As a song becomes more harmonically complex the available notes to pick from become larger.
Common ideas such as constructing songs that go from the minor to the major to the
major seventh to the minor 7 flat 5 are typical examples.

You hear these changes used in sections of “Smooth” by Santana, “Still Got the Blues” by Gary Moore, and “I Will Survive” by Gloria Gaynor
Dm7 F/G Cmaj7 Fmaj7 Bm7b5 E Am is the intro to "Still Got The Blues" The melody Gary constructed is something I really like.

I think the bottom line to all this is that just walking up to the microphone and singing what ever comes to mind is one of the least effective ways to produce a memorable melody line.

Better to have things well thought out. That is not to discount the fact that "gold is where you find it" but some places to look have a much greater chance for success.

For me a combination of developing song writing skills, better theoretical understanding and just trying to be as prolific as possible in the number of songs I try to write has helped a lot.

Billy

As a side bar issue, I checked what David Snyder writes. David is a highly skilled musician who I should pay more attention to what he says. I highly recommend checking out things he has posted on Reverbnation.

Last edited by Planobilly; 08/14/21 10:43 PM.
“Amazing! I’ll be working with Jaco Pastorius, Charlie Parker, Art Tatum, and Buddy Rich, and you’re telling me it’s not that great of a gig?
“Well…” Saint Peter, hesitated, “God’s got this girlfriend who thinks she can sing…”