The Melodic Motive Or Phrase-member

This, as has already been stated,

is a somewhat longer section, compounded of two or more figures. Being

thus longer, the breaks or spaces between motives are generally more

emphatic and recognizable than those between the figures, and therefore

it is easier, as a rule, to define the extremities of motives.



Melodic motives differ in length from one to four measures; by far the

most common extent, however is two measures, and the student will do

wisely to accept this dimension and analyze accordingly, unless there

is unmistakable evidence to the contrary. The indications are

precisely the same as those illustrated in the preceding two examples

as guides for the definition of figures.



In the first of these examples the extent of the motives is proven by

each of the three given guides: the rest, which marks the end of the

first member; the similarity of melodic and rhythmic formation, which

proclaims the beginning of the second member, parallel with that of the

first; and the regular (two-measure) dimension. In Nos. 2 and 3 there

are no rests between the motives, and the melodic formation differs;

here it is the standard of two measures that defines the members.



Ex. 3 is a two-measure motive. In Exs. 2, 5, and 6, the motives are

all two measures in length.



In the following:--



one is tempted to call each single measure a motive, because of the

number of tones it contains, and the weight (length) of the final tone,

which makes a much more emphatic interruption than commonly occurs

between figures.



And in the following, on the other hand:--





the entire four-measure sentence is evidently one motive, for there is

no recognizable indication of an interruption at any point. The same

is true of the two melodies given in Ex. 8.



The following illustrates an irregular (uneven) association of

members:--





Here again, there may be a disposition to adopt the upper line of

brackets, assigning a single measure to each motive. But both here,

and in Ex. 10, the student is advised to adhere to the two-measure

standard; he will avoid much needless confusion by so doing,--at least

until he shall have so developed and sharpened his sense of melodic

syntax that he can apprehend the finer shades of distinction in the

motion and repose of a melody. Adopting the lower line of brackets,

we discover successive members of unequal length, the first one

containing two, the next one three measures.