which begins the second subject of Beethoven's § Waldste'in Sonata (Op. 53, rst movement, bars- 35-42, where at the third bar of the melody a lower voice enters and finishes the phrase). 4 (a) Conjunot movement is the movement of melody along adjacent degrees of the scale.' A large proportion of Beethoven's melodies are conjunct (see Ex. 2, fig. B). 4 (b) Disjunctmovement, the opposite of conjunct, tends, though by no means always, to produce arpeggio types of melody, 'i.e. melodies which move up and down the notes of ~a chord. Certain Wagner, whose melodies are almost always of instrumental origin, is generally disjunctpin diatonic melody and conjunct in chromatic (Ex. 2, fig. C, is a disjunct, figure not forming an arpeggio). For various other melodic devices, such as inversion, augmentation and diminution, see CONTRAPUNTAL FORMS. '- We subjoin some musical illustrations showing the treatment of figure sin melody as a, means of symmetry (Ex. 1), and'development (Ex. 2-7), and (Ex. 8-13) some modern melodic transformations, differing from earlier methods in being immediate 'instead of types of such nielody are highly characteristic of Brahms; and gradual. (D. F. T.) Ex. I. “Barbara Allen" (showing the germ of binary form in the balance lbetween A1 on the dominant and A' on the tonic).
Ex. 2. Mainthemeofthelirst movement of Beethoven'sTrioinBb, Op.' 97.
tee gist# -ffessi-~ its-i i i'?'~fi"—A
IA 1 IB I i|B'||C' '| I
Ex. 3. FigureAof above developed inanew -Tlyphonic 4-bar phrase. Ex. 4. Further sequential developments of A. A 4 bg. #fr P If,
lille is gill; 2,
c r A df* f » 'iff f '”' &c. e - ir- A+., V-if is W »= e l I f- V &c.- V» my WFT TT(ire Ex.. Dev-ezoprnentmof C with ' l (T' ' (il it; I K
- - /Q
IF “: I=<Cg|If-Emi; iqé i pill. ' J -§ |, f p, ling C 55- x x” i @i'7~=3'< *X
~ I l I | V1 Citi BV, C2 tr Ex. 6. Further development of B -by diminution, in combination with the trills derived from C. C2 Ji' tr ' - V I
~ ' P I ff if
as Q I i 1 4l.=I;§ %
x c tr new FI I ~z»E
g V tr if i .&c
Q - Q: ' 'X 'I C § si*
if I i= if
B diminished. ' -4
Ek. 7. Further development of B by diminution and contrary motion p (inversion), '
B "°'*°d- ' 1, Ex. 9. A and B2 diminished. ? ' “' =- " ' Ai: 'jj * I "j"i-'igg l' ' - - ' '&&°° i'£I'T E151 I I s - +1-ji=;fIs I
8. BRAHMS, Quintet, Op. 34.
IA B*, I IB” ', I
lv ||;Q=-i. . 1 gi ===h
f ~ - E =..-'zeirii Q - +, ~~, -Q-°
Ex. II. The Rheindang}l@r'fs Toy? fWagner, Das Rfleingold. is e. i Q ei;f=i'=; § = 2 1g
- f -Mi ls-#ill
B .... . .
Ex. 12., Tha I§ Ilbelllng's Talisman. ~ H; I Ex. ig; Walhalla.
—T-L . .g EZSI »-;,
W I V i r H V' i ' -if QI':ii H EH EZ g ~ A M
?lT1"I' A