How to Write Music - Writing a Melody

Summary

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

00:00

🎼 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。

05:04

🎵 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。

10:04

🎹 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。

Keywords

💡コード進行

コード進行とは、楽曲で用いられる複数の和音を順番に演奏することで、曲の基礎を作る要素です。ビデオではCメジャーキーの1度と2度の進行、つまりCコードとDコードを交互に演奏するシンプルな進行が使用されています。

💡メロディ

メロディは、音の連なりで構成された音楽の主要な要素です。このビデオでは、コード進行に合わせてメロディを選び、その音がどのように和音と調和するかに焦点を当てています。メロディを作る際、コードに含まれる音（コードトーン）や含まれない音（ノンコードトーン）を選んで作曲しています。

💡コードトーン

コードトーンとは、演奏しているコードに含まれている音を指します。例えば、CコードのコードトーンはC、E、Gです。これらの音はコードと自然に調和し、違和感のないメロディを作るのに使われます。ビデオでは、Cコード上でEやGを選んでメロディを作る例が示されています。

💡ノンコードトーン

ノンコードトーンとは、現在演奏しているコードに含まれていない音です。ノンコードトーンは、和音に対して緊張感を生み出し、解決へと導く音楽的効果を生み出します。ビデオでは、CコードでDやAを選んで、メロディに少しのテンションを加え、その後コードトーンに解決させる例が紹介されています。

💡リズム

リズムは音楽の拍子やパターンを決める要素です。ビデオでは、1-2-3というシンプルなリズムパターンが使われ、各コードごとに4回繰り返すリズムの例が示されています。このリズムをベースにして、メロディとコードがどのように調和するかが説明されています。

💡Cメジャーキー

Cメジャーキーは、ピアノの白鍵のみで構成された7つの音（C、D、E、F、G、A、B）を使ったキーです。ビデオでは、Cメジャーキーが選ばれており、このキーに基づいたコード進行とメロディの作り方が解説されています。

💡テンション

テンションは、音楽における緊張感を表します。特にノンコードトーンを使用する際に発生し、和音に対して少し不安定な感覚を生み出します。ビデオでは、ノンコードトーンを使用してテンションを作り、その後コードトーンに解決させるプロセスが強調されています。

💡解決

解決は、テンションのある音から安定したコードトーンに移行する音楽的動きです。これにより、緊張感が解消され、リスナーに安心感や満足感を与えます。ビデオでは、ノンコードトーンからコードトーンに解決する例が多く見られます。

💡第7音

第7音（セブンス）は、特にコードに付け加えることで和音を拡張する役割を持つ音です。ビデオでは、Cメジャーの第7音であるBを使い、緊張感を生み出したり、メロディに深みを加えたりする方法が説明されています。

💡第4音

第4音（フォース）は、特にCコードにおいて避けられるべき音としてビデオで説明されています。F音はCコードの第三音Eと非常に近く、不協和音を作るため、この音は注意して使用する必要があります。

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