Melodic Supremacy and Harmonic Truth

Definition: The hierarchical principle that melody constitutes the primary generative element in musical composition, with rhythm serving melodic development and harmony chosen to fulfill melodic implications—harmony must be "true" in the sense of being wanted by and emerging from the melody.

Messiaen's Treatment: Messiaen opens by declaring melodic supremacy: melody is the noblest element of music and may be the principal aim of investigation. He quotes Paul Dukas's pedagogical advice to students about intervals and their choice: work melodically, with rhythm remaining pliant and giving precedence to melodic development, and harmony chosen being "true"—that is to say, wanted by the melody and the outcome of it.

This reiterates the hierarchical relationship established in Chapter I: melody is sovereign, rhythm and harmony are "faithful servants." Dukas's counsel emphasizes that harmonic choices should emerge from melodic implications rather than being imposed from external voice-leading rules or progressional formulas. The melody generates its own harmony through its intervallic content, contour, and expressive trajectory.

Modern Context: This represents a melodically-centered compositional philosophy contrasting with:

• Harmonic-centric approaches: Traditional theory emphasizing chord progression and voice-leading as generative (Rameau, Fux, figured bass practice)
• Contrapuntal approaches: Equal-voice polyphony where no single line dominates (Renaissance counterpoint, Bach fugues)
• Serial approaches: Treating all parameters as equal and subject to systematic organization (Schoenberg, Webern, Boulez)

Messiaen's melodic primacy aligns more closely with:

• Romantic melodic thinking: Melody as primary expressive vehicle (Chopin, Schumann)
• Debussy's approach: Melody generating its own harmony through modal implications
• Folk and non-Western traditions: Where melodic systems (modes, ragas, maqamat) determine harmonic contexts

Contemporary music theory recognizes that different compositional philosophies privilege different parameters. Messiaen's explicit melodic hierarchy represents a conscious choice positioning him within a melodic rather than harmonic or contrapuntal tradition.

The concept of harmonic "truth"—harmony wanted by the melody—suggests organic relationships between melodic and harmonic dimensions rather than their mechanical combination. This anticipates his discussion of added notes (Chapter XIII) where harmonic color emerges from melodic necessity.

Examples: The principle governs all melodic examples in this chapter, though it is stated conceptually rather than demonstrated through specific examples.