See also:

• MELODY (Gr. ,ueXw3ia, a choral song, from name, tune, and gi6i, song)

MELODY (Gr. ,ueXw3ia, a choral See also:

• SONG

song, from name, tune, and gi6i, song)  . In musical See also:

• PHILOSOPHY (Gr. gthos, fond of, and vo4 (a, wisdom)

philosophy and See also:

• HISTORY

history the word "See also:

• MELODY (Gr. ,ueXw3ia, a choral song, from name, tune, and gi6i, song)

melody "-must be used in a very abstract sense, as that aspect of See also:

• MUSIC

music which is concerned only with the See also:

• PITCH
• PITCH, MUSICAL

pitch of successive notes . Thus a " melodic See also:

• SCALE
• SCALE (1) A

scale " is a scale of a See also:

• KIND (O. E. ge-cynde, from the same root as is seen in " kin," supra)

kind of music that is not based on an See also:

• HARMONIC

harmonic See also:

• SYSTEM

system; and thus we See also:

• CALL (from Anglo-Saxon ceallian, a common Teutonic word, cf. Dutch kallen, to talk or chatter)

call See also:

• ANCIENT
• ANCIENT (also spelt ANTIENT; derived, through the Fr. ancien, old, from the late Lat. antianum, from ante, before)

ancient See also:

• GREEK
• GREEK, ETRUSCAN AND

Greek music " melodic." The popular conception of melody is that of " See also:

• AIR (from an Indo-European root meaning " breathe," " blow ")
• AIR, or ASBEN

air " or " tune," and this is so far from being a See also:

• PRIMITIVE

primitive conception that there are few instances of such melody in recorded music before the 17th See also:

• CENTURY (from Lat. centuria, a division of a hundred men)

century; and even folk-songs, unless they are of See also:

• RECENT

recent origin, deviate markedly from the criteria of tunefulness . The See also:

• MODERN

modern conception of melody is based on the interaction of every musical . See also:

• CATEGORY (Gr. Karrlyopia, " accusation ")

category . For us a melody is the See also:

• SURFACE

surface of a See also:

• SERIES (a Latin word from serere, to join)

series of harmonies, and an unaccompanied melody so far implies See also:

• HARMONY (Gr. dpµovia, a concord of musical sounds, dpA'ew to join; &plan midi (sc. TeXvil)

harmony that if it so behaves that See also:

• SIMPLE

simple harmonies expressing dear See also:

• KEY
• KEY (in O. Eng. tang; the ultimate origin of the word is unknown; it appears only in Old Frisian kei of other Teutonic languages; until the end of the 17th century the pronunciation was kay, as in other words in O. Eng. ending in aeg; cf. daeg, day; clang
• KEY (the phraseograms being indicated by hyphens)
• KEY, SIR ASTLEY COOPER (1821-1888)
• KEY, THOMAS HEWITT (1799-1875)

key-relationships would be difficult to find for it, we feel it to be See also:

• STRANGE, SIR ROBERT (1721-1792)

strange and vague . Again, we do not feel music as melodious unless its See also:

• RHYTHM (Greek pvBµds, from bap, to flow)

rhythm is symmetrical; and this, taken together with the harmonic rationality of modern melody, brings about 'an equally intimate connexion between melody on a large scale and See also:

• FORM (Lat. forma)

form on a small scale . In the See also:

• ARTICLE (from Lat. articulus, a joint)

article on See also:

• SONATA (From Ital. sonare, to sound)

SONATA FORMS it is shown that there are gradations between the form of some kinds of single melody like " See also:

• BARBARA, SAINT

Barbara See also:

• ALLEN, BOG OF
• ALLEN, ETHAN (1739–1789)
• ALLEN, GRANT CHARLES GRANT BLAIRFINDIEI, (1848–1899)
• ALLEN, JAMES LANE (1850– )
• ALLEN, JOHN (1476–1534)
• ALLEN, or ALLEYN, THOMAS (1542-1632)
• ALLEN, WILLIAM (1532-1594)
• ALLEN, WILLIAM FRANCIS (183o-1889)

Allen " (see Ex . 1) and the larger See also:

• DANCE
• DANCE (Fr. danse; of obscure origin, connected with Old High Ger. danson, to stretch)

dance forms of the. See also:

• SUITE (Suite de pieces; Ordre; Partita)

suite, and then, again, gradations between these and the true sonata forms with their immense range of expression and development . Lastly, the See also:

• ELEMENT (Lat. elementum)

element that appears at first sight most strictly melodic, namely, the rise and fall of the pitch, is intimately connected by origin with the nature. of the human See also:

• VOICE (Fr. voix, from Lat. vox)

voice,, and in later forms is enlarged fully as much by the characteristics of See also:

• INSTRUMENTS

instruments as by parallel developments in rhythm, harmony and form . Thus modern melody is the musical surface of rhythm, harmony, form and See also:

• INSTRUMENTATION

instrumentation; and, if we take Wagnerian Leitmotif into See also:

• ACCOUNT
• ACCOUNT (through O. Fr. acont, Late Lat. comptum, cornputare, to calculate)

account, we may as well add See also:

• DRAMA (literally "action," from Gr. Snail, act or do)

drama to the See also:

• LIST (O.E. lisle, a Teutonic word, cf. Dut. lust, Ger. Leiste, adapted in Ital. lista and Fr. lisle)
• LIST, FRIEDRICH (1789-1846)

list . In See also:

• SHORT, FRANCIS JOB (1857– )

short, melody is the surface of music . We may here define a few technicalities which may be said to come more definitely under the See also:

• HEAD (in 0. Eng. heafad; the word is common to Teutonic languages; cf. Dutch hoofd, Ger. Haupt, generally taken to be in origin connected with Lat. caput, Gr. KerbOvi7)
• HEAD, SIR EDMUND WALKER, BART
• HEAD, SIR FRANCIS BOND, BART

head of melody, than any ;other; but see also HARMONY and RHYTHM .

r . A theme is a melody, not necessarily or even usually See also:

• COMPLETE

complete, except when designed for a set of See also:

• VARIATIONS
• VARIATIONS, CALCULUS
• VARIATIONS, CALCULUS OF

variations (q.v.), but of sufficient See also:

• INDEPENDENT

independent coherence to be, so to speak, an intelligible musical See also:

• SENTENCE (Lat. sententia, a way of thinking, opinion, judgment; vote, sentire, to feel, think)

sentence . Thus a See also:

• FUGUE (Lat. fuga, flight)

fugue-subject is a theme, and the first and second subjects in sonata form are more or less. complex See also:

• GROUPS
• GROUPS, THEORY

groups of themes . 2 . A figure is the smallest fragment of a theme that can he recognized when transformed' or detached from its'' surroundings . The grouping of figures into new melodies is the most obvious resource of " development " or " working-out ". in the sonata-forms (see Ex . 2-7), besides being the See also:

• MAIN (from the Aryan root which appears in " may " and " might," and Lat. magnus, great)
• MAIN (Lat. Moenus)

main resource by which fugues are carried on at those moments in which the subjects and See also:

• COUNTER

counter-subjects are not See also:

• PRESENT

present as wholes . In r6th-century polyphony melody consists mainly of figures thus broken off from a See also:

• CANTO (from the Lat. cantus, a song)

canto See also:

• FERMO (anc. 1%irmum Picenum)

fermo (see CONTRAPUNTAL FORMS) . 3 . Polyphony is simultaneous multiple melody . In 16th-century music and in fugue-See also:

• WRITING
• WRITING (the verbal noun of " to write," O. Eng. writan, to inscribe)

writing every See also:

• PART

part is as melodious as Teary other . The popular cry for melody as an antidote to polyphony is thus really a curious perversion of the complaint that one may have too much of a See also:

• GOOD, JOHN MASON (1764-1827)

good thing .

Several well-known classical melodies are polyphonically composite, being formed by an inner melody appearing as it were through transparent places 'in the See also:

• OUTER

outer melody, which it thus completes . This is especially See also:

• COMMON

common in music for the See also:

• PIANOFORTE (Ital. piano, soft, and forte, loud)

pianoforte, where the See also:

• TONE, THEOBALD WOLFE (1763-1798)

tone of See also:

• LONG, GEORGE (1800-1879)
• LONG, JOHN DAVIS (1838– )

long notes rrapidl)t fades; and the See also:

• WORKS

works of See also:

• CHOPIN, FREDERIC FRANCOIS (1810-1849)

Chopin are full. of examples . , In See also:

• BACH, JOHANN SEBASTIAN (1685–1750)
• BACH, KARL PHILIPP EMANUEL (1714-1788)

Bach s works for keyed instruments figures frequently have a See also:

• DOUBLE
• DOUBLE (from the Mid. Eng. duble, the form which gives the present pronunciation, through the Old Er. duble, from Lat. duplus, twice as much)

double meaning on this principle, as, for instance, in the See also:

• PECULIAR

peculiar kind of counter.. subject in the 15th fugue of the 2nd See also:

• BOOK

book of the Wohltemperirtat Klavier . A good See also:

• FAMILIAR (through the Fr. familier, from Lat. familiaris, of or belonging to the familia, family)

familiar example of a simple melody:. which, as written by the composer, would need two voices to sing it, is that which begins the secon'd subject of See also:

• BEETHOVEN, LUDWIG VAN (1770-1827)

Beethoven's Waldstein Sonata (Op . 53, first See also:

• MOVEMENT

movement, bars 35-42, where at the third See also:

• BAR
• BAR (0. Fr. barre, Late Lat. barra, origin unknown)
• BAR, CONFEDERATION OF
• BAR, FRANCOIS DE (1538-1606)
• BAR, THE

bar of the melody a See also:

• LOWER

lower voice enters and finishes the phrase) . 4 (a) Conjunct movement is the movement of melody along adjacent degrees of the scale . A large proportion of Beethoven's melodies are conjunct (see Ex . 2, fig . B) . 4 (b) Disjunct movement, the opposite of conjunct, tends, though by no means always, to produce See also:

• ARPEGGIO (from Ital. arpeggiare, to play upon the harp)

arpeggio types of melody, i.e. melodies which move up and down the notes of a chord . Certain types of such nnelody are highly characteristic of See also:

• BRAHMS, JOHANNES (1833–1897)

Brahms; and Ex . I .

Barbara Allen" (showing the germ of binary form in the See also:

• BALANCE (derived through the Fr. from the Late Lat. bilantia, an apparatus for weighing, from bi, two, and lanx, a dish or scale)

balance between A' on the dominant .ats _0 See also:

• IM(K2+a2+h2—2 ah cos 0)

Im _ n' See also:

• ANN

ANN= B diminished . See also:

• EA(nar...), (p.s„,.,.)
• EA(psr...), (p, „...)• (pqr...)

Ea . 7 . Further development of B by diminution and contrary See also:

• MOTION (Lat. motio, from movere, to move)
• MOTION, LAWS OF

motion (See also:

• INVERSION (Lat. invertere, to turn about)

inversion) . B inverted . AL 1—• r &c . 97 I See also:

• A2(z)

A2 l ma~ mom — i See also:

• WAGNER, ADOLF (1835- )
• WAGNER, RUDOLPH (1805-1864)
• WAGNER, WILHELM RICHARD (1813-1883)

Wagner, whose melodies are almost always of instrumental origin, is generally disjunct in diatonic melody and conjunct in See also:

• CHROMATIC (Gr. xpcoµaruc6s, coloured, from xpwµa, colour)

chromatic (Ex . 2, fig . C, is a disjunct figure not forming an arpeggio) . For various other melodic devices, such as inversion, See also:

• AUGMENTATION

augmentation and diminution, see CONTRAPUNTAL FORMS . We subjoin some musical illustrations showing the treatment of figures in melody as a means of symmetry (Ex . I), and*development ( Ex .

2-7), and (En . 8-13) some modern melodic transformations, differing from earlier methods in being immediate instead of See also:

• GRADUAL (Med. Lat. gradualis, of or belonging to steps or degrees; gradus, step)

gradual . (D . F . T.) and A2 on the tonic) . Ex . 2 . Main theme of the first movement of Beethoven's Trio in B I), Op . 97 . 1 B2 ICam 1 Ex . 3 . Figure A of above See also:

• DEVELOPED

developed in a new polyphonic 4-bar phrase .

Al 1 J J J b_a • +~ J J I ~„ As Ex . 5 . Development of C with B . X XI C - B Ex . 6 . Further development of B by diminution, in See also:

• COMBINATION (Lat. combinare, to combine)

combination with the trills derived from C . I B2 I I C' Ex . 4 . Further sequential developments 4fp 4(P of A . C2 r tr i Ex . 9 . A and B2 diminished .

Ex .. 8 . BRAHMS, Quintet, Op . 34 . I Ba Ex. i I . The Rheindaughter''s See also:

• TOY
• TOY, CRAWFORD HOWELL (1836– )

Toy . Wagner, Das Rheingold . T Ex . 13: Walhalla . Ex.io .