1 and 2,--and the examples on later pages,--and endeavor to vindicate their classification as "good" melodies.

Ex.

4, though an exposition of irregular rhythm, is none the less excellent on that account; on the contrary, this irregularity, because wisely balanced by sufficient evidence of harmonious and logical agreement, only heightens the beauty and effectiveness of the melody.
* * * * * * Whenever whole bodies of tone are played successively, a number of melody lines are being described,--as many, in fact, as there are tones in each body.

For example, in playing a hymn-tune we describe (on the keyboard) the four separate melodies known as the soprano, alto, tenor and bass voices.

In a duet, unaccompanied, there are two melodic lines; if accompanied, other melodic lines are added to these.