Lessons in Music Form | Page 8

melody,--tuneful, interesting, intelligible, striking and absolutely

definite.
In the second place, the tones and groups in a good melody are
measured with reference to harmony of time-values; that is, their metric
condition, and their rhythmic arrangement, corroborate the natural laws
already defined:--uniformity of fundamental pulse, uniform recurrence
of accent, and sufficient regularity of rhythmic figure to insure a
distinct and comprehensible total impression. This also may be verified
in the time-values of Ex. 5. Scrutinize also, the melodic and rhythmic
conditions of Exs. 1 and 2,--and the examples on later pages,--and
endeavor to vindicate their classification as "good" melodies. Ex. 4,
though an exposition of irregular rhythm, is none the less excellent on
that account; on the contrary, this irregularity, because wisely balanced
by sufficient evidence of harmonious and logical agreement, only
heightens the beauty and effectiveness of the melody.
* * * * * *
Whenever whole bodies of tone are played successively, a number of
melody lines are being described,--as many, in fact, as there are tones
in each body. For example, in playing a hymn-tune we describe (on the
keyboard) the four separate melodies known as the soprano, alto, tenor
and bass voices. In a duet, unaccompanied, there are two melodic lines;
if accompanied, other melodic lines are added to these. Thus we
recognize the same system of associated lines in music as in
architecture or drawing. Very rarely indeed does one single unbroken
line portray a complete image.
But in music, as in drawing, the lines differ in their degrees of
importance and prominence; and, very commonly, one line
over-shadows all, or nearly all the rest. This strongest tone-line is
therefore apt to be designated, somewhat unfairly, the melody (the
"tune" or "air" is more just). But, at all events, this predominating
melodic line is the most important factor of the form, the one upon
which the definition and recognition of the "form" depend; and it is
therefore necessary that the student learn to distinguish it, to acquire the
habit of centring his attention upon it,--in reading, listening to, or
analyzing music; and, in playing, to give it the emphasis it requires.

The importance of a tone-line depends solely upon its conspicuousness.
The principal melody--the Melody--is the one which is most salient,
which most attracts the hearer's attention. For this reason the composer
is induced to place his chief melody above the rest of the tone-lines,
because the uppermost tone strikes the ear more acutely than the lower
ones, and therefore the succession of highest tones constitutes a
conspicuous line that attracts and impresses the sense most keenly.
Here then, at the top of the harmonic tone-complex, we look for the
chief melody; and here it will be found,--excepting when arbitrary
emphasis (by accentuation) is imparted to some lower tone-line, so that
it, for the time being, assumes a prominence equal, or superior, to that
of the uppermost line. (This divided prominence is seen in the 18th
Song Without Words--the duet.)
LESSON 2.--Write careful and complete answers to the following
questions:--
1. What is Time, as applied to music?
2. What is tempo?
3. Give a full definition of the beat.
4. By what time-value is it most commonly indicated?
5. Give a full definition of the measure.
6. Why do measures differ in size?
7. What is a simple measure?
8. What is a compound measure?
9. Define duple and triple rhythms. (See also Chap. I.)
10. What does the term rhythm signify?
11. How is it applied in music?

12. When is the rhythm regular?
13. When is the rhythm irregular?
14. Define the difference between melody and harmony.
15. Give a full definition of melody.
16. What are the conditions of a good melody?
17. In what respect does music resemble architecture or drawing?
18. Are the tone-lines in a composition of equal importance?
19. What significance is to be attached to the principal tone-line?
20. Upon what does the importance of a tone-line depend?
21. Where is the chief melody usually placed?
CHAPTER III.
FIGURE AND MOTIVE.
THE MELODIC FIGURE.--The smallest unit in musical composition
is the single tone. The smallest cluster of successive tones (from two to
four or five in number) that will convey a definite musical impression,
as miniature musical idea, is called a Figure. Assuming the single tone
to represent the same unit of expression as a letter of the alphabet, the
melodic figure would be defined as the equivalent of a complete (small)
word;--pursuing the comparison further, a series of figures constitutes
the melodic Motive, equivalent to the smallest group of words (a
subject with its article and adjective, for example); and two or three
motives make a Phrase, equivalent to the complete, though
comparatively brief, sentence (subject, predicate, and object). This
definition, amply illustrated in the following examples, serves