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 which begins the second subject of Beethoven’s Waldstein Sonata (Op. 53, first movement, bars 35–42, where at the third bar of the melody a lower voice enters and finishes the phrase).

4 (a) Conjunct movement is the movement of melody along adjacent degrees of the scale.' A large proportion of Beethoven’s melodies are conjunct (see Ex. 2, fig. B).

4 (b) Disjunct movement, the opposite of conjunct, tends, though by no means always, to produce arpeggio types of melody, i.e. melodies which move up and down the notes of a chord. Certain types of such melody are highly characteristic of Brahms; and Wagner, whose melodies are almost always of instrumental origin, is generally disjunct in diatonic melody and conjunct in chromatic (Ex. 2, fig. C, is a disjunct, figure not forming an arpeggio).

For various other melodic devices, such as inversion, augmentation and diminution, see.

We subjoin some musical illustrations showing the treatment of figures in melody as a means of symmetry (Ex. 1), and development (Ex. 2–7), and (Ex. 8–13) some modern melodic transformations, differing from earlier methods in being immediate instead of gradual.

