Theory
Yesterday the progression was given and you connected the top notes minimally. Today you go the other way. Set a top-note melody first, then put chords under it to support that melody. This is the real order of songwriting and arranging — the song (melody) first, chords are the clothing.
Today's melody descends: C → B → A → G (1st string frets 8 → 7 → 5 → 3). A very natural, step-down tune. Keep these four notes on top and harmonize below:
- C (top) ← C chord (C is C's R)
- B (top) ← G chord (B is G's 3rd)
- A (top) ← F chord (A is F's 3rd)
- G (top) ← C chord (G is C's 5th)
So the progression is C - G - F - C. The same melody changes color depending on which chord you lay beneath. Today you learn the feel that "the melody comes first; chords support it." It's only yesterday reversed in direction — the materials are the same, so don't feel pressured. Try this once and your ear starts noticing, before your head does, why the chords in a song you love sit so close together. It's the first step to hearing music from a songwriter's point of view.
See it
C — top = R (C). The melody's first note C sits on top, with 3 (E) · 5 (G) below. Green is the top (melody).
G — top = 3 (B). Put the melody's second note B on top and a G chord sits naturally below.
Example 1 — the top-note melody set first (C-B-A-G). On the 1st string, sing just the descending tune first. This is today's "song" to be dressed with chords.
▶ BPM 70. 1st string 8 → 7 → 5 → 3. C-B-A-G descending. Learn this tune first, like singing (the parens show the note's degree in each chord). Repeat 4×.
Example 2 — harmonize the melody (C-G-F-C). Now lay a chord beneath each top note. Melody above, support below.
▶ BPM 76, repeat 4×. The top C-B-A-G keeps singing while C-G-F-C supports below. Feel the order: sing the melody first, then lay the chords on.
Today's practice
0–10 min · Warm-up Play Example 1's melody (C-B-A-G) on the 1st string several times. Burn the descending tune into hand and ear.
10–20 min · Brain training (today's target = melody → chord) Confirm each top note's degree in its chord (C = C's R, B = G's 3, A = F's 3, G = C's 5). Ask yourself, "to put this note on top, which chord fits?"
20–40 min · Real comping (Example 2 / 72–82 BPM) Repeat Example 2 at BPM 76 4×. Keep the top melody, support below with chords. Once comfortable, tweak the melody slightly (e.g., C-B-A-A) and choose fitting chords yourself.
40–50 min · Record & reflect (recommended) Record 30 seconds of melody+chords. Check: does the top melody sing clearly, and do the chords below support it well?
Done when: you can set a top-note melody (C-B-A-G) first, then comp chords (C-G-F-C) underneath it.
- Thinking chords first. Today the melody comes first. Decide the tune you want to sing, chords later.
- The top melody buried. Hit the upper note a touch harder, the lower notes softly. The melody must be heard to matter.
- Thinking one melody note = one chord. For C on top, not only C but Am, F, etc. fit. Today is just one example.
- Rushing the neck travel. You descend from fret 8 (C) to fret 3 (G). Look ahead to the next spot and move smoothly.