In this lesson we will complete harmonzing the first half of the melody by adding bass notes to accompany our melody. Again, the idea is to analyze the melody notes from the perspective of harmony (i.e. chordal implications).

If the following discussion of harmonic implications is too much information right now, then just skip it! Just learn to play the tune and worry about the theory later. It is all implied in the notes. Learning the theory will help you understand how and why the notes work together. And ultimately even when you learn and understand the theory the main point is to be able to enjoy playing the music in the first place, right?

Right!

Again, the tune is in the key of C Major. We will think of the melody notes as scale degrees that are associated with chords that belong to the key of C major.

C major (I): C (1) - E (3) - G (5)
G major (V): G (5) - B (7) - D (2)
A minor (vi): A (6) - C (1) - E (3)

Here is the first half of the melody line as notes and as scale degrees:

E - D - C - D | E - E - E | D - D - D | E - G - G |
3 - 2 - 1 - 2 | 3 - 3 - 3 | 2 - 2 - 2 | 3 - 5 - 5 |

This will help you understand my thinking in making a bass line in the video.