Composing Melodies over Chords in inversion

I know that you are meant to always start your melody on the root note of your key.

On the other hand you are also meant to start your melody with the bass note of the chord beneath it.

So say I am composing in C major, and my I chord, C, is in 1st inversion.

Should I start on C, or E ?

C i guess cus is the root note of the chord not E, but whatdoiknow. also do whatever sounds better/interesting, those aren't real rules.

I know I'm just speaking theoretically

lol who the fuck cares, do what sounds best to your ears, not what sounds good when explained in words.

theres no harmonic rule stating what note your melody needs to start on.

  messiaen said:

theres no harmonic rule stating what note your melody needs to start on.

  messiaen said:

theres no harmonic rule stating what note your melody needs to start on.

Truth. Also no rhythmic rule as to what beat you should start on.

Lately I've been starting on the 5th or 6th of a scale and on the 'and' of two or on two.

yeah music that comes from the heart does not always have to rely on mathematical laws bitch

the bigger question, is after playing the first note of the melody, where does it go?

But really... unless this is for a class or something, don't fret... just use your ear.

  The Pod said:

I know I'm just speaking theoretically

  The Pod said:

I know I'm just speaking theoretically

  The Pod said:

I know I'm just speaking theoretically

  The Pod said:

I know I'm just speaking theoretically

Theoretically you can start anywhere you fucking want to.

okay

yeah we're basically saying you suck man. fuck off.

  The Pod said:

I know that you are meant to always start your melody on the root note of your key.

 

On the other hand you are also meant to start your melody with the bass note of the chord beneath it.

 

So say I am composing in C major, and my I chord, C, is in 1st inversion.

 

Should I start on C, or E ?

easy peasy, start on the 9th of a diminished f#m13

..you're not meant to start it anywhere in particular, theoretically speaking. however you may resolve it into different intervals or substitutions depending on what kind of harmony you want

it usually only sounds wrong if you don't resolve it well, you can get away with virtually anything as long as you resolve it in whichever way suits your piece.. but it's not necessary to get away with stuff

generally extended chords are effective colorations, even if they're discordant, since they carry more harmonic information than a simple triad or monophonic melody, and and thus resolve easier.. again it shouldn't be a rule of thumb to have to do that either, go flush some atonal stuff out your system and come back to this thread and you'll realize how pointless it is to think about music this way

it's like asking whether you should use yellow paint with only blue or red

  Glass Plate said:

yeah we're basically saying you suck man. fuck off.

if you're going for a baroque or classical-period style, i would say either C or G.

edit: melody on the same note as your bassline is actually pretty discouraged, for the last few hundred years in 'classical-style' music. well, moreso if one follows the other.

love will tear us apart

you guys...

lol

  The Pod said:

I know that you are meant to always start your melody on the root note of your key.

 

On the other hand you are also meant to start your melody with the bass note of the chord beneath it.

 

So say I am composing in C major, and my I chord, C, is in 1st inversion.

 

Should I start on C, or E ?

what the hell are you talking about?

This is the first time I've ever heard a melody should start on something.