Melodic development techniques What are the melodic development techniques?

Melodic development techniques are as follows:

I. Repetition

From the analysis of many excellent songs, we can see that the development technique of repetition is the basic means of melodic development. Repetition development techniques include complete repetition, variation repetition, molding (shift repetition), tightening, stretching and so on.

(I) complete repetition

Complete repetition refers to a musical material (prototype), the original unchanged one or more times, which can play a role in reinforcing the role of the musical image. Complete repetition can be used either within a phrase or between phrases.

(2) Change and Repeat

1, the same head for the tail

Melody in the change and repeat, only the end of the change, the rest of the parts remain the same. For example, the two phrases of the song "Ballad of the Great Wall" only change a few notes at the end, which makes the music change and keep the same.

2, with the end of the head

Melody in the change of the repetition, only in the beginning of the part of the change, the rest of the part to remain intact. As in the following example.

3, decorative repetition

Decorative repetition is also called flower repetition. The tone and rhythm are basically unchanged, but only the musical theme or tune fragments to be decorative changes, mostly seen in Chinese folk songs.

4, rhythmic expansion and repetition

Rhythmic expansion and repetition refers to not changing the musical theme or the tone of the melody line in front of the only change in the rhythm, some people also call it time increase or time decrease method. The advantage of this is that it creates rhythmic variation, contrast, and deepens the auditory impression of the preceding melodic line.

(C) mode into (shift repeat)

The melody of a fragment as a prototype, moved to a different pitch to repeat, this technique is called "mode into". This technique is called "modal progression", and it enables the melody to produce new changes and add new colors on the basis of maintaining tonal unity. Molded into the comparison with the exact repetition, can make the idea of further development.

But in songwriting, due to the limitations of space and range, it is inappropriate to use too much. If abused, it will make the music dull and poor. Modulation is also divided into "strict modulation" and "free modulation".

1, strict modulation

is the prototype of the modulation of the prototype unchanged in another height repeat, only different pitch, interval relationship and rhythm is identical. In songwriting, commonly used two degrees, three degrees and four or five degrees of the mold. The major and minor intervals can be used interchangeably in the modal progression.

2, free modal

When the melody is shifted into the mold, and the prototype in the intervals of the relationship and rhythmic arrangement of a certain change. The magnitude of this change is generally not large, in order to maintain the total rhythm and melodic line is basically the same conditions, the intervals are not strictly constrained. Because it is more free, flexible, and easier to arrange in the combination of words and songs, it is one of the commonly used techniques in songwriting.

Two, contrast

In songwriting, the commonly used contrasting techniques are:

Three, snail top

A technique of music creation. The so-called snail topping refers to the gradual tightening of the original phrase until it finally forms a concise top.

Four, Fish Bite Tail

This refers to the structure in which the ending note of the previous melody is the same as the first note of the next melody, also known as articulation and solitaire, which is a structural form of traditional Chinese music, and also a technique of music composition.

Expanded Information

What people customarily call a melody actually refers to a tune. A melody, on the other hand, can refer to any sequence of musical notes with pitch and rhythm. The melody is the basis for the formation of the voices, and it is only by forming the melody that the voices (in this case, the position of a melody in the music) can be created and thus have a (compound) effect. For example, each of the four voices in a four-part harmony has its own melodic progression in the progression, and a particular melody with a sense of tunefulness will appear as the main melodic voice part (usually the high voice part).

The voices of polyphonic music are interdependent, and only one of them has a melody with a sense of tune, which is why we customarily refer to it as the "main melody". Polyphonic music is a combination of melodies (tunes) that are independent of each other, and all the voices have a sense of tune.

In terms of the relationship between tones, it corresponds to "harmony" (a concept of simultaneous reverberation, which does not refer to the knowledge of "harmony" or "harmonic composition"), which is vertical, and melody, which is horizontal. Harmony is vertical, melody is horizontal. Harmonic intervals, for example, are the simultaneous sounding of two tones, and are the study of the auditory sensation produced when two tones sound at the same time. Melodic intervals, on the other hand, are the sounding of two tones separately, and the study of the sounding of two separate tones is the study of the sounding of two separate tones. The same intervallic distance, the harmonic interval and melodic intervals are very different.