Piano Guidance
Piano Guidance
Photo: Alena Koval
The best are C, E and G, as they actually make up that chord. Depending where in the bar you sing other notes over it, others may or may not fit. Your ear will tell you better than a written explanation.
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Read More »Not being completely sure what you are asking - I will answer the question as if you are writing a melody for a song based on a pre-determined chord progression. If you were to approach writing a melody by first defining a chord progression, you would probably want to start with chords that fit within the key you decide your song should be in. So let's pretend we are going to write a chord progression in the key of C. So we choose chords from the key of C and let's say we decide our progression will be C / F / Dm / G and it repeats. Since chords and chord changes define our rhythm, we need to decide how many beats each chord gets and where the chord changes fall. Let's keep it simple and say each chord in our progression will be played for one bar or 4 beats (4/4) time and the chord changes will occur on beat one of each new measure. So now we need some melody notes to go with the chords. Within each measure (or bar) we will have a certain number of notes depending on how fast we want our melody to go. So we could have 4 quarter notes in a measure or 8 eighth notes or 16 sixteenth notes or any combination depending on how we want the melody to flow. So if we choose six notes per measure then we must decide which six notes we might use. Let's start with the C chord in the first measure. The easiest notes that we can be sure will work - will be the notes in the C major triad or C,E and G. As a general rule, the first note of the measure that begins with a C chord should be one of the 3 notes in the C major chord meaning either C or E or G. It can be an octave or more higher or lower than the notes played on your guitar. If you have six notes total, at least three of the six notes should be one of the three notes found in the C chord (can be octave or more higher or lower as long as it's a C or E or G). In any given measure, try to choose most of the notes (at least every other note) from the notes found in whatever chord you are playing for the duration of that run of notes. It won't sound good if you play a measure strumming the C chord and only one of the melody notes are within the chord. The more the better but at least half as a guideline. Our options for notes other than the C, E or G are any note in the C major scale (key of C major). This applies only to the tonic chord or the chord that is the same as the key we are playing in.
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Read More »For our next measure using the F chord, our notes are more limited. The same principle will apply for using one of the 3 notes in the F major triad (chord) as our first note in this measure. That gives us a choice of **F, A and C.** The same guideline applies to make most of the notes in that measure either an F, A or C (any octave). The other notes available will be derived from a combination of the F major scale and the C major scale. We want to choose from notes that are common to both scales. We want to keep our notes within the C major scale because our song is in the key of C and if we are singing or playing melody notes over an F chord, they will sound better if they are in the key of F. The notes in C major are C,D,E,F,G,A,B. The notes in F major are F,G,A,Bb,C,D,E. So the notes we should not use while playing the F major chord is Bb because it is not in the key of C and B because it is not in the key of F major. This leaves the notes common to both the C major scale (key of our song) and the F major scale (the chord we are now playing) which would be F,G,A,C,D and E. The same logic will apply to the other chord sequences. Again, first note played after the chord change should be one of the notes that form the chord. If it's a four note chord (7th, augmented, etc.) you can use any of the four notes and often the note that makes it something other than a triad will be suggested strongly as a melody note or two while playing that chord. If you must use a formula, a safe bet is to choose the notes that are common to the chord being played AND the key of the song. In other words choose from the list of notes that are common to both of these two scales. There are exceptions that will work in some circumstances, but this will keep you in safe territory. You don't really need to chart out all the notes of all the scales of all the chords if you are composing a melody to go with a chord progression though. If you try to choose most of the notes that are to be played or sung over a certain chord - from the notes that form that chord, your ear will lead you to the other notes that will fit with that chord. If you pick a wrong note while sounding that chord - it will sound sour or wrong.
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Read More »So the simplest way to compose a melody over chords is to use the notes in the chord itself (octave or more in either direction is okay) as a basic framework for the notes that fit with that chord, and the rest of the notes will fit naturally within that framework and you will hear what works without having to compare scales and match notes. Let your ear be the guide for any notes that are not a part of the chord. As you can see, you have more than one note that will work with any chord. Feel free to experiment and just see what sounds good. Hope this helps.
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