CORNELL

Ex.35S.MODERN MELODY 16&Adagio maestoso.Chor. jy^-' _ *VERDI, Requiem.*ts e—Rex tre.men.dae ma . je . sta ... tis!Ex.359.Moderato e solemie.ELGAR,"Gerontius'.'gra.ciousEx.360.Lento. *_ ^CHOPIN, Etude in E.Ex.361.m"J 'BEETHOVEN,String Quartet, Op.131.tJ ^ 'j"Undoubtedly the treatment of melody freed from theconventionalities of form, sometimes even reaching to dispensingwith the barring, makes at tiraes for effects ofcataclysmal power. The impassioned outpouring of the doublebasses in Beethoven's Ninth Symphony tells tremendouslyby the sheer force of its musical rhetoric.With melody written over the " tonal " or the " duodecuple "systems, we have vastly different problems to face ; and theseMelody incomposers Write in the same idiom for the voicethe Newer as for instruments, although one would think thatScales,^jjg standard would have been modified shghtlywith the former. It is not so, however, and the fact that the