Two many large leaps in a row are more difficult to connect as a single melodic unit. What one looks for, however, is a melodic idea that suggests one shape over another. Using stepwise motion will reduce the random-sounding nature of your melodies. Sight Singing Exercises- Stepwise Motion. Conversely, let’s look at an example of leapwise motion. Below, the melody is composed entirely of leapwise motion, where it always jumps at least one note in the scale to reach the next note. This labeling system can be confusing at first since, as in the example above, the bass line may not match up with the root motion. The typical figure is chord tone – passing tone – chord tone , filling in a third (see example), but two adjacent passing tones can also be used to fill in the space between two chord tones a fourth apart–a double passing tone . When creating a chord progression, use harmonically related chords. They can share similar notes or have inversions to make the stepwise motion smoother. Examples of Melody: ... One may also speak of such a melody in terms of step-wise or scalar motion, since most of the intervals in the melody are half or whole steps or are part of a scale. Motion by skip is when a melody moves by intervals of larger than a 2nd. Most good melodies have a discernible relationship with the bass line. Heavy use of stepwise motion (where notes only move by a whole-tone or a half-tone) Occasional leaps of a third or more—often the most memorable parts of the melodies Focal points —high or low notes that the music builds toward, which tends to create arc-shaped or V-shaped melodic contours in the sheet music A melody that rises and falls quickly, with large intervals between one note and the next, is a disjunct melody. 3) Stepwise motion gets boring fast! Motion by step (or stepwise motion) is when a melody moves by consectective notes in the scale. For example, something like (I-II-III-II-V-IV-V) is better than (I-II-III-V-II-IV-V) If a melody has a great deal of stepwise motion, but a leap here and there (particularly at the end of the phrase), then it will still be heard as a circle shape. Motion by step is when a melody moves by consectective notes in the scale. A passing tone is a melodic embellishment (typically a non-chord tone) that occurs between two stable tones (typically chord tones), creating stepwise motion. There's a bunch of Beatles songs that have interesting passages with stepwise motion, but not entire verses or anything. Good writers use melodic leaps as a good way to generate little shots of energy. In these exercises, we’ll use only stepwise motion (no jumps between notes) and quarter notes (1 beat), half notes (2 beats) and whole notes (4 beats). Let’s start simple. Most good melodies are comprised of stepwise motion (i.e., move by scale steps), with occasional leaps. For example, a C major chord and an A minor chord both have the notes E and C. Conclusion. "Eleanor Rigby" is largely stepwise motion interspersed with small leaps. Of course, if composers used nothing but stepwise motion, songs would get old VERY quickly. The song "When I'm 64" has several interesting examples of stepwise motion. We refer to the progression in Example 26–1 as a “↓4 th ↑2 nd ” sequence, since the root motion first descends by a fourth (as in G, the root of the I chord, moving to D, the root of the V 6 chord) and then ascends by a second (as in V 6 to vi). The example below is comprised entirely of stepwise motion, since it is always playing an adjacent note in the scale. examples, melodic lines are commonly a combination of shapes. So use leaps judiciously, but not too frequently. First try to sight read the exercise … Music theory will give you a deeper understanding of music. Melodies that are too leapy are often too difficult to sing. 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