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Take a look at Melody in Songwriting, by Jack Perricone. There are lots of aspects of melody that I understood intuitively but couldn't articulate to my students until I read Perricone's descriptions, which made them explicit.


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You might consider looking at Jack Perricone's Melody in Songwriting. It's designed for, obviously, songwriters, but the basic principles of melody it sets forth are applicable to any kind of music.


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Well, the reductive answer is that there's nothing special about it and that the only thing that makes a leading tone "want" to resolve to the tonic is hundreds of years of musical convention, since this tendency exists in a Western scale but not necessarily in other scales. The tuning of the Western scale has changed a lot over the course of those hundreds ...


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This is certainly not universally accepted, but I say a half-step isn't really a fixed entity; rather there are a couple of different "half"-steps of different size that can serve different purposes. That particular leading vii-I step, according to some performers – Pablo Casals was perhaps the most radical propagator of this idea – should be ...


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Interval complexity is a direct function of the distance between the lowest note of the interval as compared to the highest note of the interval with the closest note in the harmonic series of the lowest note of the interval. (Phew!) Let me explain: Poor Man's Harmonic Series: For the sake of this explanation, let's pretend the harmonic series represents ...


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Some sections of "Canon in D" fit this criteria, as well as the triplets at the beginning of "Jesu, Joy of Man's Desiring." I'm assuming you mean the notes should be played continuously with no rests, otherwise you could think of Jingle Bells as Note-Note-Note-Rest-Note-Note-Note-Rest, etc.


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I use a book called the Guitarist's Way to teach pupils classical guitar; so every pupil gets to play this tune, which is just in crotchets, within the first few months of lessons. Here it is: It's only short, so might not be suitable for whatever you need it for. I'm not sure what the original piece by Thomas Tallis is that it comes from, but that might ...


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When I'm improvising harmony to a melody, I 5th chord tone track the harmony notes of the melody (usually the 1st and 3rd beat notes of each measure) except for Resolutions (I chord)at the end of verses, Turnarounds(V7 chord) to set up next verse, and Break (I7 chord) to set up the Bridge. Also, since most Bridges start on a IV chord and end on a V chord, ...



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