The Music of Hindostan c17.52

c17.52

but it is emphatically not the case in India. The reason may be that there is more real contrast to be got out of step than leap; because the step must often be to a consonant interval, and in that case the second note repeats to some extent what has already been said by the first. It has often been noticed that Beethoven's melodies are full of conjunct motion—the great tune of the Choral Symphony, for instance, which matured during half a century with Goethe's *Faust*; and perhaps this motion was what he admired in our national anthem when he undertook to 'show the English' what a fine tune they had—though they have hardly been as grateful as they should have been; perhaps, too, the injudicious use of disjunct motion accounts for some of the insipidity of the tunes of Shield, Henry Bishop, and T. H. Bayly, and the judicious admixture of both kinds of motion for the virility of Arne and Purcell.