7.1 Melodic Contour and Structure

Melodic contour and structure are crucial elements in crafting memorable tunes. They shape how a melody moves and feels, influencing its emotional impact. Understanding these concepts helps you create more engaging and expressive musical lines.

From basic shapes to complex structures, melodic construction offers endless possibilities. By mastering techniques like phrase building, climax creation, and harmonic interplay, you'll develop the skills to write compelling melodies that resonate with listeners.

Melodic Shape and Direction

Contour and Intervals

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• Melodic contour describes the overall shape and direction of a melodic line
  • Can be ascending (rising), descending (falling), arched (rising then falling), wavy (alternating up and down), or static (staying on the same pitch)
• Melodic intervals are the distances between consecutive pitches in a melody
  • Measured in scale steps or semitones (half steps and whole steps)
  • The size and direction of intervals contribute to the overall contour of the melody
  • Smaller intervals create a smoother contour, while larger intervals create a more angular or disjunct contour
• Conjunct motion occurs when a melody moves by step, using adjacent notes in the scale
  • Creates a smooth, flowing sound (C-D-E or E-D-C)
• Disjunct motion involves leaps between non-adjacent notes
  • Creates a more angular, jagged sound (C-G-E or G-C-A)
• Melodies often combine both conjunct and disjunct motion for variety and interest

Range and Expression

• Melodic range is the distance between the lowest and highest pitches in a melody
  • Can affect the expressive qualities of the melody
  • A wide range can create a sense of grandeur or intensity, while a narrow range can create a sense of intimacy or simplicity
  • The choice of instrument or voice to perform a melody may depend on its range (soprano vs bass)
• The shape and direction of a melody can convey different emotions or moods
  • Ascending melodies can suggest positive emotions like joy, hope, or excitement
  • Descending melodies can suggest negative emotions like sadness, despair, or resolution
  • Arched melodies can suggest a sense of growth and decay or tension and release
  • Static melodies can suggest a sense of stability, tranquility, or stasis

Common Melodic Structures

Phrases and Periods

• Phrases are relatively independent musical units that typically end with a cadence or a sense of closure
  • Melodies are often composed of multiple phrases that are combined to create larger structures
  • Phrases can be of varying lengths, but are often 2, 4, or 8 measures long
  • The ending of a phrase is often marked by a cadence, which is a harmonic progression that creates a sense of resolution or tension
• Periods are a common melodic form consisting of two phrases, often called antecedent and consequent
  • The antecedent phrase is the "question" or the first half of the period, ending with a weak or inconclusive cadence
  • The consequent phrase is the "answer" or the second half of the period, ending with a strong or conclusive cadence that provides a sense of resolution or completion to the antecedent
  • Periods are often symmetrical, with the consequent phrase beginning similarly to the antecedent but ending differently to provide closure

Sentences and Sequences

• Sentence structure is another common melodic form, featuring three parts:
  • Presentation: a short musical idea that is stated twice, often with a slight variation the second time
  • Continuation: a departure from the initial idea, often featuring fragmentation, sequencing, or harmonic instability
  • Cadential: a concluding phrase that provides a sense of closure or resolution, often featuring a strong cadence
• Melodic sequences involve the repetition of a musical pattern at different pitch levels
  • Can create a sense of unity and forward motion in a melody
  • Can be ascending (rising in pitch), descending (falling in pitch), or chromatic (moving by semitones)
  • Sequences can be exact (repeating the same intervallic pattern) or diatonic (adapting the pattern to fit within a scale or key)
• Call and response is a melodic structure in which a musical phrase is stated (the call) and then answered or echoed by another phrase (the response)
  • Often features contrasting musical material between the call and response
  • Can create a sense of dialogue or conversation between two musical voices or instruments
  • Commonly used in African-American musical traditions, such as spirituals, blues, and jazz

Climax and Resolution in Melody

Tension and Release

• Melodic climax is the highest point of tension or emotional intensity in a melody
  • Often achieved through a combination of pitch height, rhythmic intensity, and harmonic tension
  • The climax is the "peak" or "high point" of the melody, after which the tension is released or resolved
  • The placement of the climax within a melody can vary, but it often occurs near the end of a phrase or section to create a sense of anticipation and release
• Melodic resolution refers to the sense of closure or completion that follows the climax
  • Often achieved through a descending melodic line, a return to the tonic pitch, or a resolution of harmonic tension
  • Resolution provides a sense of stability and satisfaction after the tension of the climax
  • Can occur immediately after the climax or be delayed for added tension and surprise

Delayed Resolution and Expressive Techniques

• Delayed resolution occurs when the expected resolution of a melody is postponed or avoided
  • Creates a sense of tension or surprise that can be resolved later in the piece
  • Can be achieved through techniques such as deceptive cadences, melodic suspensions, or modulations to unexpected keys
  • Delayed resolution can create a sense of longing, uncertainty, or ambiguity in the melody
• Other expressive techniques can be used to enhance the emotional impact of a melody's climax and resolution
  • Dynamics (loud vs soft) can be used to emphasize the climax or resolution
  • Articulation (smooth vs detached) can be used to create a sense of urgency or relaxation
  • Ornamentation (trills, turns, grace notes) can be used to add intensity or elegance to the melody
  • Rubato (flexible tempo) can be used to create a sense of ebb and flow or to highlight important moments in the melody

Melody vs Harmony

Consonance and Dissonance

• Harmony refers to the simultaneous sounding of pitches to create chords, which provide the underlying structure and context for a melody
  • Chords are built from intervals (distances between pitches) stacked in thirds
  • Triads are the most basic type of chord, consisting of three pitches (root, third, fifth)
  • More complex chords can be created by adding additional pitches or altering existing ones
• Consonance and dissonance describe the perceived stability or instability of the relationship between a melody and its accompanying harmony
  • Consonant intervals and chords are often used for moments of resolution, as they create a sense of stability and agreement between the melody and harmony
  • Dissonant intervals and chords can create tension and instability, as they introduce clashing or conflicting pitches that seek resolution
  • The balance and interplay between consonance and dissonance is a key aspect of musical expression and can vary widely between different styles and genres

Harmonic Rhythm and Progressions

• Harmonic rhythm refers to the rate at which the harmony changes in relation to the melody
  • A slow harmonic rhythm (one chord per measure) can create a sense of stability and spaciousness, allowing the melody to unfold gradually
  • A faster harmonic rhythm (multiple chords per measure) can generate tension and forward motion, propelling the melody forward
  • Changes in harmonic rhythm can be used to create contrast and variety within a piece
• The choice of harmonic progressions can significantly impact the character and emotional quality of a melody
  • Different progressions can evoke various moods or styles, such as the "sad" sound of a minor progression or the "heroic" sound of a major progression
  • Common progressions include:
    • I-IV-V-I (tonic-subdominant-dominant-tonic)
    • ii-V-I (supertonic-dominant-tonic)
    • I-vi-IV-V (tonic-submediant-subdominant-dominant)
  • Modulations (changes of key) can be used to create variety and contrast within a progression
• Countermelody is a secondary melody that is played simultaneously with the primary melody
  • Often played in a different voice or instrument to create a sense of dialogue or interaction
  • The interaction between the two melodies and their respective harmonies can create a rich, layered texture
  • Countermelodies can be used to reinforce the harmony, create contrast, or add interest to the overall musical texture