CRAFT SONGS LIKE POST MALONE: Music Production Masterclass - Song Structure Analysis | Kia Orion | Skillshare

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CRAFT SONGS LIKE POST MALONE: Music Production Masterclass - Song Structure Analysis

teacher avatar Kia Orion, Artist & Music Producer

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

4 Lessons (28m)
    • 1. What are you going to learn?

      1:17
    • 2. Goodbyes Song Analysis

      10:38
    • 3. Patient Song Analysis

      8:02
    • 4. On The Road Song Analysis

      8:14
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About This Class

Want to learn how to craft hit songs like Post Malone?

In this course we’ll analyze some of Posty’s greatest hits and I’ll teach you how to listen to music differently. 

We’ll dive deeper into his song structure and decisions around music production, instrument choice, and vocal effects so you can implement these concepts into your own songs.

Producing a hit record for Post might not be as hard as you might think.

A lot depends on the vocalist, of course. You’ll never be able to predict a hit.

But making the beat itself isn’t rocket-science.

When you listen to music for pleasure it’s different than listening as a producer. 

It doesn’t happen overnight, but you can train yourself to listen to music on a deeper level.

And that’s exactly what I’m excited to teach you how to do in this class.

WHAT YOU’LL LEARN

-How Post and his producers structure some of his biggest hits

-How to create motion in your tracks to keep them dynamic

-What vocal effects Post uses and techniques he implements to fill empty space

-Songwriting techniques that make his songs memorable and interesting

-Different song structure ideas you can use to breathe life into your own songs

Meet Your Teacher

Teacher Profile Image

Kia Orion

Artist & Music Producer

Teacher

Ay! I'm Kia. 

I'm an artist and educator who believes life wouldn't be the same without music.

Or tacos.

I realized that I was equally as passionate about teaching music as I was making it.

In 2016 I founded Beat School, an online platform and series of educational programs to help aspiring artists and producers learn how to make beats, accelerate their growth, and stay inspired. 

I'm originally from New York but these days you'll find me traveling around the world writing songs or playing beats on a rooftop somewhere.

I appreciate you stopping by, and if you'd like to get in touch you can DM me or shoot me an email at [email protected] 

Life is too short not to do what you lov... See full profile

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Transcripts

1. What are you going to learn?: gentlemen, welcome back to another course. My name is Key O Ryan. Thank you so much for tuning in. Ah, I am the man who is obsessed with making dope music and teaching you how to make your own. I'm an artist and an educator. And if you're interested in learning more about music production, if you want my free guides, sample backs, templates, any of that good stuff, go find em. My website key o Ryan dot com slash resource is or producer downloads dot com. I'm here to help artists, producers, songwriters, engineers, but today's class is going to focus specifically mawr on song structure. It's my choice and effects, so we're going to break down, isn't I've been doing these artists analysis when this was going to be on Post Malone, but it's less about his rhyming and his use of rhymes and more about how he sets up these huge hit songs. People have been asking me to do more kind of song, a now assistant kind of producer breakdowns that we can really see kind of the different elements that go into these songs in terms of the estimate choices when they the types of incidents there, using the effects that they're using all of that good stuff. So if that sounds good, grab your beverage of choice. Get a little bit of time set aside and let's jump into some songs, see on the inside peace. 2. Goodbyes Song Analysis: Okay, So the first song that we're gonna jump into is this song Goodbyes off of is the Hollywood's bleeding album. This is most recent album at the time of this recording, and so I want a couple of tackle a few songs on here, Possibly in this on his older stuff as well. Um, and so again, as we jump into these, keep in mind instrument choices will break these down for you kind of in real time. As we go, we're gonna look for instrument choices, structure and effects. So let's let's analyze some post Malone together. Just see, just seem to be stopping a certain this a lot. So if that bothers you, this is gonna be the course for you. All right, let's dio So some moody pads, moody pads to start. Mean curfew, Same pleasures. So this is cool right now we got somebody pads, no drums. Good intro. I'm digging it in vain. Do is complying, Jeannie. Something to change? Need to take out a saw us news vocals to listen to. I noticed a lot all at once, But listen to how much river be has on them kind of how they're mixed there very much kind of front of the mix, but they have these cool effects at the same time, so we'll be listening to a bunch of things at the same time. We might have to run the run when the song back to catch it all but just things to pay attention to get on night. T o second parliamentary Bringing the clap Say I want you, I want you weigh if you listen to it right now, we're dropping into the hook because I've been listening to this song thing about this analysis. The hook changes every single time that it drops. In this song, this is the first time is dropping. So then he's bringing high hats of the pain to the left to bring in the clap. Couple of elements come good at goodbyes. Quibble that saying is not drinking again. First, let me bring in another high hat, that little stutter, high hat and kind of pan to the left. Some kick drum obviously also brought in a piano that it's like dunk, dunk, dunk, dunk, dunk, dunk, dunk, dunk, dunk, dunk. That's like playing the 16th. Those with me, both of both the hi hats in the clapper. The snare clap thing is painted a little left A little, actually, he has high hats. 16 the riots pan to the right and then little stutter high hats or paying to the left. No way in the base. And then you're really gonna hear the piano more now Way No, I want you in my life. I want you back here tonight I'm trying to cut your no knife. I'm gonna slice and dice. So the intro of this verse he took out the bass, took out the kick Any There's no low end. He's just keeps Kept the energy going by keeping the hi hats for the most part in the clap sound. Actually going to run that back for a second. He switches from a snare to a clap right here in his first section. He has that he has listening as a snare back to the clap way. Brought the piano back in with the filter booth brought in a little bit of like a base. He took the kick out all the low in staking out now, innit? Theme high hats and there's gonna drop back into another hook. That's gonna bring a lot of these components back. He's also singing more, So he's bringing in some melodies on this part of the hook. Me, Me. So listen to this. Listen, just this just his vocals layering on his vocals I e. O Night kind of like delays, but it's just it's that main vocal layered, but just not a ton. Assoc has this kind of call in response to what he says, I'm gonna save you and then the other part. And then he sings back to himself. No, I want you. So listen those vocals. So listen these vocals in these in this last how much more intense is this last you hear? There's like an extra layer of vocals that's pitched up a little bit, No after action. So it's when they're back one more time and kind of fill out our analysis. So one time, too. I'm hearing Maren. Oops, I'm hearing ah, pad kind of this moody pad. I'm hearing the piano guitar. Lots of drums. Obviously think about the structure. You mean the same pleasures Praying Maga spice me in vain on our doors compliance. She needs something to change. Need to take out the get on night. Don't tell me. Uh, you know, you have much to say. I want you. I want you base. So I'm no good at goodbyes level that saying shopping is not drinking again. Way even there to again. Cone response A lot of corn response in this. I want you in my life. I want you back here tonight. I'm trying to cut your no knife. I'm gonna slice present. You don't think he's even Even young thug is doing colon response. Are you listening? Kind of the delayed vocals that are you They're more of a texture And there there's there's they're heavily filtered So they aren't as much in your face that you kind of add And there's a lot of rivers. There's kind of add to the beat, but they're definitely there, Theo. All right, you guys get it. You can listen that one again if you want. Here's my take on it. Pretty straightforward structure, the way that it's laid out. Just if you listen is back. Listen to when he takes the kick out and the base out, Um And then it brings all back into that last took for the energy not a ton of different instruments and using the vocals kind of this layered vocal as one of the main instruments have kind of piano in the pad, um, the guitar, but for the most part, the delayed vocals or another big spacey part of the beat And a lot of the effects are Colin Response reverb, and it's a filter, Um, felt they filter out a lot of high end. Ah, this is what I'm drinks Producer, 40 talks about a lot, too, when he makes beats for Drake because it allows a lot more. Excuse me, the room for your vocals if you can carve out some of the high end so something to think about Okay, Song number one, um, good byes tackle moving out of the nice one. 3. Patient Song Analysis: All right, Joe, The next joint we're gonna tackle is his song patient, which is I think it's a beer bongs and Bentleys will see. I know it's all stony. I believe way, way I just want to say again listeners call in response We're gonna plays back a little bit , Listen to how he says things. And then in his ad Libs again comments post. Malone um instrument now is his own vocals. Kind of delayed Is calling responsible in this part one more time way, way Got some kicks in some eight Always going with these drums now? No, this one second part of this first verse way. I just want talk to guys with the high hats and drum patterns real quick. Listen to how many high hats is going on there. Kind of panning is a high, has a bunch of hats. And when that kind of speed up to that trap high hat roll, that kind of pan to the right, then back to the left way as reverb to a snares here. And that's but as base wake the high. It's all percussion way, added another layer vocal That way you you wait. He's now at his added a filter to a lot of his instruments. So creates that kind of like pulsing effect as he's taken all the low end. You won't have a harder time pulling up. That's just automating a low pass filter back and forth. Well, we'll all the instruments starting, kick, kick. No, wait, wait. This time no base people feeling man trying to get their way people. But they don't represent back to the relatively dryer snare. Still not totally drive, but a little bit more way back to this kind of bridge section. He brings the hi hats, Mathias. He brings this near the river Back on the snare You cut all percussion. Let me. Hi, symptom melodies. Cool. So for this track, mostly kind of a synth Paget's from a lot of heavy drums us and it one more one more time back. There were probably more incidents in there that I missed, but ah, structure again, it's it's not anything super crazy. Um, the way that what makes this structure interesting is in the verses in the hookahs. Well, it'll still be. If you look at just the writing, we might just say hook universe But it's all the elements that he's bringing in and out in that hook in the verse to make it exciting. Almost every single four bar something is changing. It's either there's the hook. Excuse me. It's either like, say, the drums with no kick. And that will be all the drums with just the kick and then all the drones with just the ate away and then all the drums. And then maybe, like just some of the drums with, like just the 80 wait, So it's just the same. You take the same. So you have 10 instruments. It's just different combinations of those 10 instruments throughout the track to keep it interesting. So it's one that back the eyes, the high said that you see there any instruments here? I missed the's synth kind of moody synth pads. Yes, he brings in a higher sense a little bit later on, but nothing crazy way melody playing to the right way, way. If you listen to what brings the energy in, this section is really just a lot of layered vocals way again. There's not a lot of high end a lot of the high end or the drums, a lot of the hi hats that snares, And then it's just post the voice because a lot of the high end he doesn't you don't want to compete. He's doing so many things with these layered vocals and this call in response and delay and effects and reverb that it gets a muddy really fast. If there's a lot of other high in disputation, so there's there's not a lot of instruments going on just kind of creates the mood. The canvas and then post kind of does his thing from there, So that's how I see this track. Playing out is again. Simplicity is key. Create your elements. Leave room for your drums. Keep them interesting. But not so. If you listen to psy has there. It's so loud that they're distracting. They're paying a little bit here and there, but his voice is really what's carrying a lot of these tracks, his voice in the drums. So that's another track looking down 4. On The Road Song Analysis: All right, so let's get into another one Post Malone Breakdown This one is going to be on the road featuring meek mill and little baby Listen to this song a few times before this breakdown and you know So this is I think this may be a reverse piano. I'm not sure exactly what it is, but I love assumes something comes in like that. Oh, I love me or some reversed instruments. Then you're gonna have some some layered vocals to is part of the way cause they subsume So this is a different structure. This is one just that intro. There's just some layered vocals. Not really much drops right into the hook. Simple he's had He's got instrument choice drums and listen How much delay and reverb is on his vocals. It's their super space is almost like Torey Lane said vocals, Way bet on the farm and Armani 25 a bitch of mental. So if he wasn't as he took the hi hats, they brought the about the volume way down the hi hats. There are many other instruments right here just to keep the energy. They're still there just a lot softer. I saw any hits. Can't remember taking a shit. Look at the facts on a wall. Get back way! So here, Right, Still diverse. But he just took the kick in the base out. Four bars with the kick. Four bars without me. Can you stop following me? Because my time is your sense of sadness. Bottom will cough. You walk off fish, raise the volume of the hi hats again. The diets are dynamic, that kind of change, that the track, when there isn't as much drums or softer, announced the hook there louder again, way, way when it was time to do some work and put it in what it listen to, how the change of the sneer pattern also changes. Um, it's like snare snare. There's a bunch more stairs. Listen way back to just simple snares now way when it was time to do some work and put it no higher. What did? I just took out the reverse thing. I think in the It's just a guitar when I see him looking them leave when I'm losing my back up soon as that way. Also, that's a great way to transition is one snare with a lot of reverb on it. This is a trick I use all the time. Listen, transition. It's just a snare, but with a bunch of beaver just laughing when I see him looking them. Leave when I'm losing my back up so that you ate my day one. And I know you're not my friend. So I can't judge you when you do some funny shit in just like you really down sneer. Pattern changed again. A little you starts with been seen the money over. Probably love, but a stop me. I just kept going up. Then I think there was either someone singing or some like high note came in on the right. I think he also took the kick in the base out. I wish every time I said I would think it's a high sent over here on the right. Fuck around, Richard, Jeff Bezos said again. Never lose that. Go over time on staying that Jim, Let's get did this Near trick again in the last year of transition is more singing in this hook. There's like background singing. This is my last. You can't be manatees actually, way supposed to be going well, let you steal it, I can shout it. At noon on a general, he switched the snare for snaps. Look, I think you know this verse. It's snare way when it was time to do some work and put it in like a machine sneer. No, it's snaps with a lot of reverb, and delay is my last. You can be managed way supposed to be for only a truce deal, and I can shout it Also interesting. Different pattern to I think it's like the stairs only on the two and four way when it was time to do some work and put it in general, I don't need no issue back in transition again with the reverb Snare is my last You can be managed took the guitar way. Time is my last was treated for, like that high pluck sound baby manatees actually way supposed to be going well yet you still and I can shout it. I get on a general on. I don't need no issue. Bang into turkey sandwich I got back is in my naked driving, passing out crashing. I'm supposed to be sold over some kind of way. Everything back he's going to take him on the phone trying. Candidate took it all out again and again. Four bars in four bars out. Keep it interesting. I don't know love one way way. It affects 1/4. So I think that this is a great example. In this track of again, the structure isn't anything super crazy. It's a verse in a hook and then a verse in our universe unhooking altro. But it and it's not a bunch of different instruments is the reverse piano thing over. Something is the guitar is the bases. The drums is the high pluck, probably some other things layered in there that are so soft I couldn't catch him. But he's not adding a bunch of new instruments and then taking them out. It's just pretty much the same instruments, but then a lot of changes in the drums, trading the snare for a clap, trading that the high the snare pattern for a little bit of a different pattern, bringing in the kick, taking the kick out, bringing in the base, taking the base out, taking out the hi hats, adjusting the volume of the hi hats. It's all these little smoke creative decisions that keep the beat in the song interesting so that it's not just the same loop over and over because it is Luke based. But for these songs to keep it interesting, you have to create. You have to make it just slightly dynamic your listener. So I hope that that helps another song in the bag hope he's learned a thing or two.