5) Standardised techniques for the creation of melodies--the so-called melodic manners (or with reference to the supposed originality of the Mannheim School in this respect the "Mannheim manners").
Plenty of examples of melodic techniques of this type could be found in the work of other composers who had demonstrably not been in any contact with the Mannheim School at the time in question.
Let us take note: the performance style of the Mannheim orchestra is again stressed in first place, with the advance in composing identified in a general way in the field of the symphony without further specification: there is no mention of melodic styles, the minuet, clarinets, or even "Czech contributions".
We find something similar, for example, in the symphonic rhapsody Taras Bulba, where at times it is as if Janacek was longing for a Straussian and Novak-Suk style orchestra only to return to the conventions that he had developed for himself and was not about to abandon (fourth chords and melodic
backgrounds no longer in the position of background, a preference for composing in layers, abandonment of two-, four- or eight-bar phrasing and the evolutionary motif-thematic stereotype, and especially the employment of montage techniques).
This often had common roots with Moravian folk music, since for example some of the South and East Slavs used melodics based on modal tonal material, but Dvorak was also inspired by the differences, nationally characteristic genre and dance types.
To the techniques characteristic of the different stages of his development as a secular composer he added a few italianisms in melodics, most frequently akin to Verdi - particularly in the Stabat mater, but also in the Requiem and the Te Deum, but no longer when it came to the Mass in D major and not at all in the Biblical Songs, which in musical idiom belong in full to the American period and the broader framework of Dvorak' highly individual lyrical musical language.
In Corale long melodic phrases like the lines of Gregorian chants are build out of the initial ten-tone mode on three melodic instruments with precise tuning (two vibraphones and a marimba).
The second part of the melodic phrases and at the same time the second part of the form is built on the inversion of the eight-tone sequence and its transposition by tritone.
Novak soon found a deeper way of integrating elements of Moravian and Slovak song with his own melodics and (ever more individual and audacious) harmonic imagination, directly quoting only rarely, and instead simply finding inspiration in particular melodic phrasing, modality or rhythm.
Already in 1900 a melodics close to his balladic works provided the basis for his piano Sonata Eroica op.
His huge melodic inventiveness and sense of the dramatic secured Fiser, alongside Zdenek Liska, for example a leading placae among the creators of Czech film music.
Although with its semi-tone construction Fiser's modus hardly provides much space for the development of melodic line, in the Fifteen Leaves the composer builds up a number of motifs from which the structure of the composition emerges.