Melody

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  • Melody
    • Debussy Sarabande
      • Conjunct with small leaps - 3rds and 4ths
      • Compass ex
      • Opening compass - 5th
      • Compass extended when important cadence or section break is approached eg bar 7-8, bar 38-41, bar 67-71.
        • Emphasis on important cadence
    • Bach concerto in G no. 4
      • Scales and broken chords
      • Emphasis on interval of a 3rd
      • 5 main motifs used
      • Wide variety of sequences used eg solo violin b13-18, violin b18-22, flutes b44-46
      • Closing theme (hemiola) more angular eg use of 4ths.
      • Use of sequences = 'Super Melodies' moving slowly across long passages eg b13-23.
    • Schumann Kinderscenen
      • No. 1
        • Combination of steps and leaps - thematic rising minor 6th with stepwise descent
        • melodic sequence eg b9-12
        • Bass line 9-12 based on opening melody
      • No. 3
        • Steps and Leaps- many scalic passages
        • Descending sequence bar 2
        • minor 7th leap in b9 = unusual
      • No. 11
        • mostly diatonic (chromaticism b2)
        • Bar 9 B section - disjunct bass in sequence
        • 2nd half of C section - semitone movement spanning diminished 4th then forms a sequence
    • Sweelinck
      • Generally Vocal in Character
        • Conjunct writing based on Dowlands Flow my tears with emphasis on the falling 4th (tear motif)
      • Use of written out trills and other ornamentation
        • e.g. Section A bar 14 and the Section A' bar 30
      • Main Sections A, B and C.
        • Small deviations from original Dowland part eg bar 5 passing notes, 3 part canon in B has reassigned voice registers.
        • Almost exact transcription but with Elaboration and simplification
      • Varied Sections - A', B' and C'.
        • Scalic Shapes with melody running between parts.
        • Original Pitches are found at the beginning/ end of the bar
    • Beethoven Septet
      • Mainly Diatonic- brief chromaticism e.g. the scale in bar 25-26 and in bar 69 where it is used to lead into a melody
      • 1st subject = Rising sequence up 3rd (Eb major triad) with lower chromatic auxiliary.
      • 2nd subject theme = intervals of a 4th and scalic movement bar 86 - staccato march like melody.
      • Mostly Periodic Phrasing - typical of classical period.
      • Ornamentation widely used
  • Opening compass - 5th
  • Compass extended when important cadence or section break is approached eg bar 7-8, bar 38-41, bar 67-71.
    • Emphasis on important cadence

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