Exercises in Melody Writing

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EXERCISES IN
MELODY-WRITING
A SYSTEMATIC COURSE OF MELODIC COMPOSITION

designed for the use of young music students, chiefly as
a course of exercise collateral with the study of harmony
By
PERCY GOETSCHIUS
AUTHOR OF
"The Material Used in Musical Composition"
"The Theory and Practice of Tone-Relations"
"The Homophonic Forms of Musical Composition"
"Lessons in Music Form"
"Applied Counterpoint"
"Elementary Counterpoint"
"The Larger Forms of Musical Composition"
ELEVENTH EDITION
Thoroughly Revised and Partly Rewritten
G. SCHIRMER, INC.
New York.
Copyright, 1900, by G. Schirmer, Inc.
Copyright, 1923, by G. Schirmer, Inc.
15209
Printed in the U. S. A.
To
Thomas Tapper, Litt.D.
PREFACE TO THE FIRST EDITION
I
The object of this course of musical discipline is, to assist the young student
(whether or not he expects to become a composer) to form and to cultivate
habits of correct melodic thought.
It is simply a carefully graded course of exercise in melody-invention—not
conception. The agencies which conduce to the transition from the former into
the latter are touched upon in paragraphs 125 to 129, which may be briefly
scanned, here, without harm.
The reasons for urging such a course of technical practice upon students of
music (general, as well as special students) are twofold:
1st, because the prime object of all theoretical study in music is, or should be,
melody. A thorough apprehension of the conditions of correct melody, and
command of its natural laws, pave the way to the full and easy reception of all
other phases of discipline in music; they are the only natural preparation for
successful studies in sight-reading, harmony, counterpoint, form, instrumentation
and interpretation.
2nd, because all musical practice, productive or reproductive, in common
with all other operations of mind and body, is the result of habit, and is therefore
qualified exactly according to the quality and energy of the habits which have
been contracted, by accident or intention, in early life. The effort to control
the formation of these habits, and guide them as early as possible into proper
channels, is therefore obviously the most valuable that a wise educational purpose
can induce.
Whether there are laws governing melodic conduct, or not, is a question to
t which an answer will be found in the book itself.
II
It is to be inferred from the above, that the best results will be gained by
beginning this course of exercise early in life. Not, however, as a rule, before the
twelfth or thirteenth year.
It may be pursued before Harmony is taken up, or entirely independent
of the latter. But it will probably prove most efficient as collateral study, in
terlined between the exercises of any standard text-book on Harmony ; either from
the beginning, or in the later course of harmonic study; in regular altarnation
with chapters of the latter, or interlined strictly according to subjects.
The degree of benefit to be derived, is manifestly proportionate to the de
gree of thoroughness with which each lesson is exercised—precisely as proficiency
in scales or any other item of pianoforte technique depends upon the number
of times each movement is thoughtfully repeated. It is a system of drill, which
must be persisted in until its aim—the fixing of habits—is achieved. For this
reason, the course should cover a full year.
The musical illustrations have been made unusually copious, because this
particular phase of musical education is likely to be absorbed by the pupil quite
[v]
vi PREFACE
as readily through sensuous contact with melodic sounds, as by mental induction.

Therefore, they are to be studied as faithfully as the text, both at, and away from,
the keyboard.
Percy Goetschius.
Boston, Mass.,
September, 1899.
PREFACE TO THE PRESENT EDITION
The present edition of "Melody-Writing" has been thoroughly revised,

and partly re-written; and, the author trusts, very greatly improved.
No changes have been made in the number and arrangement of Chapters,
but radical modification of the first fifty Paragraphs and Examples was found
necessary.
Percy Goetschius.
New York City,
October, 1922.
TABLE OF CONTENTS
<
DIVISION ONE
ESSENTIAL TONES
PAGE
Preface v
>. Chapter I. The Major Mode. The Scale-line, Regular
Successions i
First Primary Rule 1
Active and Inactive Steps 1
Repeated Tones 3
The Narrow Leap 3
The Four-measure Phrase 4
Chapter II. The Major Scale-line, Irregular Successions 5
Chapter III. The Chord-line; Single Wide Leaps 6
Second Primary Rule 7
Chapter IV. The Chord-line, Continued. Successive Leaps 10
Miscellaneous 11
Summary of Rules 13
Chapter V. The Minor Mode 16
Chapter VI. Diversity of Rhythm, Regular 20
Chapter VII. The Period-Form 24
Chapter VIII. Irregular Rhythm 25
Chapter IX. Exceptional Semicadences 28
Chapter X. Melodic Syntax 29
Repetition and Sequence, Exact 29
Chapter XL Melodic Syntax, Continued 32
Repetition and Sequence, Modified 32
Chapter XII. Melodic Syntax, Continued 36
Application to the Period-form 36
Chapter XIII. Altered Scale-steps, Major 38
Chapter XIV. Altered Scale-steps, Minor 42
Chapter XV. Modulation, or Changes of Key 44
The Next-related Keys 44
Points of Departure 45
Points of Entrance . 45
Chapter XVI. Modulation, Continued 48
Transient Modulations 48
[ vii ]
viii TABLE OF CONTENTS
PAGE
Chapter XVII. Modulation, Continued 49
Application in the Period-form 49
Chapter XVIII. Modulation, Chromatic 5°
Chapter XIX. Modulation, Continued 5i
Overlapping Scale-lines Si
Chapter XX. Modulation in Sequences, and at Cadences S3
Chapter XXI. Chromatic Melody 55
Chapter XXII. The Double-perIod Form 56
DIVISION TWO
UNESSENTIAL, OR EMBELLISHING, TONES
Chapter XXIII. Distinction between Essential and Unessential

Tones 59
The Suspension 59
Chapter XXIV. The Anticipation 62
Chapter XXV. The Passing-note (single) 64
Chapter XXVI. Passing-notes (successive) 65
Chromatic Passing-notes 66
Repeated Passing-notes 68
Chapter XXVII. Neighboring-notes. Three-tone Group 70
Chapter XXVIII. Neighboring-notes, Continued. Larger Groups 73
Chapter XXIX. Neighboring-note as Appoggiatura 77
Chapter XXX. Double-appoggiatura 80
Chapter XXXI. Appoggiaturas, Continued 84
The Unresolved (Upper) Neighboring-note 85
Chapter XXXII. Evolution of Melodic Germs 87
Chapter XXXIII. Melodic Evolution, Continued 92
Application to Repetition and Sequence 92
Chapter XXXIV. Melodic Expression. Conclusion 96
Vocal Setting 97
EXERCISES IN MELODY- WRITING
DIVISION ONE
ESSENTIAL TONES
CHAPTER I
THE MAJOR MODE
The Scale-line, Regular Successions

1. Any series of single tones is a Melody.
When the tones are properly arranged, with regard to the great law of natural
relation, and of smooth, sensible progression; and also with sufficient variety
of time-values (rhythm)—the melody is good. Otherwise it is faulty.
2. The choice of successive tones (aside from rhythm) is subject, funda
mentally, to two primary laws of tone-relation: that of the natural Scale; and
that of the principal Chords.
First Primary Rule
3. A melody may follow the line of the
MAJOR SCALE
upward or downward, with almost unlimited freedom.
Ex.l^j |J J J I J J I |Jii \j I
4. These step-wise progressions (along the natural scale) are regular, and
therefore invariably permissible, when they confirm the inherent melodic in
clination (direction) of the so-called Active scale-steps.
Active and Inactive Scale-steps

5. The seven steps of every natural (major) scale are divided into two
classes:
(a) The Inactive steps, or those which, owing to their relation to the key
note as point of rest in the family-group of tones, have no inclination to move;
they are "inert," and will not move unless impelled by the will of the singer.
They are the 1st, 3rd and 5th scale-steps.
(b) The Active steps, or those which lie outside of this centre of rest, and
therefore contain within themselves the impulse to fall back into the condition of
repose—precisely as objects move toward the centre of the earth, in obedience
[1]
2 EXERCISES IN MELODY-WRITING
to the law of gravity; or as a pendulum swings, from either side, to its vertical
position at the centre of rest. They are the 7th, 6th, 4th and 2nd scale-steps.
Inactive scale-steps Active scale-steps
Ex.2
C major
1 3 5 8 Points 7*46 Points of
of rest unrest
6. Each Active scale-step moves toward (or into) that point of rest (in
active tone) which lies nearest to it. Hence:
(a) The 7th scale-step moves naturally upward, usually one step, into the
8th scale-step.
(b) The 6th scale-step moves naturally downward, usually into the 5th
scale-step.
(c) The 4th scale-step moves naturally downward, usually into the 3rd
scale-step.
(d) The inclination of the 2nd scale-step is evenly balanced between the
1st and 3rd steps, from which it is equally distant. For this reason, the student
need give this step no consideration here, but direct his attention only to the
7th, 6th and 4th.
Outside: Inside:
Ex. 3
C major
*
7. The progression of an Active scale-step in the proper direction is called its

Resolution.
General illustrations:
5 Allegretto Beethoven
4 6 7
#1) *2)
6 Andante Beethoven
1 Allegro Brahms
") This melody, and the following ones, contain tones of different time-values, and are therefore
"rhythmic." These conditions will be explained in Chap. VI. At present the student is to heed only the
movements of the Active steps here shown.
*J) Here the 4th step leaps upward to the 6th. See par. 9.
EXERCISES IN MELODY-WRITING 3
Repeated Tones
8. Besides these step-wise progressions, up or down the line of the major
scale, it is everywhere permissible to repeat a tone, once or oftener. Thus:
Ex.5
Z Allegretto Carey
4
The Narrow Leap

g. When a tone overleaps one scale-step, the progression is a skip of the
third. This is called the narrow leap, and it, also, like the repeated tone, is
invariably correct, and therefore permitted anywhere in the course of a melody.
If the skip of a third is made from an Inactive tone, it involves no obligation whatever. But if made
from an Active step, it is usually better to progress in the right direction; that is, upward from the 7th scale-
step, downward from the 6th and 4th. If the narrow leap is made in the "wrong" direction from an Active
step, it is best to turn back, either to the first tone (reversing the skip), or to the tone which lies between.
Thus:
A Narrow leap from Inactive steps: (Separate measures)
6
Ex.6
B Narrow leap from Active steps

7 7 6
good
*') To pass on down to / (the 4th step) is, in this case, not good; because the upward tendency of
the 7th step is so strong that it cannot be fully overcome by one tone only (the "g). The only perfectly
good progression is the reversed leap, shown in the very last measure.
**) Similar; the only good progression is 6-8-6-5.
best good good better not bad much better

*3) *»)
C Narrow leap, reversed #*)
') Better, because the Active tone does not evade its resolution.
j I- nvariably good.
The 4-measure Phrase
10. The smallest complete musical sentence, called the Phrase, generally
embraces four ordinary measures.
(a) When regular, the melodic phrase begins with an Inactive scale-step—
either step i, 3 or 5 (high or low). See Ex. 7, Nos. 1 and 3.
(b) The first tone may stand upon the first (accented) beat of the first
measure; or it may begin one beat earlier, upon the last (unaccented) beat of the
"preliminary" measure. See Ex. 7, No. 2.
(c) The last tone of a complete phrase, when regular, is the tonic (keynote)
of the scale—the 1st, or 8th, scale-step.
(d) This final tonic must fall upon an accented beat of the 4th measure. If
the measure is large (compound), it may be the second accent, quite as well as
the first—usually better. Ex. 7, Nos. 4 and 5.
(e) The tone before the last must be (at present) either the 2nd or the
7th scale-step, so that the last progression is either up or down the scale into the
final keynote. Such an ending is called the Perfect Cadence. For illustration:
1 Accented beginning (on step 1):
Ex.7
Phrases
meas. 1
2 Unaccented beginning (on step 3):
meas.l
3 Beginning with step 5
5,
4 Ending on second accent:
rrr irrrr irJJJ Uj-i

3 ~ -»
Nos. 1, 3 and 4 begin on the accent; Nos. 2 and 5 begin on an unaccented beat, before the first
measure.—In Nos. 1, 2 and 3, the final keynote stands on the first accent of the 4th measure; in Nos.
4 and 5, on the second accent.—In Nos. 1, 2 and 5, the last progression is 7-8; in Nos. 3 and 4, the phrase
closes with steps 2-1.—Examine every progression in the above melodies thoroughly, and observe how every
movement confirms the directions given above. See also, Ex. 1; and Ex. S, No. 1.
Lesson i
Write a very large number of original melodies, with strict regard to the following directions:
1. In major keys only.
2. Employ all the different keys, but without modulation (change of key) during a melody.
3. As 4-measure phrases, according to the models in Ex. 7.
4. In different forms of measure, from § up to J (no larger measures, at present).
5. The rhythm is to be uniform (at present); that is, one tone to each beat. Only the final tone will
be longer than the others (as seen in Ex. 7).
6. The scale-line (par. 3), repeated tones (par. 8), and an occasional narrow leap (par. 9), are to
be used.
7. The Active steps must be resolved in the proper direction, in this lesson—only excepting when the
narrow leap occurs (Ex. 6)—and this should be used rarely.
Note.—This work must be, at present, merely the mechanical application of the given rules; these
rules are to become habits—formed and established, as all habits are, by persistent systematic effort. After
the regular, natural melodic movement has become a habit of thought—a second nature—the tones will
soon invest themselves, more or less unconsciously, with feeling and purpose. Not until then is even Genius
sure of its best results.
At the same time, the student must endeavor to hear each tone as he writes it down (of course, without
the aid of an instrument), and must not desist until he can thus mentally follow, accurately, every melodic
movement, and test each complete musical sentence. Further, each melody, when finished, must be sung;
or, at least, tested at the keyboard. But not until completed; the invention of the melody must be pros
ecuted away from any instrument.
CHAPTER II
THE MAJOR MODE
The Scale-line, Irregular Successions
II. The resolution of the Active scale-steps in the proper direction (par. 6)
represents their natural movement, in response to their inherent inclination—
compared, in par. 5&, to the law of gravity. But each Active step may be com
pelled to move in the opposite direction, precisely as a stone may be forced to
rise, instead of falling, by applying the proper means. Thus, the 7th scale-step '
may be forced downward by approaching it from the step just above it—step 8.
And, similarly, step 6 may be pushed upward from the next lower step—5; and
step 4 may be pushed upward by approaching it from step 3.
These movements are, of course, irregular; but their occasional use is neces
sary, and, when correctly induced, just as legitimate as the regular resolutions.
Ex.8
2 Doubtful: 3 Wrong: *3)
**) It goes without saying that step 6, in this case, had best move downward to step 5; for its natural
tendency is reinforced when it is approached from above. The same applies to step 7 in the next measure,
which should ascend to 8.
*2) The irregular movement should be preceded by the very next scale-step. Pressure is brought to
bear upon step 7 from step 8—not from any more distant one; similarly, if step 6 is to ascend, step 5—
not 4— must precede it.
**) See note *') in explanation of this very obvious error (for which, at present, no remedy can be
offered).
4 Allegro Beethoven
3 * 5 7 6 5
irreg. reg.
5 Allegro
Xh,r. J J }\
jE 6).—
reg. irreg. reg. irreg. irreg. reg.
6 Allegretto
■I 3 4 5 6 7 8 Beethoven
*
irreg. irreg. reg. reg.
7 Allegro Mozart
3 4 5 6 *4) 5 6 7 8
irreg. reg. irreg. reg,

*') See Chap. 3.
12. From the above it is evident that, while the progression of scale-steps
7-6 is in itself incorrect, the entire succession 8-7-6-5 is always permissible. Simi
larly, 6-7 is, in itself, incorrect, but the entire succession 5-6-7-8 is good; and
3-4-5 is sufficient for the ascending 4th step.
Lesson 2
A large number of original 4-measure melodic phrases, according to all the directions given in Lesson
1—excepting that occasional use is to be made of the irregular successions 8-7-6-5, 5-6-7-8 and 3-4-5. Sing,
and play, each melody when completed.
CHAPTER III
THE CHORD-LINE
Single Wide Leaps
13. A chord is a cluster of at least three tones, placed one above another
in the interval of the third. The lowermost tone is called the Root, and gives
the chord its common name. Thus, the "chord of C" consists of the tones c,
e and g; if in the key of C major, these will be the 1st, 3rd and 5th scale-steps:
chord of C In C major:
chord-root: chord-third: chord-fifth, c-e-g Scale-steps
14. The most important chords are those upon the first, fifth and fourth
steps of a key. That upon the first step is called the Tonic chord (or "the One"
—marked I); that upon the fifth step is called the Dominant chord (or "the
Five"—marked V); and that upon the fourth step is called the Subdominant
chord (or "the Four"—marked IV). Thus, in C major:
The Tonic chord (D The Dominant chord (V) The Subdominant chord (IV)
Ex.10 2 Si? ■ IB II
C major — U ,-JJ u
-*
Steps 1-3-5-8 Steps 5-7-2 Steps 4-6-8 (or 1)
15. To the Dominant chord, another third is often added. This is called
the Dominant 7th-chord, because the added upper tone is a "chord-seventh."
Ex. 1 1 A.
Another three-tone chord, of nearly equal importance, though less frequent,
is found upon the second scale-step. This is called the Second-Dominant chord
(or "the Two"—marked II). Ex. 11 B.
B The Second-dominant chord (ID

I § 0 a=fca > r i ° JLHl
Ex. 11 -<©—0—- or 1 a 1
C major 1 lu =J
Root Third Fifth Seventh: Steps 5-7-2-4 Steps 2-4-6
Second Primary Rule

1
16. A melody may follow the line of any important
CHORD
upward or downward, with almost unlimited freedom.
This results in skips, both narrow (par. 9), and wide (so-called when the
interval is wider than a third).
17. The influence of Harmony (that is, the construction, relation and successions of chords) upon
melody-formation is so great, that the second primary rule is probably the more vital of the two. Unless
already familiar with the elementary conditions of harmony, the student should study the above para
graphs (14 and IS) very thoroughly. He must become absolutely familiar with the location of the chords
I, V, IV, V7 and II in every key, and with the scale-steps which each chord embraces. This study should be
pursued both in writing (by making tables of the five chords in every key) and at the keyboard; and the
student must do this so frequently and perseveringly as to acquire perfect freedom in recognizing and em
ploying the principal chord-lines correctly.
18. The above chord-rule is to be interpreted as follows: The scale-steps
which appear in each one of the principal chords, may follow each other in any
order. Applied to the tonic chord of C major, which consists of the tones c-e-g, or
steps 1-3-5-8, the following tone-groups are always melodically correct:
C major, I
Ex.13 jj 1 r J 'j, M^^g
1 3 8 3 15 8 5 3 5 3 5
* 33 53 53 55
possible, but extreme
(jJrirrj)
These represent only a few of the very numerous possible groups. The student should write out
similar groups with the other principal chords.
19. In the present lesson, the rule of the chord-line is to be employed for
single wide leaps only. These may be introduced, at pleasure, between the
progressions of the preceding lessons (scale-line, repeated tones, and narrow
leaps). For example:
20. After a wide leap (that is, beyond a third) it is usually best to turn and
move in the opposite direction.
21. (a) According to this rule, it would be necessary to make the wide
leap upward to steps 4 and 6, and downward to step 7 (as shown in the last three
groups of Ex. 14), so that, in turning, each of these Active scale-steps would
resolve in the proper direction.
(b) This, however, is not obligatory (though always best); for any leap in
a good chord-line is correct, either up or down.
(c) But when a wide leap is made in the other (exceptional) direction, to
an Active step, it is evident that one of the rules must be violated: Either the
Active step will turn and evade its resolution; or it will resolve, without turn
ing. Thus (down to steps 4 or 6, and up to step 7) :
Ex.15
22. Of the two alternatives, the better is not to turn, but to resolve the
Active tone correctly—as shown in Ex. 15. And the slight irregularity involved
is wholly justified by the fact that it is usually quite as legitimate to make the
desirable change of direction (the turn) one beat later.
Hence the more complete rule: After a wide leap, turn immediately, or
soon. The following are therefore all good:
23. (a) The whole contradiction, in the case of the three Active steps, is
easily and completely removed by following the important fundamental principle
that it is always best to make a wide leap to an Active step in the direction opposite
to its resolution. That is, to leap upward to steps 4 and 6, and downward to step
7— as stated in par. 21a.
(b) So significant is this melodic law, that any leap up to steps 4 and 6,
or down to step 7, is permissible—whether in a good chord-line or not. The follow
ing progressions are all correct:
*') This wide leap is not in a good chord-line; but it is nevertheless correct, on condition that the
melody turns, after the leap.
**) Apparently very irregular; but the progression from step 6 down to step 7 is actually more natural,
and better, than from 6 up to 7, along the scale (Ex. 8, No. 3); and, similarly, from 7 up to 6 is better than
7-6 along the scale.
24. The octave-leap is usually good. But after so wide a leap, the melody
should turn at once; and therefore it is unwise to leap an octave up to step 7, or
down to steps 4 and 6. Thus:
25. It will facilitate the student's grasp of the manifold conditions which
govern the single wide leap, to analyze and memorize, thoroughly, the following
complete (though strikingly brief) table of faulty wide leaps—which he must
avoid for the present: .
From step 1: From step 2:
*') It will be noticed that the leap of a 7th is generally faulty. The only legitimate ones are shown
in Ex. 17. Also, review par. 9, and recollect that it is a question here of wide leaps only.
**) A good enough chord-line (the II), and therefore not bad; but the direction is wrong; the opposite
direction (step 2 up to 6, and 6 down to 2) is entirely permissible.
*') Not a good chord-line.
*') These are particularly faulty, because the direction, both from the first Active step and to the next
cue, is wrong. It is true, however, that these tones appear in the Dominant 7th-chord, and a justification
of the successions will be indicated in the next chapter (par. 33).
From step 6: From step 6:
*3) #2) *3)
From step 7:
*
#4)
*2) A good enongh chord-line (the II), and therefore not bad; but the direction is wrong; the opposite
direction (step 2 up to 6, and 6 down to 2) is entirely permissible.
**) Not a good chord-line.
**) These are particularly faulty, because the direction, both from the first Active step and to the next
one, is wrong. It is true, however, that these tones appear in the Dominant 7th-chord, and a justification
of the successions will be indicated in the next chapter (par. 33).
Lesson 3
A large number of original 4-measure melodic phrases, as in the preceding Lessons; but adding to
the material of these, occasional single wide leaps (that is, each wide leap followed by the scale-line, a
repetition, or a narrow leap). The rhythm still uniform. Each melody, when completed, is to be sung,
and played.
CHAPTER IV
THE CHORD-LINE, CONTINUED
Successive Leaps
26. The permissibility of two or more leaps in succession (wide or narrow)
depends solely upon the direction of the leaps. A wide leap may be followed by
any other leap that is correct in itself, on condition that the second skip is made
in the opposite direction (the melody turning after the first wide leap).
For example:
'Ex.20
3*? 1
chord I: V I V IV V IV IV Ex. 17
2 Phrase
27. If, however, the melody continues with another leap in the same direc
tion, it must be made in the same chord-line. Thus:
,1 Correct
0 II
Ex.»1 -m—1 i-'-r
W A-'* 1 1 —\
chord I:. IV_ II.
**) The reason for this rule may be stated thus: When skips follow each other in the same direction,
the ear "adds up" the tones, and receives the impression of the total group. If the leaps consist of tones
in the same (good) chord-line, the result will obviously be correct. This is seen in each of the groups of
No. 1, above, which "equal" good chord-lines. (This law applies to leaps only, on account of their harmonic
quality; but not to the scale-line.)
?? *2) ?? ?? *3)
3 Correct (Ex.20):
• O |j——— .* ■— —i—a—
1 J « 1 — "-§- " ' — 1 * 3 ^
?? #4) I
*!) On the other hand, if the leaps (in the same direction) aggregate tones that do not form any chord
at all, or a poor one, the result will evidently not be acceptable. This is shown in No. 2.
*') A chord-line, but not a good one.
**) The moment the melody changes its direction, the ear ceases to "add up." Hence the rule of
par. 26; the above faulty groups maybe rectified by simply changing the direction at the point where the
leap indicates a different chord-line.
*5) Of course, as long as the chord-line remains the same, the melody may move as it likes—with or
without a turn (par. 18).
Miscellaneous
28. A phrase-melody may occasionally end with steps 5-1 (or 5-8), as this
is a good wide leap, and conforms to the harmonic conditions of the perfect
cadence. Thus:
29. The resolution of the Active scale-steps is sometimes deferred to a later

beat, by interposing one (or even two—not more) convenient tones between.
Such interposed tones should, however, be on unaccented beats. In other words,
step 7 should, as a rule, surely be followed by 8, either at once, or soon; and the
same principle applies to steps 6 and 4. For example:
*') The unaccented g is merely interposed; step 7 reaches 8 soon enough.

*2) Here two tones are interposed, and the resolution of 7 to 8 is evaded. This does no harm, in
asmuch as step 7 ascends (to 2).
**) A peculiar case; the resolution of both Active steps is briefly deferred.
Step 4:
4 -J—»-
-a 4-
better 4-
* 7
v_ -8
Halevy Beethoven
-s 4 3
Beethoven Beethoven
7- —8
pip
II
Brahms
7 8
t*»r r"r irr*r ir cJ" Cr 'r r ccr
6 5 4 3
30. A wide leap, or a succession of leaps in the same chord-line, is always a

little more likely to begin at an accented beat than at an unaccented one; and
extends, as a rule, to the end of the rhythmic group (usually through exactly a
half-measure, or whole measure), where it may be exchanged for another chord-
line, or for the scale-line. In this manner, the groups serve to indicate the
rhythmic measure. (This is only a general rule, and is subject to many excep
tions.) For illustration:
1 Allegro A —, s chubert
[f n * —|
Ex.24 v 4 J>
\—--y
■± —1
i > ^pfi I" r -
1\. major I V
Schubert
•
G major I — Sr.alP V
lmeas. */2meas. V2meas. ^meas.
3 Allegro Schubert
Cmaj. I
4 measures.
4 Allegro Verdi
Gmaj.
Each chord-line % meas.
6 Allegretto Brahms
JUL *
11 ti .
E major Change of chord-line at each accent

*') This measure represents the Dominant 9th-chord—the Dominant 7th with still another higher
third. See par. 45, Ex. 33.
31. When a wide skip is made to an Inactive scale-step, it is not necessary

to turn (though usually better). Thus:
Ex.35 r> m J II 1 * [,-.J I 1 1 n^ j j.
32. The repetition of a tone modifies, to some extent, the rule of successive
leaps. Thus:
Faulty better good best or
Ex.26
Ex.21-2 rep. Ex.21-3
33. The very faulty progressions from step 4 up to 7, and 7 down to 4 (Ex.
19, note *«), may be justified by placing them in an extended line of the Dominant
7th-chord. Thus :
Ex.37
See also, Ex. 42, No. 1.

34. Students who are not yet sufficiently familiar with the fundamental rules of melody-writing,
and, particularly, with the chords and their relations, are likely to find the minuter distinctions of the
preceding paragraphs (29 to 33) confusing. If so, they may omit these, and other, troublesome paragraphs
—for a time—without scruple. Such confusion can arise only from the use of the irregular and exceptional
phases of melodic treatment. If the student will limit himself to the fundamental rules, and to the regular
methods of melodic progression, he can encounter no difficulties; and in time the equally important (and,
in fact, more seductive) exceptional movements will assert themselves naturally. Meanwhile, he should
memorize the following Summary of rules; should write original melodies, according to these rules, unceas
ingly; and should analyze the melodies of the classic tone-masters with the greatest diligence.
Summary of Rules
35. (a) Melodic progression along the scale is invariably correct, when the
Active steps are properly resolved, thus: Scale-step 7 upward; Scale-steps 6 and
4 downward (par. 3 and 6).
(b) Each Active step may be forced along the scale, contrary to its resolu
tion, by approaching it along the scale in the corresponding direction (par. 11).
(c) The narrow leap (a third) is always good; also the repetition of any
tone (par. 9 and 8).
{d) Any single wide leap (beyond a third) is correct if both tones represent
the line of some good chord—the I, V, IV, V7 and II (par. 18).
(e) After a wide leap, the melody usually turns (par. 20). The exceptions
to this rule are: That the melody may turn at the second following beat
(par. 22); that it is not imperative to turn at an Inactive scale-step (par. 31);
or after a repeated tone (par. 32); or when the chord-line remains unchanged
(par. 27).
(J) If, after a wide leap, the chord-line is changed, the melody must turn
(par. 26).
(g) Any leap may be made downward to step 7, and upward to steps 6 and
4 (par. 23).
(h) The resolution of an Active scale-step may be deferred a beat (or two),
by interposing a convenient tone (or tones), usually on unaccented beats
(par. 29).
(i) A chord-line is likely to extend from an accented beat through a
certain rhythmic group (par. 30).
36. The following miscellaneous illustrations cover the ground of the first four Chapters. They
are to be analyzed faithfully, as indicated in the first seven melodies. The figures in parenthesis refer to
foregoing paragraphs; they serve as necessary references, and must be scrupulously consulted, in every
1 Andante Schubert
(par. 16) (8) (16) (6a)
Ex.28
Chord-line: Rep Chord Rep Chord ..Scale

» Moderato Brahms
(16) (9) (6*) (27)
Chord.. .Sc.. ...Chord . ..Scale
3 Allegretto
(16) (20) (27) (6c) (20)
J) r J> r r J,'r J P
i
Chord Sc. Ch.
Beethoven 4 Allegretto
) (20 : )
Ch. Sc. Ch. Sc. Ch. Rep. Ch. Ch Sc. Rep.
Beethoven
(20- (10
Ch. Sc. Rep. Sc Ch. Rep. Sc Rep.
S Allegro
(18) Beethoven
Chord .TTTTTT Sc. Ch. Ch Ch. Scale

6 Allegro Beethoven 7 A119 Beethoven

, (18) (is;
4 «— -«^^ —s:
-9 17. T7
Chord.. .Scale E!> Chord.
8 Andante (6c) Beethoven

(6a) (11) (29)
(The further analysis is left to the student)
9 Allegro Beethoven 10 Larghetto

, ■_
I J,. J ^
m y 1 -
(ID (64) (30)
Beethoven 11 Vivace
(30) V
Bach laModerato (64) Mozart
(234) (234) (31) (6c)
13 Andante Verdi
(30) (21c)
14 Lento Brahms
15 Lento Chopin 16 Maestoso

(31) (11) « —;—T5
(29)
(6c) Mendelssohn
17 Andante Rossini 18 Allegro

4 3
Beethoven 19 Allegro Haydn
Beethoven 21 Allegro Brahms
*') This wide leap (from step 3 down to 6) was condemned in Ex. 19, note *'). It is very unusual,
and so irregular as to be strictly prohibited—for the student, at present. A hint of its masterly justifi
cation is given in the figures (.scale-steps) beneath; and other harmonic reasons will be found later (see
par. 17). The chord represented is "the Six" (VI)—not an important chord, to be sure, but possible.
**) The same irregular leap, and a somewhat similar justification.
**) Again, the same progression.
For further illustrations, the student may examine the author's Tone-Relations (G. Schirmer, N. Y.),
Lessons 10; 13; 16—Nos. 1, 2, 3, 6, 8, 9, 13.
Lesson 4
A large number of original 4-measure melodic phrases, as in the preceding Lessons, but illustrating
the complete range of present resources, contained in this Chapter. The rhythm still uniform. Each
melody, when finished, is to be sung, and played.
CHAPTER V
THE MINOR MODE
37. The most important thing for the student to understand about the so-
called Minor mode is, that "Minor" is not a new and independent scale, but
merely an altered form of the Major scale. There is only one "natural" scale in
music, and that is the major form; it is natural because it is derived from, and
therefore exactly corresponds to, the seven tones which form the Key or funda
mental family of tones. (A full account of this may be found in the author's
Material Used in Musical Composition—G. Schirmer, N. Y.—paragraphs 8 to 19
of the 14th and later editions.)
38. The so-called harmonic form (the true form) of the minor scale is
obtained by lowering the 6th and 3rd scale-steps of the Major scale. The keynote
remains the same; that is, it is C minor which is thus derived from C major.
(The student should carefully avoid associating A minor with C major, for this
is not only hopelessly confusing, but it is actually a serious scientific error.)
39. The harmonic scale of C minor differs from C major, then, only at the
3rd and 6th steps, which are chromatically lowered. Thus:
C major
Ex.29
* "XT
C minor, harmonic form
The same in both directions
40. There is no specific signature for a minor scale. The one that is chosen
(borrowed from major, which has a legitimate signature), is that of the third
step of the minor scale, and this choice is made for no other reason than that
this is the most convenient signature for the notation of minor.
The third scale-step of C minor is e-flat; therefore the signature of this tone—
three flats—is the one chosen, for convenience, for the scale of C minor. Thus:
C minor, without signature C minor, with its customary signature
3-
Ex.30
41. It is also important to observe that when the customary signature of

minor is used, it lowers the 7th step as well as the 6th and 3rd; therefore this
technical error must be corrected by an accidental which restores the 7th step to
its proper place in the scale. In C minor, it is the t] before b.
Applied to the scale of A minor (which is derived from A major, and has, at
present, nothing whatever to do with C major), the result is:
•r
42. All the harmonic and melodic movements in minor are regulated upon
the basis of this, the harmonic form of the scale. Before proceeding farther, the
student must familiarize himself absolutely with the derivation, as explained
above. Every minor scale must be written out—preferably in the manner
shown in Ex. 31. (For the present, g# and d# minor might be omitted; also
db and gfc> minor; as these are more commonly represented by their enharmonic
equivalents—ab and eb, c# and f#.) Also, Examples 10 and 11 should be written
out, in all the minor modes.
43. All the melodic rules given for major apply literally to the minor mode
—with but one single (though important) exception, namely: That the pro
gression from scale-step 6 to 7, and from 7 to 6, along the scale, is forbidden in
minor, because of its disagreeable melodic quality (as augmented second), and
the difficulty of singing it. Thus:
C minor 8 7 7 e
Ex.32 fm V Si
i -J-
#D ??
Corrected:
up r i r 'r — r
*') The flat is not needed before a, but is used here for greater clearness.
•
44. This characteristic rule of the minor scale should be rigidly observed,
at least for a time, by the student. But later on he may venture to make use
of two conditions which mitigate the unmelodious quality of the successions
7-6 and 6-7, and render them available as legitimate exceptions to the rule.
45. The first of these exceptions consists in placing the succession in an

extended line of the Dominant oth-chord—in minor.
The Dominant Qth-chord (as intimated in Ex. 24, note *1) is obtained by
adding a higher third to the Dominant 7th-chord. See par. 15; Ex. 11 A; and
the following:
_9.
A Dominant 9th-chord (V) in major:
Ex. 33
Key of C
Root Third Fifth Seventh Ninth: Steps 5-7-2-4-6
B In minor: Dim. 7th
*') Here again the flat is placed before a as a precaution.

*2) In this 5-tone chord the Root is often omitted. In that "Incomplete" form it is called, in minor,
the chord of the Diminishcd-7th.
The Dominant 9th-chord contains the 6th and 7th scale-steps, as shown
above; therefore their occasional appearance in succession, in their chord-line, is
justified. Thus:
Phrase (par. 28)
7 6
Ex.34 m J a j J 1=
C minor 9 I * J-
* 8
v_
46. The second expedient consists in so altering one or the other of the
two scale-steps as to remove, altogether, the unsingable interval (augmented
second); thus: In descending, along the scale, from step 7 to step 6, the 7th scale-
step is chromatically lowered; and in ascending, along the scale, from step 6 to
7, the 6th scale-step is chromatically raised. Thus:
Descending <melodic form) Ascending (melodic form):
C minor
In each case the awkward interval of the augmented 2nd (three half-steps) is reduced to the normal
interval of one whole step, thus becoming a natural progression, easy to sing. In this melodious form the
minor scale is called "Melodic" (ascending melodic form, and descending melodic form). Compare par.
38; and bear in mind that these are the complete, and only, reasons for the three different forms of the minor
scale—all of which are derived, by the exercise of simple melodic logic, from the one "natural" scale, the
Major.
Brief reference may be made to Chapter 14—particularly to par. 79c.
47. Review par. 12. It must not be forgotten that these exceptional
progressions are possible only when the first of the two Active scale-steps is
pushed, along the scale, contrary to its natural tendency (not 6-7, or 7-6 alone;
but 5-6-7-8 and 8-7-6-5). The above rule may therefore be stated thus: In
the succession 8-7-6-5 in minor, step 7 should be lowered; and in the succession
5-6-7-8 in minor, step 6 should be raised.
N. B.— The student is to review every musical illustration in C major, given in Chapters I to IF, trans
ferring each one to C minor. (This will not include the examples from masterworks—as Ex. 4, Nos. 5 to 9;
Ex. 8, Nos. 4 to 7; etc.)
Also, the student should write out the three forms of every minor scale, in addition to the task
required in par. 42.
Additional general illustrations:
1 Allegro Mendelssohn
Ex.36
E minor (18; 27
3 Adagio (23d) (66)
C minor
Rubinstein 3 Andante Weber

(28) 8 jT- 6 5
mm
(236) (46)
F minor
4 Allegro Beethoven 5 Lento
C minor C minor
*') This skip appears among the forbidden progressions in Ex. 19 (second measure). It is, however,
in a possible chord-line—the II7 (the II, with an added 7th).
*2) This succession of steps 6 and 7 is not in the scale-line, but conforms to par. 23b, Ex. 17, note **).
Schubert 6 Andante con moto Bach
8 Allegro Bach
G minor 5 6+7 8
See also, Ex. 40, No. 2; Ex. 43, No. 1.
Lesson 5
A large number of original 4-measure melodic phrases, in the minor modes. All details precisely as
in Lesson 4. Review par. 43. The first few melodies should be written in three ways, as follows:
First in major
2 In minor
3 With customary signature
—1 m
- * *■ r—P—J—
, J
1 m —0—1 •
AJso, the successions 6-7 and 7-6, in the scale-line, should be rigidly avoided (according to par. 44),
until the rule is firmly fixed. In the last few melodies, use may be made of paragraphs 45 and—particularly
—par. 46.
CHAPTER VI
DIVERSITY OF RHYTHM. REGULAR
48. The rhythmic effect of a melody may be heightened by employing
tones of different time-value (instead of uniform beats, as in the preceding
chapters).
(a) The disposition of these time-values is Regular,
When the comparatively longer (i.e., heavier) tones occupy
the accented beats, or accented beat-fractions; and, vice versa,
when the comparatively shorter (i.e., lighter) tones occupy un
accented beats, or beat-fractions. Thus:
Ex.37 | J. J), J JT] | j jr3,J~3J^ ,etc.

regular rhythm
3 J J | j. J)J .J ^ J- J>J~2 I
A
-Tl , J J J"3 I J J"3. Jl letc
f J. J iJ J J iJ J- J> i J J3 J J3 »
4
J. J>J J"J , J Jl £j J~2 ,etc.
| J. J J> i J- /n J J^J73 J- JT3 ietc
(&) Uniform divisions of an entire measure (i. e., uniform beats, or beat-
fractions) are always regular, also, because they do not contradict the above con
ditions.
a. Thus:
luub.
ex.38 inn \%n fjSi \% m | etc.
(c) In other words, the heavier (longer) notes obtained by adding beats,
should be placed at the beginning of the measure, and also in the middle of the
larger measures, where the accented beats stand. Thus:
Ex.39
2
I -p-
A A _ A A (par. 41)
C minor
(d) And shorter notes, obtained by dividing beats, should stand on un

accented beats; this, of course, leaves the heavier notes on the accents:
Ex.40
C minor (par. 46) (28$)

(e) The dotting of an accented beat is regular, and effective:
Ex.4i pi j H g r i r p f i p p r i j
See also, Ex. 24, Nos. 3 and 5.
49. It is generally advisable to avoid using extreme time-values in the same

phrase-melody. For instance, in J, I and | measure, half-notes (as sum of
two beats), and eighth-notes (as simple division of a beat) may both occur;
occasionally, also a dotted half-note, or (more rarely) a sixteenth-note. But the
whole note would be rare (excepting as cadence-note—Ex. 39, No. 1), and thirty-
second-notes almost out of the question.
In other words, only three time-values should occur, as a rule, in the same
phrase; namely: The beat, the next larger value, and the next smaller value
(in I measure, the quarter-note, half-note, and eighth-note). This is clearly
shown in Ex. 40; also in Ex. 4, No. 9; Ex. 8, No. 6; Ex. 28, Nos. 2, 12, 14.
Smaller beat-divisions occur in Ex. 28, No. 1, No. 5, No. 10 and No. 17. All the melodies in Ex. 28
(excepting No. 10) are rhythmically regular; they are to be reviewed, carefully, from this standpoint.
50. Perhaps the most important consideration is the placing of the vari
ous time-values. A certain degree of uniformity is necessary; for a haphazard
arrangement of rhythmic diversity may lead to awkward and senseless results.
(a) In a well-balanced phrase, the rhythm of the first and second measures
is often similar. Thus:
sa
Ex.42 ft" r lr p.f ■ n 1 1 , n
same
m _a
* (38)
(b) Or, possibly even better, the rhythm of measure three is the same as
that of measure one. See Ex. 8, Nos. 4, 5 and 6, and the following:
(par. 46)
Ex.43
same
C minor
2
same
(c) Or, the rhythm of measures one, two and three may be alike. See Ex.
39, Nos. 1 and 2; Ex. 41, No. 1.
(d) The general tendency of the rhythmic movement, during a phrase,

is to quicken somewhat toward the end; that is to say, the third measure is fre
quently more active than the preceding ones. See Ex. 39, No. 3 ; Ex. 40, Nos.
1 and 2; Ex. 41, No. 2; Ex. 42, Nos. 1 and 2. Also Ex. 4, No. 6; Ex. 28, Nos. 1,
7, 8, 16; Ex. 36, No. 5.
The exceptions to this rule are: when the rhythm is uniform throughout, as in Ex. 1, and the written
work of Lessons 1 to 5; and when the formation of measure three is like that of measure one (Ex. 43). The
reverse arrangement—the rhythmic movement becoming slower—is apt to be weak and stagnating. Phrases
of this kind are seen, however, in Ex. 28, No. 11; and Ex. 44, No. 3.
51. Rests represent, commonly, the suppression of a portion of one of the

original tones; generally an unaccented fraction, in which case the rest follows
the tone; sometimes, however, the rest suppresses an accented fraction, in which
case it precedes the tone which it represents. For illustration (the lower slurs
indicate which tones the rests are borrowed from):
1 Allegretto staccato
Ex.44 instil
*0
2 Mendelssohn
jinn LB 1 m
etc.
*2)
3 Allegretto
Beethoven
4 Largo Beethoven
lH=g
-xj—
D major *3)
*') The rests, on the 2nd and 5th beats, simply shorten quarter-notes to eighth-notes. The original
formis: J) , J J) J J) , j J) /J] , etc.
*s) Here the rest precedes its tone.
*') This final half-note indicates how the first three measures would sound, if the first note of each
were not shortened by the rests.
See also, Ex. 56, No. 2; Ex. 59, No. 3; Ex. 87, No. 2; Ex. 95, No. 4.
The employment of rests, which must be very sparing at present, is subject

to no other rule than that they shall not impair the continuity of the phrase-
melody. If so used as to preserve the coherency, and perhaps even emphasize
the structural unity of the musical sentence, they are certain to be permissible.
Lesson 6
A. Write a large number of four-measure melodic phrases with diversified rhythm—regular—as
illustrated above. An occasional rest may be inserted. Write impartially in the major and minor modes.
B. A few four-measure melodies in the larger compound measures—J, J and Y-
CHAPTER VII
THE PERIOD-FORM
52. The Period generally embraces 8 measures; that is, two phrases, of 4
measures each. The first of these is called the Antecedent, the second one the
Consequent phrase.
(a) The Antecedent phrase begins exactly like any single phrase, according
to par. 10a. But it ends, not with the perfect cadence (par. 10c and <?), but with
a so-called Semicadence—upon an accented beat of the 4th measure, with either
one of the three tones which compose the Dominant chord.
(b) The Consequent phrase follows, usually beginning on the same beat
with which the Antecedent began, and ending, like any single phrase, with
the perfect cadence—upon an accented beat of the final (8th) measure, with
the tonic note. Thus (in C major):
(Accented or unacc. beg.} Semicadence Perf. cadence

n J n
Ex.45 —3—1
. S-•
53. In" the first few examples invented, the Consequent phrase must corre
spond to the melody of the Antecedent, excepting the '..«»* 3 or 4 tones; these always
differ, because of the diversity of cadence. Thl formation of such period-
melodies is called "parallel construction." For illustration:
1 Antecedent ^phrase
Ex.46
i
A minor V
Consequent phrase Schumann
6 8
tea
Like meas.l Likemeas.2 Like meas.3 V I
2 Antecedent phrase
1 _ 3
A major (Ex.15)
Consequent phrase Beethoven
-—. 5 u r- 8
■
Like meas.l Likemeas.2
See also, Ex. 52, No. 1; Ex. S3, No. 2.
54. In each succeeding example, the extent of this similarity between

the phrases is to be diminished gradually—more and more tones in measure 7,
then 6, and then 5, are to differ from those of measures 3, then 2, and then 1 ; until,
finally, the entire Consequent phrase is independent of its Antecedent. This

ultimate formation is called the period of "contrasting construction." Thus:
Antecedent
Ex.47
G major V
Consequent Folk-Song
*
See also, Ex. 54; Ex. 55, No. 2.
The appropriateness of a brief rest at the cadences is demonstrated in both

of these examples (46 and 47); see par. 51.
Lesson 7
A large number of 8-measure melodies, in Period-form, according to par. 52; at first, several in
parallel construction (par. 53), and then others, gradually more and more contrasting (par. 54).
Rhythm diversified (but regular); different major and minor keys, alternately. An occasional rest
may be inserted, chiefly at (after) the semicadence.
Review the note to Lesson 1. Sing, and then play each melody, when completed.
CHAPTER VIII
IRREGULAR RHYTHM
55. Review all of par. 48, thoroughly.

The arrangement of various time-values is Irregular, when the conditions
of regular rhythm are violated; namely:
When the heavier (comparatively longer) tones in a measure occupy
comparatively light beats or beat-fractions of that measure; and, vice
versa, when the lighter tones (brief, subdivisions of beats) occupy com
paratively heavier pulses in the group.
For illustration (the regular forms, Ex. 37, are here added, for comparison):
regular^ ^ irr^guâr.!..^...^......^ ^ regular" ^ irreg^lar^ ^
4 trcaj ijcrrj mm iLXfrn if ipi

regular irregular „ regular irreg.
regular slightly irregular irregular

Ex.49 lilt in c ir ^
regular. irregular.
| "fir iT3 r rri^

irregular.
Ex.50 gp :etc. similar to ? measure:

regular.,
*
slightly irregular irregular.
Ex.51
regular. irregular
In other words: If the tone on the first beat (or any other accent) is longer
than, or at least as long as, any other tone in the same group (measure), the
rhythmic arrangement is regular; otherwise it is irregular.
The degree of irregularity depends, of course, upon the difference between
the time-value given to the note, and the time-value to which it is entitled.
For instance, upon a pulse entitled to an 8th-note only, it is more irregular to
locate a J-note, than a J-note. In Ex. 50, measure 5 is more irregular than
measure 6; the second beat is entitled to a quarter-note only, therefore the dotted
half-note on that beat (meas. 5) is more abnormal than the simple half-note
(meas. 6).
56. (a) Irregular rhythmic figures are never objectionable, excepting when
they stand alone—and not always positively wrong, even then, though usually
so. In other words :
An irregular rhythmic figure may always be justified by recurring; either

immediately, in the next following group or measure; or in some, not
unreasonably remote, corresponding measure.
The corresponding measures are: 1 and 3, or 2 and 4, of the four-measure

phrase; and measures 1 and 5, 2 and 6, 3 and 7, or 4 and 8, of the eight-measure
period. For example:
1 Moderate
l
Ex.52
DminoV-irree- rectified, by
immediate recurr.
Schumann
5 8
I*, m
recurr. in corresponding measures

2 Allegretto Mendelssohn
ts=i EzE
G major i_irreg, rectified by recurrence V etc.
Chopin
3 Lento
etc.
irreg. recurr. in correspond
B minor ing measure
4 Allegro Wagner
C. i_irreg. _i i recurrence.
S Allegro
/) (par. 23*) -m-' , s*
Wagner
•' m _ p
recurrence, corre
sponding measure
6 Allegretto
(par. 30) Beethoven
G. i_ irreg.
8 Vigoroso Schumann
g ir-f ^ I m
*C. l_ irreg. .recurrences. etc.
This ending, with scale-steps 3-1, is contrary to the rule (par. lOe). It involves an inharmonic
tone which will be explained in par. 120a, and Ex. 125.
9 Allegro Beethoven
r-dTSLij-iCLU LJJ BiSp

c . 1
irregular. j recurrence .
See also, Ex. 28, No. 10 (irregular rhythm in measure l, justified by recurrence in measures 2, 3
and 4); Ex. 54, measures 6, 7; Ex. 58, Nos. 1 and 4; Ex. 62, Nos. 1 and 2; Ex. 94, No. 6; Ex. 100, Nos.
2 and 7; Ex. 129, No. 13.
(b) An irregular rhythmic figure which occurs very frequently in 4 mea
sure, usually in the measure before the last, is that of two 8th-notes followed
by two quarter-notes, J J ; or, in | measure, J J. This seems
to be justified by its nearness to the cadence, to which it lends emphasis. For
illustration, see Ex. 24, No. 5 (measure 7); Ex. 55, No. 2 (measure 7); Ex. 56,
No. 2 (measure 3); Ex. 58, No. 1.
Lesson 8
A large number of 4-measure phrases, and 8-measure periods, with Irregular rhythmic measures,
according to the given rules—particularly par. 56. It will be well to limit the first few melodies to occasional
rhythmic irregularities, introduced in sentences of an otherwise regular design. Extreme irregularities
should be avoided altogether.
Write in major and minor alternately. Sing, and play, each melody when finished.
At first, the student may experiment with former melodies (Lesson 1 to 5), modifying their time-
values without altering the tones—as may be seen in Ex. 51. Then he may invent new ones, with direct
reference to irregular rhythm.
CHAPTER IX
EXCEPTIONAL SEMICADENCES
57. The Semicadence, in the centre of the period-form, may be made,
somewhat exceptionally, upon some other than the tones of the Dominant chord
(prescribed in par. 52 a).
Any scale-step of the prevailing key may be chosen, as ending for the Ante
cedent phrase; but it is well to avoid the keynote itself, as this is needed for the
final (perfect) cadence. For example:
1= - 0
Ex.53
G major
"Auld
7 Lang
5 8Syne"
■ '1 ninn,;
F major
"Home, Sweet Home"
In Ex. 52, No. 5, the cadence of the first phrase is made upon the Tonic; this is very exceptional,
but, of course, possible.
58. Further, the semicadence-tone may occasionally be shifted to the second

beat of the group, especially in triple measure (4, |> I)> instead of falling
upon an accent, as prescribed. In this case it should, as a rule, be preceded
(on the accent) by the next higher, or next lower, scale-step, as obvious grace-note
(par. 100). Thus:
See also, Ex. 28, No. 14; Ex. 57, No. 2.
Lesson 9
A number of 8-measure melodies in Period-form, with the exceptional forms of semicadence explained
above. Use all the keys, major and minor.
CHAPTER X
SYNTAX OF MELODY
Repetition and Sequence, Exact
59. The succession of tones in a phrase or period-melody, may be determined
by a broader consideration than the application of given rules to each single unit
of the melodic succession; namely: By the principle of symmetrical recurrence
applied to an entire group of consecutive tones.
The recurrence, or reproduction of the group, may assume the form
(1) Of an exact Repetition; or
(2) Of a Sequence.
60. The "Repetition" is a literal recurrence of the group or figure, upon

the self-same scale-steps. Thus :
1 Moderato Folk-Song
Ex.55
F. group repetition
2 Allegretto
m mm
A. t group ( , repetition
3 Allegretto Brahms
, group _^ , repetition , (isolated rhyth. irreg.)

C minor
6i. The "Sequence" is a reproduction of the group of tones upon other

scale-steps, a certain interval-distance above or below the original tones. Thus:
1 Moderato Mendelssohn
Ex.56
group ^ , sequence ,
3 steps higher
2 Allegretto Brahms
Istep higher
62. The initial group or figure, to be reproduced in either of these ways,

may be of almost any length; but it is very frequently exactly one measure; and,
in any case, it is almost certain to correspond to the fundamental rhythmic groups:
that is, to include 2, 4 or 8 beats in duple measure, and 3, 6, 9 or 12 beats in triple
measure—similar to the conditions of par. 30 (which review), and for the same
reasons. Further, the group may begin upon any beat of the measure (note the
location of the groups in the measure, in Ex. 55, Nos. 1, 2 and 3). For example:
(par. 59 a) Folk-Song1
Ex.57 j * * *
* F. , group t , sequence,
1step lower
F. L group
Mozart
, sequence, 1 step lower
In Ex. 55, No. 1, and Ex. 56, No. 1, the initial figure is one measure long, beginning with the last
(the unaccented) beat. In Ex. 57, No. 1, it is very brief—one short measure, beginning with the accent.
In Ex. 60, No. 1, it covers two measures, beginning with the second beat. In Ex. 57, No. 2, it is very long—
four measures, or an entire phrase. In Ex. 55, No. 3, it begins upon the 6th beat of the g measure. See
also, Ex. 65, No. 2, measure 1, 2 and 5, 6; Ex. 89, No. 2.
Illustrations of the rare recurrence of a group of fewer, or more, beats than the fundamental rhythmic
group contains, are given in Ex. 62.
63. The recurrences, by repetition or sequence, may take place at any

point in the phrase or period, though they are most common at the beginning;
and, at all events, it is (for the beginner) necessary that they represent correspond
ing rhythmic pulses (measures, or similar groups of beats). This is analogous to

par. 56, where the "corresponding" groups are defined.
In Ex. 46, measure 3 is a sequence of measure 2 (three steps lower); and measures 5, 6 and 7 are the
repetition of measures 1, 2 and 3, that constitute the "parallel construction" of the whole period. In Ex.
47, measure 2 is a sequence of measure 1, and measure 7 a sequence of measure 6. In Ex. 53, No. 1, measure
6 is a repetition of measure 2.
64. Besides the obvious structural merit of such unified formations, there
is another important and peculiar advantage involved, namely:
The recurrence of a group of tones, by repetition or sequence, serves
to rectify, or at least to justify, almost any irregularities of melodic suc
cession which may occur
(1) At the point of contact of the symmetrical groups, or,
(2) During the sequential recurrence of any perfectly faultless initial group.
This rule, also, rests upon the same natural principle as par. 56; namely:
That symmetrical recurrence provides a justification for either rhythmic or melodic
irregularities. For illustration:
1 Andante (Ex. 1e) Grieg

Ex.58
G minor , group ,N B; repetition , (par. 66*)
% Any tempo (Ex. 19) (Ex. 19)
group j N.B. sequence , N.B. , sequence ,
S (Ex.8, No. 8 J
C. , group f , sequence , | sequence ,
4 Lento (par. 6c) (par. 6a) L.Stark

N.B. N.B.
Dk group , sequence
65. The manifest importance of brief rests, at the end of the symmetrical
groups, to emphasize the effect of their recurrence, and to exhibit clearly the
syntax of the phrases, is demonstrated in Ex. 44, Nos. 1, 3, 4; Ex. 56, No. 2;
Ex. 59, No. 3; Ex. 60, No. 3.
Review par. 51, and see also, Ex. 46, No. 1; Ex. 47; Ex. 52, No. 4; Ex. 64, No. 3; Ex. 94, No. 1;
Ex. 95, No. 3; Ex. 100, No. 3.
Lesson 10
A large number of 4-measure and 8-measure melodies, with symmetrical repetitions and sequences
of tone-groups, as explained above. Par. 64, though important, is subtle, and should be used in moderation,
if at all, by the beginner. Write in major and minor alternately, and avoid measures which contain more
than 6 beats, as a rule. Use all the keys.
CHAPTER XI
MELODIC SYNTAX, CONTINUED
Repetition and Sequence, Modified
66. The recurrences of tone-groups, both as repetition and as sequence,

need not be thus exact, as shown in the preceding chapter, but may be modified,
or varied, slightly. This treatment is very effective, and therefore important;
but it should not be carried to such an extent as to render recognition difficult
or uncertain. The variation may consist:
(a) In adding one or more intermediate tones; possibly, also, by omitting
particles of the initial group;
(b) In altering one or another of the original intervals of melodic succession
—widening a step-wise progression to a narrow leap, or a narrow leap to a wider
one, and vice versa. In this way the lines of the initial group are somewhat
expanded or contracted, but, as a rule, without changing the original direction at
any point. Thus:
1 Andante (par. 66 a) (par. 684)

KB. N.B. Chopin
Ex.59
a Moderato
4
G. , group -i i mod. sequence
3 Allegretto N.B KB Folk-Song

* m
G. , group (expanded) (contracted)
. mod, seq. , mod, seq. ,
4 Allegro Beethoven.
C|l minor , group J ,mod. repetition

6 Lento Bach
m imp]immiuja,imm
Gtlminor . group -^-l mod, sequence
See also, Ex. 52, No. 3, measures 1 and 3; Ex. 52, No. 5, measures 1 and 5; Ex. 56, No. 1, compare last
4 tones with first 4.
67. Further, the repetition or sequence may be partial; that is, it may
consist in the recurrence of only a portion of the original group. For illustration :
1 Allegro
'a. r (par. 664)
Ex.60 pii t
A. , group, complete seq. complete
Brahms
N.B. portions of initial group-
p - I
I m .J.
_l l_
(par.78)
2 Allegro Beethoven
N.B.
F. , group J , mod, seq. , partial sequences
3 Adagio
68. Further, more rarely, the repetition or sequence may appear in a different
rhythmic form. This very effective mode of recurrence is comparatively harm
less (not obscuring the original group) if the following conditions are observed:
(1) If the sum of beats remains the same; or
(2) If the sum is exactly divided, or doubled, so that the prosodic arrange
ment (of accented and unaccented tones) is not altered. Thus:
1 Any tempo 2 Allegro Beethoven

C. group, repetition
, 1 beat , ,3 beats
69. Further, still more rarely, the recurrence by repetition or sequence may
appear in a different rhythmic location, i.e., on other beats of the measure. This
shifting of the measure, and consequent alteration of the original prosodic effect,
is a direct contradiction of par. 63 (which review). It is a very misleading device,
and belongs, properly, only to the higher ranges of composition; for a time, yet,
it should be avoided by the student, unless he can succeed in obviating total
confusion of measure.
It may result:
(1) From such partial recurrences as were shown in Ex. 60, No. 1; or
(2) From adopting a group which contains, originally, fewer or more beats
than the number contained in a fundamental rhythmic group.
It is least objectionable when the irregular recurrence appears several times
in succession—until the original rhythmic location is regained. For illustration:
Schumann
Cpar.81)
Ex.62
Bk group of seq. seq. Seq. . C minor
a beats in '— * 1—-—1 1 1
.triple meas.,
» Allegro Beethoven
'4
G. group, a beats, , seq. , , seq. , (par. 78}
Beethoven
F minor group,
1 2 beats
4 Allegro Haydn
*') At this point the group assumes, again, its original location in the measure; this was accomplished
by making three recurrences of the original irregular group.
Moderato (par. 64) Rubinstein

N.B.
group, , seq. mod. t seq., exact, , seq. mod.^;

i a beats
6 Allegro (par. 81) Chopin
3s
group, , , , i ,
, 2 beats r sequences, exact
70. Finally, the recurrence may be modified by being turned bodily in the
contrary direction (i.e., upside down). This is an excellent device and should
be freely exercised. In this case, particularly, the recurrence should appear in
corresponding rhythmic location (not shifted, as shown in par. 69, but according
to the rule of par. 63); and, as a rule, it should not be subjected to any further
confusing modification, that may obscure the syntactic purpose. Thus:
1 Largo Beethoven
Ex.63
mm contrary direction
group
Largo Brahms 3 Any tempo
G. , group , contrary^ direction
5 Maestoso Wagner
Bk , group cont. direction

7 Molto moderato Schumann
oartlv
partly • partly
C. , group _, .cont. direction . , grouP t ,cont. direction ,
(par. 81)
8 Allegro
(par. 233) (23*)
B minor , group cont. dir.
a A (233) (233) Brahms

jl g rnr r i iJ 1 1 i "I, i
modified recurrence
See also, Ex. 8, No. 6, first three tones, measures 1 and 3.
Lesson n
A large number of 4-measure and 8-measure melodies, with recurrences of tone-groups by repetition
or sequence, modified in the manners illustrated. Each device is to be exercised successively, in the order
given above. Major and minor alternately. No changes of key, during each sentence.
CHAPTER XII
MELODIC SYNTAX, CONTINUED
Application to the Period-form
71. The recurrence by sequence may be utilized on a broad scale, as a guide

for the movements of the Consequent phrase of a period-form. In this case
again, as in par. 53, the construction is "parallel," the only difference being
that sequence is substituted for repetition, in the formation of the second phrase.
The sequential formation need not be exact; it is far more likely to be merely
an approximate guide for the Consequent phrase. And it need not, generally
will not, extend through the entire Consequent, but through a portion only.
Thus:
Ex.64 =ff*f
G. , group
Consequent Folk-Song
.N.B
[ sequence, entire, slightly modified

2 Antecedent (change of key; par. 81)
C minor i group
Consequent Mendelssohn
& *
| sequence, partial (par. 78)
3 Antecedent
Ek , group
Consequent Mozart
K.B
, sequence, slightly modified

*') These cadence-tones are not denned according to the rules of Chapters VII and IX; but the pupil
can easily adjust his own exercises to those rules, and must yet do so, for a while.
72. Analogously, the device of recurrence in Contrary direction (par. 70)

may be applied, on the same broad scale, to the construction of the Consequent
phrase. The contrary motion may possibly extend throughout the Consequent
phrase, though much more probably during a portion, only, of its length; and,
almost certainly, with some freedom in regard to the modifications explained
in par. 66.
Such melodies are known as Periods in "opposite construction"; compare
pars. 53 and 54. For example:
1 Antecedent Consequent
N.B,
Ex. 65
Fminor , group. j , recurrence in contrary dir.
2 Allegretto
G. , group
JPI ■
3 • J—J—1
| recurrence, largely in contrary direction .
See also, "Tone-Relations," Lesson 18, No. 10; 22, No. 2; 27, No. 4; 48, No. 6.
Lesson 12
A large number of 8-measure melodies in Period-form, applying the device of sequence, and of contrary
direction, for such a portion of the Consequent phrase as will not interfere with the given rules of the
cadences.
The extent of coincidence (either as sequence, or in the opposite direction) is to be shortened, grad
ually, in the later exercises, similar to the manner dictated in par. 54—until no more than brief figures
(3 or 4 tones) of the Consequent are derived from the corresponding measures of the Antecedent; not
necessarily from the beginning; the derivation may occur at any point.
Major and minor alternately.
No changes of key, during each sentence.
CHAPTER XIII
ALTERED SCALE-STEPS, MAJOR
73. The scale-line may be modified by the Chromatic Inflection of certain

steps; or by the Substitution of such chromatically inflected steps for the
corresponding original ones.
A chromatic progression is the inflection of a letter, by means of an accidental. That is, the letter
remains the same.
The chromatic inflections are to be made, at present, strictly in accordance

with what are known as the Altered Scale-steps.
These are as follows, in the major mode (arranged in the order of their fre
quency and excellence):
Ex.66
C major, throughout
2 Altered steps (+ indicates raised, - indicates lowered):
Less common rare
i 11 11 J 1 tj 11 g 1 g 11 *J l
6th Step, 4th Step, 2d Step, 5th Step, 1st Step, 6th Step,
lowered raised raised raised raised raised
(marked*-) (marked 4+) (*+) (6+) (1+) (e+)
3. Phrase, with Altered steps:
C major, throughout 2+ 5+ 1+
**) The flat does not, in this case, indicate that the key is changed; a-flat is used instead of o-natural
as lowered 6th step of C major.
**) Similarly, /-sharp is the raised 4th step. See par. 76 (a) (Ex. 72).
74. Summary: Every scale-step in major may be chromatically raised,

—inflected upward—excepting the 3rd and 7th steps (those which are followed,
in ascending, by the half-steps). Only the 6th scale-step, however, may be
lowered—inflected downward.
75. Every altered step in major may appear:

(a) Either as direct chromatic inflection, of the original scale-step; that
is, preceded by the latter; thus:
Less common rare
6/—*- i/-* 6/—*■
Ar-*-
Ex.67
C major, throughout (Ex.ee, No.a)
(b) Or, as substitution for the original scale-step. In this case, the altered
step may be approached from the neighboring step—best from that one which
lies nearest the altered tone; and, as a rule, so as to avoid the interval of an
augmented 2nd. Thus:
(Ex.ee, No.a) (Ex.ee, No.a)

e- 4+ 4+ 6+v
Ex.68 ||g
C major, throughout
i+ 1+ «+ very rare
Augm. 2nds
(c) Or the altered tone may sometimes be approached with a leap, exactly
according to the rule of par. 23; that is, with a skip from almost any tone down
ward to a raised scale-step (because of its upward resolution—par. 76 a). Or from
almost any tone upward to the lowered 6th step, because of its downward resolu
tion. Thus:
Ex.69 IMZ
C major, throughout
(Ex.ee, No. 3)
(d) Very rarely, the raised steps may be approached with a leap from
below. Only the following are fairly permissible:
*+ much b(;tter 2+
•—■
Ex.70 ; I r »i 1 Jr-
9 r 1
C major
5+ i+ 6+
(e) On the contrary, the lowered 6th step (being, apparently, the most
natural of all these alterations) may easily be approached with a skip from
above—only, however, along a good chord-line. Thus:
but not thus:

Ex.71
76. (a) The regular progression, or resolution, of the altered scale-steps (to
a certain extent obligatory) is as follows:
The lowered (6th) step descends—generally step-wise;
The raised steps all ascend—generally step-wise. Thus:
or.
Ex.72
*
C major
4+
#
possibly
2+ 4+ 6+ 6+
^J-J 1I*T
See, also, Ex. 66, No. 3.
(b) Exceptions: The lowered 6th scale-step, for the reason given in par.
75 e, may leap upward or downward, along a good chord-line (IV or V9). This
is also possible with the best of the raised steps (the raised 4th and 2nd), but it
is rare, because of the difficulty of confirming an obviously good chord-line, with
out changing the key (see par. 77).
For illustration:
all good
- but not 4+ 2+
i ,J ■ h — hi
vm f
| —H x—~H—i 1 H
ft = *J y
V " 1
(to either) (to either)
Improbable chord-lines (of C)
(c) Further, the raised 4th and 2ni j-^j are, rarely, forced chromatically
downward to the original tones—exactly according to the principle of par. 11,
which review. But only in slow rhythm, not less than whole beats. Thus:
4+ 2+
Ex.74
♦2)
C major
*') This must never be written g-flat (in C major); it is the raised 4th step, /-sharp, always. See
ar. 74, from which it is evident that there is no "lowered Sth step"—never a g-flat in C major. See, also,
IS;. 95, No. 3, measures 1 and 2.
**) For the same reason, this, in C major, cannot be *-flat. It is precisely the *-flat which (in
connection with a-fiat) constitutes the minor scale of C (par. 38).
77. The inflected tones are not to be considered as changes of the key, nor
allowed to cancel the prevailing scale. They are controlled in their movements
by the impression of the given key (or scale), which is to remain the same through
out each phrase or period-melody—for the present.
For general illustration:
Beethoven
Ex.75
Ab major
3 Allegro Beethoven
-L_i
At major (Ex.68, No. 8)
3 Allegro Schumann
4+
E major
4 Aiiegreuo
t Allegretto i+ Chopin
fjj j j i, riin-rrir j i,n
A major, throughout
S Andante Schubert
D major, throughout
6 Moderato Schubert
5+ e-
D major, throughout
7 Largo Wagner
4+ 2+
(Ex.74)
At major, throughout
See also, Ex. 62, No. 2 (c#); and glance at par. 88.
Lesson 13
A number of 4-measure and 8-measure melodies, in all the major modes, with occasional inflected
steps. The alterations must not be so brief as to appear to be "grace-notes" only, but must be obviously
essential tones; as a rule, not less than a full beat in length, occasionally longer. No changes of key are
to take place (par. 77).
The first few exercises are to contain the best altered tones, and the regular modes of treatment; then
experiments may be made with the more exceptional forms. Review par. 8; par 24; par. 34.
CHAPTER XIV
ALTERED SCALE-STEPS, MINOR
78. The inflections of the harmonic minor scale are as follows (in the order
of comparative importance) :
Original Scale-steps: Altered Scale-steps:

(Ex.29) 4+ 7- 9+
Ex.76
m
C minor, throughout 4th Step, 7th Step, 6th Step, 2nd Step,
raised lowered raised lowered
These can not be as conveniently summarized as the altered steps of major; they must be indepen
dently memorized.
79. The rules for their treatment are nearly, though not precisely, similar
to those governing the altered steps of major.
(a) The raised 4th step (which appears alike in major and minor) is the
only one that may occur both as chromatic inflection of, and as substitution for, the
original step; that is, it may be introduced chromatically (par. 75 a), or from the
nearest neighboring step (the fifth), or with a skip from any higher tone (par. 75 c).
Thus:
rare
4 4+ (75*)
—n
Ex.77 : 1*' ' ' " »■ —II
C minor, throughout (from cither) Augm. 2nd
(b) The other altered tones, in minor, should not be introduced chro
matically, but may appear only as substitutions for the corresponding steps;
best approached, as usual, from the nearest neighboring step. The introduction
with a leap is more rare—excepting in the case of the raised 6th step, which may
be approached from any higher tone (par. 75 c); and the lowered 2nd step, to
which a skip may be made from either side, along the line of a good chord. Thus:
(only thus)
7- 6+ 2- 6+
Ex.78
C minor, throughout (from either)
2- Only as changes of key (Chapter XV)

r if-^rr "r 'r*r 1 J||J||J Ir ^r P
II. II (not altered steps)
(c) The student will now fully understand the significance of par. 46, which
review. The "melodic" forms of the minor scale are obtained by lowering the
7th step, and raising the 6th step—in the scale-line. See Ex. 35. These "altered
steps" were introduced thus early in the Exercises, because of their extreme im
portance and frequency in musical practice.
80. As in major, the raised steps are resolved upward, the lowered steps
downward—generally to the next higher or lower step (par. j6 a). A few
exceptions are possible, as seen in the following:
(only thus)
7-
Ex.79
C minor, throughout
Exceptional , 5 6+
(par. 76c) (par. 29 ) n
For general illustration:

Beethoven
1 Allegro
r i it- i
Eminor
3 Allegro Beethoven
Fminor
3 Vivace Mendelssohn
B minor
Mendelssohn
4 Allegro 7- 4+ 4+
G minor
5 Allegro z Mendelssohn
#0
G minor N-B-
6 Adagio Rubinstein
Eminor. /change of\ Eminor.

\key;par.81/
*•) This i-flat is an inharmonic embellishing tone (par. 110).
See also, Ex. 64, No. 2 (B[> in 2nd measure, F# in 7th measure).
Lesson 14
A number of 4-measure and 8-measure melodies, in all the minor modes, with occasional inflected
steps. Review par. 34; par. 77; and all the directions given in Lesson 13.
CHAPTER XV
MODULATION, OR CHANGES OF KEY
81. A melody may be conducted away from the line of its own scale, into
that of some other key. This effects a so-called modulation.
The change of scale may be permanent, or it may be only temporary. In
the first case, the melody, after passing over into the new key, makes its perfect
cadence upon the tonic of the latter. (See "Tone-Relations," all of Lessons 38
and 39.) When, on the other hand, the modulation is temporary (or transient,
as it is called), the melody follows the line of the new scale only for a time (a
few beats), and then returns to the original key. (See "Tone-Relations," all
of Lesson 40.)
The Next-related Keys
82. Rule I.—The original scale should be exchanged only for that of a
next-related key. Of these there are five, namely: One with the same signature,
two with the next higher, and two with the next lower signature (that is, one sharp
more or less, or one flat more or less). Thus:
a minor (t]-signature)
G major (# " )
From C major (^-signature), into e minor (# " )
F major (b " )
[ d minor (b " )
C A major (3^-signature
E major (4$ "
Or: from f# minor (3^-signature), into c# minor (4$
D major (2$ "
[ b minor (2$ "
f f minor (4b signature

Eb major (3b
Or: from Ab major (^-signature), into c minor (3b n
Db major (5b tt
bb minor (5b tt
N.B.—Capital letters indicate major keys small letters, minors.
Points of Departure
83. Rule II.—The change of key may be made at any point in the phrase,
upon either an accented or an unaccented beat. But it must—at present—-
take place after one of the three tones which constitute the tonic chord; that is, either
after the 1st, the 3rd, or the 5th step of the momentary scale. These are the
Inactive steps (par. 5 a) which need no resolution, and therefore cannot interfere
with a change of key. Thus:
into either one of the

Ex.81 five next-related keys
C major
2 or
into next-related keys
C major
3 or:
into next-related keys :
-J-
C major
Points of Entrance
84. Rule III.—The progression of the melody into the desired scale may
be effected—after reaching one of the Inactive tones as indicated in Rule II—
by passing through any one of the five tones which constitute the chord of the Dominant
Qth of the desired key (either the 5th, 7th, 2nd, 4th or 6th scale-step). In other
words, an entrance may be effected into the desired key through any other
than its 1st and 3rd scale-steps. (Even these may be used, as will be seen in
time; but not at present.)
85. (a) If possible, the last tone of the first key (one of the Inactive steps)
should be transformed mentally into a scale-step of the prospective key. The melody
then runs on, from the footing thus secured in the new scale, in exact accordance
with former rules. For illustration:
1 C major -
Ex.83 A
(Ex. 81-1) ^major
2 C major"
(Ex. 81-2) ,Fmajor
3 C major- 1*2)
4
(Ex. 81-1) .dminor
The last tone in C major is e, the 3rd step; this may also be the 6th step of G major; by assuming
it to be the latter, and treating it accordingly, the melody passes into the new key.
*J) Here the e, as 3rd step of C major, becomes the 2nd step of d minor.
(b) The most satisfactory result is gained by using, as soon as the new key
is entered, a tone, or a group of tones, which indicates the Dominant harmony of
that key.
This is simply another way of stating the rules given in par. 83 and par. 84,
which may be thus summarized:
Close the first key upon either its 1st, 3rd, or 5th .step;
Enter the new key with its 7th, 2nd, 4th, 6th, or 5 th step.
If, as indicated in par. 85 a, the scales overlap, all the better; though this is
not necessary (as shown in Examples 83 to 87).
The most powerful modulatory tone is the 7th scale-step (the so-called
Leading-tone) of the new key, as this defines its key immediately and completely.
For example:
^ C
i> major - IT
—v—
Ex.82 Bi fr"r r r r
(Ex.8'2A-1) major
also possible (panfr j. g
# I f t
,Gmajor
Mr* r~ i—1* n
§ r r r 1
1
(EX.82A-3)
1 dminor
Cmajor"
7
, e minor
G major "
* r r r
a minor
These changes of key are more vigorous than those of Ex. 82 A. But it must not be forgotten that the
other modulatory tones (par. 84) are also efficient.
86. If, on the other hand, the last tone of one scale does not belong to the
coming key, then a chromatic progression will generally be made, at that point—
by simply inserting an accidental. Thus:
C major-
v- ■ »
Ex.83
(Ex. 81-3)
87. (a) If such a chromatic movement is necessary, it should be foreseen,
and properly approached; that is, in the corresponding direction. Thus:
C major p
ex.84 a r 1 r p P- p —ftfp r f=
■ d minor
not as smooth, thus:
C major.
(b) Or, the chromatic progression may be prepared by a wide leap from
the opposite side, involving a change of direction, according to par. 20. Thus:
Cmajor-
Ex.85 ~"
C major"
w 7
1 d minor
(c) Or, finally, the apparently necessary chromatic inflection may be avoided,
in the melody itself, by moving down one step—to step 6 of the new key. This
involves a "Diminished-7th" chord (Ex. 33, note ,2); and implies that the
chromatic tone is taken up in some other part of the harmonic body. Thus:
-71 (comp. Ex. 84-2)
J 1 1
Ex.86
?
-p (comp. Ex. 85-1)
1 3=m
For general illustration (capitals, major; small letters, minor):
l Moderato *0 Bach
Ex.,87
Ek J Bk
2+
) ^ Jf J)
(par. 88)
C I G.
i^'iVr ■i^f'iTn 1 1 ' i j u
e I D
4+ ceeino'
Beethoven
4 Allegro
(par. 87a) (par. 88)

_i G i a. j G
*') In almost every case in this example (as in Ex. 82B, 83, 84 and 85) the first tone of the new key
is its 7th step (Leading-tone). But see also Ex. 88, in which the new keys begin with other steps.
88. Whether the foreign tones in a melody are merely inflected scale-steps
(altered tones), or the indicators of modulation (change of entire scale into that of
another key), depends:
(1) Partly upon the location of the foreign tone in the prevailing key; for
in order to serve as altered step, it must conform to the lists given for major
and minor in Exs. 66 and 76. But,
(2) It also depends, much more largely (very often entirely), upon the
option of the composer, who, in the majority of cases, may treat the foreign
tone, in his harmonization, either as momentary inflection (without abandon
ing the key), or as a modulatory tone (passing on into the corresponding new
scale).
Lesson 15
A number of 4-measure melodies in Phrase-form, beginning alternately in major and minor, with
one permanent modulation in each, into some next-related key, closing with perfect cadence upon the
tonic of the new key. Ex. 86, No. 2, may serve as a general model of the form. The rhythm freely
diversified. An occasional altered step may be introduced.
CHAPTER XVI
MODULATION, CONTINUED
Transient Modulations
89. The process of modulation is precisely the same for transient changes of
key, as for the permanent ones illustrated in the preceding lesson.
(a) In the ordinary 4-measure phrase-melodies, only one transient modu
lation is feasible, as a rule; that is, the melody passes soon into one of the five
next-related keys, and, after a few beats, returns and closes upon the tonic of
the original key. Thus:
1 Andante Schubert
1 4
•• i— F m m—t J ■ | 11
Ex.88 i W 7 » =fl
G _j c 1
I I I I ii
j C.
(&) In the 8-measure period-form, or in fairly long phrases (in the larger
species of measure), two or more transient modulations may be made; only,
however, among the five next-related keys of the original scale; and, in each
case, returning to the latter, and cadencing upon its tonic, as usual. Thus:
j (par.92)
Ex.89
j F_ j d.
(G. J
Q 1 7 1 _ 7 1 '
_i e_
Lesson 16
A number of 4-measure melodies in phrase-form, in all the keys, major and minor:
A. In the smaller species of measure, with one transient modulation, and return.
B. In larger measures, with two or more transient modulations, and return.
CHAPTER XVII
Application in the Period-form
90. Changes of key may occur in the period-form, at any point in either
phrase; but they are likely to have especial bearing upon the semicadence,
which may be made upon either one of the three tones of the tonic chord (steps 1,
3 or 5) of a next-related key.
The best and most common keys selected for the semicadences are:
The Dominant key (one sharp more, or one flat less, than the original
signature); and
The Relative key (the same signature).
The Dominant key is particularly appropriate for the semicadence of a period

beginning in major; the Relative key for one beginning in minor; though both
are quite possible for either mode. Other next-related keys may also be used,
but it is well to avoid the Subdominant key (in a C major period, the key of F).
For example:
1 Moderato
A it « Antecedent
Ex.90 Effi
J B.
Consequent Schumann
1 5
"IT M
j E.
» Andante (overlapping
* y
PP
g-
Bl,
scale-lincs; see par. 93) Beethoven
Bk
During the Consequent phrase any transient modulations may be made,

but the final cadence must fall upon the tonic of the original key.
Lesson 17
A number of 8-measure melodies in period-form, according to the directions given in Chapters VII
and IX, but with modulations (and occasional altered steps) as explained above. Every species of measure;
major and minor beginning, alternately.
CHAPTER XVIII
MODULATION, CHROMATIC
91. The change of key may be effected contrary to Rule II (par. 83)—
namely, after other than the Inactive 1st, 3rd or 5th steps of the key—on condi
tion:
That the melody progress chromatically, from the step chosen to close the
first key, into a proper tone of the desired key (Rule III, par. 84). Thus:
(reg.) Beethoven
Ex.91
* m
j G. _j C_
(par. 88) Beethoven
4 Allegro
.7 5
tfr r r
j G.
5 Beethoven
«f r f
Bk
5 Andante Mendelssohn
♦
_i D-
Lesson 18
A number of 4-measure and 8-measure melodies, illustrating this device of chromatic modulation.
Begin in major and minor alternately; all species of measure (} up to |).
CHAPTER XIX
Overlapping Scale-Lines
92. General exceptions to the three rules of modulation given in Chapter
XV (especially rules II and III) may be justified by mentally transforming a
certain tone or tones of one key (no matter which scale-steps they represent)
into some plausible step or steps—if possible into more urgent and suggestive
ones—of the desired next-related key, and then continuing along the new line,
without the formal observance of strict rules of modulation. This may even
apply to some more distant key, if melodic conditions are favorable (Ex. 92, No. 3).
93. Such overlapping of scales—which is a very common, but more difficult
and exceptional method of modulation—represents the application of par. 85a
in a broader sense, and is based upon the general principle that a change of key
may always be effected at (or through) any tone that is common to both keys concerned;
especially when two or more such common tones appear in succession, so that the
lines of the keys overlap for a number of beats (see Ex. 90, No. 2, which illustrates
the point strikingly); or where there is a pause in the melodic movement (a tone of
comparatively long duration), which affords time to apprehend the transform
ation (Ex. 92, Nos. 3 and 5; Ex. 94, No. 5).
This, it is true, will usually result as a matter of course from the application
of the strict rules given in Chapter XV; but it has a much wider operation, and
extends to many cases not included in these rules. For illustration:
l Andante Schubert
Ex.93
i
G t- -5 6 G 6- -5 4 3
D4- -1 1 7 *- -111
2 Andante Schubert
4
3 Allegro (keys not next-rel.) Schubert

J 3—i
5 Allegro (Ex. 66) Chopin

(pause)
6 Allegro moderato
Brahms
7 Andante
EXERCISES IN MELODY- WRITING 53
94. This agreement of key-lines is frequently turned to account in substituting

the opposite mode (that is, major for minor, or minor for major) of the key toward
which the modualtion was. obviously directed. This is usually an easy exchange,
because the lines of the corresponding major and minor keys (that is, those which
have the same keynote) are so nearly coincident. See Ex. 29. For illustration:
1 Allegro (par. 95) Wagner
Ex.93
2 Andante (par.9i) Mendelssohn
Lesson 19
A number of 4-measure and 8-measure melodies, with modulations through common tones (by over
lapping scales), as explained above. At first into next-related keys only. Then a few experiments may
also be made with more remote keys.
CHAPTER XX
MODULATION IN SEQUENCES, AND AT CADENCES
95. The broadest range of exceptional modulations is that afforded

(1) By sequential recurrences (par. 64); and
(2) By taking advantages of any sufficiently well-defined pause, or break
(or cadence), in the line of the melody. Sequential recurrences generally in
volve, of themselves, such "breaks" or "joints" in the melodic line—at the points
of contact. The joints may, however, be created by many other means. For
example:
1 Allegretto Mendelssohn
Ex.94
fjt i A I fa- J D.
sequences; all next-rel. keys.
2 Largo (joint) Beethoven
V
(sequences; keys remote)
4 Allegro
5 Allegro
.
\r*
j^Ji—L
(par. 66) Beethoven
(seq. modified)
6 Lento (par. 91)
E!> (»+) (i+).
See also, Ex. 91, No. 4; Ex. 92, Nos. 3 and 4; Ex. 95, Nos. 4 and 5.
Lesson 20
A number of 4-measure and 8-measure melodies, with modulations in sequences, and at cadences
or interruptions, as shown above. The transitions may be made either into next-related or remote keys,
at option; and the melodies may close in any key—best, however, upon the original tonic. The sequences,
and all joints in the line of the melody, must be distinctly denned.
A few melodies may finally be made, extending beyond the regular 4- or 8-measure dimensions (5, 6,
9, 10, 12 measures in length).
CHAPTER XXI
CHROMATIC MELODY
96. The principle of chromatic succession indicated in par. 91 may be ex

tended to a longer series of chromatic tones—generally in continuous upward or
downward direction. Such chromatic lines may represent a succession of brief
and abrupt changes of key; or, as is far more likely, they may embody simply
the principle of altered steps (Chapters XIII and XIV).
In the latter case, though they assert themselves (by their time-values) as
essential tones, they prove to be, in reality, no more than intermediate tones,
inserted between the tones of certain chord-lines in such a manner as not to over
power the impression of the prevailing key. For illustration:
Z Andante Mendelssohn
3 Allegro (Ex.106)
Mozart
* (modulations)
g C 1 Bk
4 Presto Mendelssohn
y (par. 95) y
J' J:
_i E. _i D. _i C.
5 Allegretto
(parJ5i Chopin
At i A I Bt i B__^ i c
Lesson 21
A number of melodies, 4, 8 or 12 measures, with occasional continuous chromatic successions. The
chromatic tones must be obviously essential, each not less than a full beat in value; and, as rule, the succession
should not extend beyond 5 or 6 tones.
CHAPTER XXII
THE DOUBLE-PERIOD FORM
97. The Double-period generally embraces 16 measures; that is, four phrases
of four measures each, closing respectively with cadences in the 4th, 8th, 12th
and 16th measures. Compare par. 52.
98. (a) The first of these is a light semicadence, and may be made upon
any step of the original key, as no modulation is likely to occur during the first
phrase of this longer design.
(b) The second one is apt to be a perfect cadence, falling upon the tonic note
of some next-related key—best, as indicated in par. 90, the Dominant key (most
commonly in a major melody), or the Relative key (usually in a minor melody);

or perhaps the Relative of the Dominant; very rarely, the Subdominant. Re
view par. 90.
(c) The third one is again a light semicadence, and may fall upon any tone
of the tonic chord (steps 1, 3 or 5) of that next-related key into which the melody
may have been conducted; for, during the third phrase, modulations may be
freely made among any of the next-related keys—rarely to remote keys. The best
keys for this third cadence are either the Subdominant or its Relative.
(d) The fourth Phrase may also modulate freely, for a measure or two, but
must turn back definitely into the original scale, and must close, naturally, with
the regular cadence, upon the original keynote.
99. (a) The designs given in Chapter VII, in reference to parallel and con
trasting construction (par. 53 and 54), must be closely followed in the second
half of the Double-period (that is, in phrases 3 and 4). At first, the whole of
■phrase 5 must correspond (perhaps with a few slight changes) to phrase 1; and
the greater part of phrase 4. must pursue the line of phrase 2—until the necessary
difference of cadence asserts itself.
(b) Then, in each succeeding example, the parallelism is to be diminished

gradually until, ultimately, the second pair of phrases (the second of the two
periods) differs entirely from the melody of the first period (totally contrasting
construction). For illustration:
1 Andante tranquillo (Strictly parallel construction)

AjUL_ 1 , , i f 4
h*.»g j 1 j. j;J3 u j r ij j
E major, throughout
(par. 58)
7 8y 9
*lA , , r M
J J- J 1 J J- * ■—J—
V
Mendelssohn
U 10 11 1 13 14 15 16
V I
2 Allegretto (Partly parallel constr uctic)n)

V
—ip . u .1)1
$ 4 j if p N^-ii-j a —J-
G V D
^ ft y like Phrase 1 Schubert

'V
Jl v —1—p—_ _ . ir 0 - 1 - 1 » 1 1 ■
§ > j If f \l=t±LJ
I G
3 Lento (Contrasting construction) (Ex.108)

o m
*
Bb
*
F I.
Mozart
3C
Bb. -i Bb.
Lesson 22
A number of 16-measure Double-periods, according to the above directions. Beginning in major

and minor alternately; modulating at option; the principal species of measure (J, J, §, §, J, jj, |).
After correction and approval by the teacher, the harmonization of these melodies (beginning with
those of earlier Lessons), may be undertaken by pupils familiar with the process.
END OF DIVISION I
DIVISION TWO
UNESSENTIAL, OR EMBELLISHING, TONES
CHAPTER XXIII
Distinction between Essential and Unessential Tones
ioo. Not all the tones in a melody need be essential; that is, calling for
special consideration in the process of harmonization. Many tones may be,
and generally are, no more than unessential adjuncts of the principal (that is,
the essential or important) tones, which latter they merely serve to connect or
to embellish. To this class belong all of the so-called Grace-notes.
Such embellishing tones have appeared in many of the foregoing illustrations, simply because their
employment in composition is so common that but very few examples could be found in which they are
absent.
The distinction between Essential and Unessential tones is determined

very largely by their length. Usually, a tone of the value of a full beat is a principal
or essential one; and of two, three, or four quick tones that constitute the sub
divisions of a beat, one or more are almost certain to be unessential.
But this is only the general distinction—the true one depending, alter all,
upon the relation of the tones, whether short or long, to the prevailing chord-line*
For illustration:
1 (all essential) 2 (x unessential)
—• m „ j a j j , J I,
Ex.97 4=*
- J- -•
1
C I V I V I 0-
T 1 f
V '
This being the case, it is evident, here again, that a melody must be designed
with more or less direct reference to some harmonic basis, or subconscious chord-
concept. (Review par. 17.)
The tones which agree with the momentary chord are the essential, or
harmonic tones; those which differ from it are unessential embellishing, or in
harmonic tones.
Thus devised, or thus articulated, a melody is easy to harmonize.
THE SUSPENSION
ZOI. Rule I.—Any tone which progresses step-wise (along the scale-line,
or chromatically) may be tied over into the following beat, thus displacing the next
tone during a fraction of its time-value, as embellishment by Suspension. Thus:
[59]
Ex.98
Orig. line (step-wise) Embellished with the Suspension (s.)
s.
s. s. 8
Orig. line. embellished.

This device is as simple as it is effective; and its result is invariably good,
unless it be applied during some very irregular melodic progression, which the
suspension would probably aggravate.
102. (a) As a rule, the suspension may best be introduced in descending
step-wise progressions; but it is also good in ascending step-wise successions,
especially when applied to tones which have a natural upward tendency, like the
7th scale-step (Leading-tone), or raised steps.
ib) The obligatory step-wise movement of the suspension forward into
the essential tone, is its resolution (par. 7).
(c) If irregularities of rhythm result, they may be redeemed by recurrence,
precisely as shown in par. 56 a; see Ex. 100, Nos. 2 and 7.
(d) Instead of using a tie, the tone may be struck again, as repetition:
(Ex. 98-7)
Ex.99
5) s. s.
(e) When applied to single tones in a measure or group, the best general
effect is obtained at accented beats (as in Ex. 98, Nos. 2, 6 and 9, and in the
majority of the following illustrations). But it is possible at the beginning of
any beat, especially when occurring repeatedly, either in immediate succession
(Ex. 99), or as recurrence at corresponding points (see par. 102 c).
(/) If the tie, or repetition, is applied at a skip in the melody, the result will
not be an inharmonic suspension; but it will be correct, if the tones represent
some good chord-line. For general illustration:
1 Allegro
4=
Ex.100 SpE
*
Original line. embellished with
chord- Schubert
s. line s. s.
suspensions.
2 Allegretto
A!> major Dt major
Repetition, embellished
chord- s.
line
Beethoven
5 Moderato Schubert
Beethoven
8 Andante Mendelssohn
s•
#¥ ■■ r r r I i , J J JH
4 ' '; r c -r 1 r f 1 J J ^
J "
"Tone-Relations," Lessons 57 and 58.
Lesson 23
A. Take a number of former 4-measure or 8-raeasure melodies, and embellish them with occasional
suspensions, where convenient and effective, according to the above directions and examples.
This method of embellishing a given melody with suspensions is as follows—applied, for instance,
to Example 1 (page 1):
B. Invent a number oft- and 8-measure melodies (major and minor alternately) with special ap
plication of the suspension. Use all species of measure, and modulate at option. The pupil must not only
hear each tone distinctly as he writes it, but must endeavor to realize the chord-basis also (the harmonic
accompaniment).
CHAPTER XXIV
THE ANTICIPATION
103. Rule II.—Any essential tone in the original (simple) melodic sen
tence, or any weighty tone, whether harmonic or not, may be anticipated upon
a fraction of the preceding beat—usually a very brief fraction. Thus:
Lento
Ex.101
Original form
Embellished with Anticipations (Ant.) Schubert
Ant. Ant. Ant Ant. Ant.

3 Adagio Beethoven
B major Ant. Ant.

Ant.
5 Allegro
.J- -9-
Ant.
Mendelssohn
B m_ajor Ant. Ant.

*') The embellishment by anticipation always involves the repetition of a tone from one beat into
the next; and this is the case also with the suspension; therefore the anticipation is sometimes scarcely
distinguishable from the suspension. The difference lies solely in the purpose, or conception, of the writer;
but it may manifest itself clearly through the following conditions:
(1) The anticipation is generally a very short tone;
(2) It is not tied to the following repetition, but is re-struck;
(3) If it is embellishment by anticipation, the second of the two similar tones will be the essentia!
one, and may progress in any manner; if embellishment by suspension, the second tone will prove to be thf
unessential one, and must progress step-wise. This, again, depends upon the chord-basis.
See also Ex. 59, No. 3; and "Tone-Relations," Lesson 60.
Lesson 24
A. A number of former, simple, melodies, to be embellished with occasional anticipations.
The embellishment of a simple melody with anticipations may result as follows—applied, for instance
to Example 1:
B. New melodies, with anticipations; also with an occasional suspension.

CHAPTER XXV
THE PASSING-NOTE, SINGLE
104. Rule III.—Any skip of a third between two successive essential (or
weighty) tones in a melody, may be filled out, or reduced to step-wise progression,
by inserting the intermediate scale-step as Passing-note. Usually the passing-
note divides the beat evenly; but it may be shorter (more rarely longer), accord
ing to the desired rhythmic effect. See also par. 102 c. For illustration:
1 Allegro
Ex.102
Original form
Schubert
4 9
Embellished with Passing-notes (x)
2 Allegro Schubert
(Dominant chord
#0
3 Allegretto Schumann
X
X
D minor Aminor
4 Lento Schumann
5 Andante Mozart
t^-Tc „— x ■ 0- *-h-m. m * V—^
i j j^jtTTtt r^firrrf £T|frr rr rr i r ^
D V I G V I D V
#2)
*') Here, and in all the following examples, the chords that are thus indicated are to be played (in simple
Compact form) with the left hand, in a lower register, while the right hand plays the melody.
**) Play these chords with the left hand.
105. The passing-note generally occurs, as seen in the above illustrations,

upon an unaccented fraction of the beat—within the beat or group represented by
the first tone, and, consequently, without displacing the second tone of the original
skip. But it is also possible to defer the passing-note (that is, to shift it forward)
so that it encroaches upon the beat of the second tone, thus assuming the accented
location, and dividing the value of the latter. The rhythmic result is often
much improved by this means. For example:
awkward rhythm better_
X
Ex.103
G Original line emb.with unaccented emb. with accented
Passing-notes Passing-notes
better
Original line —
awkward rhythm
X
Original line
best
Orig. skip
6 Andante Mendelssohn 6 Lento Mozart
A minor
Lesson 25
A. A number of former melodies, to be embellished with occasional passing-notes, where skips of
a 3rd occur.
Applied to the melody in Ex. 7, No. 2:
B. New melodies, 4 and 8 measures, major and minor alternately, in various species of measure—
with occasional passing-notes, as shown above. Suspensions, Anticipations, and other material of past
lessons must not be neglected.
CHAPTER XXVI
PASSING-NOTES, SUCCESSIVE
106. A skip of a fourth may be filled out, similarly, by inserting the two
intermediate scale-steps successively, in the same direction.
The two connected passing-notes may be both unaccented (that is, located
within the beat or rhythmic group of the first tone), or they may be disposed
in any other manner between the two essential tones, according to the desired
rhythmic effect. Compare par. 105, and par. 102 c. For illustration:
awkward better
Ex.104
X X X X
awkward
X X
m m F m m
*
Original line.
better possible
X X
better 3 Presto Beethoven

X X X- X
k=
jjg I J3 J J J
7
v7 I V
4 Allegro Mozart 5 Allegro
X x
C I_ F I_
*0 »i)
Mozart
Beethoven 6 Andante
if
===$=
*
E!> I_
*0
7 Allegro Schubert
A minor
*') P/ay of these chords with the left hand, in a convenient lower register.
Chromatic Passing-notes
107. Adjacent scale-steps may be connected by the intermediate chromatic

tone, where the space is a whole step. Such chromatic passing-notes actually
EXERCISES IN MELODY- WRITING 67
corroborate, in origin and purpose, the altered scale-steps, and are therefore more
common in ascending, than in descending, succession. They differ in effect from
the altered steps, which are essential tones, in being more transient, and therefore
obviously unessential.
For larger spaces, alternate diatonic and chromatic passing-notes may be
used in immediate succession in the same direction. For example:
1 Adagio Beethoven
Ex.105
At, T TT
2 Allegro Mendelssohn 3 Allegro
X X X X
A I A V_
4 Allegretto (par.io«)
(Ex.U5)
*') Play all the indicated chords.
See also Ex. 75, No. 7, measure 1.
108. As the fourth is the widest interval that can occur between contiguous
chord-tones (namely, from the chord-fifth to the root above), it follows that a
line of intermediate passing-notes, inserted between still larger skips (5th, 6th,
7th or 8ve), can not consist exclusively of inharmonic tones, but must contain
one or more chord-tones, also. The effect of the whole step-wise group, however,
will be that of unessential tones, especially in swift successions; and as such they
are to be regarded and treated. For illustration (the "harmonic" passing-notes

indicated by X in parenthesis):
(chromatic passing-notes) Beethoven
Repeated Passing-notes
109. The device of tone-repetition, employed throughout the foregoing

lessons, may be applied even to passing-notes. Such repeated passing-notes are
best when they are of sufficient time-value, and importance, to be partly "essen
tial" in effect. Thus:
1 Allegro Schubert
Ex.107
«J T 1 x x
A minor
2 Andante con moto
• J J J X X
G minor
Schubert
* X X
9
v_
3 Allegro molto Raff
D minor
4 Presto Chopin
jin H
g r T " » »
Beethoven
A minor
Lesson 26
A. Former melodies, to be embellished with occasional passing-notes (diatonic, chromatic, and re

peated), at skips of any size, but with strict regard to a sensible rhythmic result.
For example, the melody given in Lesson 5 (No. 3):
CHAPTER XXVII
NEIGHBORING-NOTES
Three-tone Group
no. (a) Rule IV.—Any essential tone in a simple melodic line, or a weighty
tone whether essential (harmonic) or not, may be embellished by placing either
its higher or its lower Neighbor before it.
(b) Very frequently the essential tone precedes, as well as follows, the neigh
boring-tone, thus constituting an embellishing group of three tones. That is,
the essential or principal tone and its recurrence, with the upper or lower neighbor
between; or, in other words, the neighbor inserted between an ordinary tone-
repetition.
(c) The group may assume almost any rhythmic form; either of the three
tones may occupy the accented fraction of a beat, and the values are optional.
But the simplest, and by far the most common form, is that in which all three
tones belong to the same beat, or rhythmic group. Thus:
Ex.108
Essential tone: embellished with neighboring-notes (o)
awkward rhythm better

o o >. o o o
M ■.. m m— m m — m 0 m m -
Tone-repeti tioiI irregular rhythm

o c 0 0
J a - - ■
<g« r=+=*= i u m y M 5 " U 1 1 M V 11
embellished
o ~s
"< " 1 *^ ■ F ■ 4. » - ■ STp It
=£=^ 'U 1 itf'
111. The difference between the neighboring-note and the passing-note is, that the former turns
back into its own principal tone, while the latter passes on into another essential tone. Compare Ex. 103
with Ex. 108, carefully. In other words, the embellishment with a neighboring-note involves only one
essential or weighty tone; the passing-note, on the contrary, always involves two different essential tones.
The former is therefore a local embellishment, the latter a progressive one.
112. Whether the upper or the lower neighbor is to be used, depends some
what upon the location of the following tone in the original melodic line. The
rules are:
(i) If the formation of the group is to be regular, the upper neighbor is taken
when the next tone lies below; and, vice versa, the lower neighbor when the
following tone lies higher; or, in other words, that neighbor is chosen which lies
opposite the coming tone. In this way, the impetus imparted to the final tone
in the group by its embellishing neighbor carries it naturally toward the next
tone. Thus:
Or (2), in a series of such groups, each may be turned the same way, irre
spective of the direction into the next essential tone. In this case, some of the
groups will be Irregular; but their irregularity is counteracted, as usual, by
"uniform recurrence" (par. 56 a, and par. 64). For example:
Regular
0 r—1-1
Ex.110 rrrJTl
*
Original line. embellishment.
Irregular, but uniform

o o o
2 Vivace
Embellishment uniform
Jt_ o o
G major
Beethoven
D major emb. regular.
3 Andante Mozart
A o o
4 Allegro
, o o
l> ,. P m I m P
4
G minor
Mozart
7 7
n. v_
N.B.—In any case, the rhythmic arrangement of such successive (or corresponding) groups is almost
certain to be uniform.
113. Further: The notation of the neighboring-notes is subject to the follow

ing rules:
(1) The upper neighbor must always agree with the line of the prevailing
scale. Thus:
Upper o , rf-natural ??? Upper o, rf-flat

o o
Ex.111
*
In C, F, G, Bt, El> major; Also in e minor In At, Dt major;
and c, a, g minor (lowered 7tbstep) and bt, f minor
C major, throughout
;» V r ft
* O O ^ o ^ n • "J"
At major, throughout
o 7-0
I rrri^ri,J71|^ mil ^ M il wmk
«T B5HB 111 5 5 o o * • f -* ' ' =F
C minor, throughout E major
(2) The lower neighbor may also agree in notation with the line of the pre
vailing scale, and in melodies of a serious or stately character (or when the neigh
boring note is long) it does so. But ordinarily, especially in graceful or rapid
melodies, the lower neighbor lies a half-step below its principal tone, irrespective
of key; excepting when the principal tone is the yth scale-step (the Leading-tone),
for which the lower whole step is almost always chosen. Thus:
.Probably thus in every key con

Ex.112 taining g, excepting At major,
* where it is the Leading-tone:
At.
2 Lento
h it
t) O o
Somewhat uncommon:
V, it (better)
£
mm
3 Allegro v2
'4
o o o Vt Abetter)
More common, and less misleading
4 Moderato CEx.76)
nur i'irV°r tee
.o o o ^(better)
G minor, throughout
Lesson 27
A. A number of simple melodies in uniform rhythm (from the first five lessons), to be embellished
with 3-tone groups, as shown above.
They may be applied to an occasional single tone, in which case the rhythmic effect must be guarded;
if unaccented beats are broken, the rhythm will be regular; if irregular, from any cause, the rhythm must
be rectified by "recurrence."
Applied to Ex. 13, No. 2:
S
Or the groups may appear continuously, i.e., at each tone throughout the melody, generally excepting
the final (cadence) tone; this will constitute a "Running part."
B. Neiv melodies, 4 and 8 measures, in various species of measure, major and minor alternately,
with special reference to the 3-tone group. The material of former lessons must not be neglected.
CHAPTER XXVIII
NEIGHBORING-NOTES, CONTINUED
Larger Groups
114. These, in a sense fundamental, embellishing groups of three tones, may

be enlarged to four, five, six, or more tones in many ways:
(1) By adding to the 3-tone group (either before or after) any tone which
belongs to the chord-line of the essential tone; or by inserting a repetition, or the
8ve-leap. Thus:
1 Four-tone groups
Ex.113
C I, throughout
2 Allegro Beethoven
O o o
Original form C I
further on
3 Allegro o Czerny
D (rep.) 0 etc.
4 Allegro Beethoven
0
m—| 1•
1 ^ H " r _h—L!_l_ ii
■
^ o ^ o
IV
(2) By adding a passing-note (before or after).

Review par. in, in reference to the distinction between neighboring and
passing-notes. And bear in mind, while studying these somewhat confusing
forms, that every neighboring-note (at present) must be preceded, as well as
followed, by its principal tone (par. nob). For illustration:
emb.in 4-tone groups
O x x o O
Ex.114
D I
4 Allegro
Fminor I.
5 Lento
D!> major
O * Chopin
p r frr>n Ifep
(115)
(3) By inserting first one and then the other neighboring-note between
reiterations of their principal tone.
This will result, at first, in groups of at least five tones—which may then be
enlarged, precisely as shown above. Thus:
awkward rhythm
Ex.115
5-tone groups
2 Allegro Weber
El- I.
3 Allegretto Chopin
A major V.
a minor
6 Allegro Beethoven
6 Allegro Chopin
8 Allegro (Ex.u8) Beethoven
9 Allegro Beethoven
9 (EX. 114)
10 Allegro
hH'i r H tt ir^frT rf i r-f r*f r#r g

15 notes
Cf major V_ V_
(4) More rarely, by repetition of the neighboring-note (similar to par. 109).

Thus:
1 Andante N.B. Schubert

X X OO 00 OO
Ex.116
3 Allegro Chopin
Ff I
4 Allegro moderato
N.B. OOP o~
*') Note the difference between these two d-sharps (passing-notes), and the preceding ones (neigh
boring-notes). Par. 111.
Beethoven 5 Any tempo

o o
Lesson 28
A. A few former melodies in uniform rhythm, to be embellished with these larger groups; either at
occasional single points, or throughout, as indicated in the preceding lesson.
B. New melodies, with especial reference to these forms of embellishment.
CHAPTER XXIX
NEIGHBORING-NOTE AS APPOGGIATURA
115. The neighboring-note, instead of appearing thus between reiterations

of its principal tone, may, moreover, be placed simply before the latter—pre
ceding it only, as prefixed grace-note, and forming an embellishing group of but
two tones (compare par. no a and b). In this connection the neighboring-note is
called an Appoggiatura. Its details are subject to the rules given in Chapter
XXVII.
(1) The rhythmic form, and the location, of the 2-tone group are optional;
but the appoggiatura is most commonly placed upon the accented fraction of the
beat (like the suspension, or the accented passing-note, and, like these, chang
ing the original location of the essential tone by shifting it forward); and the
appoggiatura is quite frequently longer than its principal tone. For example:
Ex.117
Essential emb.with Appogg. accented . unaccented.
tone:
2 Allegro Haydn
Original line later (accented Appogg.)
3 Allegro Mozart
Original line embellished.

•* kn_ Mozart
Original line. emb. (unaccented Appogg.)-
o_ ^~7T-^ Ch°pin 6 Prest0(accented App.)
Beethoven
7 Lento emb. (unaccented Appogg.)

Original line. o_ o
P P P £33
E minor a minor
Schumann 8 Moderato
„ Original line.
#5
B minor A major
embellished (longer Appogg.) Rubinstein
^ " J"tfJ^ Ja~*Jv-' J'o^ô- Jo~
9 Allegretto
*i) V I II V.
A minor C major a minor
Schumann
10 Allegro Mendelssohn
x x
£ major V7 throughout

(2) The choice between upper and lower neighboring-note, as appoggiatura,

may be determined, primarily, by the rules given above; that is, either according
to the direction into the following essential tone (see Ex. 117, Nos. 6, 7, 9 and 11);
or in uniform figures, as in Ex. 117, Nos. 2 and 8. But, in practical composition,
the utmost freedom is exercised in this choice. In general, the upper neighbor
is the more common. The greatest influence is apparently exerted by the lo
cation of the preceding tone; for instance:
An upward movement (especially with a skip) is usually made to the upper
appoggiatura; and a downward progression to the lower one—of the following
tone, of course. This simply corroborates the rule given in par. 23 a, and again
in par. 75 c; that is, the appoggiatura is best approached (from any distance)
in the direction opposite to that of its resolution (its obligatory step-wise pro
gression into its principal tone). For illustration:
best embellished
or any of the : : thus,with upper -p.
Ex.118 following neighbor: "im
Essential tones.
possible, but misleading
;best thus, with :

.lower neighbor:
*
Essential tones.
possibletbut misleading
This rule prevails almost throughout Ex. 117; the only exceptions occur
in No. 5 (second measure), and in No. 8 (second beat of measures 1, 2 and 4;
first beat of measure 3); also Ex. 121, No. 5.
(3) The notation of the appoggiatura is defined exactly according to the rules
given in par. 113 (Exs. 111 and 112).
(4) The presence of an appoggiatura justifies exceptions to the rule of suc
cessive skips in the same direction, given in par. 27 (Ex. 21, No. 2). For example:
1 Andante Schubert
Ex.119
3 Moderato Brahms
At I. IV.
This d stands for c (of which it is the upper appoggiatura), therefore the successive skips actually
follow the same chord-line.
Lesson 29
A. A number of former melodies, to be embellished with the appoggiatura, in 2-tone groups; either
at single points, or, in melodies of uniform rhythm, at each tone throughout.
B. New melodies, 4 and 8 measures, major and minor alternately, in various species of measure—
with especial reference to this form of embellishment. Former devices must be borne in mind and employed.
CHAPTER XXX
DOUBLE-APPOGGIATURA
116. (a) In a similar manner, and with similar, though much heightened,
effect, both the upper and lower neighbor may successively precede their mutual
principal tone, as Double-appoggiatura. The first appoggiatura does not progress
directly into its principal tone, but passes first over to the opposite neighbor (of
the same principal tone), thus producing a new variety of the 3-tone group.
For example:
Essential tone: emb.with Double-appoggiatura
Compare Ex. 108; and observe the distinction between this use of both
neighbors, and that illustrated in Ex. 115.
(b) As usual, the group may appear in any reasonable rhythmic form;
either of the three tones may occupy the accented fraction of the beat or rhythmic
group; and the time-values are almost wholly optional. The details of treatment
conform to the rules and illustrations of the preceding chapter. For example:
- or, more m ±.
Ex.121 : regular: - = — —
*
Orig. line emb. (par.m-i)
o°
g m
2 Vivace N.B
'(par. 113)
F major I.
Chopin
(par. 113)
d minor I.
3 Allegro Beethoven
4 Allegro o^2-^ 0 Beethoven
G V_
Original line. embellished.
5 Lento Verdi
Gt I. N.B.
6 Allegretto
o o
*') It is absolutely necessary to play all the indicated chords with the left hand, in order to understand
these embellishments.
Chopin
Gf minor I
8 Allegro Chopin
D\> major V.
117. Very frequently the Double-appoggiatura is preceded, as well as followed,
by the principal tone, thus extending the figures shown in Exs. 121 and 108 to
a new species of four-tone group, which is one of the most convenient, effective
and common forms in the entire range of melodic embellishment. The reiter
ation of the principal tone is separated by both the upper and lower neighbor in
succession—in either order, and in any rational rhythmic form. Thus:
Ex.122
r r 1 r T 1 r r
Essential tone: embellished with interposed Double-appoggiatura
irregularrhythm
o o
o o
j u iu
2 Allegro (par. 113) Beethoven

-—o 1 o ~
felEBE
* 1 '' r 1 'i 1 v
F minor I_ 7
V.
#1)
3 Allegro Beethoven
4 7
F I. V_
4 Allegro,
Ei-
6 Presto Chopin
Original line. embellished

C| minor
6 Allegro
liLf-Tn
4
*i)D I. n
Schumann
7 Andante
o X
F
O Tx
Iff
F V
Mozart
f minor At major
o °
Bt I.
*l) Play all the indicated chords.
118. In rare instances, the number of these interposed neighboring-notes is

increased to three, by returning to the first appoggiatura before passing on into
the essential tone. Thus:
Ex.lfc3 _
«
Essential tone: embellished with Triple-appoggiatura.
2 Allegro
C I II V I C I II
Original line embellished
Mozart
later
a minor
3 Allegretto Waltz
C I
4 Moderato Rubinstein 6 Allegro Schubert
f minor j Orig. line \
6 Allegretto grazloso embellished
Lesson 30
A. A number of former melodies, to be embellished with the Doublc-appoggiatura, in the 3-tone and
4-tone groups above illustrated; either occasionally, or continuously.
B. New melodies, 4 and 8 measures, major and minor, in various species of measure, with special
reference to this form of embellishment.
CHAPTER XXXI
APPOGGIATURAS, CONTINUED
119. The double-appoggiatura sometimes appears in connection with the
suspension, as "indirect resolution" of the latter. The suspension, as is clearly
shown in Chapter XXIII, is always a neighbor of the following essential tone—
because of its invariable application at a step-wise progression—either above or
below. Therefore, the suspension may be regarded as an appoggiatura, and be
conducted first into the opposite neighbor, before the essential tone follows, pre
cisely as shown in par. 116 a. For example:
direct resolution
Ex.124
CI V indirect resolution, as
Essential tones: embellished double-appoggiatura
3 Allegro
— n 1 10
C V At V_
Beethoven 4 Allegro
embellished s. o o
The Unresolved (Upper) Neighboring-note

120. The strict rule of the neighboring-note, as seen throughout the pre
ceding chapters, is, that it must be followed by a step-wise resolution into its principal
tone—either immediately, or after swinging over into the opposite neighbor of that
principal tone.
(a) A peculiar, but not uncommon, exception to this rule is, that the upper
neighboring-note, after following its principal tone, may leap down a 3rd. In
other words—the upper neighbor may stand between two principal tones that
represent a descending step-wise progression. The result is best when the prin
cipal tones are both harmonic; but it is applicable to any weighty tones, even
when one, or each of them, is a passing-note.
This—the "unresolved"—neighboring-note is always unaccented, and usually
short (like the anticipation, which it most resembles in origin and character).
Thus:
better
Ex.125
CI V C I_ embellished with the Unresolved
Essential tones.
o ??
upper neighbor.
2 Allegro later .Beethoven
3 Allegro (see Exa23-2) Mozart

"o o "o^~^-. 0^0" o
4 Allegretto
A major Original line

Mozart
Beethoven
6 Adagio N.B. N.B.
Orig. line
(b) If a modulation is made, during the group with an unresolved neighbor,

the latter must agree in notation with the scale of the following principal tone—
of which, as above stated, it is properly speaking an anticipation. Thus:
1 Essential tones. *0
Ex.126
4
a minor_ embellished L ° j—
d °
or C major-
2 Allegro
*') Not blj, unless the key remains C throughout. Bb is necessary, however, if the key changes to
d minor.
*!) Gt>, on account of the modulation into i-flat minor.
**) Gt?, because of the change to / minor.
(c) Very much more rarely, this device is reversed; that is, the lower neighbor
is inserted between step-wise ascending tones. The rules correspond to the pre
ceding. Thus:
1 Andante N.B Mozart
Ex.127 3EEt
*
At i rv v i v
2 Allegro Haydn
(d) When the rhythm is uniform, and the tempo rapid, as in some of the
above illustrations, these unresolved lower neighbors may, it is true, often be
analyzed as a Double-appoggiatura. This is probably the case with all of Ex.
127. Further:
Lesson 31
A. A number of former simple melodies (including those of Lesson 23), to be embellished with sus
pensions with indirect resolution (par. 119); and with unresolved upper neighboring-notes, as shown above.
B. New melodies, with special reference to these embellishments.
CHAPTER XXXII
EVOLUTION OF MELODIC GERMS
121. The application of these various classes of embellishments is likely,
in many cases, to be determined upon some broader basis than the general pur
pose of ornamenting individual tones of a simple melodic line.
The development or evolution of an elaborate melodic figure, or complete
phrase, out of two or three fundamental tones, by miscellaneous methods of em
bellishment and repetition, has been repeatedly exhibited in the foregoing ex
amples; and while such products are not, as a rule (in advanced musical thought),
the result of deliberate intention, they are none the less surely thus simple in their
original germinal form, and must have existed in this simple form in the firmly
established melodic habits of the composer—even when they appear to have
issued spontaneously from his mind, directly, in their complete ornate and
characteristic shape.
This process of melodic evolution is so natural and so wholesome, and the
evidences of its presence in classic melodic thought are so clear, so positive and
so instructive, that its systematic exercise is of vital importance to the student
who aims to acquire habits of healthy and facile melodic conduct.
The only rules are: that the fundamental tones (the germ) shall form a
perfectly faultless and natural melodic figure, at least free from extreme irregular
ities; and that the manipulation of it into an ornate phrase shall be coherent,
smooth, well-balanced (as concerns the rhythmic and syntactic exterior), and
free from eccentricity.
122. Hence, an ornate melodic sentence may conceal (perhaps so cleverly
that its presence may scarcely be heard—though it is certain to be felt) a part
of the line of the scale; or the simplest elements of the Tonic chord, or Dominant
chords.
The following illustrations are to be very studiously examined and analyzed:
9 V- P •
mm»m~
Ex.129 rl-=f=
. p ~r=
-< J i ^ i r J
9
B1 1 v i
Allegretto
Melodic evolution
Beethoven
a Germ (chord-line): Vivace Beethoven
C T Melodic evolution.
3 Germ (chord-line): Allegro Schubert
1 JjJ § i
4 Germs (chord-lines)
f minor.
Andante
3. 3 o cr 7th
-J- *i) X X
f minor I I_
Melodic form
o^Jth
o Chop in 5 Germ: Allegro
M nr r r r r *=*= m • m-
(120 a) j
e min.I Melodic form
Chopin
w) Play all the indicated chords.

6 Adagio
Germ (tonic and dominant chords):
U r
Melodic form
Beethoven
J) > J)
7 Germ (chiefly «cal»4lne)t
Melodic form
Beethoven
1 f g E3E
*
8 Germ (complete scale)
Melodic form
9 Germ (chiefly scale-line):

fa \l ' g=Z=£ I p"T> -f£
,D major
^ AUepetto
[_[;>r r i»r 1 1
Melodic form
Mozart
10 Germ (scale) Allegro
c minor Melodic form

Beethoven
11 Germ (modified scale-line): .4+
♦ 7
I V V rv I IV V I
c minor f min. c min.
Allegretto
12 Germs (scale and chord)
f min. i
AHegro assai ^
13 Germs: chord scale
El> major
Allegro
g f 1 1 V ,f rTr rl
Melodic form (expanded to double measures)

Schumann
7i
14 Germ (descending and ascending 8rds):
1 1
1 iJ
•
e minor
Allegro
Melodic form
Brahms 15 Allegro
Beethoven
r r P r r f f r f-
16 Allegretto
ft S=7Z
r r r r r r
?i minor
Beethoven
(par. 96)
17 Allegretto
scale ^-f' 'r

G major
Brahms
123. Such simple germs, derived directly from the scale, or from some
primary chord-line, are—like the soil—common property, open to the use of all
humanity.
In the choice of these germs no originality can be exercised, or proven—
merely common sense.
But their manipulation—ihe method, and the extent, of their embellish
ment and development—exhibits the individuality of the composer, the particular
quality and calibre of his innate musical susceptibility, or the degree of discrim
ination and "taste" that he has acquired by persistent and thorough exercise of
such established technical methods as those expounded in the present treatise;
devices that may possibly lead onward into yet undiscovered modes of treat
ment.
This is one of the most obvious and natural phases of the apparently occult,
but in reality very manifest, Science of Originality.
Lesson 32
The evolution of complete, ornate and characteristic melodic sentences, 4, 8, 12 or 16 measures in
length (major and minor alternately, and in all species of measure), out of simple germs, imitating the melodic
and rhythmic methods shown in the above example.
CHAPTER XXXIII
MELODIC EVOLUTION, CONTINUED
Application to Repetition and Sequence
124. Further, the application of these embellishing processes may serve to

disguise, or to heighten the effect of, repetitions, sequences, and recurrences of
preceding figures, or phrases, in general. Review the text of Chapters X and XI;
see Ex. 100, No. 3; Ex. 106, No. 4; Ex. 115, No. 10; and examine and analyze the
following, thoroughly:
1 Andante Chopin
Ex.130
* 9
F minor I. V_ modified repetition
a Allegro
pi E3E
F| major
Grieg
Modified repetition.
3 Allegro modified repetition
-r s 1—o—1h^^ri 1 * ■ —1—u 1—e U

D!» major Original melodic line
later
Modified recurrence. again.
Chopin 4 Allegro moderato
o —o
Original melodic line.
Modified repetition
5 Allegro molto
Original melodic phrase

later Beethoven'
Modified recurrence
6 Allegretto
FH major Original phrase
later 9 7
Modified recurrence
again later ^
7 Adagio
n g
i
Original phrase
later
Modified recurrence
~7~ Haydn
*
p 1 p :
Chopin
9 Adagio molto
Original phrase
later
Modified recurrence
again later
Modified recurrence
rr rr rr a a
Beethoven, Sym. 9 10 Larghetto
I V
modified recurrence (incl.the modified rep.)
Chopin
Original phrase. Modified recurrence

Mendelssohn 12 Adagiq.
k
A\> Orig. figure-
Beethoven
"J disguised sequence
Germ (mod. sequence) (par. 121) :

«) These tones represent a "passing-group" (that is, more than a single "passing-note") in sequential
formation.
Adagio, espressivo 9th
Beethoven 14
-si-
IV Germ (sequence):
Andante Mozart
Melodic form
15 Allegro grazioso #2) N.B.
3gF
A , Original line ,1110(1. rep. new
N.B. N.B. N.B. Brahms

N.B. N.B.
âst figure, expanded
*J) This last illustration comes under the head of "manipulation" in general; it is based more upon
rhythmic modification than melodic embellishment.
Lesson 33
A. Former, or new, 4- and 8-measure melodies, with embellished repetition.
B. Melodies, of optional length, with special application of the modified (embellished) repetition,
sequence, and recurrence.
Simple harmonic accompaniment may be added, at the discretion of the teacher.
CHAPTER XXXIV
MELODIC EXPRESSION. CONCLUSION
125. As stated in the preface, the foregoing pages constitute a course of

systematic exercise in melody invention, only; not melody conception. For the
latter there is, and should be, no other guide than the individual impulses of the
maturing composer, founded upon, and controlled by, such natural and correct
habits of melodic thought as he may have been fortunate enough to establish in

early youth.
The transition from invention into conception is signalized by the increasing
assertion of personal emotional impulses (feeling, as distinguished from thought),
through which the element called Expression is instilled into the otherwise purely
mechanical product, and the distinctions of Style, both individual and general, are
created.
126. The presence of this element of Expression is manifested by an inde

pendent inclination to discriminate and choose between the following attributes
of musical style:
(a) Between the major and minor Modes; the latter of which is more passion
ate and sombre, the former brighter and more vigorous in effect, as a common rule.
(b) Between the duple and triple species of fundamental Rhythm; the
former more sturdy, the latter more graceful.
(c) Between rapid and slow Tempo, or degree of fundamental motion. This
distinction influences, somewhat, even the technical formation of the melodic
sentence. In slow, or moderate, tempi, there is likely to be more scale than chord-
derivation; considerable ornamentation is appropriate and necessary, and much—
even extreme—diversity of tone-values is possible. On the contrary, in more
active or rapid tempi, cAori-derivation is apt to predominate over scale-deri
vation, though rapid scale-passages (as embellishment by passing-notes) are by
no means infrequent; less ornamentation is likely to appear, and diversity of
time-values is more limited, i.e., the rhythm is more nearly uniform.
(d) Between such conventional Styles as distinguish one class of composition
from another (i.e., the Waltz from the Nocturne, the March from the Barcarolle,
etc.). These are subject to no other laws than those of convention, or popular
usage, and are best learned by observation.
127. All of these general qualities of melodic conception demand the more
advanced discipline of musical form, and can therefore be exercised only experi
mentally and briefly, at the discretion of the teacher, in the present course of
melodic practice.
VOCAL SETTING
128. The most natural and wholesome artificial stimulus of definite and
significant Expression in melody-invention, is that afforded by the vocal setting,
or "melodizing," of a line or stanza of text. The simply mechanical endeavor
to follow and confirm, as closely as possible, the varying shades of poetic and pro-
sodic (or declamatory) expression of the given text, is calculated to arouse and
develop the student's individual sense of Expression, and prepare for its un-
trammeled operation in the domain of absolute (instrumental) music.
129. The details of melodic effects, which find their parallels in the undu
lations of poetic expression, may be described approximately as follows:
(a) An ascending succession of tones, along the scale-line, indicates, or
dinarily, an increase of emotional tension, or emphasis; a descending succession,
relaxation.
(b) The effect of step-wise progressions is that of gradual and smooth change
—increase or decrease of the degree or stress of feeling. Whereas, when the
tones progress in skips, either way, these changes of feeling are more abrupt and
positive, about in proportion to the size of the skips.
(c) The progression in chromatic tones is more seductive or passionate, as a
rule, than diatonic (that is, scale) successions, and usually in proportion to their
speed.
(d) The changes in force indicated by crescendo and diminuendo, arouse
exactly similar impressions of increasing or decreasing volume or emphasis of
feeling; the extremes of fortissimo and pianissimo indicate, respectively, utmost
power or nearness, and utmost gentleness or remoteness.
(e) Sudden changes of force (abrupt forte or piano effects) corroborate swift,
perhaps violent, impulses of emotion; these may be emphasized by simultaneous
sudden changes of register or pitch; namely, wide skips, the effect of which, as
stated at b, is similarly abrupt and vigorous.
(/) The musical sense of a tone is powerfully influenced by its location and
value in the rhythmic group. If it be placed upon the accented beat, or if its
time-value be increased, such musical meaning as it possesses (absolute or com
parative), is brought out with corresponding force. And, on the other hand, its
location upon an unaccented beat, or its contraction to a brief time-value, dimin
ishes the effect and value of its musical "meaning."
(g) The definition of tonal "meanings," and the bearing of the above upon
them, may be roughly stated thus:
The chord-root is powerful; the chord-third sweeter and more flexible; the
chord-fifth soft and tender. If placed upon the accented beats, or lengthened,
they impart these respective qualities to the entire rhythmic group in which
they occur.
The chord-7th and 9th, and the suspensions, are keen, conspicuous, and
even obtrusive (in proportion to the degree of their dissonance); if accented,
their effect is heightened; if prolonged, the effect of strain or tension is created.
Appoggiaturas are similar, but usually still more pronounced in effect.
These, and other, distinctions may be tested in the melodic examples given
in this book, some of which should be reviewed with special reference to the
quality of Expression.
130. The principal rules of vocal setting are:

I. That the rhythmic details in the melody should agree closely with the
prosodic effects of the text; that is, accented syllables and important words
should be set to the comparatively accented, higher, or longer, tones; and, vice
versa, unaccented syllables and unimportant words should be set to comparatively
unaccented, lower, or shorter, tones.
II. That the emotional contents of the text should be corroborated, by
consistent employment of the distinctions of melodic expression above explained.
III. That notes set to separate words or syllables must be detached, in nota
tion; while two or more notes set to one word or syllable must be connected,
either by beam, tie, or slur.
The following examples briefly illustrate these rules. The pupil may find
numerous others, in English Oratorios, Cantatas, Anthems and Songs (that is,
composed originally to English words) :
1 Recitative; pathetic expression

Moderato Largo Handel
dim.
Ex.131
f minor Thy re-buke hath bro - ken his heart.
2 Allegro; joyous, vigorous expression Handel
Ex.132
Btmajor Re-joice! Re-joice! Re-joice. great-ly!
3 Andante; graceful expression sost.
Ex.133
By flow - ers sweet and gay_
en - hanc - ed is the charm-ing sight, en
Haydn
3^
hanc - - - ed is the
th charm-ing sight.
Lesson 34
The melodic setting of lines, and of brief stanzas, from church hymn-books; or from the Psalms
and other parts of the Bible; or from secular poetic writings. At first, a few exercises in Recitative form,
that is, not strictly metrical. Afterwards, very numerous studies in Metrical phrase, period, or double-
period form.
After correction and approval by the teacher, they may be harmonized, or provided with a simple
instrumental accompaniment.
THE END
MUSIO
LIBRARY
MT 47 G599 1923a C.I
Exercises in melody-wrltlng
Stanford University Libraries MT+7
667 811 Grs??
Stanford University Libraries

Stanford, California
Return this book on or before date due.
FEB ft 4 %/t
.-.-tat
MAY 4 1970

Exercises in Melody Writing

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This is a reproduction of a library book that was digitized

by Google as part of an ongoing effort to preserve the

A SYSTEMATIC COURSE OF MELODIC COMPOSITION

as readily through sensuous contact with melodic sounds, as by mental induction.

PREFACE TO THE PRESENT EDITION

The present edition of "Melody-Writing" has been thoroughly revised,

UNESSENTIAL, OR EMBELLISHING, TONES

Chapter XXIII. Distinction between Essential and Unessential

The Scale-line, Regular Successions

Active and Inactive Scale-steps

7. The progression of an Active scale-step in the proper direction is called its

The Narrow Leap

B Narrow leap from Active steps

best good good better not bad much better

4 Ending on second accent:

rrr irrrr irJJJ Uj-i

2 Doubtful: 3 Wrong: *3)

irreg. reg. irreg. reg,

chord-root: chord-third: chord-fifth, c-e-g Scale-steps

B The Second-dominant chord (ID

Second Primary Rule

From step 6: From step 6:

*3) #2) *3)

29. The resolution of the Active scale-steps is sometimes deferred to a later

*') The unaccented g is merely interposed; step 7 reaches 8 soon enough.

30. A wide leap, or a succession of leaps in the same chord-line, is always a

E major Change of chord-line at each accent

31. When a wide skip is made to an Inactive scale-step, it is not necessary

Ex.35 r> m J II 1 * [,-.J I 1 1 n^ j j.

See also, Ex. 42, No. 1.

Chord-line: Rep Chord Rep Chord ..Scale

Chord.. .Sc.. ...Chord . ..Scale

Ch. Sc. Ch. Sc. Ch. Rep. Ch. Ch Sc. Rep.

Ch. Sc. Rep. Sc Ch. Rep. Sc Rep.

Chord .TTTTTT Sc. Ch. Ch Ch. Scale

6 Allegro Beethoven 7 A119 Beethoven

8 Andante (6c) Beethoven

(The further analysis is left to the student)

9 Allegro Beethoven 10 Larghetto

Bach laModerato (64) Mozart

(234) (234) (31) (6c)

15 Lento Chopin 16 Maestoso

17 Andante Rossini 18 Allegro

Beethoven 19 Allegro Haydn

Beethoven 21 Allegro Brahms

THE MINOR MODE

41. It is also important to observe that when the customary signature of

45. The first of these exceptions consists in placing the succession in an

B In minor: Dim. 7th

*') Here again the flat is placed before a as a precaution.

Additional general illustrations:

3 Adagio (23d) (66)

Rubinstein 3 Andante Weber

4 Allegro Beethoven 5 Lento

Schubert 6 Andante con moto Bach

3 With customary signature

Ex.37 | J. J), J JT] | j jr3,J~3J^ ,etc.

| J. J J> i J- /n J J^J73 J- JT3 ietc

ex.38 inn \%n fjSi \% m | etc.

3) #2) 3)