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A motif is a compact cluster of musical information, and can be smaller than a melody itself. An example of sequencing is the verse of “Toxic” by Britney Spears. Change ), You are commenting using your Google account. I’ve done so using a few Splice samples, and came up with a motif that feels like it has some potential using Xfer Record’s Serum. Motifs can be modular, so they can shape the rest of a song around them, as well as move around the song in different ways. Flattening the A natural to an Ab gives the motif a darker feel that goes perfectly with the mood of the track. Often the motive is quite short, just a few beats or a single measure. The previous example of “Beauty and the Beast” is a great example of keeping the rhythmic structure of a motif in place but playing with pitch to carry the melody forward. For Menken and Ashman it’s a similar situation, except they decided to use a single motif to develop the entire song, as opposed to just a certain section. The simple answer to these questions is no. The first motif gets repeated, “Baby can’t you see I’m calling... a guy like you should wear a warning” and then for the third time it’s sequenced down a whole step, “It’s dangerous, I’m falling.” A more classic example is Billy Joel’s, “She’s Always a Woman to Me” which is almost entirely built upon sequencing. Change some of the notes or invert one of the sequences to keep the listener off balance.

Example No. “Don’t Stand So Close to Me” by The Police is easy example to grasp just from the lyrical structure, which adds length upon each repetition of the motif, “don’t stand, don’t stand so, don’t stand so close to me.”. Change ). There are other techniques such as retrograde and mirroring/inversion, which are used less frequently. ( Log Out /  If coming up with a motif in a totally empty session is difficult, laying down a basic backing track might be helpful. What’s a motif? It’s easy to get a little carried away here, so we have to be mindful of balancing a controlled amount of variation with an adherence to the motif’s essence. I encourage you to play through these examples, then apply sequencing to one of your own melodies and see what happens.

For this reason, a good way to start composing a melody is by coming up with a motif.

It’s the exact same rhythmic pattern with five syllables, for the entirety of the whole song. Great melodies are usually the ones that come to you at inconvenient times and end up as voice memos on your phone. They work well as transitions to new sections or as a build up to an important climactic moment. When every element of a melody has no relation to what came before it, the music becomes random and the listener will struggle to find something to latch on to.

From exploring syncopation to incorporating pitch bend and grace notes, we overview four useful tips and techniques for crafting melodies. You’ll find that you may have used this technique intuitively before, without even realizing it – by consciously recognizing it as a tool, however, we become empowered to proactively overcome any creative block. A good exercise would be to take one of those voice memos off your phone and turn it into an entire song section, or if you’re feeling really fancy, an entire song.

Let’s take a listen to what the track sounds like with the motif on loop: As you can hear, the motif quickly gets repetitive if it isn’t varied whatsoever. Each section has one motif which repeats itself over and over until the next section. 2 is the same melody subjected to exact sequencing. Get top stories of the week and special discount offers right in your inbox. By Mike Dawes 02 November 2018.

I’m going to run though some basic melodic concepts along with a very basic analysis of Disclosures “Omen Feat Sam Smith).

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