MAPEH

Name of Teacher
Elements of Music
(Continued)
Melody
Melody

 (General) the horizontal aspect of music; pitches heard one after

another
 (Specific) a series of single tones that add up to a recognizable whole
Melody Characteristics

 Direction
 Curve, Line
 Shape
 Beginning, Middle, End
 Continuity
 How one pitch leads to another
 Setting up expectations and fulfilling them
 53 1 3 5 1
Oh, say can you see,
3 2 1 3 4 5
By the dawn’s ear-ly light
 5 5 3 2 1 7
What so proud-ly we hailed
6 7 1 1 5 3 1
At the twilight’s last gleam-ing
 1 2 3 1 1 2 3 1
Are you sleep-ing? Are you sleep-ing?
3 4 5 3 4 5
Bro-ther John? Bro-ther John?
5 6 5 4 3 1 5 6 5 4 3 1
Morn-ing bells are ring-ing. Morn-ing bells are ring-ing .

1 5 1 1 5 1
Ding, dong, ding. Ding, dong ding.
MOTIVE

 A fragment of a melody, or short musical idea that is

developed within a composition
 A group of notes recognizable for its pitch and rhythmic
formulation
 Can be repeated in a number of ways and contexts
PHRASE

 Part of a melody
 A combination of motives forming a longer connected
unit
 Finished by a musical punctuation called a CADENCE
CADENCE

 Resting place at the end of a phrase in a melody

 Musical “punctuation mark”
 From Latin cadare meaning “to fall”
 2 types
 INCOMPLETE or OPEN
 Does not sound like you can end the piece here
 Gives expectation of continuing (Usually SD 5)
 COMPLETE or CLOSED
 Does sound like you can end piece here
 Feels complete (Usually SD 1)
JOSEPH HAYDN Symphony No. 94 in G
Major (the “Surprise”), Movement 2
motive

1133553 X

4422775
Y

1133553 X

.
1 1 4 4 5 5 Z
 CADENCE

PHRASE

Motive
X Y X Z
MELODY

 A succession of phrases making a whole span of music

PARAGRAPH = Melody
Punctuation Mark
Cadence
SENTENCE = Phrase

WORD = Motive
LUDWIG VAN BEETHOVEN
Symphony No. 5 in C Major, Movement 1

5553
motive
X

4442
Beginning
of X’ repeated
Melody and transposed down
One

5553 X

6665 X’’ contracted

and transposed

3 3 3 1…
X’ repeated
. and transposed up
 LUDWIG VAN BEETHOVEN
Symphony No. 5 in C Major, Movement 1

1712776
New
motive
Z

Beginning
X’ from melody one
of
Melody
Two
Inverted in shape 5551 New

1712776
Motive Z
repeated

X’ from melody one

Inverted in shape
5551
.
 LUDWIG VAN BEETHOVEN
Symphony No. 5 in C Major, Movement 1

 Motive “x” - the motive Beethoven called “fate

knocking at the door” is constantly present in the whole
movement
 This motive appears in other 3 movements of symphony
also
 This motive IS the MAIN IDEA of work
THEME

 Main idea of a composition

 Main idea that serves as a starting
point for an extended piece of music
 Something that unites and marks a
piece
 Can be a motive
 Can be a melody
 Can be other musical elements
 Dynamics
 Timbre, etc.
ANTON WEBERN Third piece
from Five Pieces for Orchestra

 What is theme?
 What is main idea?
 Is it a motive or melody?
 What seems to be the focus or main idea of this
composition?
Melodic Articulations

 STACCATO
 short, detached, sharp-sounding
 Example: JOSEPH HAYDN Movement 2 from “Surprise”
Symphony No. 94 in G Major

 LEGATO
 smooth
 Example: J.S. BACH “Wachet Auf” Chorale from Cantata #140
CLIMAX

 Highest pitch or emotional focus point in a melody or a

larger musical work
J.S. BACH Cantata No. 140 “Wachet auf”
(Awake), Movement 7
Phrase 1, 2 & 3

13555565
5 1 5 123 2 1 7 6 5
515634321
.
 J.S. BACH Cantata No. 140 “Wachet auf”
(Awake), Movement 7

554321
Phrases
4, 5, 6, 7 & 8

554321
2343 5671
515634321
.
Elements of Music
(continued)
Harmony
Harmony

 (General) Results when different pitches are sounded

at the same time
 (Specific) How chords are constructed and how they
follow each other
Harmony Terms

 INTERVAL
 “Distance” in pitch between any 2 tones
 Can also refer to 2 pitches sounded simultaneously
 CHORD
 Combination of 3 or more pitches sounded at once
Main Concepts of HARMONY
these are CULTURALLY DETERMINED

 CONSONANCE (n.), CONSONANT (adj.)

 Intervals or chords that sound:
 pleasant
 relatively stable
 free of tension
 DISSONANCE (n.), DISSONANT (adj.)
 Intervals or chords that sound:
 unpleasant
 relatively unstable
 full of tension
Examples

 CONSONANCE  DISSONANCE
 (1) JOSEPH  (1) ARNOLD
HAYDN SCHOENBERG
Movement 2 “Mondestrunken
from “Surprise” ” (Moondrunk)
Symphony No. 94 from Pierrot
in G Major Lunaire
 (2) J.S. BACH  (2) ANTON
Chorale from WEBERN Third
Cantata #140 piece from Five
“Wachet Auf” Pieces for
Orchestra
CHROMATICISM

 Using pitches that are “in-between” the regular notes of the scale
 Leads to greater amount of DISSONANCE in harmony

#1 #2 #4 #5 #6
b2 b3 b5 b6 b7

1 2 3 4 5 6 7
CHROMATICISM

 Use of chords containing tones not found in the

prevailing major or minor scale but included in the
chormatic scale (which has twelve tones); often found
in Romantic music
 Example: FREDERIC CHOPIN Nocturne in Eb Major
TRIAD

 Main type of chord used in classical music

 Often called “the common chord”
 Constructed of 3 notes each 1 step apart on scale

1 2 3 4 5 6 7 1
MAJOR TRIAD

 Triad with the interval pattern that is formed by notes 1,3, & 5 of a
MAJOR SCALE

1 2 3 4 5 6 7 1
MINOR TRIAD

 Triad with the interval pattern that is formed by notes 1,3, & 5 of a
MINOR SCALE

1 2 3 4 5 6 7 1
KEY (tonality) - central note, scale,
and chord within a piece, in
relationship to which all other tones
in the composition are heard

 MAJOR KEY  MINOR KEY

 music based on  musicbased on
major scale minor scale