2009-12-22 - Todd - Paracelsus from TorreyPines Toastmasters on Vimeo.
NOTE: Battery went dead and the end of this one is not recorded.
2009-12-22
2009-12-15
2009-12-08
2009-12-09 - Todd - Melody, Music's Soul
This project required Todd to provide preparatory material which can be found here.
2009-12-08 - Todd - Melody, Music's Soul from TorreyPines Toastmasters on Vimeo.
2009-12-06
Prep for Melody, Music's Soul
Project: #5 from Technical Presentations
Title: Melody, Music's Soul
Presenter: Todd
In this project I hope to shed some illumination on the art and science of writing a good melody. Part of the assignment is to provide some introductory material to help you listeners to prepare for the technical onslaught to come. And here you are...
Background
I have previously presented on harmony and rhythm. Today we turn to melody, the final component.
I have described harmony as being the "skeleton" of music - that which provides its structure. And rhythm is the "muscles" which make it move. Melody, then, is the "soul," that which we connect with when we listen.
How is melody structured?
If you listen to rock & roll, pop, or folk music most songs have a "verse" segment and a "chorus" segment. Sometimes one or two more segments, but almost always those two. For example, listen to the two parts of Carol King's "Natural Woman"
Verse
Chorus
Jazz usually has a single theme which serves as a jumping off point for improvisation. Here's a local San Diego guy playing the jazz standard, Autumn Leaves.
Classical music is more similar to jazz in that it usually has a single theme. The rest of the song explores variations on that theme. For example, Beethoven's 5th.
Repetition and Variation
No matter the style of music, all composers want a memorable melody. One set of tricks we'll be talking about on Tuesday is repetition and variation. Unless you are listening to 12-tone or some other experimental music, all the melodies you hear contain repetition. It's how we as listeners connect and hold on to things. The variation can be in the melody, the harmony, or even the rhythm.
See if you can spot both techniques in these samples...
50 Ways to Leave Your Lover by Paul Simon
How Sweet It Is by James Taylor (performed by Marvin Gaye)
Shining Star by Earth, Wind & Fire
Something to Talk About by Bonnie Raitt
Call and Response
This technique is just what it sounds like. The first line concludes in a way that sounds open-ended. And the next line "responds" in a complementary way. This is another classic device that is used over and over.
Samples...
If I Had $1,000,000 by Barenaked Ladies
Soul Meets Body by Death Cab for Cutie
Did you hear it? If not, I'll cover it on Tuesday.
The Melody Loop
Ever get a song stuck in your head? One way that happens is when the end of a melodic segment leads back to the beginning of that segment. It forms a natural loop and your brain picks up on that. It can annoy the listener but it can also make a songwriter lots of $$$$$.
Here's a couple of examples...
Crooked Teeth by Death Cab for Cutie
Don't Speak by No Doubt
Familiar, yet Fresh
When you are writing melodies, you want it to sound instantly familiar to your listeners so they can connect with it. Yet you want an element of freshness, something novel so they aren't too easily bored. Getting the right mix of the two elements is difficult but essential to craft something memorable.
Consider... My Old School, by Steely Dan
The melody starts out simple. At about the middle of my clip it takes a surprising harmonic turn and then works its way back by the end. Perfectly done.
And Finally, Boogie On Reggae Woman, by Stevie Wonder
Tune in Tuesday
We'll cover most of the material here and maybe another topic or two time permitting. A lot of this was probably foreign to you but I think by the time you hear it the second time it will start to sink in. Thanks for listening!
Title: Melody, Music's Soul
Presenter: Todd
In this project I hope to shed some illumination on the art and science of writing a good melody. Part of the assignment is to provide some introductory material to help you listeners to prepare for the technical onslaught to come. And here you are...
Background
I have previously presented on harmony and rhythm. Today we turn to melody, the final component.
I have described harmony as being the "skeleton" of music - that which provides its structure. And rhythm is the "muscles" which make it move. Melody, then, is the "soul," that which we connect with when we listen.
How is melody structured?
If you listen to rock & roll, pop, or folk music most songs have a "verse" segment and a "chorus" segment. Sometimes one or two more segments, but almost always those two. For example, listen to the two parts of Carol King's "Natural Woman"
Verse
Chorus
Jazz usually has a single theme which serves as a jumping off point for improvisation. Here's a local San Diego guy playing the jazz standard, Autumn Leaves.
Classical music is more similar to jazz in that it usually has a single theme. The rest of the song explores variations on that theme. For example, Beethoven's 5th.
Repetition and Variation
No matter the style of music, all composers want a memorable melody. One set of tricks we'll be talking about on Tuesday is repetition and variation. Unless you are listening to 12-tone or some other experimental music, all the melodies you hear contain repetition. It's how we as listeners connect and hold on to things. The variation can be in the melody, the harmony, or even the rhythm.
See if you can spot both techniques in these samples...
50 Ways to Leave Your Lover by Paul Simon
How Sweet It Is by James Taylor (performed by Marvin Gaye)
Shining Star by Earth, Wind & Fire
Something to Talk About by Bonnie Raitt
Call and Response
This technique is just what it sounds like. The first line concludes in a way that sounds open-ended. And the next line "responds" in a complementary way. This is another classic device that is used over and over.
Samples...
If I Had $1,000,000 by Barenaked Ladies
Soul Meets Body by Death Cab for Cutie
Did you hear it? If not, I'll cover it on Tuesday.
The Melody Loop
Ever get a song stuck in your head? One way that happens is when the end of a melodic segment leads back to the beginning of that segment. It forms a natural loop and your brain picks up on that. It can annoy the listener but it can also make a songwriter lots of $$$$$.
Here's a couple of examples...
Crooked Teeth by Death Cab for Cutie
Don't Speak by No Doubt
Familiar, yet Fresh
When you are writing melodies, you want it to sound instantly familiar to your listeners so they can connect with it. Yet you want an element of freshness, something novel so they aren't too easily bored. Getting the right mix of the two elements is difficult but essential to craft something memorable.
Consider... My Old School, by Steely Dan
The melody starts out simple. At about the middle of my clip it takes a surprising harmonic turn and then works its way back by the end. Perfectly done.
And Finally, Boogie On Reggae Woman, by Stevie Wonder
Tune in Tuesday
We'll cover most of the material here and maybe another topic or two time permitting. A lot of this was probably foreign to you but I think by the time you hear it the second time it will start to sink in. Thanks for listening!
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