Melody Writing

(1)

Outline

of

Melody-

Writing

Scale-Line I. Rest Tones. II. ActiveTones.

(a)

Must

resolve.

(b)

May

be forced along

scale-line.

1. _{In progressing up,}

do

not turn at 7. 2.

In

_progressing

down, do

not turn at 6 or4.

(c) Forceafterwideskip. (d) Force

by

using

con-secutive skips. (e) Delayresolution.

Minor.

III.

(a)

Lower

3rd

and

6th of major.

(b) 6to7,raise6: 7to6,

lower 7.

Skips

I.

A

3rd _(a

narrow

_skip). (a)

From

Rest Tones.

1.

Both

directions. (b)

From

Active Tones.

1. In direction of reso-lution.

2. _Contrary to direc-tion of _regular

resolu-tion.

(a)

Must

turn.

II. _Singlewide_skips.

(a)

Must

bepartofachord. (b)

Must

turn.

III. Consecutive skips.

(a)

Must

spell achord. (b)

Conform

to the meter.

(c)

Must

turn.

LESSON

25

Section A.

Suggestions for Study:

(1) Construct twelve melodies in minor, using duple or triple

meter

and any

of the regular

rhythms

given in _Chapter

XVI.

(2) Learntheoutline of

Melody-

Writing. Section B. (1) Absolute Intervals: -fl , i ..

_

... ₈,l. _.. I o ..I

^^f^"

tt ^ " "|,U 8

"fS|

^ n

ItirSlTni'^ga

(a) Play each interval: listen to its sound, determine its

(2)

142

_Ear-Training

and

_{Sight-Singing}

(2) Intervals in a

Minor Key:

1

(a) Rewrite all the intervals of Lesson 16,Section C, page

91, in the_parallel minor_key.

(b) Learn the difference in the position of the

Major and

Minor

6th

and

3rd in

a Minor

key: 1 3 a

Minor

3rd, 3 5 a

_Major

3rd, 3 8

_{a Major}

_6th; 5 3

a

Minor

6th.

(c) Practise in the

same manner

as in major.

(3) Practise chords as in the preceding lessons, using both

major and

minor modes.

(4) Melodies for Dictation

and

Singing, employing

i 2

r

10

12

rr

r

NOTE. Inoutliningrhythmsthere aretwofigures ofthree notes whichfall

. t '

33

expressed .

^

on onepulse; thetriplet,and f

"

^

M * *

_v

(3)

For these exercises all consecutive _{skips in} the

same

direction

arein thetonicchord.

(a) Follow directions for_{pitch analysis given} in Lesson 22,

Section B, page 124.

Section G.

(1) RhythmicStttdy: J"73in

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andJ J5in

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L-TC J

^

J J J- J. .J -. . .' . (2) Exercises in Sight-Singing: J J3,, J J>

J

J3J _JS.J^J. J J3.J

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_J^J

J9J

J> J

_J9iJ^

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N

^ ^ i j^j

N

^

r^

g)Mr

i -!

_{i_uf}

S

_;

^

i

r3lr

_j

r

^^

(4)

144

Ear-Training

and

Sight-Singing

^

j j,i j jjJ _p \ kij J)

j^

J sfr (i _icjj-

"^!P

'-{j-"

r

T

J J

^?

m

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11

12

(5)

Period-Form

A

phrase in musiccorrespondstoa_{simple sentence}in _English. In English

we

often use a

compound

sentence, which is in reality

two

_sentences,onequalifying the other,each expressinga thought. In music a _{Period corresponds to} this form.

A

Period,

when

regular, consists of

two

phrases, each usually fourmeasureslong.

The

first is the Antecedent Phrase, the second the Consequent Phrase.

A

period begins as

any

phrase,

but

the antecedent phrase ends with

some

tone of the V-chord, 5, 7 or 2,

instead of 1 or 8. This gives the effectof _{being incomplete,}

and

makes a

Semi-Cadence.

The

_consequent _phrase ends with 1 or 8,

a PerfectAuthentic Cadence.

A

Period is in Parallel Construction

when

at least the first

measureoftheantecedent

and

thatofthe_consequentphrasearealike.

There

are three stages ofparallel construction:

(1)

When

thefirstthree measuresoftheconsequentphrase are

like the first three measures ofthe antecedent phrase, the cadence alone being changed.

(2)

When

thefirst two measures of the antecedent

and

the

consequent phrase are the same.

(3)

When

thefirst measure of the antecedent is the

same

as

the first measure of the _consequent phrase.

LESSON

26

Parallel

Construction

Section

A.

Suggestionsfor Study:

(l) Constructsixperiodsinparallelconstruction.

For

each

antecedent phrase

make

three consequent phrases, one of each stage. (See

model

below.)

(6)

146 _Ear-Training

and

_{Sight-Singing}

Section B.

(1)

Review

theAbsolute Intervals of the preceding lessons. (2) Continue the study of intervals

m

minor as outlined in

Lesson 25,Section B, page 142.

(3)

The

intervalsused in a key

have

been between the tones

1358,

which

istheTonic Chord.

The

_Major

3rd,

1-3,

from

the

Root

totheThirdofthe chord.

The

Minor

3rd,

3-5,

from

theThirdto theFifth ofthe chord.

The

_Major

6th,

5-3,

from

theFifthto theThirdofthe chord.

The

Minor

6th,

3-8,

from

the Third to the _Eighth of the chord.

The

Perfect5th, 1

-

5,

from

the

Root

totheFifth ofthe chord.

The

Perfect 4th,

5-8,

from

the Fifth to the _Eighth of the chord.

Harmonic,

and most

Melodic Intervals, are parts of a chord

and

soundin relation to theRootofthe chord.

Since the I,

V

and

IV

chords are major chords, their interval

content isthesame.

As

these chords are used in _{composition, the}

same

intervals

occur betweendifferent scale-degrees.

In theV, or

Dominant

Chord: In the IV, or

Subdom.

Chord:

Major

3rd,

Root

to _Third,

from

from the 4th-6th degrees

5th-7thdegrees

Minor

3rd, Third to Fifth,

from

the 6th-8th degrees 7th-2nddegrees

Major

6th, Fifth to Third,

from

the lst-6th degrees 2nd-7th degrees

Minor

6th, Third to _Eighth,

from

the 6th-4th _degrees 7th-5th degrees

Perfect 5th,

Root

to Fifth, from from the 4th-8th degrees 5th-2nddegrees

Perfect 4th, Fifth to Eighth,

from

from the lst-4th degrees 2nd-5thdegrees

All these intervals are consonant intervals, orintervals which are _complete

and do

not need resolution.

As

_they occur in the I chord there is

no

_{question as to} _{their position} in the key.

As

dif-ferentchords are used

and

four or five intervalsoccur in a chord, otherthan theI _{chord, there}isadanger, becauseof theirconsonant