/jp/ - Otaku Culture

>>12851094
Alright, the first thing we need to do is to think harmonically. That is, always having harmony on mind.
If you want to write a melody playing it safe, you need to know how to approach non chord tones that don't make up the part of the harmony (the chord progression), so they don't clash with other notes or the harmony.
Passing notes are non chord tone that appears stepwise between two chord tones, sometimes they are 2 or more in a sucession.
The appogiatura is a non chord tone approached from a leap and resolved in the opposite direction, usually approached by an upwards leap and left in a rythmically strong position (accented).
The neighbour is approached and resolved by the same note, stepwise.
Scape tones are approached by step and resolved by leap, usually unaccented.
The anticipation is just what it sound like.
You don't have to follow these formulas, but they are extremely helpful in counterpoint.
I'll add a second voice in the next post. It'll take me a while.

http://a.pomf.se/muzqpz.mid

The chords in the bass clef is the harmony implied my the melody written explicitly. Even if I remove the chords, you'll still be able to hear them, although a bit different, no sevenths and no inversions.
The progressions here is:
i - V+7 - VI(7) - v6/5 - V/V 4/2 - v6 - V7 with a b10 or #9 - i
Harmony is a extensive topic so I can't help you very much, but I can tell you what kind of progressions sounds bad (to my ears): Rising fifths like V - ii - VI; Rising thirds outside of i - III - v - VII to like ii to IV; V or viiº to anything that doesn't have the tonic in it except other dominant chords like viiº or V/V; ii to I doesn't sound that bad, but it's more of a modal thing.