The Writer's Corner

Hi everyone,

I’d like to continue with my last post regarding dramatic writing. This discussion will be in three segments.

As a composer, I’ve become a firm believer in the value of spending time thinking about what I want to musically say before I try to say it
(write the pitches). This can save a great deal of time during the writing process by keeping you focused on your main point. If your client requests you to write a theme that suggests adventure, where would you start? What kind of a melody could represent adventure? What kind of a melody wouldn’t represent adventure? There are conceptual ideas we can explore to help us narrow down our choices – that of melodic shape. In other words, if we figure out what type of melodic shape sounds adventurous, from a conceptual point of view, then it will be much easier to write the actual notes that fit that idea. The pitches themselves won’t matter, as the shape of the line will
determine whether we are suggesting adventure or not. There are three fundamental shapes that all melodies contain some part of.

1. Line Shape:
The main characteristics of this shape are repeated notes or notes held for a long period of time, as in a pedal point high above or below the staff. An ostinato also falls into this shape classification. As the group of notes repeats itself over and over, this shape is formed. Example 1 illustrates a line shape. Note that there are many repeated notes, particularly at the beginning of each measure. When playing or
singing this example, does it seem like the melody is a complete thought, or do you want something else to happen?
Ex. 1 Line Shape

Example 2 is what is often called a “wire.” I’m sure you’ve heard this technique used in many films. As in example 1, is this a complete
idea? Are we satisfied, or do we want something else to musically happen?
Ex. 2 Wire

In example 3, I have composed a simple two – measure phrase that repeats over and over. If this continues over a period of time, will it be
enough of a statement for us, or do we want something else to musically happen as well?
Ex. 3 Ostinato

These three examples are all line shapes. After careful listening, I think we can come to the following emotional response:

• Line shapes aren’t complete thoughts in themselves. Rather, they “set up” action or musical movement to come.

• Line shapes are great for introductions to a main idea – they are not the main idea themselves.

• Over a period of time, Line shapes will fade into the background as the repetitiveness will let the brain register that idea, and then focus
on other melodic ideas as they are introduced.

If you have any thoughts about this shape, please let me know! Until next time,

Jerry