I thought that the use of extensions, inversions, and chord substitutions went without saying. The chord progression I suggested was just a starting place. I will admit that the chord progression, by itself, is quite dull -- it's been used too often.
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[QUOTE][QUOTENAME]Steven wrote: [/QUOTENAME]I thought the use of extensions, inversions, and chord substitutions went without saying. Whenever I write I like to start with a basic chord progression, but then go off and do whatever the hell that pleases the ear. [/QUOTE]
They never go without saying, as they form the fundamentals of your harmony! You can't use dominant seventh like a regular major, nor a major seventh like a regular major, and a six-four inverted chord is different from one in ground position. Inversions and extensions create the fundamentals for your melody, and the intervals between the different notes of the chord, because they vary with inversions, result in different harmonies requiring different treatment in orchestration, as well as more possibilities in further composition (you can see a Cmin7 like an Ebadd6, you know), and good voice leading is absolutely vital to effectively modulating, which you will want to use sooner or later. In short, inversions and extensions make up a significant part of harmony, and dominate all aspects of your song except MAYBE rhythm.
They never go without saying, as they form the fundamentals of your harmony! You can't use dominant seventh like a regular major, nor a major seventh like a regular major, and a six-four inverted chord is different from one in ground position. Inversions and extensions create the fundamentals for your melody, and the intervals between the different notes of the chord, because they vary with inversions, result in different harmonies requiring different treatment in orchestration, as well as more possibilities in further composition (you can see a Cmin7 like an Ebadd6, you know), and good voice leading is absolutely vital to effectively modulating, which you will want to use sooner or later. In short, inversions and extensions make up a significant part of harmony, and dominate all aspects of your song except MAYBE rhythm.
I updated my post while you were writing. I'm not going to argue with you, since you obviously know what you're talking about (and I can't help but agree with you). I'm a self-taught composer who has much to learn. And thankfully, I was just accepted into a great music program and will start majoring in Music Education in the fall. Thanks for your input, ThomasQuinn -- it is appreciated.
Always glad to share anything about one of the few topics I actually know something about ^^
XD oi, music theory hurts me head XD
Well, I'm not a very technical pianist because I'm self-taught and I learned how to play the piano and figure out songs by learning chords first.
I began writing a song on the guitar and I'm very self-conscious about my guitar-playing, so I transferred it to the piano and it actually sounds really nice. Perhaps you should try writing a song on the guitar or another instrument first, because--for me, at least--it's easier that way. :)
Otherwise, you've just got to let it come to you. More often than not, it won't work if you say "I'm going to write a ballad" and it'll come out, if you know what I mean, unless you've already got the chords and melody in mind...
I began writing a song on the guitar and I'm very self-conscious about my guitar-playing, so I transferred it to the piano and it actually sounds really nice. Perhaps you should try writing a song on the guitar or another instrument first, because--for me, at least--it's easier that way. :)
Otherwise, you've just got to let it come to you. More often than not, it won't work if you say "I'm going to write a ballad" and it'll come out, if you know what I mean, unless you've already got the chords and melody in mind...
The way I usually go about writing, is by just playing around on the piano or guitar until I get a fragment of melody, harmony or whatever that I like, usually the second. Working from a melody, I then add simple bass-notes to it, derive a harmony from there (sometimes requiring the replacement of the bass or melody notes I chose), all still very coarse. Then, I work on the voice leading, to make it fluent and/or disjunct in the right places. When working from a harmonic fragment, I start playing around with arpeggios and scalar/modal passages to come up with a melody, adding chromatic tones where I feel I need them.
Alternatively, it should be relatively straightforward to start by composing a bass-line and working from there. This would be especially appropriate for rock-songs.
Alternatively, it should be relatively straightforward to start by composing a bass-line and working from there. This would be especially appropriate for rock-songs.
I've had to quit songwriting altogether. It's more or less because I'm utterly stuck on using a minor chord and then going to the next ... er, a semi-tone up... and as a major chord (an example would be Eminor, then Fmajor?).
I don't even realise when I'm doing it, they just find their way in there. It sounds pretty, of course, but if you do it in every song then people are just going to throw vegetables.
I don't even realise when I'm doing it, they just find their way in there. It sounds pretty, of course, but if you do it in every song then people are just going to throw vegetables.
[QUOTE][QUOTENAME]Zebonka12 wrote: [/QUOTENAME]I've had to quit songwriting altogether. It's more or less because I'm utterly stuck on using a minor chord and then going to the next ... er, a semi-tone up... and as a major chord (an example would be Eminor, then Fmajor?).
I don't even realise when I'm doing it, they just find their way in there. It sounds pretty, of course, but if you do it in every song then people are just going to throw vegetables.[/QUOTE]
I believe bebop did quite a lot of that, actually.
I don't even realise when I'm doing it, they just find their way in there. It sounds pretty, of course, but if you do it in every song then people are just going to throw vegetables.[/QUOTE]
I believe bebop did quite a lot of that, actually.
Well I wish I could get out of it already!
It would probably benefit me to broaden what I listen to, in any event. Having solely Pink Floyd and Mahavishnu in my playlist will invariably have funny effects on me.
It would probably benefit me to broaden what I listen to, in any event. Having solely Pink Floyd and Mahavishnu in my playlist will invariably have funny effects on me.