I'm currently working on a small project for an exam and I think I need some help along the way, espacially about the theory part. Please help me with my questions and guide me along the way :heh: I will constantly update with new questions, cause new problems just pop up as I work...

Its just a simple song, similar to song cycles but shorter, and I have to write a part for the voice and a part for the piano as an accompaniment.

For now, I need to know:

1.) If it is advisable to do a prelude(I don't know if its the right name, its the introduction part to the piece I'm refering to) in another time signature, say, prelude in 3/4 then song in 4/4? Or prelude in 2/4 and song in 3/4? Cause I have an idea for a prelude on my mind already but it doesn't fit with the song in terms of time signature, and I'm afraid it would affect my scores, its a test afterall. However, I feel that the melody leads nicely into the song. Are there any ways that I can make the transition smoother?

2.) What are some good chord progressions I can use to lead to a climax. And chords that create suspense. I know about sus chords in guitar but how to but it in the roman numeral type of chords.

3.) I've done some research about keys and their impacts a piece. Is it really important for the keys to match the mood? It's kinda tough for me to choose a key, I transposed my piece through all the keys possible and I can't really decide on a suitable key.

As it is a test, I can't post my work up here, maybe just in scraps for some advice, so please do help in all ways you can, I feel I'm in some trouble already. :cry:

I have been composing music for several years professionally and I think I can help you with your problems. Read the answers below for my views.

1.) Preludes- Just about everything I have ever written has some sort of introductory movement. Preludes are the perfect way to enchant your audience with themes from the pieces that will follow. Don't mind the meter though; I would just time it in 2 so they wouldn't be thrown off too badly.

If this isn't an urgent matter that needs to be finished very soon, I would suggest you listen to Bach's "Well Tempered Clavier". This is a collection of preludes- one in every key.

Also, if they allow it, end the piece on a seventh chord that compliments the beginning of the next movement.

2.) in C, for example:

C-F-D7-G-G7-C
Note that this is a moderately contemporary format.
Speaking in music terms, use chromatics.

3.) The Key is really what sells the material. For a funeral piece -) g minor
For a wedding piece -) D Major

Remember this.
The melody is only as strong as its key.


Please leave me some feedback.

I really encourage your successes.

The Maestro of Terror
The Maestro of Life
"The Maestro of Tragedy"

Thanks for your help :lol:

Does C-F-D7-G-G7-C mean I-IV-II7-V-V7-I?

I need more help! :sweat:

1.) Say I'm in the key of C major. Is it correct to use a VI(a) chord for the accompaniment if the F is the note being sung? I want to create some kind of dissonance, some kind of irony or probably an oxymoron type of feeling, but theoratically am I wrong? VI chord should be A C E (G) but I'm using a F, no one taught me to write this way before. Are there any better chords I can use? I want to create a hanging in the air feel.

I've a small tune I want to bring out in the prelude. I'm writing it in another key, but say I'm in C major, I would want it bring out the notes G F E D, and I learnt that notes from the higher register ring more, so if I want listeners to hear this notes, I should put them at the top of my chords. I am currently using:

Right hand: G F E D
____________________
Left hand: G F C D
------------- E D G B
--------------C B E G

--------------I IV Ib V

I'm not sure about this, but I remember learning that there should't be consecetive 8ths and some other stuffs. If I use this combination, would it mean that I am breaking the rules because of the G,G and F,F between the right and left hand in chords I and IV?

If not, are there better chords I can use to harmonise those notes?

Its for the prelude part, and I think it should sound smooth, and end with a V, so I don't think I changing that part.. But I'm open to new suggestions about the first 3 chords :)

MaestroOfTragedy: About the end with a 7 thing, does it mean instead of a V for the last chord leading to the song I use a II7 which ends on D? Or does it mean a V7 and a using a D in the right hand instead?

From your first response I would suggest a slightly different chord for your dissonance. It would only bend the rules a little bit. Try the notes in order of the arpeggio following.
Fsharp-A- Csharp-Fnatural.
It has a bittersweet quality to it. ( I use it often.)
Then again, I don't know anything about the situation of the melodic material, so my advice may not be the most helpful.

As for the harmony assistance, I will refrain from giving you my ideas because I am uncertain about the timbre of the piece.

I may have suggested a 7th chord for the ending, ( I am traditional ), but you would know best as the composer.

I know this hasn't been very helpful, but I am unaware as to what exactly I am helping with.

I fear I have helped you all I can with this supply of information.
Unless you plan on giving me a bit more information on which predicament you are in, I am forced to bid you a wishful farewell and good luck with your project. After the test, perhaps you could post it for me to give you more applicable advice.

Thank you for taking what knowledge I have here passed on.


The Maestro of Terror
The Maestro of Life
" The Maestro of Tragedy "

Yups, I understand its hard to advise this way. But still, thank you for your help, I really appreciate it. :lol: