How To Compose Uplifting Music | Mikael Baggström | Skillshare

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

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

Lessons in This Class

24 Lessons (1h 20m)
    • 1. Welcome & Congratulations

    • 2. Your Vision & Mission

    • 3. Learn the Sound of Corporate Music

    • 4. Create your Project Plan

    • 5. Tip 1: Upbeat and Uplifting

    • 6. Tip 2: Keep it Simple

    • 7. Tip 3: Use Light Sounds

    • 8. Tip 4: Get Straight to the Point

    • 9. Tip 5: Build the Energy

    • 10. Tip 6: Avoid Low Energy

    • 11. Tip 7: Avoid High Tension

    • 12. Tip 8: Stay within the Comfort Zone

    • 13. Tip 9: Avoid busy Patterns

    • 14. Tip 10: Keep it Straight

    • 15. Sounds in Action: Drums & Percussion

    • 16. Sounds in Action: Effects & Transitions

    • 17. Sounds in Action: Melody & Harmony

    • 18. Action: Create your Sound Palette

    • 19. Composing 1: The Creative Session

    • 20. Composing 2: The Sketching Session

    • 21. Composing 3: The Commitment Session

    • 22. Composing 4: Writing your First Scene

    • 23. Final Project: Compose a Full Track

    • 24. Congratulations - You are Amazing!

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About This Class

Music Composition - Uplifting Corporate Music
Welcome! And congratulations for choosing to advance your skills and knowledge as a music composer. My course will take you on a learning journey. And your end goal and destination for this journey, is to unlock the secrets of composing corporate music.


  • Learn the Foundations of Corporate Music

  • Find out Your Vision & Mission

  • Create a Professional Project Plan

  • Get 10 Powerful Production Guidelines

  • Master the Sound Palette for this Style

  • Complete a Creative Songwriting Session


Your final project will be to compose your own track in the style of corporate music, including following all the steps of a professional project as a composer.

Now before we continue, I want to ask you: Do you want to learn how to compose corporate music? Are you prepared to complete this course, and take action on everything you learn? Are you ready to level up as a composer?

Then let’s start your journey, right now! =)

Meet Your Teacher

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Mikael Baggström

Music Composer | Sound Designer | Video Producer


Hey Friends and Creative People!

My name is Mike, and I am a Music Composer, Sound Designer and Artist. I Share my Story, Journey, Experience and Knowledge, to Inspire and Empower Creative People like you. =)


I believe that learning should be fun. I love to bring my personality into my teaching style. I also try to make my courses dynamic, to be more interesting to you. =)

Friendly regards,
Mike from Sweden
Compose | Artist | Educator

See full profile

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1. Welcome & Congratulations: welcome and congratulations for choosing to advance your skills and knowledge as a music composer. My course will take you on a learning journey and your end. Go and destination for this journey is to unlock the secrets of composing corporate music. Here all the main benefits you will gain By taking this course, learn the foundations of corporate music. Find out your vision admission. Create your professional product plan. Get powerful production guidelines. Master the sound palette for this style music. Complete a creative songwriting session and your final project will be to compose your own track in the style off corporate music. Hello, my name is Mike and I am a composer just like you. I have composed and produced music since 1998 and I will never stop because music is my true passion in life, as I'm sure it is for you to write. That's also the reason I created professional composers. Don't come my websites, network and community for composers with high goals and big dreams. Composers like you. Now, before we continue, I want to ask you, Do you want to learn how to compose corporate music? Are you prepared to complete this course and take action on everything you learn. Are you ready to level up as a composer? Then let's start your journey right now. 2. Your Vision & Mission: What is corporate music? Let's start by defining what corporate music really means. The main aspect of this style of music is that it will primarily be used in corporate media productions as background music to increase the quality, value and impact. Old works Envoy commercial. A presentation video. And so you are a professional composer and as a professional composer, you make music for a specific purpose on End Gold, a project in mind. That's the main difference between a composer and a producer for artists. I have a personal quote that sums it all up like this. Your client has a vision that will define your mission, and your mission is to create music with a purpose. That purpose is to elevate the final production vision and purpose off. Corporate music is to boost business, marketing and sales by making the end consumer in a mood to buy. Now what if you don't work directly with a client? Let's say you want to compose the track for a music library or simply to add a track to your composer portfolio. As a professional composer, you should always work like you have a client. So if you don't have a client. When you are about to start a new composition, you need to come up with imaginary project to make music for on an imaginary client. Why? Because you want to make sure that your music will be made for a specific purpose. Your mission as a composer is always to make sure the style and moved off your music composition goes hand in hand with the vision and purpose off the project. Your music will be used in. So in this case, your job is to compose music that makes people feel good, happy, uplifted and more open to buy. It is now time for your first action in this course, which is to define the final project your music will be used in. Remember, you should do this even if you don't have a real client. Because by defining the final project first, you will get a much better perspective and more clarity on how you can write your music to elevate the final production value impact and result off the project in mind. This is why I recommend you to always define the end purpose for your music first. Where will it be used? How will it be use. And what is the desired outcome off the particular production? Alosha. The product definition I have come up with. I will compose music for an online video commercial by a family focused technology company that just released a brand new product line. The product is a video game entertainment system for your core. In the video, they will show the benefits and ease of use of their product by having footage of them using it when driving. They will also include B roll off, the Children, having fun using the product as well as happy parents. The video will finally be narrated by a friendly voice over. Now it is your turn right down a specific description. Off the final project, your music will be used in and again. If you don't have the rial client, you simply imagine the entire project as I just did with my example Good luck defining the final production and its main purpose. These definition will be the route that guides your entire creative project as a professional composer 3. Learn the Sound of Corporate Music: Now it is time for the research stage and one off. The best ways to analyze the specific style of music you are going to create is to simply search for it online and then listen and analyse it. I recommend that you sink this search for corporate music on, for example, stock music websites like Audio Jungle or Poland. Five. These are marketplaces for music to be licensed mainly for media productions, which makes them perfect for your research. And if you do your job well, as a professional composer, you will be able to make money from your tracks. By using licensing platforms like these. I want you to listen closely and focus on everything. You hear every little detail off these music compositions, the instruments and sounds, the playing styles. They use, the transitions and effects, the arrangements, the energy and dynamics and so on, but most importantly, the overall sound character and emotion off corporate music. But before you go online and do your research by analyzing corporate music, I will now play you one of my compositions of corporate music. So listen carefully now and analyze everything you can hear. - You should listen to and analyze at least a couple of tracks in this style to get a feel for the overall vibe, instrumentation, energy, song structure and so on for each track. And when you feel you have a good sense for the style and moved off corporate music, let's continue your journey. 4. Create your Project Plan: Now it's time for you to create your project plan. This is one off the most important things you can do as a professional composer in the beginning off every new project you start. So why do you need a product plan? Because this will be your master guide for the entire creative process. Let's compare this to building a house. For example. One does not simply start piling bricks in a random location. You need a vision, a plan, a blueprint, among many other factors. In fact, for every new house, there will be a new product plan. And it is no different when your job is being a professional composer, because your knowledge, skills and experience will be used to create a desired outcome. A end product. You are a professional composer. Your product is your music, and the ultimate goal for your music is to increase the overall quality impact and result off the final production your music will be used in. So how do you create your product plan? Well, I have made a stick by stick project plan template that I personally used for my projects, and I'm going to share it with you right now Step one. Emotion and vibe. Start by writing a list of keywords that describe the overall emotion and vibe of your music keywords that will support the end purpose off the final production. Your Music with the Houston Here are some examples off overall emotion keywords, and he wrote the keywords I have chosen for my product man. Uplifting, happy, upbeat, light, inspirational feel good and easy going. Now what keywords will you use to describe the overall emotion and vibe off the music you will composed for this product? Step to action and energy level. How much action and energy will your music have from very cool and smooth all the way to full on dramatic action and drive, for example, Zero could mean a very slow, ambient and atmospheric vibe, and 10 could indicate music for a mega epic battle scene. Here's a tip. Action mainly comes from the rhythm pals accents and drive in your music For this particular project, I have chosen to go with a medium energy level around six, which means some drive to keep the music upbeat and uplifting, but not too much action oriented. Step three. Attention level. How much attention should your music attract? Basically, from subtle underscore to full, long attention grabbing music, for example, zero could mean music that is completely in the background simply as a bed off sound. Atmospheric, perhaps, and 10 could mean a super catchy and a powerful chorus. Here, sitting the attention level mainly comes from lead melodies, hooks, riffs, accents, power notes and motives, everything that draws your attention to the music. Another tip is that longer sustained notes and chords will generally draw less attention for this project. I have chosen to go with a low to medium attention level around four, which basically means that the music will be mainly in the background but not too bland and forgotten. Step for fullness factor. How food should your music sound? From very light, open and sports to a super big and powerful wall of sound. Basically, the fullness factor is how much off the frequency spectrum you feel with the sound for your music composition and production. For example, zero could mean a simple tune for Children played solo on a toy piano, and 10 could be music foran, a peak massive cinematic action trailer I have chosen to go with a low to medium fullness factor over four, which is again mawr in the background. And No. Two Powerful Step five. Your Sound Guide. A general guide off what type of sounds, instruments and style you will use for the project. Note a list of specific instruments, but rather the character and vibe off the overall instrumentation. Simply make a list of key words like you did for the overall emotion and vibe, but this time focused on the overall sound character. Here are examples off sound guide keywords and here are the sound guide keywords I have chosen for my product plan. Acoustic, intimate, organic and light Elektronik. Finally, I have a bonus tip for you. You should personally create and write down the product plan, since it will be your blueprint as a professional composer. However, if you work directly with a client, I would strongly recommend you to get his or her input on your product plan. Start every project for a client by being a good listener. Listen to the vision your client has for the entire production and take notes. Remember the client as a vision that will define your mission. All right, now it's your turn. To create your product plan, simply create a new document on your computer and write everything down. This will be your creative foundation for the entire music composition process. So take these steps seriously. Good luck creating the complete master plan for your project. 5. Tip 1: Upbeat and Uplifting: I will now share with you my top 10 guidelines on composing corporate music. But remember, these are guidelines, not rules. You don't need to follow them, but it should be aware off them. You can think of these guidelines as a good starting point when you composed your corporate music production. Tip. One upbeat and uplifting corporate music is very upbeat and uplifting in most cases so focused on major scales and major courts, let's say, choose the C major scale than mainly used the three major chords off that scale in this case C major, if Major and G major and focus on light and upbeat playing styles for both the courts as well as the rhythms and melodies. All right, so I'm now here inside my d. W. And this is my entire corporate music composition right here. And if you look up here, you can see that I have shows in the key off G major. So a major scale, which is what I recommend for all styles off corporate music, because you get that up lifting and upbeat vibe and also a 44 time signature, which I also recommend. So in the case of D major, the three major cores, or G C, and and the pattern for the major courts is the same for all major scales. By this, I mean that the cooled pattern for any major scale meaning any key you start the scale on, let's say, the C major scale he started. The C major court is the following. The first chord in any major scale is always a major court. In the case of C major scale. It is, of course, a C major chord. Then you get the second court is a minor. The third is a minor, the fourth is a major. The fifth is another major than you get in minor on the sixth, and the seventh is a diminished chord. So you have the first court off any major scale being a magical The fourth is another major chord, and the fifth is a major chord. So this is the sequence off a C major scale C f g on. Then we can go back to one C, and this is what I recommend you to focus on to get that upbeat and uplifting vibe. Focus on the three major chords on the major scale in the key you choose, then the next thing is playing an upbeat and uplifting fashion for the playing style. And for this I recommend a jumpy or balance see playing style. Let's go back to the G major scales. We have the G F and A. D so you can play, for example, like this, or let's say something like this and this jumpy and balance. The playing style doesn't only work well on chords and harmonies and rhythms, but also can were great on your leading melody that drives to track So you can listen to this on this piano plaque here I have as the leading melody in my corporate music composition, thinking here very upbeat and light playing style. Now let's continue your journey in corporate music in the next video. 6. Tip 2: Keep it Simple: tip to keep it simple. Simplicity is incredibly important for most production music used in TV commercials, online video, etcetera, symbol courts, simple rhythms, simple melodies, for example, mainly using standard triad courts, a steady, straight rhythm and a military without too many notes and movement. Your key focus for corporate music should be to simplify. Now let me demonstrate the keep it simple guideline but showing you what I have done here inside my corporate music composition and let's start with the cords. So I recommend focusing mainly on the basic form for courts, which is the tried form, the three note chords, either a major or a minor. And in the case of corporate music, since you want that upbeat and uplifting vibe again, I recommend focusing on major courts. And in the case of this specific opposition, I have used the G major scale. So in the key of G, you have on and you can see here that these all the three courts I have basically only used inside this composition, and we can take a listen on the guitar and piano here so you can hear how e c it is. Also, listen, how simple the playing stylists only a couple of passing notes to spice it up on the piano . So basically, that is, the extra notes are basically the main notes from the leading melody, which he heard earlier on this piano plaque. Sound. So those were the court's next. A simple, steady rhythm. Well, let's check the drums here. The percussion group on you can listen from here. How easy, How super simple this is. Remember, keep it simple for corporate music. Then over here, the next section to bring up some energy. I introduce some shakers, and I think I double the and accent with. I don't remember if it was a snare or clap. Let's take a listen. Yeah, class here on the third. Very, very, very simple. And again, um, the melody, the same thing here as he heard from earlier. We had the piano plaque and then I double it. This with, I think this is a bell sound. In fact, um, let's listen to it with the piano, since it's doubling their let's take the strings as well. Eso again. Simplicity is what you should focus on. Now let's continue in the next video 7. Tip 3: Use Light Sounds: tip three Use light sounds. Sounds that are natural, organic and dynamic or often preferred in corporate music. Not big and massive sounds like in epic music, not rule and distorted sounds like in heavy metal and not short and edgy. Sounds like in medium No light sounds like piano, acoustic guitar or you clearly plaque sounds whistling bills, harmonics, shakers, claps, etcetera. For most of the instruments you use in corporate music, you want to focus on lighter sounds. Now that could give you some live examples off light sounds that I have used inside this particular corporate music composition. So let's start with the percussion. Well, I've used a very simple pope style acoustic drum kit. The only fat thing here is the kick, which I've used an electron kick for just to add some punch to the bottom. And if you listen here, we have some shakers they re light and great sounds actually to use in Ah, corporate music. Of course, the classic clap on the third on DA. If you go up here, we have some symbols, and if you listen to the main baseline, it doesn't take up much space. Very soft and mellow we have some vintage cabinets here again, we can hear super Super Life and also hear that upbeat and jumpy playing style have some stuck up the strings. Also light, of course. Plucky sounds on guitar oral recent works, great corporate music. I've doublet here with another track lifting right on, and you heard the guitar. Acoustic tour eyes very light in the track piano. Not too much reverb on it. On there we have it. The light sounds work great for corporate music because it's not in your face, and it adds to that upbeat and uplifting vibe. 8. Tip 4: Get Straight to the Point: Tip four. Get straight to the point. Angels are good for artists and albums, but Cooper's production music needs to get straight into the main mood off the music. Basically, you need to get the drive and energy going right away, especially if you compose corporate music for stock music libraries, where the potential buyers my just listen to the 1st 5 or 10 seconds off the track until they decide which one to use. Now, to demonstrate the get straight to the point guideline, I will open up my arrangement markers in my dear w bitches logic Pro X. I have global tracks, which I bring up here and here. I can mark the arrangement as I have done so here various chorus, chorus, bridge scores and someone. And actually this, it says in this is intro, is one bore. Well, even less, in fact, is only half a bar. And then I get straight into the energy in vibe of the track, and the only thing I have is a reverse symbol and a starting court in reverse, which she will learn more about later in this course. So have a listen to this, and now the chorus on. So the point here is to get straight into the point, the main drive energy vibe and moved off your production. So let's say I was working as a media producer and wanted to find music for, Let's say, an advertisement. Well, if I listen to this, I can, instantly five energy and style of his track, so I don't need to move forward and listen, Perhaps will listen to 10 or 15 tracks, just the first seconds to make up my mind and choose which one I'm going to go for. So that's why it is super important to get straight into the point. And also it makes sense for them, since they probably want to be able to use the track from the very beginning. They don't want an in true for most commercials. All right, let's continue in the next video 9. Tip 5: Build the Energy: Tip. Five. Build the energy in corporate music. It often works great to gradually build the uplifting vibe on energy throughout the track, for example, by introducing new elements, instruments and ports. But add energy and movement for each new section. Think in terms off the hearing and adding, But don't make these changes feel too sudden and surprising. Gradual progression is what he want, so I will now demonstrate how I have built the energy inside my corporate music composition by simply stacking and layering, introducing new ports to the arrangement. You can clearly see these here when I introduced the main melody on the piano pluck sound, adding some short staccato strings here, for example, the Shakers and collapse. And you can hear these on when I go into the next section here. You can see that I add another pluck sound here, and let's see some extra strings in the high end. Listen to this, and as you can hear, it still has the same vibe, the same in main melody and nothing sudden changes. I only add energy by layering and introducing new ports that stack on top of the other parts and blend well together I will now demonstrate how you can build the energy with the dynamics and levels in your corporate music as well. And I will play one of my other corporate music care tracks for this. And listen how much energy bills in this track? - Yeah , that energy. All right. Now let's continue with next guideline for corporate music. 10. Tip 6: Avoid Low Energy: tip. Six. Avoid low energy. Don't use long, low energy sections like breakdowns in your corporate music. Avoid thinking in terms off, standard some structure. Instead, you should focus on the mood and energy during the whole track, and you should be careful of going too low with that energy anywhere in your corporate music, because low energy is not a bit on uplifting at all. All right, so now I'm back here inside my d W. And if I bring up the arrangement markers again, you can see that I have no break. But I have a bridge section here, so I do, in fact dropped the kick, but not for the entire rich section. As you can see, the kid comes back here with the drums here extra drums, and you can also hear that I keep the driving baseline for the bridge section. I also clean the driving plaques. I keep the black here on the piano so it's not at all super low energy. It is a breakdown, but it's not an entire low energy section in here. From here, I can hear the driving baseline with pluck sounds, and then the kick comes back off the only four balls they feel they're on the drums, and then I build here with a scary build and back through the cooler. So very short, only four bars where I dropped the kick. And you should avoid low energy, which means minimal drums, dropping the kick and dropping the baseline and use all kinds of driving instruments, even in your brakes and bridges. All right, so that's it. For this lesson again, avoid low energy, especially for longer sections in your track. Now let's continue in the next video. 11. Tip 7: Avoid High Tension: tip. Seven. Avoid high tension. Composing with the tension is great for dramatic music, but not so much for corporate music. So you should avoid decent and cores harmonies and intervals and stay away from any unpleasant sounds and effects because corporate music should have a feel good vibe, not a sit on the edge of your seat vibe. So first, let me demonstrate what high tension actually means. So this is how you should not do it for corporate music. Okay, I don't now let me demonstrate what you should do instead. And that is to focus on pleasing courts, pleasing harmonies and pleasing intervals for melodies and someone. So, for example, focusing on the three major courts and try it courts is going to make the listener feel more at ease and in a feel good vibe. So, for example, in the case of C major, you have the same. They have the geo. They had the F way. Show the three major course off that scale. So you can, for example, play like this. And of course, the avoid high tension guideline also is supplied to your melodies, harmonies and other types of tracks in your composition. So, for example, if you have a C note and you go to, let's say this note, this is the tri tone interval, which is a very dissonant, high tension type of harmony or interval on. You don't actually need to know music theory to know this because everyone can hear if it sounds pleasing or decent and high tension. So, for example, the shortest interval is the minor second, which is this which is very dissonant, high tension. You know, the Jaws movie has that interval, so you can basically just play around until you find intervals, harmonies and chords that sound pleasing and makes you feel good. Like give the major chord, for example, that is always a given. All right, let's keep going into the next video right now. 12. Tip 8: Stay within the Comfort Zone: tip. Eight. Stay within the comfort zone. As a composer, I personally always want to add twists in the story line of my music. But corporate music should not have big surprises and twists. I recommend staying within the scale you have chosen, not changing the rhythm too much during the track and basically not making too sudden or big changes anywhere in your composition rights. And now we're back in the project, my corporate music track and we have already heard before that I don't make any big changes . I can simple use layering and stacking and adding ports that suddenly change the energy and character off the track. But not changing the direction to abruptly and, for example, doing a complete change or something that makes it a twist in the story line. That is something you should avoid. So instead focus on simply here now, adding a new court layer, something to spice it up, but no change the direction. Even when you do a breakdown like this, keep the main drive and vibe of the track going on. The next time the chorus comes in again, it's the same as over here, and then I add the piano park here for the final chorus. And then the final thing I do is a little twist in the end like this just to bring in the story home again. So, basically, if you think of your corporate music, drag s a movie or a story, keep the main storyline and keep within the comfort zone of that story line. Don't go on tangents and other kinds of adventure. Keep it very to the point and the overall vibe throughout the whole composition. 13. Tip 9: Avoid busy Patterns: tip nine. Avoid BC patterns Basically, you should focus on writing less notes for any instrument and any port, because again, corporate music should sound simple and familiar. If you really want to add more notes in any performance, I recommend that you consider using the rhythm rather than the pitch of the notes. In fact, doubling some of the notes with rhythm can help to bring out that bouncy feel that is so connected to the style of corporate music. Bouncy playing styles feel very upbeat and uplifting. Now, the best way to demonstrate this avoid BC patterns guideline, I think, is to simply show you the piano roll off the leading melody inside my track. So if I open up the piano roll, you can see that it looks like lots of notes at first glance. But if you take a closer look, you can see that this notice simply doubling that note. The same note, Um, but added, like a double and here as well and here So it's not really lots of different notes, but on Lee added rhythmically, to spice up the bound survive the on Let's compare that with If I have played like that could be a great melody Foran artistic song that people likes to listen to, but not really for corporate music. So avoid those busy patterns and the same goes for your courts, and you can clearly hear that I do not have BC parents in my court, Ah, rhythms here on the guitar or piano and strings. Let's play that not much going on it all. And let's compare that with if I had played like something like this basically, that was too much going on in the pattern off the performance. So again, for corporate music, avoid BC patterns. Now let's continue in the next video. 14. Tip 10: Keep it Straight: tip. 10. Keep it straight. Groove Syncopation, triplets and sudden rhythmic changes should be used carefully because corporate music should feel familiar, comfortable and upbeat. Generally, this means a steady and straight for four vibe. So for my track, you can clearly hear the 44 field, which I have also written, will appear as the time signature in all kinds of track during the composition. The straight driving drums with the 44 kick straight rhythmic pattern on the acoustic drums on. Also, you can hear it in the baseline simple and driving in a 44 character. And you can also hear the straight vibe in the court changes, which only change basically every bar 31234 and so warm. So let's say you play on the F court like this. That's really cool. That's that. Keep it straight, vied with the full four feel so you should avoid or at least be careful, varying groove Syncopation and twisting up the rhythmic drive too much. Let's say you can. You should avoid or be careful to play something like this. I mean, that could were great for an artistic track once again, but not for corporate music, which should really have a straight viable, not varying, the tempo and the emotion off the rhythmic patterns. Keep it straight, keep it in the 44 vibe. 15. Sounds in Action: Drums & Percussion: Now I will give you a complete list off common instruments, sounds and playing styles used in corporate music. The main point here is for you to get more familiar with the sounds, character and overall vibe off this show, anger and style of music. I want you to use my examples as a guide to help you get started with composing corporate music yourself to help you create your own sound palette. So let's talk about the sounds, instruments and playing styles off corporate music. First, let's talk about the main and drums. Since corporate music often have a very organic and natural character and acoustic drunk, it is very often used. But a clean sounding Elektronik drum kit will do justice fine, depending on what character you boned for your back. Generally, the drums will not be in focus, so a light drum kit with a pope like and snappy sound is often preferred. So don't use heavy compression saturation or anything that will make your drums feel too heavy and powerful. The playing style of drums in corporate music is almost always a straight and steady 44 beat without Syncopation, swing, triplets or groove, an easy way to start is to simply add a four full kick with a snare for the driving accents , either on the two and four or on the three. Remember, corporate music is supposed to sound simple tambourines or other shaker type instruments or often used to add a driving groove, form or energy. This is also a great way to air that human and organic vibe, which is very common for corporate music. Another human touch in the percussion is using finger snaps for light accents and by nature , the literally sound snappy. You can use the recorded samples if you want, but if you have a microphone, it's actually super easy to record your own finger snaps for your corporate music tracks, handclaps or probably the most Clichy sound for corporate music because they instantly add that upbeat feel that corporate music relies on real recorded handclaps. All preferred compared to drum machine sounds, either solo collapse for a lighter sound or group claps pan in the story of field for white and big accents. Stomping your foot on the floor or any specific surface will also create a percussive type accent, which is used often incorporate music and this accent has more weight in the low end compared to handclaps. For truly impactful storms, you want to layer several samples or used pre recorded group stumps. Vocal percussion style. One shots are very common in corporate music. Basically, short shouts off exclamation, for example. Hey is used very often. Incorporate music. It's positive and adds energy. It's most often a group shouting the word in unison for extra impact. Great. Now you have learned some of the most common instruments, sounds and playing styles, off drums and percussion in corporate music, Let's keep going. 16. Sounds in Action: Effects & Transitions: No. Let's continue with something that is super important in all types of music, however, often an area that is overlooked by many composers and producers. I am talking about the effects and transitions, for example, sound effects and hits, ambience and atmosphere, and special techniques and sounds for accents, details and transitions. These kinds of sounds and special techniques will add a lot more interest to your music and truly get your tracks up to a professional standard. Here we go reverse symbols and hits. One of the most classic transition sounds is the reverse Cymbal crash. It is a great energy builder, right before a transition into a new section of your music, you can actually reverse any type of percussive hit like this. It doesn't have to be a Cymbal crash, but the reason Cymbal crashes work so well for this technique is because the sound has a very long sustained due to the residence. So basically, a reverse Cymbal crash is simply a crash symbol that you have reversed the audio on, and the easiest way to do this is, of course, to simply use a pre made sample and then drag and drop it into your project, but you can actually make your own super easily. So first you need a Cymbal crash. Of course I have this one here and then we're going to make this into a reverse Cymbal crash. But first, let's listen to how it sounds in the track. I've made a short reverse Cymbal crash transition to start the track and also for every new section as the energy builder here. And then it cuts off abruptly there, and the craft symbol takes over. So if you listen to this in context and if you listen to it in the hold back, that's super simple, but it actually makes a huge difference. So to make your own reversed Cymbal crash, she simply first need a Cymbal crash, of course. And make sure to put it on the exact bar line and it can use whatever playing no library you want for the simple crash. I will take death, Cymbal crash and reverse it. So the first thing you need to do is simply to select this and bounce. It's to audio, which I do like so in logic. And then I wanted to create a new track. I want to leave this because I want to have this track remaining and there's a lot of other options. But I got to show you this quickly. So we have this here, and since I included the old detail, this will be much longer than it has to be. That is the exact copy of the MIDI, but in order for now, so I can simply drag this in if I want to. So it's a shorter reversed symbol than you need to go and find a way to reverse the sample . So in logic, I go into the editor in the file, and then let's see, we have reverse here and you can actually see the sample is now reversed, and it sounds like this. And then you can simply align this. Let's put it here so that we now have the energy building, and then it cuts off when the crash symbol of the new section stores. So that's how you create your own reversed Cymbal crash and align it as a transition and energy builder for a new section nearer transitions. A mirror transition is a name I came up with personally because it is basically the reflection off a sound that you plays just before the real sound stores. They will nearer each other at the point they meet each other. So let's say your new sections Thoughts with a piano with the first chord plays right at the first beat. And let's say that court is a F major. Well, then you make a temporary media recording on that same piano playing a sustained F major chord which you then bounced audio. Then you reverse that sound in your sequencer and finally line it so that the end of that sound is right before the new section with a real piano fact place. So let me show you what I mean. We have a piano track here and the start of the track besides, the short intro is this. Listen to this Unity DPMNE. That's the first court. You simply take this track and duplicate it and then extend. So you have the first cored, Which is this here? Ah, an entire bore I have chosen here. So it sounds like this now simply a sustained chord, which is the same as the 1st 1 off the song. And then you use the same technique as you did previously with a reversed Cymbal crash, meaning bouncing this to audio. And I already done that here and then going into the file and reversing it. So you get this eso it builds in energy, and it is the exact chord that is going to trigger here. So then you can simply delete this temporary retract that you simply made to create the reverse or, in this case, the mirror transition. So it sounds like this. I have found that the mirror transition is very often used to start a corporate music track with, but you can use this technique to lead into any new section of your composition. Riser. If it's any sound that gradually rises in pitch and volume can be used for building energy in corporate music, these riser type sounds are not as prominent as in many other Saunders. I recommend to dial them down in volume and use sounds that are more pleasant and organic. Compared to the sharp and edgy risers often used in E. G. M. On a big music, for example, scale builds. This is not a specific sound or instrument. It is a plating style and technique. Basically, you go up the scale to build energy and anticipation when going into a new section of your track, either a short scale run or a longer climb up the scale notes. You can use this technique both for the melody and harmony lines, but also for cords for courts. You simply need to change the court inversions to make the cool progression have an upwards direction. So let's listen to how a scale build can sound any music composition and pay attention to right here, where I used the actual scale build on a couple of these instruments. Going into the core is the new section here, So let's listen on as you can hear it clearly build gluts of energy and anticipation to the cores that hits here. So what you do, it's actually really easy. You basically take one of your instruments and simply go up the scale, and you don't need to do it forever. Note. Like here, I have doubled on. You can see it here on the piano more clearly and so on and basically altogether, you simply want an upwards direction in the notes. That's the end result you are going for Amazing. Those were some of the most common sound design and transition type sounds used in corporate music. Now let's continue with the melodic instruments. 17. Sounds in Action: Melody & Harmony: now. Finally, we get into the melodic instruments, sounds and playing styles used in corporate music, the instruments ourselves that will play the melodies, the base, the driving and comping rhythms and the courts and harmonists. Let's start with the harmonic route off music. The base In corporate music, you most often use a mellow and soft basis sound like a classic electric bass or a warm synth bass. You might want to layer these with a suburb base for added depth. I always do. Overall, the base in corporate music should not be too prominent, but rather add weight and depth and keep the harmonic anger through off the composition. The playing style is most often either a simple, sustained root note off every court change. Allow a simple driving within like, for example, straight eighth notes. The focus is almost always on a straight and steady grooves on the bass guitarists, and you can really, since corporate music very open, has that human organic and light vibe, which focused on a natural feel, acoustic guitars and usually lease or very often used eggy tour. If you want the warm and mellow sound any you Khalili, if you want a really light and show highlight character. Sometimes you can also use an electric it or for a bit more edge and drive. But be careful to not use too much distortion. The playing styles range from strumming the chords for backing and comping, often very simple, from in patterns to or pay deviated cords for a lighter drive to muted plucks for simple melodies and often, harmonics are used for that super light sound and sparkle in the high end, especially for very simple melodies with a few notes on Lee Strings. Orchestra strings are often used in corporate music, either for backing with chords and harmonies or for driving the track with Austin autos. But don't make it a two prominent like in epic and cinematic music. Pizzey cattles can also be used. Michelle basically plucked strings and add a light and gleeful vibe, and start cattle cords can be used in a similar way to a straining pattern. Only detour piano Piano is one of the fundamental instruments in most types of music, and corporate music, in particular, uses piano a lot from grand piano to upright piano and even electric when using piano for the core progression. You can, for example, play every chord with their simple, sustained block chord on piano just to add depth while still keeping the simplicity or at a simple rhythm to the course. Pianos were grateful or pet videos to add drive, which will have that human and natural feel very much like a plucked acoustic. It'll a comping rhythm on piano can also be used, but make sure the freedom sounds seem because simplicity is the essence. Piano also sounds great for very simple melody lines, especially with some added delay and reverb to fill out the space bills. Light Bell sounds are very often used in corporate music, mainly to layer with another instrument playing the main melody. And again, the main milady is often very simple, with few notes. Bills have that character similar to harmonics on a guitar and other string instruments that long ringing end in the sound. That is why bells and string harmonics were great together as layers, whistles and Laulala, one type of sound that is often used in light and upbeat corporate music or the vocal melodic sounds like whistling the melody or even doing the la la LA or similar type of vocals. Yes, super cheesy and even childlike. But they were great in advertising because often the brand won't that incredibly simple, super happy and even sh childlike character in the music to go with the commercial tuned, percussion tuned percussion is also used often in corporate music. Because of the light and snappy sound, they create instruments like vibrant phones. Glockenspiel Marine was etcetera or great for the main milady over corporate track, especially when layered with another instrument like a piano or a guitar, since sings are, of course, also used in corporate music. But most often they are on this softer and lighter sound spectrum and not too much in your face. So no harsh TDM leads or epics in steps. Some of the most common scene sounds are very short, and Pakistan's, which are similar to a muted plaque on a ditore or warm pad, sounds similar to a sustained orchestral string section. Basically, a starting point for since can be to use sounds that are closer. Two. Acoustic instruments. Congratulations. You have now learned some of the most common instruments, sounds, techniques and playing styles off corporate music. Let's continue your journey right now, 18. Action: Create your Sound Palette: now get ready for your next project in this course, which is to create your own sound palette to use as the starting point for your corporate music composition. Now your product is simple and straightforward, but will require you to bring out your creative skills as a composer. Here is the process I follow myself for setting up this sound pellet off every new project I start. You can use my method as a guide or simply as an example. The important thing is that you actually create your sound palette before you continue with the songwriting and composing Stage one created channel groups. I find that using track folders or groups is a great way to keep your product organized and at the same time automatically making you aware off the types off sounds and instruments you will use for your composition. For example, you might want to use a specific group for the drums and percussion, another for effects and transition sounds, another group for driving rhythms and so on. How you choose to organize the tracks in your project is up to you, but I strongly recommend you to start with the main structure for your sounds to start with empty tracks. Now I know from personal experience how easy it is to get stuck on finding the best instrument sounds and presets. That's why I have learned to start my sound palette creation by adding empty, meaty tracks and audio tracks. First, temporary retracts that I label with the kind of sound each track will use. Basically empty tracks with a name. That way you will force yourself to focus on the most important thing for your sound palette, which is what types of instruments and sounds to start with, not the exact president or sample. And three add all instruments and sounds the final stages, of course, to feel all those empty tracks with instruments and sounds. But again, don't try to find the best sound, because you will waste a lot of times searching for perfection. Just go with any instrumental sound that is suitable for the name off the midi or audio track. Your creative remember, your sound palette is only a starting point, not the perfect tomb kicked. You are going to add, remove and change instruments and sounds later anyway, when you actually composed and produced a track. So just feel every track up with an instrumental sound that suits the labeling you made in the previous step. And that's it. You will have created your sound palette to start composing your corporate music track with . Here's a bonus tip. Once you have completed your sound palette, you can save it as a product template in your d aaw so that you can use it for future corporate music productions. However, I know that many composers like to start from zero on a Linux projects, so this is it shows you have to make on what you prefer for your workflow. Now go ahead and take action. Your project is to create your own sound planet for corporate music. Good luck and have fun. And when you have completed your sound parent, let's continue your journey. 19. Composing 1: The Creative Session: congratulations. You have created your project plan with the cleaner vision and mission. As a professional composer for this specific production, you have also created your sound palette, and you have become familiar with the sounds, instruments, techniques and playing styles off corporate music. So what is next? Well, every music composition starts in the same way in your mind, from your creative ideas and in your heart and soul from your emotions. The core off any creative and artistic project is always the same. To come up with ideas, which all the seeds that will grow into your final production. I have found that the best way to spark new ideas and get yourself started with the songwriting and composing stage is to get yourself into the creative zone. You know, that special soul off complete inspiration that we creative artists want to get into. When we find that song, ideas will start to flow endlessly out of us, and everything seems to go so smooth and easy, there are many ways to kick start your inspiration and get into this creative zone. Here are some examples I personally use one this into reference tracks, meaning tracks in a similar style of your project. This can help you get into the mood and character of the specific style music you will create. You can simply go to a music licensing website or to YouTube and search for corporate music . In this case, men listen to a couple of tracks to get into the right vibe to listen to your favorite music, even if it is not even remotely similar to the music you are going to create. I have found that it can help you to get into the amazing mindset of creativity simply because you get excited to make music. So startup Spotify or whatever streaming service you use and listen to a couple of your favorite tracks until you feel the urge and desire to make music yourself three Visual candy method. I personally respond very good to visuals like photographs, images and videos, and you can find inspiring images on, for example, a desktop wallpaper of website or simply by searching for high quality images on Google. You can also find visually appealing video clips from movies, for example, to spark your inspiration. Four. Play full fund if you know how to play an instrument or a midi keyboard. You can simply start by playing for fun. I mean completely free without even thinking about this specific style of music you're going to create. Just play an instrument for the pure enjoyment, and you will often find your creative song and five voice or freedom. One of my favorite ways to kickstart my creativity is to use my voice. You can simply record yourself humming melodies, hooks, riffs and even beat boxing. And this is so much easier than trying to play it on an instrument. Ana Ana on and eso. Your action now is to find your inspiration by doing a creativity kickstart session. Your goal is to get into the right mindset and vibe to create music. What I call your creative, zone you some of my tips or find your own ways to kick start your inspiration and creativity. Good luck and most importantly, have fun with your creative freedom. 20. Composing 2: The Sketching Session: Now it's time for what I call these Kitching session. This is a Superfund process where you balance your creative freedom with the direction off the project plan you created earlier as you come up with ideas, you should also record them into your G A w. Using any of the instruments off the sound palette you created earlier record in sections. Personally, I like to record all ideas in at least an eight bore section because that will give me a good building book to expand the idea. So I recommend you to avoid recording too short phrases and ideas. Separate your ideas. I also like to separate the ideas in the sequencer by leaning a one board. Get between these sections because one idea does not have to be on Lee one instrument. And it can be, for example, three different incidents playing together for eight bores or so to form the rough idea. Follow your project plan. When you do these sketching session, you should focus on balance, which means that you should let your imagination free when you sketch and come up with ideas. But make sure to Onley record the ideas that you feel are suitable for the project and in tune with your product plan. Amazing. Now take action and do a sketching session to kick start the song Writing for your music composition. I wish you good luck in great fun when you create the seeds for your entire production. 21. Composing 3: The Commitment Session: In order to move forward in anything you do, you will need to make an active choice on how to proceed. It's time for your commitment session. This step is about choosing one single core idea that you want to use as the main building look to base your entire future composition on. Basically, it is like planting a seed that will grow into a large tree. This step is about choice, but also commitment. If you don't commit to one main idea, your entire composition process will become awkward, to say the least. So what choices do I recommend you to make in this step one. Your main musical idea, meaning to choose one off the individual sections you recorded in the sketching session as your primary building block to base your composition from to the main tempo, meaning the BPM off the track. Corporate music, like most production music, will almost always have the same BPM throughout the whole fact. So find a suitable tempo and commit to it by setting it in your DW and three, the key and time signature for corporate music. You will most likely use the key off a major scale as well as the standard 44 time signature. But make sure to commit to it by writing it down in your D W product. All right, now it's time for you to take action again by doing a commitment session. Make your final choices and commit to them before you continue. Also, make sure to reflect your commitments in your D W project. Doing this commitment session will help you get started with great focus when you compose your music. But it will also make it crystal clear what you work on every time you open up the project again, which you most likely will do many times before everything is finished. Good luck making your final choices and commitments that will form the foundation for your entire music composition. 22. Composing 4: Writing your First Scene: you have created your core idea to base your composition on. Now, when I start any new composition, I like to write one single scene first. I call it seen because I have always described music as a story, a movie with many scenes, a storyline, action and emotion and so on. Basically, as a composer, you are a storyteller. Off sounds make it a complete scene. I usually write my first seen as a 16 more section with all the main elements of music present so that the starting foundation will be there. Note every instrument in port, but enough to paint the full picture off that scene. At the very least, I want ports to take care of the main rhythm. Dr Harmony, melody and bass. This can, for example, mean a main drunk it for the rhythm, a strumming guitar for the drive piano for the harmony, which is the chord progression and strings for the main melody and well based for the base . Of course you can, of course, add what ever tracks imports you like, as long as the first scene will feel complete, not perfect, no produced, but a complete foundation. Now to demonstrate this, I will show you another composition I've been working on, which is in fact a uplifting, fantasy style track. And as you can see here I have five tracks. In a full recalled story, I have rhythm based Dr Harmony and Milady and Ah, the rhythm is played by simple acoustic drum kit, the base with an electric bass. Harmony is strings on piano that we have melody also strings and piano escalators, I believe. And then finally, we have dry, which is short staccato strings like this on together. It sounds like this, um So go ahead now and write the first scene of your music composition. Make your seed take root and grow before you continue with other section inside your composition. This will make the composing process so much quicker and easier. Good luck and have fun writing the first scene of your music story 23. Final Project: Compose a Full Track: The final part of the composing stage is, of course, to compose the entire track. Your music story. This process will be different for every music composition you make every new project you work on. That's part of the beauty off. Composing music, However, to help you get started with your final project, I want to give you my quick guide and all review that I try to follow myself. I divide The final composition closes into the following three steps. One. Compose the music story. Focus on the emotions, energy, tone and character off the music and how it evolves throughout your composition. The storyline. Think of your music as a story ork with different scenes and, most importantly, composing music according to your product plan. To add the professional sheen, focus on details, expression, movement and transitions because music is like life in constant motion and food off details . Three. Polish Final Composition This is one of my personal secrets for getting a professional sound. It is to do the primary mixing off your music inside the very composition stage, meaning the notes and old reports in the sequencer focus on arranging transposing ports, cleaning up etcetera, all right now, complete your final project, which is to compose an entire track in the style off corporate music. This is not an assignment, by the way. It is completely free and for your own benefit, because learning by doing and creating something complete, is the best way to level up your skills as a professional composer. Good luck and have fun composing your corporate music composition. 24. Congratulations - You are Amazing!: Congratulations. You have now completed my entire course and learn how to compose your own corporate music. Here's a step by step action guide and summary off this course. Define the project vision and Mission. Do your research. Create a project plan. Design your sound palette. Composing one. The creative session composing to this sketching session. Composing three. The Commitment Session Composing four right Your first scene and your final project is to compose your complete music story. Now take action because the only way to move forward on any journey is to take a step forward and then another step and soul. I always say that the success recipe is to learn every day, practice every day and create every day. My name is Mike, and I wish you good luck and great success as a professional composer.