Starting with a motif
A motif is a short musical idea, often 2 to 6 notes, with a clear rhythm and shape. A phrase is a longer musical sentence, often 4 bars, made from motifs.
Ways to develop a motif
- Repetition: play it again so the listener remembers it.
- Sequence: repeat the same shape starting on a higher or lower note.
- Inversion: turn it upside down (up becomes down).
- Augmentation / diminution: make the notes longer or shorter.
- Ostinato: a pattern repeated again and again, often in the bass.
Good melodies mix steps (next-door notes) with a few leaps, and have one high point (climax).
Harmony, cadences and texture
Harmony is notes sounding together. A chord is usually three notes stacked in thirds (C–E–G). In a key, chords are numbered: I (home), IV, V (wants to go home).
Cadences: musical punctuation
- Perfect V → I: a full stop.
- Imperfect ends on V: a comma, sounds unfinished.
- Plagal IV → I: the "amen" ending.
Texture
- Monophonic: one tune alone.
- Homophonic: tune with chords.
- Polyphonic: several tunes at once, like a round.
Arranging means giving the parts to instruments: tune to flute, chords to guitar, bass to cello. 20th-century composers also used new sounds: clusters, whole-tone scales, repeating patterns (minimalism).
Form: the plan of a piece
Form is the order of sections. Letters name them:
- Binary (AB): two contrasting parts.
- Ternary (ABA): A, contrast B, then A returns.
- Rondo (ABACA): A keeps coming back between new sections.
- Verse–chorus: common in songs; the chorus repeats the same words and tune.
- Theme and variations: one tune changed each time.
Contrast (new key, speed, instrument or mood) keeps interest; repetition gives unity. Great pieces balance both.
Improvising and composing to a brief
Improvisation is making music on the spot. Start safe: use only 5 notes (a pentatonic scale), copy and change a partner's idea (call and response), or add notes over a repeating chord loop. Jazz, raga music and many folk styles are built on improvising.
Composing to a brief
A brief is a task, such as "90 seconds of music for a sports advert" or "a lullaby for piano". Steps:
- Read the brief: purpose, mood, length, instruments.
- Collect ideas: motifs, a chord loop, a rhythm.
- Plan the form (for example ABA) and the timeline.
- Draft, record or write it in notation or software.
- Listen, get feedback, refine.
For film or video (audiovisual projects) the music must fit the pictures: changes happen on cuts, and tempo fits the action.
Key formulas and definitions
- Motif → phrase → section → whole piece
- Sequence = same shape, new starting note
- Chord I = home; V = wants to go home; V → I = perfect cadence
- Texture: monophonic / homophonic / polyphonic
- Form: AB, ABA, ABACA, verse–chorus, theme and variations
Worked examples
1. A motif goes C–D–E. Write its sequence one step higher and its inversion starting on E.
Sequence one step higher: D–E–F (same shape, shifted up). Inversion from E: E–D–C (steps go down instead of up).
2. A 40-bar piece has 8 bars each of A, B, A, C and then A again. Name the form.
A B A C A: this is rondo form, because A keeps returning between different sections.
3. Brief: 60 seconds of calm music for a nature video. Plan it.
Mood calm: slow tempo (about 70 beats per minute), major or pentatonic scale, soft instruments like piano and flute. Form ABA: A = gentle motif over chords I–IV (20 s), B = tune moves to the flute, new chords vi–IV (20 s), A returns and ends with a perfect cadence V–I (20 s).
Common mistakes
- Writing many unrelated ideas. Fewer ideas, developed well, give unity.
- Only using big leaps. Most good tunes move mainly by steps.
- Ending on chord V. It sounds unfinished; end with V → I for a full stop.
- Ignoring the brief. Mood, length and instruments must match the task.