When a melody plays over a chord, some notes reinforce its harmony while others create tension. Understanding which notes belong to the chord and which are just passing through is the key to writing melodies that sound intentional. Chord tones state the current harmony, while passing tones connect one target to another.
Chord tones
Chord tones are notes that belong to the current chord. If the chord is C major (C-E-G), then C, E, and G are chord tones. These notes usually sound more consonant over the chord, especially when they are held or placed on a strong beat. Rhythm, register, and voicing still affect the result.
C major chord tones (C, E, G) - these notes blend with the chord
Chord tones are useful target notes because they identify the harmony. Try landing on one when the chord changes or on a strong beat, then use scale tones and chromatic notes to move between targets. A non-chord tone can work when its timing and resolution make its function clear.
Non-chord tones
Every note that is not in the chord is a non-chord tone. These create varying amounts of tension depending on what they are and where they fall in the bar. Non-chord tones are not "wrong" - they're essential for making melodies interesting.
Non-chord tones over C major - notes between the chord tones
Passing tones
A passing tone fills the gap between two chord tones by step - D connects C to E, F connects E to G. Passing tones are usually short, happening on weak beats and resolving quickly.
Passing tone connecting C to E
D is "passing through" on its way from C to E
Neighbour tones
A neighbour tone (also called an auxiliary tone) steps away from a chord tone and then steps back to the same note. It decorates rather than connects.
Upper and lower neighbour tones around E
Strong beats and weak beats
The crucial rule: land on chord tones on strong beats. Non-chord tones belong on weak beats or between beats. This is what makes a melody sound "right" even if it uses lots of non-chord tones.
Beat placement over C major
Chord tones on the beats, non-chord tones between them
Try it
On the piano above, build a short C-major phrase that starts or ends on a chord tone. Add D between C and E as a passing tone, then play the phrase again without D. Listen for the difference between a stable landing note and a note that connects two landings.
As a quick check, label each note in your phrase as chord tone or non-chord tone before you play it.
Approach notes
An approach note is a non-chord tone placed just before a chord tone to create anticipation. Approaching a target note from a half step below or above adds melodic interest and pull.
Jazz and R&B melodies use this constantly. A chromatic approach note (one semitone away from the target) creates a strong pull toward the chord tone, almost like gravity.
Key takeaway
Chord tones are your stable landing spots - target them on strong beats. Non-chord tones (passing tones, neighbour tones, approach notes) create movement and interest between chord tones. The melody's job is to dance around the chord tones, always knowing where home is.
Next: motifs and repetition - the power of a short idea used multiple times.
Create melodies with theory built in
Starts generates melodies that follow the principles covered here - contour, chord tones, and rhythmic variation.