Contents
1. Whole-step or Half-step
In the article Step or Skip Motion, We categorized melodic motion into two : step or skip.
And you listened to many samples of “skip” motion like 5th, 6th, 7th or octave leaps. But when you have a closer look at “step” motion, it also has further variations—Whole-step or half-step progression.
The steps between ti–do and mi–fa are semitone, while all the others are whole tone. So step motion is divided into two, namely, Whole-Step Motion and Half-Step Motion.
If we expand the logic “the wider a melodic leap is, the stronger its impact is”, whole-step motion is relatively powerful and limpid while half-step motion is smoother and delicate. It is extraordinarily important in melody writing to understand this difference of melodic characters.
2. Resolution from Ti to Do
First, let’s focus on the relationship between do and ti. These two notes are not in an equal relationship. As we saw in the discussion about tonal center, do plays a central role in the music, serving as the focal point and landing spot, functioning as a sort of goalpost for the melody line. On the other hand, ti is positioned closest to do within the scale, on the brink of getting to the “goal line”.
Therefore, the movement from ti to do is considered the smoothest way to end a melody, and it holds great significance in melody expression. Especially in the world of classical music, concluding a melody in this manner is a standard practice, and depending on the chord progression, moving from ti to do is seen as a “rule.”
Do governs the “stability” in music. Consequently, in music theory, ti, which often serve as an “undercard” for do, is described as “unstable” 1.
In our previous discussion about note names, we casually introduced ti as the “leading tone”. This name also originates from its role in “leading” the melody back to do2.
Progressions from unstable tones to stable ones will release musical tension and bring the sense of relief or rest, which is termed Resolution in music theory. Tension and Release is the very fundamental concept in constructing stories of music, the temporal art3.
- Resolution
- The motion of a dissonant or unstable tone progressing towards a more consonant or stable tone which acts as its goal.
- The term is used in chord theory as well. Used as verb too (=resolve).
In this article, we will focus on the movement from ti to do rather than from do to ti.
Use of ti→do
“Dancing Queen” by ABBA repeats ti→do4 progression in the beginning of the chorus, “dancing queen, young and sweet, only seventeen”.
Ti→do is the resolution by an ascending step, therefore it brings a mood of rising. And as it resolve to the tonic, the center of the key, the sense of relief is very strong here. In this case, played in middle tempo and on cheerful chords, it helps to produce this happy mood.
3. Resolution from Fa to Mi
Now, let’s consider the relationship between mi and fa, which are also a semitone apart. Essentially, mi plays the role of “stability” while fa assumes the role of “instability”, and the movement from fa to mi is regarded as one of the “resolutions” in the melody5.
Mi itself does not possess the absolute stability akin to do, but nonetheless, the progression from fa to mi creates a flow from instability to stability.
Use of fa→mi
When comparing fa→mi with ti→do, there are the following differences:
- Mi, the resolution point, does not evoke as much stability as do.
- Mi, the resolution point, is conceptually positioned higher than do (a third above).
- The resolution from fa to mi is achieved through a descent rather than ascent.
These differences lie in the lesser sense of stability, coupled with the aspect of height, and whether the resolution occurs through ascent or descent. Let’s explore how these characteristics are utilized in the expression of melody by listening to some distinctive pieces.
“Disenchanted” by My Chemical Romance is a typical example using fa→mi6 resolution as the hook of the melody. The very start of the chorus part is made of fa→mi progression and it’s repeated four times.
Here the delicateness of half-step motion is sublimated to the expression of some kinda melancholic, sad or depressed feel, coupled with the lyrics. Fa→mi is quite well cast in the role of creating such emotional moods in slow ballads.
The interlude part (3:18-) is also notable; the vocal on it consists of just fa→mi repetition! Fa→mi half-step motion, though just a two-notes connection, has a minimal story of tension-and-release so just even repeating it works as a catchy line.
“Idioteque” by Radiohead is another great example. The very first phrase starts with fa→mi7, and it is used over and over again.
This song is in minor key so the mood is overall dark. Since half-step is the very narrowest motion in 12 tone music world, it’s not energetic, though it can sound “emotional”. In this case, in combination with the dark mood and how the vocalist sings, Fa–mi promotes some creepy, pale or scary mood.
Even though both fa→mi and ti→do represent a half-step resolution from instability to stability, one could argue that while ti→do serves the role of “closure,” completing the melody line, fa→mi is rather suited for expressing a sense of instability.
In this way, progressions like fa→mi and ti→do function as the most fundamental components in melody expression. Especially in ballads where emotional richness in the melody line is sought, how these motions are utilized becomes crucial.
