![]() Arguably Beethoven achieved the highest elaboration of this technique the famous "fate motif" -the pattern of three short notes followed by one long one-that opens his Fifth Symphony and reappears throughout the work in surprising and refreshing permutations is a classic example. Such motivic development has its roots in the keyboard sonatas of Domenico Scarlatti and the sonata form of Haydn and Mozart's age. Musical development uses a distinct musical figure that is subsequently altered, repeated, or sequenced throughout a piece or section of a piece of music, guaranteeing its unity. Īny motif may be used to construct complete melodies, themes and pieces. In hearing a phrase as a figure, rather than a motif, we are at the same time placing it in the background, even if it is.strong and melodious". Scruton, however, suggests that a motif is distinguished from a figure in that a motif is foreground while a figure is background: "A figure resembles a moulding in architecture: it is 'open at both ends', so as to be endlessly repeatable. ![]() A head-motif (German: Kopfmotiv) is a musical idea at the opening of a set of movements which serves to unite those movements. Occasionally such a motif is a musical cryptogram of the name involved. A rhythmic motif is the term designating a characteristic rhythmic formula, an abstraction drawn from the rhythmic values of a melody.Ī motif thematically associated with a person, place, or idea is called a leitmotif. A melodic motif is a melodic formula, established without reference to intervals. Grove and Larousse also agree that the motif may have harmonic, melodic and/or rhythmic aspects, Grove adding that it "is most often thought of in melodic terms, and it is this aspect of the motif that is connoted by the term 'figure'."Ī harmonic motif is a series of chords defined in the abstract, that is, without reference to melody or rhythm. "The smallest structural unit possessing thematic identity". It is commonly regarded as the shortest subdivision of a theme or phrase that still maintains its identity as a musical idea. The Encyclopédie de la Pléiade regards it as a " melodic, rhythmic, or harmonic cell", whereas the 1958 Encyclopédie Fasquelle maintains that it may contain one or more cells, though it remains the smallest analyzable element or phrase within a subject. In music, a motif Audio file "en-us-motif.ogg" not found (also motive) is a short musical phrase, a salient recurring figure, musical fragment or succession of notes that has some special importance in or is characteristic of a composition: "The motive is the smallest structural unit possessing thematic identity". Audio file "Mysterioso Pizzicato.mid" not found "Curse" motif from film scores, associated with villains and ominous situations. I motive.mid" not found File:Bad guy riff.png Motive from Ravel's String Quartet, first movement. Audio file "Bach - Brandenburg motive.mid" not found File:Ravel - String Quartet, mov. Motive from many of Bach's works including the first movements of the third and sixth Brandenburg Concertos and the third viol da gamba sonata. Audio file "Machaut - Mass motive.mid" not found File:Bach - Brandenburg motive.png ![]() ![]() Motive from Machaut's Mass, notable for its length of seven notes. 26 opening motive.mid" not found File:Machaut - Mass motive.png Two note opening motive from Jean Sibelius's Finlandia. Audio file "Beet5mov1bars1to5.ogg" not found File:Sibelius - Finlandia, Op. In Beethoven's Fifth Symphony a four-note figure becomes the most important motif of the work, extended melodically and harmonically to provide the main theme of the first movement. Audio file "Debussy String Quartet second movement opening.mid" not found White would classify the accompaniment as motivic material since it was, "derived from an important motive stated earlier". For other uses, see Motif (disambiguation).Ī phrase originally presented as a motif may become a figure which accompanies another melody, as in the second movement of Claude Debussy's String Quartet (1893).
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