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INTRODUCTION
TO SONGWRITING
FOR THE BEGINNER
1 · Alan R. Frank
. Ae:tsoclate Professor Music
l S.U.N.Y., Plattsburgh
: John L. Meyer
1 Professor of Communication
S.U.N.Y., Plattsburgh

1 UHIVERSITY
1 PRESSOF -
! AMERICA

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I~ILANHAM•NEWYORK•LONDON .

1
The Composition Process:

Melodic Writing,

How To Write a Motive or Phrase

Chapter
6

The art of writing a melody is quite specialized.

There are qualities of a melody, such as shape, line, direction,
and growth, that result from specialized musical sensitivity.
They are mastered only after extensive experimentation and
experience.

Sorne composers have a talent for melodic writing

and can spin out extended melodic lines in flurries of inspired
activity. Others work more systematically, developing shott
melodic fragments--molding and shaping them--until they
seem appropriate and satisfactory.
.
Most melodies we hear are extensions or developments
of short melodic ideas. The shorter melodic statement is
called a phrase or a motive, depending on how it is used.
In our melodic writing exercises, we will begin by experiment-
ing with the initial musical statement only.

Inexperienced composers should not attempt an

extended melody in an initial effort. Excessive length
often produces "run on" or rambling melodies much the ' same
as "run on" sentences do in prose. We will write, in this
initial experiment, short melodies. Alteration, extension,
and development will follow, but only after we are satisfied
with the original idea. We begin with three systems for
constructing melodic motives.

6. 1
 Our first suggestion might be, simply, to write
a melodic fragment. But as any compos~r knows, the inspiration
is not always "there" when it is needed, and often our first at-
tempts are not our best. Therefore, we suggest the systems that
follow.

The random system is the most simple and perhaps

the most purely creative of those suggested. It is not
a very sophisticated procedure, because it relies on chance.
Here, in random fashion, we compase a melodic fragment from
five to nine notes. Perhaps this attempt, after sorne adjustments
at the piano, may result in a satisfactory melodic phrase.
In any event it will be a beginning.

You will probably want to experiment with several

random phrases before attempting systems Two and rhree.

The letter system is also relatively simple. Like

the random system, with sorne adjustments at the piano, it can
produce interesting r~sults. In this system we assign pitches
to words that may be derived from the musical alphabet (letters
A through G). Sorne forty words are possible, and word combina-
tions significantly expand the possibilities.

One obvious word is F A C E.

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o
a
o
o 11
f A E.

6.2

- . ... .. , ............".. .
 Extending the word to K~ ~ ~ ~. or rearranging
the letters to ~ ~ I ~ ~ ~· or I ~ f ~ ~ ~· offers additional
possibilities for improvement.

o o
d
o
11$ a
11
1

a o
o !1
o o o

(J
o f(

A significant advantage of this system is that

you, as a beginning music student, are immediately irivolved
in the music reading-writing process. As you write out
your word-melodies, you will want to be sure to use both
treble and bass staffs for additional practice. All melodies
should be sounded at the keyboard.

6. 3
 The number system approximates systems used by
many composers. lt calls for a higher level of musical
expertise because the melody must be coordinated with a
sea le.

First a scale is constructed. The scale may be

selected from any of those types explained in previous chapters.
The kind of scale chosen will give a distinctive quality
to the resultant motive.

To illustrate, we select the whi~e-note scale

of D.

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.... o .....
~ o """ .
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,. c. .....

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1 • A
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......
..... o -
..... o -6-

c..
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6.4
 The scale is both lettered and numbered. Then,
a n~mber sequence is used to extract from the scale a
melody. Any number sequence will do . Playing cards may
be used, or dice. Telephone numbers work well, as do
social security numbers, street addresses and calendar
dates. Zeros may be used to signify rests or notes of f re e
choice.

To demonstrate this system, we might select Bee thov e n's

birthdate--December 16, 1770 (12-16-1770). Extracting the
corresponding pitches from the D white-note scale, our n ew ly
constructed melody is as follows:

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/ ,. .() CJ ""'l.
1 'IV

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\ / .... ..
o V
a Q

~ -(T
o _..,
1" \

1
1
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•
• ....
""
u
-
"' .....
A
.
•_j

·~

It may seem odd that a composer who gav e us so

much glorious music should be indirectly responsibl e for
such a nondescript melody generated from the numbers of
his birthdate. Obviously, this is not a melody by Be ethoven.
However, from this result we can make a very important point
about the compositional process. Beethoven, more than most

6. S
composers, molded and reshaped his original ideas, often
working for years until he was satisfied. Similarly, our
systems for creating melodic fragments merely get us started.
Such "instant compositions" almost always need adjustments
and improvements.

Composers, sorne consciously, sorne intuitively,

employ certain guidelines in constructing their melodies.
The guides that follow for improving your initial random,
spelling, or number phrases. are not rules that must be followed,
but rather, are suggestions for shaping your original music
idea into a better-sounding melody. They are not manufactured
or contrived guidelines, but are, in fact, derived from systems
and procedures that composers have used through the centuries.

Guide One:
•
A random, spelling, or numerical system that produces
an excessively wide-spread series of tones will not usually
result in a pleasing melody.

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1 S 11
o

The rule of neighborliness suggests that the notes

be adjusted closer together in pitch to form a more orderly
melodic line. The notes may be rearranged by octave dis-

6.6
placement (rewriting them an octave higher or lower) or
by changing their order.

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Change
e
by octave
displacement 11

Change
in order o a o
of tones o \1

Cuide Two:

Good melodic lines have a well defined contour or

shape. Although there is no standard shape a melodic line
need assume, sorne contours produce better results than others.
A melody that moves all in the same direction

is generally not considered to have as effective a shape

(and sound) as one that changes direction and "peaks" eíther
early, in the míddle, or late.

6. 7
 ¡--------·-·-· ~~

The student will want to experiment with varying

contours in trying to improve the original statement.

Guide Three: The Rule of Line and Direction

A good melody creates a sense of line and direction

in its forward motion of tones. Often a simple rearrangement
of tones will change a rather static melody to on~ that moves
purposefully to a logical culmination. To make this and
other adjustments, you will need to play the motive over
a number of times until the notes fall into their most appro-
priate order. If the tones are reasonably neighborly, and
if the contour of the phrase has been molded according to
our guidelines, then the melody may seem to have a greater
sense of line and direction.

Guide Four:

All art requires repetition and contrast. A balance

between these two extremes will, therefore, produce more
pleasing results in your work. If your original idea has
too many of the same pitches, or if it rambles because of
too much diversity, make adjustments accordingly. Remember,

6.8
it is the resultant sound that determines whether the change
you have made is "appropriate." Be courageous in your changes
and do not be bound to your original. Remembet also th a t
there is no "right" or "wrong." You, as the composer, are
the judge.

Guide Five: The Rule of Tonal Center

In the explanation of this rule we enter into more

sophisticated and specialized areas of music theory and com-
position. The study of tonal center occupies a significant
place in the currículum of the music student. In our study
we will investigate tonal center as a basic concept only
as it applies to our melodic writing.

Every series or group of tones, whether melodic

or harmonic, contains tones of varying degrees of energy
or intensity. We differentiate these tones by callíng them
"active" or "passive." Active tones seem to re~uire movement
to other tones because
------
of a feeling of incompleteness in
their sound that seems to demand resolution--usually in movement
to more passive tones. Passive tones seem more at rest,
without the restlessness or pull of active tones.

We all do not hear this activity and passivity

in the same way, and, at this stage in the compositional
process, you need not be overly concerned about the way you
hear them or about the correctness of your determination.
The challenge will be in the trying.

As you perform your melody at the keyboard, listen

carefully to each tone. If a tone sounds particularly active
(that is, charged with energy) place an "a" or a "+" over

6.9
it. The "a" or "+" will designate the active quality of
the tone. Label those tones that seem particularly station-
ary or at rest with a "p" or "-" for passivity. Leave those
tones blank for which you can make no quick determination.

Next, you may want to carry the process one step

further. Consider now only the passive tones. One tone
(possibly two) may seem more "at rest" than others. The
tone that has the most stationary quality is the "center"
of the tonal complex. This tone we call the "key tone" or
"tonal center" or the "tonic" tone. It should be circled
or starred.
(An important hint in locating the tonal center
can be explained as follows: In melodies derived
from diatonic scales, i.e., modes and major and
minor scales. the first tone of the scale is
generally more stationary than the others and there-
fore is the key or tonic tone.)

If you have been able to determine which pitch

is the tonic, then you can improve your melody by endin$
with this tone.

If this process of determining activity and pas-

sivity of tones seems difficult for you, do not be discouraged.
You have only been introduced to a difficult but important
concept in music. Most musicians devote a significant portion
of their training to the development of sensitivity to this
idea of tonal center.

6. lo
 The experimental melodies you have written as a
result of our activities in previous chapters may not now
seem so satisfying. At this stage you may want to write
a better motive. The motive you ~rite as a result of this
experiment should be fully satisfactory to you because you
will be working with it in the continued experiments that
are to follow. Therefore, give considerable attention and
care to the assignment that follows. The assignment has
five steps.

l. Compase a melody of from five to nine notes. Use either

the random, spelling, or number system. For continued
practice, letter all notes. If the number system is
used, include the scale from which the melody was derived
(lettered and numbered) as well as the resultant melody
(lettered and numbered).

2. Adjust the original melody from #1 according to the rules

of neighborliness, shape-contour, line and direction,
repetition and contrast. If possible, mark active and
passive tones and the tonal center.

3. Add indication of accent to notes that require stress,

and assign duration to all notes of your melody.

4. Add indication of tempo (fast, slow, medium, etc.) and

dynamics (f-forte, p-piano, mf-mezzo forte, mp-mezzo
piano).

S. Assign tonal color to your composition. Indicate whether

you prefer volee or instrument. Be specific in the tonal
quality you designate.

6. 11
 Write your composition carefully, referring back
to the proper placement of note heads, stems and flags.
Give the attention to your work that any artist would. Be
neat and accurate, remembering that your work will need to
be legible to be performed. But also remember that, in an
experiment such as ours, there is no "correctness" or in-
correctness." You are the composer, and what sounds best
to you is "correct." Above all, experience the rare
excitement of being creative.

6. 12
Music and Words:

How To Set A Poem To Husic

Chapter
11

Much has been written about the process ~f writing songs.

For sorne, the me1ody is written first, the words then added.
Others need to start with words, subsequently adding music.
For a few, words and music are created simultaneously in
a burst of inspiration.

We might experiment with each of the three systems mentioned

above and then select what produces the best results. Of
the various choices, the one procedure that is most like1y
to produce satisfactory and rapid results is the one in which
•
the poem is selected first and music then added. This system
reflects the compositional processes developed in this text;
it is the system that has proved most successful as a c1ass-
room experiment. Many students have composed "popular-type"
songs, songs for special occasions, and school or c1ass songs
using this system. Try your hand at it. You may be amazed
at the results!

The procedure is described below in an easy-to-follow,

step-by-step order.

11. 1
Processes

1. For the initial song-writing efLort, we suggest a regular

metered poem with short stanzas. Poems with obvious
accented syllables in their words with few lines will
be easier ~o work with than rambling lengthy odes. The
poem selected should be one with an attractive topic
or expression, one that you can work on with enthusiasm.

2. Recite the stanza(s) repeatedly to establish syllable

accents and meter. Feel the flow of the rhythm.

3. Write the first line of the poem, widely spaced, on paper

or on the chalkboard.

LON e E 7tM E

4. Mark accented syllables of words.

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ll. 2
 5. Place bar lines before accents •

. ~- -·- . ___._ ..... -. ·· · · · ···- -- - - -~- --- . __________ ,. ___ ___. ____ - -- - ·~ ·- . -- -- - - --- - --- - - - - ~-- --- --- - --

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6. Determine number of notes needed.

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... ···· ····

7. Establish appropriate duration Íor all tones. Use long,

medium, and short durations.

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11. 3

.... • '.1' oP · - O Mo ... . .. 0 , > , ... &.• ' 0

• ......, 0 • ' ' ......
0 0 0
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 8. Transfer to musical score.

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9. Compose the melody (establish pitches for each note).
Use random, spelling, or number system. Write several
melodies, re-work each, select the most appropriate.

10. Make necessary adjustments to equalize meter pattern

(proper number of beats per measure) and establish the
time signature (see Chapter 7).

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11. (Optional) Experiment with the addition of a simple

harmony (see Chapter 9).

12. Repeat procedure for subsequent lines of the poem.

1 3. Use good penmanship for your finished copy. Your writing

should be neat and accurate so it can be performed with
precision. Show pride in your creative accomplishments.

11.4
 I f the process does not produce satisfactory results
at the first attempt, do not be discouraged. Simply try
again. Remember, you are not the first composer who has
worked long and arduously to produce a satisfactory work.
Keep trying, the rewards are great.

ll. 5