Throughout the years, leitmotifs have been used in some of the greatest films in history. They are sonic signatures that make these movies unforgettable and have become synonymous with the character. So what are we waiting for? Read on and take a look at 15 of the greatest leitmotifs from the movies.

1. “The Imperial March” (Darth Vader’s Theme) By John Williams

Up first, we have one of the most iconic leitmotifs out there. Darth Vader’s Theme from Star Wars. Why? Click play on the video above and tell me it’s not instantly recognizable, evoking a sense of power, menace, and drama that perfectly encapsulates Darth Vader’s character.

Also called “The Imperial March,” the leitmotif was composed by John Williams. Its minor key, use of brass, and ominous march feel warn listeners of a sinister character. It has become synonymous with Darth Vader, masterfully conveying his imposing presence and the dark side of the Force.

Williams was able to manipulate leitmotifs to show the narrative’s progression. For instance, throughout the trilogy, he develops the theme by slowing the tempo and rhythm to show Darth Vader’s transformation.

2. “Flying” From E.T. The Extra-Terrestrial By John Williams

Another fantastic example of a leitmotif used in film is “Flying” from the 1982 science-fiction film E.T. the Extra-Terrestrial. Also composed by John Williams, “Flying” is often confused with “Over the Moon,” another equally recognizable theme from the E.T.

“Flying” captures the wonder, adventure, and emotional depth of the film. When it plays, it just fills the listeners’ hearts, enabling them to imagine being lifted into the air.

Like the previous entry on this list, the “Flying” theme is easily recognizable. The soaring melody reflects the awe-inspiring moments of flight. Not only is this theme associated with E.T. and his magical abilities, but it’s also a symbol of his bond with the young boy, Elliot.

3. “The Fellowship Theme” From The Lord Of The Rings By Howard Shore

The trilogy The Lord of the Rings is overflowing with leitmotifs. But for this list, let’s focus on “The Fellowship Theme,” which was composed by Howard Shore. The trilogy uses this theme to represent the unity and resilience of the Fellowship of the Ring.

The theme is characterized by its soaring melody. When listeners hear it, they think of vast landscapes, heroic quests, and unwavering camaraderie. The orchestration, with its rich use of strings and brass, creates a sense of grandeur and adventure befitting an epic fantasy adventure film.

The way Shore weaves this theme throughout the trilogy, allowing it to evolve yet remain recognizable, is a testament to his skill as a composer. It’s more than just a theme; it’s an auditory symbol of hope, bravery, and the enduring power of friendship against all odds.

4. “Horn Of Plenty” From The Hunger Games By James Newton Howard

Another very recognizable leitmotif is “Horn of Plenty” from The Hunger Games film series. Through this theme, composer James Newton Howard captures the dystopian world of Panem.

The “Horn of Plenty” is Panem’s national anthem. Its use throughout the film symbolizes the Capitol’s power and control over the districts. Its melody is haunting yet captivating. This seems to reflect the paradoxical nature of the Capitol: superficially glamorous but fundamentally oppressive.

Howard uses the theme throughout the films to highlight certain moments. For instance, during the opening ceremonies and victory tours, the theme is played in its grandiose form. But in scenes reflecting the districts’ hardships and rebellion, the theme is played in a subdued and somber tone.

5. Main Title And First Victim Theme From Jaws By John Williams

The music from the 1975 thriller film Jaws is perhaps the most recognizable leitmotif of all time. It perfectly captures the suspense and terror associated with the film’s central antagonist: the great white shark.

This theme is a simple but powerful two-note minor 2nd motif and has become synonymous with impending danger. Its use in the movie helps create tension and terror and leaves a horrified feeling in the audience, making them wonder when the shark will strike.

This John Williams composition plays a huge part in Jaws. It starts out slow, building in intensity and keeping the audience on the edge of their seats. As the two-note increases in pace, it mirrors the shark’s menacing approach.

6. “James Bond Theme” By Monty Norman

Many iconic characters have their own signature theme in their movies. Perhaps the most well-known is James Bond, a fictional British spy with the codename 007. And the James Bond movies will not be complete without its “James Bond Theme,” as composed by Monty Norman.

This theme is known for its four-note motif and has become synonymous with the titular character. It uses electric guitar and brass to give it a slick, cool edge that mirrors Bond’s suave demeanor. The rhythm is fast-paced and energetic, reflecting the gun barrel sequence where the theme is used.

Norman uses this theme in many ways throughout the series. It’s in its vibrant form when Bond is in control of his game, but in instances of tension and danger, the theme is more subdued or tense.

7. “The Raiders March” From Indiana Jones By John Williams

From James Bond, let’s move on to another popular fictional character, Indiana Jones, a professor of archaeology. Indiana Jones is a media franchise with a series of films and television series. Its theme, also called “The Raiders March,” was another brainchild of John Williams.

The leitmotif is remarkable in many ways. First, it captures the essence of adventure the series is known for. Second, the theme evokes the spirit of exploration, danger, and heroism associated with Indiana Jones.

“The Raiders March” is a unifying thread across all Indiana Jones movies. Despite the changing settings and new characters, the theme maintains a constant connection to the identity of Indiana Jones.

8. “Hedwig’s Theme” From Harry Potter By John Williams

The main theme for the entire Harry Potter series is called “Hedwig’s Theme.” Composed by John Williams, it’s named after Harry Potter’s pet owl, Hedwig.

The theme runs for five minutes, though Harry Potter fans can immediately recognize the leitmotif in just a few seconds. When listening to the theme, the audience is transported into the magical world of Harry Potter.

“Hedwig’s Theme” is characterized by its distinctive melody. The lead instrument is the celesta, which lends the theme its ethereal quality. This instrument and the intricate composition make the theme instantly recognizable and strongly associated with the idea of magic.

9. “He’s A Pirate” From Pirates Of The Caribbean By Klaus Badelt And Hans Zimmer

Another movie franchise teeming with leitmotifs is the Pirates of the Caribbean. One of the most notable is “He’s a Pirate,” composed by Klaus Badelt and Hans Zimmer. It’s played at the beginning of all the films in the series.

“He’s a Pirate” stands out because it conveys Jack Sparrow’s roguish character, high-seas adventure, and daring action. The theme features a driving rhythm that captures images of sailing through tumultuous seas and epic battles.

In addition, the use of bass and rhythmic strings creates a sense of excitement and urgency. Not only does it mirror the fast-paced and dangerous journey of the characters, but it also hypes the audience for the beginning of the movie.

10. “The Good, The Bad And The Ugly (Main Title)” By Ennio Morricone

Although the movie The Good, the Bad and the Ugly came out in 1966, its main theme lives on. Composed by Ennio Morricone, the theme is one of the most recognizable leitmotifs and soundtracks in history. In fact, it was inducted into the Grammy Hall of Fame.

The use of the haunting two-note motif perfectly captures 1860s America, where gunslingers search for gold. The theme’s echoing whistle and coyote-like howls paint a picture of the vast, desolate Western landscape.

The theme’s strength lies in its ability to evoke emotional response from the audience. It captures the suspense and the thrill of the chase, the standoff, and the overarching themes of greed, honor, and survival.

11. “Superman March” From Superman By John Williams

Before you get confused, John Williams‘ “Superman March” appears in the 1978 film Superman and not the 2013 Man of Steel. This clarification is important to highlight Williams’ enduring impact across the different adaptations of the Superman saga.

If there’s one thing to say about “Superman March,” it’s that it is exemplary. The use of bold brass sections, heroic motifs, and sweeping orchestral arrangements captures the essence of Superman’s character. It conveys his strength and capacity for soaring to great heights.

This leitmotif is easily recognizable. The melody is uplifting and inspiring, mirroring the idealism and hope that Superman represents.

12. “Somewhere In My Memory” From Home Alone By John Williams

Christmas is still far away (I’m writing this in February!), but “Somewhere in My Memory” from the 1990 film Home Alone gives us the holiday vibes. Composed by John Williams, the soundtrack received nominations from the Academy and Grammy Awards.

“Somewhere in My Memory” is a great leitmotif for several reasons. One, it’s an emotional anchor throughout the movie. It reinforces themes of family, nostalgia, and the magic of Christmas. Two, the composition is rich with a simple and memorable melody. Hence, the audience can easily identify and associate it with the movie’s main character, Kevin.

The repeated use of the leitmotif reminds us of Kevin’s isolation and his desire to be reunited with his family. It then becomes a narrative device that deepens the audience’s emotional engagement with the story.

13. “Ironside” (Siren Sound) From Kill Bill By Quincy Jones

Up next, we have a leitmotif that’s different from the rest on our list. Instead of using an original score, Quentin Tarantino used an excerpt from Quincy Jones‘ “Ironside” for his 2003 film Kill Bill: Volume 1.

The siren sound is an exemplary leitmotif because it evokes an immediate emotional response. When it plays in the movie, it means “The Bride,” Uma Thurman’s character, has set her eyes on her next target, signifying her impending action.

The distinctiveness of the sound ensures that the audience immediately recognizes the importance of the upcoming scene. Thus, it heightens their anticipation for what is to come.

14. Main Theme Of Psycho (1960) By Bernard Herrmann

In the horror/suspense genre, nothing is as iconic and easily recognizable as the murder motif from Alfred Hitchcock’s Psycho. Composed by Bernard Herrmann, the theme is known for its psychological impact and vital role in the narrative.

The theme is played in the shower scene, with the high-pitched staccato notes mimicking the stabbing motions. The sound and this imagery heighten the sense of terror and shock. It’s then used during other murder/attempted murder scenes throughout the film.

15. Main Theme Of Godzilla (1954) By Akira Ifukube

Finally, we have the main theme from the 1954 film Godzilla, composed by Akira Ifukube. It’s a monumental leitmotif in cinematic history, capturing the essence of one of film’s most iconic monsters.

This leitmotif elicits awe and terror from the audience, mirroring the complex nature of Godzilla itself. The deep, resonating brass and percussion depict Godzilla’s immense power and the destruction it brings.

Culturally, Ifukube’s composition has become synonymous with Godzilla and the kaiju genre as a whole. It’s not just a motif for Godzilla but also an auditory symbol of the broader themes explored in the films.

Summing Up Our List Of The Greatest Leitmotifs From The Movies

The list of songs above proved that leitmotifs are vital elements of movies. Composers have effectively used them as tools to elevate storytelling to new heights. They have become synonymous with the characters, emotions, and themes they represent.

With our list, we’ve only scratched the surface. So if you know of leitmotifs that should appear on the list, let us know! We’ll add them for you.

So, what’s going on? And what does Rick Astley have to do with it?

Well, that’s what I want to get into today. Let’s dispel a few common misconceptions surrounding what a lick is and what it is not.

I’ll cover the definition of a lick, where the idea of a lick came from, and provide some examples of famous licks. We’ll find out what makes a great lick and compare licks to hooks and riffs.

Let’s start by defining exactly what a lick is in musical terms.

Definition of a Lick in Music

The accepted definition of a lick is that it is a stock or standard pattern, consisting of a series of notes found in melodies, accompaniments, and solos.

Licks should not be mistaken for riffs, although the terms are often used interchangeably.

Musicians usually learn licks as a way to expand their understanding of music while at the same time increasing and exploring their repertoire.

Although the term is more often associated with popular and jazz music, repeating patterns of notes can be found in many classical compositions.

You will find that Western classical music includes single-line licks referred to as ostinatos.

This brings us to the question of when licks first came into being.

History of Licks

We can find instances of ostinato-like musical scores going back to medieval times, with an example being the well-known English canon “Sumer Is Icumen In.”

So, this musical form has been around since at least the 13th century.

During the late renaissance and baroque periods, a type of variation of brief ostinato motifs providing a repetitive harmonic basis, proved popular with “The Bells,” a piece by William Byrd being particularly noteworthy.

These various forms include ground bass, passacaglia, chaconne, and theme and variations.

Ostinato patterns were evident in the 17th-century operas and sacred works composed by Claudio Monteverdi.

Similarly, Henry Purcell famously deployed ground bass patterns.

Most famously, his skillfully composed descending chromatic ground bass underpinning the aria from the opera Dido and Aeneas, “When I am laid in earth” (“Dido’s Lament”) is a notable example.

The intervals in Purcell’s bass pattern are found in many works from the Baroque Period with Canon in D (Pachelbel’s Canon) using similar sequences of notes in the bass part.

The timeless nature of this pattern is evident in the popularity of this work today as part of regular wedding selections.

Examples of ostinatos can be traced through to the 18^th and 19^th centuries with JS Bach, Mozart, Beethoven, and Bach providing us with timeless classics.

In the 20^th century, Debussy featured ostinato patterns in his Prelude No. 6: Des pas sur la neige (Footprints in the snow).

In the late 19^th and 20^th centuries, popular music genres such as country, blues, jazz, and rock music utilized the lick to great effect.

This brings us to the current day and the more familiar licks.

Examples of Licks

You may be wondering about my reference to Rick Astley and why he’s been linked to licks?

Listen to the video below and you’ll be amazed at the number of songs that utilize this very familiar sequence of repeating notes.

Sing along to that infamous song, “Never Gonna Give You Up” while you listen.

If you’re like me, then you’ll be astounded to hear the same lick repeated throughout countless other songs.

That’s the power of licks.

What then is it that makes a good lick?

What Makes a Good Lick?

The most important aspect of a lick is that it must be memorable.

Take, for instance, “The Lick” that we looked at above.

This is arguably the most famous lick of all time.

It is a simple yet enticingly memorable sequence of notes that have found their way into so many songs such as Get Mine, Get Yours by Christina Aguilera, Babylon by Lady Gaga, Oye Como Va by Santana, and lots more.

By keeping it simple, a lick becomes ingrained in your consciousness.

And that is what makes a good lick.

Lick vs Hook Vs Riff

Before we finish, you may still be a little confused between the lick, hook, and riff. Let’s break them down for clarity.

The lick and the riff are similar in that they are both short repetitive sequences of notes.

Although the lick cannot stand on its own as it is an incomplete sequence, forming a part of the riff.

The riff is designed in such a way that it grabs your attention and imparts character to the song.

By returning again and again throughout the song, the riff becomes associated with the piece.

This repetition of a sequence of notes becomes a characteristic of the song and provides its identity.

The riff is designed to be the hook.

The hook is the signature style or sound of a piece of music that comes to be associated with the whole composition and makes it memorable.

That’s All We’ve Got For You on Licks

We hope that you now have a better understanding of what a lick is and how it came into existence.

From its humble beginnings in 13th-century music to its place in modern music, the lick has earned its place in musical history.

Ever wondered why that is? Well, that’s what we’re going to explain in this blog post. We’ll take a look at what a hook is, where it comes from, and what makes a good hook. Let’s start with defining a hook.

Definition of Hook in Music

Defining exactly what a hook in music is, is somewhat controversial.

Ask anyone what a hook is and they’ll give you various answers.

Some say it’s the chorus, others say it’s the melody, while others insist it’s the beat or even a particular phrase or distinct repeating structure of the song.

And the thing is, they’ll all be right.

A hook can be all or none of those things.

Each song or piece of music is different and one must approach different kinds of music in an altogether different way.

One thing we can be sure of is that a hook is a defining section of a song or composition that literally “hooks” you in, grabs your attention, and then stays with you even after the song is finished.

It can be a part of the lyrics, a melody, or even a repeating beat or rhythm that stands out and becomes memorable.

Some hooks are as unique as a particularly unusual instrument or sound.

By going back in history, we can get a feel for what a hook is and how it came to be so important.

History of Hooks

Hooks are not commonly associated with classical music and the phrase generally refers to popular music genres such as Pop, Rock (in all its forms), Rap and Hip Hop, Heavy Metal, Rhythm and Blues, and contemporary dance music.

The closest you will come to a hook in classical music would be an ostinato.

Ostinato refers to a beat or melody that repeats.

In its strictest form, the ostinato should be an exact replica each time.

However, it is common for there to be repetition, variations, and development of the core ostinato line.

Invariably, the hook in modern music consists of recognizable riffs, but this is not always the case.

Let’s look at some examples of famous riffs that are also examples of hooks.

Examples of Hooks

A classic hook that has stood the test of time is the opening few bars of Wolfgang Amadeus Mozart’s Eine Kleine Nachtmusik.

The opening bars are as memorable today as they were when first performed over 200 years ago.

The BeeGees – Staying Alive is one of those songs that you just can’t get out of your head.

It only takes a few notes and it will stay with you for the rest of the day.

The hook I’m referring to is of course, “ah, ha, ha, ha… staying alive, staying alive”.

Drake is internationally known for his hit song – Nice for What.

By looping sampled sections of various tracks, hip hop made sampling an art form and the hook was created through repetition.

Louis Armstrong took a well-known song and turned it into a hit with his unique approach – When The Saints Go Marching In.

The opening bars of Deep Purple’s – Smoke on the Water is iconic and instantly recognizable.

So what makes a good hook and how can you recognize one?

What Makes a Good Hook?

Hooks need to be catchy, so the melody or rhythm needs to be simple to be memorable.

Most catchy hooks only use 4 notes, with some popular songs creating a buzz with just 2 notes.

Being melodically simple, the audience can memorize and sing along with difficulty.

This leads to the next requirement for a good hook and that is simple, yet relatable lyrics.

Whether the lyrics are memorable due to their common theme of love, loss, and heartbreak or even if the composer creates new words or clever rhymes, basic human nature will ensure that these common themes will ensure the song sticks in your mind long after the music has ended.

Finally, repetition works.

Play it long enough, and hear it often enough, and that hook will be set in stone.

The best hooks conjure up feelings and memories of life-changing events that endure for decades.

Now that you have an idea of what a good hook is, we can compare various types of hooks.

Hook vs Riff Vs Lick

Riffs and licks can be the hook in a song, however, the hook is not necessarily a riff or lick.

In popular music, the song’s hook is usually a riff.

But this is not always the case.

As the chords and note patterns that provide the song’s identity are repeated, they create a distinctive characteristic of that piece of music.

The lick, in contrast, is a part of the riff but is generally not considered to be the hook for a particular song.

Being incomplete on its own, the lick contributes to the overall effect of the riff without being memorable or distinct enough to hold its own as the hook.

In Conclusion

A hook is clearly an important aspect of composition and is one of the most important aspects in deciding the success or failure of a piece of music.

As mentioned above, a good hook can stand the test of time, as evidenced by music that is as distinctive now as it was more than 200 years ago.

No matter your choice of music, identifying the hook is easy.

But explaining what a hook is, can be a difficult task as opinions vary greatly as to what makes for a great hook.

That is not an accident, it’s a very deliberate technique on the part of the composer or performer to stamp a mark of originality on their music.

Riffs are not something new. Composers going back through the ages have made use of riffs or ostinato as they are referred to in classical music theory.

So, let’s have a look at what exactly is a riff in music and how you can better understand this interesting and integral style in musical composition.

Definition of a Riff in Music

A riff is a pattern of notes that are repeated throughout a piece of music.

This definition can also be attributed to the classical music term, ostinato.

However, ostinato refers more precisely to a pattern of repeated notes that make up a background accompaniment to the melody.

This pattern of background notes or a particular repeating tempo is in contrast to a riff that is more melodic and is very much at the forefront of the music.

Riffs do not repeat immediately and are usually found at the end of the verse in a song or in the chorus.

However, they can appear right at the start of a song too.

Guitar Riffs

In contemporary music, the song’s hook is usually but not always a riff.

The chords and note patterns provide the song’s identity and are repeated as a distinct characteristic of that piece.

Riffs have become the basic components of modern rock and pop music, providing a structure that evokes strong emotion when heard, even if it is just a small part of the original song.

Designed to grab your attention and impart character to a song, the riff returns time and time again to remind you and carry you through to its conclusion.

In a way, this is similar to a hook but, a hook is different from a riff in that it doesn’t repeat.

Are There Riffs in Classical Music?

The terms “riff” and “lick” are not found in classical music theory.

As mentioned earlier, classical musicians refer to licks and riffs as ostinatos but what is the difference between an ostinato and a riff, you may ask?

They both contain repeated note patterns but an ostinato accompanies the music as a background pattern rather than being the main attraction.

Riffs are typically rhythmic repeated patterns but will often have a melodic element and comprise a tune.

History of Riffs in Music

While rock music of the ’70s and ’80s is well known for its riffs, its history stretches much further back to Mozart, Bach and Beethoven and even further back in time to ancient ballads and folk songs.

Jazz music is well known for its improvisations, including licks in solos and in accompanying the solo chorus.

The difference in jazz licks is that they are usually short phrases of original music set in a way that they can follow a song’s changing harmonic progressions.

The riff can be a particular chord pattern, recognizable as a tempo as well as a melody.

Rock music developed a formula for introducing licks and riffs with riffs, including chord progressions repeated at set intervals.

These standard formulas are then developed through variations, blending, and developing the riffs during solo performances.

What Makes a Good Riff?

What is considered to be a good riff?

In a word, repetition.

All great riffs return at least twice in composition, with many songs including the same patterns multiple times to great effect.

Consider for a moment these two famous performers and composers, two centuries apart:

Chuck Berry

Considered by many as the primary influence on the riff in popular music, Chuck Berry’s Johnny B. Goode has influenced many professional guitarists.

Wolfgang Amadeus Mozart

A genius by any measure, Mozart’s riffs aren’t new.

Eine Kleine Nachtmusik, penned in 1787, has stood the test of time and remains a firm favorite today, more than 200 years after it was first performed.

These opening bars are as memorable today as they were then.

Examples of Riffs

Examples of riffs in classical music as well as popular and rock music abound.

We’ve found some of the more well-known examples for you to listen to and enjoy.

If you write your own music, use the following examples to inform your musical creations.

After all, this technique has been around for many years and is still as popular as ever.

1. Pachelbel Canon in D Major

2. J.S. Bach: Prelude and Fugue in F minor (WTK, Book II, No.12)

3. Chopin – Fantaisie-Impromptu (Op. 66)

This is an excellent example of the left hand repeating the pattern throughout.

4. AC/DC – Back In Black

For lovers of rock music, this is perhaps one of the most famous riffs in rock music history.

5. Mozart String Quartet in D K575

A fine example of the cello providing the repeating sequence of notes and tempo.

6. Vivaldi Four Seasons: Spring (La Primavera)

7. Deep Purple – Smoke on the Water

And finally, no list of famous riffs would be complete without Deep Purple’s, Smoke on the Water, played by Ritchie Blackmore.

Making use of the G pentatonic scale, this simple song can easily be learned by beginner electric guitar players.

The Riff vs Hook vs Lick

You know that a riff is a repeating sequence or pattern of notes.

The riff is designed to be a hook that becomes the signature style or sound of a song or piece of music.

The lick forms part of the riff but is an incomplete part and cannot stand by itself.

In Closing

The riff has been around for many centuries and exists in many forms.

Classical music, jazz, pop, and rock, amongst many other types of music, utilize riffs to engage their audience and create memorable songs.

I hope that we’ve helped you in your understanding and enjoyment of this important component of music construction.

This article will go over exactly what a leitmotif is, why we use it, and how it functions in music and in film.

Definition of Leitmotif

A leitmotif in music is a short, recurring musical phrase that is thematically associated with a specific character, place, or concept.

A motif in music, which is where leitmotif gets its name from (in German, leitmotif means “leading motif”), is simply the smallest unit of a single piece of music that has a thematic or structural identity.

Although a leitmotif is usually a melody, it can also be a specific chord progression or even a rhythm.

A leitmotif is different from a regular motif because a leitmotif is always associated with something that is not in the music.

This is why leitmotifs are mainly found in film music, and they are associated with a specific character or location in the film.

History of Leitmotifs in Music

The concept of the leitmotif is most commonly associated with Richard Wagner, who used them frequently in his operas.

For example, here is one from his opera Siegfried that is associated with the title character: 

There are many other leitmotifs in this opera, such as this one that Siegfried plays on his horn, which is then repeated throughout the opera in association with Siegfried as a character. 

The Siegfried opera is one of Wagner’s cycle of four epic Music Dramas called Der Ring des Nibelungen (1848-1874), and it is this four-piece cycle that is most commonly credited as the music that brought leitmotifs from being used sporadically before to being a key part of music that accompanies visual media, like film. 

Examples Of Leitmotifs in Film

Nowadays, people don’t think of Wagner when they think of musical leitmotifs. They think of film music, and for good reason.

Most people don’t go to see an opera live or listen to classical music regularly. However, almost everybody in their life has seen a movie, and more often than not, those movies have music with them, and that music uses leitmotifs.

For example, whenever Luke (or others) uses the force in the Star Wars movies, a specific piece of music plays, called the “Force” theme.

And whenever Darth Vader shows up on screen or is mentioned, in the same movies, the “Imperial March” melody plays: 

John Williams, the composer who wrote the music for all of the Star Wars films, has many, many famous leitmotifs that he has written throughout his career.

Try to think of the music for the Indiana Jones movies, or E.T., or Jaws, Superman, or Jurassic Park. Each of these films will have many leitmotifs that represent characters or situations in the film through the soundtrack.

Here is Hedwig’s Theme from the Harry Potter movies, which is almost as famous as the main character himself, although it was written originally as a leitmotif for the owl Hedwig.

Leitmotifs help people remember the feeling or the emotion of a film when they’re played.

Across the nine films of the Star Wars franchise or the eight films of the Harry Potter franchise, those specific music cues give a feeling of continuity so that when someone is watching one of the later films in each franchise, they know that this new movie will be similar to one they watched before because the music is associated with the previous movies.

Another famous example of leitmotifs working across multiple films is the Lord of the Rings trilogy.

In all three films, whenever the Shire (the main village where the hobbits – the main characters – live) is mentioned or seen on screen, the same leitmotif is played every time.

This gives viewers a sense of continuity (that the films are all related to each other), and it also evokes those feelings that the viewer felt when watching the previous movies. 

The composer for the Lord of the Ring series, Howard Shore, wrote over 20 leitmotifs for the films, including music for the “One Ring,” “Sauron,” “Isengard,” “Rivendell,” character themes for Gandalf, Frodo, Smeagol, Aragorn, and the “Fellowship” theme, as heard here: 

Summing Up Leitmotifs

First found in the operatic music of Richard Wagner, leitmotifs have become an integral part of almost all film music.

They are used to introduce characters, to show their character development or their inner emotions, to transport the audience to a different world, whether it be real or imaginary, and to make the audience feel something at certain times throughout the film. 

The most important points about leitmotifs are that they are repeated, noticeable, and only associated with one character, place, or concept.

This article will teach you everything you need to know about phrases in music and their uses.

Musical Phrase: Definition

If music is like language, then a single note, or pitch, is like a letter.

You can combine them to make words (intervals and chords) and then combine these letters or words to make sentences.

A sentence in music would be the equivalent of a phrase. 

A phrase is a single unit of music that makes complete musical sense when heard on its own.

It is most notably heard as a melody and it is made up of smaller units, like motifs, cells, or individual notes.

The idea that a phrase “makes sense” musically means that you can notice a beginning, middle, and end of the phrase, and that you can distinguish it from other musical phrases around it. 

Commonly, especially in Classical music, phrases are four bars long, and they typically end with a cadence.

These rules are not set in place, however, and phrases can be longer or shorter than that.

The basic rule is that phrases should be able to be taken as a single entity that is separate from the rest of the melody around it. 

Let’s take the opening eight bars from Beethoven’s “Fur Elise” as an obvious example of a two-phrase section.

It starts at the beginning of the piece (with a pick-up measure of one beat), and ends at the repeat sign. 

There are two phrases in this section: the first phrase goes from bar 1 to the beginning of bar 4, where the right-hand piano part ends on a C.

This is shown by the blue lines, anything within the blue lines is Phrase 1.

The second phrase is within the green lines.

It goes from the second half of bar 4 to the repeat sign, ending on the note A, which is the tonic note of the piece.

Both Phrase 1 and Phrase 2 end with a cadence – they go from the V chord (E Maj in this case) to the I chord (A min).

Both phrases are 4 bars long, and they both start with the same melody in the upper part of the staff.

Here is an example of two phrases that are each two bars long instead of four, from the opening of Mozart’s “Piano Sonata in C Major”.

Multiple phrases in a row are called a phrase-group if they all have similar styles and harmonies.

Starting the Phrase on the Upbeat

In a musical bar there are usually 2, 3, 4, 6, 9 or 12 beats with the exception of some odd time signatures that might have 5, 7 or 11 beats per bar.

The first beat of the bar is called the downbeat, and the final beat of the bar (whether it’s beat 4 or beat 6, etc.) is always called the upbeat. – More on this in our post about syncopation here.

When we start a phrase of music on the upbeat (or before), those beats of melody are called the anacrusis.

It is also sometimes called a pickup, when the melody starts playing before the harmony or accompanying material. 

Here is a very famous example, the “Happy Birthday” song.

Notice how the word “Happy” starts at the end of the first bar (anacrusis), and the “Birthday” falls on the start (downbeat) of the second bar. 

Here is another example, “Yellow Submarine” by The Beatles.

Each phrase starts with an anacrusis, and you can hear this by listening to how the vocals come in one beat before the guitar in each phrase.

The words “In the…”, “Lived a…” “And he…”, and “In the…” are the starts of the four phrases in the first verse.

Antecedent and Consequent Phrases

The two phrases in “Fur Elise” above are also perfect examples of Antecedent and Consequent phrases.

The word antecedent means “before”, and the word consequent means “after” so antecedent – consequent phrases are when you have two phrases back to back.

An antecedent – consequent phrase is an example of a “phrase-group”.

The first phrase – the antecedent –  usually ends either with a half cadence (meaning it ends on the V chord and not the tonic) or an imperfect cadence (meaning it ends on the tonic but not very strongly).

The second phrase, or the consequent, usually starts with a restatement of the opening musical material of the antecedent phrase, but it ends on a stronger, perfect cadence (meaning it ends on the I tonic chord with a strong V – I motion).

Here is another example of an antecedent – consequent phrase structure.

It is from Mozart’s “Symphony No. 40 in G Minor”. 

The antecedent phrase starts in G Minor (the I tonic of the piece) and ends with a move to the subdominant, C Minor.

The consequent phrase then starts on the C Minor, and then ends with a perfect cadence of D Major (V) to G Minor (I). 

The same idea is found in the opening eight measures of the famous folk song “Greensleeves”. 

The HC means half cadence in measure four at the end of phrase 1, or A.

The AC is an authentic cadence at the end of phrase 2, or A’. 

Phrase Markings

In sheet music, you might sometimes see a long curved line that seems to connect a few, or many notes.

They look just like a slur line, and are used to indicate to the musician that the notes contained within are a phrase.

Slur markings, also known as legato, tell us that we should play the notes smoothly or connected.

If you were playing a woodwind instrument for example, you’d play the notes in a slur in one breath.

These slur lines are often used to mark phrases, and they can be helpful when it comes to knowing what notes to emphasize and which ones to smooth over.

It’s the opposite of staccato which means we should play the notes detached.

Slur markings and phrase markings tend to be used interchangeably but sometimes can be a little different.

For example, you could have notes that are staccato within a phrase of music.

Phrase markings tend to be a lot longer while legato markings tend to be shorter and focus on fewer notes.

Here is an example of a phrase marking, using the “Happy Birthday” example from before to mark the first line as a phrase. 

Another example is an excerpt from Beethoven’s classic “Pathetique” Sonata.

There are multiple slur lines on this page alone, to show how Beethoven wanted someone to make note of the difference between all of the phrases in these bars. 

If you are playing a wind or brass instrument (saxophone, clarinet, trumpet, etc.) or singing, these phrase markings tell you not to breathe in between the marked notes.

If you are playing an instrument that does not involve your breath (violin, piano, etc.), then the phrase marking tells you to blend one note to another.

Summing Up

When it comes to phrases in music, there are all different kinds.

Although they are normally four bars long, they can be two bars, or eight bars, or longer.

Just like sentences in writing, a phrase in music is however long or short it needs to be in order to get its meaning across. 

We hope this post was able to help you understand where a phrase starts and where it stops, so now you can look at your own music or analyze a song from class and know what to look for.

In this sense, we need ways to study manageable sections of music that we can use for music theory or analysis. The motif is one such section, and in this article we will be discussing what exactly motifs are in music.

Definition of Motif

In music, a motif (also sometimes written as motive) is the smallest unit of a piece of music that contains some kind of thematic or structural identity.

Thematic identity just means that it can be related to a theme – and a theme is the fundamental idea of a specific piece, one upon which the music is based. 

Let’s break down that definition a bit.

A motif is the smallest unit that contains thematic material – this means it’s not an entire song or movement, but it’s also not a single note.

Just like a single letter (“P” or “G” for example) can’t communicate the meaning of a sentence, a note has no inherent thematic value.

It only gains that value when placed around other notes, be it in a melody or a chord progression. 

Take this note here:

Without any context it’s simply an E.

We don’t even know if it’s in a minor or major chord.

However, when we put it in a short melody, then we get a motif (in this case, it’s the opening to “Hedwig’s Theme” from the Harry Potter film score by John Williams): 

Melodic, Harmonic, and Rhythmic Motifs

Most motifs, like the one shown above, are melodic.

A melodic motif is one that sets out a specific melodic formula, or sequence.

For example, let’s take the above motif, from the Harry Potter theme.

It is only the first few bars of the melody, but we know it’s enough to be a motif because that sequence is repeated multiple times after.

Not necessarily the exact same notes, but the general principle of the motif is followed and repeated. 

Listen to the whole piece here: 

After this opening motif, the same melodic formula is followed three more times throughout the rest of the melody, until a new motif and melody comes in at 0:17.

Another famous John Williams melodic motif is this one from the “Raiders Theme” from Raiders of the Lost Ark. 

Listen to that piece here and note how many times this melodic formula is followed throughout the whole melody.

Harmonic Motifs

Different to a melodic motif is a harmonic motif, in which a motif is produced by a series of chords or intervals rather than a specific melodic formula.

For example, Hans Zimmer’s “Time” from the soundtrack to the film Inception is just a repetition of 4 chords. Here are the chords, which Zimmer uses as a harmonic motif throughout the piece.

Listen to the track here and take note of the repeated harmonic motif. 

Other harmonic motifs include the Plagal Cadence, which is a cadence that ends with subdominant – tonic motion (IV – I) rather than dominant – tonic.

It is so common among old hymns and church music that it carries with it that thematic connotation whenever it is used now. 

Rhythmic Motifs

As you might have guessed, rhythmic motifs are based off of specific rhythms of the notes in a melody.

A very famous example of a rhythmic motif comes from Beethoven’s 5th Symphony. 

The motif of three short notes followed by a long note has become known as the “Fate Motif”.

Listen to how many different ways Beethoven uses this simple idea of three short notes and one long in the first movement of his symphony.

He uses it 13 times within the first 20 bars of the piece!

Another very famous rhythmic motif comes from the rock band Queen, with the simple boom – boom – clap from “We Will Rock You”.

Leitmotifs in Film Scores

Motifs are nowadays most commonly found in film music, where they are called leitmotifs.

Even in this article, we’ve quoted three different film scores that make use of leitmotifs. 

A leitmotif in a film is slightly different than a regular motif in music – whereas the musical motif is only referencing itself and the melody/harmony that it is a part of, the filmic leitmotif is referencing some other aspect of the film, like a character or a place or a specific emotion.

Let’s look at John Williams’ work in the Star Wars movies to more fully understand this. 

The opening main Star Wars leitmotif is typically associated with Luke Skywalker, or when the good guys are victorious against the bad guys.

It is heard many times throughout the films, and almost always when either Luke or one of the other good guys saves the day.

The “Force” leitmotif is heard whenever someone (usually Luke or Leia) use the Force, or when it is mentioned in conversation. 

Darth Vader has his own leitmotif that plays whenever he is on screen or when others are talking about him.

This piece is called “The Imperial March”. 

This list could go on for ages.

Every main character of the series – Luke, Han, Leia, Anakin, Obi-Wan, Rey, Kylo Ren, the Emperor – all have their own themes, as well as groups of people like the Rebel Alliance, the Empire, the First Order, and others.

In most films you would see at the cinema that have a score to them, there will usually be at least one or two leitmotifs associated with the main characters, settings, or themes. 

Concluding with Motifs in Music

We hope that has given you a basic idea about the use of motifs in music.

They’re usually very small, no more than a few notes in length, but they carry with them lots of thematic weight.

In Beethoven’s case, many of his pieces are literally built almost entirely from small motifs.

So, let’s take an in-depth look and answer the question: What is melody?

The Definition of Melody

Just like harmony is the main way to organize notes and pitches vertically, the main way to organize them horizontally is melody.

A melody is a series of notes played in an order that is memorable and recognizable as a separate unit.

Let’s take that definition and break it down in order to understand it better.

Related: See our guide to what is pitch in music here.

A Melody is a Series of Notes

A melody can’t just be made of one note. You can’t just hum a note and call it a melody, and probably even two or three notes are too short.

Most melodies have a lot more than that – for example, Happy Birthday is a super easy melody to learn and sing, and it’s 25 notes long!

That being said, a melody can have very few pitches of notes and still be classed as a melody.

An excellent example of this is perhaps ‘One Note Samba’ by Antonio Carlos Jobim. Despite its name, the head of the song only has two pitches.

Played in an order that is memorable

A melody should be relatively simple to memorize and reiterate.

Random notes played in an order that is hard to predict and hard to remember after they’ve been played usually don’t count as a melody.

And recognizable as a separate unit 

A melody must be separate enough from the notes around it (the harmony) in order to be recognized as a melody.

If the notes blend too much with the notes around it, or if you can’t hear the notes, then it most likely doesn’t count as a melody.

Examples of Melodies

In most of the music you hear on the radio like pop and rock music, jazz music, and classical music will have a melody that fits all three of these criteria.

How they do this differs – for example, in radio music, you’d have the one vocalist singing the melody, whereas in classical music you’d have multiple instruments all playing the melody at the same time.

Sometimes you’d have multiple instruments or singers playing different melodies at the same time, which is called polyphony.

In very simple terms, a melody is something that is “hummable”.

Take these three examples – their melodies are very easy to sing along to and instantly recognizable if you’ve ever heard them before.

One of the more famous melodies in classical music is the Strauss waltz “The Beautiful Blue Danube”:

A very famous melody from pop music is the song “Yesterday” by The Beatles: 

One of the most famous jazz melodies is “In the Mood” by Glenn Miller Orchestra: 

The Building Blocks of Melody

Melody is often made up of smaller segments that repeat.

Let’s take Happy Birthday as an example, like before.

This melody consists of four separate phrases.

Phrases

A phrase is like a small subsection of melody, and consists of two or three notes or up to 10 or so.

The phrases in Happy Birthday are either 6 or 7 notes long.

Phrases usually end with what is called a cadence.

If you think of a pop song you would hear on the radio, like “Photograph” by Ed Sheeran, you can think of a phrase as a “line” of the song.

So in the chorus, there are four phrases. See if you can spot them!

Motifs

Another smaller unit of melody is called the motif.

Motifs are less directly connected to melodies than phrases are, but they still can be built upon and combined to form a melody, and a phrase and a motif can sometimes be one and the same thing.

A motif is also a bit more hard to define and to notice – it’s mainly just a short, repeating figure or fragment that has some significance in a melody or in a composition. 

A famous example of a motif being used to form a melody is Beethoven’s Fifth Symphony.

At the beginning, the motif is played twice, and then the violins play the motif multiple times to form the basis of the melody used throughout the piece.

In film music, a motif often just means a phrase or melody that is associated with a specific character or place that plays different times throughout the film.

For example, when you see Darth Vader enter a room or a spaceship, or even when he is mentioned or thought of, this motif plays:

Another example is this motif, which is associated with a film franchise as a whole, rather than one specific person or place: 

Summing Up Melody

To sum up, melody is one of the most important aspects of music.

Many music scholars and musicians believe that melody is the highest form of music, and that harmony and rhythm are just there to better serve the melody.

Johann Kirnberger (1771) said “The true goal of music – its proper enterprise – is melody.”

So it is quite important to know how to recognize it and how to create one!

This post will help you with everything you need to know to start learning species counterpoint. First, let’s start off with a recap of what counterpoint is.

What is Counterpoint?

Counterpoint in music is the relationship between two or more simultaneous melody lines.

It is a structure that helps us decide how to write melodies that fit together harmonically.

When talking about counterpoint, we use the term voices to refer to each melody, one of which is the fixed voice, or cantus firmus, from which the other melodies are based off of.

If you want to learn more, check out our article on counterpoint here.

The Five Species Of Counterpoint

In counterpoint, there are five species of counterpoint that you can learn which are:

• First species
• Second species
• Third species
• Fourth species
• Fifth species

Think of the species like levels, so First Species counterpoint is the easiest, and they get gradually harder and harder up to Fifth Species. 

In all species counterpoint, there is a cantus firmus that is notated in semibreves (whole notes).

This melody could be four, six, eight bars long or longer, and is usually very simple.

The cantus firmus is then used as the basis for composing the counterpoint melody. Here’s an example: 

Basic Rules for All Species

There are a number of rules that apply to all five species of counterpoint.

Some rules are applied to both melodies, the cantus firmus and the counterpoint melody, and some rules are applied only to the combination of the two melodies and the harmonies they create.

Some of those that apply to each part are:

1. The final note must be approached by step. In a minor key, if the final is approached from below, then the leading tone must be raised (e.g. C to C# in D minor).
2. The melody can be made up of specific intervals: major and minor 2nds and 3rds, perfect 4ths, 5ths, and octaves, and the ascending minor 6th (which must then be followed by motion downwards).
3. Generally, do not write more than one skip at a time in the same direction. If it is done, the second skip must be smaller than the first, and the first and third note cannot be dissonant to each other.
4. If you have a skip in one direction, it should be followed by motion in the opposite direction.
5. There must be a climax (high point) in the counterpoint melody line. This should occur somewhere in the middle of the melody on a strong beat.

Rules that apply to the combination of the parts:

1. The piece must begin and end on a perfect consonance.
2. Contrary motion should be used as often as possible.
3. Perfect consonances (4th, 5th, or octave) must be approached by oblique or contrary motion.
4. Imperfect consonances (3rd or 6th) may be approached by any type of motion.
5. One melody line should not be more than a 10th (an octave + a 3rd) above the other.

First Species Counterpoint

In First Species counterpoint, you have one note against one note.

Therefore, with a semibreve cantus firmus, you have semibreves in the counterpoint melody.

In addition to the list of rules above, there are a few more rules specifically for First Species counterpoint:

1. The counterpoint must begin and end on an interval of either unison, octave, or fifth, and usually only unison or octave.
2. You cannot use unison intervals (the same note in both melodies at the same time) except at the beginning or end.
3. Do not move both parts in parallel 4ths, 5ths, or octaves.
4. Avoid “hidden” parallel 4ths, 5ths, and octaves, which is movement by similar motion to a perfect 4th, 5th, or octave, unless one of the parts moves by step.
5. You cannot use any interval more than three times in a row.
6. Try to use multiple parallel thirds or sixths in a row (though only up to three, as stated in rule 5).
7. Do not move both parts in the same direction by skip.
8. Avoid dissonant intervals 2nds, 7ths, augmented or diminished intervals, and (often) perfect 4ths.

With these rules in mind, I have written out a counterpoint melody to the cantus firmus shown above, with both melodies following the rules.

The cantus firmus is the bottom line, and the counterpoint melody is on top.

Second Species Counterpoint

Second Species counterpoint is similar to first species, except that the counterpoint melody line has double the amount of notes.

If the cantus firmus is notated with semibreves, then the counterpoint line is notated with minims (or half notes).

A few additional rules (or relaxations of previous rules) are added for second species counterpoint as well.

1. You can begin on an upbeat, leaving a half-rest at the start of the counterpoint voice.
2. The accented beat (first minim in each bar) must only have consonant intervals (3rds, perfect 4ths and 5ths, or 6ths). The second minim beat may have dissonance, but only as a passing tone, and it must be approached and left by step.
3. Unison, while still avoided, may occur on the unaccented part of the bar.
4. You cannot have successive accented perfect 5ths or octaves.

With these rules in mind, I wrote an example of second species counterpoint, using the same cantus firmus from before. 

Third Species Counterpoint

Third Species counterpoint is when you have four counterpoint notes against one cantus firmus note.

So if the cantus firmus is composed of semibreves, then the counterpoint voice is composed of crotchets (or quarter notes).

This species is more flexible than the previous two, and allows for two dissonant passing tones in a row, although the first beats of each bar must always be consonant. 

Here is an example of third species counterpoint. 

Fourth Species Counterpoint

In Fourth Species counterpoint, you have notes that are “tied” over the bar line, creating “suspensions” of the counterpoint voice over the cantus firmus voice.

This means the first beat of the bar (the accented beat) often has a dissonant interval, which is then made consonant by the next note, on the unaccented beat.

Here is an example of fourth species counterpoint.

Fifth Species Counterpoint

In Fifth Species counterpoint, you can combine the rules and structures of the previous four species, so you can have suspended notes, minims, crotchets, and semibreves. 

Here is an example of fifth species counterpoint.

Summing Up

That’s all there is for species counterpoint. There are a lot of rules that were just thrown at you, and at first it definitely seems overwhelming when you first start, but it gets easier as it goes along.

Start with writing a small, four or six bar First Species counterpoint.

Then move on to Second Species, and keep the same cantus firmus and just add more notes on the counterpoint voice.

Do the same with Third Species, and then look to create dissonance in the first part of the bar for the Fourth Species.

Once you can do all four, all you need to do is put them all together! 

In this post, we’ll cover all the different types of motion in music and explain how to describe each one.

Describing the Motion of a Single Melody

When describing the motion of a single melody we look at two things:

• The intervals between the notes of the melody
• The direction in pitch of the melodic line

Let’s first take a look at the two ways we describe the size of an interval in a melody by looking at stepwise and skipwise motion.

Stepwise motion

If a melody moves between two neighboring notes, like G and A, or G and F# this is called a step.

The notes can be a semitone (half step) or tone (whole step) apart, as long as they are next to each other. 

This type of melodic motion between notes that are steps apart is called stepwise or conjunct motion.

An example of a stepwise melody would be a major scale as every note is a semitone or a tone above or below the previous note.

Skipwise Motion

Motion can also be between two notes that do not neighbor each other, like G and B, or G and E. This is called a skip.

Any interval greater than a major second is considered a skip.

This type of motion between skips is called skipwise or disjunct motion.

An example of a stepwise melody would be an arpeggio as every note is an interval greater than a major 2nd above or below the previous note.

Direction Of The Melody

The other way we describe motion in a single melodic line is whether the melody is going from a low note to a higher note, or from a high note to a lower note.

When it’s going from a low note to a high note then that melody is ascending.

And vice versa, when it is going from a high note to a lower note, then that melody is descending.

Both ascending a descending melodic motion can happen through steps, skips, or both.

Describing Motion Between Two Melodies

The section above defines the terms you can use to describe the motion of a single melody.

But, there are also terms to describe the motion between two melodies.

These terms are parallel, similar, contrary, and oblique motion. Let’s take a look at each one with some examples.

Parallel Motion

Parallel motion is when two melodies move in the same direction while keeping the intervals between the notes of each melody the same.

For example, if both melodies are ascending, and one melody is always exactly a 3rd higher than the other, then that is parallel motion. 

Similar Motion

Similar motion is very similar to parallel motion with a slight difference.

The direction of each melody has to be the same, so when one melody is descending the other has to descend, and when one melody is ascending the other has to ascend too.

However, the intervals between the melodies do not always have to be the exact same.

For example, when one melody skips up a 3rd, the other might step up a 2nd.

Or both can skip, but one would go up a 6th and one a 4th.

Contrary Motion

Contrary motion, unlike similar and parallel motion, is when one melody ascends and the other melody descends – each melody moves in the opposite direction of the other.

The other type of contrary motion is called strict contrary motion which is where the melodies move by the same intervals, just in opposite directions.

Oblique Motion

Oblique motion is the last of the four kinds of motion.

If parallel and similar motion means two melodies are moving in the same direction at the same time, and contrary motion means they are moving in different directions, then oblique motion is when one melody stays on the same note while the other moves.

The melody in motion can move in any direction, ascending or descending, and it can move by steps or skips – as long as one melody stays at the same pitch, then this is oblique motion.

The melody can be rearticulated (played each time) or it can be held throughout (stationary).

That’s Motion in Music

There you have it, that covers all the different kinds of melodic motion in music.

Whenever you have one or more melodies, and that melody has more than one pitch in it, then you can describe it using one or more of the terms we covered in this post.