Would the melodic leap of the opening phrase of Mozart's K545 be considered dissonant?Why does a melodic half...
Dystopian novel where telepathic humans live under a dome
Test pad's ESD protection
Why can't we make a perpetual motion machine by using a magnet to pull up a piece of metal, then letting it fall back down?
How do you say "powers of ten"?
How can atoms be electrically neutral when there is a difference in the positions of the charges?
A bug in Excel? Conditional formatting for marking duplicates also highlights unique value
How can I create a Table like this in Latex?
How to mitigate "bandwagon attacking" from players?
Is there a math equivalent to the conditional ternary operator?
Sometimes a banana is just a banana
It took me a lot of time to make this, pls like. (YouTube Comments #1)
Can throughput exceed the bandwidth of a network
What is this waxed root vegetable?
For a 1-action spell, do I need to take a turn to ready the spell before I can cast it, or can I cast it immediately?
Non-Italian European mafias in USA?
Why did John Williams use a march to symbolise Indiana Jones?
I encountered my boss during an on-site interview at another company. Should I bring it up when seeing him next time?
Are paired adjectives bad style?
Practical reasons to have both a large police force and bounty hunting network?
How do I deal with being jealous of my own players?
What is the difference between a forward slip and a side slip?
What happened to QGIS 2.x LTR?
When to use mean vs median
Get length of the longest sequence of numbers with the same sign
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?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 43 mins ago
Richard
42.1k693179
asked 1 hour 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 43 mins ago
Richard
42.1k693179
asked 1 hour 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 43 mins ago
Richard
42.1k693179
asked 1 hour 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 43 mins ago
Richard
42.1k693179
asked 1 hour 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 43 mins ago
Richard
42.1k693179
asked 1 hour 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 43 mins ago
Richard
42.1k693179
edited 43 mins ago
Richard
42.1k693179
edited 43 mins ago
Richard
42.1k693179
42.1k693179
asked 1 hour 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.
asked 1 hour ago
octoberoctober
183
asked 1 hour ago
octoberoctober
183
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.
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.
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 |
add a comment |
3 Answers
3
active
oldest
votes
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 50 mins ago
RichardRichard
42.1k693179
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 48 mins ago
repletereplete
2,039514
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 17 mins ago
Albrecht HügliAlbrecht Hügli
2,834220
add a comment |
Your Answer
StackExchange.ready(function() {
var channelOptions = {
tags: "".split(" "),
id: "240"
};
initTagRenderer("".split(" "), "".split(" "), channelOptions);
StackExchange.using("externalEditor", function() {
// Have to fire editor after snippets, if snippets enabled
if (StackExchange.settings.snippets.snippetsEnabled) {
StackExchange.using("snippets", function() {
createEditor();
});
}
else {
createEditor();
}
});
function createEditor() {
StackExchange.prepareEditor({
heartbeatType: 'answer',
autoActivateHeartbeat: false,
convertImagesToLinks: false,
noModals: true,
showLowRepImageUploadWarning: true,
reputationToPostImages: null,
bindNavPrevention: true,
postfix: "",
imageUploader: {
brandingHtml: "Powered by u003ca class="icon-imgur-white" href="https://imgur.com/"u003eu003c/au003e",
contentPolicyHtml: "User contributions licensed under u003ca href="https://creativecommons.org/licenses/by-sa/3.0/"u003ecc by-sa 3.0 with attribution requiredu003c/au003e u003ca href="https://stackoverflow.com/legal/content-policy"u003e(content policy)u003c/au003e",
allowUrls: true
},
noCode: true, onDemand: true,
discardSelector: ".discard-answer"
,immediatelyShowMarkdownHelp:true
});
}
});
october is a new contributor. Be nice, and check out our Code of Conduct.
Sign up or log in
StackExchange.ready(function () {
StackExchange.helpers.onClickDraftSave('#login-link');
});
Sign up using Google
Sign up using Facebook
Sign up using Email and Password
Post as a guest
Required, but never shown
StackExchange.ready(
function () {
StackExchange.openid.initPostLogin('.new-post-login', 'https%3a%2f%2fmusic.stackexchange.com%2fquestions%2f81068%2fwould-the-melodic-leap-of-the-opening-phrase-of-mozarts-k545-be-considered-diss%23new-answer', 'question_page');
}
);
Post as a guest
Required, but never shown
3 Answers
3
active
oldest
votes
3 Answers
3
active
oldest
votes
active
oldest
votes
active
oldest
votes
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 50 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 50 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 50 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 50 mins ago
RichardRichard
42.1k693179
edited 41 mins ago
answered 50 mins ago
RichardRichard
42.1k693179
answered 50 mins ago
RichardRichard
42.1k693179
answered 50 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 48 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 48 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 48 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 48 mins ago
repletereplete
2,039514
answered 48 mins ago
repletereplete
2,039514
answered 48 mins ago
repletereplete
2,039514
answered 48 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 17 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 17 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 17 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 17 mins ago
Albrecht HügliAlbrecht Hügli
2,834220
answered 17 mins ago
Albrecht HügliAlbrecht Hügli
2,834220
answered 17 mins ago
Albrecht HügliAlbrecht Hügli
2,834220
answered 17 mins ago
Albrecht HügliAlbrecht Hügli
2,834220
2,834220
add a comment |
add a comment |
october is a new contributor. Be nice, and check out our Code of Conduct.
october is a new contributor. Be nice, and check out our Code of Conduct.
october is a new contributor. Be nice, and check out our Code of Conduct.
october is a new contributor. Be nice, and check out our Code of Conduct.
Thanks for contributing an answer to Music: Practice & Theory Stack Exchange!
- Please be sure to answer the question. Provide details and share your research!
But avoid …
- Asking for help, clarification, or responding to other answers.
- Making statements based on opinion; back them up with references or personal experience.
To learn more, see our tips on writing great answers.
Sign up or log in
StackExchange.ready(function () {
StackExchange.helpers.onClickDraftSave('#login-link');
});
Sign up using Google
Sign up using Facebook
Sign up using Email and Password
Post as a guest
Required, but never shown
StackExchange.ready(
function () {
StackExchange.openid.initPostLogin('.new-post-login', 'https%3a%2f%2fmusic.stackexchange.com%2fquestions%2f81068%2fwould-the-melodic-leap-of-the-opening-phrase-of-mozarts-k545-be-considered-diss%23new-answer', 'question_page');
}
);
Post as a guest
Required, but never shown
Sign up or log in
StackExchange.ready(function () {
StackExchange.helpers.onClickDraftSave('#login-link');
});
Sign up using Google
Sign up using Facebook
Sign up using Email and Password
Post as a guest
Required, but never shown
Sign up or log in
StackExchange.ready(function () {
StackExchange.helpers.onClickDraftSave('#login-link');
});
Sign up using Google
Sign up using Facebook
Sign up using Email and Password
Post as a guest
Required, but never shown
Sign up or log in
StackExchange.ready(function () {
StackExchange.helpers.onClickDraftSave('#login-link');
});
Sign up using Google
Sign up using Facebook
Sign up using Email and Password
Sign up using Google
Sign up using Facebook
Sign up using Email and Password
Post as a guest
Required, but never shown
Required, but never shown
Required, but never shown
Required, but never shown
Required, but never shown
Required, but never shown
Required, but never shown
Required, but never shown
Required, but never shown
