Writing in key/scale and harmonization...need some advice!

[bigdaveo11]

I have been attempting to write a melody for quite some time now. I believe I have a good understanding of basic music theory (writing progressive/house music).

Just came up with a melody I am happy with, going to now attempt to add chords and a bassline.

I begin my melody on the note "B". Does this necessarily mean I am in the key of "B". I was looking at my notes used in each bar of the melody and was trying to figure out which scale I was using. I know I don't need to always use the notes in that scale (ie harmonic minor, melodic minor, major) but I am unsure of how to approach the next step in harmonizing my melody, adding a bassline and also writing counter melodies based around my main melody.

I have read the Michael Hewitt series on composition, theory and harmonization but I am having trouble deciphering which key/scale I am using in order to progress with my melody.

First bar: B A G G G E
second bar: B C B G G E
Third bar: B A G G G E
Fourth bar: G G B A A B A

Appreciate any responses, thank you!

[Jafo]

The simplest of many, many possibilities: e minor, since you're mostly outlining an e min chord (with a setup to a plagal cadence in Amin in the fourth bar, resolving to Emin once the cycle comes around again). More to the point, each bar (except the fourth) resolves to e, and melodies strongly tend to resolve to the tonic. All in all, this suggests e minor.

It would also all work against C or G (both major) if you like tension. Against C, you'd have C, CMaj7, Cadd6 (or Amin7). Against G, you'd be adding the 4th (c) and 2nd (a), both of which are also colorful. A drone on d or b would also be interesting.

But to stick with traditional classical Western Bachly theory, you're in e minor.

[bigdaveo11]

thanks for the response. very helpful. Trying to teach myself the process of deciphering which key I am in so I am not just writing all over the place haha. Trying to learn the "rules" before I can break them if you will.

thanks again.

[Nystul]

OK, so you've got a melody. One thing that needs to be recognized is that some notes in the melody are automatically an integral part of the harmony, and others are not. Finding these is pretty intuitive, but maybe not at first. It's not just the sequence of pitches but the rhythm is very important. Some clues that a melody note may be important to the harmony: Is it the last note of a phrase? Does the note last longer than the others? Does the melody jump by a third or more to or from this note (as opposed to scale like movement)? Does the note occur on a strong beat or accent?

So try to figure out which notes are harmonically important in each measure of this melody. Then you can consider chords which have those notes in them as likely choices. Then you can start to think about the big picture and what key you probably are dealing with and how the chords fit together. When you think about the big picture, you seem to be consistently using a scale that has between 0-2 sharps, so most likely the key you are in fits that profile as well.

Without knowing the rhythms it is possible to make a wrong assumption. But it really does look like you are in E minor and that the fourth measure creates a bit of tension to be resolved by returning to the start which will most likely be an Em chord.

[bigdaveo11]

well said, thanks. Was actually just attempting to figure out some of the important notes in the melody. Went through the "basics" of harmonization in Hewitt's book, actually ended up putting some chords to my melody (pretty basic melody, all note lengths are the same except for a few melodic flourishes and a few sequences of note repetition). It sounds much better!

thank you for explaining the process.

one more question. Was reading up on some different ways to write a bassline based off my melody and chord progression. One obviously being following the root of the chords and moving in similar motion. Any suggestion for varied basslines (ie contrary/oblique motion?). If it's possible to point me in the right direction of ways to write a bassline based of the melody and chords that would be awesome!

[tapper mike]

Not knowing the context it's impossible to say. The short rule is stay close to the root and use rhythm/accents to make it happen. With bass (genre dependent) it's the feel that brings the message home. A good bassist knows how to fit into a groove without stepping on the toes of others. Little things such as knowing when to bump and when not to bump (lead into a note) make a huge difference.

The best way to develop bass skills is to listen to and copy from those in your chosen genre.

[jancivil]

if you read a whole series of books and you don't know B isn't necessarily your key in that context, I recommend you try something other than those kinds of books. take lessons. I don't know how much time you wasted on that series but if you didn't come away with something this basic you may need guidance.

Key of B, in diatonic terms, is going to be signalled by things that aren't present in these sets. One basic thing to look for with that tune is where the landing points are: E, apparently. Now you want signs of what kind of E.

if it lands on A, does it rest there with some satisfaction, or does it seem to lean back towards E? If it rests there, it might be some kind of 'cadence' (which is a term from counterpoint or harmony here; as there is no evidence of either, I donno ). first things first. I don't agree with relating it to harmony as if that's primary.

[bigdaveo11]

the books did give me a basic understanding but what I need to do (and I am currently in the process of trying) is putting what I learned into context. I have done lots of reading but reading is nothing without actually practicing what you've learned. Apologize for the somewhat basic question, I should have tried harder to figure it out for myself before posting

anyway thanks again guys, really appreciate the help.