Would the melodic leap of the opening phrase of Mozart's K545 be considered dissonant?Why does a melodic half...
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Would the melodic leap of the opening phrase of Mozart's K545 be considered dissonant?
Why does a melodic half step resolve on the higher note?More dissonant chords/intervals in the bass clef when frequency proportions are the same?What do you call the melodic pattern with 3 notes?How to find the most correct meter of a riff or phraseWhy do certain vocal melodies work in context when those same melodies would sound dissonant on instruments?Melodic Criticism - Exercise 3.16G, Laitz The Complete Musician 2nd EditionWhat is the ordering of modes (Ionian, Dorian, etc.) from least to most dissonant?
The Complete Musician by Steven Laitz states that melodic intervals larger than a fifth are considered dissonant and should be avoided. It also states that two leaps of a third are fine, provided you change direction afterwards, which Mozart does.
In Mozart's Sonata K545, the opening melody of the Allegro (one of the simplest and most popular melodies of the period) runs 1-3-5-7-8-9-8. 
By the definition given in The Complete Musician, would the jump from the high 5 (G) down to the 7 (B) be considered a melodic dissonance, at it forms a minor 6th? This seems crazy, as the melody sounds extremely natural to me (and, I imagine, everybody else).
melody counterpoint consonance-and-dissonance
edited 36 mins ago
Richard
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The Complete Musician by Steven Laitz states that melodic intervals larger than a fifth are considered dissonant and should be avoided. It also states that two leaps of a third are fine, provided you change direction afterwards, which Mozart does.
In Mozart's Sonata K545, the opening melody of the Allegro (one of the simplest and most popular melodies of the period) runs 1-3-5-7-8-9-8.
By the definition given in The Complete Musician, would the jump from the high 5 (G) down to the 7 (B) be considered a melodic dissonance, at it forms a minor 6th? This seems crazy, as the melody sounds extremely natural to me (and, I imagine, everybody else).
melody counterpoint consonance-and-dissonance
edited 36 mins ago
Richard
42.1k693179
asked 53 mins ago
octoberoctober
183
New contributor
october is a new contributor to this site. Take care in asking for clarification, commenting, and answering.
Check out our Code of Conduct.
add a comment |
The Complete Musician by Steven Laitz states that melodic intervals larger than a fifth are considered dissonant and should be avoided. It also states that two leaps of a third are fine, provided you change direction afterwards, which Mozart does.
In Mozart's Sonata K545, the opening melody of the Allegro (one of the simplest and most popular melodies of the period) runs 1-3-5-7-8-9-8.
By the definition given in The Complete Musician, would the jump from the high 5 (G) down to the 7 (B) be considered a melodic dissonance, at it forms a minor 6th? This seems crazy, as the melody sounds extremely natural to me (and, I imagine, everybody else).
melody counterpoint consonance-and-dissonance
edited 36 mins ago
Richard
42.1k693179
asked 53 mins ago
octoberoctober
183
New contributor
october is a new contributor to this site. Take care in asking for clarification, commenting, and answering.
Check out our Code of Conduct.
The Complete Musician by Steven Laitz states that melodic intervals larger than a fifth are considered dissonant and should be avoided. It also states that two leaps of a third are fine, provided you change direction afterwards, which Mozart does.
In Mozart's Sonata K545, the opening melody of the Allegro (one of the simplest and most popular melodies of the period) runs 1-3-5-7-8-9-8.
By the definition given in The Complete Musician, would the jump from the high 5 (G) down to the 7 (B) be considered a melodic dissonance, at it forms a minor 6th? This seems crazy, as the melody sounds extremely natural to me (and, I imagine, everybody else).
melody counterpoint consonance-and-dissonance
melody counterpoint consonance-and-dissonance
edited 36 mins ago
Richard
42.1k693179
asked 53 mins ago
octoberoctober
183
New contributor
october is a new contributor to this site. Take care in asking for clarification, commenting, and answering.
Check out our Code of Conduct.
edited 36 mins ago
Richard
42.1k693179
asked 53 mins ago
octoberoctober
183
New contributor
october is a new contributor to this site. Take care in asking for clarification, commenting, and answering.
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edited 36 mins ago
Richard
42.1k693179
edited 36 mins ago
Richard
42.1k693179
edited 36 mins ago
Richard
42.1k693179
42.1k693179
asked 53 mins ago
octoberoctober
183
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asked 53 mins ago
octoberoctober
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asked 53 mins ago
octoberoctober
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183
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There are at least two explanations for why this leap is acceptable:
- First is the idea of "gap fill," also sometimes called "registral return" or the "post-skip reversal." In short, when there is a large leap, we can soften it by subsequently moving by step in the opposite direction. This is a Gestalt principle of good melodic design that can often explain instances of "rule breaking."
- Another concept is that the E and G in the first measure really just embellish the original C. As such, this isn't really a leap from G down to B, but rather just a simple step from the initial C down to B. This is a question of musical hierarchy: C is more important than the E or the G, so we therefore connect the larger-scale motion from C down to B, which is just a half step. Depending on what edition of the textbook you have, Laitz may address this concept in a section devoted to "compound melody."
answered 43 mins ago
RichardRichard
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It is traditional when teaching vocal writing to advise a preference for smaller intervals, which are easier to sing. A natural accent accrues to large intervals. The term melodic dissonance is sometimes used in connection to large intervals, the larger being more melodically dissonant.
By your book's definition, yes this is a melodically dissonant leap.
The advice to avoid such intervals is typical of advice to beginners not to break the rules until they're understood. Masters such as Mozart may do as they please, but if newcomers write melodies full of large leaps, they are likely to make an unsingable mess.
This usage should not be confused with consonant or dissonant harmony, nor with any idea of what sounds pleasant or unpleasant. It is a perhaps unfortunate piggy-backing of existing terms.
answered 41 mins ago
repletereplete
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add a comment |
Could be that this rule in your textbook refers to the melody building of the Gregorian chant.
In the early church music till the time Palestrina there were some rules about intervals in a melody like a major sixth or bigger were considered as not good for singing.
answered 10 mins ago
Albrecht HügliAlbrecht Hügli
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There are at least two explanations for why this leap is acceptable:
- First is the idea of "gap fill," also sometimes called "registral return" or the "post-skip reversal." In short, when there is a large leap, we can soften it by subsequently moving by step in the opposite direction. This is a Gestalt principle of good melodic design that can often explain instances of "rule breaking."
- Another concept is that the E and G in the first measure really just embellish the original C. As such, this isn't really a leap from G down to B, but rather just a simple step from the initial C down to B. This is a question of musical hierarchy: C is more important than the E or the G, so we therefore connect the larger-scale motion from C down to B, which is just a half step. Depending on what edition of the textbook you have, Laitz may address this concept in a section devoted to "compound melody."
answered 43 mins ago
RichardRichard
42.1k693179
add a comment |
There are at least two explanations for why this leap is acceptable:
- First is the idea of "gap fill," also sometimes called "registral return" or the "post-skip reversal." In short, when there is a large leap, we can soften it by subsequently moving by step in the opposite direction. This is a Gestalt principle of good melodic design that can often explain instances of "rule breaking."
- Another concept is that the E and G in the first measure really just embellish the original C. As such, this isn't really a leap from G down to B, but rather just a simple step from the initial C down to B. This is a question of musical hierarchy: C is more important than the E or the G, so we therefore connect the larger-scale motion from C down to B, which is just a half step. Depending on what edition of the textbook you have, Laitz may address this concept in a section devoted to "compound melody."
answered 43 mins ago
RichardRichard
42.1k693179
add a comment |
There are at least two explanations for why this leap is acceptable:
- First is the idea of "gap fill," also sometimes called "registral return" or the "post-skip reversal." In short, when there is a large leap, we can soften it by subsequently moving by step in the opposite direction. This is a Gestalt principle of good melodic design that can often explain instances of "rule breaking."
- Another concept is that the E and G in the first measure really just embellish the original C. As such, this isn't really a leap from G down to B, but rather just a simple step from the initial C down to B. This is a question of musical hierarchy: C is more important than the E or the G, so we therefore connect the larger-scale motion from C down to B, which is just a half step. Depending on what edition of the textbook you have, Laitz may address this concept in a section devoted to "compound melody."
answered 43 mins ago
RichardRichard
42.1k693179
There are at least two explanations for why this leap is acceptable:
- First is the idea of "gap fill," also sometimes called "registral return" or the "post-skip reversal." In short, when there is a large leap, we can soften it by subsequently moving by step in the opposite direction. This is a Gestalt principle of good melodic design that can often explain instances of "rule breaking."
- Another concept is that the E and G in the first measure really just embellish the original C. As such, this isn't really a leap from G down to B, but rather just a simple step from the initial C down to B. This is a question of musical hierarchy: C is more important than the E or the G, so we therefore connect the larger-scale motion from C down to B, which is just a half step. Depending on what edition of the textbook you have, Laitz may address this concept in a section devoted to "compound melody."
answered 43 mins ago
RichardRichard
42.1k693179
edited 35 mins ago
answered 43 mins ago
RichardRichard
42.1k693179
answered 43 mins ago
RichardRichard
42.1k693179
answered 43 mins ago
RichardRichard
42.1k693179
42.1k693179
add a comment |
add a comment |
It is traditional when teaching vocal writing to advise a preference for smaller intervals, which are easier to sing. A natural accent accrues to large intervals. The term melodic dissonance is sometimes used in connection to large intervals, the larger being more melodically dissonant.
By your book's definition, yes this is a melodically dissonant leap.
The advice to avoid such intervals is typical of advice to beginners not to break the rules until they're understood. Masters such as Mozart may do as they please, but if newcomers write melodies full of large leaps, they are likely to make an unsingable mess.
This usage should not be confused with consonant or dissonant harmony, nor with any idea of what sounds pleasant or unpleasant. It is a perhaps unfortunate piggy-backing of existing terms.
answered 41 mins ago
repletereplete
2,039514
add a comment |
It is traditional when teaching vocal writing to advise a preference for smaller intervals, which are easier to sing. A natural accent accrues to large intervals. The term melodic dissonance is sometimes used in connection to large intervals, the larger being more melodically dissonant.
By your book's definition, yes this is a melodically dissonant leap.
The advice to avoid such intervals is typical of advice to beginners not to break the rules until they're understood. Masters such as Mozart may do as they please, but if newcomers write melodies full of large leaps, they are likely to make an unsingable mess.
This usage should not be confused with consonant or dissonant harmony, nor with any idea of what sounds pleasant or unpleasant. It is a perhaps unfortunate piggy-backing of existing terms.
answered 41 mins ago
repletereplete
2,039514
add a comment |
It is traditional when teaching vocal writing to advise a preference for smaller intervals, which are easier to sing. A natural accent accrues to large intervals. The term melodic dissonance is sometimes used in connection to large intervals, the larger being more melodically dissonant.
By your book's definition, yes this is a melodically dissonant leap.
The advice to avoid such intervals is typical of advice to beginners not to break the rules until they're understood. Masters such as Mozart may do as they please, but if newcomers write melodies full of large leaps, they are likely to make an unsingable mess.
This usage should not be confused with consonant or dissonant harmony, nor with any idea of what sounds pleasant or unpleasant. It is a perhaps unfortunate piggy-backing of existing terms.
answered 41 mins ago
repletereplete
2,039514
It is traditional when teaching vocal writing to advise a preference for smaller intervals, which are easier to sing. A natural accent accrues to large intervals. The term melodic dissonance is sometimes used in connection to large intervals, the larger being more melodically dissonant.
By your book's definition, yes this is a melodically dissonant leap.
The advice to avoid such intervals is typical of advice to beginners not to break the rules until they're understood. Masters such as Mozart may do as they please, but if newcomers write melodies full of large leaps, they are likely to make an unsingable mess.
This usage should not be confused with consonant or dissonant harmony, nor with any idea of what sounds pleasant or unpleasant. It is a perhaps unfortunate piggy-backing of existing terms.
answered 41 mins ago
repletereplete
2,039514
answered 41 mins ago
repletereplete
2,039514
answered 41 mins ago
repletereplete
2,039514
answered 41 mins ago
repletereplete
2,039514
2,039514
add a comment |
add a comment |
Could be that this rule in your textbook refers to the melody building of the Gregorian chant.
In the early church music till the time Palestrina there were some rules about intervals in a melody like a major sixth or bigger were considered as not good for singing.
answered 10 mins ago
Albrecht HügliAlbrecht Hügli
2,834220
add a comment |
Could be that this rule in your textbook refers to the melody building of the Gregorian chant.
In the early church music till the time Palestrina there were some rules about intervals in a melody like a major sixth or bigger were considered as not good for singing.
answered 10 mins ago
Albrecht HügliAlbrecht Hügli
2,834220
add a comment |
Could be that this rule in your textbook refers to the melody building of the Gregorian chant.
In the early church music till the time Palestrina there were some rules about intervals in a melody like a major sixth or bigger were considered as not good for singing.
answered 10 mins ago
Albrecht HügliAlbrecht Hügli
2,834220
Could be that this rule in your textbook refers to the melody building of the Gregorian chant.
In the early church music till the time Palestrina there were some rules about intervals in a melody like a major sixth or bigger were considered as not good for singing.
answered 10 mins ago
Albrecht HügliAlbrecht Hügli
2,834220
answered 10 mins ago
Albrecht HügliAlbrecht Hügli
2,834220
answered 10 mins ago
Albrecht HügliAlbrecht Hügli
2,834220
answered 10 mins ago
Albrecht HügliAlbrecht Hügli
2,834220
2,834220
add a comment |
add a comment |
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