Note in this example the effects of openness, boldness, and a dash of vindictiveness, given mainly by the intervals. It is more human than the foregoing—more of the earth, earthy. Notice similar contrasted effects in the two following examples: The difference in expressiveness resides both in the keys, with their consequent intervals, and in the rhythms. Note the tenderness and pathos given by chromatic intervals in the following example: Lord, Re-deem-ed from the hand of the foe, From your dis-tress-es, from deep af - flic - tions. The following from the Erl-king by Schubert, shows a different effect secured by chromatic intervals, namely great intensity, that of fear or dread. O father, the Erl-King now puts forth his arm, Father, the Erl - King has done me harm. The cessation of the chromatic effect and the return to wide intervals descending by a fifth to the key note, indicates the suspension of the terror, and the acquiescence of weakness, submitting to the inevitable. The effect is that of finality, with sadness and gloom. Another example of chromatic interval giving great intensity, in this case that of pointed energy with surprise, was heard by the writer in a most effective rhetorical rendering of a sentence from Grattan: "He has charged me with being connected with the rebels." The melody of speech was precisely that of the ascending chromatic scale, closing with the interval of an octave, discrete, or staccato, between the two syllables of the last word; thus: FO He has charged me with being connected with the reb-els. Much valuable suggestion, especially for advanced students, may be gained as to the significance of melodies, by analyzing recitatives in their connection, entire songs, especially of the more poetic or romantic type, and choruses that are especially dramatic. Such forms will give the most of direct and positive light upon speaking melodies, because they have most of obvious analogy. Many thematic songs and choruses will also suggest the germs of melodies as truly and as helpfully. The Erl-king is especially commended as fruitful in its suggestions of melody. Who rideth so late through the night wind wild? This is given in easy, didactic intervals ending with a rising fifth. It is the father with his child. This line follows in similar intervals, putting "father" at the highest point in the melody, and ending the phrase on the key note with descending fifth, like affirmation. He has the little one well in his arm, He holds him safe, and he folds him warm. The melody here has gentle, caressing, falling slides, giving the last words the close interval which marks the minor cadence, expressing tenderness, an inward glow and fervor. My son, why hidest thy face so shy? The question is asked with plain, open intervals, rising gently to the last as if in tones of tenderness and solicitude. Seest thou not, father, the Erl-king nigh? Here the intervals suddenly become wide, the relative length of the notes greater, and the whole has comparatively a startled and strained effect. The Erlen-king with train and crown. Here is introduced a chromatic interval, the minor second, giving oppression and terror. It is a wreath of mist, my son. We find here a lower range of tones, with simple, small intervals, as if by quiet and commonplace utterance the father would restore the confidence of his terrified child. Come lovely boy, come go with me, Such merry plays I will play with thee. Many a bright flower grows on the strand, And my mother has many a gay garment at hand. The All this is given in the major key, with open intervals My father, my father, and dost thou not hear |