The_Complete_Idiot%27s_Guide_To_Music_Theory
The_Complete_Idiot%27s_Guide_To_Music_Theory
The_Complete_Idiot%27s_Guide_To_Music_Theory
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142<br />
Part 3: Tunes<br />
Writing a Melody to a Chord Progression<br />
You don’t have to start with a melody; you can base your tune on a specific<br />
chord progression and compose a melody that best fits the chords.<br />
If you prefer to work this way, it helps to get a good feel for the chord progression<br />
before you start writing the melody. Play the chords again and again on<br />
either a piano or guitar. In many cases, you’ll find a melody forming in your<br />
head; if this type of natural melody comes to you, you only have to figure the<br />
notes and write them down.<br />
If no natural melody occurs, it’s time to roll out the theory. While you don’t<br />
want to work totally mechanically, there are some basic approaches you can use.<br />
Take a look at these tips:<br />
◆ Stay within the notes of the chords—at least for the main notes in the<br />
melody. If you’re holding an A minor chord in a specific measure, work<br />
with the notes A, C, and E for your melody.<br />
A simple melody for the popular I-IV-V chord progression—note the heavy use of chord notes in the melody. ( <strong>The</strong> notes<br />
indicated with a (p) are passing tones.)<br />
Note<br />
In this example, the C in<br />
measure 3, beat 4 is technically<br />
an anticipation, not<br />
a passing tone. An anticipation<br />
is, in effect, an<br />
“eager” note—a note from<br />
the next chord that is<br />
sounded just a little earlier<br />
than the chord itself.<br />
Note<br />
Now that you know all<br />
about chord progressions,<br />
turn back to Chapter 8,<br />
and repeat some of the<br />
exercises with specific<br />
chord progressions in<br />
mind.<br />
◆ Try to find a logical line between the main notes in different measures.<br />
For example, if your chord progression goes C-Am-F, realize that these<br />
chords have one note in common—the C. So you can base your melody<br />
around the C note. Conversely, if your chord progression goes C-F-G,<br />
you might want to pick three notes (one from each chord) that flow<br />
smoothly together—E to F to G, for example; or G to F to D.<br />
◆ Use notes that emphasize the quality of the underlying chords. For example,<br />
when you’re writing to a V7 chord, emphasize the tension by using<br />
either the root or the seventh of the chord in the melody.<br />
◆ Once you pick your main tones, fill in the gaps with passing tones.<br />
◆ Come up with an interesting rhythmic motif, and repeat that rhythm<br />
throughout the melody.<br />
I wish there were a more complete set of rules for adding a melody to a chord<br />
progression, but we’re getting into an area that is more art than science. <strong>The</strong><br />
best way to hone your skill is simply to work at it—play a lot of chord progressions,<br />
and practice writing different types of melodies over the chords. (And<br />
remember to read my companion book, <strong>The</strong> <strong>Complete</strong> Idiot’s <strong>Guide</strong> to <strong>Music</strong><br />
Composition, for lots more advice and instruction.)<br />
Over time, you’ll figure out your own rules for writing melodies—and develop<br />
your own melodic style.