Search Results

I think one important question here is: "is there one preponderant element in making a melody work?" … For example, could the pleasant sound I am hearing be not so much the melody, but, rather, the mellifluous chord change underneath? …

SECOND, resolve the leading tone Beyond that, is melody-writing an entirely personal and original process? I am aware that there are some things good melodies have in common. … I get overwhelmed by all the different aspects of melody-writing. Anyway, I’m rambling . . . thank you for listening!! Please note: I am referring to the major (Ionian) scale for this question …

For that reason, certain factors, such as chord voicing or contrapuntal motion can heavily influence the outline of a melody. … What do you suspect are the melody-writers main reference points when sitting down with a completed instrumental? Perhaps one would consider the location of the bass? …

I have been reading up on Galant schemata (stock melodic phrases) recently and have run into a question regarding their universality. All of the various schemas (Prinner, Pastorale, Fenaroli, etc) …

So, when writing a melody over this chord change, I usually focus on one of these guidelines. … That being said, I am growing tired of the cliche/expected feeling of these obvious (though satisfying) ways to resolve tension in the melody line. …

The goal is to write a well-constructed and easily singable melody. There is a motif in my melody that outlines a C major triad like this: E4 G4 C4 (in that order). …

What do the numbers above and below the staffs represent? I was assuming that the white-circled numbers under the bass parts were the thoroughbass and that the black-circled numbers above were the sc …

Rule 12 of Paul Hindemith's Craft of Musical Composition - Book 2 states the following: Avoid augmented and diminished intervals. If, after an augmented or a diminished interval, the third tone is ta …

I am attempting to analyze the G note in the melody pictured below using Paul Hindemith's terminology/framework set out in his Book 2. …

The End Has No End, verse Reptilia, chorus Would you consider these riffs countermelodies to the vocal melody …

The attached images are a page from Jack Perricone's Melody in Songwriting. I am familiar with the concept of stress patterns in music, but, honestly, have no idea what the hell he's on about here. …

Note: I am not even sure this pertains to melody--it may be in reference to another section of the book? …

The appeal of Hindemith's Series 1 and Series 2 for me is their apparent universality--the implications of these relationships, set forth by nature, apply for melody as well as for harmony. … Can you please provide an example of a melody being altered/improved based on Hindemith's theory? How about a chord progression being altered/improved based on Hindemith's theory? …

A song I like adds great motion to an otherwise simple progression by adding passing tones in the bass line, leaving the other harmonies unaltered. Please see the following transcription: Does this …