The Writer’s Corner

Hi gang, welcome back!

Completing what I started regarding melodic shape, there is one more to discuss. As opposed to line shapes (repetitive nature or long tones) or circle shapes (smooth, step wise motion), square shapes have the element that is, so far, missing – intervallic leaps. The larger the leap, the seemingly more dramatic the melodic line. Dramatically speaking, square shapes seem to suggest adventure, despair, happiness, loneliness, and a host of other extreme feelings and emotions. Composers that write for dramatic purposes (film composers, for example), sometimes think about this type of melodic shape before the actual pitches are secure, or even known.

Example 1 shows the verse of a song of mine called, “Toasted Hop.” The top note on each stem is the melody, with a harmony part a 4th below. If you look at just the top notes, you’ll notice that the intervals between each are not repetitive, nor are they overall stepwise in nature. The first interval is a minor 3rd (D up to F), followed by a 4th (F down to C), up a whole step (Bb up to C), followed by a minor third down(C to A), and a major third down (A to F). Finally, a minor third interval down (F to D), and a perfect 4th up (D to G). This is NOT a particularly smooth melody, nor was it intended to be!

Example 1-Square Shape

Note how “jagged” or “angular” this melody looks compared to the more smooth looking Circle or static Line shapes.

For a variation of this concept, lets look at example 2.

Example 2 - Square Shape

This is the “B” section to “Toasted Hop.” Starting with the pick up to letter B, the melody is a little smoother (circle) due to the stepwise motion that is present. This was a conscious decision while writing. That is, to provide a contrast to the first melody. However, there are still a few leaps to keep things interesting!

The three fundamental melodic shapes presented here are not often seen as “note for note” one shape or another. Often melodic lines are a combination of shapes. What one looks for however is a line that suggests one shape over another. If a melody has a great deal of step wise motion, but a leap here and there, then it will still be heard as a circle shape. This is particularly true if the leaping intervals are not placed near the beginning of the phrase where the ear first identifies it. Like wise as in example 1 at the top, a series of repeated notes will be heard as a line shape, even when periodic intervals are present, because the leaping intervals are at the end of the phrase.

Toasted Hop A & B Sections

For further research into melodies that are a Square shape, listen to: Leonard Bernstein’s - “Maria,” From West Side Story
John Williams – “Star Wars,” “Indiana Jones,” “Jaws” and many others (main titles)
David Shire – “The Taking of Pelham 1,2,3” (Main Title)
Aaron Copland – “Appalachian Spring”
Hammerstein/Kern – “All The Things You Are” (and many others)
Horace Silver – “Nica’s Dream”
Johnny Mercer – “Autumn Leaves”

Until next time!

Jerry

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