Guitar harmony10/28/2023 ![]() ![]() The reason for this is that the listener likes to hear one part as a melody and the other part as harmony, so that a single line can be identified as carrying ‘the tune’. This doesn’t have to be true for every single melody note and every single chord but, as a rule, separating the movement between these two parts and imagining a mirror between them – so that movement in one direction prompts movement the other way in the other part – often works well. The listener likes to hear one part as a melody and the other part as harmony Equally, when your melody line falls, bring the bass notes (and their chords) upwards. In other words, as your melody rises up, try to make the bass note of the chord progression you’re accompanying it with fall. If you’re thinking your way through a melodic and harmonic combination and you’re struggling a little, often the best combinations of these two elements work in contrary motion. A sense that ‘formal’ training will kill the ‘vibe’ of your approach? Actually, a larger musical understanding will help the creative process, as your musical choices will be more original. What are you afraid of? Hard work? Well that hasn’t stopped you watching videos about music production and staying up all night working on your mixes. If you’re rolling your eyes, ask yourself why. Whilst the tips offered here encourage you to use your ears to choose which notes you pick for your melodies and harmonies, studying music theory will dramatically help your understanding of how music’s DNA works. Inverted chords are great for the job of giving the impression of a less ‘finished’ chord quite a powerful musical device. But you could use an E or a G as the supporting bass note and the effect of these is less ‘rooted’ and fixed. This is ‘root position’, as C is the root of C major. ![]() The notes of C major are C, E and G and most often, you’ll hear a ‘C’ in the bass of this chord. You can use your ears to make these decisions for you there’s no need to study or follow a musical rulebook. But if you choose one of those chords and then move up to your next melody note – D – you’ll probably want to move your harmony too, to a chord to which ‘D’ is a strong relation. Do you have to use one of those four chords under your ‘C’ melody note? No, you can use anything you like, of course, but some chords will sound more natural and immediate than others, as the ‘links’ between those four chords and ‘C’ as melody notes are strong. This is where things start getting complicated. There’s no need to study or follow a musical rulebook The first note, C, ‘belongs’ to a number of chords, including C major, A minor, A flat major and F major, which means that playing any of those chords under your ‘C’ melody note will sound ‘natural’. Let’s suppose you have a melody which moves up in steps from C to D to E to F. Harmony is a bit more complicated to understand but, fundamentally, it’s the notes which support a melody and make musical sense of it. ![]()
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