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Updated: May 18, 2025
The phrases no longer fall naturally into eight-bar periods interpunctuated with cadences, but are determined by the text, and although the eight-bar scheme is generally maintained much disguised, it is true, but still recognizable it is determined not by half-closes at the sections, but by the eight beats of the two-line metre, while the periods follow each other in even flow without any indication of cadence.
They will produce a tune of seven bars they will end on a weak beat they will come to a full stop in the middle of an eight-bar tune on the tonic chord, root at the top the last half of the tune will have nothing to do with the first half. We could write a page of their possible mistakes! The cure for these lapses is to insist on the tunes being sung before being written.
It should be remembered also that the substitution of symphonically treated themes for tunes with symmetrical eight-bar staves and the like, has always been the rule in the highest forms of music. To describe it, or be affected by it, as an abandonment of melody, is to confess oneself an ignoramus conversant only with dance tunes and ballads.
The class will now find it quite easy to extemporize the whole of a four-bar phrase. Suggestions can be made by the teacher, such as: 'Begin on the third beat of the bar. 'Introduce two triplets in the course of the phrase, and so on. When this becomes easy to them they will be ready to begin eight-bar melodies.
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