t_: t-- t4

t_:
r t
.'-- .
t 7
Y-t
l - s
?'
14
a' 7t r l
t-t;
I t
-
4
,.
t4
l4
l-t
*l
J
t
t4
Er*,
Topics
lmportant
Concepts
The Motive
Melodic Motives
Figure
6.1
Melodic Organtzation
Motive
Melodic Motive
Rhythmic Motive
5eguence
Sequence Segment
Real Sequence
Tonal Sequence
Modified Sequence
Rirnskv-Korsakoff: Scheherazade, op. 35.
6
.1,) ? .
'a r)
-
a
M"t""
-' lri. [)u rtlunus.
\lotive
t
False Sequence
Phrase
Phrase Member
Period
A nte ce d e nt-Co nseq u e nt
Parallel Period
Contrasting Period
Three-Phrase Period
Double Period
Repeated Phrases
Extended Phrase
Change of Mode
Climax Tone
Ascent
Descent
This chapter discusses the organization of melodic thought and the ways in which musical
units are combined into larger and larcer sections.
A motive (or motif) is a short melodic and/or rhythmic figure that recurs throughout a
composition or a section as a unifying element.
Melodic motives are repeated pitch patterns. They usually recur with the same or similar
rhythmic patterns.
M"t"" M"t*.
repeated repeated
Motive
repeated
Mo,i*
-' , -...
Mo*,.
-Motiu.--.
repeated repeated repeated
109

Motive Motive
repeated
M"ti".
repeated
Motive
repeated
Rhvthmic Motive A recurring rhythmic pattern in a piece of music is called a rhythmic ntotive. Although
melodic motives typically contain rhythmic motives, there aremany
cases in which rhyth-
mic motives function independently of melodic patterns, as the examples in figure 6.2
illustrate.
Figure 6.2
British Folk Song.
Rhythmic motive:
Paul Anka: "My Way" 1967,1969.
"My Way." Words by Paul Anka. Original French Lyric by Gilles Thibault. Music by J. Revaux and C. Francois. O Copyright 1967 by Societe des n
t.
\

l .
r)
V : Figure 6.3
1
7 . J)
Mendelssohn: Sorzgs Without Words, op. 62, no. 1, m.
E,^ ,
I t l t
l - r r : : :
l_: i e I i
ft
l , \
l t t
P,
w,
V
Rhvthmic
=,
l -
|-1
T
Ft
l .
)- ;
| , t
I
I I
I
a-.)
* d e *
Rhythmic motive:
;= - _
5eqUen(e )eq uer lce
d * * d e f a *
, , etc.
A sequence is the immediate restatement of a melodic motive or longer figure in the same
incfflrm.nrel instrumental ^r or w^.4t vocal nqr.r part at 4r a 4 hiahar higher ^r or r^u,ar lower hir^$ pitch. Ea^l Each separate --ii ^r+1,- --^,,--^-:-
"-^-..r- unit of the sequence is
called a sequence segment. The sequence is one of the most common and basic methods
of melodic elaboration found in the eighteenth and nineteenth centuries. Some character-
istics of sequences are:
l '
l,____,t
l. A sequence requires at least two segments.
I
1
I I
.
|
',-)-
-
|
14
I
2. Most sequences contain no more than three or four segments.
3. Sequences usually have only one direction-the segments succeed each other at continuingly
higher pitches or continuingly lower pitches.
4. Sequence segments usually continue by the same interyal distance. As an example, if
the nrst segment begins on C and the next starts with E, then the remainder of the segments
will continue in thirds.
t4
I -
4l
I
?t
|
?2
> J l
{ea/ 5eguence A real sequence contains continuing segments that are an exact transposition of the first
segment.
' :qiire 5.4
| ^ B.'erhoven: Symphony no. 9 in D Minor, op. 125, IV (prestissimo), m. l-4.
4
I t
r l
l--t,
l)
2
-?
b-
-S.q*n..
-
Sequence Segment S.grn.r,t I f Sequence Segment 2
Melodic orqanization 111

Tonal Sequence
Figure 6.5
Sibelius: Symphony no. 5, op. 82 in E-flat Major.
Used with kincl permissiorr by Edition Wilhcim Hanscn. AS. Coperthagert.
A tonal sequence accommodates the diatonic scale, so only diatonic notes of the scale are
used. This means that the transposition of the segments may not be exact. In ligure 6.5,
note that in some segments, the half-step and whole-step patterns of the first segment are
not reproduced exactly.
Sequence Segment I
Sequence Segment 2
Tchaikovsky: Symphony no. 5. op. 64 in E Minor. I, m. l-6.
Modified Sequence
False Sequence
Figu re 6.7
Seq-uence Segment 2 -
ln a modiJied sequence some of the segments may be decorated or embellished in a way
that does not destrov their orisinal character.
Figure 6.6
C. P. E. Berch: Sonata for Violin and Piano.
A.false sequence repeats part of a figure and states the remainder in sequence-a mixture
of sequence and repetition.
Beethoven: Trio in B-flat Major for Piano, Clarinet. or Violin and Cello. op. I l. II (Adagio). rn. l-3.
Sequence Sequence
Schubert: Symphony no. 5 in B-flat Maior, m. 5-8.
Sequence Repetition
Sequence Repetition
112 The Structural Elements of Music
J
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-
)
r
---1
--,1
. L
-/
-- -
\
\
t
:
t
\
t
---J
lb

Phrase
Figure 6.8
Haycln: Syrnphony no. 102 in B-flat Major. IV (Finale). m. l-3.
Phrase Member
Figure
6"9
Haycln: Synrphony inC N4ajor (7or'1.
Phrase merlbcr
Haydn: Trio no. I in G Major.
A pltru.te is it substarttial rirusical thoLrght r,rsually cnding with a harrnonic. ntelodic. and
rhythnric cadence. The presence of a cadence distin-uuishes a phrasc frurnr a rnotive.
Phl'ases are lrecluently lirLrl measures krng. but rlay be lcln-uer or shorter. A phrase pre,
sents ilcornplete (thou-uh sonrctimes dependent) nrusical thousht.
Plrrases freqLrcntly contain sli-sht nrelodic interrLlptior-rs itnd thus clivicle into two phru,se
ttterrtlters. Phrase nrctnbers are sulficiently separated. usually by a lon-tcl llote viilue tlr
rest. to distingLrish thenr as inclividual units. Sonretitr-rcs the second phrasc nrenrbcr is cither
a rcpeat or seqLtence ctf the llrst. however. it is just as ofie n cclntrastin_{.
Phrase member
\lozurt: Soltata in D Major. K. 28-1. I. n. l__3
t,:
/n'l e
;
Phrase rnember
Phrase
o o i
,a .1, it
Phrase
Phrasc
Phrase nrember in sequencc
Uncler certain conclitiorrs phrase nrentbers Inay be nearly indistinguishable ll'ortr
phrases thcntselves. with only the tentpo sclr ing as the decidin_g lirctor. Figure 6.10 nti_sht
be intcrpretecl as twil phrases at a slow tentpo. because o1- thc clcar rhythrtric cadetrec.
Hou,c-r'er. sincc there is no hltrnrctnic cadcnce in nleasLrre 2" the passagc is heard as a firur'nreasurc
phrase.
Melodic Organization
Cclntrasting phrase tncrnbcr'
a
113

F
Fig u re 6.1 0
Mozart: Sonata in C. Major, K. 309, II, m. 1-3.
Andante un poco adagio
Period
Parallel Period
Figure 6.11
Foster: "Camptown Races."
Two adjacent phrases may combine to fonn a period tf :
L The second phrase ends with a strong cadence.
2. The first phrase ends with a weaker cadence than the second.
3. The two phrases bear some musical relationship to each other. Often. they will create a
"question-answer" effect called antecedent-conse qLtent.
Two adjacent phrases form a parallel period if they both begin in the same manner. (See
figure 6.I L) The two phrases may be nearly identical except for the cadences or they may
onlv be similar for a measure or two.
Phrase I
Folk Song: "Cockles and Mussels."
Half
cadence
Same as measures I and 2
114 The Structural Elements of Music
__4 , t5 6 7 ! ]
Phrase 2 (parallel to phrase 1)
Phrase I Half cadence
Perfect
authentic
cadence
Phrase 2 Perfect aqth"ntr9jq99!!9
Dfffeient from measures 3 and 4
LI
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r t
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Li
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t
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L4
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)
Figu re 6.12
Schubert:
Impromptu op. 90, no. l, D. g99. m.2_9.
Contrasting Period
Figure
6.13
Folk Song: "The Ash Grove."
Three-Phrase period
Frgure
6.14
In figure 6'12 only the three final notes of the second phrase are different from the first.
Sarne as phrasE--
Phrase I
Authentic cadence
A contrasting
period results when the two phrases
are not similar in melodic content.
Phrase 1 Half cadence
Phrase 2 Perfect authentic cadence
While most periods are composed of just two phrases, those of three (and even more)
do occur' The three phrases may consist of A A B lantecedent, antecedenr, consequent) or
A B B (antecedent, consequent, consequent). The third phrase must end with a stronger
cadence than either of the other two.
i''-'-ri.rrrren: Sonata (path6tique) in c Minor, op. r3, III (Rondo), m. l7r-rg1.
Phrase 1
Melodic Organization
Phrase
2
ase 2 contrasts phrase rhythm
Half cadence
Half cadence
115

;F=
i'Weak because ot' its lh-vthnric bre r itr.
Dauble Period (Four-
Phrase Periad)
Fig u re 6.1 5
Phriise 2
Phrase 3
Mozart: Sonatu in C Ma.jor'. K. 309, II. rl. l-l(r.
Andante Lrn poco adagio
a!
-J
p
9
'rWeark
perf'ect authentic cadence
The virriety of phrase relationships in tktuble periorl.s are t(x) nLlrnerl)Lls to classify here.
Howcvcr. thc surnc principle governin-u two-phrase periocisapplies
here as well: thc
fourth phrase rnr-rst brins the period to closure and shoLrlcl bc at least as strong as any ol
the other thrce.
f p r p f
f
3
a_
t.
-:Ge
2't.i)-i?) -l
116 The Structural Elements of Music
1
Strong perf-ect
aLrthentic cadcncc
tuiircitccr
, authcntic
catlcncc
Hall'
cadencc
t a a
Irnpcr['cct
aLrtlrcntic
caclcncc
.-l
J
-l
J
-l
:_l
:_l
:-J
I-J
!
!
:_l
:_l
:_l
:l
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r-l
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t

?,
=,
It
it
l f
L-.
-,
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Repeated Phrases
Figure
6.16
a
p
'.-\
\----
Herbert: "Gypsy Love Song" fron The Fortune Teller.
f
Modification of
the Ph rase
Extension of a Phrase
Extension
near the
Beginning of a Phrase
F ig u re 6.17
Hrrrrln: Svntphony no. 104 in D Ma.jor. III. m. 53-58.
t
Extcnsion near the beginning
fp 14
Perfect
authentic
cadence
Repeoted pltroses, whether identical or modified, are not typically regarded as period
structures because the second phrase is not dependent on the first. Thus the
antecedent-consequent concept does not apply. Figure 6. 16 illustrates a modified repeated
second phrase and a perf-ect authentic cadence as the completiitn of both phrases.
Phrase I Perf'ect authentic cadence
Phrase 2-Modifi ed reoeated Perf-ect authentic cadence
(Assignments 6.1 and 6.2, pages 123-125; Workbool

J
Fxtensio n in the
Middte of a Fhrase
Figure 6.18
Haydn: SYmPhonY no. l0l (ClocH in D Major' l. m' 24-28'
-
Internal
phrase extension
4 .-'--->
Fxfensfo n near the The following phrase would be complete without the bracketed section'
Cadence of a Pfarase
Figure 6"'19
Mendelssohn: Sorrgs Withottt Worcl's' op' 85' no' 6' m' 64-69'
Figure 6"20
Haycln: Symphony no' 95 in C Minor' III' ni' I 3- I 8'
Other Melodlc
Orga n ization
Figure 6.?1
The following phrase would be complete without the bracketed section'
_ lqSltial extension ,,
Some phrases are lon-qer than others simply by desi--en and not by extenston:
a---- ^-
Smetana: "The Moldau," from M,t Countr\', m. 40--40.
118
phrases are somerimes modified by a c'hctnge o.f mode trom maior to parallel minor or vlce
versa.
. P ' P ' t .
r - T l
ihe Structurai Elements of Mustc
5
\-J
\ - l
I
I
I
- l
' l
I
----
!
v
t,

Smetana: "The Moldau," fiom Ml' Country, m. 73-80.
Melodic Structure
Generaf
Characteristics
Figu re 6.22
Mahler: "Urlicht" from Das Knnben Wunderhrtrn.
Figure 6"23
Beethoven:
Symphony
Figure
6"24
no.
E Major
( Assignments 6. 3, 6.4, and 6. 5, poge s I 2 5- I 29 ; WorkbooUAnthologt, 6C-6J )
Up to this point, the discussion has centered on the organization of melody into units such as
motives. phrases. and periods. The following section focuses on the nature of melody itself.
Many aspects of melody are not yet clearly understood. For example. why is the first
r-novement of Beethoven's Moonlight Sonata (op. 27. no. 2) so well known when the
sonatas preceding and following it are reliitively r-rnknown to large audiences'l Despite our
inability to fully explain the nature of melody. rnuch infbrmation can be _sained simply by
investi-qatin-q a number of melodies to see what they have in comrnon.
If you examine a large number of tonal melodies. a number of similarities emerge.
l. Most tonal melodies contain a climax tone. A clinru.r tone is the hi-ehest stressed pitch
of a phrase or other unit. Usually the climax tone is reached only once. In fi-uure 6.22.
the clirnax tone is D and occurs only once.
2. Most phrases contain an uscent to and cle.scent ficlm the climax tone.
3 (Eroicu).
op. 55 in E-flat Maior. IV (Finale).
m. 76-83.
Climax
Ascent Descent
3. Many melodic phrases contain significantly placed pitches of the tonic triad (scale iiegrees
1. 3. and 5) that are important in shaping the entire phrase. Tonic tnad pitches are
circled in fisure 6.24.
C'orelli: Concerto Grosso. op. 6. no. 8. in G Minor. II (Allegro). m. l-7.
e
Meiodic Organ!zation 119

Figure 6.26
4. Scale pitches T2-i often conclude those phrases that end with the tonic pitch. The
chorale melody in figure 6.25 is a simple example of scale clegrees ll-i completing a
phrase.
Figure 6.25
Christ lag in Todesbanden (Christ Lay in the Bonds of Death), m. l-2.
A
Figure 6.26 does not end with scale degrees 1-2-l because the phrase concludes with a
half cadence-the final pitch F is a part of the V chord but not a part of the I chord that
would be necessary for a perf-ect authentic cadence.
Beethoven: Symphony no. 3 (Eroictr), op. 55 in E-flat Major, IV (Finale), m. 76-83.
Figure 6"27
Rcnaissance I)criod
( l;15{)- I 6(X} )
120
In figure 6.21 the 3-)-i progression is distributed over two phrases. a fairly comfflon
event. The first phrase ends befbre it reaches the tonic. then the secondphrase
repeats
both the 3 and 2-before concludins on the tonic.
Phrase l Phrase 2
t 2
(Assignment 6.6, pages 129-130; WorkbooAAnthologt' 6K)
H istory
The idea of the tour-bar phrase, so cofflmon in the mid to late seventeenth century. developed
gradually during the late Renaissance period. Figure 6.28 is representative. The
phrase endings occur in measures 2, 6, and S-far from the balanced and regular phrase
structure of later periods.
The Structural Elements of Music
I
J J:_l
:-l
:-l
"J
'J
:J ,J
I I
I
I
I
,- l
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I
l/r
V-t
L"
l--
L"
EVt
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Vr
t
Fig u re 6"28
Morlcy: .'Nuncie."
T I
iilr rot; ut. I'r, l"ict l
i lft{X}* I ?5t}i
Figure 6"?9
PLrrcell: "Chaconne" fronr Kin,q Arthttr.
i lirrsir";ll Inrl'ilcI
i ?Ei|-.llll5 i
:{', ir1:!lti ir. tr}i.l'igrtl
; .;.;.
lr!i!l! t
- I - i'liull.rntic iiltcl
! r !,:\!{rllirtiq' I}l'l"ilrfl
!.!---"t! '
, ,i.ii
i'i il*l'ilr+l
-t'!l! i
The dc'r,elopntcnt of phrasc ancl periocl construction aclr,anccd
1600 to 1675. and by,the latter hall'ol'the baroqr.re lteriocl. phrase
rapiclly clurins the years
structllre rvas clnite rcgltlur'.
Fi cure 6. l9 i I I Lr:trates eontlllsI i rr u pr.r'iocl con\l l'uet i( )n.
The classical pcriocl. represented by the wolks of Haydn. Mozart. and Beethoven. is per-
haps the cultninatictn of fitrmal phrase constructicln. Many of the exantples in this chapter'
were clrawn front contposers of this period.
Although thc highly ltrrnral style of the classical periocl begrn to faclc in the vears ll'onr
1800 ttt abttut I tt30. the rotnantic period nraintainecl the basic clenrents of phruse and period
constrLrction.
As l'Lrncticlnal harntonl,'and strict key-orientecl tonalitv graclLralll,clintinishecl in intporti.ltlce.
so did the carlier ideas concernirrg phrasc relationships. Nevertheless.
phrasc artd periocl constrllction cun still be cletectccl in the. rvorks of conrposers of this
period.
In the wicle range of new rnusicalstyles
in this century. the rnLrsicul phrase. althoLrgh styl-
istically much chan-ued ll'orn thatof
its ltrouenitors of thc- baroclue period. is still a clonrinurt
influencc in rnuric.
f,l e l r-.,J
i I O rq a rr i zat i o n
121

.lazz ancl Popular Phrase and period construction have always been a staple procedure in American popular
N{usic ( 1900-Present) music. Note the strict 8-bar phrases in figure 6.30, a popular song of the 1960s. Each
phrase in this song is divided into two regular phrase members and the entire song is a
doubte period.
-
r-
t
|
_ T
Figure 6.30 . T
i--l
Nelson; "Crazy." \. I
'.cra2y,..wo.dsdndmusicbywillieNelso.'copyrightol96lSony/ATvso.gsLLc'cop}rightRenewed'AllRi8hlsAdninistcredbySony/ATvMusicPub|hin!
wesr. Nashlillc.TN 17203. Intemddonal CopyriEht secured. AllRiShls RcrcNed. U*dby Pernission L
122
__I
+t- _,==_ :J
hr- L r
r -
_{
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ar^-;;, -- cra-zy for feel-in'so lone-ly;- I'm cra-zy, -
tJ L I
.-3- -s=_
a
.+
-
,.-3-1
-3 -=,) \
_
- l
)
I
:_l
cra-zy forteel-in'so blue. I knew--lyou'dlovemeasloltll:]j -:
:l
p'+-=:- - - L r
:_I
. --'--=' ; =-
'--
I
and then some-day- you'd leave me for some-bod-y new.
*""tt -
fl
_
_<
- - = r - l
why do I let my-self wor-ry; - Won-d'rin'- what in the world world did did |
ar-
L r tsJ J-----
a t ' -
Cra-zy lbr think - ing that my love could hold you,
I'm Cra-zy for try Cra-zy for cry - in' and I'm Cra-zy for lov - in' you.
Jazz, up to about 1945, had regular phrase structures. but with the rise of Charlie
Parker and other noted improvisers of that period, irregular and unbalanced phrases become
more fashionable.
The 5tructural Flenrents of lVlLrsic
-1
T
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,)
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lt
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it
lt
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Assignment
6.1
l. CD Track 40
2. CD Track 4l
.1. CD Track 42
+ CD Track 43
- ('[) Track -1.1
,;F
( U
Each melodic excelpt consists of two phrases.
L Determine if the two phrases form a period.
2. rf a period is formed, indicate the type-either parallel or contrasting.
3. If the phrases do not form a period, indicate the reason.
1.
2.
a
J.
4.
5.
6.
7.
8.
9.
10.
Is a period formed?
(yes or no)
If so, name the type (parallel or contrasting).
If not, explain why.
Meiodic Orqanizatron 123

6. CD Track'1-5
7. CD Track.16
8. CD Track 47
9. CD Trae k -18
10. CD Track ,19
tB E-
Assignment 6.2
l. Write an additional phrase fbr each in parallel construction.
2. Writc an additional pl"rrase firr each in contrasting constrirction.
3. Select two of the nteloclies and writc tll'o additional phrascs to rnake a threc-phrase period.
,1. DiscLrss the analysis of each phrase.
l. Haycln: SttnatainGMa;or,Hob.XVI:.10. I(Alleglettor-inrrocente).nt. l-:1.
G Ma.ior:
Use the fitllowin-c seven phrases lrom rnusic literatLrre as rr basis fbr periocl construictior.r.
On a sep:-rrate sheet o1'scclre paper:
2. Bizet: Cunttert. Act II. "La fleur quc tu rtr'avais
ietde." nt. l-.1.
D I Major:
124 l" l-: e 5t r r-r r.'; i; r a i L l e rn * n ts af [Vl r-i s r c
'_2
- -

7
J.
l-',
l:
l ;
l € t
I
a-/ t
wr
\-t
E
3I
;
l :
l 7
L-.-
=
?,
A Major:
4. Couperrn: Lct Bandoline, m. l-4.
A Minor:
5. Brahms: Waltzes, op. 39, no. 2, rn. l-4.
E Major:
6. Weber: Concertstuck, op. J9, m. 1-/.
F Minor:
Really Ruled the Waves." fiom lolanthe, m. 6-9.
7. Schubert: Sonata in G Major, op. 78, III (Menuetto), m. l-4.
B Minor:
Assignment
6.3
1. Have a class member play the excerpt provided from the Mozart Sonata K. 331 .
2. Make a complete melodic analysis of the excerpt.
3. Answer the following questions. For the pu{pose of these questions, be concerned only
with the melody (highest sounding tones):
a.Aperiodmadeupofparal1elphrasesoccurSat-(measurenumbers).
b. A sequence occurs at --- (measure numbers).
c. Including the repeat marks, a repeated period occurs at
numbers).
d. A phrase extension occurs at - (measure numbers)"
e. The phrase (see d. above) is extended in (pan of the phrase).
f. A phrase that is contrasting to all other phrases occurs at
numbers).
Melodic Orqanization
(measure
(measure
125

Mozart: Sonata in A Major. K. 331, I, m. 1-18. CD Track 50
B@)
i b I
e e -
l. An excerpt from Schubert's Imprompru op. 142 fbllows.
2. The followin-e chart analyzes the structure of the first sixteen rneasures.
3. on a separate piece of paper, chart the remainder of the composition.
4. For the purpose of this chart, be concerned only with the melody (highest sounding
tones).
Measures
l-4
5-8
9-12
13-16
Phrase
Number
I
z
.)
-)
1
Phrase
Relationship
Schubert: Impromptu,Op. 142,no.4. D.935. m. l-36. CD Track 5l
Allegro scherzando
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Phrase I
Contrastin_u to Phrase
Phrase I modified
Phrase 2 modified
126 The 5tructurai Eiemerits of N/usic
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Period Period
Number Relationship
I Period I
2 Period I modified

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Assignment
6.4
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l. Write a four-measuremelody
in A major and include a tonal sequence of two
segments.
2. Write a fbur-measuremelody
in B harrnonic minor and include a tonal sequence of
three segments.
MeicrJ rr- Orga n izat i r:n 127
?

Assignment 6.5
3. Write a four-measure melody in B-flat major and include a false seqLlence of two
segments.
4. Write a four-measurc melody starting in E harmonic minor and include a real seqllence
of two segments"
Write a four-measLrre melodv in
two segments.
E-flat major and includc a modifiecl tonal sequence of
[. Write a four-measure phrase of music in G harmonic minor. Then rewrite it with an
extension at the besinnins.
2. Write a four-measure phrase of music in A-flat major. Then rewrite it with an extension
in the interior of the phrase.
128 The Strirctr-rral Elements of Music
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Assignment 6.6
Folk
Haydn: Sclnata
3. Write a fbur-measLlre pl'rrase of n-rusic in F ma.jor. Then rewrite it with an extension at
the end of the phrase.
;1. Write a four'-mei.lsLlre phrasein
F-sharpharrlonic
mintlr. Follow it rvith a rnoditled re-
peated phrase tltat inclucle s a change of nrode.
Each exercise consists of a phrase or r.nore of melocly frorn rrusic litcraLurc. Anall,zc cach
rnelody by acldin-l thc syrnbols given below.
('lirttax torte ll
Ase cnt
Dcsccnt
-t"/'
\----_.__
Tonic triacl O
Scale clegrees that conclr-rcle the 3
Renrenrber that scale degrees
throughout the excerpt. whereas
i phrase or period.
C Ma.ior. Hob. XVI:3. III. m. 31-3.t. CD Track52
Banner." Last Phrase. CD Track
lc Bccn Workin-e the Railroad." CD Track 5.1
and 2 rxLrst occlrr in that order br-rt nray be scattered
always thc linal pitch of the phrasc or period.
i\"ieiocj ic Orga n ization 129

-
4. Folk Song: "Row, Row, Row Your Boat." CD Track 55
5. Folk Song: "Long, Long Ago" (Last Seven Measures). CD Track 56
6. Folk Song: "In the Gloaming" (Last Eight Measures). CD Track 57
J. Mozart: Sonata in D Maior.K.284, [II, m. 14-17. CD Track 58
8. Mozart: Sonata. K.282.II (Menuetto I), m.28-32. CD Track 59
9. Havdn: Sonata. Hob. XVI:13. III. CD Track 60
10. Haydn: Sonata, Hob. XVI:14,IL CD Track 6l
!--3--- b -3-:
11. Haydn: Sonata, Hob. XVI:9, I. CD Track62
130 The Structural Eienrents of Music
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