How to write a Melody

Dear community at Composers´Forum

My colleague Gisela Paterno and I, in the edition, have released a fairly comprehensive article on

6 techniques for songwriting and instrumental composition

The idea behind this material is to consolidate a truly useful guide for anyone intending to write a successful melody.

The melody can later be used for different purposes. It could become a theme of a sonata or the beginning of a concerto, who knows...

We wanted to share it with the community mainly because we would like to hear your opinion about it.

So here it is

https://www.piano-composer-teacher-london.co.uk/post/how-to-write-a-melody

If you can think about more tips related to the ones we provided in the article, please, do not hesitate in doing it.

Hi, Huan let me congratulate you and your colleague Mizz. Paterno for your well-written

and beautifully presented theoretical work.

The examples and quotations are well chosen and presented with the possibility of listening.

Referrals to further previous articles are noteworthy.

I did not have much time to read every word but I did fast reading as most of the stuff

was not new to me. But I liked the stile and the way you presented the knowledge.

Referrals to Schenker, Schoenberg and others are greatly appreciated.

I liked most:

"There are always four ways of continuation in music:

Recurrence
Development
Response
Contrast.

"What could be done more is difficult to assess as it also depends on the audience you address.

I believe a few hints more on the importance of ornamentation, passing notes, appoggiatura, suspension, retardation, anticipation, shortly decoration notes would be beneficial. These are not only simple ornaments but can also be assigned functional purposes such as hinting the far tonalities that may be used in the central section of a lied. Bach prelude fugues and many French harmony exercises have examples of these.

I would like to congratulate you again for the great work you have done.

Cheers.

Ali

Replies

Ali Riza SARAL March 1, 2020 at 7:47pm
Hi, Huan let me congratulate you and your colleague Mizz. Paterno for your well-written

and beautifully presented theoretical work.

The examples and quotations are well chosen and presented with the possibility of listening.

Referrals to further previous articles are noteworthy.

I did not have much time to read every word but I did fast reading as most of the stuff

was not new to me. But I liked the stile and the way you presented the knowledge.

Referrals to Schenker, Schoenberg and others are greatly appreciated.

I liked most:

"There are always four ways of continuation in music:
- Recurrence
- Development
- Response
- Contrast.
- "What could be done more is difficult to assess as it also depends on the audience you address.
I believe a few hints more on the importance of ornamentation, passing notes, appoggiatura, suspension, retardation, anticipation, shortly decoration notes would be beneficial. These are not only simple ornaments but can also be assigned functional purposes such as hinting the far tonalities that may be used in the central section of a lied. Bach prelude fugues and many French harmony exercises have examples of these.

I would like to congratulate you again for the great work you have done.

Cheers.

Ali
Juan Rezzuto March 2, 2020 at 11:29am

Hello Ali!

Thank you so much for your very kind and motivating words.

We will certainly put hands to work and add this material to the article.

Juan

This reply was deleted.