Glossary
Augmentation
A rhythmic transformation where the duration of the notes in a motive is lengthened, typically by a consistent ratio (e.g., doubled).
Example:
If a motive consists of two quarter notes, its augmentation might be two half notes, making the melody sound slower and more stately.
Contour
The overall shape or direction of a melody, indicating whether it moves up, down, or stays the same, defining a motive's melodic outline.
Example:
A motive with an ascending-then-descending contour creates a distinct arch shape, easily identifiable even if the exact pitches change.
Diminution
A rhythmic transformation where the duration of the notes in a motive is shortened, typically by a consistent ratio (e.g., halved).
Example:
If a motive consists of two half notes, its diminution might be two quarter notes, making the melody sound faster and more energetic.
Exact (Chromatic) Transposition
A type of transposition where the motive is moved to a different pitch level, maintaining the precise interval qualities using accidentals.
Example:
Transposing C-E-G up a major third to E-G#-B is an example of exact (chromatic) transposition, preserving the major third and perfect fifth intervals.
Extended Motives
A motive that is made longer by adding notes, repeating portions, or expanding its original structure.
Example:
A simple two-note motive might become an extended motive by repeating it several times with slight variations or adding a concluding phrase.
Fragmented Motives
A motive that is broken up into smaller, separated pieces, often with rests or other musical elements in between.
Example:
A continuous melodic motive might appear as a fragmented motive when its notes are separated by rests, creating a more disjointed or suspenseful feel.
Inverted Motives
A motive where the direction of each interval is reversed, creating a mirror image of the original melodic contour.
Example:
If a motive ascends by a step then a third (C-D-F), its inverted motive would descend by a step then a third (C-Bb-G).
Motive
A short, memorable musical phrase or idea, usually just a few notes, that serves as a building block for a larger composition.
Example:
The iconic four-note opening of Beethoven's Symphony No. 5 (short-short-short-LONG) is a prime example of a powerful motive.
Motivic Transformation
Techniques composers use to alter a motive while maintaining a sense of unity and variety within a piece.
Example:
A composer might use motivic transformation to develop a simple melody into a complex orchestral theme, keeping the original idea recognizable.
Pitch
The specific highness or lowness of a musical sound, which is a fundamental characteristic defining a motive's identity.
Example:
The opening pitch sequence of a motive, like C-G-C, is crucial for its immediate recognition.
Retrograde
A compositional technique where a motive is played backwards, reversing the order of its notes.
Example:
If a motive is C-D-E, its retrograde would be E-D-C, played from end to beginning.
Retrograde Inversion
A complex motivic transformation that combines both retrograde (playing backwards) and inversion (reversing interval directions).
Example:
Taking a motive, inverting its intervals, and then playing that inverted version backwards creates a retrograde inversion, a highly transformed version.
Rhythm
The organization of musical sounds in time, including the duration of notes and rests, which is a key defining element of a motive.
Example:
The distinctive short-short-short-long rhythm of Beethoven's Fifth Symphony motive is instantly recognizable, even without specific pitches.
Tonal Transposition
A type of transposition where the motive is moved to a different pitch level, staying within the diatonic scale of the current key.
Example:
Moving a C major scale fragment C-D-E up a step to D-E-F natural (in C major) would be a tonal transposition, adjusting intervals to fit the key.
Transposed Motives
A motive moved to a different pitch level, while its rhythm and interval relationships are maintained.
Example:
If a melody starts on C-D-E, a transposed motive might start on G-A-B, keeping the same melodic shape but at a higher pitch.
Truncated Motives
A motive that is shortened by removing some of its notes, while still preserving its core thematic identity.
Example:
A four-note motive might become a truncated motive by only using its first two notes in a later passage, creating a more concise idea.