From your profile the following may be old hat, but, just in case.........
www.musictheory.net go to Lessons then common chord progressions. In a nut shell this site addresses the
movement of chords. Movement - rest, tension, climax, resolution and return to rest AND which chords like to move to what other chords.
I is major, can go anywhere it wants to. I brings the verse, phrase, whatever back to rest, thus you should end at the I.
ii is minor, a sub-dominant and wants to move to a dominant. The IV is also a sub-dominant chord and the ii and IV can sub for each other.
iii is minor, wants to go to the vi chord. thus makes a good pivot chord for a turnaround.
IV is major, a sub-dominant chord like the ii and it wants to go to a dominant chord. As mentioned the ii and IV can sub for each other.
V is major, a dominant chord and it's task is to move to the I tonic chord. IMO in a verse format anything after the V except the I you may be entering into an anti-climatic area - just something to consider. See my note on the viidim chord. The V and viidim also can sub for each other - under certain rules touched on below.
vi is minor, the relative minor chord and wants to move to a sub-dominant chord (ii or IV).
viidim is the diminished chord. It too is dominant and can sub for the V. The viidim chord is a lead to chord, i.e. if you need a dominant chord to end the phrase use the V, however, if you need a dominant chord to lead somewhere else use the viidim. Both want to move to the tonic I chord, however, the viidim likes to lead to the iii thus taking the progression on another journey before moving to resolution. Normally to the iii chord.
That gives you the basic movement between rest, tension, climax, resolution and return to rest the verse, or phrase, must make, plus outlines which chords LIKE to move to what other chords. If we let them move where they like it normally works out for the better.
Next comes harmony. If the melody notes and the chord used under them share some, at least one, note they harmonize. Here is where the extensions, Amaj7, A6, A9, Aadd9, etc come into play. If you need a harmonizing note added to the chord think extensions, i.e. find an extension that adds the note you need. Keep in mind the movement - don't destroy the movement by relying upon just a harmonizing
chord. It's a balancing act.
http://www.google.com/search?sourcei...+a+melody+line
Here is a chart that helps find a chord that will harmonize a specific melody note. I listed the C scale, however the Roman numbers are generic, i.e. 1st degree of any scale the I, IV vi or ii7 will contain a harmonizing note in the chord. Use the one that fits best.
C Scale melody notes Try these chords
1st degree C.....I (CEG).… IV (FAC).. vi .(ACE).. ii7 (DFAC)
2nd degree D.....V (GBD).. ii7 (DFAC).iii7(EGBD)
3rd degree E.....I (CEG)…. vi..(ACE)….iii (EGB)
4th degree F....IV (FAC)…. ii..(DFA)...V7 (GBDF)
5th degree G.....V (GBD).. I...(CEG)...iii (EGB)
6th degree A....IV (FAC)... ii..(DFA)…..vi (ACE)
7th degree B....V7 (GBDF).iii.(EGB)
Back-Cycling then enters into the picture. In a nut shell back-cycling is the circle of 5ths, 4th, whatever you call it, laid out in a straight line. Need to fill a void look at what chord leads to the chord after the void. Insert it. Whether you insert it as a major, minor, diminished, extended, augmented etc. depends on what works best - your choice - remember it should harmonize the melody used over it, and not distort the chord movement. If a D major works, use it, however, if Dm works better use it and if Dmaj7 would work even better use that.
http://www.ibreathemusic.com/forums/...hp/t-8383.html If back-cycling is not yet in your bag of tricks I think this one thing would help the most.
IMO these three items should start your journey, is there more, of course. If you find something of interest, share.
Now the art of composing uses these basic concepts, however, goes beyond what I've listed.
Have fun.
