Motif and Melody
Small ideas that grow.
Motivic Cell
- The idea
- A motivic cell is a short, recognizable figure that a passage is built from.
- Try this
- Write a three-note idea and build eight bars from it and its variants.
- Example
- C–D–G and then D–E–A and then G–D–C and then C–D–G with a longer last note.
- Listen for it
- Beethoven, Symphony No. 5, first movement
Sequence
- The idea
- A sequence repeats a melodic pattern at a higher or lower pitch level.
- Try this
- Move a motif up one step within the key and then once more.
- Example
- In C major: C–D–G and then D–E–A and then E–F–B.
Inversion
- The idea
- Inversion turns a melody upside down: each interval keeps its size but changes direction.
- Try this
- Invert a three-note motif, keeping every interval size.
- Example
- C–E–D (up a major third, down a whole step) becomes C–A♭–B♭ (down a major third, up a whole step).
Retrograde
- The idea
- Retrograde presents a melody's notes in reverse order.
- Try this
- Write a short motif and then play it backward.
- Example
- C–D–G–E becomes E–G–D–C.
- Listen for it
- Machaut, Ma fin est mon commencement
Augmentation
- The idea
- Augmentation restates a melody with every note value lengthened, usually doubled.
- Try this
- Double the length of every note in a short melody.
- Example
- Eighth–eighth–quarter becomes quarter–quarter–half, with the same pitches.
- Listen for it
- Bach, The Art of Fugue, Contrapunctus 7
Diminution
- The idea
- Diminution restates a melody with every note value shortened, usually halved.
- Try this
- Halve the length of every note and keep the pitches in order.
- Example
- Half–quarter–quarter becomes quarter–eighth–eighth.
- Listen for it
- Bach, The Art of Fugue, Contrapunctus 7
Fragmentation
- The idea
- Fragmentation develops a theme by isolating and repeating a small part of it.
- Try this
- Take the first two notes of a longer phrase and use them as a recurring signal.
- Example
- From the phrase E–D–C–D–E–E–E, keep only E–D and repeat it at different pitches.
Intervallic Expansion
- The idea
- Intervallic expansion widens the intervals of a motif to raise intensity.
- Try this
- Widen one interval of your motif at the climax of the phrase.
- Example
- The rising second C–D becomes the rising fourth C–F at the high point.
Intervallic Contraction
- The idea
- Intervallic contraction narrows a motif's intervals to soften or close it.
- Try this
- Replace a large leap with a stepwise approach.
- Example
- The leap C–A becomes a stepwise rise C–D–E–F–G–A.
Melodic Climax
- The idea
- A melodic climax is the single highest or most intense point of a melody.
- Try this
- Place the highest note late in an eight-bar melody and then fall away.
- Example
- In C major, reach high E in bar 6 and descend by step to C in bar 8.
Other chapters: Rhythm and Meter · Harmony and Tonal Motion · Counterpoint and Voice Leading · Texture and Instrumentation · Form and Architecture · Expression and Narrative · Jazz and Contemporary · Electronic and Acoustic Design · Revision and Craft
Not every technique suits every style. Adapt it to your instrument and your music.
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