The Complete Idiot''s Guide to Music Theory

Par t 3:Tunes

You can achieve this symmetry by mirroring rhythms, or by mirroring tones.

Take Dvorˇ ák’s New World Symphony,for example. Measure 3 is identical to

measure 1, thus setting up the symmetry between the two parts of the tune.

“Michael, Row the Boat Ashore” has a rhythmic symmetry between the two

parts, even though the tones used change a bit. (Sometimes the tones haveto

change, to relieve the harmonic tension or answer a melodic call.)

In any case, when you make the second part of your melody resemble the first

part, you establish a familiarity in the mind and ear of the listener, so they know

(pretty much) what to expect and feel comfortable when you deliver it to them.

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The last two bars are a near-mirror image of the first two measures.

Balance Repetition and Variety

Repetition is part and parcel of symmetry—and of establishing motifs and hooks.

You find a melodic or rhythmic figure that you like, and you repeat it through-

out the course of the melody or song. This sort of repetition, such as that

shown in the following example, helps to unify your melody; it’s the melodic

equivalent of a steady drumbeat, and serves as an identifying factor for listeners.

However, too much of a good thing can get annoying. If you repeat your figure

too often, it will start to bore the listener. It’s hard to say how much repetition

is too much repetition, but chances are you’ll be able to tell—or your listeners

will tell you.

Songwriter Jimmy Webb, in his book Tunesmith: Inside the Art of Songwriting

(Hyperion, 1998), says that the key to writing interesting melody is “to lead the

ear on a path which is both pleasantand to some degree unexpected.” (Empha-

sis his.) I agree wholeheartedly. The best melodies sound familiar yet still manage

to surprise us somewhere along the line; they do a good job balancing repetition

and variety.

Note

When you find yourself using too much repetition, it’s time to trot out the

variations—or to add completely new melodic or rhythmic figures. Balancing

repetition and variety is an essential skill to learn, and marks a key difference

between a novice and an experienced composer.

Follow the Chord Progressions

I’ve mentioned chords and chord progressions a few times in this chapter,

because chords and progressions contribute significantly to the melodies you

compose. However, I haven’t presented chords yet, because I feel it’s important