which begins the second subject of Beethoven’s Waldstein Sonata
(Op. 53, first movement, bars 35–42, where at the third bar of the
melody a lower voice enters and finishes the phrase).
4 (a) Conjunct movement is the movement of melody along adjacent degrees of the scale.' A large proportion of Beethoven’s melodies are conjunct (see Ex. 2, fig. B).
4 (b) Disjunct movement, the opposite of conjunct, tends, though by no means always, to produce arpeggio types of melody, i.e. melodies which move up and down the notes of a chord. Certain types of such melody are highly characteristic of Brahms; and Wagner, whose melodies are almost always of instrumental origin, is generally disjunct in diatonic melody and conjunct in chromatic (Ex. 2, fig. C, is a disjunct, figure not forming an arpeggio).
For various other melodic devices, such as inversion, augmentation and diminution, see Contrapuntal Forms.
We subjoin some musical illustrations showing the treatment of figures in melody as a means of symmetry (Ex. 1), and development (Ex. 2–7), and (Ex. 8–13) some modern melodic transformations, differing from earlier methods in being immediate instead of gradual. (D. F. T.)
