In this article
Composition can begin with any useful musical idea. Keep the strongest element, add a complementary part, and develop the result through repetition and contrast. Chords-first and melody-first workflows are both valid; the best starting point is the one that gives you something worth developing.
Hear the examples.
Choose an example, then press Play. Compare the notes as well as the sound.
C–Am–F–G
One chord per beat in this short demonstration. Use longer durations when writing your song.
These are not Captain Plugins audio.Ready to play
Start with harmony when the chord movement is the idea
Write a short progression and keep the sound plain enough to hear its notes. C–Am–F–G is one study. Add a small melody that lands on useful chord tones, then change its rhythm rather than adding constant notes.
Captain Chords can help sketch and edit the progression. Save a simple version before trying alternative voicings. The purpose is to support a musical phrase, not to fill every available bar with a new chord.
Start with a melody when you already hear the tune
Record a voice memo or play the phrase into a MIDI track. Identify the important held notes, then try two different harmonizations underneath them. The same melody can support more than one convincing chord sequence.
If the starting material is recorded audio, work from its actual notes and timing. Wingman’s melody-to-chords workflow is a useful route for auditioning accompaniment. Do not assume that identifying a key determines every chord the melody needs.
Separate rhythm from pitch
Tap a melodic rhythm on one note and include deliberate rests. Once the rhythm works against the drums, move selected notes to form a contour. Keeping these decisions separate can help when changing rhythm and pitch together feels directionless.
This is a writing exercise you can do in a piano roll, not a requirement to use a particular plugin feature. Keep the first rhythm as a reference so the pitched version retains the original pocket.
Build from bass or a sample
A bass riff can imply harmony and supply the groove. Add upper notes sparingly, checking what they form with the sounding bass. A sample may already contain chord tones, so listen before adding a dense pad.
Use material you have permission to use. Keep a dry reference and avoid judging pitch through heavy effects alone. If a sample is retuned, check its sound as well as its new note names.
Develop a phrase into an arrangement
Make four or eight bars, then write a contrasting response. Preserve one element—rhythm, motif or chord sequence—while changing another. Try removing a layer for the verse and returning it for the next section.
Work outward from the strongest phrase. Add an entrance, a transition and an ending, then listen all the way through without editing. Mark the places that need attention and solve those specific problems rather than endlessly replacing the starting idea.
Keep the notes in view.
| Starting point | First supporting part | Next check |
|---|---|---|
| Chord progression | A short melody | Held notes against each chord |
| Melody | Two alternative harmonizations | Which bass movement supports it? |
| Rhythm | A small pitch contour | Does it keep the same pocket? |
| Bass riff | Sparse upper harmony | Combined chord quality |
| Sample | Minimal accompaniment | Existing notes, timing and sound |
Try it in Captain Chords.
Use Captain Chords to keep a harmonic sketch editable. Develop melody and bass around it, then move the parts into your DAW for section building and sound choices.
See the current editing workflow.
The Captain Plugins 8 update video shows the canvas and selection-based editing.
Already have the melody as audio? Explore accompaniment ideas around the recording.
Turn a melody into chords and bass in WingmanCommon questions
Do I have to write chords first?
No. Start with whichever idea you want to preserve. Melody, rhythm, bass and samples can all lead the process.
How do I get out of a four-bar loop?
Write a response phrase, create a transition and sketch contrasting sections. Change one major element at a time so the idea remains recognisable.
Does music theory replace listening?
No. It helps name relationships and generate options. The performance and arrangement determine whether an option works in your track.