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