How to Create Amazing Transitions in Your Music | Mikael Baggström | Skillshare

How to Create Amazing Transitions in Your Music

Mikael Baggström, Music Composer | Sound Designer | Video Producer

How to Create Amazing Transitions in Your Music

Mikael Baggström, Music Composer | Sound Designer | Video Producer

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25 Lessons (3h 35m)
    • 1. Your Journey to Great Transitions

      1:22
    • 2. The 7 Great Powers of Transitions

      6:26
    • 3. Cymbals

      9:18
    • 4. Riser FX

      6:32
    • 5. Downer FX

      6:59
    • 6. Reverse FX

      9:48
    • 7. Whoosh FX

      8:30
    • 8. Accent FX

      5:00
    • 9. Percussion FX

      6:14
    • 10. Accent Markers

      7:16
    • 11. Count Ins and Lead Ins

      10:43
    • 12. Glides & Slides

      8:48
    • 13. Walks & Runs

      8:14
    • 14. Rolls & Swells

      6:37
    • 15. Fills & Spice

      8:56
    • 16. Dynamic Curves

      10:45
    • 17. Harmony Direction

      9:07
    • 18. Instrument Density

      11:46
    • 19. Frozen in Time

      6:27
    • 20. Tempo Automation

      3:57
    • 21. Silence and Air

      8:08
    • 22. Live Example 1 Action & Intensity

      17:28
    • 23. Live Example 2 Darkness & Tension

      20:20
    • 24. Live Example 3 War & Battle

      16:00
    • 25. Congratulations

      0:35
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About This Class

Your Journey to Great Transitions

Do you want to learn how to create great transitions in your music compositions. Learn to control the energy, the dynamics, the voice leading, the sound effects and composing techniques for any style of transition in your music. All while mastering the glue of music that makes everything flow together and shaped the way you want your music story to progress.

In this course you will:

  • Learn the Foundations

  • Explore the Sounds & Colors

  • Discover Practical Tips & Insights

  • Get Live Examples & Demonstrations

  • Become a Master of Transitions

My name is Mike, and I am a composer and sound designer, who loves to teach and share my knowledge with creative people like you.

If you are ready learn how to create great transitions in your music, then take action, and begin your learning adventure, right now!

Meet Your Teacher

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Mikael Baggström

Music Composer | Sound Designer | Video Producer

Teacher

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. =)

MY PASSION

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. =)

You are more than welcome to visit my website to learn more about who I am.

Friendly regards,
Mike from Sweden
Founder of professionalcomposers.com

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Transcripts

1. Your Journey to Great Transitions: How to create great transitions in your music. Hello music creators. Do you want to learn how to create great transitions in your music compositions? Learn how to control the energy, the dynamics, the voice leading, the sound effects, and several composing techniques for any style of transition in your music. All while mastering the glue of music that makes everything flew together and shaped the way you want your music story to progress. In this course, you will learn the foundations, explore the sounds and commerce, discover practical tips and insights, get live examples and demonstrations, and become a master of Transitions. My name is Mike and I am a composer and sound designer who loves to teach and share my knowledge with creative people liking. So if you are ready to learn how to create great transitions in your music, then take action and begin your learning adventure right now. 2. The 7 Great Powers of Transitions: Learn the true power of great transitions. Transitions is a fundamental and extremely powerful aspect of music composition. And if you make them shine, you will live the entire production value of your music to another level. In this video, I will give you a complete overview of the greatest powers of transitions in music. Let's begin. One, grew sections together. Probably the most important aspect of transitions in music is to glue sections together in order to create a natural flow and keep the red thread intact throughout your music composition. For example, between the intro and verse one or the verse and the chorus. If you feel with these important glue, which is basically one aspect of all types and techniques of translations in music. Your sections will feel separated and you ports will feel abrupt to the listener. So the first aspect of transitions is glue sections together too, build energy to make the listener of your music really feel excited about what will come next. And especially if you have an upcoming Kooris power section or whatever you want to call it, building energy in various ways is another cornerstone of great transitions. You can do this with the specific types of sounds that naturally build up the energy or with a range of compositional techniques. And you will learn how during this course. So the second aspect of transitions is build energy, three, drain energy. This is the opposite of building energy, and it is mainly used when you are going to end a section and go into a less energy in tennis section in your composition. For example, finishing a big chorus and going into a breakdown or bridge section, or perhaps when finishing your final chorus and going into a corner outro section. So the third aspect of transitions is drain energy. For Create flow. Flow is one of those things that are hard to explain in music. But you can immediately here, when it is missing, it is basically port of the glue between the sections. Flow is also about adjustments to dynamics, tempo, rhythm and groove, voice leading, et cetera. The easiest way to understand flow is to think about your music and every port inside it as waves that you connect together into a single stream of sound. So the fourth aspect of transitions is create, flow. Five, add spice. Sometimes the tiniest details is what is missing from your music compositions and transitions in order to reach that highest quality and professional sound. I call this spies. It is those small extra fields and details that are used both in transitions between sections, but more importantly in software transitions within the bigger sections themselves. A classic example is a drummer who often adds tiny fills and variation in the end of every four bars or even two bars. In some cases, you can add these spices with any instrument and any part in your music. So the fifth aspect of transitions is add spice, six, control contrasts. Contrasts in music is one of the most powerful ways to shape what impact it will have on the listener. And contrast can be created or reduced if you want to. In so many ways. Dynamics is probably the thing most people think of. But you can do so much more than that to control contrast in music. Layering, instrument and note density, level, automation, harmonic contrast, frequency focus, and the list goes on. Since your sections by nature or different parts of your music story, you can use transitions to create all reduce the contrast between them. For example, glue then seamless together for ambient music, or do a big drop using silence as the most powerful form of contrast for re, truly impactful transition point into your next section. So the sixth aspect of transitions is control contrasts. Seven mark transition points. This might seem obvious, but it is actually extremely important to control the power of the exact transition points between sections in your music. Not only building energy, draining energy, using composing techniques to glue them together, et cetera. But to actually mark those points, accent them as much as you want your listener to truly feel them. The most common and easiest example of this is the classic cymbal crash. But you will learn many more ways to excel your technique in this area during this course, saw the seventh aspect of transitions is Morph transition points. Congratulations my friend. You have now learned the most powerful aspects of transitions music. Now it is time to go into the details of each. Learn from practical demonstrations and examples, go through tips, tricks, and techniques. So that by the end of this course, you will be a master of transitions in your music composition. 3. Cymbals: The sounds of transitions, symbols, symbols in different shapes, or the most fundamental instruments for transitions in every genre of music. They come in different sizes and can be set up and performed in many ways, which all can have a great effect on any transition in your music. Let's check out some examples and demonstrations of symbols. Alright, so let's dive in first we have the classic cymbal crashes or crash cymbals. So here I'm using a, an acoustic drum kit to demonstrate this. But you can of course, use crash symbols in an orchestral setting or electronic drums as well. But you can see these three symbols here, or crash cymbals. This one is another type of symbol which we'll get into later. But first, let's listen to the difference in sound between these in tone colors. So that was this symbol, this one. So they have a different initial attack increase ness also told on frequency, color. And also if you actually take. Now, this means that you can actually choose how you color them so you can have 11 accent, another one, for another accent, or play too at the same time like that. So you can call her your accidents because cymbal crashes or effective for transition point markers, especially both big transitions like a new section over here where you usually can use like two symbols at the same time. Or software accent as a lower dynamics like here. And choose which one of them used for color. Let's say every four Bohr, sometimes even more. Or you can even use like a leading with the crashes at softer velocities like like that. But be careful because cymbal crashes, of course, builds up a lot of high-end shimmering, sustained in the sound. The next one is choked symbols, which I usually call mu crashes. Because when you hit the symbol, imagined that he place your hand on it to mute the tails. It doesn't. It basically stops vibrating and making a sound. So instead of having these, you get the short acts and from the crash like this. And those are amazing for a horde accent. So let's say you have a dry year type of sound with LBJ hits sounds or an electronic kick drum or mu, or it muted electric guitar shop or something that you want to extend and immediately get silent. That is when you can use muted crashes. So these ones are for. Accents that you want that tailing best for transition points and this one or from Chris session accents. Okay, so very low velocity, but you hear what I mean, they're so muted crashes more for accenting certain beats in your composition. Next, we have Ride symbols, which are great for leading or counting like this, 1234. And as you can hear, great for a softer transition into a new part. And it's basically a bigger symbol that has more a click or attack to it and less of that crash type of shimmering sustain. So crash cymbals, right symbol to see if I can find it. And if I hit it hard, it starts to become more of a similar to the crash. But still not that shimmery crispiness of the attack board and often used at lower dynamics, lower like I just showed you here. And you can also have depending on where you hit it as going here is even more light in the tail, depending on where you hit the ride cymbal. So that's good for leading accounting. Then you have high hat symbols. So let's open that up. And of course, this floor mounted thing here with two symbols that you can open or close with the pedal and then hit. So you can get that close. Crisp sound, semi-open and open, which is more similar to a symbol crash without as much of a sustain. Now, what you can do with the highest for transitions is basically speed up the pattern right before the next section. So something like this for example. And of course again increase the velocity at the same time if you wanted to like so. So also a lighter form of transition instrument and sound, then we get u PFD symbols, which are these ones here. And compared to these suspended symbols or crashed symbols I just showed you, these are you hold them in your hands and then crash them together, which creates a different tone compared to crash cymbals. Because listen now they have a hoarder attack and more pronounced attack in the sound compared to these more equal a balanced and have long shimmering, shimmering, crisp, sustained symbols or hand craft symbols, whatever you wanna call them, are great for marking accidents a bit harder. So it's basically a mix between crash cymbals and choked or muted crashed symbols, in my opinion, somewhere in-between there. Then we get to symbol swells, which are basically when he hit the symbol repeatedly, but harder and harder to create this type of a swell, basically crescendo with the symbol. And with many instruments you do this by automating them modulation wheel to increase the dynamics. Sometimes you can actually perform it as individual notes on some sample libraries. But the point is the same. It is basically a buildup of energy and intensity on a symbol or symbols wells amazing for building energy into a new transition into new section. Then we get into symbol effects. So instead of using sticks and mallets and brushes, the symbol, Well, you can scrape it with an object or bow with, with a violin bow, for example. And that way you can get very special effects on the symbols. For example, the scrape can be long or short, like this. Longer. And as you can hear, it is a bit similar to symbol swell in that it has at longer buildup basically. But it can also have a shorter walk. I guess, that doesn't have that heart attack as a symbol crash then when you hit the symbol with a stick. So it basically this symbol version of a short Bush, I would say. And then you can go to Bodh symbols, which are long sounds, which are very high tension and creepy like this or this. So what good are these four transitions? Well, I would say that they are similar to what I call authority sounds, which are very important points that you want to mark in your composition. Similar to an impact bram or anything like that. The bode symbols like this can be good for marking a new section in attention or dork score. Or you can even use it as you can hear there to build up in intensity, almost like as symbols well, but with these creepy tension behind it, right? So you have now learned the fundamental instrument types and techniques of symbols for transitions in music. 4. Riser FX: The sounds of transitions, riser effects, riser effects, or incredibly effective at building energy and intensity into a new section or any transition point in your music. The essence of a riser is simply to go up, up and up in pitch. Sometimes also in volume and width modulation or creative production effects added. Now, let's go through some of the fundamental rise effect sound, starting with a classic synthesizer, which can sound like this. Right? So this is used in many sugars, but electronic music, pop music, and even in cinematic music that I focus on. But you often add the reverb here to push it back in the mix. Now how do you create this? Well, basically it's one single long note on one key. And then I automated the pitch bend. We'll now, the pitch bend is usually just the two semitones, I think. And you want to do is use a synthesizer that you can change the pitch bend range. So what I did is I went for 24 ups, meaning the pitch bend going from the middle position to the highest position will go up 24 semitones, which is too full octaves. I recommend either one octave or in most cases to octave. So if I put it on 12, it becomes like this. And it will go up to one octave above, above the starting point. A bonus tip here for you is this one is now four bars long. What you can do is time stretch it once you have created this. So in most DAW's, you hold down the ALT or Option key on Mac and then hover your mouse here with Quake and drag it out to, let's say eight bars. And, and let's go back and shift it to 24 again. And now you will have 24 or two octaves riser effect on this trend for eight bars. Right? Then I just added some reverb to push it back into the mix. And I cut out the low end, which I think you should do with basically all types of riser effects. Because you don't want that rumbling low wind to be present throughout the riser, so that is the synthesizer. The next one is what I call an acoustic riser. So you can do a long ugly some dough or something. Basically. If you, if you have your finger on the strings here, than just glide full octane, for example. And there are some sample libraries that support this, but often you need to go in and set the pitch bend in the background, which is very technical, as I will not go into that in this video. But you end up with a similar thing like the sth riser platform, an acoustic instrument. Strings, or in my opinion, best for this. Right now, you might be better off just using a acoustic Reiser focused VST plugin, which there are a lot. The next one is what I call an effects riser, which is more sound design based. So very production based, like the sample library called evolution here. And there's just a bunch of different effects risers here. Depending on the key here. As you can hear, it's a different one. So that's the, what I call a sound design or a fixed Reiser. Then now this is really important. Some risers or basically rise to heat. So you have a riser effect. And then at some point here you get that hit, which you want to line up with your transition point. So these libraries actually cooled, rise and hit. But there are many different sample libraries and plug-ins that use these techniques or rise in hate, sometimes called bush banks. Okay, so you can clearly hear the point of the transition there. And of course, there is different presets here as well. And finally, the final type of a riser effect, or fundamental riser effect, is basically any type of riser that you stutter. So I'm using a plug-in for this. You can use a trans or trans gate. I'm using one called gatekeeper, basically to slice up the sounds without it. It's the same as this one in this case. But with it you get this kind of rhythmic Reiser. And that adds an extra dimension, in my opinion, to the riser. But you can also do is use more or more of a smooth rhythmic movement instead of this basically gating effect, perhaps you could use. Let's see, I will show you one of my favorites is a tremolo or some kind of, let's move that, some kind of more smooth movement, but it's still rhythmic. So let's say an eighth note without it. And with it. The tremolo is basically a stereotype of a rhythmic effect here you can use less depth and slower if you want to. But you can still hear that movement in the riser. So those are the fundamental riser effects, in my opinion, synthesizers, acoustic risers effects or sound design risers, rise to heat effects and stuttering or movement risers. 5. Downer FX: The sounds of transitions, downer effects. Downer effects are similar to riser effects, but of course goes in the opposite direction. They are also usually much shorter in length and the EndNote is usually way down in this subspace range. Downer effects are great for short drops before a new powerful section stores all for heavy, low sound design excellence, or any moment in your composition that you want to emphasize with a dramatic effect. Okay, so let's have a look at the most fundamental downer effects for your Transitions. My favorite is probably the most used as well is the classic subgroup. So it can sound like this. And you basically here it in every movie, video game or whatever. Whenever you want to have that dramatic drop for a slow-motion clipboard dramatic effect, an explosion or something like that, then you hear the subgroup in the background. Excellent Fourier short one bar drop before a big power section in your music. So the way you do this, at least one of my favorite ways is to use the same technique as I showed you with the riser effect, using the pitch bend. But going, let's say, if I can show you this stuff from the beginning here, put the first note at the first at 0, so the pitch bend wheel doesn't do anything. And then you simply end at the lowest setting. And then you go in into any synthesizer, your choice, I'm just using a stock since in logic here. And what you want to do is set the glide, or, sorry, the pitch bend to full octane. In most cases, one octave is absolutely the best. So 12 semitones or one full octave. Of course, if you use another value, let's say seven semitones, you will get a perfect fifth. But just make sure that the end note will align with whatever key of your new part. So in most cases I'd just go for a full octave. And then you do this pitch bend automation. And then of course you can go in and adjust the settings for the envelopes. I recommend for both Reiser and downer effects to have some slight attack, so it doesn't have that plaque in the beginning. It's a smooth attack and some smooth release so it doesn't end abruptly as well. So that is the sub, sub drop. By the way, I love using a sine way before this to get that clean sound and then just add some saturation or base will be tall MP. Without it, it's super, it's only a sub base with a sine wave or triangular wave. And then when saturation, it really gets powerful in the mix. So that's the classic subgroup. Often one barring length. It seems downer is basically the same effect, but longer and not as focused on the subspace, which can sound like this. So you can use whatever long sustained sound evolved in synthesiser of your choice. Again, set the pitch bend to, in most cases, 12 semitones. Or you can go for a full two attempts if you want to. And it will end on a very low note. Indeed. So it's encounter is simply a longer version of a subgroup and often in a low midrange or mid-range, as opposed to the subways register. And acoustic downer is like an acoustic riser. Often strings that you glissando down an octet. So very similar to a synth down or in fact, and you have to go, if, unless you have a sample library that supports a full octave, the Shanda, you need to go in and adjust the settings here and make sure that the pitch bend modulation, It's actually a, an octave as opposed to, for example, two semitones. So you have the pitch bend here. You need to actually make sure that it is set on, let's see here, 12 semitones. So both of these syntax errors and acoustic downers, I'm sure we can hear how this can be used for that. Almost like an engine power down effect, which can be great to finish a track. And we'll finish this section and wind down the energy for whatever comes next. Then we have an FX downer, which sometimes I call transformer downer because it's basically a sound design effects type of downer effects like this one I'm using here, which in this particular case is evolution is the library here. And it sounds like this. Perfect for those dramatic slow-motion moment. So dramatic effects in your composition. And you don't have to do the modulation as it's already baked in to the sample or the plug-in you use, so you just set the, a specific sound you want to use. And finally, something I call a step-down or because all of these are basically a curve that it goes gradually down in a, each of these cases. Well, with Fx, you often get these modulation effects. But with a sip downer, it's actually just notes. Nobody downwards. I like using chromatic scale for this, which means every single note down for a full octave. But you can use an arpeggio going down, a scale going down, not around, but actually stepping down like in this style. Not used as often as all these other effects, but I'm sure we can hear that it's settling its resolving. It's going down in energy because that's the main point. Going upwards in pitch and frequency will build the energy going down. We'll create that sort of resolving effect, like we're going back home. So those are the most fundamental downer effects that you can use for your transitions. The classic subgroup, a synth Downer and acoustic downer, an effects or transformer Downer and a step downer. 6. Reverse FX: The sounds of transitions, reverse effects. Reverse effects can be amazing for leading into a new section or any type of transition in your music composition. There are, of course, various types of hits, sound effects, and instruments you can use for creating reverse sounds. And you can also shape the final output with fades, filters, reverb, et cetera. So let's take a look at the most fundamental reverse sounds you can use for your transitions. So basically, any type of sound that has a short and focused attack, and the longer tail or sustain is great to use as a reverse sound effect for your transitions. So the most classic of all is the reverse cymbal crash, which can sound like this. Right? And there's basically two ways to create reverse sounds. One way is to use a sampler. I'm just using the stock sample here in logic, you can use battery or whatever. And then when you have your cymbal crash, you want to find out where it says Playback reverse. So is this is just a symbol crash. Right? Then I put it so it place the sample backwards in reverse. As you can see here. What you might also need to do is adjust the starting and end points of the samples. If I have it all the way here, if I now played, it, will take a long time before you actually hear the sound because it's way out in the tail part of the sound. So just that. And you might also want to add a fade like this here in the beginning, especially if you started, if you start the playback here. So it starts instantly. You might want to add a bit of a fade in here, or even a longer fade. And if you want to, Right? And the second way is to simply use an audio sample or start with a crash and then bounce it to audio and then reverse it in your DAW, which is what I have done on this last example. But let's get to that later. Let's go through the fundamental reverse sounds were so reverse cymbal crash. It could be a ride symbol or a goal, for example. So any type of that crash type of crisp, shimmery, Long Tail kind of sound. The classic one is of course the cymbal crash. The next one is what I call reverse impacts. And this can be any type of impact that have lots of tail and sustain or a big reverb built into the sound. So again, I'm just using the sample here. This is how it sounds like normally. And this is a sample from my own sample pack of epic impacts. Then instead of having the so you can really hear the whole rebirth, everything, put it in reverse and you get like that. And again, I would add I would add a fading on this, probably got quite a long one and put it closer here, like that. Okay, so that is reverse impact. Any type of big dramas are great for this. Sound design hits. You can even use claps, snares, anything normal like that. That has that big hit kind of sound, as long as it has some kind of change. If you use a SnapGramr collab, make sure you have one with baked in reverb in the sound. So reverse symbols, reverse impacts, then reverse notes. So these are precast sieve reversed sounds, which you can use pretty much anything with a long tail and a horde instant attack, but you can also reverse notes. So this is what I've done here. Whereas in to how it sounds amazing for starting a track, for example. And what you do is basically you take a piano tracks, let's load up a new software instrument, and let's load in a piano. It could be any type of sound, by the way. So let's just load keys. Let's load the inductive case, one of my favorite pianos. And now I can play, let's say if measure, let's see if we can get it to sound. Right? So let's solo that and that's just record that chord. Okay, like that. Quantize it. And now this is just one or two bar chord. Let's add some more reverb into the cell. But make the reverb even bigger in fact, so because the effect section and have it, um, who? Okay. Now what you wanna do is let's actually add a bit more here just to let the tail end of reverb take effect. What you do now is you cannot reverse this as it's a Miniclip. So it will just play the notes again like this. What you need to do is bounce it to audio first. So let's do that. Then you get a new track here. And this is the same sound desk there. Okay. Let's go into the track inspector and yes, reduced again a bit. Now, you want to reverse the sound. What you can do is loaded into the sample, which I just showed you with the other reverse sounds. But in most DAW's you even have this reverse mode. If you check the track inspector here, I believe it's right here, might need to go into the audio file editor functions. Let's see where do we have reverse here? Or we need to go to file functions. Reverse. But I'm just going to do it up here in the track inspector. Like so. Now you have this. Then I usually just find a good starting point. Let's say their slice it and then add a fade in. Like so. So the reverb now is baked in. So it's drops abruptly, which could be a good point for a crash symbol. In case you wanted to have some teh left, you simply need to add a reverb on the track itself. So you have the sound. Just go ahead and add some reverb to that. Use the default reverb here. And now you get this. Or you might want to add a delay or anything like that. Now, what's most important with any type of reverse out is of course a, say your, oops, let's say your new section stores here. But you want to do is a line, of course, the end of the reverse sound with the actual point here. So what you can do is just try this in and then the last make sure consuming a c. So this is aligned perfectly to, to the grade here and somehow out again. And now you have it, the perfect setting. So let's use the clicks. You can hear it. So it aligned perfectly here to this bar line. And this is where you could add a crash symbol or something and start your new section. So again, the fundamental reverse sounds for transitions, in my opinion, or the reverse cymbal crash or variations of it. It could be any type of high crisp, shimmery percussion with that long tail and sustain or resonance. And you can also use reverse impacts, which can be basically anything from big drums and precaution to sound design hates even snares, claps, whatever that has, that big type of sound. You just need to make sure that it has a long tail, which could be a big in reverb. And finally, reverse notes. I showed you this with a coworker, which of course should be in most cases, the court that you start the composition or the next section width so it aligns. You could use a power cord or even one single node in the root key, for example, of your track for that as well. But there's so many variations on options for these fundamental sounds. You can use a bell and reverse it. Any type of sound that has a pronounced attack with a long tail or sustain or residence that you can reverse so that it builds up in intensity up to that initial hit point. 8. Accent FX: The sound of transitions, X and effects. So what all acts and effects? Well, basically any instrument or sound that adds an axe and on a particular point in your music, this point can obviously be a transition cue point, either in the middle of this section with a software X and all to mark a new section with a very strong accent. Accent, transition effects are basically used to mark an important transition point and to alert your listener that something new is coming. Solids check out some of the fundamental types of acts and effects for transitions. So first, let me just mention that. Let's say your new section starts here at the four bar here. Well, you want to of course, align the acts and defects so that it hits at that perfect cube point because you're basically more King that point for the listener with any type of accent, instrument, part or sound. So the first type I call impacts, which can be anything with that huge hit tab of accent. All right, so I just used a big precaution with heavy saturation and so on. Basically, any type of big impact sound effect, big deep percussion, often with extra saturation compression to make it really big and powerful in the mix. So in this case, I'm just using a sample that I created for my own. Epic hits an API, it impacts sound pack, but I can use a plug-in or anything that has those massive impacts. So that is the first one. Next we have different types of what I call authority sounds. So the first one I call authority moral Carter's meaning, well, basically marked or x centered notes. So in this case, I'm using a sample library called evolution. You could create the sounds often labelled as Brahms. So big brass, low strings with a heavy, more CTO. In this case, it was more sound design and syntax-based, but you can create one's yourself just by layering powerful brass using that triple 40 dynamics and really go all in with a bold and powerful more kowtow to mark the accent for the new section, then we have what I call authority tails. So what is this I'm using, in this case, tubular bells. So bells are great for the acid can also be what I call pings. So a piano with a long sustain, sustain pedal just ringing out like this. You can immediately here that listen to me, I'm important. So that could be used at the transition point, but you can also of course use any of these in the middle of a power just to mark is specific Q point. And finally, authority Percussion, which comes in many different flavors. Of course, the classic cymbal crash is the most used. But in this case, I'm using here for this example, would see a goal. You can use a TAM, TAM or a goal to create. Also that sends over to all of these more photos, authority, tails and percussion here. There is, I call them authority, is that they create that sense of authority like, oh, something important is happening, right? So those are the most fundamental types, in my opinion, of acts and affects various types of impacts. That comes in many different flavors, of course, are more Carter's meaning marked and often lay your parts on a single node, a power cord, for example, or octaves layered up. Synthesized based, hybrid based, or even just orchestral or acoustic bass. Authority, tails, bells, pings on piano, jazz that long sustained resonance and authority, percussion. Classic cymbal crashes goes ten terms. Anything you can play, big plates that you hit, or anything that has that sense of bold authority. So those are the fundamental acts and defects that you can use to mark a particular point at starts a new section in your music composition. 9. Percussion FX: The sounds of transitions, percussion effects. Percussion is one of the most fundamental instrument families to use for any type of transition. I am not talking about classic cymbal crashes or big impacts in this case, but rather various types of performance effects you can use on your percussion for any transition in your music. So what are the fundamental types of percussion effects you can use for your transitions? Well, I would say number one is drum rolls. So the most common are probably the classic scenario role, which can sound like this. And what it is essentially is just fast notes here with some difference in timing, not perfect, straight robotic. And if I open up the midi velocity, you can see it is gradually becoming louder and louder, higher dynamics until the final hit, of course, right? So that is as narrow. You can also do it on base trumps any drum almost. So this can sound like this. Now the difference here is that you can only see one note. That's because some percussion libraries have these roles prerecorded on certain key switch. So you just need to find a good length of it. Say, this is this, and it says two seconds. Let's try another key here. And of course, that is shorter. So the downside of these pre-recorded roles is that it can be hard to line it up so it finishes on the downbeat here at the Q marker or the transition point. And also there is a third way to do this with some libraries where you have this one note and then It's basically just where you draw the modulation wheel here to create the crescendo. Okay, so that is drum rules. Then Drum fields, which comes in many different flavors. One of the most fundamental ones is probably the toms for fields like this, it can sound like this, right? So here it's basically just a pattern that it acts like a feel just at the final section before the new transition to the new section. So let's say two here is the new section. Well, then this is the fail. This is of course the downbeat here for the new section. And again, of course, it's mostly lower dynamics or meet dynamics not too high because it's supposed to be a female. And then the decision point is marked by cymbal crashes, Big Hits, whatever you want to market, that specific point. So dram fails. You can do it with ethnic Rama's tribal drums, world hand percussion. But Thomas is probably the most essential for this. Of course, you can also do it with even higher heads, whatever. Spice up the rhythmic pattern compared to previously. Then what I call shadow hits, which is basically, if we go in here, see super low dynamics. So it's more like grace notes, but for percussion can sound like this. Right? And there is of course, the point of the new section, the transition point. So just some teasing here basically. So let me just move this, listen to it again, right? So that is what I call shadow hits. Think of this as grace notes, but, and it can be any type of pattern here. Of course, just super low dynamic, so it's low in the background. And then finally what I call count ins, which are basically the classic 1234. But of course with percussion. So you could do it if I just mute these, just do it like 1234 stick heats of various types, meaning you heat or remove, hits. Anything that has that shallow, thin sound. Can work great for this. Let me just move the dynamics up so you can hear it, hear it better. So basically something like this, 1234. And then there is the transition point. Or you can go further with eighth notes adding them as well. And of course, if you add these two straight 16 pattern, it more or less become, becomes a role. So and in most cases, counting so like these are straight. So 1234 or 1234 on every hit. So a very straight pattern, almost like a role but with some gaps, of course in between. So those are some of the most fundamental transition effects with percussion. Drum rolls, snare, low bass drums, or tympani orienting. Drum fails, which can be toms or any RM relate that we just add some field type pattern with spice up the groove before the transition point. Shadow hits which are more or less grace notes, but on percussion and countings, which is a straight pattern, often with a very light sound. So it could be staking. I like those that could be removed. Ramus shots. It could be a ride cymbal, 1234 or anything like that. 10. Accent Markers: Transitions in action, X and markers. An accent Morcher is simply a way of emphasizing the focus on a transition point in your music. The strongest accent markers, or usually at this section transition points, but you can also have them provide a bold X and within a section itself. Alright, so let's check out accent markers in action with this short composition I created for this purpose. Now, first, if you look up here, you can see my arrangement markers in different colors just to make sure you can see all the transitions really all. So first we have a one-bar intro, or let's just call it a count into the first section, which is this green section here. Then you can see the first real hard transition point into section two, which is this here. And then another transition point into the cadence which could, for example, be a new verse, a breakdown or whatever you wanted. So we have these various transition points. Now, let's take a listen to it first. All right, so that is the example I created. Now let's check out the actual transition markers here. So here we have the first one. So first we have a bit of a count in with symbols. Then the first accent marker is actually basically these crash cymbals I could, if I increase them, they become more stronger acts and mockers. Of course, that sounded pretty silly with that. However, dynamic difference, but that is one type of transition marker, crash cymbals or symbols. In this case, you could use a bigger hit tear and so on. But I didn't want a hard transition Morcher acts and marker foregoing in from the counting. Since Section One is basically an intro. Okay, so here we can actually hear a soft acts and marker, which is an accent within a section. So this is section one here, the intro. And you can actually see if I zoom in here, that there's crass symbols here, every second bar here on the 46. And you can hear that something's changes also in the driving short strings. Right here. Introduced the higher strings, Air and quasi going here, going up. And now. So listen to what I've done here. So this is the main acts and Margaret wishes a bush bang or basically Energy Advisor to hit point. Which of course hits at the actual transition point. So that is the first accent marker. Then I have these brands. Right? Okay. So i have them twice. Why do I have the inside here with, because I wanted a bold X and within this power section as well. And then I've finished with a bit of a more cadence hit there in the low end. So that is the second acts and marker. I also have these big dramas that already present because the main percussion is this, which has some low drums, but not really as deep as these ones. Okay? Then I even have a bit of a fail or roll into the next one here and the final one. So those helps with eax and markers. Then let's see the precaution. I also add more notes here. If we zoom in, you can see here every part of this layer up at this point here. So you can probably hear a debate at least. Ok, so a bit of an accent, more layering, not that much there, but with the strings. You can also hear, what did I do there? Well, all of these are 6'2 or staccato and then I go to a more call to accidents, which is a bit longer, so it actually stands out as an accent. And then finally, mark policy or the like that. So you can have x and with varying the length, increasing the length of short notes. Then I have these bras, marcato power vicious, basically manually created brands as strong, dynamic power chords. And then a staccato at the end or spore sotto, i think. Of course I have the symbols here. Oh, and I also have timpani, which is a really good tuned Percussion. Can either authorities as well. But I still have this vital role in solidus countings, whatever you wanna call them on the percussion. And finally, I hit with a goal because see if I can just solo Guangzhou here. Because that has that really noble high authority type of sound to it. To finish with, either in an intro, startup track or asic cadence. I love using it for that. And I have these TBL Rebels, which also has the same kind of authority power to them. And those are only on the actual transition point here and at the cadence. But again, I have it in the middle. I chose to have some of them, not the tubular Bells, not the Bush banks. And basically not as much in the other case is swell. I had to go on with the final hit. But it actually add some kind of bold X and in, within it. So when some other parts change, what do you feel that when you hear it again? So there's a new pair. So I mean the big chromosome leading up to it, backpack. And I think I have it here on the symbols and tympani as well. So it leads into a accent, an accent which is provided mainly by these hit Style brands. So that is x and markers in action. 11. Count Ins and Lead Ins: Transitions in action, count ins and lead ins. By using countings and lead ins, you will both make your transitions smoother and prepare the listener for the new section. Count ins or for percussion parts that feels like they are counting into the transition point while leadings. Or for any melodic instrument that either starts playing its part a bit early, all simply uses smooth voice leading to lead into the new section. Now I will start by demonstrating countings and leadings. In this example I composed to demonstrate acts and markers. But what you had in the stores in this section, if you'd just check the section mockers or arrangement markers here, the intro here, I have these vide symbols that are basically a counting 1234. And then I actually have a final 1234 end. Just to bring the energy up into the introduction here, you could omit that, of course you could just go with 1234, but that is basically a counting 1234. And let's see if we have a T are the symbols just before. Okay, so that you have again 1234 on the symbols. And I also had the timpani has to hit there at the accent marker. But the symbols here are providing a counting again. And if you check the base, the base is during this long notes up until here, which is basically, I would say that this is a counting, but on a melodic instrument because it stills on, just on the same note, 1-2-3 ball. And that is labeled with the symbols 1234. And on the four there is the transition point. Okay, so that is the countings. What about leadings? Well, let me check. You have to check the actual melodic instrument for the leading. So what we have here is you could potentially use the base for leading. So like this, or like so. And now you have that is now a lead in with a bit of a count in group. I opted to go for more or less a counting even on the base area. However, the short strings I have, it's because if you go in and have a look, if I zoom in here, it's here on the cord here with the octamer. But what happens here? This is the this is the transition point here, but you get a leading here with this voice going up and this voice going down. Lie, if we play it. From here you will clearly here it inaction. Again. This go pop up and this goes dot-dot-dot. So that is a leading. It's basically voice leading here. That leads into the new part. I don't use any early part voice leading, but I could do that. Let's say if I had a melodic track instead of the melody, let's say, let's say this was the melody just for demonstration purposes right here. Instead of starting at the first node of the melody right at the transition point. What I mean by leading starting early is to add a couple of notes cast before to lead into the new part so it doesn't start abruptly. So that is count in and lead ins. But let us check another actual composition for a couple of more examples using this. Alright, so this composition I created specifically to demonstrate countings and leading. So let's have a listen first. Ok, so lots of countings and leadings in this actual project here. Now what we have here, oh, let me fix this. So we have a one more intro Then we have basically this entire section, section one, and then a cadence here. So I started with this one bar intro here to just have the loss of counting. So we're counting on the bass drum and let's go in and check here. So we have here 1234. Yes, this, so this is whether beat stars, but basically 1234 and all the sticks here, different types of mistakes but and also they are increasing in dynamics as you heard there. I also have it on short strings, but here I went for the eighth note, one and TV and 34 N. And By the way, this is a bit of a mix between a count in Adelaide in, so you have the leads mainly focusing on rhythm. One, then two, then 34 and part it actually these with voices as well. So that is what he could hear there. So those are counties in the beginning. Then we have lots of lead Innis here. Before this first bar here, let's say. Oh yeah, I'm sorry, this is actually, this entire two bars are the interests rates in intro, leading and Hanifan bore injured. Then the section stores here the three bar line. Now what do we have here is lots of leadings. Take a look here first the brass, this is a section starter I leading with starting a bit early. And then using voice leading to make it, to make it a lead in. And the trombones here as well as you can see, a different whole, etc. And you don't have to go in a straight like an escalator. Downwards steps. You can do it like this as well. Leading into this note, even though it's going like this curve instead. So if you just take a listen to, let's say these together. By the weighted c, We have these strings most rings going up as well when you're leading, and these ones as well. So all of these compare that to if I would have just started without a pleadings. Right there. It sounds abrupt, right? So leading in. The more instruments you lead in with the smoother the transition will be. So let us delete things into the actual section here. I also have a count in. Here. We, the, the low percussion hear 1234 too. At the same time as the final beat there before the new section. And let's see, do I have anything else? Yeah, the piano. If you go in here and see bom, bom Pound and let's listen to it. So that's basically a count in more or less because it's, if it's on the same note on a melodic instrument and more focus on rhythm. I would say it's more of accounting, is used as a basically tune percussion counting by upper bound. But you could say it's a bit of a voice leading because this goes to here and this goes to there. So leading as well. There's always some blends between them. Then let's see if we go up to the final cadence bar here, because of course you have all this going on here, but just listen to it. But at the final cadence, you actually have one bar here where it starts to change up the rhythm and nodes. And then the final cadence note is that of course, that is what will leading up into final hit point. Now let's take a listen to this final borrowers again. Okay, so here we have some stuff going on in. The bass part is leading down. We have first a bit of a count in and then leading into the cadence, don't there. So listen to it. Counting depth but duper, Baba bowl. So a bit of accounting and finishing with a lead in into the final note with the strings hit low strings, we have also more or less a leading like that, just jumping an interval in between instead of going straight to the final cadence note. And let's see with this short strings, instead of having these cool pattern, ostinato pattern going. What was finished with is basically a count in style, fashion here, just won't focus on the rhythm 1234. And then I actually finished by accenting the final nodes with AMR CTO there instead. Let's see what else. Yeah, then I dropped out a lot of instruments. So basically, while these are doing the countings and leadings, some of these melodic instruments, if we go in and have a look, are actually playing a melodic pattern. And then just finishing on a long harmony or long note to leave room for the countings and leadings and prepare the listener for the final cadence. So listen to that again so you can hear. I in fact, let's just go for removed the percussion and the oscillates into all the melodic parts like this from here, like that. So those are many examples of using count ins and lead ins for your transitions in your compositions. 12. Glides & Slides: Transitions in action, glides and slides. With some instruments, you are able to perform a smooth, long transition from one note to another. For example, bowed stringed instruments. I'm not talking about fastly golfer transitions, but longer transitions like glides, slides, and bends. You can also perform long smooth note transitions with synthesizers, sound, design tools and production techniques, such as creating your own risers and downers, for example. So let's start by listening to this short composition I created to show you the technique of using glides and slides in various forms for your transition. So playing in 321. Ok, so let's check out what is going on in here. First, I want to show you the actual arrangement markers. We have a one-bar shortly, the leading or intro than the main section here for four bars and then the cadence here lasting for two bars. Now, I use a lot of these glides and slides in this composition. So the main ones, or the synthesized or sound design-based, I have a downer here, which is a sub drop. And in this case I'm just using a low-pass filter on a low synthesizer, and then I pitch, bend it down an octave like this. Let's listen to its standalone. Those are amazing for those short glides and slides. The subgroup there. So let's see, I have added some saturation and a base m to make sure it's really boosted so you can hear it in the mix. Then the next one I have this Reiser. And it's actually from Omni sphere. So it's just a synthesizer, a saw wave here with some settings on the amp and so on. The point is here I'm using the same technique, but I'm using 2k tapes on the pitch bend. So I automated the pitch bend going up, as you can see here from the 0 position to the full position to create this rising effect for all four bars. Really building intensity and then it drops out. But I still have some reverb since it's baked in there. Then I have two different risers from, say, this one is from a plug-in or assemble a big library called Gravity. And I'd just use it. So it's just the same note is C in this case. So that's been here. It's more of a hybrid mix. I think it goes for one for Locke shape. And then this other one than a pan them slightly to the left and right as you can see here. And that one is more orchestral As you can hear that tension building in the strings. But both those together, Let's see. Like this, really things that tension. And then this one also ended with that hard stop there. And then together with the synthesizer, I mean, that's a lot of gliding up in octave there. So, I mean, the main music, so to speak, is actually just percussion based. So this entire track is based around these grew there like that. And the cadence editing with a hard hit on the low dramas and double symbols. So all the other instruments in this mix, or actually some kind of glide, slide or bend. So we, now we get into the band here, the first band, which is these low strings here in Octavia, C2 and C3. And what have I done here? Let's take a look. Actually use a pitch Ben. And it goes from 0 to 33, which is half the way down. Why? Well, because I want to end it on I want to end it on a half-step. Why? Because it is very high tension. So if you take a listen to it standalone. And on top of that, I have this crescendo and diminuendo. So basically a waiver of the dynamics. But the most essential thing is this curve here. No, I always made it a bit. I adjusted the curve so to speak. So you can use the curve to an idea. So it is not just a straight line, but start slow and then dives faster in the m. Ok, so that is the manually created by using pitch bend. It's just the string library and contact that I use pitch bend on. Now, I want to mute that because I have another one here that clashed a bit. And that is if you have a library that has prerecorded bends or gliders or slides. So I'm, in this case I'm using a falls half tone. So the same here as it is going to fall in pitch. The downside of this is that you really have to line up where so that it falls to the transition point. Here you can, oh, here we can control it as you wish. But with in this case is since it's prerecorded, you have to time it, but they are of course, real recorded bends, so it sounds very natural. Okay, so let's just make sure we solo it. It sounds like this, like that. And then it just hold out for the cadence there. So you can use that instead. Let's go back to the string slow. Then I actually recorded all my electric guitar. I just did a manual bend on the strings and I'm not a good guitar player, but this is just for effect. And then I added a noise gate and m some EQ, a little bit of tremolo for some added movement in fact, and then some reverb. And let's see, did I, I'm not sure if I pitched it. So it sounds like this now. Like that. So I I think it starts a bit to pluck e. So I would suggest actually doing some more pit fades there. I could even started perhaps all the way over here. Now. Okay, so that pitch bend now is slowly bending down. So I've made sure to tie to time it. But then I needed to just readjusted like so in the sequencer so that it cadence. It finishes the band at the Q point. So we can get this really high tension cadence, right? So those are some various techniques, downers and risers, which can be synth based, sound design-based, hybrid based, a pre-prepared ones in plug-ins or create one yourself with a synthesizer. Adding pitch bend even to string libraries on any acoustic instrument. Using prepared bends, slides or glides that you need to time up or even record ones yourself. If you have an instrument where you can do this, smooth the transitions like Ben slides and glides width. And that way you can create really high-intensity transitions for your music. 13. Walks & Runs: Transitions in action, walks and runs. Runs or amazing for transitions, not only into new sections, but in the middle of sections for adding spice and details in software transitions. Scale runs, or probably what most composers think of. But you can do runs with chromatic steps. Could notes, arpeggios or any fast melodic phrases, runs, or of course, short by nature, but you can also do longer step-by-step note patterns. I call walks. Now to demonstrate runs and walks, I'm first going to show them in a solo, meaning not attract but actual soloed runs. So here is a string run that I recorded, and it's basically just a major scale going one octave up. Like that. You can also go up and then down an octave again. Of course you can go up to York Taves, down to York tapes and every variation you can think of in every different scale and key, and choose whatever you want to use for your transition. Now, I also want to show you that depends on what kind of instrument to use. So if you use a flute, Those are very agile for scales or runs. So I would say woodwinds and high woodwinds, particularly like flutes or amazing four runs. And strings, of course, high strings as well. So let me solve that. But you can also use them in tandem, so in unison like this, which is used a lot in orchestral music. Now I also want to show you what it can sound like if you do a walk. So basically, I've done it with a chromatic scale, meaning every single note here, a full octave. So you can do this with a scale as well. The difference, the main difference between a run and walk is basically the speed of it. So we can do this much longer if you wanted to. And let's listen to it in combination with woodwinds. So imagine that in a track with other instruments going on and you really feel the building, building, building onto this final note, the transition point. You can also use other instruments like harp, for example, or great for these runs. Now, I've done it with a piano. Let's see. In fact what I did here. So I'm going with C, C, F. So this is not to scale on, but I'm using some coordinates I used. So let's see if I can see. Yeah, this is basically just the F chord, as you can see here, only the F chord notes two octaves. And you really hear that wants to resolve there. And that's the eastern great point where the runs and walks is that they are basically creating a bit of a small short story that wants to be resolved at the transition point. Of course, this final cadence. Now, I also want to show you that you can do it with extended chords. Let's see what I use here. So this is f, but I added a ninth to it, so you can do that extended chords. And finally, I also want to show you that the other sample size use now are going in a straight patterns. So either up, up, down, you could do go straight down, but you don't have to. You can use like this. These are great for creating very interesting runs. And in fact, so go up and then just go down a bit, like creating a shape of it. And it can sound like this, which I loved the sound of. Alright, so now next we are going to check out this in action. So this is just a short Q I wrote using various runs and walks to spice it up and add energy in some of the transitions. The first one is this one bar intro. So you can see it here and here, or longer walks basically. And then a fast run on the flutes and strings. Then you get it the final before the cadence here. You actually get some sort of a bit of a walk here. And then it finishes with a bit of a run here over the strings, while the other nodes have resolved on the cadence there. So it sounds like this. Right? So nice and smooth there. But what adds that little spark of energy? Because this is a very slow and smooth piece. Without using any percussion. I just added that excitement from using runs and walks. So the first one is these strings here which I walk. And as you can see, not every step changes. So Diesel, well, the same note twice, but still like a walking motion down. That is the actual transition point. So you don't, you can actually repeat notes and do various curves as well with walks and runs. The piano just walks here on, let's see. Okay, so it's basically scale here like that. And then starts on the cord here. But whereas the flute and the strings are using this fast little run just at the final beat here. See if you can solo that like this. Okay? And I also use a little soft transition right in the middle of the section. Usually it is at two bar sections or at the four bar. If, if the section is eight bars, which is pretty standard, standard, you can see right here I'm actually using fast, short run on the flutes and strings just to spice it up at the soft precision here. So it sounds like this, like that. And I also doubled that on the short strings as given here. But those together, if you listen carefully now, by the way, I also use it on the base here. So this is just a walking, walking bass, so it's long notes are the same note than here. But bum, bum is so longer notes but still basically on the same balking motion there. And listen carefully. Oops, here. That little spice of those walks and ram's add some interest to it. And finally, I guess you could say I've finished here with a little bit of a walk motion upwards on the flutes and strings. So we have this monadic pattern and then its ends with this little basically climbing motion. So the melodic shape of it is going upwards, like stepping on a ladder upwards basically. Alright, so those are some practical examples of using runs and walks. And remember, you can do them in many various shapes of scales, chromatic steps, curves, coordinates, extended courts, and so on for any transition in your music. 14. Rolls & Swells: Transitions in action, roles and swells. Drums and percussion have so many ways to shape your transitions. One amazing technique is doing roles or swells. This can be on practically any percussion instrument, as long as you focus on creating that dynamic intensity curve, some of the most used or symbols, snares and deep percussion. So let's check out the example I composed to demonstrate roles and swells in action. Let's listen to it first in 321. Right? So that is the short composition I created. Now, I went with a hun, 100% percussion based q here. Because, well, Rawlsian swells are all about percussion. So what types of roles and swells can you really do? Well, there's short, very short rolls into like legged inside that we have here with a base RAM for example. So we just zoom in here, you can see, you could say that that is a kind of a mini roll. The low percussion here. Let's see if we can just solo that one is going like so a fast role. And what you want to pay attention to is that the final dish should of course be the loudest. And then you have to play around with the other velocity values to make sure, whoops, they are. Well, have variation but still has that crescendo field. Like so. I think I even do it with the sticks here. Let's say here in the beginning, yep. Very fast data. Just as a leading here into the intro, into the section one. Now, you can also do longer rolls. So a snare roll is one of the most classic. It, as you can see from the velocity dynamics here, it is going gradually upwards. Now, you don't have to do it continues upwards momentum, you coulda likes going up and down like a curve, but in most cases it will be something like this. So rapid succession of notes with increasing dynamics. And then a high dynamic at the final hit there. Now, you can also do DVD on symbols. In that case, you most often call it swells because with symbols were other shimmering instruments. The individual heats or not really, you don't really hear them as in the case of a scenario that, that are like that and machine gun type effect, you more or less get a, an increase in dynamics, like a crescendo, swell in the symbol. So you can hear it a bit there. But depending on the library or use some libraries, you only have one long note and then you draw in the dynamics with the modulation curve to increase the dynamics over time. And then of course it goes into the queue marker where I have crashed symbols and so on. So this is the beginning. All of them are leading up into market one here. Then if we move forward, I have here, I think. Yeah, here, some minor. So two bars into the section. One here, Mini Rolls again. But A-bomb into just to mark that. Instead of just having that, I have all of these layered up. Like here. If we, if we zoom in, you can see Baba bomb, 1-2-3 or the final beat. And we have it again here. But let's focus again. Over here you have the final drumroll here with the load Ram's. I have it on the snares as well. I think. But shorter, let's say here. Ok, so not really a role there, but more of a count in base up to the final hit. But of course on the symbol I have it here as well. So Roles and swells or basically that crescendos way, the fast repetitions on any kind of percussion. So in some cases, you might want to record the roles with creating these fast patterns. And Bill also debased crescendos yourself. Ok, I have done in all these tracks, but in some other cases, you might want to use a sample library or plug-in with a prerecorded role, which can come in two flavors. One is where you manually draw in the dynamic crescendo with a curve like this symbol swell here. Ok, so that is basically a role or a swell, but the dynamic swell, the counts from the curve you draw in. And in other cases such as this bass drum here from the cell, percussion. These are prerecorded lengths for roles with dynamics embedded. So it's just one note that decides, in this case, the keys which for how long the crescendo roll is. In this case, it sounds like this, right? But in all cases, you of course need to make sure that the final heat aligns with the actual transition point. So if we listen to this, for example, pretty much perfect, perhaps a bit too late, but you can always just drag it back in your project or use another length for the actual role. There. 15. Fills & Spice: Friends sessions in action, fields and spice. Your music compositions will improve greatly if you include lots of tiny details, variation and flare. I like to call these fields and spies. And it is very effective for soft transitions, especially since it can add a bit over spork and excitement. However, you can also use Fields and spice for your stronger transitions to new sections, especially in combination with other transition techniques. All right, so let's check out some fills and spice in action. I'm going to start by playing this little Q I composed for this purpose. So playing in 321, right? So that was a short composition. Now let's dive right in here. So the first feel is this little Tom here. So the main beat plays here. Okay, so just a simple groove, but I wanted to add that fill in this one bar intro. So if we're diving here scrolling, you can see that. Ok, so that shouldn't even be there, but basically it's a Tom fail like this. Okay? Then I also have this base that basically adds as a fail in unison layering with his Tom groove. That is the main groove, but I added this. So it goes basically on these two nodes here, data, data, data, data, data. So basically also acts as a lead in here. At same time as it's layer as a failed with the toms. Hopes like this. Okay? And I also have this short strings. So this is probably the main focal point in the piece, which goes like this. Okay? And Let's check out the beginning. Recognize debate. Well, take OSM to the Tom, fill out the base. So all of those are layered up so the ribbon, the groove is the same. To really emphasize this, fill in the beginning. Now, I also have a little bit of a spice here with the symbols. Instead of going straight to the transition market where these two Crash symbols, I have these symbols just counting in as bit of a spicy or so. And inaction is sounds like this. Alright, next, I have these sections here. So section 11 and section 12. So at bars six here as basically a new part of the second part of this entire section. And then I finished with a cadence action. The final real cadence is actually here at nine, between 910 bars here, but I guess you could say it starts on bar nine. However, I wanted to create a kind of a fail and spice going into the second part of the section. So what did I do? Well, I did a lot actually. You can see in the short strings, especially. So if we go in here, you can see I do this little tidied, it, deleted it. So if I play from, let's say bar four, you can really hear is an action and listen to what happens here at bar six. Better, better, better, better. And then it stores that in year court here. At the same time, I also did it on the brass and other strings here. So they just play slow. Let's see what we have. Or let's say bar four. And you can already see tried here if I zoom in. But going, what's going to happen? This spice and fail here before bars x. Like that. Of course, layered with the short strain is you've really here. Okay. And I think I did something on the basis. Well, yeah, just a fast little leading here as a fail like that. So all of those working combination, of course, that's the guilty over fills and spice, especially because in solo that might not do much in the mix. But if you add them up, they really create a lot of character and flare. I also added in this snares here a bit of a role thing. Okay, just leading in the Tom did this little fail here. And bar five to six here, as you can see, spars here. And then together with the snares, and we'll say the short strings really here, that this is really important when you add up fast rhythms like this. A guideline is to use same rhythmic groove, beta, beta, beta, beta Pam. Because that will make it, make it really cut, be heard in the mix. Really hear it clearly. And I mean, I overdid it with lots of really obvious in the mix because I wanted to, you could download backed by not doing, for example, the Tom fields and snares and still have this flatter going on here. I mean, you could consider short little mini spices in the short strings, for example, like here. Did it, they did it. Just a little turn there. And then finally at bar here for the cadence. If we take a look from bar nine, and let's check out all the melodic parts in fact. So those guys, here we can see it. This is the red, this is the base. Now, what you see here is this fun little n. So this is a mini feel like gastric say, And here. So that is the real final spice going on here. Like so. Right? And that ends at the cadence right here. I think I also layered that data with the, So it, because if you want those little Filson spice to be heard in the mix, more clearly. If you have them on strings, any melodic instruments, I suggest layering with percussive instruments, short percussive instruments like a scenario for example, or a Tom. Okay, so I, I didn't do all of the beads here, but if I take those with these, let's see what do we have. So I talked to main accents in that auto-fill and layer those on the snares and the tomes there. So all in all those, or the main fields and spices, I added to the short composition to really add some flair, some excitement, and also act as a transition booster. Both mainly here in the intro to the section one is softer, one here, two section 1.2. And then this little fill or cadence spice here, going up here into the final cadence, note there. 16. Dynamic Curves: Transitions in action. Dynamic curves. Dynamics is the main way to shape the intensity and loudness curve of your parts and performances in your compositions. For transitions, that dynamic curves will mainly be going upwards in direction or downwards. Basically, crescendos and D crescendos, also called diminuendo. Now, we will start by listening to these short composition I created to demonstrate dynamic curves in music. So playing in 321. Alright, now, what clearly could hear and feel was this ramp up of intensity right here. And the final bar before what I would call the chorus section or section two. You could also here in the beginning entrenched going into the section one that I have some fails and I added some dynamic curves to really start very loader in dynamics and ramp it up into this start here. So let's just dive in and check out the dynamics on a track by track basis. So first we have these big bass drums sounding like this. They take care of the low-end part of the main groove and accents. Now what I have here in the beginning is this leading with dynamic curve. As you can see, if I have the selected, the dynamics is slow. That term. So you, it's basically ramping up there. I have it again here as a soft transition here, but, but Lappin. And here again, Pam. And also I think in the end and say, yeah, a bit of a ramp-up could probably increase it like this. So it really, it starts high already and goes into the final, real big yet. Okay, next I have on the low percussion as well as you can see here. It's basically a Fail going into this properly. Again, increase this a bit more like so. The reason I have this lower, by the way, is if you go out and take a look here, this is really important because with many instruments in music composition in a DW, you control the dynamics with the velocity values. And what I want you to take pay attention to here is this gradual increase in dine average dynamics. So here we have ramp up and then it sets basically. If I just draw a line, you can see the ramp up here, go back here. And here you can see another line basically averages here. Then we have a A ramp-up of energy again here, and this is going into the chorus. So you can see the average goes up dynamic curve there. And then it sits about here until the final, wrap up a bit here into the final cadence. So that is really important. Then we can check out the next one. We shall these stick hits. And you can see the same thing here with the ramp and then it goes aberration than a bit of a ramp up. Here if through the chorus, you have a much harder accidents during the course. But you have a slide increasing dynamics there as well. But see the symbols. Yep, same thing here, very low. And then about an average here, goes down a bit and decrescendo to make room for the energy buildup hair here at the final bar before the chorus hits that bore ten, stays about average, goes down a bit and then ramps up again. So think about it encouraged it doesn't go, have to go up all the time or down all the time. You can shape it in curves. The low strings now, which changed the, how you perform the dynamics. Some with the sustained note instruments like strings, long strings, long brass nodes, etc. You control them in most cases with a mod wheel. So what we have here, well, you won't have this variation. Basically, movement curves with the dynamics in the long strings. But these can see if you think about it in average terms we build, we build here, goes a bit plane here with average and then go up for the final section, and then we go down with the cadence. So I hope you start to see a pattern here is sola by dynamic curves and averages for those curves. So once again changed back to showing the velocity ramp up at the beginning stays pretty much the same. Beethoven ramp up. And then here you have this little fail basically going as a ramp curve here and then staying pretty low until the final ramp-up in dynamics at the end. The short strings here, here you can actually see, and this is also important if you want to add more energy over time in your composition, which is in most cases, the best way. You want to have high dynamics at the final part of your track so you can see a gradual movement up. But again, ramp up stays the same. Ramp up here before into the chorus stays about the same. And a bit of a ramp if in the end. I mean, let's just take a listen to this track so you can create a rehear the dynamics in action. Very low, low, medium dynamics. A bit of an accident here. And then let's say going up here, fill and then a chorus. And it will go around and up here. The hair that clearly had debt, debt, debt going higher there at the end. So this is what it's all about, the dynamic curves. Shape with crescendos and D crescendos those curves. Of course, another aspect which is not really covered by this less than, but it's a bonus is adding energy with not only dynamic curves, but also layering. So these shallows here, let's buy them so they don't play for the first part, only the chorus. And they come in here and they have a constant ramp up. Which layer with the strings. You can really hear it. If I do it like this, they come in Hall pretty hard here. Really thickens the sound, so that is just a bonus tip. Then we have the brass here. Let's go in and take a look. And now we have to go back to the dynamic curves. And this is really apparent first, this slow intro, go when you have the breathing the waves here. But look at this. It goes down l, then ramps up for this crescendo into, into the chorus. And you can clearly hear it. I think it's mimicked by peritomy Mc Theater notice intense. But if you listen to these two tracks in tandem, listen to what happens when it ramps up here. I can probably ramp it up even more in finance to that here, like that. Right? Something like that. Okay, so now let's take a listen to these two. Ok, so you really heard it there. It takes care. And also, I used some layering with a lower brass. As soon as the chorus, it's just like when the cello starch layering the other short strings here. So if we take though all of those together now, like this, go in and have a listen from, well, let's take it from here. That's where the power section stores the core is so to speak. And when we get to the end, it really dives down instead because you want to do the decrescendo diminuendo to make the track really settle, I could probably even extend these nodes to make it more clear in the mix. Lets go in or the oral, the seven-note I think gas to have it go further. Or the next one here, right? Like so. And just check the dynamics going down like this, right? Like that. So let's listen to it in context. And so these ones are really, let's see, this one should belong. Reducing the energy. So it's not only about increasing the energy. You want to know where you want to make your track, breathe, your parts breed, or a resolve. And you can see it also clearly here in the brass. It actually goes down to give some breathing room. Then it really ramps up hard again into the course. So let's listen to the final part of the, listening to the cadence right here. Which is equally important to know when you want to decrease the intensity and loudness on any part in your music, as in increasing with dynamic curves and averages. 17. Harmony Direction: Transitions in action, harmony, direction. The average direction of your voices that makes up your harmonic and melodic powers is a huge aspect for building or reducing energy. In fact, you can think of hormone indirection as creating curves for your voices, just like you can do with dynamic curves. All of this makes harmony direction excellent for your transitions. So this is the short Q I composed to demonstrate harmony, direction and its impact on transitions and increasing or decreasing intensity by the direction of your voices. So let's take a listen to it first. Okay, so that is the short composition here. And you could clearly hear the increase in intensity, especially going up here into this chorus section here. So you can see this section markers. Now with harmony direction. It basically includes any type of melodic voice and its direction in the piece of music. So for example, if you take a listen to add a look here at the beginning, you have the oldest three strings, brass and fluid, starting here, and then just going up like so to the second part here. So just a single node to lead in. Like that. That is a very short version of the harmony directions. So it basically creates a curve. And if you watch all these, the music goes like this. Basically it up and down in waves. So it's, it's a shape of this story in the direction of each, each voice. See this clearly in solo here. And you also see that it goes at general direction, going upwards. So starting here, then, basically like a wave here in the verse. Then it goes up here in the chorus, and then it goes down in the end to settle. So anytime your voices is going in the upwards direction, that increases the intensity and when it goes down, it adds that sense of resolve. Resolve meant and, you know, calming things down basic laws. If you listen to this here, for example. It goes up in it, especially if you listen to it here. So of course, you need a pattern to create your melodies and harmonies, but it's the average direction that counts and is E goes up and up and up. And then it's so resolves at the end. If you take a listen to all these main theme melodies, you can hear it even more clearly. In fact, let's include these short Viola was denoted in the pattern as well. And you can see them right here. So if we play them back. And so let's zoom in a bit. Here you can see it will go up and up and up. And then it resolves. While actually the ostinato finishes added an upwards, kind of run upwards to this cadence. So it starts like this. You can also have these opposite movements going into opposite directions with your voices. And that will add a lot of interesting complexity in intricate movement into your music. But let's focus on the harmonic direction. If we go into the main comping track, this piano here, which sounds like AES solved. Okay, so, and then if we just zoom in and take a look at what's happening here, you can see here that is states, the hormone is here. The overall average voice direction is pretty much average going here. And then it starts to climb up here. And all the way down and up here it starts to low the resolve into the cadence. So let's listen to it from here, and it will build up in intensity just from the harmonic direction alone. However, I am also using some dynamics for this as well as it slowly up here and then it's older resolved. So not super high contrast in the dynamics, but listen to the piano, although with the overall curve of the dynamics. In fact, let's listen to it from here, up, up again. And now for the chorus. And this is starting to go down. You feel that starts to resolve. Beautiful. And that's just the backing track with the piano proliferated comping. I mean, we will skip the percussion since that's not hormones. But let's just take a look at the low strings as well. And you can see it in order to do voice leading in harmonic direction with, with low instruments since you really have to respect the root. So in this case it just go up and down like curves. And overall, I mean, you can really see the direction if we listen to the piano with these all the theme instruments and go in and take a look here. So while these are going down, this is still going up and down. So this isn't from here. And then it's long note to settle the cadence right here. So Haar Monte direction is not only voice-leading like Yay I showed you in the beginning to lead into new part, but you can use it for that. I use it for that here, for example, again, the main theme. What do I do here to lead into the chorus? Well, I have a direction that instead of just having this node, for example, and then going directly or having silence, I lead into it with harmonic direction. But also the intricate details of their harmonic curves over the piece. So where is it? Where is the average density of the harmonies and voices? Goes up and down and up and down. But the general direction here and going up and then a bit down and then up again and then resolve. They're so focused on these details because the actual range for any melodic part in your music, any voice, regardless if you play chords, harmonies or melodies, will heavily influence the build or reduction of intensity and energy. And that will work great for transitions and for shaping the curves of music within the section itself. 18. Instrument Density: Transitions in action. Instrument density. Density, meaning how Fu, enrich your parts and performances feel in any given moment during your composition is a great way to shape sections and transitions. Density can be controlled in two main aspects. Note density on any port by adding more voices in the performance, as well as layering with more ports in your overall arrangement. You can also control all of these using the range of notes in music. For example, extending the density upwards into the higher registers, or adding harmonies to any port to make the overall sound richer. So let's start by listening to this composition I created to demonstrate how we can use instrument and note density for forming and shaping your sections and transitions into new sections. Playing in 321. Okay. Okay, so that was the composition. Now let's dive in and check out what goes on here with instrument density. So first, let's listen to this track. There's low precaution. We have what, what goes on in here. Let's check out the media. Let's view it with the loss of the instance. You can see what's going on. First, we have a little bit of a fail here going into the section one. And then we have this power section. So take a look at the nodes. Okay? So this is the main groove with this precaution. Then we have a little bit of a fail here again, bam there, and Jabbar seven. But more importantly, can you see a difference going from here, section one into this section? I mean, you have this fields here, but I want to say compare that to this. Already. You can hear a big difference. It's note density in two ways here. You can use on percussion. You'd basically don't have voices. You cannot do harmonic density, but you can do more note density. So there are small notes in the patterns compared to what we heard in the beginning. Here. Whoops, like this. Also silence in between the nodes. So that is the first aspect of instrument density or note density. Adding more nodes into the pattern because that creates lot more intensity and energy. We can also hear a tier on the symbols. If you check. First we have some counting here. Okay? Now, when we get to the power section which starts at 18, you first have this little counting. And here lot more nodes going on. And it, it really makes a huge difference. So if you just add up the steak hits the low percussion here and the symbols just alone. And we aren't really touching any harmony sliver melodies in this case because it's only precaution. But listen to the difference between, let's say here, going into the power section in instrument density. And also listen to how it starts already here in the build-up to the power section. Okay, so buildup. And then how resection. So that is node density in the amount of notes in the patterns. We can also hear it clearly on the piano, which is one of the main backing tracks. So let's check out what's going on. First we have, of course, you can see there's, it's going up in average dynamics, but that aspect is another thing that we are talking about, instrument density. And listen to what happens here when we go into the power section. Already from starch, already from here. So it builds up also a leading up with harmonic direction. But more importantly, look at the bass notes sorting to have this power instead of slow long notes. So this right here, as we go further, compared to huge difference in node density there. Okay, so now we're starting to get into the other aspect which is layering. Now, an important thing with transitions is when you start to layer things. So this is the power section here. But look what I've done here. I started the short strings here and short viola section. Two bars in the build-up were, as you heard earlier, the buildup in the symbols in the piano, and a low precaution. All builds up onto this powers external cores. Now, that's why I also bond to give my tip to store some parts earlier to add the instrument density gradually. So it's not just, I mean, if I remove this, whoops, I could remove their section and this one and just started immediately, like here. But instead, I have it start here. And together with the viola and the same thing. I mean, let's include all percussion and the piano at the same time in fact, so you can hear it when it's building up. And how much difference this instrument density by adding layering parts before. So kind of a lead in here. It'll listen from here. And now. Of course, what you wanna do in that case when you lead in, is to have this harmonic leading. As you can see it going up, up, up, up, up, up. But also very important, make sure is low dynamics going upward. So a bit of a crescendo here. So basically smooths out the transition here. So this doesn't start abruptly with these parts. Okay, so let's continue with, let's see, the base I don't think is actually doing much. Now. It's pretty much gas going on doing its things are not really instrument density there. It does go up in velocity dynamics though. Then I have layered the low brass hair with here with the base. So that starts immediately. I mean, let's just un-solo. Let's say. Okay, so I think I should have in fact, Let's see if that is the correct. No. Okay. So just let's put it down there and use a bit of a lead in there as well. Just to help smooth out that transition as well. And make sure that it's lower velocity in fact. And it goes down like that. So, okay, then we go into the strings theme, and I don't think we have that much of a harmonic or instrument density leading in here, however. But we do have is a completely different phrase. And with the three layered instruments, I start here is the point of the transition to the power section chorus. You can see, I start already here with these two notes. Let's see if we can listen to those loan like so. Okay, so building in and that of course, is adding, adding instrument density with the voices before the threads just transition and then goes into full force at the actual transition points. So listen to it in context. Let's see, I think I forgot this one. So let's just add it. Like so. Okay, so it's shorter. It's like like this. Really important that you really use layering it to your advantage. And not only the leading here, but actually adding the density a bit earlier than the actual transition point, the note density in amount of notes, as I showed you here, for example. And with the piano, but also with the layering. So introducing them a bit, a bit earlier. So if you listen to jazz all, all the melodic notes, let's exclude the rhythm for now. Unless n from here, or from 13 more space. And now was thought to be lumped with layering. And that way you shape not only the transitions, but also the average intensity and loudness over and richness of the sections themselves. So that the power section really is the most dense and rich harmonically and with the density in the amount of notes, both in the percussion and all the company and rhythmic instruments as well. 19. Frozen in Time: Transitions in action, frozen in time. By frozen in time, I am referring to the technique of letting instruments and parts go from any type of rhythm or phrase into a long sustained note or harmony or called, hence the name frozen in time. It can serve as a soft suspense that makes the listener wanted to hear a new section with renewed variation and details compared to the sound that almost feels frozen in time. Essentially making the sustained and kind of boring sound burst into an explosion of excitement when the new section stars. Okay, so let's start by listening to this short composition I created to demonstrate the frozen in time technique for your transitions playing in 321. Okay, so that was the short composition. Now let's dive in. But first, I want to let you know that there are two main ways to perform the frozen in time technique. The first one is, as I mentioned in the intro of this video, to have a node go from any type of pattern into a long sustained note. So if we take a look at this base, for example, you have the pattern here and then all of a sudden, almost two bars of a sustained note that is frozen in time, and then the other four been frozen, it's time. You could also call stuck on repeat. So going from any type of pattern into a repetition pattern, like I actually start with here. So the chord is does, bam, bam, bam, bam. And the same on the base that like so. And I think the symbols as well. So in the beginning I'm using the stack on repeat for the frozen in time effect just to have this. Of course, I build intensity with dynamics. But the main thing here is it, you know, this frozen in time effect. The main use case is that it wants to be resolved. It's too static, it's not enough variation. It feels boring like it is stuck on repeat or frozen in time. So there is a really wants it should resolve into something interesting. That's the technique. Okay, so then we have this pattern going into here and here I've marked it as the transition to transition. So let's take a look at what happens here. Now. The percussion, okay, so we have the low percussion goes from this pattern into damp, bam, bam, bam, bam, bam. Basically a repetition. Style patterns. So going from this, unless a now the RAM, RAM. So that is the stuck on repeat form of frozen in time. The symbols as well GO from this. And then just the ride cymbal. So that forms a, basically a counting, but it acts in the overall arrangement as the frozen in time technique on precaution, but more importantly is on your melodic instruments, harmonies caught and so on. So the bass goes this. And now just holes and wants to be resort to something interesting. And then the next section starts. Starts there, the string, low strings as well. And then here, the same as the base. And if we check the piano going from this nice backing pattern into a stuck on repeat kind of pattern where all we hear about B with a bit of an echo, basically where the base here and isn't here now, this bouncing. It stuck on repeat that's frozen in time aspect and then it resolves. Like so. Then I just use a harmonic lead in here with these two instruments. So that it doesn't start to abruptly with the melodic part of the core is, or what you want to call this. And at the end, I simply finishes with a long cadence because that's, I mean, that's the thing. Frozen in time is excellent Also for the cadence because you wanted to resolve and just dive down here. So it's go, it goes like this. Long chord to finish it all like that. So again, frozen in time. Either the stuck on, repeat. The beginning here. Damn, damn, bam. You can do with courts like the piano here. Or the frozen time long sustained, like the bass and the strings here. Soon into, wants something to happen. And there it happens. When the chorus hits amazing technique. You should really use it in your compositions to shape the transitions in droves going from verse two chorus and the cadence as well. 20. Tempo Automation: Transitions in action, tempo, automation. Tempo has a huge influence on the energy of your music. And by using tempo automation, you can shape the flow of your music story. Instead of using instant temperature changes, I practically always recommend making them into curves. For example, ramping the tempo up in the transition to your chorus and decreasing it gradually at the end of your composition. All right, so let's listen to tempo automation in action in this short little composition that I already used in another lesson to demonstrate another transition technique. But in this case I'm using the tempo automation track and you can see the curves I've created right here. So let's listen to it in 321. Okay, so let's see what's going on inside the temple track. Now, the first thing I want to recommend is that you want to shape your various sections in tempo according to the energy level you want to have. Of course, higher tempo means higher energy. So if you imagine that this orange section here, let's say that is the course. I have a higher BPM here, so 126. Whereas the first section, let's say this is the verse. It said when 120 and this one bar intro is starting really slow, which makes the, Well, the leading here basic way will the frozen in time effect fields even longer so you've really bond to resolve it and stop the track. And here you can see at the transition point, it's 126. But we have a ramp up here. So if we just double-click this here, let's grab this here. What you wanna do is no tab this instant temperatures, but rather use your timber track and shape the curve like this secret ramp ups and downs. So you have this in the beginning here from intro diverse, from this transition here into the chorus. And then I start to gradually decrease the tempo already two bars here before the actual outro cadence here. And that is because the band or the music really want to resolve and calm things down into the end. And you really hear it clearly. If you watch this and listen at the same time, everything feels more drawn out when it resolves. Which means that every node here is slightly longer than it actually is a, if it would have kept this temple in the chorus throughout decomposition. So with these techniques we tempo automation, you can not only shape the intensity and energy curve per section, but also with the ramp ups and ramp downs shape your transitions. Into the next section. 21. Silence and Air: Transitions in action, silence, and air. There is one effect that can have more impact in your music than any other technique or Csound. And that effect is silence. Think about it in almost every memorable speech, the use of silence is implemented in various places and length for dramatic effect, or even to emphasize something extra important. Silence in music can also be the air in between the notes. The gaps that give the listener room to breathe, plus build anticipation for what is to come. Okay, so here is the short composition I created to demonstrate the amazing power of a silence and air in music. So let's play through first and then we'll take a look at the details playing in 321. Alright? So what is most important in this composition is this transition section, as you can see these two bars here, because that is when I use this solids and air technique most efficiently. Because first you have the two lonely nodes here, which is not silence, but it's room to breathe the some air basically. Because first you have this campaign here on the piano with a baseline low strain. And now everything just holds out for a long full one-bar note, as you can see right here, before. I have this one bar drop. And that is the main use of silence. Now, with silence in music, you can use it in many ways. You can drop out everything if you want to just let the reverb shine through. And that way, may the listener want or long for the next section like this? Now, that is unusual to be honest, in most cases you have something that it leads the listener into the next section. It could be a counting, like on the stakes, 1234 symbols, some kind of drum fail, or any type of repetition, like frozen in time technique you already learned about. But you can also use sound effects. So what I like to use is when are you do drop like, drops like this, used risers, downers, reverse sounds, et cetera. So let's add one by one. So we have the symbol that I reversed like this. Let's say here. With some river, but that really drops out at the perfect marker here for the next section. And now with that you get this. Okay, but I want to build the anticipation, anticipation, and longing factor even more as I added this, which is a one-bar Reiser. Now the physician here starts at two bars earlier than the transition point for the crash. Because I wanted something to fill up the room when I give the air here with these long notes. What I also could do is if I slice here and then I could delete this. So I have the dramas going completely silent already here. Or you could use more air by basically reducing it even more so dropping out things. So you only have, let's say, let's say we just use the high hat here for example. That is basically counting. And let's see, you can, let's say if we just extend that over here and then we have some kind of little mini fill like this. Okay, but I want to leave that out, so just use the counting there. So that is also introducing more air, basically reducing the amount of notes and things going on. However, I wanted to go even further, so added the drop, the base dropped the sub bass, drop this one here. One octave bass drop with this to obtain Reiser. And now all of these together with the silence from everything here and the air from these long note and the only counting the drums really makes the listener bond. To get to the next section, it builds anticipation. So let's listen from here. And you really hear the amazing technique and effect them power from the use of silence, air, and then fill up the silence and air. I like to do that with any type of sound or effector part that builds that anticipation and longing for what will come next. Another thing you can do is instead of having complete silence or long notes to give that sense of air and breathing room. But in fact, if we go into the piano here and go and check out here, I have basically these, these are recorded with the sustain pedal, so there's no gap here between the nodes. But let's check out these notes. No sustained pedal and I have literal gaps in between the nodes, which adds that sense of air. So you can listen from here. It drops out. And that also adds that sense of dramatic effect from the gap in between. And in combination, it sounds like this. Now. It sounds a bit strange in this case, but there is of course, better ways to introduce it. I just wanted to show you this for demonstration purposes. I would not use it in this case. So that is the main way to use silence and air silence, complete silence, dropping out completely von notes to give some breathing room and air. And this actually gaps between the nodes as opposed to just having a full running pattern or sustain pedal going. And of course, in the end, it's always a good thing to add that sense of air by having long drawn out nodes or just some sustain or tail from the reverb to give at breathing room. So the track resolves like this. That way the symbol crash where in this case or any type of impact tail will be heard. And yet that air to shine and everything just calms down. So that is the power of silence and air for your transitions and sections in music. 22. Live Example 1 Action & Intensity: Hello my friend. In this video, I will show you a track breakdown of how I use transition sounds, elements, and techniques in a finished production. I will let you listen to the completed track first and then we will dive into the DAW and I will show you all the details. So let's start right now. And then let's see. So this is how the finished project looks like in the DAW. Now let's dive deeper and I will show you all the various transition elements and techniques are used in his composition. First, it's a fast, energetic action QU, as you can see from the BPM 170 and the time signature, seven eighths, which gives it that stressful kind of vibe in the groove. Now, I don't start with an intro. If you listened to this. I started straight away into action because it's an action. Q. What I do use a lot in this composition is what I call power knows or power sustains. So in this case, it's these brass elements from four, so which have this harmony here. Right? But I use them every four bar basically as to, as an, a transition marker for every four bars. So it's most common to have eighth bar sections, but I actually have four bar sections more or less here to really add more energy and power into the composition. And what I do is, you can see here I also have the percussion in 4-bar sections. So if you go and take a look here, you can see, oops, like this. And then if we check the low slam as well. And we'll see if we can get them both like so. But you can see in the end here of the eight bar section, I have reduced the percussion to leave some room, and also I have this little fail here. So you can hear it. But APA jam almost like a Tom fail. And then I also have for the percussion fills every now and then I start here of there before the eighth bar section with this bump. And then I have them here again in this little drop. At rope is another transition element you can use. I just dropped out. Also the percussion here every eight bars. If we'll listen to just the percussion like so you can really hear it. And you hear it here again. That adds a lot of extra anticipation for what's to come because we drop things out and what's coming next, the listener wonders. And, and of course I marked those transition, transition points here. But what I also have is this little fillers, extra power notes to before the transition. Just those double nodes there, right? Which ads in this field here, this Dropout with this tone fail and that as well. Just as a kind of lead in. Now, I also have a technique here where I used some call and response techniques on the power notes here, and then every other bar, the trumpets. So that is not really a transition technique, but it actually adds to the flow of the composition, which is one of the main aspects of transitions in music. Let's see if we go further down in the composition, you see also this high steps start to enter here. Basically an octave higher than this. Because one other thing with music that you want, high-energy needs to introduce layers further on in the competition to build the energy up. Now another way to build energy add density and basically shape the dynamic curve and intensity curve. Your music story is to add new layers, new ports. So as you can see in the beginning, I have no base pores. I muted them, so I introduced them here after eight bars. And that adds a lot of power in the low wind. So another tip I have for you is to make sure your introduction and your weaker sections are truly less dense and have less energy overall. Then it will get to the third key marker. This actually first-time I'm use in a classic cymbal crash. So I saved it until author. After 16 bars, because that is when I introduce a really more powerful coerce power, sexual, whatever you wanna call it, like this. Because the harmonic flavor changes and I also add some new parts like this one. Really interesting groove there as you can hear. And that really takes care of this section here, which I then author eight bars again, double up with high steps. And I still have these every four bars, power notes, power sustains. And I also have some Phil's here on the toms. Every four bar here, just at the end. Fast fails really fast. Just GO bark tectum than the cymbal crash there. So listen from here. I also drop out here. So you don't have to use longer failures like this one. You can do really fast in the end of a phrase there just before the marker or transition. And again, you have transitions between the bigger sections. You might call them these mq markers here and you have the transitions. Let's say every four bars you can even have tiny little details and spices every two bars, like I think I have if we go into, into this for example. And you can see this little extra fail here. Like so when you can do that on any instrument, just to add some flair and soft transitions. Now, let's go ahead and go to this drop here because this is where I drop. What's the bass parts of these rhythms to introduce a fail, but also the first sound effect that is a subgroup like this. Okay? And that together with the fields on the deeps lamps. Before this break here or bridge takes over. I also have the fields on the toms. But those are basically all that. Take care of this drop here. So let's listen from here. And then of course, the accent is this crash. And these power sustains, which also have some rhythmic dimension as well. And all immediately the rhythm comes back here where they would really hard stab. It is dropped out here. So a drop is amazing. Sound effects like this subgroup can also be amazing with these fields here before the fifth section here. And here we can actually hear what's going on with some harmonic shifts here, because I add these extra high stamps every two bars here. So listen to this here. And then it drops out. You can see I'm muted there because I wanted this to leave room for another drop. But you can also see another sound effect, which is the Reiser coming in here. And then it drops out to leave room for the real drop where I have the subgroup again, I have the acoustic drums at coming in and this basically adds a fill here. An intro fail. And I lay it out with this Tom fail. To get to the final power section where everything comes in in here too. At the most density and energy in the composition, I introduce more stabs, more hired parts here. Hosted all DO. Even after. In section seven here. Again, layer up, you get the most powerful way to lay your new ports to add more energy is either in the high end or the low. When I added the low-end author for eight bars. So I can't really do more. They're either than increasing the dynamics basically and level. But I can still introduce some Hi elements here, which I did here at marker seven. So if we listen to this transition right here, listen to what's happening when these dropout and this drop takes over with a drum fill. And the lessons into advisor as well and these Brownfields. Alright, and then the final power section comes in here we have another little feel he, or at a little bit of a drop before the seventh marker here with his Hi Dr. comes in some more power notes as well. And as you can see every four bars I actually dropouts the deep slam drums here and instead adds feel here on the toms. And then these crash symbols as well, which I actually, I think I have them. Yeah, yeah, I love those into fast failures or Stinger is on percussion. I also have this part here. So actually using an harmonic ascending line yesterday, attention is basically similar to Reiser, but with harmony like this. Oh, by the way, this is harmonics as well. So it's a string harmonic and it really adds a lot of tension. But yes, in the background. Just goes up and up and up. So, oops, like that. Up, up, up, up, until the final cadence here. And the cadence actually easily fooled cadence first because it's un altro. So let's listen to that. When it's go into this harmonic sending park, just in the background. And it's actually a long transition. Listen to it carefully. Alright, so what happened there in the end was that I basically did a little caliber run on the rhythms. Let's see, I did have final stab here just before on the breath. But if you listen to these guys here and check what I did as well, you will see that it, they go up so that the data, data, data that little run, arpeggiated run feel they are so. And that final note is actually the cadence note for the transition point here, I actually have some fails on the drums. But more importantly, I finished with a long, long sustain on the base. So we will listen to the bass and the harmonic is sending. And these guys here that do the run type of thing, less as a brass as well, like so. So from here, as you can hear, that sounds like a cadence. But it's not really a cadence because I have the steel have this outro kind of percussion thing going on. So what's happening here is I drop out the acoustic drums. I reduced energy by having a long note instead of a rhythm on the base, I drop up all of these rhythms. So it's basically dropping out elements here to bring down the energy for the real final cadence. So let's listen to it so you can hear how it sounds first. And there you have the final cadence. So I didn't have any assembles the tool here, and they are just finish with a symbol crash and a fast stab, I think on the courts here, let's see. I think it's on this one as well, like so. Basically that final cadence there. Right? Now, let's look at what I did. So basically I changed the rhythm here of I have this little drop here with the Thomas fail and you can hear on the big grams as well, I basically dropped out a lot of the notes to have only these three here. And then a rhythm changes there for the final part at dropped out the high end here. So basically what I did is I reduced Most of the rhythms just here, ideally suited up running part here on those two parts. And then I remain on this long sustained note on the base and mainly low percussion. But I still have these bras, rhythms going on until that final stab at the same time as the accented cymbal crash. That is this composition, all the main elements that take care of the transitions. So I hope you'll learn a lot by this video and that you can try to implement some of these techniques in your own composition. But if you check the rest of my course, you will learn a lot more. Of course. 23. Live Example 2 Darkness & Tension: Hello, my friend. In this video, you are going to get a complete track breakdown and analysis of the transitions are used in a dork and high tension type composition. So let's listen to the finished track first and then dive into the DAW so you can learn all the details afterwards. Right? Why? Let's continue. And so here we have the complete, finished project in the DAW with all parts. Now let's dive in and take a look at the transition sounds, elements and techniques are used starting from the beginning. Alright, let's stop there for a while and see what I did here. So what I have as one of the elements to mark, basically, as you can see here, every four bars, 12341234 is this vocal breadth that I recorded myself like this. Because that is basically creating these creepy dork atmosphere that I've bonded throughout the track. And I actually have some variation. And that's also an important thing that when you add samples over and over, try to add some variation to them. So let's say here. So they are actually different samples and I use different time stretching and pitching techniques there, right? So every four bars is a good aim for having some kind of element that basically adds a transition point is soft transition points. Then every eight bar, as is usual, is a new section in most cases. So here I add new parts. But what are you also heard is symbol swells here right here, which are excellent. They basically a crescendo into the transition point right here. And I have a transition point marker with these booms here. As this earth rumbling Low Boom. And again, if I zoom out, you can see every four bars they come in. Not at the initial point. I just wanted to start with lead, very low dynamics. I think you can see this here as well. Very low dynamics here on the modulation wheel. Because I wanted it to start. It's soft disc setting for all the instruments. Now, you also can see here that all the four bars, I add a new element, which is a soundscape here. Right? So what that is is basically as a transition point, either every four bars or every eight bars. It's a good timing to add a new element, which makes the listener truly understand that, oh, something new is coming. It, it feels like a new, new section or in the port of a section. Then of the eight bars, you get short viola part, which also starts to emphasize the harmonic structure, the chord progression basically only with an ostinato in this case. That takes us to the next four bars where it is augmented, boosted with these short strings here. And here you can see something really interesting. So you have the MAY group dam, dam, dam then offer. Every bar here you get a little fill papa, papa to. So in this case I'm actually using a soft transition, every single bar. And together with the violas short. You can really see it if I start from here. Right? So that can be a great way to add these soft spice and details type of soft transitions. Then we get into a more powerful section. And here is where introduced more percussion. I basically only have these booms in the beginning. Then we get these high stick hits. Right? Now, I also introduce some low strings to augment the low-end here. Okay, so now if we go in and look, what I've done here is I mark every first bar as a soft transition again with an octave in the baser. Otherwise it just this path. But if I add that on top of this and with the steak heads, then you can clearly hear the accent on every one of each bar. So also the base is becoming more powerful when we go into the power section. So higher dynamics. And other than that, I also introduced this drone here in the background, is creepy, dark underground type of sound. And that truly makes a huge difference. Again, introducing new elements like this in the mix is a great way to market transition point before it. Ok. And I also, if you go and take a look at what the Iowa's do here in the end. So then at the transition point, you get that marked accent with the octaves. Alright, then we go into this, basically the cores or power section where I introduced for the first time more melodic elements with these shallows right here. And now we get into basically arpeggios, dial melodic pattern like this. Okay, and there you heard also what I did for half-way through the coerce. I actually made them go slower here and make basically a harmony instead of a melody and the viola take over instead. So that is another transition technique is that you mix em, go back and forth between different. Elements taking focus. Now the vowel is do the same thing. An octave above. Wireless channels start replay the fundamental harmony. Right? And I introduce here halfway through the course, I wanted to build up the power. So I have these quires, both men and women. Yeah, just like long notes here. Like a drone basically with voices. Some a bit sin thi, but it actually works more closer. Right? But let's take a look at what I did with a percussion, because percussion plays a huge role for transitions. Here I introduced the first cymbal crashes at the transition point markings to the power section. And that the four bars were new elements, bring up the power even more and also to finish and go into the breakdown. And I also, if you want to use transitions like symbols swells, Those are great for introducing a brand new section like I do right here with this symbol swell. Not only that, but I also introduced some low Tom's here. Right. Lets go and check them like this. Okay. And I have also these tickets present again, but they do much less here. So let's check it out than the other section. They increase intensity by having more rhythm, as you can see clearly from this to this, okay, to this lot more energy there, which also is another good thing for transitions, increasing the note intensity of the parts. For the more powerful section. I also have these violins, short violins, and here we have a transition element, just a little bit of a starter transition basically, as you can see here, it's the same semitone he had for that creepy feel. And just this. Okay, so on its own sounds pretty strange, but listen to it in the mix for that dark character and introducing the power section. And there we have another new forced growled monster type sound. To introduce this power section, of course, with the low boom here as well, which I pretty much have every four bar throughout the q. And let's see. I also, let's see, I have the short strings here that were not present earlier. And they are pretty intense. But they basically play harmonies like this. And what you can see here is that it's basically the same until the final beat here, final quarter note there of every bar. Which actually is access with soft transition to the next bar, transition. Transition. So don't think of transitions only between sections, but every four bar is a good transition point. And also even every bar can be a soft transition, just some spice in detail type of transition. Right? Then we go into the breakdown where you can really hear with the symbols, well, going into the cymbal crash and a new section comes in. And another thing here is that a drop out. A lot of parts here for the breakdown section, as you can see here in the base. And also the percussion drops out almost completely. I still have most of the backing atmospheric parts present, these guys. Because that's crazy, that's creepy atmosphere. I also introduced the piano part, which place this little arpeggio style pattern, right? And that has a lot of that whole thing. Creepy, scary type of vibe here. While at the same time, I, as I said, dropout most of the percussion. So I just have these cymbal crashes and the booms here. And the second part starts to build up energy for what is to come next, which is the final power section, this section here. And so the intensity starts to build up. Let's listen from here. And also the short strings comes in, I'm new to them here. And these short strings again, symbol swell, transmission. And I have a little feel here with the Tycho's, which comes in at the final power section. So just a little pre, fail here. Which is a great technique with percussion. For new sections, is to introduce a little film just before. And you can of course do it as I already showed you with tonal instruments like this one here. And those together with the percussion, the stick. Let's do this tickets and the symbol swells, basically all the main elements for this transition. Right? Now, next we get into the final power section, where you can see I start by dropping these short strings again because I want to build them up so they come in here. And the final one, I actually added some high violins and trumpets to really, really. Lift the energy in the final section. I also boost with some brass here. And by the way, I started it in the breakdown because another thing is to lead in with voices. So instead of starting it immediately here, it actually starts here to prepare the listener in the low end, and then it goes up. But the instrument is present. And then it comes in. The leading melody here. To boost that, I think it plays in unison with the shallows. No, the cellos play that little. The gospel melodic phrase there. But I build with shallows at violas and add violins here at the final part. So building with layers, adding new parts, which can be in unison or in octaves or in harmonies, of course. And I introduced the women, the female acquire here only at the final part. So that is a tip for transitioning. Within the power section to add more energy is add the final highest parts where you want most intense and powerful section. And again, in this entire sequence I have the cymbal crashes and his symbol swells, including this, which will tom fails here. And I think I have little fail on the Tycho's Indian right here as well. Yeah. So that together with the booms for the transition point markers in, let's say every four bars here really brings up that tension and energy. Then we get into the cadence, the final part, where I just drop everything except the low end here and the brass. And then I just want to finish with a little phrase on the piano. So let's listen to this and watch how it looks like when we get into it like this. So that is another bonus tip you can think about is when you just hold along node recall or anything like that, you give room and attention to any other new party want to introduce, in this case, little haunting piano that basically finishes the entire track. So I hope you learned lots of things here in this in this breakdown of this fact, considering the transition sounds, elements and techniques are used. I believe you should really practice with these. Not only the individual sounds like boom Sim Symbols, wells, but also the fills you can do with percussion or with melodic instruments just before a new part, or with layering and adding new ports, often in unison or in octaves and basically play with the energetic curve. If you want to boost the intensity, add more parts to it, like I have the most things going on. And the most dense makes in the final power section. 24. Live Example 3 War & Battle: Hello, my friend. In this video, we are going to break down and analyze the transitions are used in a war and battle style composition. Let's start as always, by listening to the track first, and then we'll dive into the DAW and check out all the details. Two. Okay. So let's just dive in right away and explore all the transition sounds, elements, and techniques are used in this specific composition. So write it as salt here. I wanted it to begin straight away with the action. So what I did was use one of these, what I call rise and heat. Sometimes they're called whoosh hits. So sounds like this. So it's basically riser or wish that ends with a hit that you want to make sure that the actual heat point is on the skew marker where your new section stores. In this case it's basically intro. But I also did to mark this even more clearly, is I added transition markers, a boom, and a crash symbol. Like that. To really emphasize the transition point, then we have this core. Or harmonic progression plane E minor. And then I add the boom at every four bars here, just to spice it up in the mix. It's more subtle in the background. Then there is a twist in the harmonic store RAM, which is I go to see seven E minor, C seven E minor, which creates this semitone shift in the harmony. And for voice leading to add some tension and alert the listener that something new is coming, which is the next section so you can hear it clearly. All right, then I used this whoosh hit again. But I also used the harmony or with me say here, I added these two nodes just to lead in so it doesn't start straight away. But having this on the piano, they're top, bam, bam, there, transition marker with a long note just at the start of the next section. So that is another technique you can use. I also did it with a base here you can see we have this fast pattern here going at the end of section one. We can say here before Section two comes in. So we have so dat. So almost similar to a role on a percussion part like a drumroll, but with the base there. So let's see what I did here as well. I think. Yes, so the harmonic shift is the C7. And there you heard the cymbal crash coming. I also wanted to add even more accidents, so I have that symbol crash, and let's say another cymbal crash here. And I even added a cheaper bill. And I have that here at every other bar because that really marks in important or authority x and which is great as a transition point, I guess I chose to include it a couple of times more. And as you can see here, There's a lot more percussion going on. So we have this, but we have this little drum roll on the low drums Just before the transition. Here again, you can see it here. Or not. Basically roll or well, a slow roll but basically spicing it up as a fill in the M there before we go into the next section. And you can see it here on these drums as well. Right? Then at the transition point, I also chosen to add a very, very hard impact type sound. Those are good, as well as the booms and I vary between them here. Yes, for some variation. Now, if we continue here into the next section where, which is the most powerful section here, the core. So you could say, that's where I start to introduce more instrumental parts, melodic parts. So woodwinds, brass, et cetera. So if you take a look at, for example, the string is hair and this kind of voice-leading, just because it ends there on the lower and then it goes high year into the Corps basic way. Of course, the usual suspects the cymbal crash, crashes the impacts to mark the transition point. But let's see that base here as well. Okay, so that goes on the harmony here. Yeah, we're getting shifted the harmony right there. And also I really go with a hard transition point, meaning no real deed in for these extra powers. But actually going into staccato, quires and some woodwinds, trumpets breath, and so on to really make it a high contrast. And basically you only use the rice and heat impacts and these little drum fills into the power section as experience. So if you use leading, that makes the transition smoother, I wanted it to be very high contrast terrorists, so I opted to use more sparse use of transition to geeks. And yes, go all in, in the transition here. And that goes on for eight bars, and then the chorus repeats with more instruments being included. I dropped the Celeste here, but I added some trumpets and the men, male choirs, so and every other bar, you have the cymbal crashes. I also added some shimmer percussion here, which is basically ride cymbal, and some tomes. But I mean, you can always drop parsed as well to introduce something new like just as the shimmer in the first part of the chorus. And then we'll get to the other parts of the course. The male choir sings the same thing as the women here, but they are an octave below it. So you get this kind of, let's see, where is it here? And then listen to When the man comes in and fills in low end. Which is also a good thing about transitions, making your story flow like this is to make other instruments coming that fills up the frequency range. But doesn't really do anything different. It's just harmonic layer basically. Could be an OK chain. It could be in harmony line, even in unison. Sometimes. Then we get into breakdown section here. And that's when I drop most of these brass, the vocals, even the melody on the horns. And I've changed the base for all it is deep bass. So listen like this and also listen here when I drop some percussion parts here, also in the middle, just to prepare the listener for the breakdown. So let's listen from here. And you also heard the entire percussion parts here. Change up for the final two bars before here. So you can also drop notes in the percussion parts, make it less dense when you go to low energy section. And here we also introduce a new chord progressions. So I go to B minor instead here. Basically making it a lucky hope section, battling chaos with a harmonic story and then some kind of hope section here. Basically a break in the battle or slow motion. And now this is really important because before the final course, which basically repeats this course, but with some added elements, I wanted to really build up the energy and I did it with this long riser. Okay? And another riser. In fact, there's one. No, wait a minute, this should be muted, sort about that, this riser here. So this is the part that I bombs to audio. Then. So this is a long riser and this is half as long, but it comes in here like that. And you can see some voice-leading going in here as well. So I added the horns and violins slightly earlier here, just to make sure I introduce or tease those elements just before the transition point. So it leads in for the listener to become used to the sound coming in. So the horns and violins, you don't have to do it on all instruments. But the more you do the do these techniques on, Introduce the part before the actual transition point, the more we will connect the sections here. So let's listen from here. And again, the impact here, the cymbal crashes two of them. And let's see what the Tycho's does here. Alright, so they are just down here. I thought I had them in this section. Okay, so I have more or less like stick kids here I think. Or even shimmering symbols. Okay, so then we get into the second part, which is the reputation again, delete this Celeste, double up with the trumpets, the choir men. But here you get the food as well, just some hot, more high-end. Because when you get to that final point where you have very little room to add something. It's most often in the high end register where you can add something. So this, this flute doesn't do much, but it's pretty adds some air and energy. They're in the high register. As announced. It actually adds something. It's very subtle, but it's all these subtle details that add up this trumpet as well. Basically an ostinato type trumpet line. And then we get into the cadence section here, the final section, where I go back to E minor. So let's listen to this. You can see I also do some variation in the percussion. That's basically good marker for something different in a new section. So the final cadence hit is there. But what you heard here is basically what I call a stuck on repeat. Basically, you've repeat the line, keeping it more monophonic so you don't do much on the harmonic voice leading, but listen again here, how, how much you really wanted to resolve. So if you take a look here, you can also see that the data, the PAM, it basically it becomes more like a focus on the rhythm instead of the pitches, the notes. So that is the final transition technique I used in this particular composition. 25. Congratulations: Congratulations my friend. You have now learned the foundations, the guidelines, the sounds, colors, performance styles, and creating ways to shave any transition in your music compositions. Now make sure that you practice and implement everything you've learned in this course so that you will become a master of creating great transitions in your music. Good luck and have fun. My name is Mike, and I wish you great success on your journey in music.