melodic phrase

Furthermore, the sustained rhythms on the words "own" (dotted quarter note), "lay" (dotted half note), and "white" (half note) bring extra stress to the melodic phrase, emphasizing the seriousness of the grave digger seeing the shadow of her own face on the dried leaves behind her (Example 5).

In my transcription the melodic sequence of the kentangan kettles starts with a melodic phrase, repeated twice, characterized by an ascending profile.

Jazz is the place for thinking on your feet, improvising, leaving that melodic phrase as late against the beat as possible - which all goes to suggest that the true jazz fan leaves it till Christmas Eve to do their present buying.

A prelude with houselights on has some frail voices (presumably hospice patients) singing a distinctive Monk melodic phrase of nonsense syllables.

Ochs and Capps compare episodes with melodic phrases: a melodic phrase consists of an ordered set of musical notes, and an episode consists of events construed as members of a similarly ordered set.

Thus the high kettle-gong kempyang may play every other balungan note, while the slightly larger kethuk kettle-gong usually plays half as many notes per phrase as the kempyang; the even larger and lower kenong kettle-gongs and kempul hanging gongs are played more slowly yet, while the largest gong is slowest of all, punctuating the ending of the melodic phrase. Though some of these relationships and the instruments used may change depending on the form, irama, and style, they are nearly always in powers of two.

Highlights include the densely packed four-voice texture of Dufay's Ma belle dame souveraine, the anonymous Douce speranche with its wonderful suspensions onto the final chord, and Malbecque's Dieu vous doinst bon jour with its opening melodic phrase reminiscent of Dufay's Adieu ces bons vins de Lannoy (also found in the Oxford manuscript, but not recorded here).

At the beginning of the second section, the left hand plays double notes that momentarily extend beyond the five-finger position; not only must the two parts sound together, they must resolve at the same moment as the final note of the right hand melodic phrase above it.

The entire melodic phrase culminates on the high E at Item 21, which is the apex melodic note of the song, the headnote of the descending octave that sets "mention," and is the only leap of that magnitude in the entire song, creating a wonderful spatial expansion of the descending major sevenths we heard earlier.

(There have been some very creative performances in recent recordings, notably by Hesperion XX and others, with declamation of at least part of the text to the musical accompaniment as a form of melodrama.) Perhaps Binkley might have attempted to provide what Milan failed to do: a notated example, albeit necessarily speculative, of how he, Binkley, or a singer such as Andrea von Ramm, would imagine a melodic phrase might have been elaborated.

Waelrant, moreover, did not hesitate to write cross relations between parts, to require (for instance) an F and an F# in the same melodic phrase, or to mix hallmarks of different musical modes in the same composition.

Because of the syllable placement issues in the case of the Faure song cited above, creating a brief melodic phrase that aligns the important syllables with stressed beats will also help the singer phrase correctly (Example 2).