AboutClare Redfarn Expertise All aspects of the academic/theoretical side of music, including harmony, counterpoint, elementary composition, history, harmonic analysis, aural training, sightreading - the lot! Please note: I'm neither a professional composer nor a singing teacher.
Experience 49 years as pianist (professional soloist and accompanist); 34 years as harpsichordist (professional soloist and continuist); 10 years as violinist and 6 years as bassoonist (youth orchestras/chamber groups); 36 years as piano teacher, coach in performance/interpretation (all ages, instruments and levels) and private tutor (mainly the old O'level, Grade VI+ ABRSM theory/practical musicianship, A'level and undergraduates).
Organizations I've been a member of the Musicians' Union in Britain since 1978.
Publications I've written many programme notes and a few articles for an online magazine. During the '90s I was also a Music Assessor for London Arts and as such regularly wrote critiques of concerts given by recipients of Arts Council funding.
Education/Credentials MA in European Cultural Policy & Administration (Warwick University, 1994)
B Mus with Honours (London University, 1977)
Postgraduate Diploma in Arts Administration (City University, 1982)
Licentiate of Royal Academy of Music in Piano Teaching (1976)
Licentiate of Royal Academy of Music in Harpsichord Teaching (1978)
Studied RAM Junior School (1966-74), then as full-time student (1974-78).
Question I am writing a song in the key of E minor and I am not sure where to go with it. I need another section to make the song complete. I have tried going to the Key
of G as it's the relative Major to E minor, but I'm not getting the sound that I want there either. Is there another key that would work with E minor that would
give me a different sound yet complement the song? Please assist.
Answer Hello Victor,
Let's go through the degrees of the scale in turn.
Supertonic = F# minor - not a good idea. Forget it.
Mediant = G major = the relative major - which is closely related and a good key to modulate to, but you say you've tried that.
Subdominant = A minor - also a closely related key. Or how about the subdominant major = A major?
Dominant = B major - the most closely related key, or try the dominant minor = B minor.
Submediant = C major - could work - try it.
I've just reread your question more closely - am I right in thinking this isn't the middle section and you're not going to return to E minor? If the piece is in *two* contrasting parts, why change key at all? Why not have the first section in E minor and the second in E major?
I hope this gives you a few ideas. Get back to me if I can help further.
