How to compose a melody for a chord?

How can we achieve the ability to come up with a suitable melody when we hear a progress? The answer from @ is Chinese: Chords and melodies are very practical things. So air-to-air speaking, speaking and listening are all foggy. Let's give a concrete example, and we will understand it after reading it. For example, one day by chance, we got such a chord progression: Am | G | Dm | Em |Am | G | F G | Am | So, how do we match the melody? Look at the first bar first. The chord sound of Am is 6 1 3, so let's combine these three sounds directly: 36? 0? 2? 0? 2 1` 1`? 0? 2? 0? 236? 0? 2 1` ? 0? 2? 0? 2? 0? 2? 0? How about 2 (for plus sign)? Simple and harmonious, right? Next, let's look at the second bar. The chord of g is 5 7 2. Because we went to the previous bar, we decided to go down in this bar. We can't go up forever, can we? So we chose the direction of 7 5 2. Because in the previous section, we just use the chord internal sound to jump up directly. In order not to jump so much, in this section, we can bring a chord external sound into the third chord internal sound as a transitional sound, so that we won't jump so much, like this: 7 (6) 5 2. According to this routine, we can write a very concise and harmonious second paragraph. But if all the places are simple and harmonious, the whole song is actually tasteless, and we need to deliberately create some disharmony to improve the tension of the song. So we removed the last chord inner note and changed it to the outer chord 3, and made this outer chord into a long note. Such a chord sound dragged there for a long time and suddenly produced an insoluble tension. The second section is: 77? 0? 2? 0? 265? 0? 2? 0? 23- Next, let's write the third section. Still the old way, list all chords first, which is 2 4 6. In the second quarter, we left a dissonant chord and created a strong tension. In this section, we need to release the tension, otherwise it will be very uncomfortable to stretch all the time. The way to release the tension is to step on the inner string repeatedly. A few more steps will release the tension. But the music can't end here, so we let go of the tension and re-introduced several chords to lengthen the melody again. In addition, the first bar went up, the second bar went down, and the third bar can go up again according to common sense, but if it goes up and down forever, it will be too boring. You can continue, and if it doesn't go down, you will turn around and rush up, which is very flexible. The third section is: 22? 0? 2? 0? 226,? 0? 2? 0? 223? 0? 2? 0? 25 ? 0? 2? 0? 2? 0? 2? 0? 2 (,stands for the next plus sign) Note that the first five notes are intra-chord notes to release tension, and the last two notes are off-chord notes to re-stretch the melody. By the fourth bar, our music is over, so we need to rest and stop. We need to release all the accumulated tension when we check in. As we said before, the best way to release tension is to step on the inner chord repeatedly. Yes, we don't introduce any external chords in this section. Step on the inner string from beginning to end and the tension will be clean. Some students may ask, but our music is not over yet. At this time, the tension was released. Will it stop moving in the future? No, notice that this chord is Em, not the main chord of our music, so the chord itself has a certain tension. It is no problem to completely release the tension of the melody when the chord is already tense. The tension of the chord is enough to support you to start later. Of course, if your phrase ends on the main chord, but you don't want the tune to end here, you need to consider keeping some discordant elements in the melody and leaving some tension, otherwise it will be difficult to do it next. Our fourth bar is: 37? 0? 2? 0? 275? 0? 23- The first phrase is finished. Let's write the second sentence. The second sentence needs to echo the first sentence to a certain extent, so let's copy the first paragraph of the first sentence as it is: 36? 0? 2? 0? 2 1` 1`? 0? 2? 0? 236? 0? 2 1 `Copying the first sentence, copying the second sentence is too boring, we need to change, we need to compare. Therefore, in the second paragraph of the first sentence, we go down, and in the second paragraph of the second sentence, on the other hand, we go up a little and stay high, so that it will feel good to pass the last flight of stairs. In the first sentence, step on the inner chord first, and then stay on the outer chord for a long time to create tension. In the second sentence, we do the opposite, repeatedly stepping on the outer string to accumulate tension, and then suddenly returning to the inner string to take a breath. This sharp contrast can make your melody come alive at once. The second sentence is as follows: 3' 3'? 0? 2? 0? 22` 1`? 0? 2? 0? The third sentence needs special attention. In most cases, if we change multiple chords in a bar before the end of a phrase, this place often needs to create a climax to facilitate the end of the next bar. We will introduce many overtones and even make them completely dominant. A large number of external chords in the melody will bring a great sense of disharmony on the chords, which will make the phrases completely nervous. The melody we give to the F chord is: 3' 3'? 0? 2? 0? 22' 1' As you can see, the first three tones in the four tones are all outside chords, and the climax of the phrase comes at once. By the way, at the end of the second bar, we use long chords to release the tension, in fact, in order to re-pressurize the top after the tension is reduced. We will finish the next part. An important purpose of changing chords twice in this section is that the previous chord introduces a lot of disharmony, so that after the climax of the phrase, the second chord can be used to release the buffer and not stop at the last section. In order to achieve buffering, we should reduce the proportion of chordal voiceover in the second half of the third minor. There are three chords in the four tones: 2 ` 2`? 0? 2? 0? 2? 0? It's time for us to finish the last part. With the foreshadowing, it is actually very simple to sum up. Find the inner chord, step on the inner chord as much as possible, linger on the modulation for a while, and finally stay on the root for a long time. Completion: 53? 0? 2? 0? 256? 0? 2? 0? 26- It should be noted that, judging from the number and proportion of sounds, we seem to use quite a lot of chordal external sounds 5. In fact, these 5 and 6 are very close, which is a transitional sound introduced for convenience when we step on 3 and 6, and will not cause too much tension. And finally stay on the root sound 6 for a long time, and the tension is completely released. Ok, that's all for today's example. In a word, it is not a simple sentence to match chords with melodies. You need to use all kinds of melodies flexibly according to the progress of music and the feelings you want to express, so that harmony and disharmony can develop alternately, and your melodies can be colorful and Zhang Chi is moderate. Answer from @ Great Power: At first, although the universe didn't start or end, there was something like the Big Bang as a "starting point" in a sense. You can start anywhere in the cycle with a given number of chords. Very simple thinking-only three places are very suitable for starting: the first beat of a chord; The beat before the first chord beat (or the first half beat, the first 1.5 beat, etc.). ); The beat after the first chord beat (or the second half beat, the second 1.5 beat, etc.). ). Select the starting position, and then select a tone. According to the situation, you can choose inner chord or outer chord-in fact, this statement is not rigorous, because any sound can form a chord with another sound or multiple sounds. Take Cmaj chord as an example: if you play C within the same octave in the first note, that is the root sound; D is sus 2；; E is three sounds; F is sus 4；; G is a pentatonic scale; A, forming a sixth chord; B, it is 7maj and so on; Coupled with the ascending and descending signs, all kinds of wonderful chords and modulation can be formed. So, you play the first note of the melody. Choose the second position and play the second note. There is nothing to pay attention to. You can play any sound you like anywhere you choose. It's all melody. In order to "listen"-in fact, it is "An" or "An", you can choose the notes in triad and heptachord of the same nature and continue to play. Choosing a common rhythm and playing these people's favorite sounds repeatedly is a good melody. I won't talk about all the little thoughts that can be stuffed in the process. I can write a book. A good melody should be logically self-consistent. There can be echo, counterpoint, turning point, surprise, procrastination, shouting and jumping up and down, all of which depend on what kind of person you are. It is basically true that mediocre people write mediocre melodies. Don't bang bang bang. Take a breath when you talk too much, and so does the melody. Where the vent is left depends entirely on the player's Tik Tok level. I wrote my own melody. I feel full of vents. I can break it anywhere. If it is broken, I can connect it. If I'm connected, I can keep walking. What's the point of closing fees? You can stop. The last note can be stopped, delayed, and rubbed if delayed. Polishing this requires all kinds of profound skills, as well as inner thoughts and emotions, which can not be made clear by words alone. Only beautiful emotions can play beautiful melodies. What kind of emotion, what kind of melody. B.B.King played a note before a performance, a simple second-grade push string, and only one note was pushed for two minutes, and the audience fell into all kinds of madness (the source is unknown, please know Daniel). That's a great performer.