Understanding Basic Music Theory - Catherine Schmidt-Jones [23]
Figure 2.1.
Arch shapes (in which the melody rises and then falls) are easy to find in many melodies.
You can also describe the shape of a melody verbally. For example, you can speak of a "rising melody" or of an "arch-shaped" phrase. Please see The Shape of a Melody for children's activities covering melodic contour.
Melodic Motion
Another set of useful terms describe how quickly a melody goes up and down. A melody that rises and falls slowly, with only small pitch changes between one note and the next, is conjunct. One may also speak of such a melody in terms of step-wise or scalar motion, since most of the intervals in the melody are half or whole steps or are part of a scale.
A melody that rises and falls quickly, with large intervals between one note and the next, is a disjunct melody. One may also speak of "leaps" in the melody. Many melodies are a mixture of conjunct and disjunct motion.
Figure 2.2.
A melody may show conjuct motion, with small changes in pitch from one note to the next, or disjunct motion, with large leaps. Many melodies are an interesting, fairly balanced mixture of conjunct and disjunct motion.
Melodic Phrases
Melodies are often described as being made up of phrases. A musical phrase is actually a lot like a grammatical phrase. A phrase in a sentence (for example, "into the deep, dark forest" or "under that heavy book") is a group of words that make sense together and express a definite idea, but the phrase is not a complete sentence by itself. A melodic phrase is a group of notes that make sense together and express a definite melodic "idea", but it takes more than one phrase to make a complete melody.
How do you spot a phrase in a melody? Just as you often pause between the different sections in a sentence (for example, when you say, "wherever you go, there you are"), the melody usually pauses slightly at the end of each phrase. In vocal music, the musical phrases tend to follow the phrases and sentences of the text. For example, listen to the phrases in the melody of "The Riddle Song" and see how they line up with the four sentences in the song.
Figure 2.3. The Riddle Song
This melody has four phrases, one for each sentence of the text.
But even without text, the phrases in a melody can be very clear. Even without words, the notes are still grouped into melodic "ideas". Listen to the first strain of Scott Joplin's "The Easy Winners" to see if you can hear four phrases in the melody.
One way that a composer keeps a piece of music interesting is by varying how strongly the end of each phrase sounds like "the end". Usually, full-stop ends come only at the end of the main sections of the music. (See form and cadence for more on this.) By varying aspects of the melody, the rhythm, and the harmony, the composer gives the ends of the other phrases stronger or weaker "ending" feelings. Often, phrases come in definite pairs, with the first phrase feeling very unfinished until it is completed by the second phrase, as if the second phrase were answering a question asked by the first phrase. When phrases come in pairs like this, the first phrase is called the antecedent phrase, and the second is called the consequent phrase. Listen to antecedent and consequent phrases in the tune "Auld Lang Syne".
Figure 2.4. Antecedent and Consequent Phrases
The rhythm of the first two phrases of "Auld Lang Syne" is the same, but both the melody and the harmony lead the first phrase to feel unfinished until it is answered by the second phrase. Note that both the melody and harmony of the second phrase end on the tonic, the "home" note and chord of the key.
Of course, melodies don't always divide into clear, separated phrases. Often the phrases in a melody will run