14 tricks to improve your melodies

bandcoach

bandcoach

Zukatoku - Mod Scientist
Melodic Devices
There are several types of melodic devices that you can use in composing melodies for all situations.

First up I created a melody based on the following chord progression:

C // | F // | Dm // | G // | Am // | Dm // | C/E // |
F // | C/G // | G // | C // | G // | C // ||

[mp3]http://www.bandcoach.org/fp/audio/melDevAcc.mp3[/mp3]
melDevAccompaniment.png


This progression is used for each subsequent variation.

Example 1
This melody used only the chord tones available for each chord:
melDevMelody-1.png


Solo
[mp3]http://www.bandcoach.org/fp/audio/melDevMel1Solo.mp3[/mp3]
Accompanied
[mp3]http://www.bandcoach.org/fp/audio/melDevMel1All.mp3[/mp3]
The melody uses four devices, which are basically the same idea, an arpeggio of some sort:
  1. Arpeggio of the chord
    melDevMel1Dev1.png
  2. Partial arpeggio of the chord downward and back
    melDevMel1Dev2.png
  3. Partial arpeggio of the chord upward and back
    melDevMel1Dev3.png
  4. Arpeggio of the chord with anticipation
    melDevMel1Dev4a.png

    melDevMel1Dev4b.png

Anticipation means that notes from the next chord are heard before it is played, they can be a single offbeat note before the bar or even several notes before as in the examples here.

Example 2
Example 2 shows how this melody can be decorated using Non-accented Passing Tones (off-the beat)
melDevMelody-2.png


Solo
[mp3]http://www.bandcoach.org/fp/audio/melDevMel2Solo.mp3[/mp3]
Accompanied
[mp3]http://www.bandcoach.org/fp/audio/melDevMel2All.mp3[/mp3]
The melody uses one new device:
  1. Passing notes as groups of 3 or more notes
    melDevMel2Dev1.png

Each off-beat note (2nd quaver/8th in a pair of quavers/8ths) is a passing note - a non chord tone joining two chord tones. The notes that are shown in duck-egg blue participate in both the downward and upward movement of scale runs, acting as turning points in the melody.

Example 3
Example 3 shows how this melody can be decorated using accented passing tones (on-the beat), upper and lower neighbour tones both accented and unaccented,
melDevMelody-3.png


Solo
[mp3]http://www.bandcoach.org/fp/audio/melDevMel3Solo.mp3[/mp3]
Accompanied
[mp3]http://www.bandcoach.org/fp/audio/melDevMel3All.mp3[/mp3]
The markup shows devices:
  1. Passing notes as groups of 3 or more notes
    melDevMel3Dev1.png
  2. Accented passing notes
    melDevMel3Dev2.png
  3. Appoggiatura (both notes)
    melDevMel3Dev3.png
  4. Lower Neighbour tone accented
    melDevMel3Dev4.png
  5. Lower Neighbour tone unaccented
    melDevMel3Dev5.png
  6. Upper Neighbour tones accented
    melDevMel3Dev6.png
  7. Upper Neighbour tones unaccented
    melDevMel3Dev7.png

This time we can see passing notes that are on and off the beat. The notes that are shown in duck-egg blue participate in both the downward and upward movement of scale runs, acting as turning points in the melody.

There is a special type of accented passing note known as the appoggiatura, which is a non-chord tone on the beat resolving downward by step to a chord tone.

Neighbour tones, also known as mordents, are used to decorate a melody by adding the note immediately above or below the main note, and then returning to the original note. It is common for the first half or the second half of these mordents to use shorter note values.

Example 4
Example 4 shows how this melody can be further decorated using Echappee and Cambioto
melDevMelody-4.png


Solo
[mp3]http://www.bandcoach.org/fp/audio/melDevMel4Solo.mp3[/mp3]
Accompanied
[mp3]http://www.bandcoach.org/fp/audio/melDevMel4All.mp3[/mp3]
The markup shows five devices:
  1. Cambioto
    melDevMel4Dev1.png
  2. Echapee
    melDevMel4Dev2.png

Echappee (Escape tone) is a non-chord tone entered by step and left by leap in the opposite direction.

Cambioto is a non-harmonic tone entered by leap and left by step in the opposite direction of the leap (the reverse of Echappee).

As well as these two new devices several of the previously identified devices are also used. It is left as an exercise for you to identify them. PM me your answers for confirmation.
 
Last edited:
Very interesting tutorial, just curiousity why did you choose a 3/4 time? for the example it works well, but i am honestly curious of the difference between 3/4 and 4/4 in terms of musical feel and sound influences. (I do know the beat difference XD) But back on topic, Very good tutorial!
 
Nice the chords you provided in this really gave me an idea for a melody for my next song , its amazing how anything can inspire a producer to make something creative! , But I really gotta work on my music theory I am not educated about chords at all , I just follow my ear.
 
f33dbak said:
Very interesting tutorial, just curiousity why did you choose a 3/4 time? for the example it works well, but i am honestly curious of the difference between 3/4 and 4/4 in terms of musical feel and sound influences. (I do know the beat difference XD) But back on topic, Very good tutorial!
Click to expand...

Thank you.

3/4 was a deliberate choice to remove it from where everyone has their head when creating (4/4) - you have to stop and think about the example instead of nodding your head.

I'll happily redo this as a 4/4 example set in a week or so (it takes time to generate all of the images as it is done with multi-layers in photoshop).
 
I honestly agree that we nodd our heads at 4x4 time lol, ill admit im a 4x4 user but when i hear 3x4 time it makes me really think like that was a fast chord change or wheres that last chord? ex, very good examples you choose for that imo :)
 
I wish I could understand this more, I know it's great knowledge. I know basic theory. I just wish I could wrap my head around what your talking about bandcoach, what would you suggest?
 
streetstruck said:
I wish I could understand this more, I know it's great knowledge. I know basic theory. I just wish I could wrap my head around what your talking about bandcoach, what would you suggest?
Click to expand...

This is certainly not a beginners tutorial. however, it is offered to

  1. boost along those who know the basics and are looking for more
  2. inspire the beginners to learn more of the basics so they can understand this.

That said, step by step is all I can offer

  1. Write out the notes for each melody given at the start of each example set. Make sure you use some kind of symbol to show the direction each note moves to the next i.e. up or down (this is important for some of the later devices/tricks)
  2. Find the notes used in each device/trick within each example, again taking note of direction between notes.
  3. Look for patterns within each device/trick so that you begin to recognise them.

Beyond that it is simply repetition, application and eventually understanding. Look for these tricks in other tunes that you have the lead sheet for, use them in your own work.

As a long time teacher I can tell you that everyone forgets that there is more to education than teachers teach and students learn. It is more like:
  • Teachers Teach a concept/skill/process
    • Students Practice the concept/skill/process
  • Teachers provide feedback on how the student is doing
    • Students Apply the concept/skill/process to existing work
  • Teachers provide feedback on how the student is doing
    • Students Apply the concept/skill/process to new work
  • Teachers provide feedback on how the student is doing
    • Students Begin to understand the concept/skill/process
    • Students provide feedback on how they are doing
    • Students Begin to know the concept/skill/process
    • Students provide feedback on how they are doing
    • Students Have learned the concept/skill/process
    • Students provide feedback on how they are doing
  • Learning achieved

In other words it takes time to "get" anything. Seeking guidance and feedback is never a sign of weakness, only an admission of not understanding something. Any teacher who gives you a hard time for not understanding after your first few attempts at a new concept/skill/process has either forgotten the above or is yet to learn it for themselves.
 
Bookmarked! (So I can look back when I know more theory lol.)
 
First off, I just want to say thank you for passing on your wisdom to all of us. I have a lot of respect for you not only as a teacher but as an individual helping all of us trying to grasp this concept of music. On top of that going in depth as well and not sparing Any details.
Furthermore, as regards to melodies is it possible for you to make some examples of famous catchy melodies that were created and the concept and fundamentals behind it. In addition, how these techniques you showed us apply in that instance of the melody.
Many thanks.
 
Thank you for the kind words.

I understand completely why you want this - do the biggies use these ideas consciously or unconsciously? and how then can "I" do the same. It is at the heart of all learning in the arts,
  • first imitate,
  • then investigate,
  • then innovate
However, from where I sit, copyright rears it's ugly head if I even consider publishing it here or anywhere else.

In my classroom, not a problem, as I can cite fair use as long as the materials are generated whilst working for an educational facility or organisation, but on the internetz without a contract to teach specifics, no-can-do, I'm subject to the same provisions as everyone else, and I honestly don't think I could get away with a fair use claim.
 
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