nious body, so complete is the harmonic agreement of each
succeeding tone with its fellows; the same is true of the group marked
_c_. The tones bracketed _b_ and _d_ do not admit of being struck
simultaneously, it is true, but they are all parts of the same key (F
minor), and are closely and smoothly connected; hence their
concurrence, though not one of harmony (chord), is one of intimate tone
relation and proximity. Further, the whole group marked 2 corresponds
in its linear formation, its rising, poising and curling, exactly to
the preceding group, marked 1. This, then, is a _good_
melody,--tuneful, interesting, intelligible, striking and absolutely
definite.

In the second place, the tones and groups in a good melody are measured
with reference to harmony of time-values; that is, their metric
condition, and their rhythmic arrangement, corroborate the natural laws
already defined:--uniformity of fundamental pulse, uniform recurrence
of accent, and sufficient regularity of rhythmic figure to insure a
distinct and comprehensible total impression. This also may be
verified in the time-values of Ex. 5. Scrutinize also, the melodic and
rhythmic conditions of Exs. 1 and 2,--and the examples on later
pages,--and endeavor to vindicate their classification as "good"
melodies. Ex. 4, though an exposition of irregular rhythm, is none the
less excellent on that account; on the contrary, this irregularity,
because wisely balanced by sufficient evidence of harmonious and
logical agreement, only heightens the beauty and effectiveness of the
melody.

* * * * * *

Whenever whole bodies of tone are played successively, a number of
melody lines are being described,--as many, in fact, as there are tones
in each body. For example, in playing a hymn-tune we describe (on the
keyboard) the four separate melodies known as the soprano, alto, tenor
and bass voices. In a duet, unaccompanied, there are two melodic
lines; if accompanied, other melodic lines are added to these. Thus we
recognize the same system of associated lines in music as in
architecture or drawing. Very rarely indeed does one single unbroken
line portray a complete image.

But in music, as in drawing, the lines differ in their degrees of
importance and prominence; and, very commonly, one line over-shadows
all, or nearly all the rest. This strongest tone-line is therefore apt
to be designated, somewhat unfairly, _the_ melody (the "