t_: t-- t4

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