Lessons in Music Form | Page 7

The metric system affords
the basis for rational and definable rhythm, but "rhythm" itself does not
enter into the proposition until differentiated factors are associated and
opposed to each other.
[Illustration: Example 3. Rhythm.]
The first measure of this hymn is, by itself, merely an exponent of the
metric principle, for it consists of three uniform quarter-notes. The
second measure, however, is a rhythmic one, because, by dotting the
first of the three beats, three different time-values are obtained (dotted

quarter, eighth, and quarter). Further, by association and comparison
with each other, both measures assume a collective rhythmic
significance.
The rhythmic disposition of the tones is to a certain extent optional
with the composer, but by no means wholly so; the rules of rhythm are
probably the most definite and obvious of all the rules of music writing.
They do not concern the analytical student intimately, but at least the
general distinction between regular and irregular rhythm should be
understood:--We have seen that the natural accent (the "heavy" pulse)
is invariably represented by the first beat of a rhythmic group; and that
one or two lighter pulses intervene before the next accent appears.
Further, it is self-evident that the rhythmic weight of a tone is
proportionate to its length, or time-value; longer tones produce heavier,
and shorter tones lighter, impressions. The deduction from these two
facts is, then, that the rhythmic arrangement is regular when the
comparatively longer tones occupy the accented beats, or the accented
fractions of the beats; and irregular when shorter tones occupy the
accents, or when longer tones are shifted to any comparatively lighter
pulse of the measure or group.
The rhythm of the second measure in Ex. 3 is regular, because the
longest tone stands at the beginning of the measure, thus confirming
(and, in fact, creating) the accent. The rhythm in Ex. 1 is also regular,
throughout, the light eighth-notes occupying the light third beat, and
the heavy dotted-quarter the heavy pulse (in the third measure). Ex. 2 is
strikingly definite in rhythm, because the time-values are so greatly
diversified; and the arrangement is regular.
On the other hand, the following is an example of irregular rhythm:
[Illustration: Example 4. Fragment of Beethoven.]
The longer (heavier) tones are placed in the middle of the measure,
between the beats; the tie at the end of measure 3 places the heavy note
at the end, instead of the beginning, of the measure, and cancels the
accent of the fourth measure. These irregular forms of rhythm are
called syncopation. See also Ex. 6, second Phrase.

MELODY.--Any succession of single tones is a melody. If we strike
the keys of the piano with two or more fingers of each hand
simultaneously, we produce a body of tones, which--if they are so
chosen that they blend harmoniously--is called a Chord; and a series of
such chords is an illustration of what is known as Harmony. If,
however, we play with one finger only, we produce a melody. The
human voice, the flute, horn,--all instruments capable of emitting but
one tone at a time,--produce melody.
Melody constitutes, then, a line of tones. If, as we have said, Time is
the canvas upon which the musical images are thrown, Melodies are the
lines which trace the design or form of these images. This indicates the
extreme importance of the melodic idea in music form. Without such
"tone-lines" the effect would be similar to that of daubs or masses of
color without a drawing, without the evidence of contour and shape.
A good melody, that is, a melody that appeals to the intelligent music
lover as tuneful, pleasing, and intelligible, is one in which, first of all,
each successive tone and each successive group of tones stands in a
rational harmonic relation to the one before it, and even, usually, to
several preceding tones or groups. In other words, the tones are not
arranged haphazard, but with reference to their harmonious agreement
with each other. For a model of good melody, examine the very first
sentence in the book of Beethoven's pianoforte sonatas:--
[Illustration: Example 5. Fragment of Beethoven.]
The tones bracketed a, if struck all together, unite and blend in one
harmonious body, so complete is the harmonic agreement of each
succeeding tone with its fellows; the same is true of the group marked c.
The tones bracketed b and d do not admit of being struck
simultaneously, it is true, but they are all parts of the same key (F
minor), and are closely and smoothly connected; hence their
concurrence, though not one of harmony (chord), is one of intimate
tone relation and proximity. Further, the whole group marked 2
corresponds in its linear formation, its rising, poising and curling,
exactly to the preceding group, marked 1. This, then, is a good