A melody can be defined as a sequence of single notes that are musically pleasing to the listener. Harmony is the combination of simultaneously sounded musical notes, also known as chords, to produce a pleasing effect, and one which acts as a support for the melody. Based on these simple definitions, we can see that the main difference between melody and harmony is the use of simultaneously or singularly played notes. Now that we understand what defines both melody and harmony, we can examine a famous song and identify which instruments play each part.
In this song, the piano chords with the strummed effect play the harmony under the vocal. The vocal forms a melody for those sections — albeit a less memorable melody than the main melody.
When the vocal sections end, the main melody is introduced. This is a distorted guitar playing a two-note ostinato rhythm. Supporting this is a side-chained synth, which works in unison with the bass-line to harmonise the melody, thus forming a harmony.
The notes played simultaneously to form the chords of the harmony could be from several instruments. The right method may often come down to inspiration, circumstance or what flows naturally. For example, you might have a tune in your head and be quick enough to record or note down the idea. This is a very common practice. Triads are chords consisting of three notes. Melodies typically are played in the octaves of higher sound-wave frequencies.
An octave is simply a series of eight notes occupying the interval between two notes. Since melodies often contain the hook, they need to stand out from the rest of the composition. In order to most successfully achieve this, melodies are played in higher octaves because higher frequencies typically have more energy and vibration. Melodies are typically played above the chords. The chords are meant to enhance the melody, not be the main focus. Since higher sound-wave frequencies have more energy, its better to have the melody be up top.
Please note — there are melodies that play below the chords in lower octaves. These melodies are typically called basslines. Basslines help create rhythm. Chords create the body of the song.
Chords are typically played in the mid-range sound-wave frequencies. Since chords contain multiple notes being played at the same time, its typically better to have them played in the mid-range sound-wave frequencies. It helps keep your music balanced. When both the melody and chords are played in the same octave it could make the composition sound muddy. Melodies and chords work together through a thing called consonance. Consonance are notes that are in harmony with one another do to the relation between common frequencies.
For example, if you play a note in a melody that is also a note within the chord that is being played, you got consonance. Dissonance is the lack of harmony among notes in a relationship. In order to come up with the most captivating scores possible, you want your melodies to consist of both consonance and dissonance.
Having consonance adds release while dissonance creates tension. Keep in mind there are varying degrees of consonance and dissonance. Some notes are more dissonant or consonant than others. Having too much extremely dissonant notes can make the song unpleasant to listen to. On the flip side, having too much consonance can make a composition boring.
Its all about balance. Composing great melodies is all about creating and releasing tension at the right times. Melody and chords are fundamental parts of composing music. Understanding the differences and relationship between the two can help take your music writing to the next level.
What is a chord progression? A chord progression is a series of chords played in sequence of one another. Chord progressions are the backbone of harmony in western music. Video games are known for having amazing soundtracks. However, some soundtracks get more attention than others. As before, there's no one right way to go about this, but again, here are some guidelines: Identify the notes in the melody that feel more stable as opposed to those that feel as though they have momentum and movement and use those to help inform your chord choices.
Identify the few notes with the most drama. These probably shouldn't be chord tones, but might resolve to chord tones. Chord progressions have their own momentum and stability.
I chords are stable; V chords have momentum. You resolve a V or V7 chord to its corresponding I chord. Unless you absolutely know what you're doing, make sure your V chords resolve or the song will leave your listeners feeling unsettled. Example: "Eleanor Rigby" "Eleanor Rigby""Rig" and "by" are both chord tones, and the melody lands on "by" like a rock. Improve this answer. Alex Basson Alex Basson I like this one. I've gone as far as putting some chords behind "Twinkle Twinkle Little Star" once, but this takes it a step past.
Good answer. I will try my hardest to be Paul McCartney, thank you! Seriously, though, this is great exposition of that simple exhortation. Great example : — user There are a few ways to approach this problem: Got melody, want chords Figure out the key in which your melody is in.
Carefully check your melody and use the chord based on the dominant notes, usually this is simply the note which is played on the beat. So, if my key is C and the melody has a note D when the beat comes, I play Dmin, but also note that most of the time more than one chord sounds good in a particular situation. Don't stop when you got the chords, give them a twist another note, different rhythm, a few notes connecting chords , using simple triads won't sound very innovative.
Got chords, want melody Figure out your key, this is essentially matching the notes in your chords to a key in which those notes are possible. Now you know the key and the notes you can play in that key. Try to move in this key, first follow the chords. Deviate from the chords and try to make it sound good. Unfortunately, there really is no recipe for writing melodies. Experiment until you are happy.
I'm perplexed does a composer have all this in mind when he composes? Nachmen: A good composer should generally have in mind an intended pattern of tension and release. Some melodies have strong patterns of tension and release built into them, but many are fairly weak in the absence of surrounding chords.
What I was thinking he composes a song then he works out the score whatever it is. But doing it the opposite way or together is something new for me. Nachmen: Some melodies stand alone just fine, but there are some songs where the melody line really would be nothing without the backing chords. I can't imagine Irving Berlin having composed such a melody without having a harmonization in mind because there would be nothing to it--just a bunch of syllables on the first five notes of an ascending scale.
This is solid music theory analysis with zero condescension toward rock music. Michael Curtis Michael Curtis Link is broken. This response would be better as a comment to the question. Aaron The buzzword your question dances around is voice leading. Look that up in your textbooks. Camille Goudeseune Camille Goudeseune 5, 16 16 silver badges 45 45 bronze badges. Bob Garcia Bob Garcia 1. Allan Jeong Allan Jeong 21 3 3 bronze badges.
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