Guess How You Can Write Chord Progressions the will ALWAYS SOUND GREAT with your Melody, and make listeners feel TOTALLY CONNECTED to the song.
How? It's Simple: DON'T GUESS!
Many songwriters simply guess which chords to use with their melodies; they try a variety of different ones until something sounds right.
It is fine to listen really hard until you find something that would sound right but it would not be very effective to keep on trying different chords and wondering which would work best together. It would be like wanting to buy a new car and going around town looking for it instead of heading straight to a dealer who can provide you with the new car you want. You would be able to find one eventually, but in a very difficult manner.
In writing songs, the lot of chords that would WORK PERFECTLY with the melody would always come from the same scale. As with searching for a new car, if you want a certain model, you head straight to its dealer. For example, you plan to buy the latest Honda model then you need to go to the nearest Honda dealer. If you are in search of a Chrysler, you go to the one that sells Chryslers. It is the same with songwriting. You need to know the chords in the key that your melody is in. Does your melody come from the F major scale, an A minor scale, or a Db Blues scale? You would need to know the chords that go along with that scale.
It also goes around the other way. If you start with the chords, your melody should come from the same scale as the chord progression.
WHERE DO YOU DERIVE THESE ENIGMATIC CHORDS?
Let's quickly go over major keys, and stick to triads (3-note chords) for now to keep this simple. In any major key, which will contain 7 notes, the chords follow the scale tones in this order: I is major, ii is minor, iii is minor, IV is major, V is major, vi is minor, and vii is diminished.
The chords for the key of A are: A Bm C#m D E F#m G#dim
In the key of D we get these chords: D Em F#m G A Bm C#dim.
There is no difference in the order of major, minor, and diminished chords, regardless of the major key you are using.
The proper way to do it is to begin with a melody, find out what scale you are using, determine what chords are in that key, and to simply choose from them.
Switching around this process, by beginning with the chord progressions, works just as well. Find out what scale the chords are in and create your melody from that scale.
This takes less than a minute to figure out, and Everything will match up LIKE MAGIC.
You can always choose a chord or two from outside of the key for Interesting Flavors, but most of the chords and melody notes need to come from the same scale, or song will taste like a Pizza with Tuna and Peanut Butter toppings.
How? It's Simple: DON'T GUESS!
Many songwriters simply guess which chords to use with their melodies; they try a variety of different ones until something sounds right.
It is fine to listen really hard until you find something that would sound right but it would not be very effective to keep on trying different chords and wondering which would work best together. It would be like wanting to buy a new car and going around town looking for it instead of heading straight to a dealer who can provide you with the new car you want. You would be able to find one eventually, but in a very difficult manner.
In writing songs, the lot of chords that would WORK PERFECTLY with the melody would always come from the same scale. As with searching for a new car, if you want a certain model, you head straight to its dealer. For example, you plan to buy the latest Honda model then you need to go to the nearest Honda dealer. If you are in search of a Chrysler, you go to the one that sells Chryslers. It is the same with songwriting. You need to know the chords in the key that your melody is in. Does your melody come from the F major scale, an A minor scale, or a Db Blues scale? You would need to know the chords that go along with that scale.
It also goes around the other way. If you start with the chords, your melody should come from the same scale as the chord progression.
WHERE DO YOU DERIVE THESE ENIGMATIC CHORDS?
Let's quickly go over major keys, and stick to triads (3-note chords) for now to keep this simple. In any major key, which will contain 7 notes, the chords follow the scale tones in this order: I is major, ii is minor, iii is minor, IV is major, V is major, vi is minor, and vii is diminished.
The chords for the key of A are: A Bm C#m D E F#m G#dim
In the key of D we get these chords: D Em F#m G A Bm C#dim.
There is no difference in the order of major, minor, and diminished chords, regardless of the major key you are using.
The proper way to do it is to begin with a melody, find out what scale you are using, determine what chords are in that key, and to simply choose from them.
Switching around this process, by beginning with the chord progressions, works just as well. Find out what scale the chords are in and create your melody from that scale.
This takes less than a minute to figure out, and Everything will match up LIKE MAGIC.
You can always choose a chord or two from outside of the key for Interesting Flavors, but most of the chords and melody notes need to come from the same scale, or song will taste like a Pizza with Tuna and Peanut Butter toppings.
About the Author:
Kevin Thomas holds a Masters degree in Music. He is the Owner of Songwriting Planet, where you can acquire Free Techniques about the Craft of Songwriting. For Lessons from Kevin in the San Diego area go to the Local Page at SWP.
0 nhận xét: