Melody is the intersection of pitch and rhythm. A melody is created when a succession of pitches are played over a certain amount of time, expressing a musical statement. Often they are derived from scales and modes, and are organized into patterns that create musical phrasing and motives.
In music, a phrase is a group of musical measures that forms a complete musical idea. A phrase typically consists of a series of notes that are played or sung in a specific order, and has a beginning, middle, and end.
Musical phrases are an important element of music, as they provide structure and organization to a piece of music. They can be thought of as the "building blocks" of a piece of music, and help to create a sense of coherence and unity.
Musical phrasing refers to the way that a musician shapes and interprets the melody and rhythm of a piece of music. It is the way that a musician gives expression and meaning to the music, and can involve a wide range of techniques, such as dynamics, tempo, and articulation. The phrasing often depends on the melody and patterns within the melody.
Melodies often have certain technical features, including contour, conjunct and disjunct, register, and range.
Melodic contour refers to the shape or direction of a melody. It describes the overall movement of the pitch of the notes in a melody, and can be thought of as the "ups and downs" of the melody.
A melody with a strong sense of contour is often more memorable and satisfying to listen to, as it provides a sense of direction and purpose. A melody with a weak or unclear contour may be less interesting or less effective at conveying emotion or meaning.
There are many different types of melodic contour that can be used in music. Some common examples include:
- Rising: A melody that moves upward in pitch.
- Falling: A melody that moves downward in pitch.
- Arching: A melody that begins and ends on a high or low pitch, with the pitches in the middle of the melody rising or falling.
- Leaping: A melody that makes large jumps in pitch, either upward or downward.
- Stepwise: A melody that moves in small steps, either upward or downward.
Melodic contour can be used to create different moods and emotions in music. For example, a rising melody can convey a sense of hope or excitement, while a falling melody may convey sadness or melancholy.
When writing melodies, we prefer not to have too many leaps in the melody. A leap is defined as skipping over 2 or more notes, whereas a skip is defined as skipping over one note in the diatonic scale. For example, a leap would be from F to Bb, and a skip would be from F to A. A step would be from F to G. When writing melodies, we should use mostly steps and skips.
The stepwise movement of pitches in a melody is known as conjunct motion. This creates a sense of continuity and flow in the melody.
If we’re only moving in steps, though, we lose interest in the piece. We want to add a few skips and leaps, too. For this, we have disjunct motion.
Disjunct motion is a type of melodic movement in which the pitches of the notes move in a more separated or disconnected manner. It is characterized by larger intervals between the notes, such as leaps of a third or fourth, and creates a sense of contrast and variety in the melody.
Both disjunct and conjunct motion can be used effectively in music, depending on the desired effect. Disjunct motion can add interest and variety to a melody, while conjunct motion can create a sense of flow and continuity.
Disjunct motion can be used to create a sense of drama or tension in a melody, and is often found in music that is more energetic or virtuosic. On the other hand, conjunct motion is often used in melodies that are more lyrical or expressive, as it creates a sense of smoothness and continuity.
The register of a melody refers to how high or low the pitch of the melody is. The choice of melodic register can have a significant impact on the character and expressiveness of a melody. For example, if a melody is very high, it might be much more dramatic, and if a melody has a lower register, it might be more subtle.
But these are really broad generalizations. If both the harmony and the melody are very high, they might be interpreted as more subtle, and if both the harmony and the melody are very low, they might be interpreted as either very dramatic or very mysterious. It depends on the dynamics and the contexts as well.
Another way to describe melody is musical range. Range refers to the total span of notes in the melody. A melody may span a wide range of pitches, or it may be limited to a narrow range. For example, a melody that spans a wide range of pitches may be more dramatic or virtuosic, while a melody that is limited to a narrow range may be more intimate or introspective.
In vocal music, we might have syllabic music, which is one note to one syllable, or we might have melismatic music, which gives many notes to one syllable. These melismatic melodies often have ornamentations or runs within the syllables.
Syllabic music is often used for texts that are straightforward and declarative, as it creates a sense of clarity and simplicity. Melismatic music, on the other hand, is often used for texts that are more emotional or expressive, as it allows for greater flexibility and nuance in the melody.
Motivic Analysis
Earlier, we noted that melodies are organized into patterns like phrases and motives. A phrase is like a musical sentence: a complete musical idea. An entire piece of music can be divided up into phrases, although sometimes, we might not be completely sure where a phrase begins and where one ends.
If a phrase is a complete musical sentence, a motive is just one musical word. A musical motive is a short melodic or rhythmic idea that forms the basis of a musical composition. It is similar to a theme or a subject in that it is repeated or varied throughout a piece of music. A motive can be as simple as a single note or as complex as a series of chords. It is an important element of music because it helps to give a piece of music coherence and unity, and it can also help to convey a particular mood or emotion.
Here are a few well-known examples of musical motives:
- The "five-note" motive from Beethoven's Fifth Symphony: This motive consists of four short notes followed by a longer note, and it is repeated throughout the symphony in various forms.
- The "da-da-da-DUM" motive from Tchaikovsky's "Symphony No. 5": This motive consists of three short notes followed by a longer note, and it is also repeated throughout the symphony in various forms.
- The "scherzo" motive from Mozart's Symphony No. 40: This motive consists of a series of fast, playful chords that are repeated throughout the scherzo movement of the symphony.
Musical motives can be both melodic or harmonic, meaning that you can have a motive that is just a melody, or you can have a motive that is a chord progression. Motives can also be defined by just their rhythmic patterns, or they can be defined by the pattern of pitches. Sometimes, they will be defined by both.
Throughout a piece of music, the composer can alter the motive, extend the motive, or maybe even use just a short fragment of the motive. The motive might only be present for one section of the piece, or it might be there throughout. The point is that the motive will be repeated to some extent throughout the piece of music. A piece may have multiple motives, or maybe one very prominent motive and a few secondary ones.
In addition to serving as the basis for a musical composition, motives can also be used to connect different sections of a piece of music, or to provide contrast and variety within a piece. They can be developed and expanded upon through techniques such as repetition, variation, inversion, and fragmentation, and they can be combined with other motives or themes to create even more complex musical structures.
Musical motives can be used to convey a variety of emotions and moods, depending on how they are developed and used within the music. For example, a motive that is repeated in a fast and energetic manner might convey excitement or joy, while a slower, more contemplative motive might convey a sense of melancholy or introspection.
🦜 Polly wants a progress tracker: try to identify the motives in Beethoven’s Sonata No 17 in d minor. How many can you find? What kind of melodic motion and contour do they have?
Frequently Asked Questions
What's the difference between conjunct and disjunct melodies?
Conjunct vs. disjunct refers to how a melody moves by pitch (CED PIT-3.C.3). Conjunct motion moves mostly by step (seconds)—small, smooth rises and falls that create a singable, connected contour and usually a narrower range. Disjunct motion uses leaps (thirds and larger, often fourths, fifths, etc.), giving a more angular contour and a wider perceived range. Both can appear within one phrase or motive; composers mix them for contrast or to highlight text. On the AP exam you’ll be asked to identify these in aural and notated examples (melodic dictation and multiple-choice), so listen for many stepwise connections = conjunct, and obvious jumps = disjunct. For a quick refresher, see the Topic 2.9 study guide (https://library.fiveable.me/music-theory/unit-2/melodic-features/study-guide/oqOI1a9i9qhvIQzzGwR5). For broader review and practice, check Unit 2 (https://library.fiveable.me/music-theory/unit-2) and the practice problems (https://library.fiveable.me/practice/music-theory).
How do I identify melodic contour when I'm listening to a song?
Listen for the shape first: is the line generally rising, falling, arching (up then down), or static? Track big moves (highest and lowest notes) to get the range and register (high/medium/low). Then listen more closely for motion type: lots of stepwise movement = conjunct; big jumps = disjunct. Mark repeating small ideas (motives) and where phrases begin/end (antecedent/consequent). Notice if a motive is sequenced, imitated, or developed. Relate important notes to scale degrees (tonic, dominant) if you can—that helps identify melodic function. Practically: listen once for the overall contour, again to find largest leaps and endpoints, and a third time to spot motives and phrase structure. On the AP exam this shows up in aural questions and melodic dictation, so practice these steps with real excerpts. For guided review use the Topic 2.9 study guide (https://library.fiveable.me/music-theory/unit-2/melodic-features/study-guide/oqOI1a9i9qhvIQzzGwR5) and work problems at (https://library.fiveable.me/practice/music-theory).
I'm confused about what makes something a motive vs just a melody - can someone explain?
A melody is the full pitch-and-rhythm line that makes a musical statement (its contour, range, register, conjunct/disjunct motion—PIT-3.C.1 and PIT-3.C.3). A motive is much smaller: a short, recognizable musical idea—maybe 2–4 notes or a rhythmic cell—that recurs and gets developed throughout a piece (PIT-3.C.4). Think of the motive as the “building block” and the melody as the whole sentence that can contain one or many motives. Motives can be varied by pitch, rhythm, sequence, inversion, augmentation/diminution, or repetition. On the AP exam you might identify motives in performed or notated music (Topic 2.9) or spot motivic development in melodic dictation and analysis tasks. If you want quick practice spotting motives vs. melodies, check the Topic 2.9 study guide (https://library.fiveable.me/music-theory/unit-2/melodic-features/study-guide/oqOI1a9i9qhvIQzzGwR5) and hundreds of practice problems (https://library.fiveable.me/practice/music-theory).
What does syllabic text setting mean and how is it different from melismatic?
Syllabic text setting means each syllable of text is matched to a single pitch—one note per syllable. Melismatic text setting is the opposite: a single syllable is sung on two or more pitches (each occurrence is called a melisma). Both terms are AP CED vocabulary used when you identify features of vocal melodies (PIT-3.C.5). On the exam you might see these in a notated score (Part B multiple choice) or hear them in a sight-singing or melodic dictation stimulus (Section II), so be ready to spot whether syllables line up with single notes (syllabic) or stretch across many notes (melismatic). For quick review, check the Topic 2.9 study guide (https://library.fiveable.me/music-theory/unit-2/melodic-features/study-guide/oqOI1a9i9qhvIQzzGwR5) and more unit resources (https://library.fiveable.me/music-theory/unit-2); practice identifying examples at (https://library.fiveable.me/practice/music-theory).
How do I analyze the range and register of a melody for my AP exam?
Range = lowest to highest pitch in the melody; register = whether most notes sit high, medium, or low. On the exam, state both: give the interval (e.g., a 12th, an octave + a 5th) for range and describe register (primarily high in the soprano range, mostly mid-register, etc.). Also relate range/register to melodic contour and motion: note if the high or low extremes occur in antecedent/consequent phrases, whether the melody is mostly conjunct (stepwise) or disjunct (leaps), and whether motives or sequences push it into a different register. For melodic dictation, quickly mark the first and last notes and scan for the lowest/highest pitches as you listen—that helps you notate range correctly. Use AP terms (range, register, contour, conjunct/disjunct, motive). For a quick review, see the Topic 2.9 study guide (https://library.fiveable.me/music-theory/unit-2/melodic-features/study-guide/oqOI1a9i9qhvIQzzGwR5); more unit review (https://library.fiveable.me/music-theory/unit-2) and practice questions (https://library.fiveable.me/practice/music-theory).
What are some good examples of melismatic singing I can listen to?
Melismatic singing = a single syllable stretched over many pitches. Good, varied examples you can listen to and identify melismas: - Gregorian chant (e.g., “Dies Irae” or any chant)—long melismas across a single syllable (early sacred, clear melodic contour). - Handel, Messiah—“Rejoice greatly” (soprano) has fast melismatic passages (Baroque coloratura). - Mozart/Da Ponte operas—many arias with coloratura runs (Queen of the Night aria from Mozart’s The Magic Flute is extreme melisma). - Whitney Houston / Mariah Carey (pop/R&B)—vocal runs and ornamentation that stretch syllables across many pitches (listen for disjunct and conjunct motion inside their melismas). - Gospel/soul singers (Aretha Franklin, Mahalia Jackson)—expressive melismatic inflections embedded in text settings. - Middle Eastern and South Asian vocal music—extensive melisma tied to modal scales (useful for hearing modal melody and contour differences). On the AP exam, being able to identify melismatic vs. syllabic settings in performed music connects to PIT-3.C and listening tasks. For a quick review, see the Topic 2.9 study guide (https://library.fiveable.me/music-theory/unit-2/melodic-features/study-guide/oqOI1a9i9qhvIQzzGwR5) and practice more examples at (https://library.fiveable.me/practice/music-theory).
I don't understand how pitch and rhythm work together to create melody - help?
Think of melody as two parts working together: pitch (which notes you pick) and rhythm (how long and when you play them). Pitch gives the melodic contour—the way the line rises and falls—and can move conjunctly (by steps) or disjunctly (by leaps). Rhythm places those pitches in time, creating patterns, motives, and phrases (antecedent/consequent). Together they make musical statements and motives that can be repeated, varied, sequenced, or developed (PIT-3.C.1–3.C.4). For the AP exam, you’ll be asked to identify these features by ear and in notation: two melodic dictation questions and two sight-singing tasks test your ability to hear pitch + rhythm combined (Section II). Practice spotting contour, register (high/medium/low), range (lowest to highest pitch), repeated motives, and whether a vocal setting is syllabic or melismatic (PIT-3.C.2–3.C.5). For focused review, see the Topic 2.9 study guide (https://library.fiveable.me/music-theory/unit-2/melodic-features/study-guide/oqOI1a9i9qhvIQzzGwR5) and try practice questions (https://library.fiveable.me/practice/music-theory).
How do I identify musical motives when they're developed throughout a piece?
Look for a small recurring musical idea (a motive) by its pitch shape + rhythm, not just exact notes. Motives can be developed by pitch-only, rhythm-only, or both (CED PIT-3.C.4). When you scan or listen, mark a short pattern of contour (rise/fall), interval content (conjunct vs. disjunct), and its rhythmic profile. Then watch for transformations: transposition (same shape, different register), inversion (intervals flipped), augmentation/diminution (longer/shorter note values), sequence (repeated at different scale degrees), fragmentation (only part used), and imitation between voices. Pay attention to register and range—sometimes motive identity relies on contour more than absolute pitch. On the exam this shows up in both aural and notated items (PIT-3.C, melodic dictation and score-analysis questions), so practice spotting motives in short excerpts. For a quick review, see the Topic 2.9 study guide (https://library.fiveable.me/music-theory/unit-2/melodic-features/study-guide/oqOI1a9i9qhvIQzzGwR5) and try practice problems (https://library.fiveable.me/practice/music-theory).
What's the best way to notate melodic contour for my portfolio analysis?
For your portfolio, make contour both visual and verbal so readers (and graders) see exactly what you mean. Do this: - Draw a simple line-graph above the staff showing rise/fall (peaks/valleys) for each phrase—label sections A/B if needed. - Mark conjunct vs. disjunct passages (step or leap) with “step” / “leap” or short arrows and interval sizes for notable leaps. - Note register (high/medium/low) and overall range (lowest → highest pitch). - Identify motives, any sequences, antecedent/consequent phrases, and whether text setting is syllabic or melismatic. - Keep comments concise: 1–2 sentences per phrase linking contour to function (e.g., “rising conjunct line builds tension; leap to A clarifies cadence”). This matches PIT-3.C expectations in the CED. For examples and quick templates, check the Topic 2.9 study guide (https://library.fiveable.me/music-theory/unit-2/melodic-features/study-guide/oqOI1a9i9qhvIQzzGwR5) and more unit review (https://library.fiveable.me/music-theory/unit-2). For practice, use Fiveable’s problem set hub (https://library.fiveable.me/practice/music-theory).
Can someone explain scales and modes and how they relate to melody creation?
Scales and modes are the pitch pools you use to build melodies. A scale (like natural minor, harmonic minor, or major) gives ordered scale degrees with specific functions (tonic, dominant, leading tone) that shape melodic direction and cadences. Modes (Dorian, Phrygian, Mixolydian, etc.) change which scale degree feels like “home” and give different melodic flavors—useful for modal melodies (CED: PIT-3.C.2, scale-degree function). When you create melody, combine pitch choices from a scale/mode with rhythm (CED: PIT-3.C.1). Think about contour (rise/fall), conjunct vs. disjunct motion, register and range, motives and motivic development, and phrase shape (antecedent/consequent). For vocal music decide syllabic vs. melismatic settings (CED: PIT-3.C.5). On the AP exam, melodic dictation and sight-singing often feature melodies derived from these scales/modes, so practice recognizing scale-degree patterns and common melodic gestures (CED exam tasks: melodic dictation, sight-singing). For a focused review, see the Topic 2.9 study guide (https://library.fiveable.me/music-theory/unit-2/melodic-features/study-guide/oqOI1a9i9qhvIQzzGwR5) and drill practice questions (https://library.fiveable.me/practice/music-theory).
How do I describe the register of a melody - what counts as high vs medium vs low?
Register = where most pitches of the melody sit on the pitch spectrum (high, medium, low). On the AP CED this is the relative span of pitch for a melody or part (PIT-3.C.3). Practically, find the melody’s range (lowest to highest note), divide that span into roughly three parts, and describe where most notes fall: - Low = mainly in the bottom third of the range (dark/bass area) - Medium = mainly in the middle third (comfortable/neutral area) - High = mainly in the top third (bright/treble area) Also say whether the melody shifts register (e.g., “starts low, modulates to high”); note extremes (very high/very low) or limited range. For vocal music, relate register to voice type (soprano = high, tenor = mid-high, bass = low). You’ll be asked to ID register on both aural and notated items—practice using the Topic 2.9 study guide (https://library.fiveable.me/music-theory/unit-2/melodic-features/study-guide/oqOI1a9i9qhvIQzzGwR5) and unit review (https://library.fiveable.me/music-theory/unit-2); more practice problems are at (https://library.fiveable.me/practice/music-theory).
What tools do I need to analyze melodic features in both performed and notated music?
For both performed (aural) and notated melodies you'll want the same basic toolkit plus a few aural-specific items: - A clear score or staff paper and pencil—to mark contour, motives, phrase boundaries, register, range, and scale-degree labels. - Keyboard or pitch reference (instrument or app)—to check intervals, scale/mode, and confirm scale-degree function. - Audio player with repeat and slow-down (or a tuner/spectrogram)—essential for melodic dictation and listening closely to small intervals and rhythms (Section II melodic dictation and Section I A on the AP). - Rhythm tools: metronome or tap/count method—to verify rhythmic placement and phrase lengths. - Listening checklist: contour (rise/fall), conjunct vs. disjunct motion, motives/sequences, antecedent/consequent phrasing, syllabic vs. melismatic text setting (for vocal music). Practice doing both notated analysis and aural dictation—use the Topic 2.9 study guide (https://library.fiveable.me/music-theory/unit-2/melodic-features/study-guide/oqOI1a9i9qhvIQzzGwR5), the Unit 2 overview (https://library.fiveable.me/music-theory/unit-2), and lots of practice items (https://library.fiveable.me/practice/music-theory) to build speed and accuracy for the exam.
I'm struggling to hear the difference between steps and leaps in melodies - any tips?
Think of steps (conjunct) as motion by adjacent scale-degree (usually a 2nd) and leaps (disjunct) as any larger interval (3rd and up). To hear the difference, try these quick exercises: - Sing/solfège scales and melody fragments slowly: label every motion as “step” or “leap.” Steps will feel smooth; leaps feel jumpy. - Use a piano or keyboard: play a note, then the next scale tone (step) vs. skip one or more (leap). Repeat until you can hear the quality. - Practice with short phrases (2–4 measures). Mark contour, register, and range on the score; sketch arrows up/down and label each interval. The AP melodic-diction tasks reward recognizing half-measure segments, so practice labeling segments as conjunct/disjunct. - Dictation drill: listen once for rhythm, once for pitch; identify whether each segment is mostly steps or has a leap—this narrows possibilities fast. For focused review, check the Topic 2.9 study guide (https://library.fiveable.me/music-theory/unit-2/melodic-features/study-guide/oqOI1a9i9qhvIQzzGwR5) and do practice problems (https://library.fiveable.me/practice/music-theory). Regular short (10–15 min) ear training sessions will help you improve quickly.
How do I write about melodic phrases and motives for my AP music theory essays?
When you write about phrases and motives, be concrete and use AP vocabulary from the CED. Start by labeling phrase boundaries and lengths (e.g., “4-bar antecedent, 4-bar consequent”) and describe contour (overall rise/fall), range (lowest–highest pitches), and register (high/medium/low). Identify motive(s): give a short melodic-rhythmic description (e.g., “motive A = scale-degree 5 → 3 leap of a 3rd then stepwise descent”) and show how it’s developed—repetition, sequence, inversion, augmentation, diminution, or fragmentation. Note motion type (conjunct vs. disjunct), any imitation between voices, and links to scale/mode or scale-degree function (tonic/dominant emphasis). For vocal music, say whether the setting is syllabic or melismatic and how text affects phrase shaping. On the AP exam you should reference measure numbers and use precise terms—graders expect identification in both performed and notated contexts (CED PIT-3.C). For quick review and practice, see the Topic 2.9 study guide (https://library.fiveable.me/music-theory/unit-2/melodic-features/study-guide/oqOI1a9i9qhvIQzzGwR5) and unit resources (https://library.fiveable.me/music-theory/unit-2); try lots of practice items (https://library.fiveable.me/practice/music-theory).
What's a good way to practice identifying syllabic vs melismatic text settings in different genres?
Start with the basic definition from the CED: syllabic = one pitch per syllable, melismatic = one syllable stretched over two or more pitches (PIT-3.C.5). Good daily practice: - Pick short examples from different genres: Gregorian chant or baroque aria (often melismatic), hymns or pop verses (usually syllabic), R&B/gospel runs (melismatic), musical theater (mixed). - Do a quick score check: write syllable breaks under noteheads. If many notes share one syllable, label it “melisma.” If each syllable lines up with one note, label “syllabic.” (PIT-3.C.1–5) - Train your ear: listen once for where words change, then replay and sing/hum only the vowels to spot extended runs. Slow audio or loop the phrase. This helps for the AP aural tasks (melodic dictation and Part A listening). - Practice with notated excerpts: mark text settings, then test yourself on unseen examples (use the Topic 2.9 study guide: https://library.fiveable.me/music-theory/unit-2/melodic-features/study-guide/oqOI1a9i9qhvIQzzGwR5 and the Unit 2 overview: https://library.fiveable.me/music-theory/unit-2). - For lots of examples, use Fiveable practice problems (https://library.fiveable.me/practice/music-theory). Do 10–15 short excerpts per week, mix genres, and time yourself to mirror exam listening conditions.