1. Unit 2: Melodic analysis (part 1)
Jazz Composition
Unit 2: Melodic analysis (part 1)

2. Unit 2: Contents Definitions Melodic Rhythm Scale Resources
Interval Patterns
Melodic Variation and Modal Interchange

3. 1. Some Definitions
Melody: the term melody is used in a variety of ways, however, we will define the melody as a succession of pitches having an established rhythm. A melody may include a theme, that in turn may encompass a motif.
Theme: A melody or portion of a melody that recurs often enough in a composition, because of the repetition, it becomes to be identified with that composition.

4. Lead Sheet: A Lead sheet depicts the main melody and chord symbols of a tune, sometimes they may also include other information such as bass lines, voicings, inversions or other specific indications.
Head: In Jazz terminology, Head is a synonym as "tune"
Harmony: A general term used for the succession of chords in a tune or composition. This term is also mentioned to describe a harmonic system. "tertian" harmony (harmony in thirds), or "quartal" harmony, harmony in fourths.

5. Changes: Refers to the specific chord changes of a composition.
Voicing: The positioning of pitches in a chord or vertical structure.
Motif: A short melodic fragment (2 - 7) notes consisting of a specific pattern of pitches and rhythm. Motifs are a very recognizable portion of a melody that represents the whole tune. Motifs are manipulated and altered to facilitate the melodic development of the composition.

6. Phrase: A segment of a melody that is heard as a unit, but which needs other phrases in combination with it in order to complete the musical or melodic speech.
Antecedent: A musical phrase or segment that is open ended, as if with a comma.
Consequent: a musical response to the antecedent phrase, it's closed as if with a period.

7. 2. Melodic Rhythm
In jazz the rhythm is a crucial component, since the beginning jazz music has been related to dancing and movement. One of the most distinguishing characteristics of jazz music is the creation of syncopations. This is accomplished by anticipating or delaying attack notes. these attack notes without the syncopation would otherwise fall on the beat. This procedure is sometimes referred as "jazz it up" when trying to describe the feel of syncopation and swing.

8. Melodic Rhythm and Density
The Rhythmic density of a melody or piece refers to the relative number of rhythmic attacks per measure. Rhythmic Density is a function of style, it's so important that it may even reflect the era when the piece was written.
Early Jazz and swing era tunes have a lower rhythmic density.

9. Modal tunes alternate from low to medium rhythmic density
Modal tunes alternate from low to medium rhythmic density. They have their emphasis in long notes that reflect the modal structure.

10. Fusion tunes use various combinations of rhythm
Fusion tunes use various combinations of rhythm. They may include double-time feel.

11. 3. Scale Resources
The scales that were used in jazz until the late 1950s were a lot more restricted or limited. Their scale resource by then was primarily the use of the major scale, minor scale, and the blues scale (containing the so called "blue" note)
After 1959, through Miles Davis, Jazz modes became an important resource for jazz composers.

12. Other scale resources include the pentatonic scale and the symmetric diminished scale.
Pentatonic Scales

13. Symmetric Diminished Scale
This scale is a succession of: (half steps and full steps) respectively. Every half step is followed by a whole step, and every whole step is always followed by a half step.
This scale can be found starting with a half step, like in the example case, or starting with a whole step in other more rare occasions.

14. Scale Resources Review (before 1960)

15. 4. Interval Patterns
When studying the melody we can observe how composers processed and connected the notes together to give shape to their melodies. Analyzing the scales mentioned before we can see all the potential interval patterns that derive from them, their intervalic potential it's almost unlimited.
These interval combinations which are used to create melodies can be used at any time, however some patterns that composers use most of the time can be found and named.

16. Step: A melodic movement of a major second or minor second in upward or downward motion. (whole tone or half-tone)
Skip: a melodic movement of a major third or minor third in upward or downward motion.
Leap: A melodic movement of a perfect fourth or more in any direction.

17. Steps, Skips and Leaps

18. Interval Observations in Scales
Most scales are made of the combinations of whole and half steps.
The Pentatonic scale contains two minor third skips.
The harmonic minor scale contains an augmented second interval (6th and 7th steps).
Chord Arpeggios are made of a combination of skips, with occasional steps or leaps depending on the chord type.

19. 5. Melodic Variation and Modal Interchange
The concept of melodic variation and modal interchange starts with the possibility of borrowing notes from related or parallel scales. Composers used this possibility to create different tonal and modal contexts for a same melody.
A melody that it's originally conceived in major, can be adapted or rewritten in minor or in a modal context as well. This idea works in any direction, a melody that was conceived in a modal context can be modified to become a major or minor scale structure. All these possibilities give the composer additional options for melodic development.

20. Scale Interchange Provides more notes for the pitch color spectrum
Provides new interval relations
Creates new guide tones and possible harmonies.
Helps to the idea of a potential modulation to a different key by incorporating notes that are shared or included in the new target key.

21. Examples of a Transformed Melody