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12 Athenaeus, line 16: octave leap up. |
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13 Limenius, 13: falling third. 15: rising fourth. 23: rising fourth. 26: octave leap up. |
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15 Seikilos epitaph: rising fifth from tonic. |
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16 Hymn to Muse: rising fifth from tonic.4 |
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17 Mesomedes, Hymn to Muse: rising phrase from tonic. |
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18 Mesomedes, Hymn to Sun: level on tonic. |
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19 Mesomedes, Hymn to Nemesis: first note raised slightly, but basically level on tonic. |
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23-8 Instrumental pieces: all rising. |
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29 POxy. 2436, 6: first note raised slightly, but basically level. |
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30 POsl. 1413, 8: three notes on level, then rising fourth to tonic. 9: rising third from note above tonic. 10: three notes on level, then rising third to semitone below tonic. |
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31 POsl. 1413, 15: rocking phrase down to tonic from fourth above. 16: rising second. 17: climbing stepwise through a fifth. 18: octave leap up. |
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40 Berlin Paean: rising phrase starting on note below tonic. |
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41 Berlin instrumental piece A: falling phrase from fifth to third above tonic. |
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42 Berlin Ajax: falling third from tonic. |
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43 Berlin instrumental piece B: rising phrase from third to fifth above tonic. |
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At the close of a section or of a piece the melodic line tends to be descending, with the final note either the tonic or a fourth below it: |
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12 Athenaeus, 8: falling fourth from tonic. |
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13 Limenius, 7: probably falling fourth from tonic. 21: octave drop from tone above tonic. In the last two lines of the composition the melody confines itself to the fifth from the tonic down, and it probably ended with the third and fourth below the tonic. |
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15 Seikilos epitaph: a similar clausula, falling from the tonic to the third and fourth below, notes not otherwise used in the piece. |
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16 Hymn to Muse: ends on tonic after circling round it. Most of the melody has been above it. |
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17 Mesomedes, Hymn to Muse: tonic approached from above, with the note below sounded just before the goal is reached. |
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18 Mesomedes, Hymn to Sun: similar, but with a little decorative figure when the tonic is reached. |
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19 Mesomedes, Hymn to Nemesis, 15: tonic reached from fourth above in a gently undulating line. |
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4 These two cases are especially significant because the melodic rise contradicts the proper pitch-accents of the words set to it; otherwise in these two little songs melodic and verbal accent are in accord. See the section below on words and music. |
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