{"id":31,"date":"2016-10-02T17:36:35","date_gmt":"2016-10-02T17:36:35","guid":{"rendered":"https:\/\/courses.lumenlearning.com\/vccs-tcc-music-rford\/?post_type=chapter&p=31"},"modified":"2021-12-25T21:29:21","modified_gmt":"2021-12-25T21:29:21","slug":"module-1-melody","status":"web-only","type":"chapter","link":"https:\/\/courses.lumenlearning.com\/vccs-tcc-music-rford\/chapter\/module-1-melody\/","title":{"raw":"Melody","rendered":"Melody"},"content":{"raw":"PP Melody_RFord\u00a0<\/a>\r\n\r\nThis reading\u00a0provides an introduction to the concept of melody in music and some of the specific melodic terms\u00a0 and descriptions of those terms\u00a0 Melodies\u00a0 differ throughout the musical periods. For example,\u00a0 melodies of the middle ages (Module 5)\u00a0 differ in styule from\u00a0 melodies of the Classical period (module 7).\u00a0 Therefore we will be introduced to some new melodic terms that developed in the Classical era.<\/span>\r\n\r\nThis power point and the discussion which follows presents is loaded with\u00a0 many descriptinos of\u00a0 terms other than melody. do not be intimadated. It\u00a0 gives perspective in the many styles\u00a0 of\u00a0<\/strong><\/span>melodies through\u00a0 musical time.\u00a0 Do not be concerned that\u00a0 some listening examples are not\u00a0 available in this outline. It does serve to expose elements\u00a0 in addition to melody which give perspective to Melody.<\/span><\/span><\/b>\r\n

Introduction\u00a0 -Melody and rhythm<\/h2>\r\n[embed]https:\/\/www.slideshare.net\/slideshow\/embed_code\/key\/bLUiUUHkyIN3VX[\/embed]\r\n
Melody<\/a>\u00a0\u00a0<\/strong>- Introduction - Relation to harmony and texture<\/strong><\/div>\r\nA \u00a0melody is a\u00a0series of pitches.\u00a0Some might\u00a0 define\u00a0a melody\u00a0 as a tune. \u00a0 The\u00a0 distinguishing characteristic is the series of pitches it comprises. \u00a0\u00a0Pitch.<\/strong> is\u00a0are identified by the frequency of vibration. Higher<\/strong> pitches<\/strong> have higher\u00a0frequencies (faster vibrations) \u00a0while lower pitches<\/strong> have lower frequencies\u00a0(slower vibrations).\r\n\r\nRhythm, harmony, and the four textures\u00a0<\/strong>\u00a0may confuse one just beginning to understand melody. \u00a0These associated elements\u00a0 can be present with melodies in\u00a0 selections and we only mentioned them here to\u00a0 so you might be aware of them. But we do not use them to describe melody<\/span> , We will discuss theem in detail in succeeding modules.\u00a0\u00a0<\/em>\r\n<\/i>\r\nPitches (notes in a melody) in Western European music \u00a0usually have specific lengths (some longer, some shorter). \u00a0<\/span>Duration<\/strong>\u00a0refers \u00a0to \u00a0the length of the notes in a melody or composition.\u00a0\u00a0<\/span>Rhythm<\/strong>\u00a0 refers to the pattern<\/span> of long and short notes.<\/span>\r\n<\/i>\r\n\r\nHarmony <\/strong>\u00a0comprises of \"groups\" of notes or chords which support a melody.\u00a0\u00a0As you describe melodies you need\u00a0 to be sure you understand\u00a0 that\u00a0harmony<\/strong>\u00a0is a separate element\u00a0 which may\u00a0 support a melody\r\n\r\nTexture<\/strong> is largely based on\u00a0 whether the melodies (1)\u00a0 are woven from independent melodic lines, (2) supported by harmony (3)\u00a0 \u00a0both. 1` and 2 ,or (4)\u00a0 has no support and stands alone.\u00a0 \u00a0Four basic textures we will consider are below:\u00a0These textures are discussed in more detail in Module 3.<\/strong><\/span>\r\n(1)<\/strong>\u00a0\u00a0monophonic -\u00a0<\/strong>\u00a0A simple melody with no other parts \u00a0would be \u00a0monophonic \u00a0\u00a0texture. \u00a0Texture would still be monophonic \u00a0if more than one (instrument or singer performs the same<\/span> melody.\r\n(2) Homophonic - \u00a0<\/strong>A\u00a0simple melody supported by harmony.\r\n(3) Polyphonic -<\/strong>\u00a0 \u00a0Two or more \u00a0independent melodies. Melodies in imitation (to be discussed later ) like \"Row Your Boat\" \u00a0are also polyphonic in texture.\r\n(4) Mixed - <\/strong>\u00a0A combination of homophonic and \u00a0polyphonic textures together. \u00a0<\/strong>\r\n\r\nAs we study the\u00a0 historical\u00a0periods<\/strong> in this course, \u00a0melodies, harmonies and textures take on different identities and characteristics.\r\n\r\nAbove -\u00a0 we have discussed\u00a0 the\u00a0 additonal elements which\u00a0 can be a part of melody. Below\u00a0 is a discussion\u00a0 of melody. itself.<\/strong><\/em>\r\n\r\nMelody -\u00a0 Contour\r\n<\/strong>A melody that stays only on one pitch\u00a0 (frequency) is not very interesting to listen to. As a melody \u00a0progresses, the pitches will vary\u00a0 (move up or down in frequency). This movement\u00a0 gives \u00a0contour 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).\u00a0 You can also hear<\/span> this as you listen to the melody.<\/span>\r\n<\/strong>\r\n\r\nArch shapes refer to rises and then falls in a melody. They are easy to find in many melodies.\u00a0 (See PowerPoint file in this module\r\n\"Line<\/a>\r\nOne can also describe the shape of a melody verbally. For example, \u00a0a \u201crising melody\u201d or of an \u201carch-shaped\u201d 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 \u00a0interesting.<\/span>\r\n<\/span>\r\n\r\nConjunct\u00a0 verses \u00a0Disjunct:<\/strong>\u00a0 These are\u00a0 necessary and useful terms\u00a0 by which we describe melodies. Be sure you know them and can use them in describing meoldies.\u00a0 <\/span><\/strong>These terms\u00a0<\/span><\/span>describe\u00a0 the distance or interval \u00a0between pitches in a melody as it progresses higher and lower in pitch. \u00a0A melody that contains narrow intervals between one note and the next \u00a0is\u00a0conjunct<\/strong>. One may also describe\u00a0 such a melody as step-wise,\r\nA melody that contains\u00a0 wide intervals between \u00a0pitches is disjunct<\/strong>. \u00a0One may also speak of \u201cleaps\u201d in the melody. Most \u00a0melodies are a mixture of conjunct and disjunct motion but generally one may be\u00a0 :m,ore conjunct\" or more disjunct\"<\/span>.See examples below:\r\n
\r\n\r\n\"Figure<\/a>\r\n

Figure 2. A melody may show conjunct motion,<\/strong> with small distances \u00a0between the pitches one pitch\u00a0to the next, or disjunct motion,<\/strong> with large leaps between the pitches. \u00a0Many melodies are an\u00a0 interesting\u00a0 \u00a0balanced mixture of conjunct and disjunct motion.<\/p>\r\n\r\n<\/div>\r\n

Melodic\u00a0 motives, themes, tunes, melody fragment - Styles through the musical periods<\/h2>\r\nMelodies have always been divided smaller constituent parts. Motives, themes, tunes, melody fragment \u00a0etc.\u00a0 all relate to melody.\u00a0\u00a0Over the course of the musical periods \u00a0the descriptions<\/span> of\u00a0\u00a0melodies and their melodic segments\u00a0 differ in style depending the period from which they are created. For\u00a0 example,\u00a0 Melodies of the middle ages are different than those of the Classical period and both\u00a0 differ than those of the Romantic period. Melodies of the 20th century\u00a0 may be radically different from those one might\u00a0expect from\u00a0 some of the earlier periods<\/span>\u00a0.\r\n\r\nLisaten to the following examples. They are from different musical\u00a0 periods described above\u00a0 to provide a basic introduction to melody.\r\n\r\nLISTENING ACTIVITY: RANGE, MOTION AND CONTOUR\r\nListen to the melodies below. Can you hear the \u00a0conjunct verses disjunct i<\/span>ntervals. Some are from different musical periods and styles making this determination more challenging.<\/em>\r\n\r\n1. My Country 'Tis of Thee<\/em><\/strong>. It is mostly conjunct Just listen to the first minute:.\u00a0Listen to the first minute.\r\n\r\nhttps:\/\/youtu.be\/eWJI0oA7fLM\r\n\r\nAdagio for Strings<\/strong> by Barber. Tempo is slow. Note the short three and four note ascending \u00a0scales wise passages. It is conjunct:\r\n\r\nhttps:\/\/youtu.be\/KylMqxLzNGo\r\n\r\n3.<\/em> \"Idee Fixe\"<\/em><\/strong> from Berlioz symphony Fantastic - <\/strong>\u00a0See the musical notes in the video. This selections begins with wide disjunct intervals. \u00a0Then intervals become stepwise. \u00a0At the end of the selection wide disjunct intervals recur. \u00a0Melody is both conjunct and disjunct.\r\n\r\n4. Stars Spangled Banner: <\/strong>Mostly conjunct intervals.\r\n\r\nhttps:\/\/youtu.be\/M1wLtAXDgqg\r\n\r\n5. The melody of this composition is quite complex. Can you hear conjunct, disjunct, or both. Consider range, motion, texture \u00a0and contour.\u00a0J.S. Bach\u2019s Brandenburg Concerto #6, first movement<\/strong>\r\n\r\nhttps:\/\/youtu.be\/Kj1VvTTTO7Q\r\n\r\n \r\n\r\nNow\u00a0 go back and review the examples presened\u00a0 aove. Decide which are lyrical<\/span> (songlike and singable ) and not lyrical<\/span>\u00a0 (awkward or not singable). We need to consider these important descriptions when describing melody as well.<\/strong>\r\n\r\nGo back and review the powerpoint file\u00a0 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.<\/span><\/strong>\r\n\r\n ","rendered":"

PP Melody_RFord\u00a0<\/a><\/p>\n

This reading\u00a0provides an introduction to the concept of melody in music and some of the specific melodic terms\u00a0 and descriptions of those terms\u00a0 Melodies\u00a0 differ throughout the musical periods. For example,\u00a0 melodies of the middle ages (Module 5)\u00a0 differ in styule from\u00a0 melodies of the Classical period (module 7).\u00a0 Therefore we will be introduced to some new melodic terms that developed in the Classical era.<\/span><\/p>\n

This power point and the discussion which follows presents is loaded with\u00a0 many descriptinos of\u00a0 terms other than melody. do not be intimadated. It\u00a0 gives perspective in the many styles\u00a0 of\u00a0<\/strong><\/span>melodies through\u00a0 musical time.\u00a0 Do not be concerned that\u00a0 some listening examples are not\u00a0 available in this outline. It does serve to expose elements\u00a0 in addition to melody which give perspective to Melody.<\/span><\/span><\/b><\/p>\n

Introduction\u00a0 -Melody and rhythm<\/h2>\n

https:\/\/www.slideshare.net\/slideshow\/embed_code\/key\/bLUiUUHkyIN3VX<\/a><\/p>\n

Melody<\/a>\u00a0\u00a0<\/strong>– Introduction – Relation to harmony and texture<\/strong><\/div>\n

A \u00a0melody is a\u00a0series of pitches.\u00a0Some might\u00a0 define\u00a0a melody\u00a0 as a tune. \u00a0 The\u00a0 distinguishing characteristic is the series of pitches it comprises. \u00a0\u00a0Pitch.<\/strong> is\u00a0are identified by the frequency of vibration. Higher<\/strong> pitches<\/strong> have higher\u00a0frequencies (faster vibrations) \u00a0while lower pitches<\/strong> have lower frequencies\u00a0(slower vibrations).<\/p>\n

Rhythm, harmony, and the four textures\u00a0<\/strong>\u00a0may confuse one just beginning to understand melody. \u00a0These associated elements\u00a0 can be present with melodies in\u00a0 selections and we only mentioned them here to\u00a0 so you might be aware of them. But we do not use them to describe melody<\/span> , We will discuss theem in detail in succeeding modules.\u00a0\u00a0<\/em>
\n<\/i>
\nPitches (notes in a melody) in Western European music \u00a0usually have specific lengths (some longer, some shorter). \u00a0<\/span>Duration<\/strong>\u00a0refers \u00a0to \u00a0the length of the notes in a melody or composition.\u00a0\u00a0<\/span>Rhythm<\/strong>\u00a0 refers to the pattern<\/span> of long and short notes.<\/span>
\n<\/i><\/p>\n

Harmony <\/strong>\u00a0comprises of “groups” of notes or chords which support a melody.\u00a0\u00a0As you describe melodies you need\u00a0 to be sure you understand\u00a0 that\u00a0harmony<\/strong>\u00a0is a separate element\u00a0 which may\u00a0 support a melody<\/p>\n

Texture<\/strong> is largely based on\u00a0 whether the melodies (1)\u00a0 are woven from independent melodic lines, (2) supported by harmony (3)\u00a0 \u00a0both. 1` and 2 ,or (4)\u00a0 has no support and stands alone.\u00a0 \u00a0Four basic textures we will consider are below:\u00a0These textures are discussed in more detail in Module 3.<\/strong><\/span>
\n(1)<\/strong>\u00a0\u00a0monophonic –\u00a0<\/strong>\u00a0A simple melody with no other parts \u00a0would be \u00a0monophonic \u00a0\u00a0texture. \u00a0Texture would still be monophonic \u00a0if more than one (instrument or singer performs the same<\/span> melody.
\n(2) Homophonic – \u00a0<\/strong>A\u00a0simple melody supported by harmony.
\n(3) Polyphonic –<\/strong>\u00a0 \u00a0Two or more \u00a0independent melodies. Melodies in imitation (to be discussed later ) like “Row Your Boat” \u00a0are also polyphonic in texture.
\n(4) Mixed – <\/strong>\u00a0A combination of homophonic and \u00a0polyphonic textures together. \u00a0<\/strong><\/p>\n

As we study the\u00a0 historical\u00a0periods<\/strong> in this course, \u00a0melodies, harmonies and textures take on different identities and characteristics.<\/p>\n

Above –\u00a0 we have discussed\u00a0 the\u00a0 additonal elements which\u00a0 can be a part of melody. Below\u00a0 is a discussion\u00a0 of melody. itself.<\/strong><\/em><\/p>\n

Melody –\u00a0 Contour
\n<\/strong>A melody that stays only on one pitch\u00a0 (frequency) is not very interesting to listen to. As a melody \u00a0progresses, the pitches will vary\u00a0 (move up or down in frequency). This movement\u00a0 gives \u00a0contour 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).\u00a0 You can also hear<\/span> this as you listen to the melody.<\/span>
\n<\/strong><\/p>\n

Arch shapes refer to rises and then falls in a melody. They are easy to find in many melodies.\u00a0 (See PowerPoint file in this module
\n\"Line<\/a>
\nOne can also describe the shape of a melody verbally. For example, \u00a0a \u201crising melody\u201d or of an \u201carch-shaped\u201d 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 \u00a0interesting.<\/span>
\n<\/span><\/p>\n

Conjunct\u00a0 verses \u00a0Disjunct:<\/strong>\u00a0 These are\u00a0 necessary and useful terms\u00a0 by which we describe melodies. Be sure you know them and can use them in describing meoldies.\u00a0 <\/span><\/strong>These terms\u00a0<\/span><\/span>describe\u00a0 the distance or interval \u00a0between pitches in a melody as it progresses higher and lower in pitch. \u00a0A melody that contains narrow intervals between one note and the next \u00a0is\u00a0conjunct<\/strong>. One may also describe\u00a0 such a melody as step-wise,
\nA melody that contains\u00a0 wide intervals between \u00a0pitches is disjunct<\/strong>. \u00a0One may also speak of \u201cleaps\u201d in the melody. Most \u00a0melodies are a mixture of conjunct and disjunct motion but generally one may be\u00a0 :m,ore conjunct” or more disjunct”<\/span>.See examples below:<\/p>\n

\n

\"Figure<\/a><\/p>\n

Figure 2. A melody may show conjunct motion,<\/strong> with small distances \u00a0between the pitches one pitch\u00a0to the next, or disjunct motion,<\/strong> with large leaps between the pitches. \u00a0Many melodies are an\u00a0 interesting\u00a0 \u00a0balanced mixture of conjunct and disjunct motion.<\/p>\n<\/div>\n

Melodic\u00a0 motives, themes, tunes, melody fragment – Styles through the musical periods<\/h2>\n

Melodies have always been divided smaller constituent parts. Motives, themes, tunes, melody fragment \u00a0etc.\u00a0 all relate to melody.\u00a0\u00a0Over the course of the musical periods \u00a0the descriptions<\/span> of\u00a0\u00a0melodies and their melodic segments\u00a0 differ in style depending the period from which they are created. For\u00a0 example,\u00a0 Melodies of the middle ages are different than those of the Classical period and both\u00a0 differ than those of the Romantic period. Melodies of the 20th century\u00a0 may be radically different from those one might\u00a0expect from\u00a0 some of the earlier periods<\/span>\u00a0.<\/p>\n

Lisaten to the following examples. They are from different musical\u00a0 periods described above\u00a0 to provide a basic introduction to melody.<\/p>\n

LISTENING ACTIVITY: RANGE, MOTION AND CONTOUR
\nListen to the melodies below. Can you hear the \u00a0conjunct verses disjunct i<\/span>ntervals. Some are from different musical periods and styles making this determination more challenging.<\/em><\/p>\n

1. My Country ‘Tis of Thee<\/em><\/strong>. It is mostly conjunct Just listen to the first minute:.\u00a0Listen to the first minute.<\/p>\n