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June 11, 2008
Melodic Construction: Pitch and Contour
Melody is so central to much of the music we love. This week, singer and composer Melody Parker stops by to describe how pitches can be strung together to form a melody, and the ways in which a melody can quickly burst out, slowly develop, or gradually expand over the course of a whole section. There's a delicate art at play in the placement of pitches, from the use of motives in a sequence to the deployment of broad leaps and arpeggi. (10 mins.)
On the next page, check out clips from brilliantly composed songs that employ different melodic techniques, and hear for yourself how scalar motion can increase catchiness, how a line can be monotonous without being boring, and how simple motives can sound rich and full.
MUSICAL TERMS INCLUDED IN THIS PODCAST
| Interval | Motive (motif) | Melodic development | Sequence |
| Step | Monotony | Reference pitch | Range |
| Half step | Monotonous | Scalar motion | Chromatically |
| Whole step | Scale | Arpeggio | Figure |
| Pitch | Major scale | Melodic contour | Minor scale |
| Leap | Bridge | Ascending line | Phrase |
MELODIES WITH BROAD RANGES
by Big Mama Thornton |
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by The Beach Boys |
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by Elvis Costello & the Attractions |
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by Squeeze |
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by Rufus Wainwright |
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by Radiohead |
MELODIES WITH NARROW RANGES
by Elvis Presley |
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by T. Rex |
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by Patti Smith |
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by Elvis Costello & the Attractions |
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by The Runaways |
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by PJ Harvey |
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by Destiny's Child |
MOTIVES USED TO BUILD A SEQUENCE
by Frank Sinatra |
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by Nat "King" Cole |
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by Ella Fitzgerald |
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by Ella Fitzgerald and Count Basie |
SCALAR MOTION
by the Beatles |
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by the Beatles |
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by the Beatles |
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by the Beatles |
ARPEGGI (BOTH TYPICAL AND WEIRD)
by the Beatles |
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by the Beatles |
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by the Beatles |
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by the Beatles |
Comments
concise and packed and hugely informative and inspirational as ever.
This is exactly what I am working on in my own work right now. I'd certainly be interested in knowing what thoughts people have on how tone, timbre and texture of the songwriters voice might affect contemporary composition.
Great work as usual.
Posted by: Carl Craven at June 4, 2008 07:03 AM
Always informative. ALways interesting. Never boring. Great work again. Melody you have an amazing voice. I love it!
Posted by: Andy Smyth at June 6, 2008 11:27 AM
Thanks, Carl and Andy! Happy to hear it. I'll let Melody know, too.
Posted by: Kevin Seal at June 6, 2008 01:08 PM
Thank you both!
Carl, I think it's a great idea to delve into the topic you suggested. It would easily fill up a whole episode. I especially like your angle: to look at vocal timbre from a compositional perspective, not just an interpretive/performative one.
Posted by: Melody at June 6, 2008 02:18 PM
Good grief, I forgot how yummy Melody's voice is...
Nice work, peeps!
Posted by: Lucia at June 6, 2008 03:16 PM
Wow just got on the site and love all the info and back ground. This should be a mandatory class in all middle schools.We would see kids hearing modern history,and possibly have a new wave of rock bands that will bring music back to the masses instead of this stupid crap we are forced to listen to.
Posted by: wayne a wells at July 16, 2008 02:25 PM
Two words. fantastice voice
Posted by: Fernstudium at July 23, 2008 09:42 AM
I would use these segments in my high school choral classroom, but all music sites are blocked at school. Any other ways I can get these programs?
Posted by: Chris at August 1, 2008 02:25 PM
Thanks so much, Fernstudium!
Chris, you might try subscribing to the podcast series on your computer at home via iTunes. You could then make compilation CDs to bring to class. There's an additional advantage to that method: you'll be able to pause and replay from the point you left off, and skip forward and back to listen to a specific section that you'd like to review.
Posted by: Melody at August 2, 2008 10:13 AM
