How To Make Melody?

A melody (from Greek μελῳδία, melōidía, “singing, chanting”),[1] also tune, voice or line, may be a linear succession of musical tones that the listener perceives as one entity. In its most literal sense, a melody may be a combination of pitch and rhythm, while more figuratively, the term can include successions of other musical elements like tonal color. it’s going to be considered the foreground to the background accompaniment. A line or part needn’t be a foreground melody.
Melodies often contains one or more musical phrases or motifs, and are usually repeated throughout a composition in various forms. Melodies can also be described by their melodic motion or the pitches or the intervals between pitches (predominantly conjunct or disjunct or with further restrictions), pitch range, tension and release, continuity and coherence, cadence, and shape.
The true goal of music—its proper enterprise—is melody. All the parts of harmony have as their ultimate purpose only beautiful melody. Therefore, the question of which is that the more significant, melody or harmony, is futile. definitely , the means is subordinate to the top .

cassette melody with music notes rhythm and star to music style vector illustration


Given the various and varied elements and designs of melody “many extant explanations [of melody] confine us to specific stylistic models, and that they are too exclusive.”[3] Paul Narveson claimed in 1984 that quite three-quarters of melodic topics had not been explored thoroughly.[4]
The melodies existing in most European music written before the 20th century, and popular music genre throughout the 20th century, featured “fixed and simply discernible frequency patterns”, recurring “events, often periodic, in the least structural levels” and “recurrence of durations and patterns of durations”.[3]
Melodies within the 20th century “utilized a greater sort of pitch resources than ha[d] been the custom in the other period of Western music.” While the scale was still used, the scale became “widely employed.”[3] Composers also allotted a structural role to “the qualitative dimensions” that previously had been “almost exclusively reserved for pitch and rhythm”. Kliewer states, “The essential elements of any melody are duration, pitch, and quality (timbre), texture, and loudness.[3] Though an equivalent melody could also be recognizable when played with a good sort of timbres and dynamics, the latter should be an “element of linear ordering.”

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