use of melody

• 1. Early Classical

  Stamitz op.3 no.2

  • Galant style, Mannheim school
  • simple diatonic, motivic repetition (m1 = 3 notes, m4 = rising arpeggio)

  Mozart no.40

  • long lyrical melody constructed from short idea = broad phrases

  Haydn no.94 Surprise

  • relentless repetitions and developments
  • less emphasis on longer line
• 2. Haydn 104

  • m1 monothematic
  • mostly well balanced, conjunct phrases
  • symmetrical lines
  • unusual phrase length in Minuet (10 bars)
  • m4, s1 influence by Croatian folk
• 3. Beethoven

  Pastoral no.6

  • melody for programmatic purposes
  • high woodwind = birds m2
  • low strings = thunder m4

  Eroica no.3

  • simple diatonic themes
  • short clear motifs = mature classical period
  • C# chromaticism in main theme unusual
• 4. Mendelssohn Italian

  • classical style, well balanced
  • lyrical with clear cadences
  • new theme s3 in development m1
  • fugue-like in development each movement
  • coda s2 minor = common romantic feature
  • often started melodies halfway through bar
• 5. Late Romantic

  Berlioz, Fantastique

  • idee fixe throughout
  • transformed by context, rhythm adn orchestration e.g. m2 ball, m5 witches played by high Eb clarinet
  • represent "beloved"

  Smetana, Ma Vlast

  • melody taken from variety of folk cultures
  • attributed to 16th century Giuseppe Cenci

  Liszt, Preludes no.3

  • initial melodic idea represents character experienceing range of situations from love to battle
  • Melody shows emotional development