Melodic shapes/contours

[joedecenso]

I was reading this one book that I have, complete idiots guide to music composition, and it discusses the importance of melodic shape and contour. I just wanted to get your opinion on that topic. Is it important? The book also explained that your compositions should have a climax. It didn't describe clearly where the climax should be. It stats that it should be 2/3 of the way through. The verse? The chorus?

Thanks

 

[Doug Johns]

Hello Joe.
I'm surprised I wasn't consulted on the "Complete idiot's" book you talk about......
Personally, I hear music as question and answer. A conversation. And every conversation's climax comes at a different point, so I'm never hung up on exactly where that "should" be. I would suggest listening to the great Albert Collins on this one. Whether it be his songs, solos, or whatever, you'll quickly hear what you're talking about here. Check it out....Let me know what you think

 

[Mike Dimin]

I was reading this one book that I have, complete idiots guide to music composition, and it discusses the importance of melodic shape and contour. I just wanted to get your opinion on that topic. Is it important? The book also explained that your compositions should have a climax. It didn't describe clearly where the climax should be. It stats that it should be 2/3 of the way through. The verse? The chorus?

Thanks

Although I have never read the book you refer to, if you analyze melodies, you will find that they have a structure. Take some jazz standards such a Autumn Leaves, Blue Bossa, Sugar or Song For My Father, each of these melodies is built on the concept of a melodic sequence. The melody begins with a 3 or 4 note motif which then moves within the key(s)/chord progression. Ideas such as this gives the melody structure and a sense of familiarity to the listener. The less structure a melody has, the more avant garde the song sounds.

As for your second question about the climax. I believe the book is referring to more classically written pieces, not a verse chorus structure. However, you can apply the concept of a climax to a solo that you might be performing (as well as the aforementioned ideas of melodic development). You start your solo with a kernel of an idea. As that idea develops so does the intensity of the solo, until that climactic point. Once you reach this, it is time to let the listener "off the hook" so to speak. Bring the solo back into the song.

Mike Dimin
Author "The Art of Solo Bass"

 

[joedecenso]

Thanks for the info