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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• 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 2nd cadence is stronger than the 1st
– 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– 3rd phrase must have the strongest cadence
• Double Period– Many combinations of phrases– 4th 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• 3 2 1 scale degrees – end of melody includes 3, 2, 1
progression