Theory

how melody and harmony interact

part 1 – basic starting point

1. watch video and make a melody for the “Polly Woddle Doodle” progression in C

2. try same idea in a different key, (by moving the scale to a different fret, or, if you know multiple major scale positions, a different scale shape as well)

more advanced:

3. try same concept with a I and IV progression

4. if you know minor scales, try same concept with a I and V7 in a minor key

5. if you know minor scales, try same concept with I and IV in minor key

even more advanced:

6. build longer progressions (ex: 4 or 8 bars) with multiple diatonic chords, and create written or improvised melodies using same concept

summary and demonstration in a different key

part 2 – intervals in each diatonic chord as they relate to key’s tonic

I. triads

I maj = 1 3 5

II min = 2 4 6

III min = 3 5 7

IV maj = 4 6 1

V maj = 5 7 2

VI min = 6 1 3

VII dim = 7 2 4

II. 7th chords

I maj7 = 1 3 5 7

II min7 = 2 4 6 1

III min7 = 3 5 7 2

IV maj7 = 4 6 1 3

V 7 = 5 7 2 4

VI min7 = 6 1 3 5

VII dim7 = 7 2 4 6

part 3 – contrefacts

contrefact on Blues for Alice

contrefact on Devil on My Shoulder

using chords from parallel minor to a diatonic progression and writing a melody to it

1. select key
2. choose roman numerals
3. play chord
4. substitute at least 1 chord from parallel minor
5. play new progression
6. spell each chord
7. translate those note names into intervals according to key
8. choose 1 chord tone for each chord
9. connect chord tones together with other notes from scale