How do I tie melodies and chord progressions together?

Atomikk

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I'm trying to grasp putting melodies and chord progressions together and would like to know if this sounds good/makes sense "musically." I created the melody/progression using the Phrygian scale in the key of G. The progression is a variant of the 1 4 5 as well as the 2 5 1 for the chorus. Does this make sense/sound good? How exactly do chords have to work with the melody? I understand that you can make a melody using the same notes within a given chord, but that gets a bit boring. Am I using the other notes correctly?

This is the track I'm working on.

 
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I mean I think it sounds right, but sometimes I think it doesn't. I really don't get the concept of putting chords to a melody at all. I've read and watched so many videos about it but it doesn't make sense to me. Another example, I made a melody using the F phrygian scale, but have no idea what chords to put to it/when to change chords. Any advice? This is seriously driving me crazy.Untitled.png
 
I mean I think it sounds right, but sometimes I think it doesn't. I really don't get the concept of putting chords to a melody at all. I've read and watched so many videos about it but it doesn't make sense to me. Another example, I made a melody using the F phrygian scale, but have no idea what chords to put to it/when to change chords. Any advice? This is seriously driving me crazy.View attachment 42563

This is why you don't try to run before you learn to crawl.
Use theory to understand what it is you're writing, not the other way around (unless you're Coltrane, Davis, Hubbard, etc.). If it sounds right to you, it IS right. Theory isn't meant for validation. The music is validation. You have it backwards, no offense.

Anyways, here is a portion of one of my handouts I got last week at jazz camp.
I suggest taking a step back and learning some basic harmony if you don't want to get confused any further.
 

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I'm trying to grasp putting melodies and chord progressions together and would like to know if this sounds good/makes sense "musically." I created the melody/progression using the Phrygian scale in the key of G. The progression is a variant of the 1 4 5 as well as the 2 5 1 for the chorus. Does this make sense/sound good? How exactly do chords have to work with the melody? I understand that you can make a melody using the same notes within a given chord, but that gets a bit boring. Am I using the other notes correctly?



This is the track I'm working on.

soundcloud.com/atomikk-1/disaster/s-14fyu

The biggest problem here is you talking about it. Listen to it. And i don't mean press play. listen to the individual notes interacting with one another, do any of them seem out of place? or does it all seem to work together? does it sound full or it is lacking? You can't write out if your song sounds good, music is perceived through sound, not interpretted through writing
 
so finally got around to this and the track no longer exists

the use of the Arabic numbers to define the chord progression is flawed as there is no indication of whether these ar major or minor or diminished

i.e

by 1-4-5

do you mean
  • G-C-D
  • Gm-Cm-Dmb5 (as it would be in the Phrygian based on G)

Similarly

by 2-5-1

do you mean
  • Am-D-G
  • Ab-Dmb5-Gm (as it would be in the Phrygian based on G)


as for your more pertinent question you may wish to view this

https://www.futureproducers.com/for...ppreciate-any-help-given-435276/#post49586016

and this

https://www.futureproducers.com/for...ound-design/moods-melody-435927/#post49590153

but only the second part that explores the effect of using different scales with the same melodic material (aka tonal transformation)
 
Try starting with a looping bassline, and playing one note at a time , notes on the right hand till it matches and sounds right, you can start with only 2 notes at a time and work your way up. But just consider a chord to be a "Bottom Line" (Bass) and a "Melody" (Top-Line) The rest, or the middle parts of the chord are, inner parts, and supporting lines. You only need bass and topline to start with.

Just practice improvising over a looping bassline and don't be afraid to make mistakes!

Copy your favorite melodies, and see if you can make something sound pleasureful. The only rule to a good melody is charm, pleasure, and if you're advanced, beauty and symmetry. But emotion will come with personal taste and locking in the pleasureful notes with the bassline.

See the bassline as a support to your "right hand" or your "top line" . Give that a try, and try to imitate your favorite songs and artists! Don't be afraid to play the wrong notes! It happens in the beginning. Eventually you'll develop a taste for the "right notes" or the notes that give you pleasure. Pleasure is all that matters right now.

Don't worry about catchiness, or emotion, or beauty, or anything fancy. Just go for what feels good in your belly, heart, ears, whatever it is.


Also, feel free to identify the different styles, and differentiate "soul" rnb-type melodies, vs. Hip Hop melodies vs. classical-style melodies vs. Pop etc. -- Sometimes knowing the different origins helps in applying the "right hand" or "top line" to your bassline style. The more you understand the "language" , the more you can write in that "language". It's like learning English vs. Spanish vs. French etc. or the British Accents vs. the Italian vs. the Australian vs. the American accent
 
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But just consider a chord to be a "Bottom Line" (Bass) and a "Melody" (Top-Line) The rest, or the middle parts of the chord are, inner parts, and supporting lines. You only need bass and topline to start with.

please stop spreading this cr@p: I've called you out on it once today and I'm calling you out on it again

a melody can be in any part and any register: it can be the lowest set of notes or the highest or the notes somewhere in between

a melody can totally avoid notes found in the chord (be extensions (7th, 9th, 11th, 13th) of the chord as it were) or it can emphasise notes of the chord as off beats rather than on the beat
 
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