Basic materials melody Part 2

CHAPTER 1. SCALES
We expect that you have read and fully understood the first part of our theory text
(Maliepaard_Basic_Materials_Melody_Part1.pdf).
Tones in the exercises are selected from basic scales (ithin the ran!e c" and e""). #n
example of such a basic scale is the $%ma&or scale.
'ts relative (ey is b minor.
)ometimes ith raised sixth and seventh tone.
#ll tones of a scale have a number* the first + 1, the second + - etc.
CHAPTER 2. MAIN TONE !AMIL"TONES CONTRASTTONES AN# !AMIL"TRIA#
'n music, tones are someho related to each other (by the ay, this has nothin! to do ith
the sort of scale* ma&or, minor, church mode etc.) . We have defined earlier the cate!ories
familytones and contrasttones. 'n contrast to module )1 e no !ive you the (ey. That
means that you (no %before sin!in!% all the familytones and contrasttones.
#s an example, let us investi!ate the tones of the $%ma&or scale*
1. The first tone, tone $ is the most stable tone and is called the main tone, the tonic of
"finalis". The function of this tone (in this case the first tone of a ma&or scale) is
complete relaxation ("e are home a!ain")* remember this alays.
-. Tones /0 and # are more or less stable tones in relation to each other and to the
tonic. There is no explicit drive to resolve tension (if any) into the tonic. Tones /0 and
# are familytones
Important note: there are melodic situations where tone A more or less has to relax in
tone D. But the drive to relax is less and not to compare with the drive of the
contrasttones (see below).
1. Tones 2, 3, B and 40 are contrasttones* tones that 5!enerally spea(in!% contrast to
the familytones. They have a drive to relax, to resolve some sort of tension. 6esolvin!
their tension is only succesful hen the main tone or its familytones follo (nota
bene* this is true from a melodic point of vie7 e don"t discuss the influence of other
musical parameters such as rhythm).
8 -911 bestmusicteacher.com 5 reinier maliepaard 1
)o tones of a triad built on the main tone of a scale are familytones* the "$amilytriad". Tones
outside this familytriad are contrasttones (of course, these tones can form a triad too...but the
familytriad is for no the most important).
'n the next chapter e:ll !ive some simple examples interaction beteen main tone, family%
and contrasttones.
CHAPTER %. HO& TO ST'#"
't ill be clear that (noin! the main tone, the familytones and contrasttones is most
important hen studyin! a melody. 3enerally spea(in!, the main tone, i.e. the tone of a
melody that has the function of complete relaxation, is the tonic in ma&or%, minorscales and
the role of the finalis in the church modes. What e further (no is that tones of the triad
built on this main tone are familytones. ;ther tones have a drive to these tones. <et"s !ive a
fe examples (other examples and more bac(!roundinformation can be read in module )1).
(. E)am*le 1
+ey, # ma-or
6emar(s*
3iven (ey is $ ma&or, so tone $ the main tone.
Tone # is a familytone of tone $
4ontrasttone B is an (incomplete) nei!hbour tone of tone #
)tudy plan
)in! the tones $"%/0"%#"%#"%/0"%$"
)in! the tones $"%#"%#"%$"
)in! the tones #"%B"%#"
)in! the tones #"%#"%B"%#"%$"
)in! the complete melody $"%B"%#"%$" and listen to the inner movement of the tones
(.2 E)am*le 2
+ey, # ma-or
6emar(s*
3iven (ey is $ ma&or, so tone $ the main tone.
Tone # is a familytone of tone $
4ontrasttone 40 is a (complete) nei!hbour tone of tone $
8 -911 bestmusicteacher.com 5 reinier maliepaard -
)tudy plan
)in! the tones $"%/0"%#"%$""%#"%/0"%$"
)in! the tones $"%40"%$"
)in! the tones $"%$""%#"%$"
)in! the complete melody and listen to the inner movement of the tones.

Memorytrainin!
Try to sin! tone 40" at the end, so*
6emar(s*
in this case, most of our students thin( that they have sin! a ne tone 40...e hope
you (no better.
(.% E)am*le %
+ey, # ma-or
6emar(s*
3iven (ey is $ ma&or, so tone $ the main tone.
Tone 40 is here a (incomplete) nei!hbour tone of tone $, hich is implied
Tone 3 is here a (incomplete) nei!hbour tone of tone #
Tone 2 is here a (incomplete) nei!hbour tone of tone $* the last note $ is implied
)tudy plan
)in! the tones $"%/0"%#"%$""%#"%/0"%$"
)in! the tones #"%$"%$""%#"%$" and #"%$"%$""%40""%$""%#"%$"
)in! the tones #"%$"%$""%40""%$""%#"%3"%#"%$"
)in! the tones #"%$"%$""%40""%$""%#"%3"%#"%$"%2"%$"
2liminate the implied tones7 e.!. )in! the tones #"%$"%$""%40""%$""%#"%3"%#"%$"%2"
)in! the complete melody and listen to the inner movement of the tones.
Memorytrainin!
Try to sin! tone $"" at the end, so the tension of tone 40"" is resolved.
8 -911 bestmusicteacher.com 5 reinier maliepaard 1
(.. Last e)am*les /it0 s122estio3s to 13dersta3d t0e melodic str1ct1re
(...1 I3ter3al mai3 to3es or $amilyto3es im*lied
could be understood as
=ote the incomplete nei!hbour tone 40 (first tone) and tone 2"" and their resolution in the
implied $"" (last tone).
(...2 Basic models sim1lta3eo1sly
)tudy this example carefully and be excited about the onderful interaction beteen the
complete nei!hbour model (circles) and the passin!tone model (s>uares7 ?.1 above).
EPILO4
The study plans are only su!!estions. ;ther interpretations of the examples %hich tone is
the main tone% are possible. @oever, the most important point is that you as a student has
to develop your on strate!y. The basics should be clear and the softare provides you
many challen!in! examples.
Last 51t 3ot least some ad6ice,
I$ yo1 do37t see t0e i33er str1ct1re o$ a melody t0e relatio3s0i* o$ t0e melodyto3es
do37t si32 t0e melody a3d select a3 ot0er e)ercise8
8 -911 bestmusicteacher.com 5 reinier maliepaard ?