THE MELODY LINE

Sun (Auckland), Volume III, Issue 652, 2 May 1929, Page 14

THE MELODY LINE

RELATIONSHIPS IN MUSIC MANY SIMILARITIES A piece of music stands or falls on its tune, or "melody line.” Tills is as true of classical as well as popular music, except that in a symphony the tune is dignified with the title of “theme” or "subject,” while in grand opera it becomes a “motif.” In the long run, however, the fundamental material of all music is the same: the arrangements of tone in time, which is melody, pure and simple. No great music has ever been written that was entirely without melody, and if that melody is not apparent at a first hearing it is probably the fault of the listener rather than the composer. After all it is only the obvious in art of any kind that is immediately evident, and such obviousness is fairly sure to indicate a lack of permanent value. Rhythm is the most primitive factor in music (there is an exact parallel between the savage beating his tom-tom and the modern jazzhound keeping time to a fox-trot), but melody is the stronghold of memory, and that means that on melody rests the immediate ultimate popularity of every piece of music. If the average listener will only be sincere in expressing his musical likes and dislikes he may often surprise himself with the actual respectability of his taste.

How many, for instance, of those who have shouted “Hail, hail; the gang’s all here” in ribald fashion, know that that gorgeous tune was composed by no less than Sir Arthur | Sullivan, of the famous operatic team, and that it is also individually responsible for such serious inspirations as “The Lost Chord,” and “Onward, Christian Soldiers?” Moreover, when he wrote it he was probably consciously burlesquing the famous “Anvil Chorus” from Verdi’s “II Trovatore.” So anyone who likes to sing “Hail, hail,” Is fairly sure to like Verdi’s chorus also. And if he likes that anvil-smiting rhythm he is quite likely to respond to the “Soldiers’ Chorus” in Gounod's “Faust,” which may lead him to the “Pilgrims’ Chorus” in “Tannhauser,” and 10, a Wagnerian in the making. It Is curious how the same pattern will repeat itself, often accidentally in a number of tunes. This “Hail, hail” melody has its foundation in the same set of tones as make up the Westminster Chimes, that booming progression that rings the quarter

; hours from a thousand clock towers, i Sung from the bottom to the top, its four notes give the opening o£ “How Dry I Am,” as well as two hymn tunes, a symphonic theme of Beethoven’s, and the “Merry Widow Waltz.” A reverse twist turns them into “Sweet Adeline.” “Working on the Railroad,” “Jingle Bells,” and “Good-night, Ladies,” are close relatives of this universal pattern. Once the habit of listening for melody lines is formed, surprising relationships will be discovered in every musical direction. There are still shocked protestations over the ancestors of “Yes, We Have No Bananas,” which includes Handel's “Hallelujah Chorus” and "The Bohemian Girl” among its immediate forefathers. If the earnest musical detective desires a fascinating indoor sport, equally entertaining in the concerthall. at the radio, or before the phonograph, let him get his ear to the ground and follow the melody line. WESTMINSTER GLEE SINGERS The Westminster Glee Singers, who left behind them such pleasing impressions during tours of New Zealand. are expected back in the Dominion about next July. Since their last visit to New Zealand they have been reorganised, and, according to report, some particularly fine voices have been drawn from such famous places as Westminster Abbey. Worcester Cathedral, St. George’s. Windsor. and St. Paul’s Cathedral. They are at present touring Canada with j remarkable success. Their repertoire comprises over 150 pieces of partmusic, embracing all styles, including delightful anthems, carols, old folksongs, sea chanties, glees and partsongs so well known the world over, i Mr. Leo du Chateau will again be ! associated with the New Zealand tour \ ns organiser and manager.