This reading provides an introduction to the concept of melody in music and some of the specific melodic terms and descriptions of those terms Melodies differ throughout the musical periods. For example, melodies of the middle ages (Module 5) differ in styule from melodies of the Classical period (module 7). Therefore we will be introduced to some new melodic terms that developed in the Classical era.
This power point and the discussion which follows presents is loaded with many descriptinos of terms other than melody. do not be intimadated. It gives perspective in the many styles of melodies through musical time. Do not be concerned that some listening examples are not available in this outline. It does serve to expose elements in addition to melody which give perspective to Melody.
Introduction -Melody and rhythm
A melody is a series of pitches. Some might define a melody as a tune. The distinguishing characteristic is the series of pitches it comprises. Pitch. is are identified by the frequency of vibration. Higher pitches have higher frequencies (faster vibrations) while lower pitches have lower frequencies (slower vibrations).
Rhythm, harmony, and the four textures may confuse one just beginning to understand melody. These associated elements can be present with melodies in selections and we only mentioned them here to so you might be aware of them. But we do not use them to describe melody , We will discuss theem in detail in succeeding modules.
Pitches (notes in a melody) in Western European music usually have specific lengths (some longer, some shorter). Duration refers to the length of the notes in a melody or composition. Rhythm refers to the pattern of long and short notes.
Harmony comprises of “groups” of notes or chords which support a melody. As you describe melodies you need to be sure you understand that harmony is a separate element which may support a melody
Texture is largely based on whether the melodies (1) are woven from independent melodic lines, (2) supported by harmony (3) both. 1` and 2 ,or (4) has no support and stands alone. Four basic textures we will consider are below: These textures are discussed in more detail in Module 3.
(1) monophonic – A simple melody with no other parts would be monophonic texture. Texture would still be monophonic if more than one (instrument or singer performs the same melody.
(2) Homophonic – A simple melody supported by harmony.
(3) Polyphonic – Two or more independent melodies. Melodies in imitation (to be discussed later ) like “Row Your Boat” are also polyphonic in texture.
(4) Mixed – A combination of homophonic and polyphonic textures together.
As we study the historical periods in this course, melodies, harmonies and textures take on different identities and characteristics.
Above – we have discussed the additonal elements which can be a part of melody. Below is a discussion of melody. itself.
Melody – Contour
A melody that stays only on one pitch (frequency) is not very interesting to listen to. As a melody progresses, the pitches will vary (move up or down in frequency). This movement gives contour and shape to the melody. One can get a good idea of the shape of the line by looking at the melody as it is written on the musical staff (see below). You can also hear this as you listen to the melody.
Arch shapes refer to rises and then falls in a melody. They are easy to find in many melodies. (See PowerPoint file in this module
One can also describe the shape of a melody verbally. For example, a “rising melody” or of an “arch-shaped” phrase could be a description. Extra notes, embellishments, may be added to a melodic line either by the composer or the performer to make the melody more interesting.
Conjunct verses Disjunct: These are necessary and useful terms by which we describe melodies. Be sure you know them and can use them in describing meoldies. These terms describe the distance or interval between pitches in a melody as it progresses higher and lower in pitch. A melody that contains narrow intervals between one note and the next is conjunct. One may also describe such a melody as step-wise,
A melody that contains wide intervals between pitches is disjunct. One may also speak of “leaps” in the melody. Most melodies are a mixture of conjunct and disjunct motion but generally one may be :m,ore conjunct” or more disjunct”.See examples below:
Figure 2. A melody may show conjunct motion, with small distances between the pitches one pitch to the next, or disjunct motion, with large leaps between the pitches. Many melodies are an interesting balanced mixture of conjunct and disjunct motion.
Melodic motives, themes, tunes, melody fragment – Styles through the musical periods
Melodies have always been divided smaller constituent parts. Motives, themes, tunes, melody fragment etc. all relate to melody. Over the course of the musical periods the descriptions of melodies and their melodic segments differ in style depending the period from which they are created. For example, Melodies of the middle ages are different than those of the Classical period and both differ than those of the Romantic period. Melodies of the 20th century may be radically different from those one might expect from some of the earlier periods .
Lisaten to the following examples. They are from different musical periods described above to provide a basic introduction to melody.
LISTENING ACTIVITY: RANGE, MOTION AND CONTOUR
Listen to the melodies below. Can you hear the conjunct verses disjunct intervals. Some are from different musical periods and styles making this determination more challenging.
1. My Country ‘Tis of Thee. It is mostly conjunct Just listen to the first minute:. Listen to the first minute.
Adagio for Strings by Barber. Tempo is slow. Note the short three and four note ascending scales wise passages. It is conjunct:
3. “Idee Fixe” from Berlioz symphony Fantastic – See the musical notes in the video. This selections begins with wide disjunct intervals. Then intervals become stepwise. At the end of the selection wide disjunct intervals recur. Melody is both conjunct and disjunct.
4. Stars Spangled Banner: Mostly conjunct intervals.
5. The melody of this composition is quite complex. Can you hear conjunct, disjunct, or both. Consider range, motion, texture and contour. J.S. Bach’s Brandenburg Concerto #6, first movement
Now go back and review the examples presened aove. Decide which are lyrical (songlike and singable ) and not lyrical (awkward or not singable). We need to consider these important descriptions when describing melody as well.
Go back and review the powerpoint file presented at the beginning of this module and determine if this material as not clearer. Determine if you are able to describe melodies you hear.