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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
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