As an introduction for delving into this topic, one example comes to mind. Morning Has Broken, shown below, is in the key of C which is helpful for keeping things simple. This is a melody that starts on the first note of its key of C major scale (C-D-E-F-G-A-B-C). Starting out on the note C (in the key of C) can also be thought of as starting on on "Do" (as in Do-Re-Mi-Fa-Sol-La-Ti-Do).
Noteworthy too for this melody is that with the first four notes, a full octave is reached for range. And within this, the harmonically strong notes (see earlier post) of E and G are included. And for thoughts of chords, it is noteworthy that these notes (C E G), when played together, are notes found in the C major chord. For this melody to start out on Do and to then span a full octave using foundationally strong and primal notes along way, I think makes it rather unique. From the start, it clearly and strongly states the key it is being played in and the scale being used.
This brings to mind another melody that could be referenced. Joy To The World likewise has some interesting and unique traits. It too starts out on Do but does so at the top of the octave. Shown below, in the key of D, the melody descends, note by note, through all the notes within the key of D major scale. One by one, it hits all of them in sequence from top to bottom. Basically it is the same as singing the Do-Re-Mi scale in reverse as Do-Ti-La-Sol-Fa-Mi-Re-Do.
Also of interest is that for range of notes this melody starts out on the highest note in the song and then descends to its lowest note. The melody thus having a full octave for range singing from Do to Do. Again, this song and melody seems rather unique and interesting.
Obviously this conversation relating to melody notes could get much more complex. Oftentimes this leads to study on modal scales for where melodies are found, and too for different scales in addition to just the Major one. In addition, there are also those notes found between the Do-Re-Mi ones - such as "blue" notes and chromatic ones. Though expanding complexity can allow for more richness of sound for chordal harmonies - which allows for more complexity melodic lines - I think having an appreciation for the simplicity of structure that can be found with these two examples has much value.
So in conclusion I could ask, who hasn't sat in on an event where someone started out singing "happy birthday" in a way that others could not easily join in for finishing, or find it disconcerting to want to sing "silent night" and then have to drop out for the high notes? In simple terms, I guess it could be said there are some practical applications for putting a bit of music theory and understanding to practice.
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