One of the more critical aspects of music composition is melody writing. It undergirds so much of the piece, and determines to a large extent how well the piece will translate, and how memorable it will be.
As composers, it’s worth honing our melody writing ability.
While melody writing can be somewhat elusive, there are typically a number of factors that contribute to a successful melody: singability, repetition, stepwise motion, overall contour, good voice leading, and proper resolution of tensions.
Let’s examine these in more detail.
1. Singability
This, in a nutshell, is what makes a good melody. Can you sing it? Can other people sing it? If not, this might be a sign that your melody is too complicated.
One of the big lessons I’ve had to learn is that as a composer, you might only be able to say 10% of what you want to. You might have big plans for a melody, to make it sweeping and grandiose, but it might be utterly lost on your listener.
Remember, we’re trying to create music that translates and resonates with our audience, and often that means pairing things back, and stating things as minimally and economically possible to them. And singability is a good indicator of that.
If your melodies are simple enough to be sung, the odds are that they are already functioning at this level of economy. If not, it may be a sign that you have some streamlining to do.
2. Use repetition
Probably the simplest way to achieve economy in your melodies is by using repetition. Either by repeating a portion of the melody itself, or by repeating the rhythmic structure that undergirds it.
Consider one of the most famous melodies of all time, from Mozart’s “Twinkle, Twinkle, Little Star” variation:
Did you realize the exact same rhythmic structure is used six times in a row?
Or a more modern example in the Indiana Jones theme:
Here, the main rhythmic cell, or a slight variation of it, is used ten times in a row!
Each of these melodies has a high degree of economy, because they recycle so much of their rhythmic content. By reusing similar rhythmic material in each phrase, it makes them inherently more singable and therefore memorable.
Try not to let your melodies become unnecessarily complicated, especially in regard to their rhythm. You can get a lot of mileage out of one primary rhythmic idea.
3. Favour stepwise motion
A major element of singability is using stepwise motion, or adjacent notes in the scale. Melodies with too many leaps are harder to sing, and also harder to follow. Not that you can never use leaps, but to try and be restrictive and deliberate in your placement of them.
Species counterpoint, an old form of music composition, offers some intriguing principles for the use of leaps:
Allowable intervals for a leap are m3, M3, P4, P5, m6 (ascending only), and octaves.
Notes before and after the leap should consist of stepwise motion within the leap.
You should do no more than two leaps while travelling in the same direction.
When doing the above, if the leaps are different sizes, the larger leap should be placed on the bottom, and the smaller on the top.
Leaps in the same direction should also not outline an awkward melodic interval, such as a tritone, major 7th, or compound interval (an interval larger than an octave).
It’s important to note that these are not rules to be slavishly followed, but principles to be aware of, and to adapt to your situation. Most of the time, they will make a positive difference.
For example, I’ve been helped numerous times by trying to structure my melodies, if they had a large upward leap, to use a minor 6th. It doesn’t always work, but sometimes it will force me to consider using notes in the melody that I hadn’t thought of, that lead to intriguing and unexpected results. In the same way, some of the above principles might serve as creative launch pads for your melody writing.
4. Strategically place your high point
If your melodies are lacking a bit of interest, it could be that the melody is inadvertently hitting the same high point too many times. Consider trying to restructure the melody so that it only has one well-placed high point.
If possible, try to place your high point on a strong beat; this should heighten its effect.
Along the same lines, pay attention to your low point as well, and try to be deliberate in its placement. By being mindful of both the high point and low point, your overall melody may end up with a more interesting and unique contour.
5. Try to avoid parallel fifths and octaves
This is more of a music theory point, but nonetheless has a direct effect on the sonic interest and clarity of melodies.
Parallels happen when the melody moves in the same direction and by the same amount as the bass note of the background harmonic texture. Some parallel intervals sound great, such as thirds or sixths, in which the voices are typically referred to as “harmonizing” with one another.
Parallel fifths and octaves typically have a deadening effect on the melody when they occur. The reason is that, as fifths, octaves, and unisons are the purest intervals there are, when the melody moves this way in relation to the bass, it loses its independence from the bass.
In other words, inadvertent parallels will cause the melody to lose prominence at the moment these parallels occur.
If you think your melody is suffering from parallels, try to find them by listening to the melody isolated against the main bass instrument. You may be able to choose another note that belongs in the chord, and avoid the parallel.
Of course, parallels are only a mistake if they happen by accident, inadvertently. If parallel fifths are what you want, go to town and use them. The point is to be deliberate in your use of them.
6. Familiarize yourself with the types of nonchord tones
Utilizing nonchord tones can unlock a treasure trove of interesting melodic ideas.
Here are some of the typical ones:
Passing tone: approached by a step, and left by a step in the same direction. Can occur on a strong or weak beat.
Neighbour tone: approached by a step, and left by a step in the opposite direction. Can occur on a strong or weak beat.
Escape tone: approached by a step, and left by a leap in the opposite direction. Typically occurs on a weak beat, in a cadence.
Anticipation: approached by a step, and left by repeating the same note, that belongs to the upcoming harmony. Occurs on a weak beat.
Appoggiatura: approached by a leap, and left by a step. Can be thought of as “overshooting” the harmony. Occurs on a strong beat.
Suspension: approached by holding over the same note (the preparation), and left by a step downward. Prepared on a weak beat, occurs on a strong beat, and resolved on a weak beat.
Retardation: similar to a suspension, except it resolves upward.
For starters, try to focus on one or two of them, and incorporate them into a melody.
7. Resolve your tensions correctly
Planned and properly resolved moments of tension and release can be a beautiful thing in a melody. A tension happens when a nonchord tone occurs on a strong beat. The question is, what do you do with it?
In general, this is what happens:
The note resolves downward by a step
The resolution occurs on a weak beat
Both of these work together to create the sense of energy releasing. You probably don’t want a resolution to occur on a stronger beat than the tension note did, because you would be technically adding energy in that situation. And by the note resolving downward, it is releasing some sonic energy as well, as its frequency is lower.
Notes can certainly resolve upward if you wish, like in the retardation. And most definitely the leading tone of the scale (the seventh note), should resolve upward to the tonic. But if it’s a tension and release moment you’re after, make sure the release happens on a weaker beat than the tension did.
9. Listen and analyze great melodies
Great melodies are everywhere, and by listening critically to them, you can gain a wealth of insight into what makes melodies work.
If you can, I’d strongly recommend you transcribe the melody, as it will help hone your musical ears. Or get a transcription of it from somewhere, so you can look at it in detail and observe what’s happening in there.
Conclusion
Melody writing is one of the most essential elements of music composition because it is one of the first things that the listener’s ear gravitates to.
So it’s worth learning how to do it well and to strive to improve your level of melody writing, wherever you’re at, as it will directly benefit your compositions.