Key Signatures
Major Minor Key Signature
C Am -
G Em F#
D Bm F#, C#
A F#m F#, C#, G#
E C#m F#,C#,G#,D#
F Dm Bb
Bb Gm Bb, Eb
Eb Cm Bb, Eb, Ab
Ab Fm Bb,Eb,Ab,Db
C Am -
G Em F#
D Bm F#, C#
A F#m F#, C#, G#
E C#m F#,C#,G#,D#
F Dm Bb
Bb Gm Bb, Eb
Eb Cm Bb, Eb, Ab
Ab Fm Bb,Eb,Ab,Db
Melody
- Make sure your melody has a clear rhythmic structure, with each phrase starting and ending in the same place.
- Choose a simple and easy to work with phrase to use as a sequence, which should develop in its 3rd bar.
- Plan the cadences and modulation before starting. Remember Te-Doh.
- Have a clear melodic structure. A A B A and A B C A work really well.
- Use “stock phrases” that you are sure will work. e.g. Soh Lah Te Doh at the end. Re Me Fah Soh at the end of the 3rd phrase. Soh Lah Te Doh Re Me Fah Me Re Doh (in the Dominant) for the modulation.
- Remember step movement is much better than too many leaps, however do use some leaps, again making sure they are ones that work. e.g. harmony notes from chords I and V.
- Look at the overall contour, making sure the mid and end points are points of climax. i.e. High. It should look like a good melody.
- Choose the instrument and add performance directions. Tempo, Dynamics, and phrasing. Check to make sure you’re in the correct clef for the chosen instrument.
- Examine sample melodies, major and minor.
Harmony
The basic idea is to justify all notes of the melody as being Harmony notes, Passing notes, Appoggiaturas, changing notes (notes echappee) or notes of anticipation. SEE BELOW.
The basic idea is to justify all notes of the melody as being Harmony notes, Passing notes, Appoggiaturas, changing notes (notes echappee) or notes of anticipation. SEE BELOW.
- Remember this question may modulate to the Dominant although it hasn’t up to now.
- Don’t use the same chords in the same position twice in succession.
- Don’t use too many inversions. Use them when you need to repeat a chord or for a certain bassline as in descending bass above, or for stock phrases.
- It’s a good idea to lightly pencil in all possibilities before going back to make final choice.
- Make sure you note you add in the bass coincides with how you’ve “spelt” the chord.
- Major keys
- I, V, IV, ii, and vi in order of importence.
- Ib, Vb, IVb and iib.
- V7 and Ic in stock phrases Ic- V- I, and Vc in I –Vc – Ib.
- DON’T USE iii, vii, and vib
- Good Progressions; I- Vb – vi – V- (descending bass); I - IV – V; ii – V – I; I – vi –IV/ii – V; and any chords of a cadence. V must go to I or vi.
- Bad Progressions; and ii – I. Don't go from ii to I.
- Don’t use the same chords in the same position twice in succession.
- Don’t use too many inversions. Use them when you need to repeat a chord or for a certain bassline as in descending bass above, or for stock phrases.
- It’s a good idea to lightly pencil in all possibilities before going back to make final choice.
- Minor keys
- i, iv, V, and VI,
- ib, ivb, Vb and iib.
- DON’T USE III, ii, and vii.