Jack_ROCKS_Canada
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tips on how to do it in a general sense? or say for example you have developed a rythm structure with chords, how to you create a melody from that?
Constructing Melody
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larry_emder
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Re: Constructing Melody
Play whatever comes into your head....seriously, try singing a melody that comes into ya noggin, tape that, then play it on guitar. The best way to make up a melody.
Also, knowing your scales helps....if only to be playing in key
Play whatever comes into your head....seriously, try singing a melody that comes into ya noggin, tape that, then play it on guitar. The best way to make up a melody.
Also, knowing your scales helps....if only to be playing in key
Re: Constructing Melody
Learn modes and scales and other specifics related to music theory. Pick a Chord like Cmaj7 for example:
C E G B
Now play your seven modes in the key of C
Ionian: cdefgabc
Dorian: defgacbc
Phrygian: efgabcde
Lydian: fgabcdef
Myxolidian : gabcdefg
Aeolian: abcdefga
Locrian (leading tone scale): bcdefgab
Start by training your ear to hear the mood/color of each of these modes as they are played against the chord. This doesn't guarantee that you'll be creating sweet melodies by tommorrow, but its good ear training so it's bound to help.
Use common sense. Look at our chord and scale.
1 3 5 7
C E G B
CDE^FGABC
The top line is the scale degree that corresponds to each note in the chord.
Now notice the ^ that I placed before the F in the scale. I did this to draw attention to the fact that the 3rd degree in the chord is only a half step (minor second) from the forth degree in the scale. The ^ indicates that there will be a disonance (clash) between the third degree in the chord and the forth degree in the scale. This is what I mean by common sense. Common sense dictates that you should use the forth degree of the scale only as a quickly passing tone (if played at all) against this chord. Stopping on F will cause an ugly clash in the harmony.
Lets examine each note of the ionian (major scale) as it relates to the chord.
1 3 5 7
C E G B
CDEFGABC
C In our scale C is the root of the chord so its safe to play w/o dissonance.
D is a major second (whole step from both C and E) this is less disonnant than
a minor second so the ear should tolerate it. Also if we extend the scale
and harmony above 1 octave (8 steps of the scale) we will find that D is
also the 9th degree of the scale. Pausing on D will form and chord
extension (CEGBD) or Cmaj9 which is a common chord used in Jazz and
other forms of music. Good as passing tone or stopped on as part of the
extended harmony.
E E is the major third degree of the chord so no problem there
F F is the (perfect) forth degree and will clash because it is only a min second
(half step) from our third degree in the chord which is E. Use this note
only as a passing tone so that the ear won't have time to concentrate on
the dissonance.
F# While this note is not part of the original Chord or Scale, it is part of the
extended harmony. CEGBDF# is Cmaj+11 where F# is an augmented 11th scale
degree from the root of the scale C an octave lower. This means that in
certain situations (namely when the 5th G is ommitted) F# can be
considered a member of the chord. This changes the color of the chord
to a more bluesly/jazzy flavor. Played on octave lower forms the chord Cmaj7b5.
as such F# can be treated either as part of the extended harmony or as an
altered or diminished (Gb in this context) 5th in place of the natural fifth G.
G 5th degree of the chord! Ok!
A 6th degree and major second (whole step) from both the 5'th G and the
7'th B. Also can be used to form the Chord C6. Less dissonant. This is also
the 13th degree and part of the extended harmony as in Cmaj13. Good
as a passing tone but won't offend there ear if stopped on as a harmonic
extension.
B 7th degree and part of the chord so its OK
Proceed in this manner for each of the notes in the scale taking note where the clashes (minor second or half step) intervals exist between the notes of the scale and the notes of the chords. This should give you an idea as to which notes should be emphasized and which notes should be avoided or treated as passing tones.
Remember however that rules are made to be broken. This is just a starting point or point of reference and should not be practiced as a religion.
I'll stop here.
Learn modes and scales and other specifics related to music theory. Pick a Chord like Cmaj7 for example:
C E G B
Now play your seven modes in the key of C
Ionian: cdefgabc
Dorian: defgacbc
Phrygian: efgabcde
Lydian: fgabcdef
Myxolidian : gabcdefg
Aeolian: abcdefga
Locrian (leading tone scale): bcdefgab
Start by training your ear to hear the mood/color of each of these modes as they are played against the chord. This doesn't guarantee that you'll be creating sweet melodies by tommorrow, but its good ear training so it's bound to help.
Use common sense. Look at our chord and scale.
1 3 5 7
C E G B
CDE^FGABC
The top line is the scale degree that corresponds to each note in the chord.
Now notice the ^ that I placed before the F in the scale. I did this to draw attention to the fact that the 3rd degree in the chord is only a half step (minor second) from the forth degree in the scale. The ^ indicates that there will be a disonance (clash) between the third degree in the chord and the forth degree in the scale. This is what I mean by common sense. Common sense dictates that you should use the forth degree of the scale only as a quickly passing tone (if played at all) against this chord. Stopping on F will cause an ugly clash in the harmony.
Lets examine each note of the ionian (major scale) as it relates to the chord.
1 3 5 7
C E G B
CDEFGABC
C In our scale C is the root of the chord so its safe to play w/o dissonance.
D is a major second (whole step from both C and E) this is less disonnant than
a minor second so the ear should tolerate it. Also if we extend the scale
and harmony above 1 octave (8 steps of the scale) we will find that D is
also the 9th degree of the scale. Pausing on D will form and chord
extension (CEGBD) or Cmaj9 which is a common chord used in Jazz and
other forms of music. Good as passing tone or stopped on as part of the
extended harmony.
E E is the major third degree of the chord so no problem there
F F is the (perfect) forth degree and will clash because it is only a min second
(half step) from our third degree in the chord which is E. Use this note
only as a passing tone so that the ear won't have time to concentrate on
the dissonance.
F# While this note is not part of the original Chord or Scale, it is part of the
extended harmony. CEGBDF# is Cmaj+11 where F# is an augmented 11th scale
degree from the root of the scale C an octave lower. This means that in
certain situations (namely when the 5th G is ommitted) F# can be
considered a member of the chord. This changes the color of the chord
to a more bluesly/jazzy flavor. Played on octave lower forms the chord Cmaj7b5.
as such F# can be treated either as part of the extended harmony or as an
altered or diminished (Gb in this context) 5th in place of the natural fifth G.
G 5th degree of the chord! Ok!
A 6th degree and major second (whole step) from both the 5'th G and the
7'th B. Also can be used to form the Chord C6. Less dissonant. This is also
the 13th degree and part of the extended harmony as in Cmaj13. Good
as a passing tone but won't offend there ear if stopped on as a harmonic
extension.
B 7th degree and part of the chord so its OK
Proceed in this manner for each of the notes in the scale taking note where the clashes (minor second or half step) intervals exist between the notes of the scale and the notes of the chords. This should give you an idea as to which notes should be emphasized and which notes should be avoided or treated as passing tones.
Remember however that rules are made to be broken. This is just a starting point or point of reference and should not be practiced as a religion.
I'll stop here.
Last edited:
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