Lessons in Music Form. Percy Goetschius
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See also Ex. 1. The operation of this exceedingly important rule of "corresponding formation" (about which more will be said later on) is seen—on a larger scale—in Ex. 2, Ex. 5, and Ex. 6, where it defines the whole motive.
(3) In default of more definite signs, the figures may be found to correspond to the metric groups (that is, in lengths of whole or half measures). Thus:—
[Illustration: Example 8. Fragments of Beethoven.]
This example illustrates the interlinking of the figures, and suggests the difficulty that may be encountered in the effort to define melodic figures. The difficulty is probably greatest in melodies of a lyric character, where it is necessary to sustain the coherency of the sentence; for instance, in many of the Songs Without Words—see No. 40, No. 22, and others, in which an entirely definite separation of the figures is well-nigh a hopeless task.
For this reason—that is, because the melodic divisions are so minute and vague between these smaller particles of the musical sentence—it is advisable to give no heed to any factor smaller than the "motive," and to undertake the analysis of nothing less than the latter; for even the most scrupulous "phrasing," in the playing of a composition, must avoid the risk of incoherency almost certain to result from distinctly separating all the figures. The melodies in Ex. 8 should not betray the secret of their formation.
THE MELODIC MOTIVE OR PHRASE-MEMBER.—This, as has already been stated, is a somewhat longer section, compounded of two or more figures. Being thus longer, the "breaks" or spaces between motives are generally more emphatic and recognizable than those between the figures, and therefore it is easier, as a rule, to define the extremities of motives.
Melodic motives differ in length from one to four measures; by far the most common extent, however, is two measures, and the student will do wisely to accept this dimension and analyze accordingly, unless there is unmistakable evidence to the contrary. The indications are precisely the same as those illustrated in the preceding two examples as guides for the definition of figures.
For example:—
[Illustration: Example 9. Fragments of Beethoven, Mendelssohn, and Mozart.]
In the first of these examples the extent of the motives is proven by each of the three given guides: the rest, which marks the end of the first member; the similarity of melodic and rhythmic formation, which proclaims the beginning of the second member, parallel with that of the first; and the regular (two-measure) dimension. In Nos. 2 and 3 there are no rests between the motives, and the melodic formation differs; here it is the standard of two measures that defines the members.
Ex. 3 is a two-measure motive. In Exs. 2, 5, and 6, the motives are all two measures in length.
In the following:—
[Illustration: Example 10. Fragment of Beethoven.]
one is tempted to call each single measure a motive, because of the number of tones it contains, and the weight (length) of the final tone, which makes a much more emphatic interruption than commonly occurs between figures.
And in the following, on the other hand:—
[Illustration: Example 11. Fragment of Beethoven.]
the entire four-measure sentence is evidently one motive, for there is no recognizable indication of an interruption at any point. The same is true of the two melodies given in Ex. 8.
The following illustrates an irregular (uneven) association of members:—
[Illustration: Example 12. Fragment of Mozart.]
Here again, there may be a disposition to adopt the upper line of brackets, assigning a single measure to each motive. But both here, and in Ex. 10, the student is advised to adhere to the two-measure standard; he will avoid much needless confusion by so doing—at least until he shall have so developed and sharpened his sense of melodic syntax that he can apprehend the finer shades of distinction in the "motion and repose" of a melody. Adopting the lower line of brackets, we discover successive members of unequal length, the first one containing two, the next one three measures.
PRELIMINARY TONES.—It is a singularly effective and pregnant quality of the element of musical rhythm, that its operations are not bounded by the vertical bars which mark off the measures. That is to say, a rhythmic figure (and, in consequence, a melodic figure or motive) does not necessarily extend from bar to bar, but may run from the middle (or any other point) of one measure, to the middle (or corresponding point) of the next; precisely as prosodic rhythm comprises poetic feet which begin either with an accented or with an unaccented syllable. See Ex. 10. Hence the significant rule, that a melodic member may begin at any part of a measure, upon an accented or an unaccented beat, or upon any fraction of a beat. For example:—
[Illustration: Example 13. Fragments of Mendelssohn.]
[Illustration: Example 13 continued. Fragments of Mendelssohn and Mozart.]
In No. 1, the motive begins squarely with the measure, upon the accented beat. In No. 2, the same motive is enlarged by two tones at the outset, which locates its beginning upon the fourth 8th—the second half of the second beat. In No. 3 the motive begins upon an accented beat, but it is the lighter (secondary) accent of the 3d beat. The various conditions of unaccented beginnings in Nos. 4, 5 and 6 are easily recognizable. In No. 7 quite a large fraction of a measure precedes the first accent (at the beginning of the full measure). Examine, also, all the preceding examples, and note the different accented or unaccented locations of the first tone, in each figure and motive.