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Melodic components provide the bases for lengthy compositions through various embellishments and extensions. 2 are examples from the numerous possibilities that exist for each mode. The use of figures such as these is necessarily subject to considerable discussion and to flexibility in interpretation. Some figures appear in different modes in the same or similar forms, and some seem, by their very nature, to be universal as simple melodic figures. 2 appear more consistently in prominent melodicpositions in the respective modes and seem to have a more definitive function in these modes.

Montpellier, Faculte de Medecins, H 196, fol. 338. deau, the refrain (capital letters) was frequently sung by an informal audience. This form was later (fourteenth century) called chanson balladee by the French composer Guillaume de Machaut. Also, the ballata in Italy closely resembles it. The forms described in the preceding pages are the principal ones for which consistent defined patterns can be identified. , ballata and villancico —both variants of the virelai). Broad generalizations are dangerous and should only be accepted with an awareness of the omnipresent possibility for inaccuracy or inapplicability when applied to a given case.

1810. , Tournai-Doornik, Belgium. Larger intervals should be used freely but with discretion. It is relatively rare to find several large intervals in close proximity. More commonly they are used to emphasize the effects of a contour, to create a stronger sense of motion, and to provide variety in the flow of a line. 6 demonstrates the beautiful and typical use of a single large skip (a fifth) in a conjunct setting. 6. Kyrie Orbis Factor (first two incises). Liber Usualis, p. 85. , Tournai-Doornik, Belgium.

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