3 syllables: me, lo, dies. Stress on me.
MEL-uh-deez
/ˈmɛlədiz/
melodies is pronounced MEL-uh-deez (/ˈmɛlədiz/). It has three syllables (me-lo-dies), with the stress on "me". Melodies refers to sequences of musical tones that are tunefully organized, typically carrying the main musical idea of a piece. In everyday use, it also denotes the pleasant succession of pitches that form a tune. The term emphasizes the contour, rhythm, and expressive shape of musical lines, rather than lyrics or harmony alone.
Melodies refers to sequences of musical tones that are tunefully organized, typically carrying the main musical idea of a piece. In everyday use, it also denotes the pleasant succession of pitches that form a tune. The term emphasizes the contour, rhythm, and expressive shape of musical lines, rather than lyrics or harmony alone.
"The melodies from the festival lingered in my mind long after the concert ended."
"She practiced the bright, lilting melodies until every note felt effortless."
"The composer crafted simple, memorable melodies that audiences could hum along to."
Pronounce as /ˈmeləˌdiːz/ for US and UK; AU mirrors this: /ˈmeləˌdiːz/. Primary stress on the first syllable /ˈmel/. The second syllable has a secondary stress or light stress; the final -ies becomes /iːz/ as in 'melodies' rhyming with 'cafedi es' (mind the /ˈmel-ə-ˌdiːz/). Mouth position: start with a clear /m/, open front vowel /e/ in the first syllable, a light schwa /ə/ in the second, and a long i as /iː/ before z. Listen for rhythm: two-beat initial syllable then a longer final -diːz.
Common mistakes: 1) Flattening the second syllable so /ˈmeləˌdiːz/ becomes /ˈmeləˈdiːz/ or /ˈmeləˌdiz/; ensure the /iː/ is spelled out with a clear /iː/ before z. 2) Misplacing stress, saying /ˈmɛlɪˌdiːz/ with incorrect vowel in first syllable; maintain /ˈmel/ with a pure /e/ as in 'melody' first syllable. 3) Running the final z-sound into a slack 's' or not voicing; keep a voiced /z/. Tip: practice the toy-word rhythm: MEL - o - dies, with the middle reduced vowel /ə/ and final /iːz/.
In US, UK, and AU, the pronunciation centers on /ˈmeləˌdiːz/. US tends to a rhotic, crisp /ɹ/ not affecting vowels here; UK typically has a slightly shorter /ə/ and a non-rhotic /r/ absent; AU mirrors UK with a mild non-rhotic behavior and bright /iː/ in the final syllable. The primary contrast lies in linked speech: /ˈmeləˌdiːz/ with flapped or unreduced vowels in rapid speech; stress remains on first syllable. Generally, vowel quality differences are subtle; the /ɪ/ in 'melody' shifts to /e/ in some dialects? No, here 'mel' remains /mel/ in all three, with the second syllable /ə/ and final /diːz/ consistent, though connected speech may reduce the /ə/ more in US.
The difficulty centers on the transition from a non-stressed schwa in the middle syllable to the high front vowel /iː/ in the final syllable and maintaining a voiced /z/. Another challenge is preserving clear syllable boundary and the plural -ies pronunciation without trisecting into /-iz/ or dropping the /l-ɛ/ sequence. Practicing the sequence MEL-ə-diːz helps—focus on a crisp /l/ after /m/ and timing the /ə/ before /diːz/. IPA cues: /ˈmeləˌdiːz/.
A unique aspect is the two-stress pattern when spoken in natural rhythm: primary stress on the first syllable and secondary emphasis on the third? In 'melodies', the natural rhythm is primarily two-syllable weight with a light second syllable and a longer final syllable; the -ies ending behaves like /iːz/ rather than a simple /z/. Remember to make the final /z/ clearly voiced and not devoiced in fast speech.
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The word melody comes from the Greek me·lo·dy from melos meaning song, tune, or limb, paired with the suffix -ody from Greek -ōidía meaning singing or song. The Latin and then English adoption framed melody as a succession of single tones arranged to form a tune. Old French influence also contributed to the musical sense of melody in the medieval and early modern periods, though the core concept—an organized, singable sequence of pitches—dates back to ancient Greek and Hellenistic musical theory. Historically, me·lo·dy implied a linear musical line distinct from rhythm or harmony; over time, it broadened to include any tuneful succession. First known use in English attested in the 13th–14th centuries in discussions of chant and song, evolving alongside the broader vocabulary of music theory as Western tonal music developed. In contemporary usage, melodies are analyzed not only as pitches but as melodic contour, phrasing, and expressive shape, often contrasted with harmony or rhythm in musical analysis and pedagogy.
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Words that rhyme with "melodies"
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