Coloration (melodic embellishment)

The same melody, more notes

In coloration an existing melody is not replaced but played around. Long note values of the model are broken into fast figures: runs, neighbour notes, passing notes. The basic voice, for example a chorale melody or a cantus firmus, stays recognisable. The example below shows two versions of the same melody. In the second the main notes are the same, but the way to them is enlivened.

In the glossary: Coloratura · Figuration · Non-chord tone

History

The technique was widespread in the 15th and 16th centuries above all in organ music, for example in intabulations and chorale arrangements, in which long note values of the model were broken up by coloured runs. Related practices are found in the diminution of the 16th and 17th centuries, in which longer note values are likewise broken into shorter, embellishing figures. Coloration emphasises rather the free embellishing, diminution rather the systematic replacement by shorter values.

How to make it work

For the melody to stay recognisable the main notes must stay on the strong beats. The added notes are mostly non-chord tones: passing and neighbour notes that mediate between the main notes. Their effect depends on their position in the bar.