MUSC 121 Chapter 6: Chapter 6
MUSC 121 - Chapter 6 Notes
Things highlighted in yellow is what I think is important. Other colors are for things that refer to each other. All pictures are either
from the textbook Music in Theory and Practice 9th Edition or notes that I hand wrote.
Chapter 6 Melodic Organization
Important Concepts
- The Motive
- Often called motif
- A short recurring figure that appears throughout a composition or section
of music
- “Organic unit” that unifies a larger expanse of music
- Distinctive melodic/rhythmic patterns make the base structure of a motive
- Melodic Motive
- Repeated pitch pattern
- Often recurs with the same/similar rhythmic pattern
- Rhythmic Motive
- Recurring rhythmic pattern
- Melodic motives usually contain rhythmic movement
- Many cases rhythmic motives will function independently of the
melodic patterns
- Rhythmic motives can also appear as motives in accompaniment
figures
- Typically include limited number or rhythmic motives that are
repeated with only slight variation, which helps subordinate
the accompaniment
- Sequence
- Immediate restatement of a melodic motive/longer figure in the
same instrumental/vocal pitch at a higher/lower pitch
- Each separate unit forms a segment
- One of the most common basic methods of melodic elaboration in
18th/19th century
- Characteristics of sequence:
- Requires at least two segments
- Most contain no more than 3 or 4 segments
- Usually have only one direction, with the next segments
being continuingly higher/lower pitches than the previous
- Usually continue by same interval distance (gets
higher/lower by the same interval)
- Real Sequence
- Contains continuing segments that are exact transposition of
first segment
- Tonal Sequence
- Accommodates the diatonic scale, so only diatonic notes are
used
- Transposition of segments MAY NOT be exact
- Modified Sequence
- Some of the segments may be decorated or embellished in a
way that does not destroy their original character
- False Sequences
- Repeats part of a figure and states the remainder in
sequence
- Mixture of sequence and repetition
- Phrase
- Substantial musical thought, usually ends with a
harmonic/melodic/rhythmic cadence
- The cadence distinguishes a phrase from a motive
- Usually 4 measures long, but could be longer/shorter
- Presents a complete musical thought
- Phrase Member
- When phrases contain slight melodic interruptions and
divides into two phrase members
- Sufficiently separated, usually by longer note value or rest,
so that they are distinguishable as individual units
- Second phrase member is sometimes a repetition or
sequence of the first
- May be nearly indistinguishable from the phrase, with tempo
serving as only deciding factor, in certain conditions
- Period
- Two adjacent phrases may combine to form a period if:
- Second phrase ends with a strong cadence (perfect
authentic is preferred because closure/finality needs to be
achieved at the end of second phrase)
- First phrase ends with a weaker cadence than second
phrase
- Two phrases have some musical relationship to each other.
- Often creates antecedent-consequent relationship
- “Question-answer”
- First phrase acts as the question, and the
second phrase as the answer
- Parallel Period
- When two adjacent phrases begin in the same manner
Document Summary
Things highlighted in yellow is what i think is important. other colors are for things that refer to each other. All pictures are either from the textbook music in theory and practice 9th edition or notes that i hand wrote. A short recurring figure that appears throughout a composition or section. Distinctive melodic/rhythmic patterns make the base structure of a motive. Organic unit that unifies a larger expanse of music. Often recurs with the same/similar rhythmic pattern. Many cases rhythmic motives will function independently of the. Rhythmic motives can also appear as motives in accompaniment melodic patterns figures. Typically include limited number or rhythmic motives that are repeated with only slight variation , which helps subordinate the accompaniment. Immediate restatement of a melodic motive/longer figure in the same instrumental/vocal pitch at a higher/lower pitch. One of the most common basic methods of melodic elaboration in. Most contain no more than 3 or 4 segments.
