Melodies are created either from broken chords (arpeggiation), step-wise portions of diatonic scales, or a combination of those two elements. Melodies either suggest or are derived from the underlying chord progression.

a. Arpeggiation

b. Diatonic scale, full or partial

c. Diatonic scale with chromatic nonharmonic tones

d. Combined use of arpeggiation and scalar passages

Harmonic Rhythm

The duration of the underlying harmony can greatly impact the style and character of a melody. The Baroque composers Handel and Bach often employ a rapid rate of change in their harmonic rhythms including two or more chords per measure, while Classical composers (such as Haydn, Mozart, and Beethoven) and Romantic composers (such as Mendelssohn and Chopin) often employ a slower rate of change, such as one chord per measure or one chord every two measures.

A typical approach is for the harmonic rhythm to remain consistent at the start of the phrase, with an increase in harmonic rhythm pushing towards the cadence.

In the Dvořák melody below, the harmonic rhythm starts as a relatively slow one chord for every two measures, with an increase in harmonic rhythm to one chord per measure and then two chords per measure as the melody pushes towards the cadence.