As with all generalizations, there are notable exceptions. Let’s think about some examples. Jobim’s ‘One Note Samba’ comes to mind (of course). And Tom Petty’s ‘Refugee’. Also, I recently heard Eurythmics’ ‘Here Comes The Rain Again’ (video below).

The melodies of the main section of all these songs have a lot of repeated notes, usually not a good sign. Yet they all work.

‘One Note Samba’ is a musical fantasia in which the music and the lyric explore the joys of monotony, to delightful effect.

‘Refugee’ is a harsh lyric in which the singer’s accusatory words and tone are well served by a driving melody’s use of repeated notes.

‘Here Come The Rain Again’ uses Rain as a metaphor for pain, tragedy, depression… the melody suits the flat state of mind of the narrator.

But – and this is key – these melodies are not too monotonous. They don’t just have one note over and over (even ‘One Note Samba’ goes up a 4th). They don’t cross the line into stasis. There’s still a ‘story’.

Notably, they all have bridges or ‘B’ sections where the melodies really move, creating a contrast to the darkness of the other, simpler section. Just when the lack of movement is about to stall out the song, you get a break.

Finally, with the exception of ‘Rain’ (for reasons stated above), the main melodies all have rhythmic unpredictability; surprises that keep the listener on their toes even if the notes don’t vary much.

Lack of melodic motion is a common songwriting problem, much more common than too much motion. But in certain cases, and I’ve cited some here in a variety of genres, holding the movement back can be very effective.

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