The above example is the motif used in the chorus of "High and Dry", and although very short and simple, illustrates many songwriting techniques. It utilizes the aforementioned use of wide interval leaps (a technique used by Brian Wilson) on the words "high" (notice the pun - vocalist Thom Yorke jumps into falsetto as he sings the word "high"), and also on "dry". It also uses the thematic device (like described in the analysis of Eleanor Rigby) with it's repetition of the same phrase twice, over different chords; the first time over Emaj to F#5, and the second time over Amaj to Emaj.
There is an additional melodic device here, however, which is quite effective; the use of "color tones" in the melody. The note sung during "high" is a G#, which is held for an entire bar over the F#min chord. The G# is not actually a note in the F#min chord; although it certainly doesn't sound wrong. This melody note adds texture to the sound of the chord, and is a really nice songwriting device.
There are many other examples of this technique in pop songwriting. One very obvious and deliberate use of this is in Al Green's 1971 hit "How Can You Mend A Broken Heart?" (mp3 clip) in which Green sings a D# (the major7th) over an Emaj chord throughout the chorus.
