Melodic Notes Serial Key Keygen
Hanne Rylaarsdam
I'm essentially wondering if two songs can use the exact same notes while still having original melodies. For instance, the same six notes played in the same order but with different arrangement/rhythm.
For example, people are often surprised to discover that "Twinkle", "Baa, Baa Black Sheep", and the "ABC" song all share the same melody. Another example is the song "Imagine" by John Lennon. The first four lines of the song all share exactly the same three notes. But when I've helped people learn the song by ear, they're often surprised to discover how simple and repetitive the song actually is. (Learning pop music by ear is often quite disappointing for newcomers, because music they heard as intricate and complex turns out to be just two or three notes repeated. In the linked recording listen to
Two big differences could be apparent, though. The rhythm of those notes, especially where the emphases come - which notes are on the accented parts of bars, as well as the more obvious length of each note.
Another concept of melodic "sameness" occurs in sets of variations on a theme. These can range from a set where the melody is always exactly the same (e.g. Chopsticks where the primo part is always identical but the secondo, accompaniment part changes) to variations where great liberties are taken with the melody to the point where it can become almost unrecognizable.
However, one can go further, and change the key, i.e. play the same notes against a different tonal center. This might be difficult for a whole melody, as good melodies often suggest a specific keys, but may work for some shorter phrases or motifs.
Then, even if you don't change the rhythm, you can place the same notes at the different part of a measure, so that some stressed notes become unstressed, some unstressed become stressed, or syncopated and non-syncopated notes switch their roles. This may change the feel of a melody by a lot.
A melody that stays on the same pitch gets boring pretty quickly. As the melody progresses, the pitches may go up or down slowly or quickly. One can picture a line that goes up steeply when the melody suddenly jumps to a much higher note, or that goes down slowly when the melody gently falls. Such a line gives the contour or shape of the melodic line. You can often get a good idea of the shape of this line by looking at the melody as it is written on the staff, but you can also hear it as you listen to the music.
Okay I'll admit, I don't know everything about music theory but I was pretty sure that any given diatonic (7 note) scale contained particular notes that defined the scale and were unique to the scale and that those notes would be the same regardless of which direction you were moving in said scale (ascending or descending).
I had a hard time believing that the A Melodic-Minor scale (or any other Melodic Minor Scale) would have different notes depending on if it was played in ascending or descending order so I turned to my favorite search engine and found this on basicmusictheory.com about the A Melodic-Minor Scale:
I am sure there actually is some logic to this unexpected revelation - but I would like for someone to explain why in a melodic minor scale the notes can vary depending on which direction you are moving in the scale.
The raised 6th scale degree is introduced into the line to smooth that gap (in A Minor: F# note to G# note to A note), resulting in the Melodic Minor scale (see ex. 4). This addition creates several interesting possibilities for harmonization of the melodic line, including an applied dominant chord (in A Minor: B7 supporting the F# note, to E7 supporting the G# note, to Am resolving to the A note) but there are numerous exceptions to this scenario as well.
The reason for the difference in ascending and descending comes down to how people composed in minor keys during the common practice period of music. To fully grasp the concept, you have to not only look at the melodic minor scale, but all three flavors of the minor scale which are the natural, the harmonic, and the melodic. Obviously the natural minor is derived from the natural occurrence of the scale in the major scale. The "melodic" in the melodic minor scale comes from how the melody is approached in a minor key just like the "harmonic" in harmonic minor comes from how the harmony is approached in a minor key. A full explanation can be seen in this answer this answer.
The ascending vs descending difference the idea of whether or not you are using the leading tone. When using the leading tone and stepwise motion to get to and from it, you would want to raise the 6th to avoid the augmented 2nd (which sounds like a minor 3rd) when going from the 6th to 7th scale degree to make the melody smoother. When you are not using the leading tone, you just use all the typical notes from the natural minor scale as you don't have that augmented 2nd interval.
The ascending scale naturally demonstrates the need for the 6th scale degree to be smoothed out when leading to the tonic while the descending it to show you the opposite case where you do not need to use the leading tone. While ascending to the tonic and descending from it is a good way to know which set of notes to utilize it is not the full picture and there is more to it then that. A full explanation of when you would want to use each can be seen in this answer .
So, the melodic minor was only meant to express the logic (use leading tone to lead + avoid sharp-second), but it is presented as a scale, which usually has a designated and ordered set of notes, thus the awkward upward / downward difference.
I'm listening to this producer a lot and want to do arp as good as hers. One of the best, IMO, is this song starting at 100% from 0:40 : Irene Dresel - Je t'aime (Edit) (the one in the background just playing 3 notes after each kick). I could post a EQed version around it.
Key terms and concepts
Related to melody:
contour: the shape of the melody as rising or falling
conjunct: stepwise melodic motion, moving mostly by step in intervals of a 2nd
disjunct: melodic motion in intervals larger than a 2nd, often with a large number of wide skips
range: the distance between the lowest and highest pitches, usually referred to as narrow
(> octave) or wide (< octave)
motive: a short pattern of 3-5 notes (melodic, rhythmic, harmonic or any combination of these) that is repetitive
in a composition
phrase: a musical unit with a terminal point, or cadence. Lengths of phrases can vary.
Related to rhythm:
beat: pulse
measures or bars: a metrical unit separated by lines in musical notation
meter: groups of beats in a recurring pattern with accentuation on strong beats
non-metric, unmetrical: free rhythm, no discernable time
simple meters: beats subdivided into two parts (2/4, 3/4, 4/4)
compound meters: beats subdivided into three parts (6/8, 9/8, 12/8)
asymmetrical meters: meters with an uneven number of subdivisions (7/4, 5/8)
mixed meters: shifting between meters
mensurations: used in music from 1300-1600, the ratios of rhythmic durations
Related to harmony:
chords: three or more pitches sounding simultaneously
triads: three notes that can be arranged into superimposed thirds
extended chords: thirds added above the triad, usually as a 9th, 11th or 13th
consonance: a harmonic combination that is stable, usually in thirds
dissonance: a harmonic combination that is unstable, often including seconds or sevenths
parallel motion: two or more parts moving in the same direction and same intervals, as in parallel fifths
contrary motion: two or more parts moving in the opposite direction
oblique motion: occurs when one voice remains on a single pitch while the other ascends or descends
canon: (meaning rule) one melody is strictly imitated by a second part after a delay in the entrance of the
second part. In order for the parts to end simultaneously, the canon may break down at the end of the
composition. The canonic parts may occur at the unison or some other interval.
round: an exact canon, ending at different times, as in ?Row, row, row your boat.?
imitation: two or more parts that have the same or similar phrase beginning and with delays between
entrances (as in a round or canon), but after the beginning of the phrase, the parts diverge into separate
melodies
Related to tonality:
diatonic: a seven-note scale with a regular pattern of 5 whole and 2 half steps. Diatonic intervals are found
within this type of scale.
chromatic: using pitches outside of a particular diatonic scale, or using a succession of half steps.
major tonality: pitches are related to a central pitch called the tonic. Major scales are used.
minor tonality: pitches are related to a central pitch called the tonic. Minor scales are used.
modal: refers to music using diatonic scales with Greek names (Western) or non-Western scales
modulation: moving from one key area to another key
atonality: music that is not tonal or not based on any system of keys or modes
bitonality: the simultaneous use of two key areas.
polytonality: the simultaneous use of two or more key areas.
Related to texture:
monophony (noun; monophonic = adjective, as in monophonic texture): literally ?one sound? - one melodic line,
without harmony or any accompaniment, which can occur when one person or many people sing a
melody simultaneously. Singing in octaves is considered a monophonic texture.
homophony (noun; homophonic = adjective): one melodic line with a harmonic accompaniment that supports
the melody.
polyphony (noun; polyphonic = adjective): two or more parts sung or played simultaneously.
heterophony (noun; heterophonic = adjective): multiple voices singing a single melodic line, but with
simultaneous melodic variants between the singers. Heterophony often occurs in non-Western music and
sometimes in folk music.