MarcPope

Sorry mate, thanks for the reply but as much as I would like to, I really don't understand any of that :( as I say, I'm self taught and this might just be outside my capacity at the moment. I got lost at 'vidim' to be honest. I did a google search and a village in Czech Republic was returned to me lol. That's when I knew I was beat.

I have a question regarding part writing. Let me explain. When I have my chord progression written. The norm for me is to use the top line, middle line, and bass line as my lines for various instruments. However, I've been experimenting with using the root, 3rd and 5th as separate lines for my instruments instead which has instruments overlapping each other melodically due to chordal inversions. What are the rules on doing this, if any? Thanks in advance for any help.

Actually on further inspection I can see now that I've simply used a cadence from the relative major (vii-, I). Sounds good though. Must remember that one.

I have recently finished writing a chord progression for a new track I'm working on and it's the first time I've used this "trick" cadence - I suppose you could call it that. it's natural minor and I have ended the passage with (iv, II/1, ii/1) ending on the first inversion of the third. I'm satisfied, I am not going to change it but i am just wondering if anyone has had any dealings with this and/or what are your professional opinions on it? I am self taught from personal study so I would greatly appreciate your thoughts on this, I'm intrigued.