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The_Complete_Idiot%27s_Guide_To_Music_Theory

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92<br />

Part 3: Tunes<br />

<strong>The</strong> complete melody for “Mary Had a Little Lamb.”<br />

on the traditional labeling of tones using the letters A through G. Each tone in<br />

the song is assigned a letter corresponding to its precise pitch; anyone reading<br />

the letters knows which tone to sing or play.<br />

Assigning tones, of course, is only half the story. When you sing “Mary Had a<br />

Little Lamb,” you give each tone a specific rhythmic value; each tone takes up<br />

a specific place in time. <strong>The</strong> rhythm of the song is described by using different<br />

note values, the half notes and quarter notes that we call music notation.<br />

By combining the pitch values with the rhythmic values, we can now notate the<br />

entire melody of “Mary Had a Little Lamb.” <strong>The</strong> notes on the staff tell us what<br />

pitches to sing; the note values tell us how long to sing each pitch.<br />

<strong>The</strong> result looks like this:<br />

All melodies are described using similar notation. You set the key signature and<br />

the time signature up front, and then fill in the notes of the melody from there.<br />

Naturally, you have to arrange the notes within measures, with each measure<br />

holding the appropriate number of beats. When you’re done writing down the<br />

notes, you’ve written your melody.<br />

Common Melodic Techniques<br />

Every song—every piece of music—has a melody. Some longer pieces (such as<br />

much orchestral music) have multiple melodies. Some melodies consist of multiple<br />

parts, with different parts repeated in different parts of the song. However<br />

the music is constructed, the melody is the heart of the song—the part you should<br />

be able to sing or hum or whistle all by itself, with no other instruments needed.<br />

<strong>To</strong> get a feel for how melodies are constructed, let’s take a look at some melodies<br />

from well-known pieces of music. You’ll see that although they all have their<br />

distinct sound and feel, these melodies also have a lot of factors in common.<br />

Dvorˇák’s New World Symphony<br />

We’ll start with a tune from Antonin Dvorˇák’s Symphony #9 in E minor (“From<br />

the New World”)—more popularly known as the New World Symphony. This is a<br />

popular piece of orchestral music, and consists of several different sections; the

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