In Sileo, layers of strings and piano, as well as the injection of plangent violin, ensure that the haze of tranquility is never dispelled, despite the songs variety and prominent use of silence beats.
The strings serve primarily as an enhancement, content to remain in a supportive role. The track seems to declare: I may be alone, but I don’t seek companionship.
Listen: http://go.inalbis.net/the-river
My new single “Young Dream” is out now on all major digital streaming/download platforms!
It’s one of the happiest songs I’ve ever written. That’s what we need now, positive energy and good thoughts in this unprecedented times. Enjoy at https://go.inalbis.net/young-dream
Primary melodies (PM) are the most important lines in a musical texture. In homophonic textures, there is usually only one primary melody (a), but in polyphonic textures, where the lines are of equal importance, there may be several primary melodies (b).
a)
b)
Although the primary melody frequently occurs as the highest part in a composition, it can reside in other positions.
Other melodic lines that are not equal in significance to the primary melody are called secondary melodies (SM).
Winter Tree is a simple melody that yields to an upfront violin motif development. A great humility is present as the piano is not the loudest instrument in the house, nor in this piece the main character. The string quartet is particularly effective.
Listen: http://go.inalbis.net/the-river
1. Most tonal melodies contain a climax tone. A climax tone is the highest stressed pitch of a phrase or other unit. Usually the climax tone is reached only once, but it can appear with reiterations of the pitch and with embellishments.
2. Most phrases contain an ascent to and descent from the climax tone. Although fluctuations in the prevailing direction are a common occurrence, you should consider the overall direction when assessing the ascent and descent.
3. Many melodic phrases contain significantly placed pitches of the tonic triad (scale degrees 1, 3, and 5) that are important in shaping the entire phrase.
4. Scale pitches 3–2–1 often conclude those phrases that end with the tonic pitch.
