The Medlodic Motive

The Medlodic Motive, is a somewhat longer section, compounded of two or more figures. Being thus longer, the "breaks" or spaces between motives are generally more emphatic and recognizable than those between the figures, and therefore it is easier, as a rule, to define the extremities of motives.

Melodic motives differ in length from one to four measures; by far the most common extent, however, is two measures, and the student will do wisely to accept this dimension and analyze accordingly, unless there is unmistakable evidence to the contrary. The indications are precisely the same as those illustrated in the preceding two examples as guides for the definition of figures.

For example:—

[Fig.1]

In the first of these examples the extent of the motives is proven by each of the three given guides: the rest, which marks the end of the first member; the similarity of melodic and rhythmic formation, which proclaims the beginning of the second member, parallel with that of the first; and the regular (two-measure) dimension. In Nos. 2 and 3 there are no rests between the motives, and the melodic formation differs; here it is the standard of two measures that defines the members.

In the following:—

[Fig.2]

one is tempted to call each single measure a motive, because of the number of tones it contains, and the weight (length) of the final tone, which makes a much more emphatic interruption than commonly occurs between figures.

And in the following, on the other hand:—

[Fig.3]

the entire four-measure sentence is evidently one motive, for there is no recognizable indication of an interruption at any point.

The following illustrates an irregular (uneven) association of members:—

[Fig.4]

Here again, there may be a disposition to adopt the upper line of brackets, assigning a single measure to each motive. But both here, and in Fig.2, the learning student is advised to adhere to the two-measure standard; he will avoid much needless confusion by so doing,—at least until he shall have so developed and sharpened his sense of melodic syntax that he can apprehend the finer shades of distinction in the "motion and repose" of a melody. Adopting the lower line of brackets, we discover successive members of unequal length, the first one containing two, the next one three measures.