluor. 0^9 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 down to the 6th step. Thus: Ex. 40. :&i ? ? ? C-minor. ??? The flat before a is, 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. 6 5), or of leaping down upon it, in the direction of its Resohition {-par. 28 5). And, like the former, and like the irregularity of Ex. 38, it is possible 30 EXEKCISES IN MELODY-WKITING. to justify it as ohvious derivation from a chord-line,— eitlier from that of the Diminishsd-7th chord (oV^ i^ minor), or from the II. Thus: --b^ Chonl-lint X. 4:l.P^^i?—^—\y r^ -—I' • — ■-• i^r-|- -t7*- s better; 1= ^iB C-minor, inor. Ojj > 45. Further, — the well-nigh intolerable interval of the augmented fifth ■occurs, in minor, in leaping from the 3rd scale-step iip to the 7th step, and vice versa. Thus: n L "* Ex.42.Ffe^b=zd: 7 7 ? ? ? ? C-miuor. (Ill ?) ^^3= ? ? ? ? This error is checked by several rules, — par. 24:, par. 28 5, par. 6 a, The leap from step 3 doivn 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. 43. ^ y. iifi- frood C-miuor. -?-?- I (III) N. B. — Every musical illustration given in Chapters I to IV is to be reviewed and tested in the corresponding minor key (explained in Ex. 37). Additional general illustrations 1. Allegro. Ex. 44 riiT- 1^^ --s Mendkissohn. — N- 7^^:^ ^1 Lpar. 31- E-miuor. (Ex. 31). 3. Adagio. pur. 13- 3^ ^- -0—. H C-minor. Lp^r. 3, KUBINSTEIN. ^t=r^ I EXERCISES IN MEIiODY-^VKITING. 31 3. Adagio. rim Schumann. 4. Allegro. Beethoven. S gig_^^g|ggEE^BEif5E|^ P Jt=t M C -minor. L 5. Lento. Ex 43 (pai-. 37 ) ^? -#---- ?fe C-minor. C-iuinor. Ex. 39. SCHUBEUT. l_Ex. 39.. See alao, Ex. 55, No. 3 ; Ex. 63, No. 8 ; Ex. 65, ISTo. 1 ; Ex. 129, Nos. 5, 6 :— aud " Tone-Kelations," Lesson 11, all ; 16, Xo. 7; 18, No. 7 ; 21, No. 4; 22, No. 4. LESSON 5. A large number of 4-measure melodies, in all the minor keys, and all the species of Measure jsrescribed in Lesson 1. Rhythm uniform. All details precisely as in Lesson 4. Avoid mo7ioto7iy. CHAPTER VI. DIVERSITY OF RHYTHM. REGULAR. 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 Regular, When the comparatively longer (i. e., heavier) tones occupy the accented beats, or accented beat-fractions; and, vice versa, when the comparatively shorter (i. e. , lighter) tones occupy unaccented beats, or beat-fractions. Thus: Ex.45. 2 4. J. / regular rhythm 3 4 A J J 'rnn etc. J. ; J s s . J 4 4 J J J n n 32 EXERCISES rN MELODY-WEITING. 4 4 A J. • A A A J. s 1 S 6 A A 8 1 4 . J / J I I A ^ J J J ; . d } S d p J ] ^ ^ ^ J (^5^ TJniform 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 U ^1 47. It is generally advisable to avoid using extreme time-values in the same 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; — occasionally also a dotted half-note, or a 16th-note; but the whole note woiild be rai-e, and 32ud-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 Xos. 10, 11) are all constructed in regular ihyMiin. Tliey are to be carefully reviewed, from this stand- point. See also, " Tone-Kelatio^;8," Lesson 18, Nos. 1, 4, 5, 8 ; 22, Nos. 1, 2, 6 ; 30, Nos. 1, 4. 48. Rhythmic diversity is derived from uniform rhythm by the fol- lowing methods: (a) By employing the dot; J J J • y ^ etc. (b) By any other process of lengthening one or more of the original tones; A- c j=j n-, s J J J j=j J n I or JTT,, 0000 : d or * 4 etc. Further, diversity is procured — (c) By placing less or more tones in a measure than the number of its EXERCISES IN MEIiODT-WEITING. 33 fTmdamental beats; for instance, in 3/4 measure, less or more than three tones. The first gives addition, the other gives division, of beats. Thus: J J 2 tones 1 tone 4 tone 1 a ' 4 tones r-1 r: I r- r-; ' ' 5 tones more rarelv ti 5 tones I I J 7 tones 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 Rest follows the tone; sometimes, however, an accented fraction, in "which case the Rest precedes the tone which it represents, and as the equivalent of Avhicli it is to be treated. For illustration (the slurs indicate -which tones the rests are borrowed from) : 1. Allegro. Ex. 47. ^— t— — ^^^ ^ Vn i^^*H— 1 - -^^ 1 ^'-^ ^ .^ ^-f ^0—0^ — r^'^'fl^l^F ^-0- i^?^ 3. Mexpei-ssoiin. I L jg-and -^-p-^ *-p-*-|-y-^ ^-^^=^J g^il^iiH 3. Allegretto. if — Beethoven. 4. Largo. Beethoven. "-^g?- D-major. See also, Ex. 56. No. 2; Ex. 59, No. 3; Ex 87, M^o. 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-WRITING. the continuity of the Melody; if used tinder 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, in uniform rhythm, and diversify the rhythm in regular forms according to par. 48 a and b (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, h and c. A very few rests may be inserted. Employ every species of Measure j)rescribed in Lesson 1; and write alternately 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. Rhythm 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-FORM. 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. (a) The Antecedent Phrase begins exactly like any single Phrase, according to par. 8 a. But it ends, not with the Perfect cadence (8 6), but with a so-called Semicadence, — upon an accented beat of the 4th measure, with either one of the three tones which co7npose 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 EXEKCISES rN MEIiODT-WBITING. 35 the Perfect cadence,— upon an accented beat of the final (8th) measure, with the Tonic note. Thus (in C-major): (Accented or unacc. beg.) Perf. Cadence. Ex. 48. 52. In the first few examples invented, the Consequent Phrase must J.I ^ regular irregular 1-] .r^ j }-= . slightly irregular regular. . 3 |J Fj. irregular. (^) 4- ^ *' regular. A 0-00 \ O 00 00 JTJ [etc. J J^ «i J I A A I A I I '^ '^ I ij II hiMiIni nil inegular ."?T!^ A A__ , I , i A , I A ,1 n n 1^^^ I J I J I i letc. 0000 0\0\0 \ \^^- A A I A A I A I J Tj J. /I J J. J J J /J J J /h irregular. (^^l 1. J / regular. J ; A • A J J ; 1 A A e.c. 1 J ,^ J _ A • J >J Jj ; J ; ; h*"- In other words : if tlie tone upon the first beat (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 Regular, — otherv/ise Irregular. 38 EXEKCISES IN MELODY- AVKITING. 55. Tlie degree of in-egnlarity depends, of course, upon the degree of discrei^ancy between the length of the tone and the comparative dynamic quality, or length, of the beat or beat-fraction upon whicli the tone is mis- placed. For instance, ujDon a jjulse entitled to an 8th-note only, it is more irregular to locate a J -note, than a J -note. In Ex. 51c, measure 5 is more irregnlav than measure 6, or measures 3 and 4. 5C. f'l) Irregi;lar rliythmic figures are never objectionable, excepting when isolated, — and not ahvays jjositively wrong, even then, though usually so. In other words, An irregiilar rhythmic figure may always be justified b?/ recurring; — either immediately, in the next following group or measure; or in some, not unreasonably remote, corresjyonding 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: 1. Moderate. 1. Ex. 52. ,PBl D-miiior. rectified, iu fol- lowinii measure. V Schumann. it :F m reounei.ce in corresponding measures. :p: -/S-- (par. 120 a) S 2. Allerjretto Mendelssohn. -4-ff- G-major. 1 — irie 3. Lento. ^ J Lrectified by recurrence.. _e it ♦.- ^ -#• J V _ Chopin. t= i I — irres. B-uiiuor. 4=. Allegro. recurrence in corre- sponding measures. "Wagner. I — irreg C -major. -a 1 — •-» •- -^ — 0- M J Lrecurreucc. 5. Allegro. (Ex. 21-2). =t= C -major. .j^-^. -1^ — ij:- EXERCISES IN MELODY-WKITING. 39 Wagnek. -«i^=~i^ :t= s rpciirreuce, corre- spouiliug measure. 6. Allegretto. (par. 37) Bketiiov'rx. F. Liireg. 7. Andante, Handel. m -;^- G. Lirreg.- S. Yigoroso. J Lrecurr.- -^ ^- Schumann. m ^E^E?=E -^ ^^ C. Lirreg. - 9. Allegro. -^i-^- -recurrences. -^- Beethoven. 'Z, ^ ' e _m IB I — irreg. Lrecurreuce.- See also, Ex. 36, No. 10; Ex. 54, meas. 6, 7; Ex. 58, No. 5; 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-Kelations," Lesson 13, No. 4; 16, No. 2; 32, Nos. 3 and 4 ; 35, No. 3.i (^5^ niustrations of a very common rhythmic irregularity in triple measure, which appears to demand no justification (m* f 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-mea8ure and 8-measure melodies, with Irregular rhythmic measures, according to the above rules, — particularly par. 56. It will 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; diiferent 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. 10 EXEBCISES IN MKLODY-WKITING. CHAPTER IX. EXCEPTIONAL SEMICADENCES. 57. The Semicadence, in the center of the Period-form, may be made, somewhat exceptionally, uj^on 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. F#i*=^ G-major. ' AuLD Lang StneJ ^i -^^- =^3 4-=M- F-major. a^— *- *-*- m. " Home, Sweet Home." ^B latzit ^*- In Ex. 52, No. 5, the cadence of the first Phrase is made upon the Tonic ; this is very excep- tional, 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 groiip) as j^rescribed. In this case it should, as a rule, be preceded (on the accent) by the next higher, or next lower, scale-step, as obvious grace-note. Thus: Ex. 54. #— *- G-major. ±=Fd=t=S =(=d^ EXERCISES IN MEIiODY-WKITING. 41 FOLK-SONG. (par. 56 6). See also, Ex. 36, No. 14; Ex. 57, No. 2; Ex. 58, No. 1. LESSON lO. A number of 8-measiire melodies in Period-form, with the exceptional forms of semicadence explained above. CHAPTER X. SYNTAX OF MELODY. 59. The succession of tones in a Phrase or Period-melody, may be determined by a broader consideration than the application of given rules to each single unit of the melodic succession; namely, — by the princiiDle of symmetrical recurrence, applied to an entire group of consecutive tones. The recurrence, or reproduction of the group, may assume the form — (1) Of an exact Eepetition; or (2) Of a Sequence. 60. The " Eepetition " is a literal recurrence, upon the self -same scale- steps. Thus: 1. Moderato. Ex.55. ^t=^' A—w—d- :q_q: -s—»- :ij=1: F. \1 . rei)fnti()n FOLK-SONG. I i3. Allegretto. T-t= -_iN- -^ — ■^- A. L :S: M^ gioup ;e (par. 56 6) BUAHMS. I 42 EXERCISES IN MELODY-WKITLNG. 3. Allegretto. BUAHMS. n^< C-uiiuor. L: -fi-»- s=^ g^^E 53: t^E repetition (isolated rbytli. irreg.). (jl. The "Sequence" is a rei^rodiiction of the group of tones upon oihf.r scale-steps, a certain interval-distance above or below the original tones. Thus: 1. 2[odcrato. MlCNIlELSfOIIX. Ex. 56. teEggEEf=EJ=g -^—^—0—0 — 0- n=tt=:-=:Fizpl: st-qiu-iice ' ^^^^£^ 3 steps higher. 3. Allegretto. Brahms. :a (par. 56 6) ■27- 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 rhythnic groups, i. e. , to include 2, 4 or 8 beats in dujile Measure, and 3, G, 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: (par. 56 a) FOLK-SONG. Ex. 57. 1 step lower. m --=4^i — ^- :^ i=»=b£; MOZAKT. H sequence, 1 step lowei'. At Ex. 55, Ko. 1, and Ex. 56, No. 1, the initial figure is one measure long, beginning with the last (the unaccented) beat. At Ex 57, Xo. 1, it is very brief, — one .sliort measure, beginning •with the accent. At Ex. 60, No. 1, it covers two measures, beginning with the second beat At Ex. 57, No. 2, it is veiy long, — four measures, or an entire Phrase. At Ex. 55, No. 3, it begins upou the 6tli beat of the 9/8 measure. Illustrations of tlie rare recurrence of a group of less or more beats than the fundamental rhythmic group contains, are given in Ex. 62. EXEKCISES EST MEIiODY-WRITING. 43 63. The recurrences, by Kepetition 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 rliyilitnic 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 tlie "parallel coTistruction " of the ^^hole Period. In Ex. 50, measure 2 is a sequence of measure 1, and measure T 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 recuiTence 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 the 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: Ex. 58. - 1. Andante. bm=*: S (Ex. 43-0). GUIEG. -0-^0 group ¥^ G-minor. 3. Any tempo. (Ex. 31) (par. 566). (Ex. 16) 3. r (Ex. 8) N. B. «:i=t: C. group -t==t= I seq. 4=. Lento. 3e5 li—*- D. group (Ex. 29) (par. 6c) (par. 6 a) N. B. N. B. -#—=—•- is: -•_i_«^_^_ irr^t N. B. sequence -#— * L. Stark. •—. ^ etc. 5. Allegro. Chopin. u EXERCISES rN MELODT-WEITING. 65. The manifest impoi'fcance of brief rests, at the end of the symmet- rical ejroiips, 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 also, Ex. 49, No. 1 ; Ex. 50 ; Ex 52, No. 4 ; Ex. 56, No. 2 ; Ex. 59, Nos. 3, 4; Ex. 60, 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-groujis, both as repetition and as sequence, meed 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 j^articles of the initial group ; (b) By altering one or anotlier 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 jDoint. Thus: 1. Andante Chopin. F-niajor. 3. Moderato. FOLK-SONG. mod. .leq. i EXEECISES IN MKLODY-WBITING. 45 3. Allegretto FOLK-SONG. ^isife^^ G. , group (expanded) J mod. seq. (contracted) mod. .seq. 4r. Allegro. Beethoven. S gig^zzg: 3^i r^'-r -- i EE! -<9-^ N. B.^^.#. .^. -•— ^ ^'^' I group modified seq. P*ls 5. Allegro. Chopin. i CJf-minor. mod. rep. G. Lento. a -^— j- -#-jh G$-minor. group Bach. mod. .seq. I (Ex. lOj. See also, Ex. 52, No. 3, measure 1 and 3 ; Ex. 52, No. 5, measures 1 and 5 ; Ex. 56, No. 1, com- pare last 4 tones with first 4. 67. Furtlier, the repetition or sequence may be partial; that is, con- sisting in the recurrence of only a jDortion of the original group. For illustration : 1. Allegro. Ex. 60- [fc-^ ^—* 1 (par. 66 6) :p: ;^3=ig -•-T- A. grnnp, complete seq. compl. -y- K. B portions of initial group- BltAHMS. • r ■a^ 3. Allegro. E^E -^ — I — -*-i_#- -(t-j—0. -^ — » Beethoven. 1= s F. group . mod .seq. partial sequences 46 EXERCISES IN MELODY-WKITING. 3. Adagio. .^-^ Z 1 - - -t L^-i -0-0- -0- -0- ,-0-' C-minor. . group l-H — ^ — ; seq., exact. Beethoven. :t:: -f=^=P=^^ '^ seq., contiiict«(l ;it f iid. partial lep. 68. Furthei", more rarely, tlie repetition or sequence may appear in a different rhythmic form. This very effective mode of recurrence is com- paratively harmless (not jeoi^ardiziug the recognizability of the original group) :— (1) If the STivi of beats remains the same; or (2) If the sum is exactly divided, or doubled, so that the prosodic ar- rangement (of accented and unaccented tones) is not altered. Thus: 1. Any tempo. 2. Allegro. Ex. 61. w^m^^mMm_ Beethoven. ; — *. F. l: mod. seq. -L_«- c. group, 6 l)eats seq. I 3 beats ditto , 3. Lento. (Ex. 58, No. 4.) L. St A UK. leEglEgggEEig; tiip; D. group seq. exact >-* seq. niodifled :i=lzf3^ts==El . seq. mod. 4.. Allegro. (Ex. 52, No. 4). TVagner. 69. Further, still more rarely, the recurrence by repetition or sequence may appear in a different rhythmic location, i. e., on other beats of the measure. This shifting of the measure, and consequent alteration of the original prosodic effect, is a very misleading device, and belongs, properly, only to the higher ranges of composition; for a time, yet, it should be avoided by the student, unless he can succeed in obviating total confusion of measure. It may result: — (1) From ?,-ac\\ imrtial recurrences as were shown in Ex. 60, No. 1; or EXERCISES IN MELODY-WIilTIXG. 47 (2) From adopting a group wliicli contains, originally, lesn or more beats than the number contained in a fundamental rhythmic gioup. It is least objectionable when the irregular recurrence ajipears several times in succession, — until the original rhythmic location is regained. For illustration: Ex. 62. Schumann. ^1 -•— . acq 3. Allegro. Beethoven. li. Allegro. -7h^^' :^ Beethoven. :i=t^ •— ^- -n—»—^ -_l I L _L ::]=-__q=q=q: ---x^- X^ -y-*-g- F-minor. groups, I 2 beats seq. V-g- -0- J (par. fcl). 4=. Alleu ro. H 4.YDN. n tt f"* - L^'f*'] f~ -r-r^^r - P^*^3£5 H LLJ_._lj_L_'_ * ' ^ a -•-* i-^:e:= II group. 5 I 8th-ii(>tes seq. Rubinstein. PM 6. Allegro. (Ex. 35). 4r^-^ ^H^ group, 2 beats 1 I I sequeuces, exact. Chopin. m\i 70. Finally, the recurrence may be modified by being turned bodily in the contrary direction (i. e., upside down). This is an excellent device and 48 EXERCISES IN MELODT-WKITING. shoultl be freely exercised. In this case, particularly, the recurrence should appear in corresponding rhythmic location (not shifted, as seen in Ex. 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. "Lai go Beethoven. Ex. 63. :!««: 3. Largo. or: Brahms. 3. Any tempo. , coiit. (lir. gronp =^^=d= cont. dir 0- — r 11^^ ri= cont. dir. mod. ^m modified 4. (Ex. 52, No. 2). g= group contr. dir. Mendelssohn. i 5. Maestoso. ife=^^^S3: lE -#v#L ijz^^U- -i*-* J onnt dirpctioi Wagner. -1 F-»- :Et=t a 6. Yivace. Bizet. -N — ^ — •- ^5 orie:. (]ir. itjd^: a<-— ^— *-* y. Molto moderato. Schumann. , cont. direction -^ group 8. Allegro. n (par. 36) (par. 27 a) (28 a) (26) :^ . cont. direction (par. 81) (26) (28 a) :t=t=: B-minor. EXEKCISES IN MKLODY-WRITING. (Ex. 43) ^ Brahms. See also, Ex. 7, No. 4, first three tones, measures 1 and 3. LESSON 12. A large number of 4 and 8-measure melodies, with recnrrences of tone- groups, by repetition or sequence, modified in the manners illustrated. Each device is to be exercised successively, in the order given above. Major and minor alternately; various species of Measure, from 2/4 to 12/8, No changes of key. After correction, a few of these melodies may be harmonized. CHAPTER XII. MELODIC SYNTAX, CONTINUED. THE PERIOD, RESUMED. 71. The recurrence by Sequence may be utilized on a broad scale, as a guide for the movements of the Consequent Phrase of a Period-form. In this case again, as in par. 52, the construction is "parallel," the only difference being, that "sequence" is substituted for ''repetition," in the conduct of the second Phrase. The sequential formation need not be exact; it is far more likely to be merely an approximate guide for the Consequent Phrase. And it need not, generally will not, extend through the entire Consequent, but through a portion only. Thus: 1. Antecedent Ex. 64, 50 EXEECISES nsr MEIiODY-WEITING. 3. Antecedent ?.t2^_- 1 \ i -P*- (charRB of key; par. 81) :T :(?: :#): C-minor Consequent Mendei.sboiix. 3, Antecedent 53^ Eb. I Proup -^— S- Consequent N. B. :b=: ^1 =^= F= a N.B. niz=!izi Mozart. :t=^zz^- a Sequence, slightly mod. See also, Ex. 57, No. 2; "Tone-Relations," Lesson 48,-3. jj_ B. — In Nos. 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 tlie 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 modifications explained in par. 66. Such melodies are known as Periods of " op^osz7e construction " ; com- pare pars. 52 and 53. For example: 1. Antecedent Consequent N. B. Ex. 65. li^^^llil^lt^^^^a F-minor. , proup 3. Allegretto. EXEECISES IN MELODY-WRITING. 51 Mendelssohn. lieciirreuce, lariiclv in cuiitr diivction See also, " Tone-Eelatio.ns," Lessou 18, Ko. 7 ; 22, No. 3 ; 27, Ko. 1 ; 48, No. 6. LESSON 13. A large number of 8-measure melodies in Period-form, applying the devices of sequence, and of contrary direction, for such a portion of the Consequent Phrase as 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 fi!:j:ui"es (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 si^ecies of Measure, up to 9/8 or 9/4. No changes of key. Review, carefully, the directions given in Lesson 8, and apj^ly them, where suitable. CHAPTER XIII. ALTERED SCALE -STEPS; MAJOR. 73. The Scale-line may be modified by the chromatic Inflection of certain steps ; or by the Substitution of such chromatically inflected steps for the corresi^ondiug original ones. N. B. — A chromatic progression is the inflection of a letter, by means of an Acci- dental The chromatic inflections are to be effectuated strictly in accordaucQ with what are known as the "Altered Scale-steps." 52 EXERCISES IN MELODY-WKITINGr. These are as follows, in the major mode (arranged in the order of their frequency and excelleuoe): Ex. 66. ;| Ori;:iiial Scale-steps: K^- C-inajor, throughout. Altered Steps (-\- indicates raised, _ indicates lowered): Less common : -'f'^ rare: i^^i^l^^El^^i 6th Step, 4th Step, 2d Step, 5th Step, 1st Step, 6th Step, lowereci. raised. raised. raised. raised. raised, (marked 6 _) (marked 4 -\-) (2 -\-) (5 -{-) (1 ■]-) (6 J-) 74, Summary: Every Scale-step in major may be chromatically raised, i. e., inflected w_^9M)a?v/,— excepting the 3rd and 7tli 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 chrom.atic inflection of the original Step, that is, preceded by the latter; thus: Ex. 67. Less common : h ^-^ 1 / =1: C-major, throughout. 6 ^" m^m^ See Ex. 72. (b) Or, as substitution for the original Step. In this case, the altered Step may be ajJi^roached 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. 6 - :2*zz =1?^ C-major, throughout. i IH- I 6 + B. rare: >- ^^^^ m^ -0—^r ^t= ^1^1 Augm. 2nds (comp. Ex 38). (c) Or the altered tone may be approached with a leap, exactly acoord- irig to the rule of par. 28 a; i. e., with a ski]) from any not unreasonably distant tone downward to a raised Scale-step (because of ics upward resolu- EXEKCISES EST MELODT-WEITTNG. 53 tion, — par. 76 a); or from any tone upward to the lowered 6th Step (because of its downward resolution). Thus: (all good) (Ex. 72) 4 n 2— S_Z E.. 69. ^p ^^^^=^^_'± ^=^^^-\ E^^^ C-major, throughout. (nil pood). f'rfj Fe?-y rarely, the raised tones may be approached with the opposite leap, namely, from below, — in the direction corresponding to their reso- lution. For example: all ? ? a* + all?? 2- Ex. 70. -fe— - l^i^l^l^^l 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: lood Ex. 71. i (Ex. 42) (Ex. 40) •P =^-l)nt-i?*^^ ^£j^i^jZiiot:=tZZZb IV C-major IV or V9 ??? ?? I 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 ascenc?,— generally step-wise, i. e., to the next higher Scale-step. Thus: Ex. 72. 2H- =;^^=^-H A- ~4» "^ *-|=~=-=l>5^^ Hi#s*^#— y C-major, throughout. (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 4th and 2nd), but rare, and hazardous, because of the difficulty of confirming an obvious 54 EXERCISES rN MEIiODY- WRITING. chord-line, without cancelling the prevailing key; see par. 77. For illus- tration; Ex. 73. (all good) (no chord) :t2*:: :<"■ =11712* ^; lit :but:--2*: :4=tli C-major, throughout. i'A -\ or:— [71^-— ??•? * (Ex. 40) More rarely : 4H- 2 Improbable chord-lines, in C. i?^^^£^=^E0|=hr^ m^ ? '? IV ^ n IV ff 9 -J ■.) fc) Further, the raised 4th and 2nd Steps are, rarely, pressed chromat- ically downward to the original tones, — exactly according to the principle of par. 10, which review. Thus: Ex. 74. - =^=^S^ (not gb) C-major. N. B. g _)- :t: I (not eb) 77. 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. 1. Allegro :i -b* Bkethovkn. ^-i — — I f-1— «- Ab major. :b 2. Allegro. te Beethoven. Ab -major. (Ex. 68, B) 3. Allegro. tit 5j- 1- :t=#i > — * ■F E-major. =F ^^Ei ^ — * Schumann. — I f2- 1 Chopin. -^ =F= :?-=t: 4H- -*-■#- -^^ ■< a^--»-h - ? 1 I A -major, throughout. EXEKCISES IN MELODY-WRITING. 55 o. Andante. SCHUBEItT. ;--^- -^— ^- "i-R=S^=*=^i#= gS^i D-m;ijor. tIiU)Uj;liout. t>-g-4>-^ 0- f-g, G. Moderate. '4^i A — g ^-tf- =:^=4 -^ : * — *— 7 - -4 71 6 — SCIIUBEItT, fcg— — I 9*-i tf— D liiiijoi', throughout. 7. Largo. Wagner. I:2=e=l;: ■'-§•• — ?*-■ r- "V d (Ex. 74) Al7-major, throughout :p=-4:: 1^ — \-\ e—i — *-J-(S' u See also, Ex. 62, No. 2 (cj) ; and glance at par. 88. LESSON 14. A number of 4 and S-measure 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 essew^ia^ tones; as a rule, not less than a full beat in length, occasionally longer. No changes of key are to take place (jaar. 77). The first few exercises are to contain the best altered tones, and the regular modes of treatment; then exjaeriments may be made with the more exceptional forms. Review par. 9a; par. 30; par. 39. CHAPTER XIY. ALTERED SCALE-STEPS; MINOR. 78. The inflections of the harmonic minor scale are as follows (in the order of comparative importance) : Original Scale-steps. (Ex. 37) Altered Scale-steps. 7 - Ex. 76. 5P^ I C -minor, throu'ihout. 4th Step, 7: h Step, Cth Step, 2iid Step, r^iibbd. loweied. raised. lowered. 56 EXERCISES IN MELODY-WRITIXG. These can not be as conveniently summarized as the altered Steps of major; they must be independently memorized. 79. The rules for their treatment are nearly, though not precisely, similar to those governing the altered Steps of major. (a) The raised 4th 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 introdiiced chromatically (par. 75a), or from the nearest neighboring Step (par. 75 6), or with a skip from any higher tone (par. 75 c). Thus: Ex. 77. (all trootl) (Ex. 68 B) te;^ C-mlnor, tlirougliout. augm. 2nd (b) The other altered tones, in minor, should not be introduced chro- matically, but may ajjpear only as substitutions 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 may be approached from any higher tone (par. 75 c) ; and the lowered 2ud Step, to which a skip may be made from either side, along the line of an obvious chord. Thus: (only thua) C-miiior, tlirouixliout. Jl -_ 1 1 — ?#■ J- •,«-— (all good) Only as changes of key (Chap. XV). II "I T" ^sJsgjjMj II. 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. C-minor, throughout. (only thus) Exceptional. (par. 76 c) good EXERCISES IN MF.TiODY- WRITING. 57 For general illustration : 1. Allegro. Ex. 'MzA :a=5: t: -#— ^ .^_f_t:r_^_l^:?: Beethoven. EE ?^ E-minor. 2. Allegro. Beethovex. F-minor. 3. Fii'ace -^■^ 1* ^m^ ■MifXDELSSOHN. n--%^ ^r:^*^:r:rci^ :fit I B-minor. \i 4r. Allegro. , 7- Mendelssohn. 4-^ 4^ ;^^^^=f=|r^t=^^=^*i .^-^ G-miuor. 5. Allegro. -N- ^ r-.fr— ^ 2 - -y>^- n'- G-minor. n. b. 6. Adagio. E -N- -T^' — #-*- ^^„o- -^^ Mexhelssohn'. ^^__. B Eubixstein H -^,-#- ( clnuiiie of kev E-minor 1^ par. 81 'jE-imnnr * This b-flat is a non-essential emlicllishiiig toiu'. See also, Ex. 64, No. 2 (Bft in 2nd measure, FJ in 7tli measure). LESSON 15. A number of 4 and 8-measure melodies, in Minor, -with occasional in- flected Steps. Review par. 39; par. 77; and alt the directions given in Lesson 14. 58 EXEBCISES IN MEIiODY-WKITINQ. CHAPTER XV. MODULATION, OR 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 "Tone-Relations," 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-Relations," all of Lesson 40.) 82. EuLE I. — The original scale should be exchanged only for that of a next -related key. Of these there are five, namely: one with the same signature, two with the next higher, and two with the next lower signature (i. e. one sharp more or less, or one flat more or less). Thus: From C-major (3 -signature), into ^ a-minor (^-signature jxG-major(J s'—ie-minor (J " 1*^ F-major (|7 " X d-minor (|7 " ^ A-major (3if-signature r^E-major (4J Or: from fJJ-minor (3J-signature), into <^ — cij-minor (4^ " |*s,D-maj<)r (2^ ^b-minor (2J " ^ f-minor (4|?- -signature t ^ Et7-m a j or ( 3[7' " Or: from AlT'-major (4b'-signature), into <^ c-miuor (St*^ " (•^ Dt^-major (5t^ ^ b|7-minor (5l7 " N. B. — Capital letters indicate major keys ; small letters, minora. 83. RuiiE II. — 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 xohich constitute the Tonic chord. EXEECISES IN MELODY-WKITING. 59 i. e., either after the 1st, the 3rd, or the 5th Step of the momentary scale (namely, the Inactive steps, par. 5). Thus: Ex. 81. - ||e ^t=F nnto either one- -of the five next - "related keys — m C -major. C-major.. t intonext- ^related— —keys. — II ^ into next- — i ^^ related- gf — keya. — C-major. 84. Rule III. — The deflection of the melody into the desired scale may, — after reaching one of the Inactive tones indicated in Rule II, — be effected by passing through any one of the five tones which constitute the chord of the Dominant-9th, i. e. , either the 5th, 7th, 2nd, 4th, or 6tli Scale-steps of the desired key; — in other words, an entrance may be effected into the de- sired key through any other than its 1st ami 3rd Scale-steps. (Even these may be used, as Avill be seen in time; but not at present.) The most powerful of these "modulatory tones" is tlie 7tli 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 Rule II) should be transformed menially into a Scale-step of the prospective key. The melody then runs on, from the footing thus secured in the new scale, in exact accordance with former rules. For illustration : 1. C-maj. Ex. 82 A. - 1 6 G-raaj, 3. C-maj. :0 5 F-niaj. 3. C-maj. EE ^F=t (b) The most satisfactory result is gained (as far as the melody itself i.s concerned) by using, as soon as tlie new key is entered, a tone, or a groui? of tones, which indicates very distinctly the Dominant harmony of the key, — 60 EXEECISES IN MELODY-WRITING. SO that the Leading-tone, or some other tone that dlstiiigni>^h''s the new Tcey from the preceding one, is instantly, or very soon, introduced. Ex. 82 A, No. 1, would be more dfji/iite thus: Ex. 82 B. El :t=^ -(V)- I -not as (rood, thus; but possible (Ex. 7) : ;^ S'' A « — # — <» • ?==H fitt^ No 3 1- — 1 — ,' 1 — ^1 1 1 rl •^ r 2 7 86. If this mental transformation (par. 85 a) is not possible: that is, if the last tone of one scale does 7iot belong to the coming hey, then a chromatic progression will need to be made, at that point, — by simjily inserting an accidental (see par. 73, N. B.). Thus: Ex.83. 3E ^Ex. 81-3) 1) t 87. (a) If such a chromatic movement be necessary, it should be fore- seen, and properly approached, i. e., in the corresponding direction. Thus: Ex. 84. :e=t: ^-& 'S^- 7 d-minor. B Not as- r good- 1 thus:— m (b) Or, the chromatic ijrogression may be prepared by a wide leap from the opposite side, involving a change of direction, according to par. 26. Thus: c 1 c 1 _ Ex. 85. ifetzf =n— ts^ : -gg — >- -*- e.tc. -fe-^— — j ^- -~— Z— H— --etc fl 3-- li — * ^ — l-u — g — « — ^ iU 7 -<- ^tf- EXEKCISES IN MELODT-WKITING. 61 xej Or, finally, the chromatic iuflection may he avoided, in the melody itself, by moving step-wise in the opposite direction. This involves tlie as- sumption of a Diminished-7th chord (i. e., the Incomi^lete Dominant-Qtli, in its minor form), — where the new key V)egins; and implies that the chromatic tone is taken up in some other part of the harmonic body. Thus : -| (conip Ex. 84-2) Ex. 86. - j=- =1: -^ B (comp. Ex. 85-1) I ^3 *— *: — 0- *— r :E=i± For general illustration (capitals, major; small letters, minor] Ex. 87. 1. Moderate :zk P=- Ef2- 2. Allegretto. J Bfe- Bach. Beethovex. zT^E — K^^5i ^i^* =i=^^ ^^^ =!z^=i-^-s- i (par. 88) 3. Allegretto. te Beethoven. ^^ 1= eeHS s =t= -l — »-^ «- f=t i^ B Eid=^ 4r. Allegro. (par. 87 a) (par. 88) Beethoven. 88. Whether the foreign tones in a melody are merely inflected Scale- steps (i. e. altered tones), or the indicators of Modulation (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 major and minor in Exs. 66 and 76. But, (2) It also depends, much move largely (very often entirely') r^^on the 62 EXERCISES IN MELODY-WKITING. option of the composer, who, in the majority of cases, may treat the foreign tone, in his hnrmonization, either as momentary inflection (without abandon- ing the key), or as a modulatory tone (passing on into the corresponding new scale). LESSON 16. A number of ^-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 diversified. 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: Schubert. Ex. 88. 3, Allegretto. rih: ::4^ ?-W-?— 1 - Beethoven. ^5^ (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 EXEECISES IN MELODY-WKITTNG. 63 5 next-related Aeys of the original scale, and, in each case, returning to the latter and cadenciug uj^on its Tonic, as usual. Thus: 1. Allegretto. irbc ^^. * Ex. 89. m^ t=F t=t:=t: -I F- ^-0- Beethoven. (par. 92) LI d- 1 r^ -f-^-etc. ->— (G- 3, Allegretto. Beethoven. EE rf~^ -iri^—r !5-^^ «?^- J C- 3^1^ -0 — w 1 *J LESSON 17. A number of 4-measure melodies in Phrase-form: A. In the smaller species of Measure, with one transient modulation, and return (par. 89 a). B. In larger Measures, with two or more transient modulations, and return (par. ^ b). CHAPTER XYII. MODULATION, PEKIOD-FOKMS. 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 Sl Period beginning in major; the Relativo k(^y for one beginning in minor* 64 EXERCISES IN MELODY-WRITING. though both are possible for either mode, — and other next-related keys also. The most unusual is a semicadence in the Subdominant key (one flat more, or one sharp less, than the original signature). For illustration: 1. Moderato. AiitecetleTit. Ex. 90. ms^ -•— ^- :>— =: 4,_^-_. m conseq. Schumann. *3EE?E I 2- Andante. ±1FT 3^£H^ (overlapping Scale- m -Mzi^Lifz 0—^ EESEE g-minor- Bb- linea; see par. 93) c:fcd2i Beethoven. 33 -m -0-^ -#-«-«^ -0-0* »-«- -•-*— ^ #-«- -| »-F 1 1 r y JI_^[::^zE=! Bb- 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 nnmber of 8-measure melodies in Period-form, according to the directions given in Chapters VII and IX, containing modulations (and occasional altered Steps) as explained above. Every species of Measure; major and minor beginning, alternately. EXEBCISES IN MELODY-WRITING. 65 CHAPTER XVIII. MODULATION, CHKOMATIC. 91. The change of key may be effected contrary to Rule II (par. 83), — ■ namely, after other than the Inactive 1st, 3rd or 5th Steps of the key, — on condition That the melody progress cliromntlcrdly, from the Step chosen to close the first key, into a proper tone of the desired key (Eule III, par. 84). Thus: (reg.) Beethoven. Ex. 91. g=E^=^^^= ^=±=^ J G- *^— ^ I 3. Beethoven. 4H_(pnr. 8S) ^=±=t==^=F :bt Bk- Eb- --^=-% ^^^- 1 J Bk- 3Ea fi ^^ a. T t-ft»^i»= -^-etc 5 J b- J a- J e- 4r. Allegro. - g-^ — * — ps» — ^— ^ :^^= -O-i h J G- -0 • -]= «- _« — o- ees Beethoven. -fe » 1— fe» — ; — N. B. J Bb- f5. Andanfe. Mendelssohn. ■^ EE: -*-= # — e- r — r »=z=pi :i^=t=t: -^ — h J=^0~ i^=t: i 66 EXERCISES IN MELODY-WRITING. LESSON 19. A number of 4 and 8-measure melodies, illustrating this device of chro- matic modulation. Begin in major and minor alternately; all species of Measure (2/4 up to 12/8). CHAPTER XIX. OVERLAPPING 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 (uo 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 diCicult and exceptional method of modulation, — represents the aiDplication of par. 85a in a broader sense, and is based upon the general principle that a change of hey may always be effected at (or through) any tone that is coniTnon to both keys concerned; — especially when two or more such common tones appear in succession, so that the lines of the keys overlap for a number of beats (see Ex. 90, No. 2, which illustrates the point very strikingly) ; — or where there is a pause ia the melodic 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. SCIIUBKllT. Ex. 92, 3. Allegro. (keys not next-rel.) ->— £E Bb- -i9- SCHUBERT. 1^1 (pause) EXERCISES IN MELODT-WEITINQ. 67 4. Allegro. Beethoven. (Ex. 66) ^tzti-ii *r* i^jj^^iipiggp ^^ 5. Allegro. (Ex. 66) Chopin. Dk- (pause I 6. Allegro mod. E^IE #— -itT- •— 1^ ! , « -^ U BUAHMS. - m _, T^ F=J- •-* — — * — •- :1=a: r^^l ^zzJz— ^ -•— *- j|S: 8~77^ *--—_# -J 1 1 n 1 i^-^ -, — ^— J — 1 i-H 1 1 1 1 1 1 1 n Al2- bb- Beethovkn. :rtez^^t=:^i=:!lq=:j^==iq=d^=:t — ^^-|-«- i— ^ i bk_ Ab- 8. Largo. fe ^5^ ±=:t i^TT-.^-'-l^— fc* • -—' c — y. Chopin. w-% W -\ — m =i^ i^ 5*- -(f)- •W -v .-tr -^ Ab- 68 EXERCISES IN MELODY-WEITIXG. 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: Allegro (jiar. 95) Wacneu. Ex. 93. LESSON 20. A number 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 more remote keys. The general harmonic (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 recKrrences (par. 64) ; and (2) By taking advantage of any sufficiently 'well-define I pause, or break (or cadence), in the line of the melody. Sequential ri^currencrs g-euprally involve, of themselves, such "breaks" in the melodic line,— at the jxnnts of contact. The "breaks," or cadences, may, however, be created by many other means. For example: Ex.94. 1. Allegretto Menpelssohn. (sequences- all next-rel. key.s) KXERCISES IN MELODy-"WllITING. 69 3. Largo. Beethoven-. V I" ' i ^ ' V ^ I fT -' »-p# f b,-~ ■-■ J Bk I d(2-)- 3. <; — •— h— ^— ^— s— *H=i» *-l»-fe- H 1 \ 1 ^ — h — Ph- — • — I — *< — 90- \ -n — i \ 1 " — *-!-h'*l • — *- (sequences ; ke^-s remote) J B I Bl2 I Al 4. Allegro. =^=1^ -, — 0- -%t- i§ :„»- (par. 64) , Beethoven. -'i^ -^^ z # , t. I 5. Allearn. I PE=^ ,* . f ^: • U ' T ,^ . , .V b^ . 1,^ . =t=^- t^ J G- J f_ (par. 66) Beethoven. i -#-i — ^ ;^P * . s . I J c- J G- 6. Lento. -hh (par. 91) zSa: -4- — 0. ~. ^-- 3^r=3= I^-ti? — ^ Cf- #£^ Brahms. -1 -b ^^gii^p3.^gEi 70 EXERCISES IN MELODi'-WRITrNG. ''• ■^«"«''- cad. V FOLK-SOXG. P± \^^m^^m 8. Allegretto. S=453^=^,4t=& |^^:^^|,^_|^^: W n- J E- Eb- Chopin. Eb (2+)- -(1+)- See also, Ex. 91. No. 4; Ex. 92, Nos. 3 and 4 ; Ex. 95, Nos. 4 and 5. LESSON 21. A number of 4 and 8-measure 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 regular 4 or 8-measure dimension (5, 6,-'9, 10, 12 measures in length). CHAPTER XXI. CHROMATIC 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 rejjresent 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 XIV). EXERCISES IN MELODY-TVKITING. 71 In the latter case, tliongh tliey assert themselves (by their time-values) 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. & i X -0 — ^0- -F 1 ?T~I 1 , 1 1 :t::=p: :t=q (y raised Scale-steps.) Beethoven. 3. Andante. Mendelssohn. ^ 3. Allegro. i^ EBE e? . (Ex. 106) :[=i=t -K— ^— ^ Bb- \r=Sz ^^=t= itlF^ta MOZAUT. i (modulations) g c_ Bl2- 4=. Presto. (par. 95) Mendelssohn. = ^'^'^t-^^l^^f ^^| ^l ^^=^^^ J D- 5. Allegretto. (par. 38 c) (par. 95, also) Chopin, 72 EXERCISES IN MELODY- WBITING. 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-PERIOD. 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. (a) 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. (h) 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 Relative key (usually in a minor melody); or jierhaps the Relative of the Dominant; veri/ 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 Relative. (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 difi'erence 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 EXERCISES IN MELODY-WKITING. 73 from the melody of the first pair (totally contrasting construction). For illustration: Ex. 96. 1. Andayite tra r -^ it ■ nquillo. (Strictly parallel constru 1. -^ , 3tion ) 3. ,4.v y-«'K^S-3- — 1 •«*- 1 1 ' - H -1 -\ 3--^.-r- ^ a ' -s/ i- 1— —'5' — 1—- "■ E-major, Ibrou^iliout. E*i5*r (par. 58) 8. V 3E3 -T •- -*— ^- 3^i -like!. — m 10. 11. 12 13 14 Mendelssohn. 15. 16. -Iike2. -like 3.- -Iike4 -like 5.- -like 6.- :&: ^ V I F^n 3. Allegretto. (Partly parallel construction.) :^=i r^^tEi 25) •- like Phrase 1- SCHUBERT. i^ , V :§=! I -25^- i^: -251 •- E^ -^-# I G 3. Lento. (Contrasting constrnction./ :1=± (Ex 108) V d-^-J-l =Sr-f=t h^ — 4— y g ; *- iq'^i^: ^v«>-y - -^-1-* ^ *- Bb irb: m — ^ — PI -(Z 0- =t=F -*— g— a^- ::1=1= * — 1^ — ^ 3^^ F 1- i -g I I It :t=::1: Mozart. J -|^ ^ ^- -• 5^ ^ ^ ^ ^— - ^ ^ 74 EXEKCISES IN MELODY-WKITING. 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 (3/1, 4/4, 6/8, 3/8, 6/4, 3/2, 9/8). The harmonization of these melodies, after correction and approval hj the teacher, may be undertaken by pupils familiar with the process. EXERCISES IN MEXiODY-WKITING. 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 liarmonization. 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 emliellishing tones have appeared in many of the foregoing ilhistrationa, simply be- cause their employment in composition is so common that but very few example.s could be found in which they are absent. The distinction between Essential and Unessential tones is determined very largely by their length ; usually, a tone of the value of a full beat is a principal or essential one; and, of two, three, or four quick tones that con- stitute the subdivisions of a beat, one or more are almost certain to bo 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 chard-line. For illustration: 1. (all essential) 3. (x nnessential) Ex. 97. - |2- C I V I V I I C I V 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. (Review pars. 15, 23, 38.) The tones which agree with the momen- tary chord are the essential or harmonic tones; those which dififer from it 76 EXERCISES LN MELODY- WKmNG. are unessential embellishing, or inliarmonic tones. Thus devised, or thus articulated, a melody is easy to harmonize. THE SUSPENSION. lOl. EuLE I. — Any tone tvhicJi progresses step-ivise (along the scale-line, or chromatically) may be tied to the following, next lower or higher, tone, and thus be held over during a fraction of the value of the lat- ter, as embellishment by Suspension. Thus: Ex. ^i V- Original line- :t=F= -a— -^^ Embellished with the Suspension (a.) :S^=F T-i-iJ- I •^ F=t=F= OiE i-— It ^ii=4:=F=l=t }3^H :p: f=t t=f=t t^ original line embellished This device is as simjile 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 Avhen apjilied 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 forward into the essen- tial tone, is its Besolution (par. 7). (c) 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. 98-7) Ex. 99.pAr\ — I — -^— #- EXEKCISES IN MELODT-WKITENG. 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 pronp, the best gen- eral effect is obtained at accented beats (as in Ex. 98, Nos. 2, 6 aiul 9, and in the majority of the following illustrations). But it is ]iossible at the begin- ning of any beat, especially when occurring repeatedly, eitlier 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 b<^ correct if the tones represent some good chord-line. For general illustration: 1. Allegro --y> Ex. 100. £eE^ EE: ~^~\-^'~ Original line- -O » 9 embellished with cliord- liiie -S—i'- -^^-^-ff-p- -"jl-^- SCHUUEUT. ;o suspensions- 2. Allegretto. 3. Allegretto. -m^^9^ — H h- EEE^EEE: Ab-r r- Db-major. Repetition, emb. 78 EXERCISES IN MEIiODT-WRITTNG. 4,. Lento. i^as ^;;-etc. -| — ^ (2_^ ^ m Original fonu- em"b. form SCHUBEltT. f>. Moderato. SCHUBEUT. IB?. u. I Original form- embellished G. Largo. Beethoven. n r-^ Afe 7. Allegro. 8. Andante. -e *- -^*- d ^ ^ Beethoven. -^^ I Mendelssohn. ffefe=^=r=? ^— rt: "Tone-Relations," Lessous 57 and 58. LESSON 24. A. Take a number of former 4 or 8-measnre melodies, and embellish them with occasional Suspensions, Avhere convenient and eflfective, according to the above directions and illustrations. B. Invent a inimber 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 realize the chord-basis also (i. e., the harmonic accomijaniment). EXKRCISES IN MELODY-WRITINa. 79 CHAPTER XXIV. THE ANTICIPATION. 103. Rule II. — Any essential tone in the original (simple) melodic concept, or any weighty tone, whether essential or not, may be anticipated upon a fraction of the preceding beat, — usually a very brief ir&ciiow. Thus: 1. Lento. Ex. 101. Original form i Ant. Ant. Ant. Ant. =3= =P^= ^d; Ant. Schubert. t-Lit-iiz Embellislied with Anticipations (Ant.) '•-T I 2. Allegro u m -=-^ tK t=iE Ant. Aut. 3o Adagio i^EE ^—0 :[= i Beethoven m 4r. Allegro, rj-major. Ant. Ant. ., E#igj %4:£^= y — F-bS ^ - - . Ant. -*— r- Ant. Ant. -•—-I :it=: Chopin. ::t: i B-major. 80 EXEKCISES IN MELODY-WKITING. 6. Allegro. g—»- i5rr=f Aut. Mendelssohn. Ant. A. A. A. ;?*~ A. s 6. Lento. Chopin. 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 short tone; (2) It is not tied to the following repetition, but is re-struck; (3) If embellishment by Anticipation, the second 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, No. 3 ; aud " Tone-Relations," Lesson 60. LESSON 25. A. A number of former, simple, melodies, to be embellished with occasional Anticipations. B. New melodies, with Anticipations, — and an occasional Suspension. u> EXEKCISES IN MELODT-'WIUTINQ. 81 CHAPTER XXV. THE PASSING-NOTE. 104. EuiiE III. — 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-iiote. 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 efi'ect. See also par. 102 c. For illustration : Ex. 102. 1. Allegro tf-H-^- :E^B Original form- Eifel^ ^,-.>j: EE "^ Embellished with Passing-notes (X)- V- 1 Allegro X X B (Dominant-9th chord 3. Allegretto. 2: — ^n — ^B-s: ±1 -U-!=l- d-min. ^T0 T— N^ :^T :q=S ^T^ &- - — * — r* ^x Schumann. 4. Lento. Schumann. S. Andante. :^ , I Ft •^ D „- — - ^ X. •te *i.-. Mozart. # y # g- =t=t: nua^jL EXERCISES IN MEIiODY--nEITINa. 10t>. The Passing-note generally occurs, as seen in tlie above Ulus- tratious, 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 imj^roved by this means. Por example: awkward rhythm: better: Ex. 103. Original line. emb. with unaccented Passing-notes. emb. with accented Passing-notes. P*fc i •4— h d=1= good: better : X ll^ g I Original line- ^^- ' «-^ — *— I I I ' r-^^ — *^-* 1 X ^^~ X Original line- good: awkward rhythm : A-minor. LESSON 26. A. A number of former melodies, to be embellished witli occasional Passing-notes, where skips of a 3rd occur. K. New melodies, 4 and 8 measures, major and minor alternately, in various species of Measure, — with occasional Passing-notes, as shown above. Suspensions, Anticii^ations, and other material of past lessons must not be neglected. EXEECISES IN MELODT-WKITING. 83 CHAPTER XXVI. PASSING-NOTES, CONTINUED. 106. A skip of a, fourih may bo filled out, similarly, by inserting the tAvo luieimediate scale-steps successively, in tiie same direction. The two connected passing-notes may be both unaccented (i. e., located vithiu the beat or rhythmic group of tlie first tone), or they may be disposed in any other manner between the two essential tones, according to the de- sired rhythmic eifect. Compare par. 105, and par. 102c. For illustration: Ex. 104. ^* ■W :e awkward : better: -*-zy- :3EE^ Original line X X embellished ;b Original line- better : better: :^tEEE *-^ 3. Presto Beethoven. ±-1-9-^-*—- •— ' EfeL Yi I V» 4r. AUegro. MOZAKT. 5. Allegro. CI =1=i ;-Lz ::1=: Beethovex. G. Andante. 1^ •^^r-iTTSr :1=q: m &: t=t= E!7I_ 84 EXEECI3ES IN lIELODY-WRITrNQ. 7. All" Ete 1- Pr-nmiEUT, tf s -'ff ^_ JS^ See also, Ex. 36, No. 17, first measure. 107. Adjacent scale-steps may be connected by the intermediate chro- matic tone (where the space is a whole step). Such chromatic passing-notes actually corroborate, in origin and purpose, the Altered scale-steps (Chapters XIII 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 h'aiisient, and therefori^ o'nviously unessential. For larger spaces, alternate diakmic and chromatic p.assing-notes may be used in immediate succession in the same direction. For example: 1. A'lnnin. Beethoven. Ex. 105. 2. Allegro. Me.ndei.bsohn. 3. Allegro. a > X X ^■#- X ll_+{ X X -^i^^ AI- A V- Beethoven. i y- 4r. Allegretto. X (Ex. 10!)) V CEx. IIM Z^^S§E^=£^^E^^^ dl- EXEECISES IN MEIjODX-WKITIKG. 85 i: EfcE± 11^- BlZET, 5. Lento. Db I- SAIXT-SAKNa. See also Ex. 75, No. 7, measure 1. 108. As the fourtli is the widest interval that can occur between con- tiguous 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 effect 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. Allegr V7. Beethoven. 3. Allegro. X (X) X "■^•^f" E Y7 (X) X (X,;X) I Beethoven. &j ^leEgg^^ p[|^^;L^ 3. Tivace. GV^- 86 EXERCISES IN MEIiODY-WKITTNO. 4L. Allegretto. i2— t^-i^iti— #- :g^|^^s :^=S^I'=l!!^S^ Beethoven. (chromatic passing-notes) IV I ?»- Presto. fc^--^ i^Ke: — wi ^ — ■ — jp- ^ -*■ -*■ AfeL. X (X) X X -.^•-»- r^ ,-# i-*^*- Haydn. -#— ^ -»-«- 109. The device of tone-repetition, employed throughout the foregoing lessons, may be applied even to passing-notes. Such repeated jiasshig-notes are best when they are of sufficient time-value, and importance, to be jjartly " essential " in eflfect. Thus: 1. Allegro. Ex. 107. H J h f---*— * * :1=i 'i— i- SCHUBERT -0 1, 0- 3. Andante con moto. (110?)) sii^ii^sis a I- g I- SCHUBEKT. »J=i=^ I— — , , — — — — I -^ 1 — \—M—a — ' — I — I 1"! v«. 3. Alio molto. Eaff. d":- IV- EXEECISES IN MELODY-WKITING. 87 4.. Presto. -^^ — »- ^5-. CI- =c^ :i^ :|?: Chopin. i a V»- ESKTHOVEN. f=^^^ LESSON 27. A. Former melodies, to be embellished witli 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. NEIGHBOKING - NOTES. IIO. (a) Kttle IY. — 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 before it. (b) Very frequently the essential tone precedes, as well as follows, the neighboring-tone, thus constituting an embellishing group of three tones (i. e., the essential or principal tone and its i-ecurrence, with the upper or lower neighbor between ; — or, in other words, the neighbor inserted between an ordinary tone-repetition). (c) The group may assume almost any rhythmic form; either of the three tones may occiipy the accented fraction of a beat, and the values ai-e optional. But the simplest, and by far t!ie most common form, is that 88 EXEECISES IN MEIiODY-WRITINa. in which all three tones belong to the same beat, or rhythmic group. Thus: Ex. 108. I C VI IV ;fe=hH=r=*=^ --!±=E=t i=tiE====: ^mm^ essential ~ " tone embflli.shed with neighboring-notes (o)_ awkward rhythm better: tone-repetition, embellished- irreg. rhythm : P=zp=z^tEl=t:====5==Lt=t:=pdziic=n:==?da=izz£E^t==l g ^ 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 different essential tones. The former is therefore a local embellishment, the latter a progressive one. 112. Whether the upper or the lower iipii^hbor 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, tlie upper neighbor is taken when the next tone lies below; and, vies 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 descending line — euib. witli upp^r o. ascending line — emb. Nsith lower o. EXEKCISES IN MELODY- WEITING. 89 '^f^^^^^^^^m Lento. i ^: -* p-;^ «-aeg-Z. i— ^ fi -^ 0- exceptioual *EE3: A^Z 3 CiirpiN. ^i EEE5 :^==d: Z3: ::l— ^: :^ flo IB Or (2), in a series of sucli groups, each may be turned the same icay, irrespective of the direction into the next essential tone. In this case, some of the groups will be Irregular, — but their irregularity is counteracted, as usual, by "uniform recurrence" (par. 56a). For example: 1. Eegnlar: Ex. 110. i^ .f2 -»-9-^- ±it=t:=L e — : g-m-0- ■t=tT[:=£z^=?z:titir:: -(2.- original line- em bellisbment- Irregnlar, but nniform : • r=#= g -*•-#-•■ ^g=t=t=E=f=^=^t_t-= '- H^^-o. :-H»-#-<^ o -1 :tre t=t=P=!t«'=^=?H zir: B 3. Yivace. embellishment nniform- -S^- ^=r -p « — g- :g=5=i=.^^ ' 0- G-major. r » —* — » 1 3 p- Beethovex. JE=|g=^gs^ D-major. emb. regular- 3. Andante. MOZAUT. '-i-fi -T-*- \-»-o— ^-^f — '— h- -g---^-g — I — -j, «r- 90 EXEKCISES IN MELODY- WKITING. 4. Allegro. iin^ +=^ gi- MOZART. S=s^^eH£^££ 1:1 C=p:^=r=fi= rizUit =^=iip: •— »— * I II'- V- N. B. — In any case, the rhythmic arrangement of such successive (or corresponding) groups is almost certain to be uniform. 113- Fiirtlier, the notation of tlie neighboring-notes is subject to the following rules: (1) The upper neighbor must always agree with the line of the prevail- ing scale. Thus: ??? Upper o, (i;, ill C, F, G, B7, Also in e luiiior Eb major and c, a, g-miuor. (ioweieil 7th Step). In A^?, Db-iuajor and bb, f-miuor. • — e — ^ — — «- — !-»— 1 — ^-^-H- — i 1 o € j^ «^U^_^_^ — ^_f,_^^l — L_ ■ o o ■♦ C-major, tLiroughout. — : j 1 — ^ u~ O ' O "^ Ab-miijor, throughout. c-miuor, throughout. ^gplSi^lipi^i^g^ Eniajor. (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 ordinarily, especially in. graceful or rapid melodies, the lower neighbor lies a lialf-step below its prin- cipxil tone, irrespective of key; — excej)ting Avhen the principal tone is the 7th EXKRCISES IN MELODY-WKITING, 91 scale-step (the Leading-tone), for which the lower whole step is almost always chosen. Thus : Ex. 112. -Probably thna in every key con-I -taiiiinj; g, excepting A5-niajor,- -wliere it is tlie -Leadiug-toue:- iP^B 3. Lento. n +* 1 1 =^^*— ^•^=^- — 1 — —\— H 1 1 — — — — u — -— s— o — » •^ o — * — — - — o — O - \— 1 — 1 J Somewhat uncommon.- i ¥ V2 if =E= i More common, and less misleading. 4r. Moderato. 6 H- (Ex. 76) l^p^p^^gpt^iipfgi^g g-minor, throughout- LESSON 28. A. A number of simple melodies in uniform rhythm (from the first five lessons), to be embellished with 3-tone groups, as shown above. They may be applied to an occasional single tone, in which case the rhythmic effect must be guarded; if unaccented beats are broken, the rhythm will be regular; if irregular, from any cause, the rhythm must be rectified by "recurrence." Or the groups may appear continuously, i. e., at each tone throughout the melody, generally excepting the final (cadence) tone; this will constitute a "Running part." B. New melodies, 4 and 8 measures, in various species of Measure, major and minor alternately, with special reference to the 3-tone group. The material of former lessons must not be neglected. 92 EXEBCISES IN MELODY- WKITING. CHAPTER XXVIII. NEIGHBORING-NOTES, CONTINUED. 114. Tliese, in a sense fundamental, embellishing groups of three tones, may be enlarged to four, five, six, or more tones in many ways: (1) By adding to the 3-tone group (either before or after) any tone which belongs to the cliord-line of the essential tone. Thus: 1. Four- tone rrrniip'* Ex. 113. C I throuKhout. 3. Allegro. » # • ifcEEiz Bkktiioven. -* — * :t=t ?1 zir='^EE^^^ oris, form. later on- C I CZERN-Y. ^ _:gL_^^_g_^ _ ^_^ ^ ^^____^ ^-i^e •— *- a=t rr, . A V. 5^ Ci.EMENTI. -•-— y- :5»=:?i=5^ -|p— 1| ^—t-fi — *- (94).l 5. Allegro. - fe^4- — i '^ —a ^— ^ —^P^—^ - i=*: Beethoven. G. Allegro. CHOriN. ~W^ t — ^~ *~^" zt: Ab L 7. Presto. (Ex. 113) (Ey. 114) Chopin. '^ezEf^ ===== — -^ i -^ ^-^^^^-^oni^-^-*-. — ^° — „^>^ *=n C$1- J . 8-tone -^ 8. Allegro. (Ex. 113) Beethoven. n r * ^ ^ o j — ^- 0—^—0-^i°—0—- HE: C V- O. Allegro. (Ex. 114) BlCETHOVEX. imB£E^^-^ -Q~'-0- ■0 J -I — "1— L-^ a EXERCISES EN MELODY- WEETING. 95 lO. Allearo. ii I — I — t- a ° :if*=^S^ iCTT^W CSV- V7- later: „ „ „ Chopin. M O mO O n O o ^ cjv. (4) '^rore rarely, by repetition of the neighboring-note (similar to par. 109). Thus: 1. Andante. Ex. 116. 1-^ -8— r X X N. B. o o SCHUBEKT, O O 5Jt=r===t=:t-t:=': -I — I — I — 1 — 1 — I— m GI- 3. Lento. CnoriN. Sf •—r» =:? EI- V9- B ifti 3. J.ZZ«^ro. ia## ■#i* — I— T-* — i-T — ^- ^=d=?z Chopix. 4,. Alio. mod. A ^ FJI- X X _ V- 9 . • * P!!!:£PB=£EE«===I GI_ 'A-J- o — o — o — O" f—^»^[-»-^"^—^—^—^— 0-0-0 i * s S—^ — ^ — * — g— * |-5»- o o o o " ■" l=l±=t=t=t=t:=t=t=t=: F^i: Beethoven. =t=^=2: 1 :tSI3 i 96 EXEBCISES IN MEIiODY-WRITINQ. LESSON 29. A. A few former melodies ia uniform rhythm, to be embellished with these larger groups, — either at occasional single points, or throughout, as indi(;ated in the preceding lesson. B. New melodies, with especial reference to these forms of embel- lishment. CHAPTER XXIX. NEIGHBOEING-NOTE AS APPOGGIATURA. 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 i)reflxed grace-note, and forming an embellishing group of but two tones (compai-e par. 110a and b). In this connection it is called an Appoggiatura. Its details are subject to the rules given in Chapter XXVII. (1) The rhythmic form, and the location, of the 2-tone group are op- tional; but the appoggiatura is most commonly placed iipou 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. iiipllii^ essential emb. with Appogg. acceuted- toiie uuacceuted- 3. Allegro. V^ orig. line- Haydn. =t=su later (accented App.) -f-0 „ 3. Allegro. Mozart. 4.. Allegro. ^^^g^gi^^ate^fe^^ orig. line- em b. EXEBCISES rN MELODY-WKITING. 97 MOZAKT. ^?^?= ^-*-itO-s-0-3-T— '^- * 1 1 tz-F-*— =-,-0 o- "-•-it°-s-°-«-i — '^—i-f *-*-«-*-* ^ I —? — '^-^ !^^^— -"g-h-^-H-i— ^#^— I— ^i— I— L-p:^»„^„, ^^ 5. Allegro. -d? as =p:=t=t: It -t — p — I -» — I — t- — '— original liue- LJiub. (uiuicci^uted App.). Chopin. -I ! , P~-tEEErEEarBE-&EE3 i » ^ O i-*-3i-°- -•— ^+^«-»— ^- 1— h— I 1 1 F- b.^..' — H 1 1 — ^^mam **iW — G. Presto (ace. App.) If— fl^ :;f!=^ f-minor. y7_ IV- Eketitoven. y. Lento. original line (38 c)- ^t: -I — i — ^-1 — f—\- FSE^R emb. (unacc. App.) o ^ o — \ — I — H —i — ;— I ^-» ^-* ^s, i — 1 ■» « — I h-i — I — I w—\ — 1 e I — 1 \—o^,^ — i — f-^',^ 1 — I — A 1 — I a 1 ^3 ^^^ Lw^ Schumann. ia=Efe_^aEtEHFte 8. Moderato. orig. line (:^8c)- b-mia. tt tt A lUMJ. emb. RrniNSTEiN. ■1- 98 EXERCISES rN MELODT-WRITXN'a. 9. Allegretto. Is^ t^ -^— ^- :t=i=-=t -*-^— ?- aV N. B.' cn — IV- all- (64) o o bCHUMANN. IV N. B. m N. B. - II'- lO. Allegro. u Mendelssohn. I m^ X ^x E V tlirougbout- S^ -^^ X -I — ^ — tf — 0- -0—< — 11. (continuation of Ex. 105, No. 5) Lento. m-^^^ -^ ^ Db orig. line- emb.. Saint-Saens, 12. Allegro. Bhahjis. G-major. mod. rep. (2) The claoice between upper or lower neighboring-note, as appoggia- tura, 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 th.e j^receding tone; for instance: EXERCISES TK MEIiODT-'WErnNG. 99 An upicard movement (especially witli a skip) is usually made to the upper appoggiatuva; and a downward progression to the lower one, — of the folloAving tone, of course. This simply corroborates the rule given in par. 28 a, and again in par. 75 c; i. e., the appoggiatura is l-est approached (from any distance) in the direction opposite to that of its Besohitioyi (its obligatory step-wise progression into its principal tone). For i'lTT^tiation: l)est embelHshed- — thus, with upper'- ^.j neighbor : 1 — essential tones- -H ^- ^^ possible, but misleading: - J— *-■**! 1 — l-d — - i 3^1 I -best tlius, with- -loiver neighbor: essential tones- possible, but 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 appoggiatura is defined exactly according to the rules given in par. 113 (Exs. Ill and 112). (4) The presence of an appoggiatura justifies excei^tions to the rule of successive skips in the same direction, given in par. 31 (Ex. 25, Nos. 6, 11, 12, 13, 14). For example: Andante. Ex. 119. EfeldBi F I- VT. Schubert. :^B See also Ex. 121, No. 5. 100 EXERCISES IN MEIiODT- WRITING. LESSON so. A. A number of former melodies, to be embellished Avith 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 miad and employed. CHAPTER XXX. DOUBLE-APPOGGIATURA. 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 Douhle-appoggiatura. The first appoggiatura does 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-toue group. Compare Ex. 108; and observe the distinction between this use of both neighbors, and that illustrated in Ex. 115. For exam^ile : Ex. 120. esaential tone eiub. with Duuble-iippo- 1 (b) As usual, the group may appear in any reasonable rhytlunic form; either of the 3 tones may occupy the accented fra:;tion 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: 1. Ex. 121. ■Q — O 1 1 O Q . O Q -^ — #— jj — I — *— _— a — -j or, more f~^'~m~\ 1 oiig. line — emb (112—1) EXEECISES IN MELODT-WEITING. 101 -G- ^ -o £ — I 1— 2 o ^-- — 1— o— I— ° 1 ri 3. Vivace. fc^4 4- — *- -H^ =^=r ^^=^ — * I F I- Chopin. -and -*— P^- '- ^ ♦ o f — » — ^ — h >, — » H d I- 3. Allegro. Beethoven. lgeEE ^E33ESfe; ^Sl » E £EF ^^«gi^|^=H Ab I- Efe v. 4=. Allegro. ■^ A zE =E tfS:t:!^it2 Beethoven. ;E £ • — l-l •-! — — I- G V- orig. line- 3 emb.. 5. Xenfo. Veudi. =fc^^ Efeiigi^e^EE^ -^ « !l- iti=3: I Gb T- V^- 6. Allegretto. Eb I V etc. Schubert. m rzt d: -^ — »- ^I^later tjlf^ f *— zt=: j^*— ' *— ifz: etc. 102 EXEECISES IN MELODY-AVRITINO. y. Allegro. q Chopin. SEfc=?=ts°=iJ?=i^ ^^E^z=;=tij; -* — ^ — ^ CHOI'IX. i^^^ 117. Very frequently the Double-appoggiatnra is preceded, as well as fol- lowed, by the lariucipal 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 iti succession, — in either order, and in any rational rhythmic form. Thus: 1. Ex. 122. m ^- >=— »— h- -•-H-^— Essential tone — embellished witli interposed Uouble-appog. :t=r lrre<' X (X) ^L «i— — -^ — ' 1 U Orig. line.. eiiib. cjf-minor. 6. Allegro. ^^25 '-(-* 1 — 1 — I— ^ — ^ — — i]±-'-*-#' — I ' — I — I — ^ ^tjH — I--H 1 D I- II Dvr Schumann. 7. Andante. X il^^pi^g^^^p F V- (94) Mozart. V9 L- f-min. V9 I- . AbV- Y9 Bkethovbn. Bb L V- (I'iOa) 104 EXERCISES IN MEXjODY-WRITINO. 118. In rare instances, the number of these interposed neighboring- notes is increased to three, by returning to the first appoggiatura before passing on into the essential tone. Thus: Ex. 123. o-o-° ■»— ° — o — ° r-o — ° — r i Essential tone— euib. with Triple-ajjpojj 3. Allegro. 5e±: EE: 3^ ^z^ -*-^-l-*-' Original line- C I II- MOZART. 3. Allegretto. 53: -J^ — ]- )A 4-- C I- - — iio — S# — °- "Waltz. in 4.. Moderate. #=1? f I- "Origiiial line- :p): Rubinstein. ^^^ 5. Allegro. SE: Eb I- o — o — I Schubert. I 6. Allegretto grazioso. u. -5*-.- Original line- EXEECISES IN MELODX-WEITING. 105 enib LESSON SI. A. A number of former melodies, to be embellished "with the Double- appoggiatura, in the 3-tone and i-tone groups above illustrated; either occasionally, or continuously. B. New melodies, 4 and 8 measures, major and minor, in various species of Measure, with special reference to this form of embellishment. CHAPTER XXXI. APPOGGIATUKAS, CONTINUED. 119. The Double-appoggiatura sometimes appears in connection with the Suspension, as "indirect Resolution " of the latter. The Suspension, as is made manifest in Chapter XXIII, is always a neighbor of the following essential tone, — because of its invariable application at a step-wise progres- sion, — either above or below. Hence, it may be regarded as an appoggia- tura, and be conducted first into the opposite neighbor, before the essential tone follows, precisely as shown in par. 116a. For example: 1. C I 8., direct Resolution. 3. Ex. 124. ^i s^f^i^^i =?2= Eaaential tones — Emb. Indirect KosoliitioTi, CV I as Double-ai)poy. 3. Allegro. Beethoven. m 'y^- 3=f— !?«? m^^m Afe V- N. li. F=t 106 EXEKCISES IN MELODY-WRITING. 4. Allegro. Oiigiual liue- emb. :fci=:°^1 1^ :i?: 120. The strict rule of the neighboring-note, as seen throughout the preceding chapters, is, that it must be followed by a step-wise Resolution 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 jsrincipal 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 alwai/s unaccented, and usually short (like the anticipation, which it most resembles in origin and character). Thus: Er. 125. better: CI V CI Essential tones — emb. with tbe Unresolved neighbor (upper) — 3. Allegro. g=iiPiii C I- Beethoven. ^^ -^- X- 1 N. B. V I ^. Allcgrn. (see Ex 123-2). Mozart. C I EXERCISES IN MELODY- WRITING. 107 4=. Allegretto. i^ — =1=:^ -A- ^^ s^-- Original liue- A-major. «: Mozart. n 1 Eiub. 5. Adagio. :l^i*i -<^=. Original form- Haydn. ■|^=i ^ \ ^^- :q—t:iz*: Emb. (later). 6. Adagio. N. B. Beethoven. Original line (b) If a modulation is made during a step-wise descending melodic passage wliich is to be embellished with the unresolved neighbor, the latter must agree in notation with the scale of the following principal tone,— of ■which, as above stated, it is properly speaking an anticipation. Thus: 1. Essential tones- Ex. 126. O — ^ a-ruinor- or C-major- Emb. I d- S. Allegro, i )^^ ^me 'mmm f-minor- ^EE=5: hk- SCHUBEltT. i^=^^^^pi^3i^ii^B Ex. 70 * Kot btj, unless the key remains C or a throuirhout. 108 EXERCISES IN MEIiODY-AVEITING. (c) Mucli more rarely, this device is reversed; i. e., the lower neiglibor is inserted between step-wise ascending tones. The rules corresx^ond to the preceding. Thus: Ex. 127. 1. Andante. 9 b^^: -N-!f-^ At2 Mozart. S. Allegro. Hatdx, '==t=: (d) When the rhythm is uniform, and the tempo rajDid, as in some of the above illustrations, these unresolved neighbors may often (not always) be analyzed as a Double-apiJOggiatura. Thus: Ex. 128. h im either: -^— * thna J J !-s— • s-_„ ^O -So LESSON 32. A. A number of former simple melodies (including those of Lesson 24), to be embellished with Suspensions with indirect Eesolution; and with un- resolved neighboring-notes, as shown above. !B. New melodies, with sj^ecial reference to these embellishments. EXEBCISES IN MELODY- WitiTlNa. 109 CHAPTER XXXir. EVOLUTION OF MELODIC GERMS. 121. The application of these various classes of embellishments is apt, in many cases, to be determined npon some broader basis than the general purpose of ornamenting individual tones of a simple melodic line. The develoisment or evolution of an elaborate melodic figure, or com- plete Phrase, out of two or three fundamental tones, li>y miscellaneous methods of embellishment and repetition, has been repeatedly exhibited in the foregoing examples; and while such i^roducts are not, as a rule, in advanced musical thought, the resi:lt of deliberate intention, they are none the less surely thus simple in their original germinal form, and must have existed in this simple form in the firmly established melodic habits of the composer, — even when they appear to have issued spontaneously from his mind, directly, in their comjolete 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 j)osi- 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 faultless and natural melodic figure, at least free from extreme irregulaiities ; 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 felt) a part of the line of the scale; or the simplest elements of the Tonic chord, or Dominant chords. The following illustrations are to be very studiously examined a^id analyzed : 1. Germ (chord-line): Ex. 129,Efe^^ Bbi- =1: V9- Allegretto. 110 EXEKCISES IN MELODT-^VKITING. ;i^: H-g- -*-T- gizg: -#-^t|«-R*- -t?*- s i ^^-c=i=i*>^ ■^ -^ H^-T-^--- r Beethoven. IC — *-H- gJ:g^ •-^ ^ifz^=^^-^=^f^s^i-* =t=^ 3. Germ (chord-liDe) ^-^ :5ffi±: 1 -|z=2=h[i=^=^^ m^ Beethoven ^ _^ ^ ^ ■*- -I— H -- ?- B C I- melodic evolution- 3. Germ (chord-lines): Allegro. Schubert. :S:»: 3Si^li^jgl ^^"^ a I- IV I melodic form- er. Germs (chord-lines): =fc& =i?* — 5=rti s^ei3^ -and -.- f-minor- Andante. 7 th H V '^ 3 ^o 1 =^=^S d= :c=^p: ■— I H , » — o- f I- melodic form- M_ 9th 9 7 o t\i=fz iji^d: -^——0- 1.1 :— S i'^* ^ !?« f v_ Chopin. FfefcM^ ^=u=:_i»: :E=EE :r=t:=- (120 a) EXERCISES IN MEXiODY-WTilTINQ. Ill 5. Germ: Allegro. e I melodic form I 1 -0 » 0- r 1 r- 1 I Chopin. ^—0-i -0 — i- ^- m (69) -r^ 6. Adagio. Germ : ,g|i^^ mel. form :"3" . "y r .1 N I' I J I U :i^ -^0~ "h^ \ 1 1^ Beethoven. 1 n ii 1 1 ' 1 1 V 1 / J • ' * ; '■ 1 ■ T -fe^-^ -^ • ' \* ^^^ 1 L^ 0- i h — T-^ 55 ^'-^^^-- fhT 1 •0- -0- ' -0- ■»• 1 '^ tr y. Germ (chiefly scale-line): gil El2 .4 llegro. i^ J » — * — ^ =i:q= ::]=::1! # — - EE^t etI^ :(z=1f=d X4. Germ (descending and ascending 3rda): lE: -s^-l^-^ IPiiilil^g i Allegro. ^F=^r "^-^" t— ^-- Melodic form- Brahms. 'fEff^FEiE* I 1 1 1 M -I \ 1 114 EXEKCISES IN MEIiODT-WRITING. 15. Alleqro. Ffe^^^i ^-^ — ^ 1 1 "^ p] : q -^^ — *-^ — i-^- -H ^-'' J J • ^ ' 1' ^ -^ 1 -©- • =i^=1=:1^=u^: -ji— #-§*- Beethoven. i f — 16. Allegretto, -TO-4— ?£i=? 12— -il ' 1 -,— #- r I I j« I P5 r — i I -sH i-!- (96) tt,P * iH i^-zii: ^^^ -J -?^- -^- Beethoven. -eS-l ^■ -J s:-^-t_^ IT'. Allegretto. f^-£j=j=f= |:t ^ — ^-^|->=^- ,J=f= | :^ .— ^-^- | -'>--^^*^ : :i=J^J=J: Brahms. ^-# J-i* 3^i * J 3^33 14=:]- i-H— I — g — 1- '■ff* "^ . etc. I 123. Such simple germs, derived directly from the scale, or from some primary chord-line^ are, — like the soil, — common property, open to the use of all humanity. EXERCISES IN MELODy-WKITINa. 115 In the choice of these germs no originality can be exercised, or proven, — merely common sense. But their manipidation, — the method, and the extent, of their embel- lishment and development, — exhibits the individuality of the coiiiposei-, the particular quality and calibre of his innate musical susceptibility, or the degree of discrimination and " taste " that he has acquired by persistent and thorough exercise of such established technical methods as those expounded in the present treatise, — that may possibly lead onward into yet undiscovered modes of treatment. This is one of the most obvious and natural jahases of the apparently occult, but in reality very manifest, Science of Originality. LESSON 33. The evolution of complete, ornate and characteristic, melodic sentences, 4, 8, 12 or 16 measures in length (major and minor alternately, and in all species of Measure), out of simple germs, imitating the melodic and rhyth- mic methods shown in the above example. CHAPTER XXXIII. MELODIC EVOLUTION, CONTINUED. 124- Further, the ai5plication of these embellishing processes may serve to disguise, or to heighten the effect of. Repetitions, Sequences, and Hecurrences of former figures or phrases in general. Keview the text of Chapters X and XI; see Ex. 100, No. 3; Ex. 106, No. 4; Ex. 115, No. 10; and examine and analyze the following, thoroughly: 1. Andante. Chopin. Ex. 130. - mod. repetition 3. Allegro. r ^ itii If ' — 1 n-'i-^— d ^ •J ' ' 1 -J^ — Z^-T- ^_i n Grieg. ■^. -'i-i- z^^ modified repetitioD- 116 3. Allegro, #6: EXEKCISE3 IN MELODY- WIUTINQ. mod. repetition. 'fm^ -tS- ^^^5 —^ — ^- —2^- g|E Db. original melodic line- -«>- -i J later r modified recurrence- ^ # •- d=t=J: ChOI'IN. 33^ Iteti^ E^E3: £=£ ^ — ^ — * — M- 4^. Allegro moderato. (120 a) Se; ^a^^ii-F^^^ -later o i.°-^ o °^ original melodic line- mod, repetition. - Beethoven. 5. Allegro molto. jEEeE; :[= £E -s— i — ^ 1 original melodic phrase.. Beethoven. ?-[7 later : Eiyl _»M-_»_D«- I^PO: -«— #- tEE -#— ^- ^=t -F-^-^-^- modified recurrence- 6. Allegretto. ^gsE^^^^ a^ — *- (120 a) FJf. original phrase- ^jfe^ ^^^ggEgggiigEa ^ 4=d=n=^: modified recurrence. EXEKCISES IN MELODY- W KITING. 117 '» fr. airain ^ — [ --|- Ilater. -yg « 9 *- =q=:qi=q=i ^^^p^ * — t:=t: modified recurreuce. Chopin. ^aJj^ g^jEEJEg g^ SS^ z^g^^^^ ^^lJ '/". Adagio. -3-H j-#-f :r=^^g g::^=-^-^- b3'=^=^ original phrase L:rb: iM^^=~4f=^M -0 — -p-etc. -later -t *- 1 — I — I — ■■ — • 5~^^* £^^^S^I''='^^=== modified recnireiice Haydn. |- '-^\? h* — I — I ^'b — s ' — *-»-F (-H r -fi^'* ' »-• rS*- — I — I — •- -* »-g-^ '—TT^-^ii 8. Allegretto. steE^E^Et^E -•-T- e^ i^ Ab I- 8va. i =fefer fes — ^—Z P=P=*: modified repetition. Chopin. 8va. m w- H-K H ::iii:z*: t=iiztp==t=f=*= itf!=-^i5E=4 h-t— *- -j — , — — -m \ — w m ' ! 1 1^^^-^ ^^ — " — ' ' > r 118 EXERCISES IN MELODY-WRITING. 9. Adagio molto. fe"^^ -=—•—"-* ^-. -I »-^— ^— f=^ 1^1 ^ — etc. Original phrase. modified recurrence. q:fcd2= H — I — ,—r-*-m}i-'~ J \ ' — *-r — ^-' — ' — h i— .*1» ~1- — i— — ■'■■I -i H :zl2=— again "^t iill later: y. — j==: -^-•— « modified recurrence. ^fefii?: — — -5-!-^H-+-^-' ^ t:*-! Ukethoven. Syra. 9. i :t^ l- i L: 9- — ^ — — »-h-*-h-7»-h-f-t-H*ir- lO. Larghetto. ttj-g^^^^^fe=P:tt" :p= pi;rr-r-^ grj B 1— I modified repetitinu. X ♦ yg= =£:&j:=M' »-- i'-.»-va-*- -0-^ 0-it later: ^--^-S* modified recurrence (incl. mod. rep.)- EXERCISES IN MELODY- WRITING. 119 -ft^ ff i~ L ^ i I — p*7~|~p'f''^ n -v I , ^ 1 — I— I— F— '_M — i — ^■,— I — . — ^-iE3 y7 ^m^moi 2 3 A u Ciiopix. Wf :p=T=t: t=x=.-^-=t-r.-=--=t-\^=M- 1 V7 11. Andante. 1 AWe^^ro. V 1 1 il ^ 1 1 — — V—m—. — I — -^ 1 — ~ /H — I — I — I — I — i\-*-itd-tid 1 \ -•-=-# — 0, Brahms. 'mod. rep. la.st figure, exp.iiided. ** Tlii.s last illu.stration comea under the head of " manipulation " in general j it is based more upon rhythmic modification than melodic embellishment. LESSON 34. A. Former, or new, 4 and 8-measure melodies, with embellished repe- tition. li. 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. EXEBCISES IN MEIiODY-WEITING. 12] CHAPTER XXXIV. 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 imi^ulses of the maturing comijoser, founded upon, and controlled by, such natural and correct habits of melodic thought as he may have been fortunate enough 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 jDurely mechanical product, and the distinctions of Style, both individual and general, are created. 126. The presence of this element of Expression is manifested by an independent inclination to discriminate between the following attributes of musical style: — (a) Between the major and minor Modes; — the latter of which is more passionate and sombre, the former brighter and more vigorous in effect, as a common rule. (b) Between the duple ;ind triple species of fundamental Rhythm ; — the former more sturdy, the latter more graceful. (c) Between rapid and slow Tempo, or degree of fundamental motion. This distinction influences, somewhat, even the technical formation of the melodic sentence; — in slow, or moderate, tempt, there is likely to be more sca/e 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, c7^orr/-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- Tention, or popular usage, and are best learned by observation. 127. 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 the present course of melodic practice. 122 EXEKCISES EST MELODY-WEITING. VOCAL SEfTING. 128. The most natural and wlaolesome artificial stimulus of definite and Kigniticaut Expression in melody-invention, is that afi"orded by the vucal setting, or '"melodizing," of a line or stanza of text. The simply mechanical endeavor to follow and confirm, as closely as jiossible, 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 pirepare 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 jDoetic 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-ioise 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 skijDs. (c) The progression in chromatic tones is more seductive or passionate, as a rule, than diatonic (i. e., scale) successions, and usually in i^roportion 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 oi fortissimo HjUt^i pianissimo \nA\Giite, respectively, utmost power or 7iearness, and utmost gentleness or remoteness. (e) Sudden changes of force [abrupt forte ov piano effects) corroborate swift, perhaps violent, impulses of emotion; these may be emphasized by simultaneous sudden changes of register or j^itch, — i. e., wide skips, the effect of which, as stated at b, is similarly abruj^t and vigorous. (f) The musical sense of a tone is powerfully influenced by its location and value in the rhythmic groujD. If it be placed upon tlie 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 ujjon them, may be roughly stated thus: The chord-root is ijowerful; 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 q'lalities 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 the degree of their dissonance); if' accented, their effect is heightened; if j^rolonged, the effect of strain or ten- EXEKCISES IN MEIiODY-WKITING. 123 sion is created. Appoggiaturas are similar, but usually still more pro- nounced iu eifect. These, aud other, distinctions may be tested in the melodic examples given in this book, some of which should be reviewed Avith special reference to the quality of Expi-essiou. 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 comparaiively accented, higher, or longer, tones; and, vice versa, unaccented syllables and unimportant words should be set to comparatively unaccented, lower, or shorter, tones. II. That the emotional contents of the text should be corroborated, bv consistent employment of the distinctions of melodic exjjression above explained. III. 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 (i. e., composed originally to English Avords): Ex. 131. 1. Recitative; pathetic expression. Moderato. Largo. '"^P ~==^^^^^^^ P dim. ^, f-minor. Thy re - buke -y- Handel. :i hath bro - ken his heart. Ex. 132. :|fe 3. Allegro; joyous, vigorous expression. f . crese. -S— 7- Handel. f-?- -N-f- 0-^ m^^ Bb-major. Ee-joice! Re - joice! Re-joice great - ly! Ex. 133. - 3. Andante; graceful expression. mp E^E^3E?ElE^E?E hanc - ed the charm -ing sight, en L24 EXEKCISES IN MELODY-WKITING. sost. — ^ Haydn. x: S a(— #- hane ed the charm - ing sight. LESSON 35. The melodic setting of lines, and of brief stanzas, from churcli 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, very numerous studies in 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. THE END. 125 TABLE OF CONTENTS. DIVISION ONE. ESSENTIAL TONES. PAGE Chapter I Majoe. The Scale-line, Regular o . . . . 5 First Primary Kule , 5 The Four-measure Phrase 7 Chapter II The Major Scale-line, Exceptional l\j Chapter III The Chord-line 12 Second Primary Rule 12 Fundamental Harmonic Principles 13 Rules for Single Skips 15 Chapter IV. The Chord-line, Continued. . . 19 Summary of Rules (par. 39) 24 Miscellaneous Illustrations (Ex. 36) 25 Chapter V Minor 28 Chapter VI Diversity of Rhythm, Regular 31 Chapter VII The Period-form 34 Chapter VIII Irregular Rhythm 36 Chapter IX Exceptional Semicadences 40 Chapter X Syntax of Melody 41 Repetition and Sequence, Exact 41 Chapter XI Syntax of Melody, Continued 44 Repetition and Sequence, Modified 44 Chapter XII Syntax of Melody, Continued 49 Application to the Period-form 49 Chapter XIII Altered Scale-steps, Major 51 Chapter XIV .Altered Scale-steps, Minor 55 Chapter XV Modulation, ok Changes of Key 58 Chapter XVI Modulation, Continued 62 Transient Modulations 62 126 TABLE OF CONTENTS. FAGB Chapter XVII Modulation, Contindkd 63 Application to Period-form „ 63 Chapter XVIII Modulation, Chromatic 65 Chapter XIX Modulation, Continued 66 Overlapping IScale-lines 66 Chapter XX .Modulation in Sequences, and at Cadences 68 Chaptei; XXI Chromatic Melody 70 Chapter XXII The Double-period Form 72 DIVISION TWO. UNESSENTIAL, OR EMBELLISHING, TONES. Chapter XXIII Definition of Distinction between Essential and Un- essential Tones 75 The Suspension 76 Chapter XXTV The Anticipation 79 Chapter XXV. The Passing-note (single) 81 Chapter XXVI The Passing-note (successive) 83 Chromatic Passing-note 84 Kepeated Passing note 86 Chapter XXVII Neighboring-Notes 87 Chapter XXVIII. . . .Neighboring-notes, Continued 9'2 Chapter XXIX Neighboring-note as Appoggiatura 96 Chapter XXX Double-appoggiatura 100 Chaptkr XXXI Appoggiatura, Continued 105 Unresolved Neighboring-note 106 Chapter XXXII Evolution of Melodic Germs , 109 Chapter XXXIII Melodic Evolution, Continued 115 Disguised Eecurrences 115 Chapter XXXIV. . . .Melodic Expression 121 Vocal Setting 122