How to Write Music - Writing a Melody
Summary
TLDRこのレッスンでは、コード進行とメロディーのフィッティングについて解説しています。Cメジャーキーを使用し、CコードとDコードのシンプルな進行に基づいて、メロディーを作成します。メロディーにはコードトーン(コードに含まれる音)と非コードトーン(コードに含まれない音)の2種類があり、それぞれがメロディーに与える影響について説明されています。コードトーンは安定感を生み出し、非コードトーンは緊張感を与えるため、それらを組み合わせてメロディーを作成する方法を学びます。今後のレッスンでは、より複雑なコード進行についても取り上げます。
Takeaways
- 🎶 メロディーをコードに合わせる方法は強力でありながらシンプルです。
- 🎹 Cメジャーキーのコード進行として、CコードとDコードの1、2進行を使います。
- 🎵 リズムはシンプルに1、2、3パターンで行います。
- 🎼 メロディーの音はコードトーン(コードに含まれる音)か、非コードトーンから選べます。
- 🎧 コードトーンはコードに含まれる音で、メロディーに自然にフィットしやすいです。
- 🎸 非コードトーンは、コードに含まれていない音で、少し緊張感やテンションを生み出します。
- 🎶 非コードトーンは緊張を作り、その後コードトーンに戻して解決することで、音楽的な流れを作ります。
- 🎼 Cコードに対して、DやAなどの非コードトーンはテンションを加える役割を果たします。
- 🎹 4度の音(Fなど)はCコードでは避けるべき音ですが、Dコードでは問題なく使えます。
- 🎵 Cコードでの7度の音(Bなど)は時にコードトーンのように扱われ、7thコードに似た効果を生み出せます。
Q & A
1. このレッスンで扱う基本的なコード進行は何ですか?
-このレッスンでは、Cメジャーキーでの1-2進行、つまりCコードとDコードを使います。
2. リズムはどのように設定されていますか?
-リズムは「1、2、3」のパターンを使い、各コードを4回繰り返すシンプルなパターンに設定されています。
3. メロディーに適した音を選ぶ際の2つのカテゴリは何ですか?
-メロディーに適した音は「コードトーン」と「ノンコードトーン」の2つのカテゴリに分けられます。
4. コードトーンとは何ですか?
-コードトーンは、コードに含まれている音で、コードと一緒に演奏すると非常に調和しやすい音です。例えば、CコードのコードトーンはC、E、Gです。
5. ノンコードトーンとは何ですか?
-ノンコードトーンは、コードには含まれていないが、キーに含まれる音です。これらの音はコードに対して少し緊張感を持たせます。
6. ノンコードトーンを使う際に注意すべき点は何ですか?
-ノンコードトーンは、コードに対して緊張を生むため、その後にコードトーンに移行して解決感を作ると、より効果的なメロディーを作ることができます。
7. Cコードを使う際、F音はどうして避けるべきですか?
-F音はCコードのサード(E音)に非常に近いので、調和しにくく、ハーモニーに対して不快な緊張を生みやすいです。
8. Dコードを使う場合、どのような音がノンコードトーンになりますか?
-Dコードでは、C音やE音、G音、A音などがノンコードトーンになります。これらの音はキーに含まれていますが、Dコードには含まれていません。
9. 7度の音はどのように扱うべきですか?
-7度の音は、コードによっては調和しやすい場合もありますが、特にリーディングトーンとして使われることが多く、根音に解決する役割を果たします。
10. コードトーンとノンコードトーンを交互に使うと、どのような効果が得られますか?
-コードトーンは解決感を与え、ノンコードトーンは緊張感を生むため、これらを交互に使うことでメロディーにダイナミズムと表現力を加えることができます。
Outlines
🎼 メロディーとコードの組み合わせ入門
この段落では、コードとメロディーを合わせる基本的なアプローチについて説明しています。まず、シンプルなコード進行を設定し、簡単なリズムを選び始めます。次に、コードと合わせるメロディーの音符を選ぶ方法を探求します。コード進行はCメジャーの1, 2進行で、CコードとDコードを繰り替えて演奏します。リズムは1, 2, 3のパターンで、各コードを4回繰り返すだけです。メロディーの音符を選ぶ際には、コードの最初の音符と一緒に演奏します。メロディーの音符を選ぶ際にはコードトーンとノンコードトーンの2カテゴリがありますが、まずはコードトーンから始めます。コードトーンはコードにすでにある音符を選び、コードと合わせて演奏します。例えば、Cコードを演奏する際にはEやG、Cなどのコードトーンを選ぶことができます。これらはコードにすでにあるため、不和谐音や緊張感がなく、非常に心地よく、完璧に融合します。
🎵 ノンコードトーンの使用法
この段落では、ノンコードトーンの概念とその使用方法について説明しています。ノンコードトーンはコードにすでにない音符を選び、コードと合わせて演奏します。この場合、コードの他の音符とは異なり、少し緊張感や引き締め感が生まれます。この段落では、ノンコードトーンを使用して緊張感を作り、コードトーンに移行してそれを解消する音楽的な手法についても説明しています。例えば、Cコードを演奏する際にはDやAなどのノンコードトーンを選ぶことができますが、Fはコードとあまり調和しないため注意が必要です。また、コードの4番目の音符は避けたほうがいい音符であり、演奏する場合はすぐに移る必要があります。最後に、コードの7番目の音符についても説明し、これはコードトーンのように扱うことも可能で、緊張感を生むために使用できます。
🎹 コードとメロディーの相互作用
最後の段落では、コードとメロディーの相互作用について詳述しています。CコードやDコードを演奏する際には、コードトーンやノンコードトーンを選ぶことができますが、その際にはコードとの調和を意識する必要があります。コードトーンはリゾルブ感や心地良さを感じさせるのに対し、ノンコードトーンは緊張感を持ちます。メロディーを書く際には、これらを使い分けて往復させることで音楽的な表現を豊かに行うことができます。この段落では、コード進行を通じてメロディーの演奏例も紹介しており、コードトーンとノンコードトーンをどのように往復させるかを実演しています。最後に、今後のレッスンでより複雑なコード進行やメロディーのニュアンスについてさらに詳しく説明する予定であると締めくくっています。
Mindmap
Keywords
💡コード進行
💡メロディ
💡コードトーン
💡ノンコードトーン
💡リズム
💡Cメジャーキー
💡テンション
💡解決
💡第7音
💡第4音
Highlights
Introduction to fitting melody with chords and how it's a powerful yet simple concept.
Establishes a basic chord progression in C major using a I-II (C to D) chord progression.
Simplified rhythm is introduced with a 1-2-3 pattern for each chord.
Explanation of chord tones, which are notes already present in the chord being played.
Demonstrates the use of chord tones, such as playing E with a C chord or F with a D chord.
Encourages experimenting with different chord tones for richer melodies.
Introduction of non-chord tones, which are notes not in the chord but still part of the key.
Non-chord tones can add tension to the melody, but resolve back into chord tones to create a balanced sound.
Warning about the use of the fourth (F) in a C chord due to potential harsh dissonance.
Discussion of the seventh note (B in C major) as a note that can be treated like a chord tone in certain contexts.
The seventh note can act as a leading tone and create tension before resolving to the root note.
Comparison of chord tones and non-chord tones when moving between chords, emphasizing the different roles of these notes.
Non-chord tones can add melodic interest by creating tension, while chord tones provide resolution.
Details how the function of specific notes changes when transitioning from one chord to another, like from C to D.
Encourages combining chord tones and non-chord tones in melody writing for dynamic and emotionally resonant progressions.
Transcripts
it's finally time to start fitting
melody along with chords
and even though this is a very very
powerful concept it's also very simple
so the way we'll approach this today
we'll start with setting up a basic
chord progression choose a really simple
rhythm and then we'll start looking at
how to choose notes in the melody that
fit along with those chords
so as far as our chord progression we'll
keep it as simple as we can
we'll be in the key of c major and we'll
do a 1
two progression that means we're playing
a c chord
then a d chord
and that's it we'll just go back and
forth between those two chords
um as far as rhythm uh without getting
into the details of how rhythm works
we'll just do this one
two
three pattern which is what i just
played one two three one two three
and we'll take each chord and play
through that pattern four times
and that's it
and when we start choosing melody notes
to fit along with this we'll just play
that note along with the the first note
in this pattern so we'll be picking a
note and then playing it like this
there's a bug
so that's our basic setup uh now we just
need to look at how to choose notes in
the melody that fit with the chords
and on the most basic level it breaks
down into two categories
we can choose what's called a chord tone
or
a non-chord tone
so we'll start with the chord tones
because that's a a good bit simpler
what's kind of self-explanatory if you
play a chord tone along with a chord
that means you're playing one of the
notes that are already in the chord for
example if i'm playing a c chord and i
choose to play a chord tone i could play
the note e
that actually belongs to the chord i
could play a g
or a c
and those notes will fit very very well
obviously because they're already in the
court so there's no dissonance or
tension there they're very comfortable
very
they blend perfectly
and with only that if that's all you
could do you can actually do a lot of
really cool melodies with with just that
one concept so for example let's say i'm
playing the c chord
um i could choose to play an e it'll fit
with it that's a chord tone then when i
move into the d chord i'll shift into
playing an f because that f is one of
the chord tones in my d chord
so here's that
all i'm doing is just matching chord
tones
and and that's just sticking with one
chord tone each but i could start to to
move into different chord tones for each
chord so say for the c chord plain e i
can move to a g
i switch to this one i could play an f
and then a d or a and i'll start moving
in and out of the different chord tones
in each chord so here's what that would
sound like
g this time
okay and that's just sticking in this
octave but i could move up here and play
those same notes in a higher octave i
could really play them anywhere i wanted
to on the keys so i could start out here
between the octaves
i'll do whatever i wanted to do
and uh that's really the whole idea of
chord tones you're just picking a note
in the melody that already belongs to
the chord
so
the non-chord tones is just a note that
does not already belong to the chord
and this is a little bit more involved
but it's still not too bad um i'm going
to be choosing a note other
than these three
now i can't just choose any of what i
want to i'm going to stick with notes
that belong to my key in this case c
major so if you remember c major has
these seven notes in it um i chose c
major because it's all white notes so
it's easy to remember in this case but
if we were in a different key like in
the key of d major we'd be choosing one
of these seven
so if i'm playing my c chord
i could play these three these are chord
tones but if i wanted to play non-chord
tones i'd be choosing from
one of these four these notes belong to
my key but they don't belong to the
chord so when i play one of these notes
they don't mesh in quite the same way
they have a little bit of kind of
tenseness to them they sort of pull on
the harmony a little bit
for example this note d
if i play this along with the chord
i get this this kind of
more
it sounds a lot different it kind of has
that that pull on the harmony
a little bit of tension
and what i could do actually a really
common thing to do is use one of these
non-chord tones to develop a little bit
of tension and then move that into a
chord tone kind of resolve it you get
this sort of tension resolution sound a
lot like that one five one progression
did but in that case it was based around
the quarters themselves so here's what
that would sound like
just using that d to generate a little
bit of tenseness
i wouldn't have to move it into any but
that's a nice musical gesture
so if you look at the c chord for a
second um you already know the chord
tones here's the non-chord tones i just
played a d you can hear what that sounds
like
okay
i could also play an a and that'll do
pretty much the same thing or create the
same kind of feel
it doesn't belong to the chord it still
works nicely but it does generate a
little bit of tension
i could use that to resolve into the g i
could jump up to the c
same idea
um
this one though these other two that we
have left we just talked about these
three chord tones these two non-chord
tones um this f and this b
to be specific this f
is uh we call it the fourth
in this case we're looking at a c chord
so we call this note number one this is
note number two this or sorry it's not
number one this is not number three this
is not number five right
root third fifth if you remember the
intervals um if we start looking at the
f
we're talking about the fourth
now again it doesn't actually belong to
the chord but we're looking at it in
terms of how it relates to these three
notes so we call it the fourth we were
playing as d
we were playing the second
hopefully you can see that
so this this fourth is a note we want to
be very careful with on this d
it has a bit of tenseness to it but it
sounds very good we can use that to our
advantage but this f
a lot of times this doesn't sound that
great
now
this can depend on where you are in the
key
if i was playing chord number five in
the key i may not have this problem but
um cor actually i would have the problem
if i was playing chord number four who
wouldn't have this problem but if i'm
playing chord number one and i try to do
this fourth
this note is right next to the third of
the chord and it creates this kind of
harsh sound
so
in general i avoid playing that note or
at least if i do play it i move past it
very quickly i don't really want to hear
that note harmonizing with the chord
works great for the d
or the a
but that f
it sounds
not very good
so in general i'll avoid playing that
note
there are other things you can do you
can actually alter the node and play a
play a different note instead a note
that's outside the key
but there's a lot that goes along with
that so we'll save that for a later
lesson so for now
um this fourth here
kind of a void
so the only one we have left is uh this
note here uh the seventh and this one's
kind of interesting because it's
certainly not a chord tone it doesn't
belong to the chord i'm playing
but if you think about a seventh chord
for example
c major seventh um as soon as i turn
that chord into a seventh chord i'm
actually including this note the seventh
and so if i was just playing a c chord
and i played this note
it could start to make this chord feel
like a seventh chord so in some ways it
can kind of belong to the chord if you
if you approached it that way
but then again um
it is it is actually the leading tone of
the key it's right below that c so you
could use it in a way that kind of
resolves into the root note
so you can get a little bit of tension
from it so it kind of depends on how you
approach that note
that'll determine what kind of sound it
gets but
to sum it up this note could kind of go
either way it could in some ways belong
to the chord and sort of treat it like a
chord tone but in other cases maybe it
doesn't it really just depends on how
you use it
so
we'll leave the chord progression alone
for a second let's say i just play the c
chord i could start by playing one of
the chord tones
move to a non-chord tone
resolve it back i can generate that
tension that way
same with this one
i can use that that seven the note
number seven
as a tension note
or is kind of a chord tone
and i'm
getting outside of a rhythm there but um
the idea is the same i can kind of take
this note and use it either way so
that's essentially your choices here if
you're playing along with a c chord you
can choose one of the chord tones or
these three you can choose a non-chord
tone which is essentially these three
and this one is one that you could use
but you want to be very very careful
with it does not harmonize with the
chord well
now if i switch to my d chord
my chord tones become
these three notes
i'm still choosing from the notes in
this key i still have these seven notes
to choose from but in this case
everything's kind of changed now um this
c is no longer a chord tone like it was
with a c chord now it's a non-chord tone
same with
this d you would refer to this
as the second of this chord now we're
kind of
uh changing our focus to the d chord so
now we work we're going to call this the
root or the one this is a three this is
the five
and this becomes our two this becomes
our 4
etc
now in this case since we're playing a
minor chord we don't have that issue
with note number 4 clashing with the
with the third in this case it's not
right next to it's actually a whole step
away so
you can play the fourth and it works
just like a normal non-chord tone it
generates a little bit of tension
[Music]
as far as the others we uh that covers
the three chord tones these two work as
non-chord tones the two and the four
same with the six that one works just
fine and for the seventh
um in this case
it's not a half step lower than our root
note like it was with the c chord like
in this case that b was right underneath
the c so it had a pretty strong pull
into that c
but in this case we don't really have
that happening this this c is not just a
half step below our d or the root of our
chord so we don't get quite as strong of
that that tension resolve sound so this
one works more like a chord tone um
since
if we turn this into a seventh chord
it would be this note
so a lot of times playing that seven
along with this chord
it kind of just extends our harmony a
little bit
okay so i think that's enough
enough of that for now so what we're
left with we have our chord progression
moving from c
to d
i can start by playing notes that that
fit along with the c chord i can either
choose a chord tone or a non-chord tone
to be these three um when i move into
the d chord my chord tones become these
three or i can choose one of these four
as a non-chord tone although remember
this last one
um can kind of work as a chord tone too
just depends on how you use it
so
here's an example of playing a melody in
that progression i'll start the same way
i did before here's the e and the f and
i'll start to move around a little bit
just chord tone so far
non-chord tone tone
now i know i'm abusing the melody or the
rhythm a little bit but same idea
um and uh i think i think i'll leave it
at that for now so uh next lesson we'll
spend a lot more time looking at some of
the nuances of this but this is the
essential concept you can you can
play a chord tone a chord a note that
belongs to the chord or you can play a
non-chord tone um as long as it stays
within the key you can use one of those
but you do have to be a little bit
conscious of how it's going to interact
with that chord and in general when
you're writing a melody you tend to play
those two off of each other the chord
tones have this sense of resolve this
sense of sort of comfort and the
non-chord tones have a little bit of
tension to them and you kind of use
those two and move back and forth
so that's it for today uh leave me any
questions or comments you have and i
will try to address them in the next
lesson and then we'll spend a little bit
more time with this and probably get
into some more complex chord
progressions so thanks very much and
i'll see you next time
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