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Melodic Organization Chapter 6. Motive Short melodic and/or rhythmic pattern Usually only a few beats Recurs throughout a piece or section Unifying element.

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Presentation on theme: "Melodic Organization Chapter 6. Motive Short melodic and/or rhythmic pattern Usually only a few beats Recurs throughout a piece or section Unifying element."— Presentation transcript:

1 Melodic Organization Chapter 6

2 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

3 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

4 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

5 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

6 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

7 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

8 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

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

10 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 3 2 1 scale degrees – end of melody includes 3, 2, 1 progression


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