The single thing which differentiates melody from a succession of pitches is the implication of a harmonic context. This is more subtle than it appears, a melody need not be a musical thought - it need not be a complete musical sentence. The difference here is that a complete musical sentence implies closure. While most works rely on melodies that are complete, this is by no means always the case. Many of Beethoven's melodies are not complete musical thoughts - but images of a central thought, a central idea. Handel's interlocking double fugue themes are often complimentary - neither one, alone, implies a complete progression. Melodic ideas which are open ended have the virtue of being more flexible for the ends of development and transition. Melodies which are too complete in themselves are more difficult to reharmonise. This is a problem Berlioz often ran into To imply a harmony links melody to rhythm as well. Only in the context of some rhythmic framework is their the ability to "sense" - that is perceive and interpret - what the harmonic context is. Beethoven delighted in taking common successions of notes, altering their rhythm and producing new resolutions, that is implying new harmonic contexts with known figurations. That composers and musicians have to grapple with a basic element of their art is not a weakness, but a strength, it means that the foundation of the art is perpetually open to exploration. Stirling S Newberry [log in to unmask]