Melodic motion is the quality of movement of amelody, including nearness or farness of successivepitches ornotes in amelody. This may be described as conjunct or disjunct,stepwise, skipwise or no movement, respectively. See alsocontrapuntal motion. In a conjunct melodic motion, the melodic phrase moves in a stepwise fashion; that is the subsequent notes move up or down a semitone or tone, but no greater. In a disjunct melodic motion, the melodic phrase leaps upwards or downwards; this movement is greater than a whole tone. In popular Western music, a melodic leap of disjunct motion is often present in the chorus of a song, to distinguish it from the verses and captivate the audience.

EthnomusicologistBruno Nettl describes various types ofmelodic movement orcontour to categorise a song's melody.

There are three general categories,ascending,descending, andundulating:^[1]

• Ascending: Upwards melodic movement (only found in remote regions).
• Descending: Downwards melodic movement (prevalent in the New World andAustralian music).
• Undulating: Equal movement in both directions, using approximately the same intervals for ascent and descent (prevalent in Old World culture music). Usually concludes with a descending progression.
  • Pendulum: Extreme form of undulating movement that covers a large range and uses large intervals is called pendulum-type melodic movement. Like undulating melodies, usually concludes with a descending progression.

According to Nettl, undulating and descending melodies are far more common than ascending ones.^[2]

He also identifies additional specialized types which characterise musical styles with exceptionally homogenous contours, named after the melody contour's trace.^[3]

• Tile,terrace, orcascading: a number of descendingphrases in which each phrase begins on a higher pitch than the last ended (prevalent in theNorth American Plain Indians music).
• Arc: The melody rises and falls in roughly equal amounts, the curve ascending gradually to a climax and then dropping off (prevalent amongNavajo andNorth American Indian music)

In addition to this,rise, which may be considered amusical form, is a contrasting section of higher pitch, a "musical plateau".^[4]

Other examples include:

• Double tonic: smaller pendular motion in one direction

These all may bemodal frames or parts of modal frames.

• Parsons code
• Pitch contour
• Voice leading

• Adams, Charles R. (May 1976)."Melodic Contour Typology"(PDF).Ethnomusicology.20 (2).University of Illinois Press on behalf ofSociety for Ethnomusicology:179–215.JSTOR 851015. An in-depth discussion about melodic contour.