Anyway, here are the lyrics:
If you are near me and by my side
We'll shut out the cold and turn off the light
so rest your head and close your eyes
and I'll sing to you this lullaby
The sun has faded from the sky
the moon is here to say goodnight
But slow your heart its not goodbye
I'm right here now everything is all right
I'll never leave you in the dark
if you need a light I will be your spark
till the light returns in the morn
I'll be right here to keep you safe and warm
Now the time has come for you to go
back inside your head where the dreams will glow
and will light the world we soon will know
with those dreams you had so long ago
Currently the form of this song is strophic, meaning that it consists of only verses. I used this form because I want the focus of the song to be in the dynamics in each verse, not the distinction between the verses and a possible chorus. This song is written in simple quadruple time.
Next let's look at the chord progressions used in the song: Key Signature: G Major
C D/F# G
C D G
C B Em
C D G
Using chord symbols:
IV V I
IV V I
IV V/Vi Vi
IV V I
So there's a lot of focus on the IV chord as it starts out each phrase, and each phrase is resolved with a V to I cadence. However, the interesting event occurs in the third part of the verse with the V/Vi chord. Note that B major is not in the key of G Major, and it is a secondary dominant to the Vi chord (Em). This gives the phrase stronger "pull" to the end of the line, and allows more emphasis to be placed on the lyrics in that section.
Alright, I'll post more original songs in the future, but this was meant to give an example of how secondary dominant chords can be used in a piece to provide an interesting variation to a similar chord progression.
Thanks for reading!
Sincerely, ZS
Next let's look at the chord progressions used in the song: Key Signature: G Major
C D/F# G
C D G
C B Em
C D G
Using chord symbols:
IV V I
IV V I
IV V/Vi Vi
IV V I
So there's a lot of focus on the IV chord as it starts out each phrase, and each phrase is resolved with a V to I cadence. However, the interesting event occurs in the third part of the verse with the V/Vi chord. Note that B major is not in the key of G Major, and it is a secondary dominant to the Vi chord (Em). This gives the phrase stronger "pull" to the end of the line, and allows more emphasis to be placed on the lyrics in that section.
Alright, I'll post more original songs in the future, but this was meant to give an example of how secondary dominant chords can be used in a piece to provide an interesting variation to a similar chord progression.
Thanks for reading!
Sincerely, ZS