1 / 24

Chapter 6

Chapter 6. Melodic Organization. What is it?. The organization of melodic thought and the ways in which units are combined into larger and larger sections.

kira
Download Presentation

Chapter 6

An Image/Link below is provided (as is) to download presentation Download Policy: Content on the Website is provided to you AS IS for your information and personal use and may not be sold / licensed / shared on other websites without getting consent from its author. Content is provided to you AS IS for your information and personal use only. Download presentation by click this link. While downloading, if for some reason you are not able to download a presentation, the publisher may have deleted the file from their server. During download, if you can't get a presentation, the file might be deleted by the publisher.

E N D

Presentation Transcript

  1. Chapter 6 Melodic Organization

  2. What is it? • The organization of melodic thought and the ways in which units are combined into larger and larger sections. • Written language is made meaningful through the grouping of sentences and paragraphs, melody is grouped into convenient and meaningful units or sections.

  3. Motive • Also known as motif • A short, recurring figure that appears throughout a composition or section of music. • The smallest building block of music.

  4. Melodic Motive • A repeated pitch pattern • Usually recurs accompanied by the same or similar rhythmic pattern

  5. Rhythmic Motive • A recurring rhythmic pattern in a piece of music. • Melodic motives typically contain rhythmic motives, however in many cases rhythmic motives function independently of melodic patterns.

  6. Rhythmic Motive

  7. Sequence • An immediate restatement of a melodic or longer figure in the same instrumental part at a higher or lower pitch. • Each separate unit of the sequence forms a segment.

  8. Sequence • Characteristics of a sequence • A sequence requires at least two segments. • Most sequences contain no more than three or four segments. • Sequences usually have only one direction: the segments succeed each other at continuingly higher pitches or continuingly lower pitches. • Sequence segments usually continue by the same interval distance.

  9. Sequence • Real sequence • Contains continuing segments that are exact transpositions of the first segment. Every tone is transposed at exactly the same intervallic distance.

  10. Sequence • Tonal sequence • Accommodates the diatonic scale, so that only diatonic notes of the scale are used. This means that the transposition of the segments may not be exact.

  11. Sequence • Modified Sequence • Some of the segments may be decorated or embellished.

  12. Sequence • False Sequence • Repeats part of a figure and states the remainder in sequence-a mixture of sequence and repetition.

  13. Phrase • A phrase is a substantial musical thought ending with a harmonic, melodic, or rhythmic cadence. • The presences of a cadence distinguishes a phrase from a motive. • Phrases are frequently four measures long, but may be longer or shorter. • A phrase presents a complete music thought.

  14. Phrase Member • Phrases frequently contain slight melodic interruptions and thus divide into two phrase members. • Phrase members are sufficiently separated, usually by a longer note value or rest, to distinguish them as individual units. • Sometimes the second phrase member is either a repetition or a sequence of the first; however, it is just as often contrasting.

  15. Period • Two adjacent phrases may combine to form a period if: • The second phrase ends with a strong cadence-usually perfect authentic. Closure (finality) must be achieved at the end of the second phrase. • The first phrase ends with a weaker cadence than the second. A half cadence is common at the end of the first phrase. • The two phrases bear some musical relationship to each other. Often, they create a “question-answer” effect called antecedent-consequence. The first phrase acts as the antecedent and the second phrase acts as the consequent.

  16. Parallel Period • Two adjacent phrases form a parallel period if they both begin in the same manner. • Both phrases may be nearly identical except for the cadences, or they may be only similar for a measure or two. • See Figure 6.11 and 6.12 on page 125

  17. Contrasting Period • A contrasting period results when the two phrases are not similar in melodic content. • The second phrase may be different • Change in the melodic contour (shape) • Dissimilar rhythmic figure • Differ in the lack of reference material contained in the first phrase. • See Figure 6.13 on page 127

  18. Three Phrase Period • A period with three phrases • Organized as A A B, (antecedent, antecedent, consequent) or A B B. • The third phrase ends with a stronger cadence than either of the first two • See Figure 6.14 on page 127

  19. Double Period • Also known as the four-phrase period • Allows for a variety of phrase relationships • Same principles as the two-phrase periods • The fourth phrase has a strong cadence • See Figure 6.15 in page 128

  20. Repeated Phrases • Not typically regarded as periods • The second phrase is not dependent on the first • Antecedent-consequent concept does not apply • See Figure 6.16 on page 129

  21. Nonperiod Construction • Sometimes phrases may be unrelated or lacking in closure • This constitutes dissimilar phrases

  22. Modification of the Phrase • Composers sometimes modify a phrase in one way or another • Lengthen • Write modifications • Provide some sort of variety

  23. Modification of the Phrase • Phrase Extension • Length of phrase is increased • Beginning Extension • See Figure 6.17 on page 130 • Internal Extension • See Figure 6.18 on page 130 • Cadential Extension • See Figure 6.19 on page 130

  24. Modification of the Phrase • Change of Mode • Changes key to the parallel minor or vice versa • See Figure 6.21 on page 131

More Related