Match chords to a supplied melody
See this course’s project requirements
An original eight-bar melody arrangement with triads, a checked bass part, two voice-leading choices and a score or note-grid plus optional free notation playback.
Keep your working files in your own notebook or software. Save a private description, checklist, and work link in My Proof.
What to include
- Supply eight melody/chord/bass bars with explicit pitches, octaves and durations.
- Construct major/minor triads and identify root/third/fifth.
- Annotate strong-beat fit and intentional nonchord tones.
- Compare two upper-voice options with movement/common-tone evidence.
- Provide 100 word choice note and honest playback/export method.
Review and revise
Use these criteria to check your work and choose what to improve.
- Harmony: triads/membership are correctly identified.
- Parts: bass/register/duration are reproducible.
- Comparison: alternatives have exact note evidence.
- Scope: stylistic judgments and unperformed playback remain distinct.
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The idea in everyday life
The supplied eight-bar melody uses four quarter notes per bar in 4/4. Start with pitch-class membership and emphasize strong beats 1 and 3 for this simple exercise. A nonchord tone can be an intentional passing movement; mark it and explain the approach rather than deleting every tension. These are bounded arranging choices, not universal genre rules.
A melody tone can agree with a chord without every tone being a chord member.
Match chords to a supplied melody — worked practice
A melody tone can agree with a chord without every tone being a chord member.
Original bar 4: A4, G4, F4, A4. F major F–A–C matches three notes(A, F, A); G is a nonchord passing tone between A and F. A minor A–C–E matches the two A tones but not G or F. In this simple comparison F fits both strong beats 1 and 3. Alternative chords can be artistically defensible, but they need a reason beyond matching a single note.
1. 2.1 Match
Copy melody.csv or the fully supplied grid. Label beats 1–4 in each bar and ignore octave only for this first membership check.
You should see: The four-beat structure is explicit.
2. 2.2 Match
For bar 4 compare F major and A minor by marking each chord tone and each nonchord tone. Count matches separately from musical preference.
You should see: F matches 3 and A minor 2 of the original four tones.
3. 2.3 Match
Identify strong-beat matches in bar 4 and trace A–G–F as a descending line. Explain the middle G without claiming all nonchord notes are mistakes.
You should see: The G is identified within the descending line.
4. 2.4 Match
Change bar 4’s first A to E. Recheck membership/strong-beat tension and state why the earlier uncomplicated F fit needs reconsideration.
You should see: The changed first E is not an F triad member.
What to finish
A chord-tone comparison with nonchord-note annotations.
Watch for this
Using a raw match count as proof of the only acceptable musical answer.
How can I tell I understand it?
You can justify a candidate using actual notes and acknowledge intentional tension.
Quick knowledge check
Answer all 3 questions. Get at least 2 right and the lesson completes automatically.
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Pass the check. We’ll save the progress.
Answer all 3 questions above and get at least 2 right. You can review the explanations and try again.
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Source & access notes · checked 2026-10-01
Read institutional primary teaching text on stacked thirds, root/third/fifth and triad qualities; all melodies/chord grids here original.
Access: Public page text or PDF was opened and read through the web reader on 2026-10-01; no signup required for reading.
Reuse: Linked for further study. All LifeStarter scenarios, samples, assets and assessments are original; no source exercises or artwork are copied.
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