Lately when I've written melodies, I find that it almost always results in a very predictable I-V progression somewhere along the first few measures, then back to a V-I at the end of the phrase. It contains these progressions exclusively, no others. This is all fine, but it happens just so darned often! I'm finding it very difficult lately to write melodies that involve more realized harmony than the first to/from the fifth (or V7) chord progressions. I can avoid this by first implementing a chord progression, but then I find that it severely limits my writing of melodies. Is there a solution to this problem? Almost all of my themes lately contain nothing but V and I chords, which I don't want to get the best of me. :blink:

Using alternate types of cadences doesn't seem to help, either.... Does anyone else find that the V-I and I-V progression seems to be taking over their work lately? :P It's not that it's bad, but it just tends to get rather monotonous after a while.

Once I'm through with introducing/repeating the theme, I don't find it terribly difficult to break away from the initial chord progression loop. This is made even easier via sequencing and making use of typical Baroque progressions, such as the minor progression I-IV-VII-III-VI-II-V-I. (The base note of the II is flatted to prevent a diminished triad.)

However, the problem still remains: my themes seem to be very predictable and almost exclusively centered around a tonic/dominant relationship lately! I need to find a solution. Perhaps I need to brush up on my use of half- and imperfect cadences.... :think:

=P Gnomish, to write tonal music means that you will always have I - V or V - I . . there is no escaping the tonic-dominant relationship, because the pull towards each other is incredibly strong . . all you can hope to do is to make it less obvious. Although they are the ultimate goal, you don't necessarily have to make it the focus of your attention. What I mean is that perhaps by thinking about it too much, it's stuck out in your mind. Because to me, your chord progressions are fine, as long as you make it flow and you make it sound nice/natural. That's all that really matters, like, who cares if it's I/V is somewhere in there? It belongs there . . also, a good study of harmony will open your mind to the many chord possibilities available. Of course, in the end, all they do is enhance the I/V chords, so what's my point? There's no escaping it . . so don't fight it! =)

mm, you think to much Gnomish =P

Originally posted by Gnomish@Jan 24 2005, 08:09 AM
Lately when I've written melodies, I find that it almost always results in a very predictable I-V progression somewhere along the first few measures, then back to a V-I at the end of the phrase. It contains these progressions exclusively, no others. This is all fine, but it happens just so darned often! I'm finding it very difficult lately to write melodies that involve more realized harmony than the first to/from the fifth (or V7) chord progressions. I can avoid this by first implementing a chord progression, but then I find that it severely limits my writing of melodies. Is there a solution to this problem? Almost all of my themes lately contain nothing but V and I chords, which I don't want to get the best of me. :blink:

Using alternate types of cadences doesn't seem to help, either.... Does anyone else find that the V-I and I-V progression seems to be taking over their work lately? :P It's not that it's bad, but it just tends to get rather monotonous after a while.

Once I'm through with introducing/repeating the theme, I don't find it terribly difficult to break away from the initial chord progression loop. This is made even easier via sequencing and making use of typical Baroque progressions, such as the minor progression I-IV-VII-III-VI-II-V-I. (The base note of the II is flatted to prevent a diminished triad.)

However, the problem still remains: my themes seem to be very predictable and almost exclusively centered around a tonic/dominant relationship lately! I need to find a solution. Perhaps I need to brush up on my use of half- and imperfect cadences.... :think:
Whoa whoa whoa...I-V chords are GREAT! This is no plague to songwriting, my friend! you worry too much! :lol:

If you want a suggestion, try using dominant or diminsihed chords in your songs. These are especially good for jazz. Oh, and please, the beautiful I-IV chord should be used too. When done right, this can be a beautiful chord. ^_^

Cheers! :D

Noir is right :P don't worry about the chords when they fit your pieces ^^

GWAHAHAHAHAHA!!!!! (I bet you're all dying to know what's so funny...?) Well, as it turns out, I have no clue whatsoever what V-I and I-V progressions, or diminished triads, or whatever, and I think that to compose, you just have to have a good melody, and a good chord progression... then, you can add in different versions of that same melody, or use the same progression for another melody, or change both altogether... Don't think too hard... If it hampers your composing ability, just start humming and write the notes down XD

well im with TrumpetPlaya. i dont know about I-V progressions either.

heh. told ya so... Be simple and try something completely off the top of your head... often they may not sound as complicated, but they sound good in a simple sort of way... I mean... twinkle twinkle little star sounds good, and so does ROndo alla turca, but they vary drastically in difficulty (i couldn't find the right word... hardness?). See? I suck at analogies.... :P

I know what you mean. :) I do like to try to keep it simple, but it's now ingrained in my mind how to analyze and realize harmonic chord progressions and properties like that all throughout composing. And it seems to work for me, usually. :)

Simplicity is a great thing! That's why I so greatly respect Enya's music, while holding the same respect for Bach's. I try to find a happy medium, and try lean more toward simplicity than complete complexity. Complexity can be mind-boggling and daunting if you aren't completely sure of your own compositional technique and knowledge/style. I always go into it saying, "I'm going to keep this one simple! I'm sure that's what Enya does!" but it never seems to work quite so well for me. :P

I composed for a few months before finally grasping harmony, and those few months were blissful at the time, but upon looking back from now and my much greater knowledge on the subject, I quite ashamed of some of my earlier works. :P I'm not saying that you can't be good at composing without factual knowledge of harmony and the like, but it can help, in my opinion.

Well, thanks for your feedback and opinions, guys! :)

I'll just continue as I am... Maybe I'll try to compose a few songs by working on a chord progression first off, then crafting a melody/sub-melodies on top of that. :) Thanks again!

~James

I find the good old I - IIm - IVmaj7 -IVmin7 work the best for me

or V instead of IIm

I havent composed for a while now. have to really get into in again.