Melody composition, part two

  Continuing on the previous article we will now look at the details of a melody. They will however be constrained to the concept presented earlier - the melodic curve. So, the details of a melodic curve would be the following:

Range - essentialy, the interval within which a melody is played, can be made small and wide. The former treat will give a balanced feel to a melody, while the wider approach will convey more expression. These different feelings might be experienced subjectively however.

Pitch position - a melody cannot be played over the boundaries of a given instrument. Furthermore, a melody might be revolving around a virtual central note, and give a balanced impression. Therefore, melodies are often written around a certain note, at least before a new phrase or instrument enters the show and disturbs the "balancing act" of a melody.

Melodic skips - used to introduce variations in melodies, as they break the constant succession of a melody. It is common to introduce a skip, and then return in the opposite direction, either by skip or a step&skip.

Unified melody - is actually made of smaller phrases, each coming to a short stop before the new phrase begins. In such melodies there is no succession as such, but the different units might be complementary, and contain some outstanding points that correspond to each other.

Compound melody - high points and low points in a melody might give the impression to form their own melodies. Bach was using this technique many times. It is a nice way to introduce a counterpoint on guitar as well.

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