A composer strips away all specific pitches from two melodies and graphs only whether each note goes higher, lower, or stays the same. Melody A traces a clear arch (rising then falling); Melody B meanders with no discernible shape. Which claim best fits what we know about melodic contour?
AMelody A will feel more coherent and psychologically satisfying, even if its specific intervals are unconventional
BMelody B will feel more expressive because unpredictable shapes are more interesting to listeners
CNeither melody can be evaluated without knowing the specific pitches — contour alone tells us nothing
DContour only matters in vocal music; in instrumental music, the specific intervals determine everything
Contour is one of the most powerful determinants of a melody's psychological character, often more memorable than exact pitches. A clear arch shape creates a sense of a complete thought — a rise toward a goal and a release from it — that feels inevitable regardless of the exact notes chosen. A melody with aimless contour feels directionless even if each interval is individually well-chosen. This is the key insight: contour operates at a higher level than specific intervals and can be planned first as a compositional strategy.
Question 2 Multiple Choice
The opening gesture of Beethoven's Fifth Symphony remains recognizable when transposed to a different key, played at half speed, or inverted. What does this tell us about the nature of melodic gesture?
AGesture is determined primarily by the specific pitches used, which is why transposition preserves it
BGesture arises from the combination of direction, size, and rhythmic character — not the exact pitches — which is why it survives transformation
CBeethoven wrote unusually simple gestures that happen to work across many different contexts
DThis example is misleading because transposition preserves the exact pitch relationships, not the gesture
Gesture is the felt quality of a melodic movement arising from direction, size, speed, and rhythmic character working together — not from any specific pitch. The Fifth Symphony's opening (short-short-short-long, falling) remains recognizable across keys because the gestural identity lives in those relationships, not in absolute pitches. This is why gesture is a more fundamental compositional element than pitch choice: listeners internalize gestural patterns and recognize them even under significant transformation.
Question 3 True / False
A melody with a strong, clear arch contour can feel inevitable and satisfying even if its specific pitches are unconventional or include dissonant intervals.
TTrue
FFalse
Answer: True
Contour creates psychological coherence independent of pitch content. A clear arch (rise toward a goal, then descent and resolution) gives a phrase a felt shape that listeners track above the level of individual notes. Even if the exact pitches are unusual or dissonant, the overall shape creates expectation and fulfillment. Conversely, a melody with pleasing intervals but no clear contour can feel aimless. The explainer states this directly: 'a melody with a strong contour shape tends to feel inevitable even if its specific notes are unconventional.'
Question 4 True / False
Melodic gesture is determined mostly by the specific intervals between adjacent notes — the same sequence of intervals usually produces the same gestural effect.
TTrue
FFalse
Answer: False
Gesture arises from direction, size, speed, and rhythmic character working together — not from intervals alone. The same pitch sequence played slowly feels completely different from the same sequence played as a rapid flourish; a leaping gesture has a different quality from a stepwise gesture even when the overall contour is similar. Rhythm is a core component of gesture, not a separate consideration. The example of Beethoven's Fifth — where the short-short-short-long rhythmic pattern is inseparable from the gesture's identity — illustrates this clearly.
Question 5 Short Answer
Why does planning a melody's contour before selecting specific pitches improve the compositional process?
Think about your answer, then reveal below.
Model answer: Contour operates at a higher level than individual intervals — it determines the psychological shape, direction, and momentum of a phrase. By sketching the overall trajectory (does it climb and release? descend to a low point and rebound?) before committing to notes, the composer ensures each phrase has a coherent goal and felt shape. Individual pitch choices then serve that larger plan rather than being made arbitrarily. A phrase planned this way tends to feel inevitable even with unconventional notes; a phrase built note-by-note without contour planning tends to meander even with good intervals.
Contour planning is a strategy for working at two levels simultaneously: the macro-level shape of a phrase and the micro-level choices of specific pitches. Without the macro plan, pitch choices are reactive rather than purposeful. With it, the composer can also plan contrast and dialogue between phrases — similar contours for unity, contrasting contours for variety — as compositional tools operating above the level of individual notes.