The phrase "a bit of melody" is correct and usable in written English.
It can be used when referring to a small or subtle piece of music or tune, often in a casual or informal context.
Example: "As I walked through the park, I heard a bit of melody drifting from a nearby street performer."
Alternatives: "a touch of melody" or "a hint of melody."
Billie Holiday is country-ish, with a bit of the melody from Motown standard My Girl interpolated halfway through.
The volume containing the Second and Fourth Symphonies distills some of the composer's finest music; the Third Symphony, with a meltingly beautiful slow movement that gave Leonard Bernstein a bit of the melody of "Somewhere," also has high impact.
In "Ol' Man River," Kern and Hammerstein force "Dixie" to switch sides, as it were, borrowing the rhyme and, there at the end, a bit of the melody, to allow Robeson — and, later, Ray Charles and Sam Cooke and so many others — to make the opposite racial point: The white boss "don't plant taters and he don't plant cotton / and them that plants them are soon forgotten".
In "Ol' Man River," Kern and Hammerstein force "Dixie" to switch sides, as it were, borrowing the rhyme and, there at the end, a bit of the melody, to allow Robeson and, later, Ray Charles and Sam Cooke and so many others to make the opposite racial point: The white boss "don't plant taters and he don't plant cotton / and them that plants them are soon forgotten".
There were maybe half a dozen interstitial parts involving Super 8-like, grainy-color videos, or dancers moving in various styles to an abstracted bit of melody, or modest light shows.
It starts with a 90-second 'prelude', a clattering rhythm track with a bit of rapping and snippets of melody.
Yet Braxton periodically introduced an abbreviated, smokily lyrical bit of melody.
In "You and I," keyboards circle through a few thin but reverential chords and a rhythm machine drifts in and out as the singer ponders an uncertain relationship: "I can feel a change coming over us, and it's gonna hurt". The lines of lyrics take a different length and shape with each new bit of melody, turning the flux of feelings into a structure.
Arthur Blythe, an alto saxophonist who is playing with more and more authority, likes to give his groups just a bit of a musical framework - a melody, a few lines - and let the musicians improvise the rest.
