Melody

Any succession of single tones is a melody. If we strike

the keys of the piano with two or more fingers of each hand

simultaneously, we produce a body of tones, which--if they are so

chosen that they blend harmoniously--is called a Chord; and a series of

such chords is an illustration of what is known as Harmony. If,

however, we play with one finger only, we produce a melody. The human

voice, the flute, horn,--all i struments capable of emitting but one

tone at a time,--produce melody.



Melody constitutes, then, a line of tones. If, as we have said, Time

is the canvas upon which the musical images are thrown, Melodies are

the lines which trace the design or form of these images. This

indicates the extreme importance of the melodic idea in music form.

Without such tone-lines the effect would be similar to that of daubs

or masses of color without a drawing, without the evidence of contour

and shape.



A good melody, that is, a melody that appeals to the intelligent

music lover as tuneful, pleasing, and intelligible, is one in which,

first of all, each successive tone and each successive group of tones

stands in a rational harmonic relation to the one before it, and even,

usually, to several preceding tones or groups. In other words, the

tones are not arranged haphazard, but with reference to their

harmonious agreement with each other. For a model of good melody,

examine the very first sentence in the book of Beethoven's pianoforte

sonatas:--



The tones bracketed a, if struck all together, unite and blend in one

harmonious body, so complete is the harmonic agreement of each

succeeding tone with its fellows; the same is true of the group marked

c. The tones bracketed b and d do not admit of being struck

simultaneously, it is true, but they are all parts of the same key (F

minor), and are closely and smoothly connected; hence their

concurrence, though not one of harmony (chord), is one of intimate tone

relation and proximity. Further, the whole group marked 2 corresponds

in its linear formation, its rising, poising and curling, exactly to

the preceding group, marked 1. This, then, is a good

melody,--tuneful, interesting, intelligible, striking and absolutely

definite.



In the second place, the tones and groups in a good melody are measured

with reference to harmony of time-values; that is, their metric

condition, and their rhythmic arrangement, corroborate the natural laws

already defined:--uniformity of fundamental pulse, uniform recurrence

of accent, and sufficient regularity of rhythmic figure to insure a

distinct and comprehensible total impression. This also may be

verified in the time-values of Ex. 5. Scrutinize also, the melodic and

rhythmic conditions of Exs. 1 and 2,--and the examples on later

pages,--and endeavor to vindicate their classification as good

melodies. Ex. 4, though an exposition of irregular rhythm, is none the

less excellent on that account; on the contrary, this irregularity,

because wisely balanced by sufficient evidence of harmonious and

logical agreement, only heightens the beauty and effectiveness of the

melody.



* * * * * *



Whenever whole bodies of tone are played successively, a number of

melody lines are being described,--as many, in fact, as there are tones

in each body. For example, in playing a hymn-tune we describe (on the

keyboard) the four separate melodies known as the soprano, alto, tenor

and bass voices. In a duet, unaccompanied, there are two melodic

lines; if accompanied, other melodic lines are added to these. Thus we

recognize the same system of associated lines in music as in

architecture or drawing. Very rarely indeed does one single unbroken

line portray a complete image.



But in music, as in drawing, the lines differ in their degrees of

importance and prominence; and, very commonly, one line over-shadows

all, or nearly all the rest. This strongest tone-line is therefore apt

to be designated, somewhat unfairly, the melody (the tune or air

is more just). But, at all events, this predominating melodic line is

the most important factor of the form, the one upon which the

definition and recognition of the form depend; and it is therefore

necessary that the student learn to distinguish it, to acquire the

habit of centring his attention upon it,--in reading, listening to, or

analyzing music; and, in playing, to give it the emphasis it requires.



The importance of a tone-line depends solely upon its conspicuousness.

The principal melody--the Melody--is the one which is most salient,

which most attracts the hearer's attention. For this reason the

composer is induced to place his chief melody above the rest of the

tone-lines, because the uppermost tone strikes the ear more acutely

than the lower ones, and therefore the succession of highest tones

constitutes a conspicuous line that attracts and impresses the sense

most keenly.



Here then, at the top of the harmonic tone-complex, we look for the

chief melody; and here it will be found,--excepting when arbitrary

emphasis (by accentuation) is imparted to some lower tone-line, so that

it, for the time being, assumes a prominence equal, or superior, to

that of the uppermost line. (This divided prominence is seen in the

18th Song Without Words--the duet.)