MTM Melody and Period

Melodic Motive

Pattern of pitches that form a musical idea. Mostly also rhythmic motives

E.G Beethoven’s Fifth

Rhythmic Motive

A repeated rhythmic pattern, can function with or without a melodic pattern.

Retrograde

Prime Motive sounded in reverse order

Diatonic Inversion

Inverts the intervalic movement of the original motive while staying diatonic to the key.

Chromatic Inversion

Inverts the intervalic movement of the original motive without regard for the key. So a major 3rd up becomes a Major 3rd down

Retrograde Inversion

A combination of retrograde and inversion. Flipping the intervalic movement while also playing the motive in reverse order.

Rhythmic Augmentation

Lengthening the rhythmic note values from the original Motive. Such as turning an eight note sequence into a sequence of quarter notes.

Rhythmic Diminution

Shortening the rhythmic note values from the original Motive. Such as turning a quarter note sequence into eighth notes

Diatonic Transposition

Moving the whole motive up or down tonally, while still keeping every note within the key. Such as transposing up a diatonic third

Non-Diatonic Transposition

Moving the whole motive up or down tonally, without regard for keeping it within the key. Such as moving the melody up a Major 3rd

Sequence

Repeating Motives that are transposed immediately. Immediate repetition of a short musical idea at another pitch level.

Diatonic Sequence

A sequence that only uses notes from the key being used.

Non diatonic Sequence

A sequence that maintains the intervalic quality of the original segment

Sequence Segment

The units used to look at the individual parts of a sequence

Phrase

A complete musical thought. A segment of a melody that usually end with a cadence. Typically two, four, eight, or sixteen bars in length

Repetition

Repeating of musical ideas. Signified using letters. Small letter i.e a b c for phrases. Capital Letters for sections i.e A B C.

Variation

Used to extend and develop melodic or other materials. Variation is heard in reference to material previously presented. Sequences, transpositions, embellishments, rhythmic variation, etc are all forms of variation.

Contrast

Used to create balance in music. Can be used in a small scale with phrases or on a larger scale with a contrasting period.

Period

A group of two or more phrases combined to form a complete musical statement. Final phrase must have a stronger cadence than the first. Phrases should create a question and answer effect. Two phrases form an antecedent and consequent

Parallel Period

Contains two phrases (antecedent and consequent) Second phrase begins the same as the first but ends differently. Using letters is can be described as “a” and “a1”

Contrasting Period

Second phrase differs from the first, but there is still a feeling of antecedent and consequent. Using letters can be described as “a” “b”

Three-phrase Period

Have the strongest cadence at the end of the final phrase, but are preceded by two phrases. Blues melodies are an excellent example of this

Double Period

Two periods combined to create a larger structure. Can contain combinations of parallel or contrasting periods.