Improvisation: chords progression

[pololas]

Hello! I already know chords and escales and how to build them but the problems come when Im trying to make some melodies and accompaniment chords. Ok I have for example C major Chord for accompaniment and I for example I play some C &/or E &/or G while the chord's playing but I really dunno what chord could follow the first one, what is the theory about this? Ive seen a video about improvisation using C major, and his 4th chord: F major and G major, I know these 3 grades ar the core of armony but always in major you can only use these 3 grades (maybe the 7th too)?

Thanks in advance

[Ogg Vorbis]

Hello! I already know chords and escales and how to build them but the problems come when Im trying to make some melodies and accompaniment chords. Ok I have for example C major Chord for accompaniment and I for example I play some C &/or E &/or G while the chord's playing but I really dunno what chord could follow the first one, what is the theory about this? Ive seen a video about improvisation using C major, and his 4th chord: F major and G major, I know these 3 grades ar the core of armony but always in major you can only use these 3 grades (maybe the 7th too)?

Thanks in advance

Seven basic chords (triads) can be built in the key of C. Using no sharps or flat, you can create harmonies on each of the scale tones.

The three you've mentioned (C, F, and G) are the major chords available in that key. The other triads you can create are minor, except the one built on B, which is diminished.

You can experiment with these seven basic triads in the key of C major in order to harmonize your melody.

The only rules are what sounds correct to you. The questions you want to ask yourself is, "where does my melody come to its conclusions in the phrases? What key notes does this conclusion emphasize?"

Your experiementation will center on what harmonies help the melody achieve those goals inside the phrases. Harmony can help the phrases feel unsettled, completely resolved or somewhere in between.

Experiment with different harmonies to produce an unsettled sound to the end of each phrase. Repeat but this time, try to produce the most settled phrase conclusion.

Which sounds like it is closer to what you want? What do you hear in your head. Where do you want the melody to take the listener next?