A good melody tells a story – without the words. You may think it’s the lyric, but in a song melody is usually the element that conveys the greatest amount of emotion.
A simplified way of thinking about it (although these elements always overlap) is, the words go to the head, the melody and music go to the heart, the rhythm goes to the body.
Of course melody doesn’t tell a literal story. But a good melody often takes you on a condensed journey with a satisfying Act 1, Act, 2, and Act 3. Just like in a traditional movie or play, Act 1 presents the situation; Act 2 – the longer part in the middle – develops the conflict, usually reaching a climax at the end of the Act; and Act 3 restates the themes and all issues (harmonic and melodic, in this case) are usually resolved.
This is far from the only way to put together a melody. In fact, the examples here are pretty traditional and old-school. But they’re great illustrations of the idea that, to work, A Good Melody Tells A Story (it doesn’t just wait around for the words to do the storytelling).
I’ve found the simplest way to illustrate this is in your basic 8 bar melody, which often includes 4 phrases (2 bars each) –
1) Statement of the main theme (Act 1);
2) Restatement with slight variation (Act 2a);
3) Main Variation (Act 2b);
4) Restatement and/or Resolution of the main theme (Act 3).
Conceptually, pretty straightforward. Some examples (think about them without the words):
Yesterday (Paul McCartney) – Starts with a simple 3-note descending phrase. Next it rises up by scale tones to a higher statement of that phrase. Then descends by scale tones to a lower restatement. Then a final phrase that resolves with three notes going in the other direction (down-up-up).
Reason To Believe (Tim Hardin) – First phrase: statement of theme. Second: slight variation. Third: A longer, passionate phrase that leads to the highest point (both melodically and emotionally). Fourth: resigned resolution.
Allentown (Billy Joel) – Tremendous soaring melody. The first two phrases are structurally very similar to those in Yesterday. But the third phrase is double the usual length, allowing it to either loop around – back to another verse – or add a 2 bar phrase (bars 9 & 10) that restates the first phrase (and the title). Listen below.
Smoke On The Water (Deep Purple) – not the vocal melody; the guitar riff! Think about it… Statement – slight variation – restatement – resolution. All with 4 notes.
There are thousands of other examples of all different styles and genres. I don’t recommend that your melody always follow the patterns above. But thinking about melodies as having a drama of their own can add a lot of interest and emotion, and help yours stand out.
(I’ve put together a free video that covers a lot of ways to approach and get more creative with melody on this page: https://tonyconniff.com/ask-tony-videos/. Scroll down!)
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