Part four is about melody. First question: which notes actually fit? The answer is simple — the notes of the chord that is currently sounding are the hardest ones to get wrong.
Parts one to three built the foundation. Now for the line that runs across the top of it. The first question is almost always "which notes am I allowed to use?"
The chord's own notes are the safe landing
While a C chord is sounding, singing C, E or G will not go badly wrong — the accompaniment is already playing them. Whenever you get stuck, returning to a chord tone lands. Even so, the same chord tone sounds different depending on the beat, the length and the register you put it in.
A note belonging to the chord currently sounding. It is the most stable landing point for a melody.
What about the rest of the key?
The key contains notes that are not in the chord — over a C chord, those are D, F, A and B. They are not "wrong" notes. Used as passing notes they give the melody movement. Held for a long time, they float away from the harmony.
Placement beats note choice
What matters is where a note lands, not which note it is. A chord tone on a strong beat (the downbeat from chapter four) sounds settled. A non-chord tone on a weak beat just passes through, and passing through sounds natural.
- A melody over C, F, G, C
C | F | G | C
Generate, then look at the piano roll and check which notes fall on the strong beats.
Generate over C, F, G, CChord tones on strong beats sound settled; other notes create movement. Placement matters more than which note.
Quick review
Everything here is answerable from this chapter. Pick an option and the answer appears straight away.
Question 1
While a C chord is sounding, which note sounds most stable?
Question 2
What sounds settled on a strong beat?