1. Prof. Lydia Ayers

2. Melodic Contours directions in which melodies movedirections in which melodies move

3. Stationary Contour melody stays at the same levelmelody stays at the same level [i:74]Sometimes I Feel Like a Motherless Child [i:74] Sometimes I Feel Like a Motherless Child

4. Stationary Contour melody stays at the same levelmelody stays at the same level [i:75]Üsküdar (Turkish Folk Song) [i:75] Üsküdar (Turkish Folk Song)

5. Descending Contour melody goes downmelody goes down [i:76]Üsküdar (Turkish Folk Song) [i:76] Üsküdar (Turkish Folk Song)

6. Archlike Contour melody goes up and then downmelody goes up and then down [i:77]Üsküdar (Turkish Folk Song) [i:77] Üsküdar (Turkish Folk Song)

7. RhythmRhythm a balance between similar and contrasting rhythms makes a melody interestinga balance between similar and contrasting rhythms makes a melody interesting [i:78]Üsküdar Rhythm from [i:78] Üsküdar

8. Range of a Melody distance from highest to lowest pitchdistance from highest to lowest pitch [i:78]Üsküdar (Turkish Folk Song) [i:78] Üsküdar (Turkish Folk Song) Lowest Point Highest Point

9. [i:79]Sometimes I feel Like a Motherless Child (Black American Spiritual) [i:79] Sometimes I feel Like a Motherless Child (Black American Spiritual) Important focal point: “A long way” reaches a long way down to the lowest point in the songImportant focal point: “A long way” reaches a long way down to the lowest point in the song Lowest Point

10. Conjunct Movement movement by step = movement by secondsmovement by step = movement by seconds [i:75]Üsküdar (Turkish Folk Song) [i:75] Üsküdar (Turkish Folk Song)

11. Disjunct Movement movement by leapmovement by leap [i:80]Leonard and Jane Feather [i:80] Leonard and Jane Feather: Blues for Yesterday

12. PhrasePhrase a unit in which musical ideas are developed into more complete thoughtsa unit in which musical ideas are developed into more complete thoughts typically four to eight measurestypically four to eight measures [i:80]Leonard and Jane Feather [i:80] Leonard and Jane Feather: Blues for Yesterday

13. Phrase Members units, often two measures in lengthunits, often two measures in length create phrases with other phrase memberscreate phrases with other phrase members often in balanced pairsoften in balanced pairs [i:80]Leonard and Jane Feather [i:80] Leonard and Jane Feather: Blues for Yesterday phrase member phrase

14. Blues Form AABAAB [i:81]Leonard and Jane Feather [i:81] Leonard and Jane Feather: Blues for Yesterday performed Louis Armstrong A’ B A

15. Blues Scales Several kinds of blues scalesSeveral kinds of blues scales [i:82]Blues for Yesterday uses [i:82] F Major Scale with a blue minor 6 th a [i:83]G minor arpeggio (broken chord)Melody emphasizes a [i:83] G minor arpeggio (broken chord)

16. Blues Scales F Major Scale with a blue minor 6 th Ends on 4 th and doesn’t sound majorEnds on 4 th and doesn’t sound major G minor arpeggio (broken chord)G minor arpeggio (broken chord) [i:81] [i:81] Blues for Yesterday

17. [i:70]Sometimes I feel Like a Motherless Child [i:70] Sometimes I feel Like a Motherless Child (A Natural Minor Scale)(A Natural Minor Scale) A A’A’ B A’’ B’B’

18. [i:84]Scale for Havah Nagila [i:84] Scale for Havah Nagila 3 leading tones in different positions3 leading tones in different positions

19. [i:85]Sequence [i:85] Sequence repetition of a melodic figure, motive or phrase at a different pitch levelrepetition of a melodic figure, motive or phrase at a different pitch level first statementsecond statement third statement

20. Tonal Sequence quality of certain intervals may change to stay in the keyquality of certain intervals may change to stay in the key [i:86] [i:87] [i:88]