Melodic Organization Chapter 6

Motive Short melodic and/or rhythmic pattern Usually only a few beats Recurs throughout a piece or section Unifying element Melodic motives – repeated pitch patterns Rhythmic motives – repeated rhythm patterns Accompaniment figures are often rhythmic motives

Sequence Immediate restatement of a melodic motive at a higher or lower pitch Characteristics – 1. At least two segments – 2. Most contain no more than three or four segments – 3. Move in only one direction – 4. Segments continue by the same interval distance

Types of Sequences Real Sequence – Exact transposition – Will most likely include accidentals Tonal Sequence – Segments remain diatonic to the original key – No accidentals Modified Sequence – Segments are decorated or embellished False Sequence – Each segment repeats a portion of the original

Phrase Complete musical thought Usually contains a cadence Often 4 measures in length Can be divided into two smaller phrases called phrase members – Usually separated by a longer note value or rest – Some phrase members are repeats or in sequence – Others are simply new material

Period Two adjacent phrases can combine to form a period if: – The 2 nd cadence is stronger than the 1 st – They are melodically related

Types of Periods Parallel – Both phrases begin the same Contrasting – The phrases are not melodically similar Three-Phrase – AAB or ABB type construction – 3 rd phrase must have the strongest cadence Double Period – Many combinations of phrases – 4 th phrase must have the strongest cadence

Extension Extends the length of the phrase without adding any significant melodic interest Often includes sequence or motive Can occur at any point in the phrase – Beginning – Middle – End

Change of Mode Modification of a phrase by transcribing it into the parallel major or minor

Melodic Structure Climax tone – the highest stressed pitch of a melody Ascent – the general melodic movement up to the climax tone Decent – the general melodic movement away from the climax tone Tonic triad pitches – placed throughout the melody to establish tonality scale degrees – end of melody includes 3, 2, 1 progression