CHAPTER IX.

OF MELODY.

THE term Melody, has sometimes been used in a vague sense, to signify the agreeable result produced by any movement in music, taken as a whole; but we are here to understand by it, a single succession of sounds, tastefully arranged in conformity with the principles of the art. Any song or solo, or single part in a score, is considered melodious, when it consists of a regular assemblage of musical ideas, which are agreeable and effective. When different melodies are united in the same score, they constitute harmony.*

We have already treated of the nature and origin of musical ideas, and have intimated that they should be connected by their affinities and resemblances. A single strain of melody should consist of ideas that are closely connected. The several movements of a large piece, should be sufficiently dissimilar from each other, to subserve the purposes of variety and contrast, and sufficiently similar to be recognised as constituent parts of the same production.

*The same is true also of successions of chords.

We have also seen that there is a great difference among ideas, with regard to the impressions which may be effected by them. In this respect, some are to be considered as characteristic, and others as common place, some as essential and others as adventitious. These distinctions are peculiarly important in melody, though they relate also to the whole structure of composition.

But what system of principles shall guide us in the composition of melody? Among all the receipts for constructing harmony," says Dr. Bunney, "we have none that are intelligible for melody. We are told what may be done, by what has been already achieved; but this is only telling us what we may imitate and whom we may plunder. There are no magic wands to point out, or vapors hovering over springs of invention; no indications where the golden mine of new conceptions lies hidden. So that from age to age, memory and compilation supply common minds, and satisfy common hearers." Alluding to Rameau, Handel, Haydn, and Mozart, he says, "it is only such gifted men as these, who furnish the rest of mankind with ideas."*

But though it is true that melody as a separate branch of the art, is in a great measure unprovided with precepts, it does not follow that it is the mere offspring of lawless imagination. If it is true that the rules of harmony are in some measure established, * See Rees' Cyclopædia, Article Air.

and that a close union must be preserved between harmony and melody; it follows that certain passages of the former will continue to require, in like circumstances, corresponding passages of the latter, more or less diversified. Inasmuch then, as the fundamental rules of harmony are fixed, requiring a union between the two parties, they must operate as suggestions for the invention of melody. And as certain progressions in melody now in use have existed for several centuries, we may properly consider them as primitives from which the rest have been derived. And if every class of ideas in melody, even the most extravagant flights of execution, are derivatives more or less remote from a common source, then the principles for arranging the different species of melody, should seem to be scarcely less systematic and important, than those which are observable in other departments of invention. The decisions of culti vated taste are equally necessary, though not so uncertain and fluctuating, in literary productions, as in the composition of melody. The universal fondness for musical tones, for rhythm, harmonic combinations and florid embellishments; the native tones of elocution, so significant of emotion; the derivative character of ideas; the partialities of association, and the imitative purposes to which the art is applied; are so many sources or springs of invention, whence the composer under the inspirations of genius, may continue to derive his materials. The established rules

of the art will assist him also in combining his materials; and though not sufficient of themselves for the production of melody, they can at least assist him in checking the extravagances and eccentricities of her flight.

We have seen that melody must preserve its due relation to harmony; that its phraseology must contain features of resemblance and affinity; and that it must be composed of such impressive ideas as will serve to render it effective. It must also have its cadences, its returning periods, and its symmetrical proportions. These are provided for by the existing laws of rhythm. It must also be characteristic. This distinction refers to the specific purposes to which music is applied; whether for amusement or religious edification; whether for the field, the chamber, the concert-room, or the church.

Those peculiarities which have been termed national, form another important distinction. Many speculations have been hazarded by the curious, as to the origin of these peculiarities. The differences of climate, of national government and characternational prosperity, peace, war, refinement, industry, luxury, religious opinions, habits, and prejudices,have all been put in requisition for the solution of this question; and all to little purpose. The mystery remains in a measure unsolved. All that seems essential for the composer, the amateur, and the executant to know, is, that these peculiarities exist, and

which among them are best adapted to the taste of his own countrymen.

There are two opposite species of melody, which have been designated by the terms monodic and polyodic.* The former term is applied to compositions where the melody is uniformly confined to one part of the score; the latter is applied to those where it is given to two or more parts successively. There are innumerable varieties between these extremes. In some instances a strain of melody is accompanied by a mere succession of chords, or broken clauses of harmony; at other times, the accompaniment contains scattered fragments of derivative melody. Sometimes a passage, unmeaning of itself, is so skilfully combined in harmony, as to produce delightful results; at other times, it is so worked up as to be transformed into beautiful melody. Instrumental compositions of the higher order abound with such examples.

The strongest examples of the polyodic style are those where the melody is made to pass successively into the several parts of the score, giving each in its turn the opportunity of becoming predominant. When a section of melody is made to pass in this manner, it is called the subject, and it serves as a sort of text, on which a dialogue or disputation is founded; each of the performers taking an active part in the discussion. Here, as in fugue and imitation, a distinct re*See Callcott's Musical Grammar.