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zakruti.com » Knowledge, science, education » Music Matters
Creating Melodies from Chord Progressions - Music Composition

Creating Melodies from Chord Progressions - Music Composition

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Rating: 4.0; Vote: 1
Learn how to create melodies from chord progressions. We start with a set of chords in four-part harmony and find notes which fit the progression before going on to add melodic variation and input some non-harmonic tones. This music composition lesson begins with a chord sequence in the key of F minor, above which we demonstrate the most effective way to create a melody that fits with the chord plan. This involves determining the harmony notes that belong to each chord so that these can then be used alongside inessential notes such as passing notes and auxiliary notes to create a melody with character, purpose and direction. The melody is then balanced between distinct and conjunct movement before being enhanced with distinctive rhythm. Composers and arrangers will find this helpful, and it will give performers and analysts a clearer idea of how melody and harmony function in relation to each other. to creating melodies from chord progressions 1:00 - Looking at the chord progression 2:07 - Before you begin 3:09 - Composing the melody 10:45 - Playing the completed melody
Date: 2022-03-28

Comments and reviews: 8


There's not a right way or a wrong way...it just depends what I want to do.
Sometime i'll apply lessons....such as when playing from the C7 into the F Major
chord. i know I can use different modes over the C7..mix b2,6 mix b2 or mix b6.
I could simply play the 3, 5, b7, b2 of the C7
But Im doing to do this instead.... mix #2, #4 or Mix #4....The Gb/F# ( note)
Im going to use the b7 ( Bb) of C7 to Harmonize with the Gb
it'll be a Gb maj7 chord...it just depends how play it or what I want it to sound.
Im going to use the F Maj/D min as my target to play into ...
to harmonize into the F Major (Not the key....just the chords)
I might play the E note..maj 3of C or....... b7/#6 of Gb Maj
Gb lyd #6..the so call N6 chord after the F TONIC....( Major or min)
I know I can also make it dominant. diminished or augmented
Dont expect people to know the different scales or modes I know.
it might sound like passing notes to C7 to some people...it depends how I play it.
I apply what I learn and make use what I learn. Practice applying it and listen
for the different sounds.
i can also see the Bb min as lyd b3 to F harmonic MAJOR
Im use to playing between Harmonic MAJOR and Harmonic min over the same root.
Bb dor #4 to F Harmonic min.

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I'm still very confused about what is considered good conjunct and good disjunct and what is considered bad conjunct and bad disjunct. The doubling and the voice leading of the chords is what creates the conjunct and disjunct but what is the classical rules to follow about conjunct and disjunct. Can you make a video lesson about conjunct and disjunct rules and how to write good conjunct and disjunct in chords?
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I like this very much, however I don't agree with your statement at 2:30. Using only harmony notes makes things sound more predictable and less interesting in my opinion, whereas the upper-structure notes (9, 11, 11+, 13 etc) can add a lot of colour to simple progressions and give a much more surprising twist to your melody. Miles Davis called these the 'butter notes', and for a good reason.
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PURE GOLD! How are these videos not the most popular videos on the net?? Now, I would say the idea of slowing down toward the end sounded like a good idea but combined with a falling melody, it made for an anti-climactic ending. I think a few more 16th notes in a sequence would have been justified to get us to that bottom. THANK YOU for the great work!
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Brilliant video thanks for making this quality content! My one piece of constructive criticism would be that I-d like to also see examples of the techniques used in very well known pieces of music as well as the examples used to make the short melody for this video. But that-s only a mild criticism, overall the video is brilliant, thank you.
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So you don't worry particularly about parallel unions/octaves in the melody and harmony, i.e. E natural to F then E flat to D a bar later?
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Awesome work. Amazing step by step explanation..... Really helps a lot... And you, are the best online tutor.... Love your videos...
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I love these videos. They help reinforce ideas I've stumbled on as an amateur. Plus, you seem like the nicest guy in the world.
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