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