Melody Movement

Characteristics of the melody movement

The melody movement is characterized by its direction and its quality.

Direction of the melody movement

The direction of a melody movement is either ascending , when the second note is more acute, or descendant , in the contrary case. When one deals with unison right, or, with a decreased second - equivalent of a unison right, by Enharmonie -, one considers that the voice or the part, which remains thus places from there “ does not produce a melody movement ”.

Quality of the melody movement

From the point of view of its quality, a melody movement can be joint or disjoins .

a melody movement united - or, more simply, joint movement - is the crossing of a melody interval located between two close degrees on the diatonic scale, in other words, between two notes separated by a unison or a second. The increased second, although being theoretically a united interval, must be related with the movement disjoins . In practice, therefore, the joint movement does not exceed the your.

a melody movement disjoins - or, more simply, movement disjoins - is the crossing of a melody interval including more than two close degrees , in other words, of an interval higher than the second . The decreased third , although equivalent to the tone by enharmonie , is well an interval disjoins.

Realization of the melody movement

The melody movement must respect two principles: first of all, the “ principle of the economy of the movement ” - especially in the intermediate left -, in virtue of which, any note common to two agreements which are connected, must, each time it is possible, remain in place with the same voice in these two agreements; then, the “ principle of the shortest way ”, according to which, in a more general way, the joint movement must always be preferred with the movement disjoins.

The melody movement requires some precautions of realization. In harmony scholastic, certain melody intervals are allowed , others are simply tolerated . The intervals not appearing in the lists below must be absolutely avoided .

As from the moment when the crossed melody interval is not faulty , one can in theory, since a note given, outward journey towards does not matter that it another note, except case of figure of the melody Mouvement obliged.

Melody intervals license

the unison right or increased - i.e., the chromatic Semitone.

the second major or minor.

the third major or minor.

the perfect fourth.

the perfect fifth.

the minor sixth.

the octave right.

It is desirable that the interval of octave is followed of a melody movement of contrary direction.

Tolerated melody intervals

the major sixth - in the major ranges exclusively, and of Ier to the Life degree.

the increased second ascending - in the minor ranges -: tolerated when the 2nd note assembles to the tonic , and especially in the intermediate parts.

the decreased third - in the minor ranges -, the decreased quad - in the minor ranges - and the decreased fifth - in both modes - are tolerated when they are followed of a united melody movement of contrary direction.

the melody rules above relate to the medieval music and rebirth - counterpoint - and not the musics baroque, traditional and romantic, for which the major sixth and the minor sixth have the same statute, and in which the seventh, ninth, etc - to see Bach - are currency. These rules, very old, are derived from the Gregorian modes and the Solmisation (Guido d' Arezzo, Xe century).

See too

Internal bonds

Random links: