Look for motives

(small but distinctive

musical shapes within

each phrase) that

could be repeated or developed.

One way to extend a melody
taking a motive and subjecting

is through

development:

this usually consists of

one or more of its aspects to a series of changes, but

in such a way that it remains recognisable.

For example,

a common

technique

is to

repeat the tune a step higher or lower, forming a rising or falling sequence.
Another
altering

way is variation:

here we repeat

some of the details,

for example

the same basic idea, but each time

by adding

between long notes - what we call embellishment.

faster notes to fill in the gaps

This was especially important

early classical keyboard music. When keyboard instruments

c.....,

early pianos had limited

sustaining

potential

such as harpsichords

in
and

it was necessary to decorate long notes

to avoid awkward gaps in the musical line or texture.

Embellishment
Embellishment
harmonic

is another

progression.

melodically

It can even make

interesting,

techniques

way of deriving

the inner

who want

to create

their

own versions

of the tune itself as an embellishment

harmonic

structure,

Classical

don't

or the bassline

more

of existing

material.

helps us to see how it relates to a

and what that harmony should be.

embellishment

(which

parts

are also used by composers to create tunes, as well as by

Thinking

notes

line from the top part of a

so it's worth looking at more closely. Many of the standard

of embellishment

jazz improvisers

a melodic

techniques

belong

are ways of connecting

to the chord over which

up non-harmony

they sound)

with

harmony

notes (which do).

A passing

note

notes, sounding

An accented

is a non-harmony

note moving

by step between

two harmony

off the beat:

passing

note also moves by step between harmony

notes, bur is itself

on the beat, creating a dissonance

ft.
Escape

notes precede a step or leap with one or more steps in the opposite direction:
x

~
An auxiliary

note moves to the note a step above or below, and back again:

~
An anticipation

sounds before the harmony

it belongs to, and then again with the

chord:

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