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Creating a melody.
The basics.
Location Creating Music 0 Comments
As I mentioned in the previous article, there are three approaches used when composing music: composing a melody,composing a harmony or rhythm.
In this article, we will consider some important aspects concerning the composition of melodies and the elements of which it consists.
What is a melody?
Everyone determines the melody based on their views on the music as a whole.
Someone understands any one voice line by a melody(which is theoretically true), someone means something bright,memorable by a melody,and someone only means a vocal line.
Each composer should form a strategy for working on a melody based on their priorities,but undoubtedly an important quality is the ability to compose memorable or, if you can call them that, hit melodies( if we talk about non academic music).
Any well written melody contains a lot of interrelated elements,each of which determines the level of its emotionality and simplicity or complexity.
There is no need to use complex elements to create light images,just as it is absurd to use simple melodies when writing a symphony(unless it contributes to the expression of the idea).
The Italian composer, pianist, conductor and music teacher F.Busoni gave a very good definition of a melody - which helps to understand what elements a melody consists of.
"A series of repeated ascending and descending intervals, which is divided and set in motion by a rhythm, which contains a hidden harmony and conveys a mood , which can be independent of the words of the text as expressiveness and independent of the accompanying voices as a form, does not change its essence from the choice of the absolute pitch of the sound and the instrument " It is not by chance that the similarity of form and melody is highlighted.
A good melody is always perfect in form.
Therefore, the first important element should be called the musical syntax.
It is followed by the missed Busoni, but a very important component is the musical intonation.
We can say that in the abstract, the melody already exists in the presence of only these two elements.
However, it still becomes full fledged only with proper metrorhythmic design.
The same intonation, but in different metric conditions, is able to express opposite images.
The melodic gift has always been very highly valued and is still an indicator of talent.
However, many people do not correctly understand the very essence of the melodic gift.
To create a melody means to be able to create the necessary musical structure from one grain of musical intonation.
A common mistake of novice composers( and improvisers, since many aspects of these arts are connected) is the accumulation of melodies and musical intonations.
As a result, the listener cannot catch on to any of them at the same time and loses the essence in this oiled porridge.
If we compare composers of different eras, we can come to a parodaxal conclusion at first glance - the intonations used 200 years ago and today are the same.
This fact tells us that it is not the intonations themselves that are changing, but the ways of development,development.
The intonation of a large second has a million refractions in the works of various composers.
Two excerpts from the works of completely different composers.
The grain of each topic is the intonation of the descending big second:
McCartney Yesterday
Rodrigo aranjuez part2
The methods of development and shaping are completely different here hence the different melodies,stylistics and everything else.
In addition, these two examples are a vivid manifestation of two types of melodic beginning - vocal and instrumental.
The vocal line, as a rule, is very melodic and relies on second intonations.
The vocal melody is inseparable from the word and is closely interrelated with it.
Many composers try, if not precisely to convey, then at least to preserve the rhythm of poetry( music borrowed many rhythmic elements from poetry).Vocal melodies in general are not characterized by wide jumps,complexity of form and development.
The very type of vocal melodies, in turn, allows us to distinguish two more types of melodic development(or the nature of the melody):
1. Cantilena
2.
Recitative
The cantilena is understood as the melodies of a wide breath.
They are characterized by melodiousness and melodism.
An example of a modern cantilena:
Recitative melodies are based on frequent repetition of a note and usually have a narrow range.
There can be whole constructions consisting of two or three notes.
A classic jazz example of recitative rhythmics is One Note Samba.
An example of a recitative from Black Sabbath (the Paranoid song):
In addition to these factors, the genre beginning of the melody still plays an important role.
Such elements as marching, dancing, songfulness greatly affect the style and figurative structure of the melody.
Each of these genres is implemented differently in the composer's work, sometimes explicitly, and sometimes only in the form of a hint.
Thus, an important factor that must be taken into account when creating a melody is its type(cantilena, recitative) and genre.
Therefore, the best exercise for a composer is to create melodies of different types and genres without any other restrictions( which will be imposed over time).
The next article will be devoted to a very important compositional technique - the development of motives when creating a melody.
»crosslinked«
Posted by Denis Chufarov @ March 3, 2012 0 Comments
Tags: composition, music creation, melody creation
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