{"id":574,"date":"2023-05-11T19:03:15","date_gmt":"2023-05-11T19:03:15","guid":{"rendered":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/chapter\/melody\/"},"modified":"2025-08-13T18:41:13","modified_gmt":"2025-08-13T18:41:13","slug":"melody","status":"publish","type":"chapter","link":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/chapter\/melody\/","title":{"raw":"Melody","rendered":"Melody"},"content":{"raw":"<div class=\"melody\" data-wp-editing=\"1\">\r\n<div class=\"textbox textbox--learning-objectives\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Learning goals for Chapter 17<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\">In this chapter, we will learn:<\/p>\r\n\r\n<ul>\r\n \t<li>Features of effective tonal melodies<\/li>\r\n \t<li>How to construct a tonal melody<\/li>\r\n \t<li>How harmonic implication can enhance a tonal melody<\/li>\r\n \t<li>A procedure for sight singing melodies<\/li>\r\n<\/ul>\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"Features of tonal melodies\"><\/a>Features of tonal melodies<\/h1>\r\n<p class=\"import-Normal\">Although there are many different tonal styles, occurring in different cultural and geographic contexts and spanning centuries, we can identify some features that the most effective tonal melodies have in common. For each of the following musical examples, pay attention to the following:<\/p>\r\n\r\n<ul>\r\n \t<li>What scale degree does the melody start on?<\/li>\r\n \t<li>What scale degree does the melody end on?<\/li>\r\n \t<li>For melodies in a minor key, what scale types are used most often?<\/li>\r\n \t<li>What kind of motion is used most often\u2014stepwise or leaps?<\/li>\r\n \t<li>What sorts of contours are used?<\/li>\r\n<\/ul>\r\n<p class=\"import-Normal\">Example 17\u20111, in the key of E[latex]\\flat[\/latex] major, begins and ends on the tonic scale degree. The final tonic scale degree arrives on a downbeat. The melody features mostly stepwise motion with a few small leaps of thirds. In m. 4, the melody outlines the notes of an A[latex]\\flat[\/latex] major triad, accounting for a leap of a third followed by a fourth. All notes involved in the leaping motion are consonant with the harmony (A[latex]\\flat[\/latex] major).<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 17\u20111. Transcription of Bj\u00f6rk, \u201cWho Is It,\u201d verse 1, 0:20\u20130:52<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image100.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image100.png\" width=\"1430\" height=\"421\" alt=\"image of score\" class=\"alignnone\" \/><\/a>\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/01-Bjork-Who-Is-It-Carry-My-Joy-On-The-Le.mp3\"][\/audio]\r\n\r\nListen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/1slmImGr63SFOlmHKe1yM2?si=633d8a6c56784c7e\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn more about Icelandic musician <strong>Bj\u00f6rk<\/strong> (b. 1965) by reading <a class=\"rId242\" href=\"https:\/\/www.last.fm\/music\/Bj%C3%B6rk\/+wiki\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">her bio<\/span><\/a> at last.fm.\r\n\r\n<\/div>\r\n<\/div>\r\n<p class=\"import-Normal\">Example 17\u20112, in E minor, similarly begins and ends on the tonic scale degree, again with the ending placed on a downbeat. This melody features mostly stepwise motion, with some implied [pb_glossary id=\"1761\"]compound melody[\/pb_glossary] at the end of each measure. At the cadence, the melody features D[latex]\\sharp[\/latex], the leading tone of the key, implying the harmonic minor scale.<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 17\u20112. J. S. Bach, Flute Sonata in E Minor, Allegro, mm. 1\u20134<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image101.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image101.png\" width=\"1259\" height=\"159\" alt=\"image of score\" class=\"alignnone\" \/><\/a><\/p>\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/02-Bach-No.-5-in-E-Minor-BWV-1034-II-Allegro.mp3\"][\/audio]\r\n\r\nListen to the full track, performed by flutist William Bennett, on <a href=\"https:\/\/youtu.be\/KSwPiEtihE8?si=BquclpYbLy2HKbQQ&amp;t=3183\" target=\"_blank\" rel=\"noopener\">YouTube<\/a>.\r\n\r\nLearn about German composer <strong>Johann Sebastian Bach<\/strong> (1685\u20131750) by reading this <a class=\"rId243\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.6002278195\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Christoph Wolff and Walter Emery.\r\n\r\n<\/div>\r\n<\/div>\r\n<p class=\"import-Normal\">Example 17\u20113 appears in C major, and like the previous examples, it begins and ends on tonic. In an otherwise mostly stepwise melody, its only leaps are to [pb_glossary id=\"2485\"]chord tones[\/pb_glossary], meaning notes that are consonant with the harmony.<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 17\u20113. Transcription of Lady Gaga, \u201cBad Romance,\u201d 0:00\u20130:17<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image102.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image102.png\" width=\"1429\" height=\"164\" alt=\"image of score\" class=\"alignnone\" \/><\/a><\/p>\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/03-Lady-Gaga-Bad-Romance.mp3\"][\/audio]\r\n\r\nListen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/0SiywuOBRcynK0uKGWdCnn?si=d2a708d7e8cc4244\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn more about American pop artist <strong>Lady Gaga<\/strong> (b. 1986) by reading this <a class=\"rId244\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.A2242033\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Meredith Evans.\r\n\r\n<\/div>\r\n<\/div>\r\n<p class=\"import-Normal\">Example 17\u20114 features a melody in F[latex]\\sharp[\/latex] minor, and like Example 17\u20112, it uses the [pb_glossary id=\"677\"]leading tone[\/pb_glossary] at cadences. Here, the cadences are in mm. 3\u20134 (using [pb_glossary id=\"1038\"]harmonic minor[\/pb_glossary]) and mm. 7\u20138 (using [pb_glossary id=\"1043\"]melodic minor[\/pb_glossary]). Like the previous examples, the melody is mostly stepwise, and its only leaps outline chord tones.<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 17\u20114. Trad., \u201cGreensleeves,\u201d sung by Jessye Norman<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image103.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image103.png\" width=\"1430\" height=\"333\" alt=\"image of score\" class=\"alignnone\" \/><\/a><\/p>\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/04-Greensleeves-Jessye-Norman.mp3\"][\/audio]\r\n\r\nListen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/0UprOY5apubFhhPS3WO9xv?si=d26efc0a41f44318\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn more about American soprano <strong>Jessye Norman<\/strong> (1945\u20132019) by reading this <a class=\"rId245\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.A2252060\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Martin Bernheimer, Alan Blythe, and Karen M. Bryan.\r\n\r\n<\/div>\r\n<\/div>\r\n<p class=\"import-Normal\">Example 17\u20115, in the key of B[latex]\\flat[\/latex] major, features more leaping motion than the previous examples, and most leaps outline important chord tones. This melody also begins and ends on the tonic scale degree. The contour of this melody is more dynamic and wider ranging than in the previous examples due to its greater use of leaps.<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 17\u20115. Transcription of Beyonc\u00e9, \u201cIrreplaceable,\u201d 0:55\u20131:08, by Robert Hutchinson[footnote]Robert Hutchinson, <em>Music Theory for the 21st-Century Classroom<\/em><span>, Figure 11.4.3, <\/span><a href=\"https:\/\/musictheory.pugetsound.edu\/mt21c\/PhraseSection.html\" target=\"_blank\" rel=\"noopener\">https:\/\/musictheory.pugetsound.edu\/mt21c\/PhraseSection.html<\/a>. Accessed September 29, 2023. Used with permission of the author.[\/footnote]<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image104.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image104.png\" width=\"1691\" height=\"847\" alt=\"image of score\" class=\"alignnone\" \/><\/a><\/p>\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/05-Beyonce-Irreplaceable.mp3\"][\/audio]\r\n\r\nListen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/6RX5iL93VZ5fKmyvNXvF1r?si=e2f44be722ba4729\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn more about American singer <strong>Beyonc\u00e9 Knowles<\/strong> (b. 1981) by reading this <a class=\"rId246\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.A2224701\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Mark Anthony Neal.\r\n\r\n<\/div>\r\n<\/div>\r\n<p class=\"import-Normal\">Like the previous examples, Example 17\u20116 also begins and ends on the tonic scale degree (A[latex]\\flat[\/latex]), and the final note appears on a downbeat. This melody features several wide intervals for expressive purposes, beginning with an ascending octave and using ascending sixths in mm. 3 and 5. These leaps outline chord tones, but their wide nature makes the melody less easy to sing than a mostly stepwise melody. The large leaps are marked, creating dramatic effect suitable for the song\u2019s context in <em>The Wizard of Oz<\/em>.<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 17\u20116. Transcription of Judy Garland singing Harold Arlen, \u201cSomewhere Over the Rainbow,\u201d mm. 1\u20138<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n<a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-17.06-Arlen-Over-the-Rainbow-rev.png\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-17.06-Arlen-Over-the-Rainbow-rev-1024x303.png\" alt=\"image of score\" width=\"1024\" height=\"303\" class=\"alignnone size-large wp-image-5656\" \/><\/a>\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/06-Somehwere-Over-the-Rainbow.mp3\"][\/audio]\r\n\r\nListen to the full track, performed by Judy Garland, on <a href=\"https:\/\/open.spotify.com\/track\/568SEFtDjKr7N2PytpA6D5?si=b26cfcfcd7b04515\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn more about American composer <strong>Harold Arlen <\/strong>(1905\u20131986) by reading this <a class=\"rId247\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.01256\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Larry Stempel.\r\n\r\n<\/div>\r\n<\/div>\r\n<p class=\"import-Normal\">Example 17\u20117, in D major, emphasizes the tonic scale degree, and like many of the previous examples, it begins and ends on tonic, with the ending placed on a downbeat. This melody features stepwise motion primarily, and its only leaps outline chord tones. For example, mm. 9, 11, and 17 feature a downward arpeggiation of the notes belonging to the tonic triad. In addition, the melody\u2019s contour is fairly static with some instances of downward motion, which contrast the peak on A4 on the first syllable of the word \u201cshouting.\u201d<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 17\u20117. Transcription of Radiohead, \u201cStop Whispering,\u201d 0:15\u20131:03<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image106.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image106.png\" width=\"1431\" height=\"785\" alt=\"image of score\" class=\"alignnone\" \/><\/a><\/p>\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/07-Radiohead-Stop-Whispering.mp3\"][\/audio]\r\n\r\nListen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/3CbAW3GjkBKfErt4LLbSzr?si=a282f5844e204b9b\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn more about English rock band <strong>Radiohead<\/strong> by reading this <a class=\"rId248\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.A2267510\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Christopher Doll.\r\n\r\n<\/div>\r\n<\/div>\r\n<p class=\"import-Normal\">Example 17\u20118, in A major, begins and ends on the tonic scale degree, again with the ending placed on the downbeat. The melody features mostly stepwise motion and leaps only to chord tones.<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 17\u20118. W. A. Mozart, \u201cL\u00e0 ci darem la mano,\u201d mm. 1\u20138, from <em>Don Giovanni<\/em><\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n<a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-17.08-Mozart-La-ci-darem-la-mano-rev.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-17.08-Mozart-La-ci-darem-la-mano-rev-1024x131.png\" alt=\"image of score\" width=\"1024\" height=\"131\" class=\"alignnone wp-image-5659 size-large\" \/><\/a>\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/08-Mozart-La-ci-darem.mp3\"][\/audio]\r\n\r\nListen to the full track, performed by Austrian lyric baritone Eberhard W\u00e4chter, on <a href=\"https:\/\/open.spotify.com\/track\/4b1ByBShAaKAMV3OtasVjl?si=37933bb5a1c84fce\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nRead an <a href=\"https:\/\/oxfordsong.org\/song\/la-ci-darem-la-mano\" target=\"_blank\" rel=\"noopener\">English translation<\/a> of the libretto, translated by Jennifer Rushworth, from the Oxford International Song Festival <a href=\"https:\/\/oxfordsong.org\" target=\"_blank\" rel=\"noopener\">website<\/a>.\r\n\r\nLearn more about Austrian composer <strong>Wolfgang Amadeus Mozart<\/strong> (1756\u20131791) by reading this <a class=\"rId249\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.6002278233\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Cliff Eisen and Stanley Sadie.\r\n\r\n<\/div>\r\n<\/div>\r\n<p class=\"import-Normal\">Example 17\u20119 appears in G minor. It begins on the dominant scale degree (D) and ends on tonic (G) placed on the downbeat. This melody features a fairly narrow range, spanning just a perfect fifth from G4 to D5. Since it doesn\u2019t feature scale degrees [latex]\\hat{6}[\/latex] or [latex]\\hat{7}[\/latex], there is no possibility of using the harmonic or melodic forms of minor. Its primary motion is stepwise, and the leaps occur only to consonant chord tones.<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 17\u20119. Isabella Colbran, \u201cQuel ruscelletto che l\u2019onde chiare,\u201d mm. 5\u201312<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image108.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image108.png\" width=\"1430\" height=\"182\" alt=\"image of score\" class=\"alignnone\" \/><\/a><\/p>\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/09-Colbran-Quel-ruscelletto.mp3\"][\/audio]\r\n\r\nListen to the full track, performed by Maria Chiara Pizzoli, on <a href=\"https:\/\/open.spotify.com\/track\/7n7bMuBXAjb6PPleQsp9Rs?si=03046e95cd2c42f4\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn more about Spanish soprano and composer <strong>Isabel<\/strong><strong>la<\/strong> <strong>Co<\/strong><strong>l<\/strong><strong>bran<\/strong> (1785\u20131845) by reading this <a class=\"rId250\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.06067\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Elizabeth Forbes.\r\n\r\n<\/div>\r\n<\/div>\r\n<p class=\"import-Normal\">In Example 17\u201110, in the key of C major, the melody begins on scale-degree [latex]\\hat{3}[\/latex] (E) and ends on tonic (C), placed on a downbeat. The contour of the melody as a whole peaks at A4 and concludes with a descent, mostly stepwise, to C4.<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 17\u201110. Transcription of Leonard Cohen, \u201cHallelujah,\u201d recording by Jeff Buckley, 1:26\u20131:43<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image109.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image109.png\" width=\"1430\" height=\"142\" alt=\"image of score\" class=\"alignnone\" \/><\/a><\/p>\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/10-Buckley-Hallelujah.mp3\"][\/audio]\r\n\r\nListen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/3pRaLNL3b8x5uBOcsgvdqM?si=8f94dbe6033545db\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn more about Canadian songwriter <strong>Leonard Cohen<\/strong> (1934\u20132016) by reading this <a class=\"rId251\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.A2240543\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Mark Samples.\r\n\r\nLearn more about American singer and guitarist <strong>Jeff Buckley<\/strong> (1966\u20131997) by reading this <a class=\"rId252\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.A2240342\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Mark Samples.\r\n\r\n<\/div>\r\n<\/div>\r\n<p class=\"import-Normal\">Example 17\u201111 is in B[latex]\\flat[\/latex] major, and it begins and ends on tonic (B[latex]\\flat[\/latex]). (The overall key of the full recording shifts between G minor and B[latex]\\flat[\/latex] major.) <span>The melody is mostly stepwise, with a leap to the apex of the melody on G4, creating a contour that is first upward, then downward.<\/span><\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 17\u201111. Transcription of The Cliks, \u201cStill,\u201d 1:39\u20131:53<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image110.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image110.png\" width=\"1430\" height=\"163\" alt=\"image of score\" class=\"alignnone\" \/><\/a><\/p>\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/11-Cliks-Still.mp3\"][\/audio]\r\n\r\nListen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/03VHkmtNAMNpazcskhxRd1?si=57304078bd2a42bb\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn more about Canadian indie rock band <strong>The <\/strong><strong>Cliks<\/strong> at the <a class=\"rId253\" href=\"http:\/\/www.thecliks.com\/the-cliks.html\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">band\u2019s w<\/span><span class=\"import-Hyperlink\">ebsite<\/span><\/a>.\r\n\r\n<\/div>\r\n<\/div>\r\nExample 17\u201112, in D major, begins on the mediant scale degree (F[latex]\\sharp[\/latex]) and ends on tonic (D). A half cadence is implied in m. 8, in tandem with scale degree [latex]\\hat{2}[\/latex] (E) in the melody. As with many of the previous examples, this melody features mostly stepwise motion with several small leaps (thirds).\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 17\u201112. Franz Joseph Haydn, Symphony no. 104, mvt. 1, Allegro, mm. 1\u201316, melody<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n<a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-17.12-Haydn-symph-104-allegro-rev.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-17.12-Haydn-symph-104-allegro-rev-1024x347.png\" alt=\"image of score\" width=\"1024\" height=\"347\" class=\"alignnone wp-image-5661 size-large\" \/><\/a>\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/12-Haydn-Symphony-104-mvt-1.mp3\"][\/audio]\r\n\r\nListen to the full track, performed by the Royal Concertgebouw and conducted by Sir Colin Davis, on <a href=\"https:\/\/open.spotify.com\/track\/61dL2prASmZvjZJ5yT2rBU?si=8bf72409d6914d3c\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn more about <strong>Franz Joseph<\/strong><strong> Haydn<\/strong> (1732\u20131809) by reading this <a class=\"rId254\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.44593\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Georg Feder and James Webster.\r\n\r\n<\/div>\r\n<\/div>\r\nExample 17\u201113 emphasizes chord tones (notes belonging to the harmony), especially on downbeats. This melody uses expressive up and down contours, as well as mostly stepwise motion.\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 17\u201113. Transcription of Elliott Smith, \u201cTwilight,\u201d 0:02\u20130:29<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image112.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image112.png\" width=\"1430\" height=\"341\" alt=\"image of score\" class=\"alignnone\" \/><\/a><\/p>\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/13-Smith-Twilight.mp3\"][\/audio]\r\n\r\nListen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/5YoR2agiVdBpuAuW9PvgKD?si=8c5165a1e4d943ac\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn more about American singer-songwriter <strong>Elliott Smith<\/strong> (1969\u20132003) by reading <a class=\"rId255\" href=\"http:\/\/www.sweetadeline.net\/bio.html\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">his bio<\/span><\/a> on a popular fan site, sweetadeline.net.\r\n\r\n<\/div>\r\n<\/div>\r\n<p class=\"import-Normal\">Example 17\u201114, in G[latex]\\sharp[\/latex] minor, begins on tonic (G[latex]\\sharp[\/latex]) and ends on scale degree [latex]\\hat{3}[\/latex] (B). It features mostly stepwise motion and descending contours. The melody uses the natural minor scale: it does not use the [pb_glossary id=\"677\"]leading tone[\/pb_glossary] (F????), but rather the [pb_glossary id=\"1039\"]subtonic[\/pb_glossary] scale degree (F[latex]\\sharp[\/latex]).<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 17\u201114. Transcription of Justin Timberlake, \u201cCry Me a River,\u201d 1:43\u20132:09<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image113.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image113.png\" width=\"1431\" height=\"694\" alt=\"image of score\" class=\"alignnone\" \/><\/a><\/p>\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/14-JT-Cry-Me-a-River.mp3\"][\/audio]\r\n\r\nListen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/7Lf7oSEVdzZqTA0kEDSlS5?si=1e48230ddeb84636\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn more about American pop and R&amp;B singer <strong>Justin Timberlake <\/strong>(b. 1981) by reading this <a class=\"rId256\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.A2289571\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Miles White.\r\n\r\n<\/div>\r\n<\/div>\r\nIn sum, these examples, spanning a fairly wide range of tonal styles, generally share the following characteristics:\r\n<ul>\r\n \t<li>They start on tonic or another scale degree in the tonic chord ([latex]\\hat{1}[\/latex], [latex]\\hat{3}[\/latex], or [latex]\\hat{5}[\/latex]).<\/li>\r\n \t<li>They often end on tonic, usually placed on the downbeat.<\/li>\r\n \t<li>They often end with stepwise motion toward tonic ([latex]\\hat{2}[\/latex]-[latex]\\hat{1}[\/latex] or [latex]\\hat{7}[\/latex]-[latex]\\hat{1}[\/latex]).<\/li>\r\n \t<li>When in a minor key, they often use melodic or harmonic minor, as in Example 17\u20112 and Example 17\u20114.<\/li>\r\n \t<li>They use mostly stepwise motion or, a mix of stepwise motion and small leaps.<\/li>\r\n \t<li>Most leaps outline a chord (ex: leaps among [latex]\\hat{1}[\/latex], [latex]\\hat{3}[\/latex], and [latex]\\hat{5}[\/latex] outlining tonic), as in Example 17\u20115 (the opening three notes) and Example 17\u20117 (see mm. 9, 11, and 17).<\/li>\r\n \t<li>Large leaps are used sparingly, only for dramatic effect, as in the opening octave leap in Example 17\u20116.<\/li>\r\n \t<li>Contours vary, but there is usually a melodic peak.<\/li>\r\n<\/ul>\r\n<div class=\"textbox shaded\">Access a slideshow with the examples from this chapter here: <a class=\"rId257\" href=\"https:\/\/docs.google.com\/presentation\/d\/1HqzxbpQJ8IldZOlfQWjbEuaonjGnFH_yVed625mzbu4\/edit?usp=sharing\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Melody slides<\/span><\/a><\/div>\r\n<div class=\"textbox shaded\">Listen to the audio examples featured in this chapter here: <a class=\"rId258\" href=\"https:\/\/open.spotify.com\/playlist\/2gPECCTarVzOwYtIgJzoaw?si=a6435bcbecfa4866\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Spotify playlist for melody<\/span><\/a><\/div>\r\n<p class=\"import-Normal\">Finally, Kris Shaffer and Mark Gotham summarize some general principles associated with tonal melodies, drawing from David Huron\u2019s research in cognition and perception (2006). They include:<\/p>\r\n\r\n<blockquote>\r\n<p class=\"import-Normal\"><strong class=\"import-Strong\">Pitch proximity<\/strong>: The tendency for melodies to progress by steps more than leaps and by small leaps more than large leaps. An expression of smoothness and melodic integrity.<\/p>\r\n<p class=\"import-Normal\"><strong class=\"import-Strong\">Step declination<\/strong>: The tendency for melodies to move by descending step more than ascending. Possibly an expression of goal-oriented motion, as we tend to perceive a move down as a decrease in energy (movement toward a state of rest).<\/p>\r\n<p class=\"import-Normal\"><strong class=\"import-Strong\">Step inertia<\/strong>: The tendency for melodies to change direction less frequently than they continue in the same direction. (That is, the majority of melodic progressions are in the same direction as the previous one.) An expression of smoothness and, at times, goal-oriented motion.<\/p>\r\n<p class=\"import-Normal\"><strong class=\"import-Strong\">Melodic regression: <\/strong>The tendency for melodic notes in extreme registers to progress back toward the middle. An expression of motion toward a position of rest (with non-extreme notes representing \u201crest\u201d). Also an expression simply of the statistical distribution of notes in a melody: the higher a note is, the more notes there are below it for a composer to choose from, and the fewer notes there are above it.<\/p>\r\n<p class=\"import-Normal\"><strong class=\"import-Strong\">Melodic arch:<\/strong> The tendency for melodies to ascend in the first half of a phrase, reach a climax, and descend in the second half. An expression of goal orientation and the rest\u2013motion\u2013rest pattern. Also a combination of the above rules in the context of a musical phrase.[footnote]Kris Shaffer and Mark Gotham, \u201cIntroduction to Species Counterpoint,\u201d Open Music Theory, <a href=\"https:\/\/viva.pressbooks.pub\/openmusictheory\/chapter\/species-counterpoint\/\" target=\"_blank\" rel=\"noopener\">https:\/\/viva.pressbooks.pub\/openmusictheory\/chapter\/species-counterpoint\/<\/a>, accessed January 4, 2023.[\/footnote]<a id=\"sdfootnote2anc\" href=\"#sdfootnote2sym\"><\/a><\/p>\r\n<\/blockquote>\r\n<h1><a id=\"Writing tonal melodies\"><\/a>Writing tonal melodies with strong harmonic implication<\/h1>\r\n<p class=\"import-Normal\">In addition to the general melodic characteristics described above, when writing a tonal melody, you should also think about its harmonic implications. Here are some guidelines for constructing a tonal, diatonic melody with a compelling harmonic implication:<\/p>\r\n\r\n<ul>\r\n \t<li>Write using a major scale, or if in minor, use the harmonic or melodic minor scale.<\/li>\r\n \t<li>Avoid using the natural minor scale or modal scales.<\/li>\r\n \t<li>Begin and end on tonic.<\/li>\r\n \t<li>Use stepwise motion at the ends of phrases (e.g., use re\u2013do or ti\u2013do). This will generally harmonize nicely with V - I.<\/li>\r\n \t<li>Place the final note of the melody on the downbeat of the measure.<\/li>\r\n \t<li>Use do ([latex]\\hat{1}[\/latex]), mi\/me ([latex]\\hat{3}[\/latex]), and sol ([latex]\\hat{5}[\/latex]) as \"anchors\" to ground your melody tonally. These pitches harmonize nicely with the tonic chord, which will give your melody grounding.<\/li>\r\n<\/ul>\r\n<p class=\"import-Normal\">Another way to approach melody writing is to start with a chord progression you like, decide upon a regular harmonic rhythm (e.g., one chord per bar), and construct a melody that emphasizes the chord tones of the chords in your progression by placing them on strong beats and longer durations. Here is a brief example:<\/p>\r\n<p class=\"import-Normal\">Say you like the progression I - IV - V - I and want to write a melody in D major that implies this progression.<\/p>\r\n<p class=\"import-Normal\">First, you would spell the notes in each chord:<\/p>\r\n<p class=\"import-Normal\">I = D F[latex]\\sharp[\/latex] A<\/p>\r\n<p class=\"import-Normal\">IV = G B D<\/p>\r\n<p class=\"import-Normal\">V = A C[latex]\\sharp[\/latex] E<\/p>\r\n<p class=\"import-Normal\">Second, you would format a staff with a clef, key signature, and time signature, and place Roman numerals and\/or chord symbols to remind yourself of the chosen progression, as shown in Example 17\u201115.<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 17\u201115. Formatted staff for writing a melody with strong harmonic implication<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image114.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image114.png\" width=\"1430\" height=\"230\" alt=\"image of annotated staff\" class=\"alignnone\" \/><\/a><\/p>\r\n\r\n<\/div>\r\n<\/div>\r\n<p class=\"import-Normal\">Third, now for the fun part! Experiment with emphasizing the notes of each chord, combining the principles we are learning about. Example 17\u201116 shows three possible solutions using this method (note that non-chord tones are shown in parentheses). Try playing and\/or singing these in solfege. For an added bonus, try playing the chords on guitar or piano while you sing the melody to hear the harmonic implication.<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 17\u201116. Three possible melody solutions implying I \u2013 IV \u2013 V \u2013 I in D major<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image115.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image115.png\" width=\"1431\" height=\"622\" alt=\"image of score\" class=\"alignnone\" \/><\/a><\/p>\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-16.17.mp3\"][\/audio]\r\n\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"EXERCISE 17-1 Writing a melody\"><\/a>EXERCISE 17-1 Writing a melody<\/h1>\r\n<div class=\"textbox textbox--exercises\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">EXERCISE 17-1 Writing a melody<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\">The purpose of this assignment is for you to write an original tonal melody using the guidelines described in this chapter. Using a piece of staff paper or notation program, please do the following:<\/p>\r\n<p class=\"import-Normal\">Step 1. Choose a clef, key, and meter.<\/p>\r\n<p class=\"import-Normal\">Step 2. If in major, use the I - IV - V - I progression. If in minor, use the i - iv - V - i progression.<\/p>\r\n<p class=\"import-Normal\">Step 3. Construct your melody by emphasizing the chord tones of the progression above. Strive to use chord tones on strong beats, and do your best to follow the guidelines we have studied. Begin and end on tonic.<\/p>\r\n<p class=\"import-Normal\">Step 4. Before submitting your work, double check to make sure:<\/p>\r\n\r\n<ul>\r\n \t<li>there are the correct number of beats per bar<\/li>\r\n \t<li>beaming reflects the beat level<\/li>\r\n \t<li>the notes placed in metrically strong positions belong in the chord<\/li>\r\n<\/ul>\r\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex17.1-Writing-a-melody.pdf\" target=\"_blank\" rel=\"noopener\">Ex17.1 Writing a melody<\/a><\/div>\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"Sight singing tonal melodies\"><\/a>Sight singing tonal melodies<\/h1>\r\n<p class=\"import-Normal\">Once you have mastered singing pitch patterns in major and minor keys, the next step is to begin singing melodies at sight. The skills involved include:<\/p>\r\n\r\n<ul>\r\n \t<li>Identifying the key and meter type<\/li>\r\n \t<li>Reading rhythm correctly on a neutral syllable<\/li>\r\n \t<li>Converting notes in staff notation to solfege syllables corresponding with the key<\/li>\r\n \t<li>Singing the notes using solfege<\/li>\r\n \t<li>Combining all skills to sing the notes, in rhythm, correctly and fluently<\/li>\r\n<\/ul>\r\n<p class=\"import-Normal\">Students often find it helpful to conduct to embody the meter and help ground the sight singing rhythmically and metrically. Others find it helpful to use Curwen hand signs to embody the contour and help ground the sight singing in terms of pitch accuracy.<\/p>\r\n\r\n<div class=\"textbox textbox--key-takeaways\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Video: S12 Intro to sight singing melodies (8:35)<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\nhttps:\/\/youtu.be\/nOiuo3tLDeo?si=ye-ZKlVe4hXDHliI\r\n<p class=\"import-Normal\">This video walks you through the process of how to convert notation into sound by sight singing melodies, using a four-step process: (1) identify key and tonic, (2) identify meter and conducting pattern, (3) read the rhythm of the melody on solfege syllables while conducting, and (4) establish the key and sing the melody in solfege, with accurate rhythm and pitch.<\/p>\r\n\r\n<div class=\"textbox shaded\">Want more practice? Find many additional melodies for sight singing, along with practice videos, in <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/back-matter\/melodysupplement\/\" target=\"_blank\" rel=\"noopener\">Appendix B: Melody supplement<\/a>.<\/div>\r\n<\/div>\r\n<\/div>\r\n<h1 id=\"chapter-105-section-4\" class=\"section-header\"><a id=\"Melodic dictation\"><\/a>Melodic dictation<\/h1>\r\nOnce you feel comfortable identifying short tonal pitch patterns by ear, you may find it useful to practice notating melodies. To this end, <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/back-matter\/appendix-d-melodic-dictations\/\" target=\"_blank\" rel=\"noopener\"><span>Appendix D<\/span><\/a> contains dictations for practice. Nos. 1\u201320 progress in difficulty and use a succession of pitch patterns introduced in <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/chapter\/major-scales\/\" target=\"_blank\" rel=\"noopener\">Chapter 3 (major scales)<\/a> and <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/chapter\/minor-scales-key-signatures\/\" target=\"_blank\" rel=\"noopener\">Chapter 6 (minor scales)<\/a>.\r\n<h1><a id=\"Supplemental resources\"><\/a>Supplemental resources<\/h1>\r\n<div class=\"textbox textbox--learning-objectives\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Supplemental resources for Chapter 17<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\"><a class=\"rId259\" href=\"http:\/\/musictheory.pugetsound.edu\/mt21c\/PhraseSection.html\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\"><\/span><\/a><a class=\"rId259\" href=\"http:\/\/musictheory.pugetsound.edu\/mt21c\/PhraseSection.html\" target=\"_blank\" rel=\"noopener\">Robert Hutchinson\u2019s melody (phrase) examples<\/a><\/p>\r\n\r\n<\/div>\r\n<\/div>\r\n<\/div>","rendered":"<div class=\"melody\" data-wp-editing=\"1\">\n<div class=\"textbox textbox--learning-objectives\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Learning goals for Chapter 17<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\">In this chapter, we will learn:<\/p>\n<ul>\n<li>Features of effective tonal melodies<\/li>\n<li>How to construct a tonal melody<\/li>\n<li>How harmonic implication can enhance a tonal melody<\/li>\n<li>A procedure for sight singing melodies<\/li>\n<\/ul>\n<\/div>\n<\/div>\n<h1><a><\/a>Features of tonal melodies<\/h1>\n<p class=\"import-Normal\">Although there are many different tonal styles, occurring in different cultural and geographic contexts and spanning centuries, we can identify some features that the most effective tonal melodies have in common. For each of the following musical examples, pay attention to the following:<\/p>\n<ul>\n<li>What scale degree does the melody start on?<\/li>\n<li>What scale degree does the melody end on?<\/li>\n<li>For melodies in a minor key, what scale types are used most often?<\/li>\n<li>What kind of motion is used most often\u2014stepwise or leaps?<\/li>\n<li>What sorts of contours are used?<\/li>\n<\/ul>\n<p class=\"import-Normal\">Example 17\u20111, in the key of E<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/> major, begins and ends on the tonic scale degree. The final tonic scale degree arrives on a downbeat. The melody features mostly stepwise motion with a few small leaps of thirds. In m. 4, the melody outlines the notes of an A<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/> major triad, accounting for a leap of a third followed by a fourth. All notes involved in the leaping motion are consonant with the harmony (A<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/> major).<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 17\u20111. Transcription of Bj\u00f6rk, \u201cWho Is It,\u201d verse 1, 0:20\u20130:52<\/p>\n<\/header>\n<div class=\"textbox__content\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image100.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image100.png\" width=\"1430\" height=\"421\" alt=\"image of score\" class=\"alignnone\" \/><\/a><br \/>\n<audio class=\"wp-audio-shortcode\" id=\"audio-574-1\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/01-Bjork-Who-Is-It-Carry-My-Joy-On-The-Le.mp3?_=1\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/01-Bjork-Who-Is-It-Carry-My-Joy-On-The-Le.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/01-Bjork-Who-Is-It-Carry-My-Joy-On-The-Le.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/1slmImGr63SFOlmHKe1yM2?si=633d8a6c56784c7e\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn more about Icelandic musician <strong>Bj\u00f6rk<\/strong> (b. 1965) by reading <a class=\"rId242\" href=\"https:\/\/www.last.fm\/music\/Bj%C3%B6rk\/+wiki\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">her bio<\/span><\/a> at last.fm.<\/p>\n<\/div>\n<\/div>\n<p class=\"import-Normal\">Example 17\u20112, in E minor, similarly begins and ends on the tonic scale degree, again with the ending placed on a downbeat. This melody features mostly stepwise motion, with some implied <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_574_1761\">compound melody<\/a> at the end of each measure. At the cadence, the melody features D<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-ff51ac680d6bea2ba79d15ba08ffcca2_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#115;&#104;&#97;&#114;&#112;\" title=\"Rendered by QuickLaTeX.com\" height=\"17\" width=\"6\" style=\"vertical-align: -4px;\" \/>, the leading tone of the key, implying the harmonic minor scale.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 17\u20112. J. S. Bach, Flute Sonata in E Minor, Allegro, mm. 1\u20134<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image101.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image101.png\" width=\"1259\" height=\"159\" alt=\"image of score\" class=\"alignnone\" \/><\/a><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-574-2\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/02-Bach-No.-5-in-E-Minor-BWV-1034-II-Allegro.mp3?_=2\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/02-Bach-No.-5-in-E-Minor-BWV-1034-II-Allegro.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/02-Bach-No.-5-in-E-Minor-BWV-1034-II-Allegro.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track, performed by flutist William Bennett, on <a href=\"https:\/\/youtu.be\/KSwPiEtihE8?si=BquclpYbLy2HKbQQ&amp;t=3183\" target=\"_blank\" rel=\"noopener\">YouTube<\/a>.<\/p>\n<p>Learn about German composer <strong>Johann Sebastian Bach<\/strong> (1685\u20131750) by reading this <a class=\"rId243\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.6002278195\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Christoph Wolff and Walter Emery.<\/p>\n<\/div>\n<\/div>\n<p class=\"import-Normal\">Example 17\u20113 appears in C major, and like the previous examples, it begins and ends on tonic. In an otherwise mostly stepwise melody, its only leaps are to <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_574_2485\">chord tones<\/a>, meaning notes that are consonant with the harmony.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 17\u20113. Transcription of Lady Gaga, \u201cBad Romance,\u201d 0:00\u20130:17<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image102.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image102.png\" width=\"1429\" height=\"164\" alt=\"image of score\" class=\"alignnone\" \/><\/a><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-574-3\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/03-Lady-Gaga-Bad-Romance.mp3?_=3\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/03-Lady-Gaga-Bad-Romance.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/03-Lady-Gaga-Bad-Romance.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/0SiywuOBRcynK0uKGWdCnn?si=d2a708d7e8cc4244\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn more about American pop artist <strong>Lady Gaga<\/strong> (b. 1986) by reading this <a class=\"rId244\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.A2242033\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Meredith Evans.<\/p>\n<\/div>\n<\/div>\n<p class=\"import-Normal\">Example 17\u20114 features a melody in F<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-ff51ac680d6bea2ba79d15ba08ffcca2_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#115;&#104;&#97;&#114;&#112;\" title=\"Rendered by QuickLaTeX.com\" height=\"17\" width=\"6\" style=\"vertical-align: -4px;\" \/> minor, and like Example 17\u20112, it uses the <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_574_677\">leading tone<\/a> at cadences. Here, the cadences are in mm. 3\u20134 (using <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_574_1038\">harmonic minor<\/a>) and mm. 7\u20138 (using <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_574_1043\">melodic minor<\/a>). Like the previous examples, the melody is mostly stepwise, and its only leaps outline chord tones.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 17\u20114. Trad., \u201cGreensleeves,\u201d sung by Jessye Norman<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image103.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image103.png\" width=\"1430\" height=\"333\" alt=\"image of score\" class=\"alignnone\" \/><\/a><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-574-4\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/04-Greensleeves-Jessye-Norman.mp3?_=4\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/04-Greensleeves-Jessye-Norman.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/04-Greensleeves-Jessye-Norman.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/0UprOY5apubFhhPS3WO9xv?si=d26efc0a41f44318\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn more about American soprano <strong>Jessye Norman<\/strong> (1945\u20132019) by reading this <a class=\"rId245\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.A2252060\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Martin Bernheimer, Alan Blythe, and Karen M. Bryan.<\/p>\n<\/div>\n<\/div>\n<p class=\"import-Normal\">Example 17\u20115, in the key of B<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/> major, features more leaping motion than the previous examples, and most leaps outline important chord tones. This melody also begins and ends on the tonic scale degree. The contour of this melody is more dynamic and wider ranging than in the previous examples due to its greater use of leaps.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 17\u20115. Transcription of Beyonc\u00e9, \u201cIrreplaceable,\u201d 0:55\u20131:08, by Robert Hutchinson<a class=\"footnote\" title=\"Robert Hutchinson, Music Theory for the 21st-Century Classroom, Figure 11.4.3, https:\/\/musictheory.pugetsound.edu\/mt21c\/PhraseSection.html. Accessed September 29, 2023. Used with permission of the author.\" id=\"return-footnote-574-1\" href=\"#footnote-574-1\" aria-label=\"Footnote 1\"><sup class=\"footnote\">[1]<\/sup><\/a><\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image104.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image104.png\" width=\"1691\" height=\"847\" alt=\"image of score\" class=\"alignnone\" \/><\/a><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-574-5\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/05-Beyonce-Irreplaceable.mp3?_=5\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/05-Beyonce-Irreplaceable.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/05-Beyonce-Irreplaceable.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/6RX5iL93VZ5fKmyvNXvF1r?si=e2f44be722ba4729\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn more about American singer <strong>Beyonc\u00e9 Knowles<\/strong> (b. 1981) by reading this <a class=\"rId246\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.A2224701\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Mark Anthony Neal.<\/p>\n<\/div>\n<\/div>\n<p class=\"import-Normal\">Like the previous examples, Example 17\u20116 also begins and ends on the tonic scale degree (A<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/>), and the final note appears on a downbeat. This melody features several wide intervals for expressive purposes, beginning with an ascending octave and using ascending sixths in mm. 3 and 5. These leaps outline chord tones, but their wide nature makes the melody less easy to sing than a mostly stepwise melody. The large leaps are marked, creating dramatic effect suitable for the song\u2019s context in <em>The Wizard of Oz<\/em>.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 17\u20116. Transcription of Judy Garland singing Harold Arlen, \u201cSomewhere Over the Rainbow,\u201d mm. 1\u20138<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-17.06-Arlen-Over-the-Rainbow-rev.png\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-17.06-Arlen-Over-the-Rainbow-rev-1024x303.png\" alt=\"image of score\" width=\"1024\" height=\"303\" class=\"alignnone size-large wp-image-5656\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-17.06-Arlen-Over-the-Rainbow-rev-1024x303.png 1024w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-17.06-Arlen-Over-the-Rainbow-rev-300x89.png 300w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-17.06-Arlen-Over-the-Rainbow-rev-768x227.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-17.06-Arlen-Over-the-Rainbow-rev-1536x455.png 1536w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-17.06-Arlen-Over-the-Rainbow-rev-2048x606.png 2048w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-17.06-Arlen-Over-the-Rainbow-rev-65x19.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-17.06-Arlen-Over-the-Rainbow-rev-225x67.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-17.06-Arlen-Over-the-Rainbow-rev-350x104.png 350w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/a><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-574-6\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/06-Somehwere-Over-the-Rainbow.mp3?_=6\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/06-Somehwere-Over-the-Rainbow.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/06-Somehwere-Over-the-Rainbow.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track, performed by Judy Garland, on <a href=\"https:\/\/open.spotify.com\/track\/568SEFtDjKr7N2PytpA6D5?si=b26cfcfcd7b04515\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn more about American composer <strong>Harold Arlen <\/strong>(1905\u20131986) by reading this <a class=\"rId247\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.01256\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Larry Stempel.<\/p>\n<\/div>\n<\/div>\n<p class=\"import-Normal\">Example 17\u20117, in D major, emphasizes the tonic scale degree, and like many of the previous examples, it begins and ends on tonic, with the ending placed on a downbeat. This melody features stepwise motion primarily, and its only leaps outline chord tones. For example, mm. 9, 11, and 17 feature a downward arpeggiation of the notes belonging to the tonic triad. In addition, the melody\u2019s contour is fairly static with some instances of downward motion, which contrast the peak on A4 on the first syllable of the word \u201cshouting.\u201d<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 17\u20117. Transcription of Radiohead, \u201cStop Whispering,\u201d 0:15\u20131:03<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image106.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image106.png\" width=\"1431\" height=\"785\" alt=\"image of score\" class=\"alignnone\" \/><\/a><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-574-7\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/07-Radiohead-Stop-Whispering.mp3?_=7\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/07-Radiohead-Stop-Whispering.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/07-Radiohead-Stop-Whispering.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/3CbAW3GjkBKfErt4LLbSzr?si=a282f5844e204b9b\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn more about English rock band <strong>Radiohead<\/strong> by reading this <a class=\"rId248\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.A2267510\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Christopher Doll.<\/p>\n<\/div>\n<\/div>\n<p class=\"import-Normal\">Example 17\u20118, in A major, begins and ends on the tonic scale degree, again with the ending placed on the downbeat. The melody features mostly stepwise motion and leaps only to chord tones.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 17\u20118. W. A. Mozart, \u201cL\u00e0 ci darem la mano,\u201d mm. 1\u20138, from <em>Don Giovanni<\/em><\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-17.08-Mozart-La-ci-darem-la-mano-rev.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-17.08-Mozart-La-ci-darem-la-mano-rev-1024x131.png\" alt=\"image of score\" width=\"1024\" height=\"131\" class=\"alignnone wp-image-5659 size-large\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-17.08-Mozart-La-ci-darem-la-mano-rev-1024x131.png 1024w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-17.08-Mozart-La-ci-darem-la-mano-rev-300x38.png 300w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-17.08-Mozart-La-ci-darem-la-mano-rev-768x98.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-17.08-Mozart-La-ci-darem-la-mano-rev-1536x197.png 1536w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-17.08-Mozart-La-ci-darem-la-mano-rev-2048x262.png 2048w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-17.08-Mozart-La-ci-darem-la-mano-rev-65x8.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-17.08-Mozart-La-ci-darem-la-mano-rev-225x29.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-17.08-Mozart-La-ci-darem-la-mano-rev-350x45.png 350w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/a><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-574-8\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/08-Mozart-La-ci-darem.mp3?_=8\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/08-Mozart-La-ci-darem.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/08-Mozart-La-ci-darem.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track, performed by Austrian lyric baritone Eberhard W\u00e4chter, on <a href=\"https:\/\/open.spotify.com\/track\/4b1ByBShAaKAMV3OtasVjl?si=37933bb5a1c84fce\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Read an <a href=\"https:\/\/oxfordsong.org\/song\/la-ci-darem-la-mano\" target=\"_blank\" rel=\"noopener\">English translation<\/a> of the libretto, translated by Jennifer Rushworth, from the Oxford International Song Festival <a href=\"https:\/\/oxfordsong.org\" target=\"_blank\" rel=\"noopener\">website<\/a>.<\/p>\n<p>Learn more about Austrian composer <strong>Wolfgang Amadeus Mozart<\/strong> (1756\u20131791) by reading this <a class=\"rId249\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.6002278233\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Cliff Eisen and Stanley Sadie.<\/p>\n<\/div>\n<\/div>\n<p class=\"import-Normal\">Example 17\u20119 appears in G minor. It begins on the dominant scale degree (D) and ends on tonic (G) placed on the downbeat. This melody features a fairly narrow range, spanning just a perfect fifth from G4 to D5. Since it doesn\u2019t feature scale degrees <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-92d0faf37742011b58b4bf8ae77dec73_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#54;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"9\" style=\"vertical-align: 0px;\" \/> or <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-aabb030b8c1f8a0694fdf6f276fed432_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#55;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"9\" style=\"vertical-align: 0px;\" \/>, there is no possibility of using the harmonic or melodic forms of minor. Its primary motion is stepwise, and the leaps occur only to consonant chord tones.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 17\u20119. Isabella Colbran, \u201cQuel ruscelletto che l\u2019onde chiare,\u201d mm. 5\u201312<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image108.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image108.png\" width=\"1430\" height=\"182\" alt=\"image of score\" class=\"alignnone\" \/><\/a><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-574-9\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/09-Colbran-Quel-ruscelletto.mp3?_=9\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/09-Colbran-Quel-ruscelletto.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/09-Colbran-Quel-ruscelletto.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track, performed by Maria Chiara Pizzoli, on <a href=\"https:\/\/open.spotify.com\/track\/7n7bMuBXAjb6PPleQsp9Rs?si=03046e95cd2c42f4\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn more about Spanish soprano and composer <strong>Isabel<\/strong><strong>la<\/strong> <strong>Co<\/strong><strong>l<\/strong><strong>bran<\/strong> (1785\u20131845) by reading this <a class=\"rId250\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.06067\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Elizabeth Forbes.<\/p>\n<\/div>\n<\/div>\n<p class=\"import-Normal\">In Example 17\u201110, in the key of C major, the melody begins on scale-degree <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-e4613cf46b5ba5f7a0e3da296ab92a17_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#51;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"9\" style=\"vertical-align: 0px;\" \/> (E) and ends on tonic (C), placed on a downbeat. The contour of the melody as a whole peaks at A4 and concludes with a descent, mostly stepwise, to C4.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 17\u201110. Transcription of Leonard Cohen, \u201cHallelujah,\u201d recording by Jeff Buckley, 1:26\u20131:43<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image109.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image109.png\" width=\"1430\" height=\"142\" alt=\"image of score\" class=\"alignnone\" \/><\/a><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-574-10\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/10-Buckley-Hallelujah.mp3?_=10\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/10-Buckley-Hallelujah.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/10-Buckley-Hallelujah.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/3pRaLNL3b8x5uBOcsgvdqM?si=8f94dbe6033545db\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn more about Canadian songwriter <strong>Leonard Cohen<\/strong> (1934\u20132016) by reading this <a class=\"rId251\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.A2240543\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Mark Samples.<\/p>\n<p>Learn more about American singer and guitarist <strong>Jeff Buckley<\/strong> (1966\u20131997) by reading this <a class=\"rId252\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.A2240342\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Mark Samples.<\/p>\n<\/div>\n<\/div>\n<p class=\"import-Normal\">Example 17\u201111 is in B<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/> major, and it begins and ends on tonic (B<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/>). (The overall key of the full recording shifts between G minor and B<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/> major.) <span>The melody is mostly stepwise, with a leap to the apex of the melody on G4, creating a contour that is first upward, then downward.<\/span><\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 17\u201111. Transcription of The Cliks, \u201cStill,\u201d 1:39\u20131:53<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image110.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image110.png\" width=\"1430\" height=\"163\" alt=\"image of score\" class=\"alignnone\" \/><\/a><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-574-11\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/11-Cliks-Still.mp3?_=11\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/11-Cliks-Still.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/11-Cliks-Still.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/03VHkmtNAMNpazcskhxRd1?si=57304078bd2a42bb\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn more about Canadian indie rock band <strong>The <\/strong><strong>Cliks<\/strong> at the <a class=\"rId253\" href=\"http:\/\/www.thecliks.com\/the-cliks.html\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">band\u2019s w<\/span><span class=\"import-Hyperlink\">ebsite<\/span><\/a>.<\/p>\n<\/div>\n<\/div>\n<p>Example 17\u201112, in D major, begins on the mediant scale degree (F<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-ff51ac680d6bea2ba79d15ba08ffcca2_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#115;&#104;&#97;&#114;&#112;\" title=\"Rendered by QuickLaTeX.com\" height=\"17\" width=\"6\" style=\"vertical-align: -4px;\" \/>) and ends on tonic (D). A half cadence is implied in m. 8, in tandem with scale degree <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-af5002d4be0497c609d44f228fde7f2a_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#50;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"8\" style=\"vertical-align: 0px;\" \/> (E) in the melody. As with many of the previous examples, this melody features mostly stepwise motion with several small leaps (thirds).<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 17\u201112. Franz Joseph Haydn, Symphony no. 104, mvt. 1, Allegro, mm. 1\u201316, melody<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-17.12-Haydn-symph-104-allegro-rev.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-17.12-Haydn-symph-104-allegro-rev-1024x347.png\" alt=\"image of score\" width=\"1024\" height=\"347\" class=\"alignnone wp-image-5661 size-large\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-17.12-Haydn-symph-104-allegro-rev-1024x347.png 1024w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-17.12-Haydn-symph-104-allegro-rev-300x102.png 300w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-17.12-Haydn-symph-104-allegro-rev-768x260.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-17.12-Haydn-symph-104-allegro-rev-1536x521.png 1536w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-17.12-Haydn-symph-104-allegro-rev-2048x694.png 2048w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-17.12-Haydn-symph-104-allegro-rev-65x22.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-17.12-Haydn-symph-104-allegro-rev-225x76.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-17.12-Haydn-symph-104-allegro-rev-350x119.png 350w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/a><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-574-12\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/12-Haydn-Symphony-104-mvt-1.mp3?_=12\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/12-Haydn-Symphony-104-mvt-1.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/12-Haydn-Symphony-104-mvt-1.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track, performed by the Royal Concertgebouw and conducted by Sir Colin Davis, on <a href=\"https:\/\/open.spotify.com\/track\/61dL2prASmZvjZJ5yT2rBU?si=8bf72409d6914d3c\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn more about <strong>Franz Joseph<\/strong><strong> Haydn<\/strong> (1732\u20131809) by reading this <a class=\"rId254\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.44593\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Georg Feder and James Webster.<\/p>\n<\/div>\n<\/div>\n<p>Example 17\u201113 emphasizes chord tones (notes belonging to the harmony), especially on downbeats. This melody uses expressive up and down contours, as well as mostly stepwise motion.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 17\u201113. Transcription of Elliott Smith, \u201cTwilight,\u201d 0:02\u20130:29<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image112.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image112.png\" width=\"1430\" height=\"341\" alt=\"image of score\" class=\"alignnone\" \/><\/a><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-574-13\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/13-Smith-Twilight.mp3?_=13\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/13-Smith-Twilight.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/13-Smith-Twilight.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/5YoR2agiVdBpuAuW9PvgKD?si=8c5165a1e4d943ac\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn more about American singer-songwriter <strong>Elliott Smith<\/strong> (1969\u20132003) by reading <a class=\"rId255\" href=\"http:\/\/www.sweetadeline.net\/bio.html\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">his bio<\/span><\/a> on a popular fan site, sweetadeline.net.<\/p>\n<\/div>\n<\/div>\n<p class=\"import-Normal\">Example 17\u201114, in G<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-ff51ac680d6bea2ba79d15ba08ffcca2_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#115;&#104;&#97;&#114;&#112;\" title=\"Rendered by QuickLaTeX.com\" height=\"17\" width=\"6\" style=\"vertical-align: -4px;\" \/> minor, begins on tonic (G<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-ff51ac680d6bea2ba79d15ba08ffcca2_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#115;&#104;&#97;&#114;&#112;\" title=\"Rendered by QuickLaTeX.com\" height=\"17\" width=\"6\" style=\"vertical-align: -4px;\" \/>) and ends on scale degree <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-e4613cf46b5ba5f7a0e3da296ab92a17_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#51;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"9\" style=\"vertical-align: 0px;\" \/> (B). It features mostly stepwise motion and descending contours. The melody uses the natural minor scale: it does not use the <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_574_677\">leading tone<\/a> (F????), but rather the <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_574_1039\">subtonic<\/a> scale degree (F<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-ff51ac680d6bea2ba79d15ba08ffcca2_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#115;&#104;&#97;&#114;&#112;\" title=\"Rendered by QuickLaTeX.com\" height=\"17\" width=\"6\" style=\"vertical-align: -4px;\" \/>).<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 17\u201114. Transcription of Justin Timberlake, \u201cCry Me a River,\u201d 1:43\u20132:09<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image113.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image113.png\" width=\"1431\" height=\"694\" alt=\"image of score\" class=\"alignnone\" \/><\/a><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-574-14\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/14-JT-Cry-Me-a-River.mp3?_=14\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/14-JT-Cry-Me-a-River.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/14-JT-Cry-Me-a-River.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/7Lf7oSEVdzZqTA0kEDSlS5?si=1e48230ddeb84636\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn more about American pop and R&amp;B singer <strong>Justin Timberlake <\/strong>(b. 1981) by reading this <a class=\"rId256\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.A2289571\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Miles White.<\/p>\n<\/div>\n<\/div>\n<p>In sum, these examples, spanning a fairly wide range of tonal styles, generally share the following characteristics:<\/p>\n<ul>\n<li>They start on tonic or another scale degree in the tonic chord (<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-a39bc1789eaec8fb0f064f247aee204c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#49;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"7\" style=\"vertical-align: 0px;\" \/>, <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-e4613cf46b5ba5f7a0e3da296ab92a17_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#51;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"9\" style=\"vertical-align: 0px;\" \/>, or <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-007e62d9808d6b172da8b2875347ade1_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#53;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"8\" style=\"vertical-align: 0px;\" \/>).<\/li>\n<li>They often end on tonic, usually placed on the downbeat.<\/li>\n<li>They often end with stepwise motion toward tonic (<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-af5002d4be0497c609d44f228fde7f2a_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#50;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"8\" style=\"vertical-align: 0px;\" \/>&#8211;<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-a39bc1789eaec8fb0f064f247aee204c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#49;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"7\" style=\"vertical-align: 0px;\" \/> or <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-aabb030b8c1f8a0694fdf6f276fed432_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#55;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"9\" style=\"vertical-align: 0px;\" \/>&#8211;<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-a39bc1789eaec8fb0f064f247aee204c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#49;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"7\" style=\"vertical-align: 0px;\" \/>).<\/li>\n<li>When in a minor key, they often use melodic or harmonic minor, as in Example 17\u20112 and Example 17\u20114.<\/li>\n<li>They use mostly stepwise motion or, a mix of stepwise motion and small leaps.<\/li>\n<li>Most leaps outline a chord (ex: leaps among <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-a39bc1789eaec8fb0f064f247aee204c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#49;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"7\" style=\"vertical-align: 0px;\" \/>, <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-e4613cf46b5ba5f7a0e3da296ab92a17_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#51;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"9\" style=\"vertical-align: 0px;\" \/>, and <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-007e62d9808d6b172da8b2875347ade1_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#53;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"8\" style=\"vertical-align: 0px;\" \/> outlining tonic), as in Example 17\u20115 (the opening three notes) and Example 17\u20117 (see mm. 9, 11, and 17).<\/li>\n<li>Large leaps are used sparingly, only for dramatic effect, as in the opening octave leap in Example 17\u20116.<\/li>\n<li>Contours vary, but there is usually a melodic peak.<\/li>\n<\/ul>\n<div class=\"textbox shaded\">Access a slideshow with the examples from this chapter here: <a class=\"rId257\" href=\"https:\/\/docs.google.com\/presentation\/d\/1HqzxbpQJ8IldZOlfQWjbEuaonjGnFH_yVed625mzbu4\/edit?usp=sharing\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Melody slides<\/span><\/a><\/div>\n<div class=\"textbox shaded\">Listen to the audio examples featured in this chapter here: <a class=\"rId258\" href=\"https:\/\/open.spotify.com\/playlist\/2gPECCTarVzOwYtIgJzoaw?si=a6435bcbecfa4866\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Spotify playlist for melody<\/span><\/a><\/div>\n<p class=\"import-Normal\">Finally, Kris Shaffer and Mark Gotham summarize some general principles associated with tonal melodies, drawing from David Huron\u2019s research in cognition and perception (2006). They include:<\/p>\n<blockquote>\n<p class=\"import-Normal\"><strong class=\"import-Strong\">Pitch proximity<\/strong>: The tendency for melodies to progress by steps more than leaps and by small leaps more than large leaps. An expression of smoothness and melodic integrity.<\/p>\n<p class=\"import-Normal\"><strong class=\"import-Strong\">Step declination<\/strong>: The tendency for melodies to move by descending step more than ascending. Possibly an expression of goal-oriented motion, as we tend to perceive a move down as a decrease in energy (movement toward a state of rest).<\/p>\n<p class=\"import-Normal\"><strong class=\"import-Strong\">Step inertia<\/strong>: The tendency for melodies to change direction less frequently than they continue in the same direction. (That is, the majority of melodic progressions are in the same direction as the previous one.) An expression of smoothness and, at times, goal-oriented motion.<\/p>\n<p class=\"import-Normal\"><strong class=\"import-Strong\">Melodic regression: <\/strong>The tendency for melodic notes in extreme registers to progress back toward the middle. An expression of motion toward a position of rest (with non-extreme notes representing \u201crest\u201d). Also an expression simply of the statistical distribution of notes in a melody: the higher a note is, the more notes there are below it for a composer to choose from, and the fewer notes there are above it.<\/p>\n<p class=\"import-Normal\"><strong class=\"import-Strong\">Melodic arch:<\/strong> The tendency for melodies to ascend in the first half of a phrase, reach a climax, and descend in the second half. An expression of goal orientation and the rest\u2013motion\u2013rest pattern. Also a combination of the above rules in the context of a musical phrase.<a class=\"footnote\" title=\"Kris Shaffer and Mark Gotham, \u201cIntroduction to Species Counterpoint,\u201d Open Music Theory, https:\/\/viva.pressbooks.pub\/openmusictheory\/chapter\/species-counterpoint\/, accessed January 4, 2023.\" id=\"return-footnote-574-2\" href=\"#footnote-574-2\" aria-label=\"Footnote 2\"><sup class=\"footnote\">[2]<\/sup><\/a><a id=\"sdfootnote2anc\" href=\"#sdfootnote2sym\"><\/a><\/p>\n<\/blockquote>\n<h1><a><\/a>Writing tonal melodies with strong harmonic implication<\/h1>\n<p class=\"import-Normal\">In addition to the general melodic characteristics described above, when writing a tonal melody, you should also think about its harmonic implications. Here are some guidelines for constructing a tonal, diatonic melody with a compelling harmonic implication:<\/p>\n<ul>\n<li>Write using a major scale, or if in minor, use the harmonic or melodic minor scale.<\/li>\n<li>Avoid using the natural minor scale or modal scales.<\/li>\n<li>Begin and end on tonic.<\/li>\n<li>Use stepwise motion at the ends of phrases (e.g., use re\u2013do or ti\u2013do). This will generally harmonize nicely with V &#8211; I.<\/li>\n<li>Place the final note of the melody on the downbeat of the measure.<\/li>\n<li>Use do (<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-a39bc1789eaec8fb0f064f247aee204c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#49;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"7\" style=\"vertical-align: 0px;\" \/>), mi\/me (<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-e4613cf46b5ba5f7a0e3da296ab92a17_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#51;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"9\" style=\"vertical-align: 0px;\" \/>), and sol (<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-007e62d9808d6b172da8b2875347ade1_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#53;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"8\" style=\"vertical-align: 0px;\" \/>) as &#8220;anchors&#8221; to ground your melody tonally. These pitches harmonize nicely with the tonic chord, which will give your melody grounding.<\/li>\n<\/ul>\n<p class=\"import-Normal\">Another way to approach melody writing is to start with a chord progression you like, decide upon a regular harmonic rhythm (e.g., one chord per bar), and construct a melody that emphasizes the chord tones of the chords in your progression by placing them on strong beats and longer durations. Here is a brief example:<\/p>\n<p class=\"import-Normal\">Say you like the progression I &#8211; IV &#8211; V &#8211; I and want to write a melody in D major that implies this progression.<\/p>\n<p class=\"import-Normal\">First, you would spell the notes in each chord:<\/p>\n<p class=\"import-Normal\">I = D F<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-ff51ac680d6bea2ba79d15ba08ffcca2_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#115;&#104;&#97;&#114;&#112;\" title=\"Rendered by QuickLaTeX.com\" height=\"17\" width=\"6\" style=\"vertical-align: -4px;\" \/> A<\/p>\n<p class=\"import-Normal\">IV = G B D<\/p>\n<p class=\"import-Normal\">V = A C<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-ff51ac680d6bea2ba79d15ba08ffcca2_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#115;&#104;&#97;&#114;&#112;\" title=\"Rendered by QuickLaTeX.com\" height=\"17\" width=\"6\" style=\"vertical-align: -4px;\" \/> E<\/p>\n<p class=\"import-Normal\">Second, you would format a staff with a clef, key signature, and time signature, and place Roman numerals and\/or chord symbols to remind yourself of the chosen progression, as shown in Example 17\u201115.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 17\u201115. Formatted staff for writing a melody with strong harmonic implication<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image114.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image114.png\" width=\"1430\" height=\"230\" alt=\"image of annotated staff\" class=\"alignnone\" \/><\/a><\/p>\n<\/div>\n<\/div>\n<p class=\"import-Normal\">Third, now for the fun part! Experiment with emphasizing the notes of each chord, combining the principles we are learning about. Example 17\u201116 shows three possible solutions using this method (note that non-chord tones are shown in parentheses). Try playing and\/or singing these in solfege. For an added bonus, try playing the chords on guitar or piano while you sing the melody to hear the harmonic implication.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 17\u201116. Three possible melody solutions implying I \u2013 IV \u2013 V \u2013 I in D major<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image115.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image115.png\" width=\"1431\" height=\"622\" alt=\"image of score\" class=\"alignnone\" \/><\/a><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-574-15\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-16.17.mp3?_=15\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-16.17.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-16.17.mp3<\/a><\/audio><\/p>\n<\/div>\n<\/div>\n<h1><a><\/a>EXERCISE 17-1 Writing a melody<\/h1>\n<div class=\"textbox textbox--exercises\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">EXERCISE 17-1 Writing a melody<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\">The purpose of this assignment is for you to write an original tonal melody using the guidelines described in this chapter. Using a piece of staff paper or notation program, please do the following:<\/p>\n<p class=\"import-Normal\">Step 1. Choose a clef, key, and meter.<\/p>\n<p class=\"import-Normal\">Step 2. If in major, use the I &#8211; IV &#8211; V &#8211; I progression. If in minor, use the i &#8211; iv &#8211; V &#8211; i progression.<\/p>\n<p class=\"import-Normal\">Step 3. Construct your melody by emphasizing the chord tones of the progression above. Strive to use chord tones on strong beats, and do your best to follow the guidelines we have studied. Begin and end on tonic.<\/p>\n<p class=\"import-Normal\">Step 4. Before submitting your work, double check to make sure:<\/p>\n<ul>\n<li>there are the correct number of beats per bar<\/li>\n<li>beaming reflects the beat level<\/li>\n<li>the notes placed in metrically strong positions belong in the chord<\/li>\n<\/ul>\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex17.1-Writing-a-melody.pdf\" target=\"_blank\" rel=\"noopener\">Ex17.1 Writing a melody<\/a><\/div>\n<\/div>\n<\/div>\n<h1><a><\/a>Sight singing tonal melodies<\/h1>\n<p class=\"import-Normal\">Once you have mastered singing pitch patterns in major and minor keys, the next step is to begin singing melodies at sight. The skills involved include:<\/p>\n<ul>\n<li>Identifying the key and meter type<\/li>\n<li>Reading rhythm correctly on a neutral syllable<\/li>\n<li>Converting notes in staff notation to solfege syllables corresponding with the key<\/li>\n<li>Singing the notes using solfege<\/li>\n<li>Combining all skills to sing the notes, in rhythm, correctly and fluently<\/li>\n<\/ul>\n<p class=\"import-Normal\">Students often find it helpful to conduct to embody the meter and help ground the sight singing rhythmically and metrically. Others find it helpful to use Curwen hand signs to embody the contour and help ground the sight singing in terms of pitch accuracy.<\/p>\n<div class=\"textbox textbox--key-takeaways\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Video: S12 Intro to sight singing melodies (8:35)<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><iframe loading=\"lazy\" id=\"oembed-1\" title=\"S12 Intro to Sight Singing Melodies\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/nOiuo3tLDeo?feature=oembed&#38;rel=0\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p class=\"import-Normal\">This video walks you through the process of how to convert notation into sound by sight singing melodies, using a four-step process: (1) identify key and tonic, (2) identify meter and conducting pattern, (3) read the rhythm of the melody on solfege syllables while conducting, and (4) establish the key and sing the melody in solfege, with accurate rhythm and pitch.<\/p>\n<div class=\"textbox shaded\">Want more practice? Find many additional melodies for sight singing, along with practice videos, in <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/back-matter\/melodysupplement\/\" target=\"_blank\" rel=\"noopener\">Appendix B: Melody supplement<\/a>.<\/div>\n<\/div>\n<\/div>\n<h1 id=\"chapter-105-section-4\" class=\"section-header\"><a><\/a>Melodic dictation<\/h1>\n<p>Once you feel comfortable identifying short tonal pitch patterns by ear, you may find it useful to practice notating melodies. To this end, <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/back-matter\/appendix-d-melodic-dictations\/\" target=\"_blank\" rel=\"noopener\"><span>Appendix D<\/span><\/a> contains dictations for practice. Nos. 1\u201320 progress in difficulty and use a succession of pitch patterns introduced in <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/chapter\/major-scales\/\" target=\"_blank\" rel=\"noopener\">Chapter 3 (major scales)<\/a> and <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/chapter\/minor-scales-key-signatures\/\" target=\"_blank\" rel=\"noopener\">Chapter 6 (minor scales)<\/a>.<\/p>\n<h1><a><\/a>Supplemental resources<\/h1>\n<div class=\"textbox textbox--learning-objectives\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Supplemental resources for Chapter 17<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><a class=\"rId259\" href=\"http:\/\/musictheory.pugetsound.edu\/mt21c\/PhraseSection.html\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\"><\/span><\/a><a class=\"rId259\" href=\"http:\/\/musictheory.pugetsound.edu\/mt21c\/PhraseSection.html\" target=\"_blank\" rel=\"noopener\">Robert Hutchinson\u2019s melody (phrase) examples<\/a><\/p>\n<\/div>\n<\/div>\n<\/div>\n<hr class=\"before-footnotes clear\" \/><div class=\"footnotes\"><ol><li id=\"footnote-574-1\">Robert Hutchinson, <em>Music Theory for the 21st-Century Classroom<\/em><span>, Figure 11.4.3, <\/span><a href=\"https:\/\/musictheory.pugetsound.edu\/mt21c\/PhraseSection.html\" target=\"_blank\" rel=\"noopener\">https:\/\/musictheory.pugetsound.edu\/mt21c\/PhraseSection.html<\/a>. Accessed September 29, 2023. Used with permission of the author. <a href=\"#return-footnote-574-1\" class=\"return-footnote\" aria-label=\"Return to footnote 1\">&crarr;<\/a><\/li><li id=\"footnote-574-2\">Kris Shaffer and Mark Gotham, \u201cIntroduction to Species Counterpoint,\u201d Open Music Theory, <a href=\"https:\/\/viva.pressbooks.pub\/openmusictheory\/chapter\/species-counterpoint\/\" target=\"_blank\" rel=\"noopener\">https:\/\/viva.pressbooks.pub\/openmusictheory\/chapter\/species-counterpoint\/<\/a>, accessed January 4, 2023. <a href=\"#return-footnote-574-2\" class=\"return-footnote\" aria-label=\"Return to footnote 2\">&crarr;<\/a><\/li><\/ol><\/div><div class=\"glossary\"><span class=\"screen-reader-text\" id=\"definition\">definition<\/span><template id=\"term_574_1761\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_574_1761\"><div tabindex=\"-1\"><p>single-line (monophonic) melody that implies more than one voice, usually through wide leaps<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_574_2485\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_574_2485\"><div tabindex=\"-1\"><p>notes belonging in a chord; e.g., the chord tones in a major triad are C, E, and G<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_574_677\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_574_677\"><div tabindex=\"-1\"><p>scale degree 7 in any major, harmonic minor, or ascending melodic minor scale; this scale degree is always a half step below tonic<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_574_1038\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_574_1038\"><div tabindex=\"-1\"><p>scale that features the following interval pattern: whole - half - whole - whole - half - A2 - half<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_574_1043\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_574_1043\"><div tabindex=\"-1\"><p>scale that has the following interval pattern: ascending whole - half - whole - whole - whole - whole - half; descending whole - whole - half - whole - whole - half - whole; resembles the parallel major when ascending, except for scale degree 3, and resembles natural minor in its descending form<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_574_1039\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_574_1039\"><div tabindex=\"-1\"><p>the scale degree a whole step below tonic, sung as \"te\" in moveable-do solfege, and featured in the natural minor scale and the descending melodic minor scale<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><\/div>","protected":false},"author":3,"menu_order":17,"template":"","meta":{"pb_show_title":"on","pb_short_title":"","pb_subtitle":"","pb_authors":[],"pb_section_license":""},"chapter-type":[],"contributor":[],"license":[],"class_list":["post-574","chapter","type-chapter","status-publish","hentry"],"part":3,"_links":{"self":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters\/574","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters"}],"about":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/types\/chapter"}],"author":[{"embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/users\/3"}],"version-history":[{"count":63,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters\/574\/revisions"}],"predecessor-version":[{"id":7045,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters\/574\/revisions\/7045"}],"part":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/parts\/3"}],"metadata":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters\/574\/metadata\/"}],"wp:attachment":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/media?parent=574"}],"wp:term":[{"taxonomy":"chapter-type","embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapter-type?post=574"},{"taxonomy":"contributor","embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/contributor?post=574"},{"taxonomy":"license","embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/license?post=574"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}