How to Write a Melody on Piano Using Chord Tones

To write a melody over a chord progression, pick one chord tone from each chord (such as the third), play it in the right hand while the left hand plays the chords, then bring it to life with rhythm patterns that grow from semibreves to minims, crotchets and quavers.

Video lesson by Jason Zac · Beginner · 16 min

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This lesson from Jason Zac at Nathaniel School of Music shows you how to compose a melody when you are already given a chord progression. Instead of choosing random notes from a scale, you build the melody from the chord tones of each chord, then shape it with rhythm. It suits beginners who can play basic triads and want a structured way to start writing their own tunes.

The chord progression

The lesson uses a very popular four-chord loop in the key of Bb major. The Bb major scale has two flats, Bb and Eb: Bb C D Eb F G A Bb.

• G minor (G Bb D) – the vi chord
• Eb major (Eb G Bb) – the IV chord
• Bb major (Bb D F) – the I chord
• F major (F A C) – the V chord

That is a vi–IV–I–V progression, the kind of loop countless songs are built on.

Step 1: Play the chords in the left hand

Because the right hand will carry the melody, the chords go in the left hand, somewhere around middle C. Use inversions so the hand barely moves:

• G minor: G Bb D
• Eb major: G Bb Eb
• Bb major: F Bb D
• F major: F A C (you can also play Fsus4, F Bb C, and resolve it down to F major)

Step 2: Choose a chord tone for the melody

Each triad has three chord tones. Over G minor, any of G, Bb or D sounds pleasing because the melody note is already inside the chord. A note outside the chord but inside the scale, such as A over G minor, sounds less stable – a tension or colour. A note outside the scale, such as B natural, simply sounds wrong, so avoid those at first.

In this lesson the melody uses the third of each chord:

1. Bb over G minor
2. G over Eb major
3. D over Bb major
4. A over F major

Jason plays these as octaves in the right hand, which makes the melody sound bigger and fuller. If octaves are hard, single notes still sound good. Try singing the notes as you play – it helps the melody sink in.

Step 3: Add rhythm patterns

Holding each note for a whole bar (a semibreve) sounds nice but rhythmically dull. Keep the same notes and try these rhythms, counting four beats per chord:

1. Two minims – the note for two counts, then again for two counts.
2. A minim followed by two crotchets – more movement and energy.
3. Crotchet, minim, crotchet – short, long, short.
4. Quaver patterns – divide the beat into two (1 and 2 and 3 and 4 and) and place notes on some of the ands for a spicier feel.
5. Starting off beat one – leave the first beat empty and come in later, which makes the line feel more lyrical, like a singer phrasing words.

Start with these structured rhythms before inventing your own.

Step 4: Expand the idea

Once the approach feels comfortable, use other chord tones too – the root and the fifth – and mix them freely. You can also combine rhythms, for example a short-long-short bar followed by a bar of two minims.

How to practise

• Loop the four left-hand chords until they feel automatic.
• Add the thirds as semibreves, then work through each rhythm pattern one at a time.
• Sing along as you play.
• Finally, swap in roots and fifths and combine rhythms to create your own melody.

The core lesson: a melody is the outcome of good chords and a good rhythm. When chords are given to you, react to them with your melody by responding to their chord tones.

Questions about this lesson

What are chord tones?

Chord tones are the notes that make up a chord. For G minor they are G, Bb and D, so any of those will sound stable as a melody note over that chord.

Which chord tone should I start with for my melody?

This lesson uses the third of each chord, giving Bb over G minor, G over Eb, D over Bb and A over F. Later you can add the root and fifth and mix them.

Why does my melody sound boring even with the right notes?

Holding one note per bar is rhythmically plain. Try two minims, a minim and two crotchets, short-long-short, quaver patterns or starting after beat one to add interest.

Do I need to play octaves in the right hand?

No. Octaves make the melody sound bigger on piano, but single notes work well too if octaves feel difficult.

Practise it

• Chord RandomizerGenerate a chord progression, choose how simple or colourful the harmony should be, and practise it at your own tempo.
• Pop LessonsPractice companions for Jason Zac’s pop piano lessons: octave fillers, chord changes and inversions in every key.
• Piano classes at Nathaniel School of MusicLive online or in Bangalore, with a teacher.
• All free music apps40 practice tools for harmony, rhythm, ear training and more.

Related lessons

• How to Write a Melody on Piano Using a Motif (Building Phrases)To write a melody from a motif, create a short melodic-rhythmic phrase over the chord tones, then keep it fresh across a progression by changing its landing note, transposing it to start from each chord's root, and adding or removing notes.
• 10 Instant Melody-Writing Strategies for Pianists and ProducersTo write a melody quickly, Jason Zac suggests starting from at least two chords, using chord tones and landing notes on strong beats, building rhythm first, displacing beats, using the pentatonic or a smaller subset scale, singing and transcribing, turning practice patterns into tunes, and borrowing ideas from favourite songs.
• The Spanish Andalusian Cadence Every Pianist Should Know (Part 1)The Andalusian cadence in D minor is Dm–C–Bb–A (i–bVII–bVI–V), a descending, flamenco-flavoured progression that borrows the C from the natural minor and the A major (with C#) from the harmonic minor.
• How to Write a Melody on Piano Using ArpeggiosTo write a melody with piano arpeggios, choose chord inversions so the top note carries the tune, then break each chord into a pattern like high-middle-low-middle, adding accents, diatonic wandering notes and passing tones to make it memorable.