How to write strong themes and melodies

Link to Lesson 5.
Link to Lesson 4.
Link to Lesson 3.
Link to Lesson 2.
Link to Lesson 1.

Lesson 4:

In Lesson 1., seven elements are listed that invariably form the basis of most melodies, the second of these is arpeggios. Although it is common to find melodies constructed almost entirely from scalic passages, an entire melody constructed only from arpeggios is rare.

Example 1. - bars 1 - 8 of English folk song Early One Morning

Example 1. shows the first 8 bars of the English folk song Early One Morning. This section consists almost entirely of the tonic, supertonic and dominant chords - F major, G minor and C major.
The F at the end of bar 3 can be considered a passing note between G and E; or the bar could be considered a minor 7th chord on G. Although the dominant 7th was the most used 7th chord, the supertonic 7th chord was also quite common; therefore either interpretation is acceptable in this instance.

Example 2. - bars 1 - 8 of English folk song Early One Morning

The final 8 bars - Example 2. - also makes much use of arpeggios; as can be seen, bars 10, 12 and 13 contain only notes from the tonic chord - F major.

Example 3. below is the traditional English reel Sleepy Maggie. This folk dance exists in different versions, the version below was given to me by a violinist in a Scottish country dance band. This melody is typical of folk reels, and is based almost entirely on arpeggios or scalic passages alternating with the tonic of the scale. The repeated B (middle of the stave) is not only used for rhythmic effect but also acts as a drone. Such melodic forms suit the violin, flute and whistle perfectly and would be effective without any chordal or rhythmic accompaniment.

Example 3. - English folk reel Sleepy Maggie

Popular music in the earlier part of the 20th Century frequently used arpeggios for the basis of melodies. These songs are still in copyright so cannot be quoted here; however try to listen to Happy Days Are Here Again by Milton Ager (music) and Jack Yellen (lyrics). The first 16 bars are constructed almost entirely from the tonic and dominant seventh arpeggio - C major and G major.

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How to write strong themes and melodies Link to Lesson 5. Link to Lesson 4. Link to Lesson 3. Link to Lesson 2. Link to Lesson 1. Lesson 4: In Lesson 1., seven elements are listed that invariably form the basis of most melodies, the second of these is arpeggios. Although it is common to find melodies constructed almost entirely from scalic passages, an entire melody constructed only from arpeggios is rare. Example 1. shows the first 8 bars of the English folk song Early One Morning. This section consists almost entirely of the tonic, supertonic and dominant chords - F major, G minor and C major. The F at the end of bar 3 can be considered a passing note between G and E; or the bar could be considered a minor 7th chord on G. Although the dominant 7th was the most used 7th chord, the supertonic 7th chord was also quite common; therefore either interpretation is acceptable in this instance. The final 8 bars - Example 2. - also makes much use of arpeggios; as can be seen, bars 10, 12 and 13 contain only notes from the tonic chord - F major. Example 3. below is the traditional English reel Sleepy Maggie. This folk dance exists in different versions, the version below was given to me by a violinist in a Scottish country dance band. This melody is typical of folk reels, and is based almost entirely on arpeggios or scalic passages alternating with the tonic of the scale. The repeated B (middle of the stave) is not only used for rhythmic effect but also acts as a drone. Such melodic forms suit the violin, flute and whistle perfectly and would be effective without any chordal or rhythmic accompaniment. Popular music in the earlier part of the 20th Century frequently used arpeggios for the basis of melodies. These songs are still in copyright so cannot be quoted here; however try to listen to Happy Days Are Here Again by Milton Ager (music) and Jack Yellen (lyrics). The first 16 bars are constructed almost entirely from the tonic and dominant seventh arpeggio - C major and G major.