Editing Melodic motion

[[File:Melodic motion 2x2.png|thumb|Melodic motion: ascending vs. descending X conjunct vs. disjunct]]

'''Melodic motion''' is the quality of movement of a [[melody]], including nearness or farness of successive [[pitch (music)|pitches]] or [[note (music)|notes]] in a [[melody]]. This may be described as conjunct or disjunct, [[Steps and skips|stepwise, skipwise or no movement]], respectively. See also [[contrapuntal motion]]. In a conjunct melodic motion, the melodic phrase moves in a stepwise fashion; that is the subsequent notes move up or down a semitone or tone, but no greater. In a disjunct melodic motion, the melodic phrase leaps upwards or downwards; this movement is greater than a whole tone. 
In popular Western music, a melodic leap of disjunct motion is often present in the chorus of a song, to distinguish it from the verses and captivate the audience.

== In traditional culture music ==
Ethnomusicologist [[Bruno Nettl]] describes various types of '''melodic movement''' or '''contour''' to categorise a song's melody.

There are three general categories, ''ascending'', ''descending'', and ''undulating'':{{sfn|Nettl|1956|p=51–52}}
*''Ascending'': Upwards melodic movement (only found in remote regions).
*''Descending'': Downwards melodic movement (prevalent in the New World and [[Indigenous music of Australia|Australian music]]).
*''Undulating'': Equal movement in both directions, using approximately the same intervals for ascent and descent (prevalent in Old World culture music). Usually concludes with a descending progression.
**''Pendulum'': Extreme form of undulating movement that covers a large range and uses large intervals is called pendulum-type melodic movement. Like undulating melodies, usually concludes with a descending progression.
According to Nettl, undulating and descending melodies are far more common than ascending ones.{{sfn|Nettl|1956|p=52}}

He also identifies additional specialized types which characterise musical styles with exceptionally homogenous contours, named after the melody contour's trace.{{sfn|Nettl|1956|p=52–53}}
*''Tile'', ''terrace'', or ''cascading'': a number of descending [[phrase (music)|phrases]] in which each phrase begins on a higher pitch than the last ended (prevalent in the [[Indigenous music of North America#Plains|North American Plain Indians music]]).
*''Arc'': The melody rises and falls in roughly equal amounts, the curve ascending gradually to a climax and then dropping off (prevalent among [[Navajo music|Navajo]] and [[North American Indian music]])

In addition to this, ''rise'', which may be considered a [[musical form]], is a contrasting section of higher pitch, a "musical plateau".{{sfn|Nettl|1956|p=73}}

Other examples include:
*[[Double tonic]]: smaller pendular motion in one direction

These all may be [[modal frame]]s or parts of modal frames.

==See also==
*[[Parsons code]]
*[[Pitch contour]]
*[[Voice leading]]

==Citations==
{{reflist}}

==Bibliography==
{{refbegin}}
* {{Cite book |title=Music in Primitive Culture |last=Nettl |first=Bruno |author-link=Bruno Nettl |date=1956 |location=United States of America |publisher=Harvard University Press}}
{{refend}}

==Further reading==
* {{cite journal |last=Adams |first=Charles R. |date=May 1976 |title=Melodic Contour Typology |url=https://www.hugoribeiro.com.br/biblioteca-digital/Adams-Melodic_Contour_Typology.pdf |journal=Ethnomusicology |publisher=[[University of Illinois Press]] on behalf of [[Society for Ethnomusicology]] |volume=20 |issue=2 |pages=179-215 |jstor=851015}} An in-depth discussion about melodic contour.

{{Melody}}
{{Modal frame}}

[[Category:Melodic motion| ]]


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