Lesson 1

LESSON 5: Structuring Melodies

A GOOD MELODY

We learned from Lesson 4 that what makes a good melody is often not the melody itself, but how it interacts with other compositional elements. Even though we can't be specific about what makes a good melody, we can make some generalizations:

There are other components of songs that can be considered. For example, what is often termed a pre-chorus is a short tag of four to eight bars at the end of a verse, but before a chorus begins. Intros and outros are ways of beginning and ending songs that, more often than not, are chord-based rather than melody based.

REMEMBER, THEY'RE JUST GENERALIZATIONS

Remember that no two songs are alike, and just because your song may not fit the plan given above does not mean that you've made an error. Some songs are just a collection of verses, with no chorus, bridge, or anything else at all. Some lyrics are totally unremarkable. Some verses feature the key note over and over, with the chorus not using it at all. And some songs simply defy analysis.

Following the plan above will certainly produce songs that have a fighting chance of working, but doesn't guarantee anything. That's because any good song is greater than the sum of its parts. If a song is good, it's not usually because any one component is so good, but more because the way the components work together is good. That's the magic part of it all - the fun part.

You can read much more about how melodies work by reading Chapter 5 of "The Essential Secrets of Songwriting."

ACTIVITIES for STRUCTURING MELODIES

1. UNDERSTANDING THE VERSE-CHORUS PARTNERSHIP
Using your guitar, piano, or other chording instrument, invent several short four - to - eight note melody that is placed low in your voice, one that could serve as a beginning for a verse. (Don't create lyrics). Now, for each melody you created, and using the same chords, create a similar-sounding melody that hits the tonic (key) note more often, one that could serve as a beginning of a chorus. NOTE: Don't use all major or minor keys; create melodic fragments in both. Record or write down your solutions.

2. OPPOSITES ATTRACT - MORE PARTNER MELODIES
As a melodic exercise, create some short melodies as in the previous exercise. For each melody you create, try singing a melody that represents the inverse of that melody. For example, if you create a melody that starts on a midrange note and wanders upward by tones and semitones, create a melody that starts on the same note and wanders downward. Record or write down your solutions.

3. OPPOSITE MODES
Now, using the melodic fragments that you created in Activity #1, Try creating a similar melody in the opposite mode. For example, for every melody that you created in a major mode, try devising an equivalent melody in the minor mode. Record or write down your solutions.
 

...on to Lesson 6 - INTEGRATING LYRICS WITH MELODIES

©2009 Pantomime Music Publications
P.O.Box 31177 Halifax, Nova Scotia, Canada
Contact Us: info@pantomimemusic.com | Contact Gary Ewer: gary@pantomimemusic.com