beginning of the measure, thus confirming
(and, in fact, creating) the accent. The rhythm in Ex. 1 is also
regular, throughout, the light eighth-notes occupying the light third
beat, and the heavy dotted-quarter the heavy pulse (in the third
measure). Ex. 2 is strikingly definite in rhythm, because the
time-values are so greatly diversified; and the arrangement is regular.

On the other hand, the following is an example of irregular rhythm:

[Illustration: Example 4. Fragment of Beethoven.]

The longer (heavier) tones are placed in the middle of the measure,
between the beats; the tie at the end of measure 3 places the heavy
note at the end, instead of the beginning, of the measure, and cancels
the accent of the fourth measure. These irregular forms of rhythm are
called syncopation. See also Ex. 6, second Phrase.

MELODY.--Any succession of _single_ tones is a melody. If we strike
the keys of the piano with two or more fingers of each hand
simultaneously, we produce a body of tones, which--if they are so
chosen that they blend harmoniously--is called a Chord; and a series of
such chords is an illustration of what is known as Harmony. If,
however, we play with one finger only, we produce a melody. The human
voice, the flute, horn,--all instruments capable of emitting but one
tone at a time,--produce melody.

Melody constitutes, then, a _line of tones_. If, as we have said, Time
is the canvas upon which the musical images are thrown, Melodies are
the lines which trace the design or form of these images. This
indicates the extreme importance of the melodic idea in music form.
Without such "tone-lines" the effect would be similar to that of daubs
or masses of color without a drawing, without the evidence of contour
and shape.

A _good_ melody, that is, a melody that appeals to the intelligent
music lover as tuneful, pleasing, and intelligible, is one in which,
first of all, each successive tone and each successive group of tones
stands in a rational harmonic relation to the one before it, and even,
usually, to several preceding tones or groups. In other words, the
tones are not arranged haphazard, but with reference to their
harmonious agreement with each other. For a model of good melody,
examine the very first sentence in the book of Beethoven's pianoforte
sonatas:--

[Illustration: Example 5. Fragment of Beethoven.]

The tones bracketed _a_, if struck all together, unite and blend in one
harmo