Chapter 6

Melodic Organization

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.

Motive

• Also known as motif• A short, recurring figure that appears

throughout a composition or section of music.• The smallest building block of music.

Melodic Motive

• A repeated pitch pattern• Usually recurs accompanied by the same or

similar rhythmic pattern

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.

Rhythmic Motive

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.

Sequence

• Characteristics of a sequence1. A sequence requires at least two segments.2. Most sequences contain no more than three or

four segments.3. Sequences usually have only one direction: the

segments succeed each other at continuingly higher pitches or continuingly lower pitches.

4. Sequence segments usually continue by the same interval distance.

Sequence

• Real sequence– Contains continuing segments that are exact

transpositions of the first segment. Every tone is transposed at exactly the same intervallic distance.

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.

Sequence

• Modified Sequence– Some of the segments may be decorated or

embellished.

Sequence

• False Sequence– Repeats part of a figure and states the remainder

in sequence-a mixture of sequence and repetition.

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.

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.

Period• Two adjacent phrases may combine to form a period if:

1. The second phrase ends with a strong cadence-usually perfect authentic. Closure (finality) must be achieved at the end of the second phrase.

2. The first phrase ends with a weaker cadence than the second. A half cadence is common at the end of the first phrase.

3. 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.

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

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

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

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

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

Nonperiod Construction

• Sometimes phrases may be unrelated or lacking in closure

• This constitutes dissimilar phrases

Modification of the Phrase

• Composers sometimes modify a phrase in one way or another– Lengthen– Write modifications– Provide some sort of variety

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

Modification of the Phrase

• Change of Mode– Changes key to the parallel minor or vice versa– See Figure 6.21 on page 131