Composing effective melodies
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Lesson details
Learning outcome
I can compose a melody that uses both conjunct and disjunct movement effectively and creates balanced phrases.
Key learning points
- Melodies that use disjunct movement can be very effective, if disjunct intervals are used carefully.
- In particular, 3rds, 5ths and octaves tend to be most effective.
- Any disjunct movement should jump between chord tones.
- Balanced phrasing is a key feature of Western classical melodies.
- With this, phrases are an equal length and use a 'question' and 'answer' form with a similar rhythm and melodic shape.
Keywords
Interval - the distance in pitch between two notes (e.g. a fifth)
Chord tone - a note that is included within a chord
Disjunct - movement between notes that involves intervals larger than two semitones (moving by leap)
Balanced phrasing - where melodic phrases are equal length and complementary melodic shape (also called 'question and answer' form)
Melodic shape - the overall shape of a melody or part of a melody, including where it ascends or descends and where it is conjunct or disjunct
Common misconception
Only 3rds, 5ths and octaves work as disjunct intervals in a melody.
This is not true: all intervals (except sevenths) can work effectively, as long as they jump between chord tones. If intervals jump to or from non-chord tones, the melody will sound ineffective.
Teacher tip
The learning from this lesson can be applied to analysis of any Western classical melodies. In particular, it should become obvious that typically melodies only use disjunct intervals to outline chord tones. Consider embedding the learning through simple analysis of famous classical melodies.
Equipment
DAW, notation software, keyboard or any other suitable instrument that can be used as a composition tool.
Licence
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