MELODY (Lat. mclodia. Gk. pe24uSia, from mc/os, song ± tid(., song). A suc cession of tones constituting a musical phrase. That this succession be pleasing is not absolutely essential. Whereas harmony eonsiders all the tones sounded simultaneously in the various voices or parts, melody primarily considers the various tones of only a single voice or part, i.e. in relation to every preceding or succeeding One. Broadly speaking, it has been stated that a melody rising in pitch corresponds to the more violent emotions, such as determination, desire. longing, striving; while a melody falling in pitch corresponds to the more passive states, as resignation, content pla t ion, sadness. But in reality a melody rata never lie considered abso lutely by itself. The character of every musieal phrase is determined by a combination of three vital and fundamental elements, melody, har mony, and rhythm, each of which affects the others. This is easily seen by examining any of Wagm•r's leading motives, where the same melodie phrase is rendered capable of great emo tional variety by changes in the harmonic or rhythmic elements. In fact, the same sion of notes may sound noble or trivial, accord ing to the ehoice of relined or eominonplace harmonies supporting it. '('hero is :in endless variety in the succession of musical tones form ing a melody; some being so easily intelligible that evert people of little musical taste can dis tinguish them, as is the case with some popular dance forms. The term melody is by no means synonymous with rant Wag, as many seem to flunk. The former term is infinitely broader than the latter. No special eourse in melody is given in conservatories. although in 'went years several theoretical treatises on the subject have appeared. The pupil lowonsejoiNly quires the !inlet ieal elements of melodic forma tions %%Idle pursuing the study of harmony and the higher forms of eomposition.
Upon any harmonic basis a practically endless nutulmr of melodies may lie and, vice versa, all melodies can be reduced to a simple harmonic basis. To illustrate this let us take the opening theme of the famous andante of Beethoven's Fifth Symphony. The harmonic plan is as follows: ' Upon this basis Beethoven wrote the melody originally in this form: .
When lie came to write the full score the mas ter felt that his theme was commonplace. By retaining the harmonic basis and only altering the melodic intervals the following noble melody, such as we know it, arose: 1 - -- - — The following is a reduction to the simplest harmonic basis of the principal themes of the well-known Sonata op. 53 (Waldstein) : Comparing this with the original, it will he seen how Beethoven constructs his melody. The reader should examine in the score the successive melodic changes which the theme of the third ex ample undergoes in the course of the movement. \Wagner in the Prelude to Die Meistersinger re duees the Mastersinger's motive and the second I theme from Walter's Prize Song to a common ' harmonic basis (slightly different from that of either of the themes hi its original form), and thus is enabled to make both themes resound I simultaneously on different instruments. (Piano score. p. 7.) Without making the slightest altera tion in Bach's U major prelude from the Well `tempered Clavirhord, Gounod writes an addition . al melody to the harmonic basis. which has be come famous as Gounod's Ave Maria.
The following examples show how a mere sue eission of intervals can be changed by the in fusion of the rhythmic element into a distinctive melody. In Wagenseill's book. Von der Meister singer holdseligen Kunst, we find the following two tunes of prize-crowned master-songs: 1 ,... /hi I V V Both these simple tunes Wagner uses in the 1 )'recessional March of Die Meistersinger. where they occur in these forms: I All melody can be conceived as a rhythmic from a succession of intervals in notes 1 .
of equal value. And vice versa, all melodies can be reduced to a monotonous sueces.Mil of inter vals. it is the composer's individual genius that imparts its character to each melody. Within recent years several theorists have attempted a scientific exposition of the principles of melodic formations with practical hint. toward their invention. Among the best works of this Lind are: Bossier. Elenamlarmclodik (Evvinus 1879) ; Rieinann, .Ware Schub• der 31elodik (11amlairg. 1883).