[ALARM BLARING, CLASSICAL MUSIC PLAYING] ANNOUNCER: FUNDING FOR THIS SERIES HAS BEEN MADE POSSIBLE IN PART BY JEAN BURGDORFF; JUDY MUSICANT AND HUGH CLARK; ELLIOT AND MARYJEANETTE DEE; THE GERALDINE R. DODGE FOUNDATION; MR. AND MRS. JAMES R. GILLEN; THE GLENMEDE TRUST COMPANY; MICHAEL J. JOHNSTON; THE ROBERT MILLS FOUNDATION; THE BILL AND PATRICIA O'CONNOR CHARITABLE FUND; MR. AND MRS. STERLING L. PEARSON; THE JOHN BEN SNOW MEMORIAL TRUST; JUDY AND JOSH WESTON; DAVID AND ELLEN WILLIAMS.

A COMPLETE LIST OF FUNDERS IS AVAILABLE UPON REQUEST FROM THE DISCOVERY ORCHESTRA.

WWW.DISCOVERYORCHESTRA.ORG.

THIS PROGRAM IS ALSO MADE POSSIBLE IN PART BY FUNDS FROM THE NEW JERSEY STATE COUNCIL ON THE ARTS, A PARTNER AGENCY OF THE NATIONAL ENDOWMENT FOR THE ARTS.

MAULL: MM.

IT'S ALL ABOUT THE INGREDIENTS, ISN'T IT?

BEFORE YOU CAN COOK SOMETHING UP... BE REALLY CREATIVE...YOU NEED TO KNOW ABOUT ALL THE INGREDIENTS AVAILABLE TO YOU.

NOW, THAT DOESN'T MEAN YOU HAVE TO USE THEM ALL!

BUT YOU'VE GOT TO UNDERSTAND ALL THE FUNDAMENTAL ELEMENTS, AND HOW THEY WORK TOGETHER WHEN YOU COMBINE THEM.

IT'S PRETTY MUCH THE SAME WITH MUSIC, TOO!

AS A PERCEPTIVE LISTENER, IT REALLY HELPS TO BE AWARE OF ALL THE DIFFERENT INGREDIENTS THAT MIGHT BE "IN THE MIX."

SO, LET'S EXPLORE.

WHEN WE THINK ABOUT THOSE CORE INGREDIENTS, OR ELEMENTS THAT ARE COMMON TO MUSIC, WE CERTAINLY WANT TO INCLUDE RHYTHM AS THE BEDROCK.

BUT THERE ARE OTHER COMMONALITIES WE CAN NAME, SUCH AS MELODY.

NOW, IN OUR LAST PROGRAM, WE LISTENED TO SOME MUSICAL EXCERPTS TO STIMULATE OUR THOUGHT PROCESS ON THE ELEMENTS OF MUSIC.

[GREGORIAN CHANT PLAYING] [MEDIEVAL MUSIC PLAYING] [PIECE BY BACH PLAYING] [PIECE BY MOZART PLAYING] [PIECE BY RACHMANINOFF PLAYING] [PIECE BY BARTOK PLAYING] [DIFFERENT BARTOK PIECE PLAYING] AND WE NOTED THE ELEMENT OF HARMONY WAS NOT COMMON TO ALL OF THOSE EXCERPTS.

SO, LET'S INVESTIGATE EACH OF THESE ELEMENTS IN MORE DETAIL.

[DRUM ROLL AND STICK CRACK] SO...STEP RIGHT UP, MY FRIEND...EVERYONE'S A WINNER!

HELP US FILL IN ALL THE BLANKS TO NAME THE ELEMENTS OF MUSIC!

MAN: UM... [BUZZER] WOMAN: DYNAMICS.

[DING] [BUZZER] WOMAN 2: FORM?

[DING] WOMAN 3: ROMANTIC!

[BUZZER] WOMAN 4: I THINK ONE MIGHT BE MELODY.

[DING] MAN 2: NOTES.

[BUZZER] MAN 3: HARMONY?

[DING] MAN 4: I THINK TEMPO WOULD BE ON THERE.

[BUZZER] MAN 5: OH, YEAH, THAT WOULD BE TIMBRE.

[DING] MAN 6: RHYTHM.

[DING] MAN 7: YEAH, I'D SAY TEXTURE.

[DING & HORNS] MAULL: THAT'S IT!

YOU GOT THEM ALL.

THAT'S OUR MASTER LIST OF INGREDIENTS, OR MUSICAL "ELEMENTS."

SO, WHAT IS IT THAT MAKES EACH OF THESE ELEMENTS DISTINCT--WHAT IS THE ESSENTIAL QUALITY OF EACH OF THESE ELEMENTS?

RHYTHM--MOST SIMPLY PUT, IS EVERYTHING TO DO WITH TIME IN MUSIC.

AND THAT INCLUDES A VARIETY OF ASPECTS.

"BEAT"... [METRONOME TICKING] IS AT THE VERY CORE OF RHYTHM-- A REGULAR, PREDICTABLE SERIES OF PULSATIONS.

AND THIS ASPECT OF RHYTHM LITERALLY RESONATES WITHIN US, TO OUR VERY CORE...

THE BEATING OF OUR HEARTS-- REGULARLY, DAY AND NIGHT, FOR OUR ENTIRE LIVES.

[HEART BEATING AND EKG] NO WONDER WE FEEL SO CONNECTED TO THIS ASPECT OF MUSIC!

BUT RHYTHM HAS OTHER ASPECTS, SUCH AS...DURATION.

LET ME PLAY PART OF A MOZART MELODY.

[PLAYING NOTES] LET ME SAY THE DURATIONS PATTER.

THE SOUNDS ARE OF DIFFERENT LENGTHS--SOME SHORTER--SOME LAST LONGER.

DAH, DAHDAHDAH, DAHDAHDAH.

[PLAYING NOTES] ANOTHER ASPECT OF RHYTHM IS WHAT WE CALL METER.

NO, NOT THAT KIND OF METER.

BUT IT'S RELATED, BECAUSE METER INVOLVES MEASURING AND COUNTING!

HERE, WE'RE DEALING WITH THE ORGANIZATION OF BEATS BY STRESS OR ACCENT.

BEATS CAN BE ORGANIZED, FOR INSTANCE IN GROUPS OF TWO-- AS IN A MARCH.

[PLAYING UPBEAT TUNE] AND THE METER OF THE DANCE KNOWN AS THE WALTZ HAS THE BEAT ORGANIZED BY ACCENTS IN GROUPS OF 3.

[PLAYING NOTES] THERE ARE MORE ASPECTS OF RHYTHM--BUT THE IMPORTANT THING TO REMEMBER HERE...BESIDES THE FACT THAT THE WORD "RHYTHM" LOOKS AS THOUGH IT'S MISSING A VOWEL IN THE SECOND SYLLABLE... IS THAT RHYTHM ENCOMPASSES EVERYTHING TO DO WITH TIME IN MUSIC.

NEXT ELEMENT: MELODY IS A PATTERN OF PITCHES PLAYED ONE AT A TIME.

LET'S TALK ABOUT "PITCH" FOR A MOMENT.

WE USE THE WORD "PITCH" TO DESCRIBE WHAT HAPPENS WHEN A STRING, OR A REED, OR OUR VOCAL CORDS, OR ANYTHING, IS MADE TO VIBRATE AT A REGULAR NUMBER OF CYCLES OR VIBRATIONS PER SECOND.

THE PITCH WE CALL "A" IN MUSIC--IN THIS RANGE--VIBRATES AT 440 CYCLES PER SECOND.

[PLAYING NOTE] SO, AS I WAS SAYING, A MELODY IS A PATTERN OF PITCHES PLAYED OR SUNG ONE AT A TIME.

ALLOW ME TO PLAY A BUNCH OF DIFFERENT MELODIES.

[PLAYING "MARY HAD A LITTLE LAMB"] [PLAYING UPBEAT TUNE] [PLAYING "ODE TO JOY"] [PLAYING UPBEAT TUNE] REMEMBER--FOR COMPOSERS-- THE INDIVIDUALS WHO INVENT MUSICAL IDEAS--THE ESSENTIAL ASPECT OF A MELODY IS THE "ONE AT A TIME-NESS" OF THE PITCHES.

EACH ONE OF THE MELODIES I PLAYED SHARED THIS QUALITY.

NOTICE THAT WE DID NOT SAY THAT MELODIES HAVE TO BE "MELODIOUS," IN THE SUBJECTIVE MEANING OF THAT WORD.

AND THAT'S WHY A COMPOSER IN THE 20TH CENTURY MIGHT HAVE COMPOSED A MELODY THAT SOUNDS LIKE THIS... [PLAYING NOTES] YOU MAY NOT FIND IT TO BE THE MOST APPEALING MELODY IN THE WORLD, BUT IT IS A PATTERN OF PITCHES PERFORMED--ONE AT A TIME.

THAT "ONE AT A TIME" ASPECT IS ALSO VERY IMPORTANT IN HELPING US DISTINGUISH MELODY FROM THE MUSICAL ELEMENT KNOWN AS HARMONY...BECAUSE THE ESSENTIAL ASPECT OF HARMONY IS SIMULTANEITY.

IN FACT, IF WE WANT TO DEFINE HARMONY IN THE SIMPLEST OF TERMS--THAT'S IT--SIMULTANEITY!

AT LEAST TWO DIFFERENT PITCHES SOUNDED AT THE SAME TIME!

IT CAN BE TWO... [PLAYS NOTE] 3... [PLAYS NOTE] 6... [PLAYS NOTE] OR MORE!

AND, AGAIN, A 20TH-CENTURY COMPOSER MIGHT HAVE COMPOSED A HARMONY THAT SOUNDS LIKE THIS... [PLAYS NOTE] YOU MAY NOT FIND IT SUBJECTIVELY HARMONIOUS, BUT IT FULFILLS THE MOST BASIC DEFINITION OF HARMONY--SIMULTANEITY.

YOU MAY HAVE NOTICED THAT WE SKIPPED TEXTURE--BUT WE'LL RETURN TO IT.

THE NEXT ELEMENT OF MUSIC IS ONE WE ARE VERY FAMILIAR WITH... [WHISPERS] BECAUSE WE USE IT IN... [SHOUTS] EVERYDAY SPEECH!

AND THAT IS...THE ELEMENT OF DYNAMICS IN MUSIC.

WHENEVER WE SPEAK, WE CONSTANTLY MODULATE THE VOLUME LEVEL OF EACH WORD AND SYLLABLE THAT COMES OUT OF OUR MOUTHS.

IT BECOMES SUCH AN INSTINCTIVE BEHAVIOR THAT WE DON'T EVEN HAVE TO THINK ABOUT IT.

OUR MIND IS PRE-THINKING, AT LIGHTNING SPEED: "I WANT TO EMPHASIZE THE NEXT WORD I SAY FOR SOME EXPRESSIVE PURPOSE."

AND, BAM!

WE SAY IT LOUDER--OR WE MAY SAY IT SOFTER--JUST TO EMPHASIZE IT.

COMPOSERS WRITE DYNAMIC INSTRUCTIONS INTO THEIR MUSIC, USING A SHORTHAND OF LETTERS AND SYMBOLS, TO MAKE THE SOUNDS MORE EXPRESSIVE.

MUSICAL DYNAMIC INSTRUCTIONS COME IN ALL KINDS, JUST LIKE YOU'D IMAGINE: VERY, VERY SOFT; VERY SOFT; SOFT; LOUD; VERY LOUD; VERY, VERY LOUD.

GETTING LOUDER GRADUALLY-- GETTING SOFTER GRADUALLY.

NOW, IF WE THINK ABOUT THE SOURCE OF THE SOUND, WE'RE TALKING ABOUT TIMBRE IN MUSIC.

IS THAT THE SOUND OF THE VIOLIN, THE VIOLA, THE PIANO, THE HARMONICA?

[VIOLIN PLAYING] [PIANO PLAYING] [HARMONICA PLAYING] JUST WHAT IS MAKING THAT SOUND?

IF WE PRACTICE LISTENING CAREFULLY, WE CAN LEARN TO RECOGNIZE LOTS OF DIFFERENT TIMBRES--EVEN THOSE THAT HAVE VERY SUBTLE DIFFERENCES.

IF YOU CAN RECOGNIZE THE DIFFERENCE BETWEEN C BEING PLAYED ON THE PIANO... [PLAYS NOTE] AND MY VOICE SINGING THE SAME C... ♪ C ♪ YOU CAN TRAIN YOUR LISTENING FACULTY TO RECOGNIZE THE DIFFERENCE BETWEEN MANY INSTRUMENTS.

[FRENCH HORN PLAYING] [VIOLIN PLAYING] [ENGLISH HORN PLAYING] [FLUTE PLAYING] [OBOE PLAYING] [CLARINET PLAYING] AND EVEN IF WE NEVER LEARNED TO IDENTIFY THE MUSICAL TIMBRES BY THEIR INSTRUMENTAL NAMES--WE ALWAYS WANT TO BE PREPARED TO NOTICE AND ENJOY TIMBRE CHANGES AS THEY OCCUR IN MUSIC.

IN THE THEME MUSIC FOR THIS SERIES--THE FIRST MOVEMENT OF MENDELSSOHN'S SYMPHONY NO.

4, WHICH WE EXPLORED A BIT IN AN EARLIER EPISODE--MENDELSSOHN WROTE SOME WONDERFUL TIMBRE CHANGES.

LET ME GIVE YOU AN EXAMPLE.

HE CHOSE A RECIPE FOR WRITING THIS MOVEMENT IN SUCH A WAY THAT THE MAIN THEME... [PLAYING NOTES] MAKES A BIG RETURN BEFORE THE END OF THE PIECE--SO THAT IT SOUNDS JUST LIKE IT DID IN THE BEGINNING.

ON HIS WAY TO DOING THIS, HE ALLOWS THE STRINGS OF THE ORCHESTRA TO GET VERY, VERY SOFT, AND THEN HE HAS THE OBOE ENTER ON THIS HIGH "A."

[PLAYS NOTE] LISTEN FOR THE OBOE'S ENTRANCE.

[CLASSICAL MUSIC PLAYING] DID YOU FIND IT?

I WAS SURE YOU WOULD.

MENDELSSOHN THEN HAS THE OBOE JUST HANG ON TO THAT "A" FOR A WHILE, MAKE A BEAUTIFUL, LITTLE DYNAMIC SWELL, AND THEN GENTLY RESOLVE THE HARMONY AT THIS MOMENT.

[PLAYING NOTES] LISTEN FOR THE OBOE TO MOVE DOWN.

[CLASSICAL MUSIC PLAYING] NOW HERE'S THE BEST PART-- MENDELSSOHN IS GOING TO HAVE THE OBOE PLAY JUST THE FIRST PART OF THE MAIN THEME... [PLAYING NOTES] THEN, IN A CHANGE OF TIMBRE, HAND THAT IDEA OFF TO THE CLARINET--WHICH IN TURN HANDS IT OFF TO THE FRENCH HORN, WHO--AS YOU MAY HAVE GUESSED BY NOW--LAYS IT RIGHT IN THE LAPS OF THE VIOLINS SO THEY CAN PLAY THIS THEME EXACTLY IN THE MANNER THEY DID AT THE BEGINNING OF THE MOVEMENT.

THIS IS INDEED A MOMENT OF TIMBRE CHANGES TO SAVOR AS A LISTENER.

SO, HERE'S THE WHOLE PASSAGE.

[CLASSICAL MUSIC PLAYING] FORM IS THE ELEMENT OF MUSIC THAT DESCRIBES THE STRUCTURE OF MUSIC.

AND FORMAL STRUCTURES CAN INCLUDE ANYTHING FROM THE BIG IDEAS IN MUSIC LIKE A SYMPHONY OR CONCERTO, WORDS THAT DESCRIBE SUBSTANTIAL MUSICAL COMPOSITIONS THAT HAVE MULTIPLE CHAPTERS OR MOVEMENTS, ALL THE WAY DOWN TO THE MUSICAL EQUIVALENT OF SENTENCES, WHICH WE CALL PHRASES.

WE CAN ALSO USE FORM TO DESCRIBE WHAT WE CALL FORMAL DEVICES, THINGS WE'VE ALREADY ENCOUNTERED IN THIS SERIES.

THINGS LIKE SEQUENCE.

[PLAYING NOTES] OR RETROGRADE, BACKWARDS MOTION.

[PLAYING NOTES] THERE ARE MANY ASPECTS OF FORM--AND WE'LL EXPLORE MORE OF THEM IN LATER PROGRAMS.

BUT WE'D LIKE NOW TO RETURN TO TEXTURE--THE ELEMENT WE SKIPPED OVER.

TEXTURE HAS A VERY SPECIAL MEANING IN MUSIC.

IT'S NOT LIKE THE WAY WE USE THE WORD TO DESCRIBE FOOD--LIKE CHOOSING CREAMY TEXTURE OR CHUNKY TEXTURE PEANUT BUTTER.

IN MUSIC, WE HAVE 3 BASIC TEXTURES...AND WE HAD ILLUSTRATIONS OF EACH OF THEM IN THE 8 EXAMPLES WE LISTENED TO LAST TIME.

THE FIRST TEXTURE IS THAT OF MELODY ALONE--AS IN THE GREGORIAN CHANT WE LISTENED TO.

[SINGS GREGORIAN CHANT] THERE'S NO HARMONY-- ONLY MELODY.

[PLAYING NOTES] THE SECOND TEXTURE OCCURS WHEN WE SUPPORT MELODY WITH HARMONY.

AND THIS CAN OCCUR IN TWO VARIETIES.

IN THE FIRST VARIETY, THE HARMONY HAS A DIFFERENT RHYTHM THAN THE MELODY.

[PLAYING NOTES] THE MELODY HAS THIS RHYTHM... [PLAYING NOTES] AND THE HARMONY HAS THIS RHYTHM... [PLAYING NOTES] A MELODY WITH A DIFFERENT RHYTHM THAN ITS SUPPORTING HARMONY!

[PLAYING NOTES] OR...I CAN PLAY HARMONIES WITH THE SAME RHYTHM AS THE MELODY.

[PLAYING NOTES] IN BOTH CASES, I'M SUPPORTING MELODY WITH HARMONY.

BUT WHAT'S HAPPENING HERE?

[PLAYING NOTES] LISTEN AGAIN--WHAT'S GOING ON?

IT'S NOT MELODY ALONE... [PLAYING NOTES] IT'S NOT MELODY SUPPORTED BY HARMONY, WITH EITHER THE SAME OR DIFFERENT RHYTHM.

HERE'S THE SAME RHYTHM.

[PLAYING NOTES] OR DIFFERENT RHYTHM.

[PLAYING NOTES] IT'S SOMETHING ELSE.

THERE'S SOMETHING ELSE GOING ON HERE IN OUR THIRD MUSICAL TEXTURE.

[PLAYING NOTES] HERE, WE ACTUALLY HAVE SEPARATE MELODIES OCCURRING SIMULTANEOUSLY!

CAN YOU TELL HOW MANY?

[PLAYING NOTES] THERE'S THE HIGHEST MELODY... [PLAYING NOTES] AND THEN THERE'S ANOTHER MELODY, A DIFFERENT ONE-PITCH-AT-A-TIME EVENT GOING ON DOWN HERE.

[PLAYING NOTES] LET ME PUT THOSE TWO TOGETHER.

[PLAYING NOTES] BUT IS THAT EVERYTHING I PLAYED?

NO!

THERE'S ACTUALLY A THIRD MELODY, OR ONE-PITCH-AT-A-TIME EVENT, SANDWICHED IN THE MIDDLE!

IT SOUNDS LIKE THIS.

[PLAYING NOTES] SO, THIS THIRD MUSICAL TEXTURE MIGHT BE CALLED THE SEPARATE AND INDEPENDENT SIMULTANEOUSLY PLAYED MELODIES TEXTURE--OR IT MIGHT JUST BE EASIER TO CALL IT BY ITS TECHNICAL, MUSICAL NAME: COUNTERPOINT OR CONTRAPUNTAL TEXTURE.

ALL 3 MUSICAL TEXTURES HAVE TECHNICAL NAMES.

MELODY ALONE-- MONOPHONIC TEXTURE.

[PLAYING NOTES] MELODY SUPPORTED BY HARMONY--HOMOPHONIC TEXTURE.

[PLAYING NOTES] AND--CONTRAPUNTAL OR POLYPHONIC TEXTURE.

[PLAYING NOTES] IF WE DECIDE TO GIVE MUSIC OUR UNDIVIDED ATTENTION, WE NOW HAVE THE ANSWER TO THE QUESTION: TO WHAT DO WE GIVE OUR ATTENTION?

TO THE INGREDIENTS!

TO ASPECTS OF THE ELEMENTS OF MUSIC.

[MUSIC PLAYING] ARE THERE SOUNDS OF DIFFERENT DURATIONS?

EVIDENCE OF RHYTHM?

ARE THERE ONE-AT-A-TIME PITCH EVENTS?

EVIDENCE OF MELODIES?

ARE THERE SIMULTANEITIES?

EVIDENCE OF HARMONY?

DID YOU NOTICE MORE THAN ONE MELODY HAPPENING AT A TIME?

EVIDENCE OF TEXTURE?

AND HOW ABOUT DIFFERENCES IN LOUDNESS AND SOFTNESS?

EVIDENCE OF DYNAMICS.

AND EVEN THOUGH THEY WERE ALL CREATED ELECTRONICALLY--DID YOU NOTICE DIFFERENT TIMBRES?

DO WE THINK THIS PIECE WAS INTENTIONALLY CREATED IN SOME FORMAL WAY?

MUSIC--IN ITS SIMPLEST DEFINITION--IS SOUND AND TIME THAT HAVE BEEN ORGANIZED FOR SOME EXPRESSIVE PURPOSE.

IF WE WISH TO GRASP THE DETAILS OF A MUSICAL COMPOSITION, WE MUST OPEN OUR MINDS, AND FOCUS OUR ATTENTION ON THE INGREDIENTS... [SNIFFS] MM.

ON ASPECTS OF THE ELEMENTS OF MUSIC.

I'M GEORGE MARRINER MAULL FOR THE DISCOVERY ORCHESTRA REMINDING YOU TO LISTEN...

BETTER!

-Funding for this series has been made possible in part by... ♪ ♪ ♪ ♪ -The complete 8-part series of "Fall in Love with Music" is available on DVD for $12.95 plus shipping and handling.

To order, call 973-379-2200 or order online at www.DiscoveryOrchestra.org.

♪ ♪