Best Way To Compose a Melody Over Chords?

Hey all,

I'm considerably new to musical composition, and was wondering what the best way is to compose a melody, taking into account that I've already laid down a chord progresison.

Last time, I just used the notes of the chord to try and make a melody. It worked alright, but I'm wondering if there's a better way to do it. Can I use notes from a scale? (I did this for a solo, with just random notes from the scale, and it sounded great - would this also work for the melody?)

You might also add non-chord tones to your melody. They add interest and some tension, making it more interesting. A melody consisting only of chord tones might be really boring, especially at slow harmonic rhythm. I guess you are familiar with the non-chord tones? If you aren't, then check this.
It is important to be aware of the contour of your melody... It usually has one highest point (climax) and one lowest. It's direction might be from downwards to upwards or vice versa. Of course, it depends on what you want to convey with your melody. It might also be a more neutral one, evolving closely around certain pitch, without clearly presented climax.

Don't do it theoretically, but rely your imagination. Sing in your head as if improvising. I'm very sure that Mozart and Schubert did it the same way. Or do you really think, that, when Schubert wrote his famous songs, he had his chords there and thought "well, this is a G major, maybe I could add a d - but b and g would also be possible... or should I even use a tone which is not part of the chord?!"?

If you are having problems with melody-crafting, my best tip is: have patience. Think about the piece over a week, brainstorm every so often, and you will have found yourself a melody. I personally do not have too much trouble with creating melodies, so I guess my aid might not be the most pedagogic one.

You say that you already outlined the chord progression, how about doing the reverse? Create a melody and then harmonize it, is that easier for you? If so, stick to the latter suggestion.

Another way to find a melody is to improvise something, my case the piano. Play about anything listen to what you improvise; if something catches your ear, play it again and try to analyze what you find is good with it.

Thanks for all the support. I'm very new to composing, so alot of this is foriegn to me.

I think I find it easier to create a harmony first, but I'll try to rely a little less on theory and a bit more on imagination now.

Thanks again
sphefx

My piece of advice is to learn to do both things: compose a melody over a chord progression (or a figured bass) and compose a standalone melody (which will then need to be harmonized).

Indeed, there are situations when you will have a chord progression that is a given (e.g. when writing variations where you wish to keep the harmonic framework), or when you will have the melody (e.g. when harmonizing a tune for a SATB setting or when writing a fugue) and will need to find the underlying harmonies.

Depending on what I compose, I can even do both things at a time, i.e. find a melody, try to harmonize it, see that it is not practical for the style of what's already existing in the piece and have to adapt the melody to the most suitable harmonic progression derived from the original melody.

Good luck,
Raphael

I believe that if you try to compose a melody over a chord progression then chances are the melody is not going to be that good(for most people). Sure there are techniques to do so but it in my experience they all sound blocky(which you can fix but I think its harder).

If you compose the melody first then you have a great foundation and the rest is just icing. Sure you can ruin a melody with a poor accompaniment but it will come more natural because when you tend to write melodies over chords you use block chords and so the melody is starting off blocky(so its a bad start).

Try just to create little motives... little ideas that are short. This is the start. Then you look at them and figure out if what you can do(repeat, sequence, modify, use new one, etc...) and how to accompany them(alberti bass, block chords, arpeggio's, counter melody, etc...).

Its true that homophonic music is derived from harmony but melodies are what makes it interesting. All tonal melodies are derived from harmonies implicitly or explicitly but starting just tends to be the hard way IMO. (unless your writing chorals)


My suggestion is to sit at a keyboard and just doodle with the right hand to find little motivic like melodies. They can be pretty simple but you should strive for them to be interesting and logical. Then once you get one you can base your whole composition off it if you want. Then you worry about presenting that melody to the listener.

Technically I wouldn't even think in terms of harmonizing the melody(technically, of course, this is what you are doing but if you think about it in those terms then it sounds contrived). Think of what other melodies or accompaniment you want to use with the idea and try it. If it doesn't work then try something else.

Although if your a beginner maybe you should learn well how to harmonize and derive melodies so that it will be in your subconscious... but realize this is not how the greats composed. There music was about ideas and melodies and not a technical exercise. (but it might have started out that way when the were starting out) Just be aware that chances are if you use those methods your results will most likely sound sterile. I suppose if you are diligent about it eventually they won't but I do not know about that.

Again, if your just starting then go ahead and do it some but keep in the back of your mind that its about musical ideas rather than harmonies and melodies(which are the tools that those ideas use to express themselfs).

Play some chords and sing. haha. That's how folk music is written and it works pretty well for me.

If you find yourself stuck in a rut, try and start your melody on a different note than you think is proper. Like the root for the next chord, its done occasionally.

Originally Posted by ralphb

Don't do it theoretically, but rely your imagination. Sing in your head as if improvising. I'm very sure that Mozart and Schubert did it the same way. Or do you really think, that, when Schubert wrote his famous songs, he had his chords there and thought "well, this is a G major, maybe I could add a d - but b and g would also be possible... or should I even use a tone which is not part of the chord?!"?

I would say that both the theory and imagination help. Mozart and Schubert may not have been consciously been thinking in terms of NCTs as they wrote, but certainly they both were trained in the theory of NCTs. Then, once theory became second nature to them, they were free to follow their creative ideas. Theories should be helpful... if they aren't, don't use them.

Here's a little exercie. Using the figured bass, write a melody on top of it.

The bass is simple on purpose, so that you can let your creativity go.