How to write Memorable Melodies | Mikael Baggström | Skillshare
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27 Lessons (3h 6m)
    • 1. Your Journey in Melody

    • 2. 5 Tips on Creating Your Melodies

    • 3. Melody - The Focus of Music

    • 4. Intervals The Motion of Your Melody

    • 5. Rhythm - The Groove of Your Melody

    • 6. Canvas - The Balance of Your Melody

    • 7. Sound - The Tone of Your Melody

    • 8. Style - The Character of Your Melody

    • 9. Expression - The Emotion of Your Melody

    • 10. Counter Melody - The Sidekick to Your Melody

    • 11. The Sounds for Melodies

    • 12. The Power of a Sketch Track

    • 13. Bass + Melody to Create Your Theme

    • 14. Add Beautiful Harmony to Your Melody

    • 15. The Power of Layering for Melodies

    • 16. Tips for Creating Memorable Melodies

    • 17. Assignment - Sound Instinct

    • 18. Uplifting & Lighthearted

    • 19. Action & Energy

    • 20. Emotional & Beautiful

    • 21. Power & Strength

    • 22. Dark & Evil

    • 23. LOTR - The Shire

    • 24. Thor - Main Theme

    • 25. Pirates of the Caribbean - Main Theme

    • 26. Live Breakdown - Gentle Wind of Hearts

    • 27. Congratulations + Final Assignment

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About This Class

Your Journey in Melody

Do you want to become a master of writing and creating memorable melodies in music composition? Do you want to be able to compose anything from beautiful lyrical melodies, to energy-lifting, inspiring and adventurous themes, to powerful and mighty motifs. Hello Composers, Mike here. And I will take you on a learning journey and adventure, where you will learn the secrets to create amazing and memorable melodies for your music.


  • Master the Foundations and Guidelines

  • Learn the Sounds, Styles & Colors

  • Gain Practical Tips & Insights

You will also get lots of live examples, breakdowns and demonstrations, as well as several opportunities to practice what you learn, so that you will truly master the knowledge you gain.

My name is Mike, and I am a composer.
Just. Like. You. =)

I started making music back in 1998. And I love to educate, motivate, and inspire creative people, like yourself.

So I ask you again. Do you want to become a master of melody in music composition. If your answer is yes. Take action, and begin your adventure, right now!

Meet Your Teacher

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Mikael Baggström

Music Composer | Sound Designer | Video Producer


Hey Friends and Creative People!

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


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

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

Friendly regards,
Mike from Sweden
Founder of

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1. Your Journey in Melody: do you want to become a master of writing and creating memorable and amazing melodies in music composition? Do you want to be able to compose anything from beautiful vehicle melodies to energy lifting, inspiring and adventurous things, too powerful and mighty motives? Hello, composer is Mike here, and I will take you on a learning journey and adventure where you will learn the secrets to create amazing and memorable melodies for your music. You will master the foundations and guidelines, learn the sounds, styles and colors, gain practical tips and in size. You will also get lots of live examples, breakdowns and demonstrations, as well as several opportunities to practice what you learn so that you will truly master know that you gave my name is mine and I am a composer just like you. I started making music back in 1998 and I love to educate, motivate and inspire creative people like yourself. So I ask you again, Do you want to become a master off melody in music composition? If your answer is yes, take action and begin your adventure right now. 2. 5 Tips on Creating Your Melodies: In this video, you will learn my top five tips for creating your own melodies from scratch. This is a summary off what you will learn in this video. So let's get started right now. Tip one start with a chord progression. Now, if you create your core progression first, that harmonic storyline will be your guide and foundation for coming up with new melodies. So some of my favorite ways of doing this is either to use long sustained course which can , for example, be insolvable strings like this rhythmical comping courts where I like to use a piano like this, do you? And so you can obviously use a guitar strumming your course or any other instrument that is great for actually creating your court progression with. Now, if we check this little example that I composed here, the strings are actually playing the court progression like this, a very mellow and dork sound for that court progression. And that will, of course, dictate what the melody is doing, which I have written up here. So if you start with your core progression like this, you can then start recording other parts like rhythm comping ah, leading melodies and so one that all goes hand in hand with your harmonic storyline and create something like this, For example, tip to start with rhythm and percussion. Now, when I use this method for coming up with new melodies and themes, I tend to combine percussive rhythms with melodic rhythms. So, as you can see here in my product, I have one track that is simply percussive. But I also have this rhythm track, which is actually staccato strings. So if you look at this, you can actually get the harmonic sewer line just from these melodic rhythm you can see it starts here on a goes to D and so on. So those together a sound like this on so one. And of course, once you get this down, which is sometimes easier than creating their core progression because it can more or less focus on the tonal centre, meaning the root note for the rhythm and the actual arrhythmic pattern. Then that might guide you to create your new melody. Tip three Skit Your Milady using on Lee Piano piano is, in my opinion, the best instrument to sketch new ideas with for your music composition, whether that is court progressions, melodies, themes, rhythms, comping and someone. So what I like to do is I just use a very good piano eso for instrument. And then I play for militants. I usually play the bass with my left out of this in old days and then the melody with my right hand at the same time. Because that way I actually get the harmonic storyline pretty much automatically for this. Yeah, take four skits. Humility using a solo instrument. Now, the reason why solo instruments are so amazing for sketching humility is with is one they have way more expressive capability and clarity compared to your section or in psalm ble and to they can inspire you by their tone, colder and character to create different kinds of abilities. So, for example, if you take a solo violin like this, it might inspire you to create a militant like this. We owe where, as a solo flute can inspire to do something completely different. Keep five sing your milady using riel or nonsense lyrics. So the human voice is, of course, the most expressive instrument in the world. And you can use this to your advantage by actually singing. I usually use nonsense lyrics like Latin type of syllables like this Tore UMA hell, seeing toe Qari your liver. I'm just randomly coming up with those still syllables as I sing because the important thing is the middle dick phrasing and, um, the rhythm, the accents and so one. But of course, you can also use um, rial lyrics, for example, if you write something that can inspire needed to create something, um, for your military. So let's say the phrase is I love the sound of strings and breasts so that my son like, I love the sound of strings and breast. But drums and rhythm are good, too. Of course, that was nonsense lyrics in another aspect. But you get the drift here, coming up with something using your voice to sing your melody is a great way to get started . And finally, my bonus tip for creating your militaries. Hum your melodies with total creative freedom, so this bonus tip actually ties together with singing lyrics. But if you sing, you have to think about this syllables and you know the lyrics. Even if they are nonsense lyrics, I find humming my millet is is the best, most creatively freeway to come up with new abilities. And I recommend you try this technique not in your d w, but actually on your smartphone with a recording ab one while you are on the go. Because in my experience that those are the times you come up with the best melodies, themes, riffs and musical ideas. So, for example, just rammed randomly like this dot I don't and data and, uh, dead intent and done it and down That was some kind of riff I just came up with just now. And you can do the same, especially if you're on the go and use your smartphone to record those ideas that just pop up into your head. 3. Melody - The Focus of Music: music is created from four primary colors that every single instrument, sound and port in your compositions will fall into together. All these sounds imports are formed into the overall mix that is your music composition. These primary colors are rhythm, harmony, melody and ambience. Now, of course, for each of these four primary colors of music, it will have several variations of that color. For example, with the first primary color of music rhythm, you can have a pro casting focused rhythm like this. Or you can have a more melodic, focused rhythm, like a baseline palaces or in Austin Auto like this with a second primary color. Music Harmony. You can focus on more lyrical course and voice leading like this. So one Oregon D'Amore Rigney Carmen is like comping or patios like this. You with the third primary color MUSIC Millie. You can do mawr again. Lyrical, flowing leading melodies like this or you can dream or brave make way, the motives, reefs or even themes for your music like this. And with the fourth primary color of music ambience, you can doom or textures and noises, escapes meaning and background sounds that doesn't really have any tonal focal point onto this. I also include some special effects, like bushes, risers and other known tonal effects. Or you can doom or playable soundscapes and atmospheres that have a total center like this . Now it's very important for you to understand that every single port and sound you heir to your composition will always be a blend off all these four primary colors of music. So, for example, let's say you write a melody for music. Well, that melody will have a special tone based on the instrument or instruments used to perform the melody, which will create some ambiance colder. It will also be made up from a rhythm inside the melodic pattern, as well as have some harmony because of the intervals used into melody. So the primary color for your melody will be, of course, the melody color. However, for example, you can make a melody more rhythmic, which will mean more rhythmic color blended in or more Vera kal, which means less focus on the rhythm color. So, for example, I can have a minimal blend off the rhythmic color of music in my leading melodies and themes, which means it will make them more lyrical like this, or I can mix in more rhythm into it. Which can sound like this, for example. And if I want to focus more on harmony or less on the hormone e blend, I just use, um, less intervals. Basically, Onda less jumps into my abilities. I can make it very simplistic like this, all right, just focusing on very few intervals. So where I can have it jump around more with the intervals and make it more complex, like and, of course, the mellow dick element off the melody. It will always be there, but you can also experiment with ambience inside the melody and theme by changing out different instrumentation. So let's focus on only piano and breasts here instead or, for example, no breasts and just high strings. Or give some more fat with bober strings and brass and layer it all up like this. So as you can see, it's all a blend off the full primary colors of music. Regardless, off body right, I have summed up the fundamental role off these colors into the following rhythm. The pals off Music Harmony, D Dept. Of Music Melody, the focus off music ambience the mood off music. This course is about melody and theme, which I call the focus off music. You can think of these as the lead actor of a movie or this singing beautiful diva on stage . Or, as I like to think of it, the queen off music that deserves and grabs your attention. More than anything else, the leading Miller's and themes should be treated like a queen, meaning you should put an extra spotlight on them when you compose and produce your music. Here are some practical tips on how you can achieve this focus and spotlight on your melodies and themes in your music compositions showing respect for the queen. So by this I mean giving space and headroom in the voice arrangement to your leading melody . So in this example, as you can see, I've colored these in different colors. Each primary element here. The melody here is yellow, and if I open it up, you will see that the yellow, the leading theme is here, and a to least in this octave it has lots off head Roman space. It's basically alone in this area, this range, and that is extremely important for the clarity and focus of your leading melody, loudness and contrast. Now there are basically two aspect to control the loudness and controls between your leading melodious motives and reefs. Compared to all your other tracks in your composition. The 1st 1 is dynamics, which is controlled by one the velocity level on each note, which, of course, should be higher if you want a higher dynamic, as well as dynamic expression, which many instruments. So for instruments, you can control the dynamics by programming in the dynamic expression here. And you want, in most cases both of these, to be louder for your leading melodies. Compared to let's say you're Harmonists, which should be more in the background. The second aspect is, of course, control the level which is on a instrument level or in the mixer here, with the level for each track, the ring instruments in unison, octaves or harmonists. So if I open up these melody folder, you will see that this is exactly what I've done here. I started with this main and straining melody, layered it with brass in unison, more mellow tone, which someone depth and factors Richards sound. Then I added another string instrument here on top of it, an octave higher. Give it some more clarity in air and then this piano to give the initial sound of each note some more crispness since the piano has made of more of a new attack in the sound. And I put that an octave above the main melody as well. So this way I made the entire leading melody CAPPs threw in the mix and really be the center point off this composition. So let me show you this in action. Let's first mutely so I only have the stream, milady. And let's put the entire hormone e section and oxygen above. And suddenly it will clash way mawr with a leading melody which is now inside off the courts here. So in middle voice and now the Queen of music will not really be a queen, so it gets lost in the mix. So once again, move these down an octave so that the leading melody is more of a top voice at the octave here and you will see that it really cuts through in the voice leading here by having more headroom and space. Like the first practical tips and in these two best well, the brass in unison, the piano in octave And now we could take a look in the mix. Here we can exclude the Ambien so we have this. The yellow part is the leading melody in oak tapes, and this is actually a counter melody, which is way lower in the mix and more percussive bell like, just to add some fair. But now the entire leading melody will be the Queen of music, their focus on music. So let's listen to it in whole, - all right, and you can move even deeper if you wanted to buy increasing the dynamics even more on some of these parsing the leading milady's or increasing it here, um, by the levels here. Or you can go in and reduce the dynamics and others shift the voice leading even more if you wanted to. But essentially, you have now learned the essence off melody and how to make it, but it should be the focus of your music. Now take action and practice all these guidelines and tips. You just learned to write a melody and main theme worthy of a queen in your next music composition. 4. Intervals The Motion of Your Melody: the main storyline off your music comes from which notes you use and what intervals you have between them. I call this the motion off your melody, and basically you can think off a milady as a serious off harmonic intervals, chained together with a rhythmic pattern into a complete melodic phrase. What notes and intervals you use will create the main character of your melody, and the foundation will always be the scale and key you have chosen. The scale key Temple and time signature is what I call the language off music. Those are set on the overall level of your composition. And even though you can modulate to a different key, borrow from another scale. Change the tempo and even the time signature. You will always have a starting point, the main language of your music composition. Now, after you have that language for your music composition defined, you can start to experiment, creating melodies in that very language. And every interval has a different emotion, from perfect unison up to a full octave and even beyond. In some cases, the intervals can also go either up or down in motion, so your entire a melodic phrases will be made up from various intervals going up or down or even in unison, if you play the same note again. This is what creates emotion and the movement this story curve of your melody, so to speak. So you can play something like this on that waas A melodic shape based by the intervals off these melody. Now let me give you some practical examples off melodic intervals in action. So this is the force theme from Star Wars, and it starts with a perfect four going up from G to see like this. But again, you should never Onley focus on the intervals used in a melody independently but through out this storyline off the entire melodic phrase. So pay extra attention. Now, as I play this with my right hand, the leading melody appear on the base in octaves with my left hand So it goes something like this. Okay, now I know that I just said that you should always look at the entire melodic phrase for the intervals and directions used as an entire chain or serious of intervals. However, there are some intervals that are so ingrained that as soon as you hear them, especially with the rhythm you immediately think off. A specific music composition on this theme is one of them, which is Beethoven's Fifth Symphony. It starts with a major third going down and then a minor third going down. So it starts with a triple repetition on G on, then continues a major third down Teoh flat. So it goes like this on the next part. Off the motif is from everyone minor third down, three to D. So, like this major third down and minor third down, and that's be Children's Fifth Symphony, the main motif. Now let's check out another example from Star Wars, the main title, which starts with a triple repetition or unison interval on if goes up a perfect fourth, fourth and then from B Flat F appear in octave higher, which is a perfect, so perfect up perfect faith that those are the main intervals, I would say in the main title of stores, something like this. Now let's check out a darker example of intervals in action to create a more sinister Melo Rick theme. So this is from the Dark Knight. I'm not a hero, one off. The motives in that specific composition. It revolves around the main intervals off a minor second, going up from C sharp de then from Ft. So in minor second going down Theun, that is basically repeating mainly here while the baseline walks here like this. Okay, now let's take a look at him, or adventurers and uplifting theme, which is Indiana Jones starting in G major on, of course, must move read, making playing style to get that action and adventure vibe. And some of the more important intervals for the main melody is the start, of course, which goes from B to C a minor second, major second here and then a perfect fourth after G here and then at the turn, you will get a major in third, going from Thio of Sharp and then, if shop to see which is actually a, uh, augmented fourth diminished fifth or as you can call it tryto. So let's check it out in action something like this way over for the second part of the theme. But the main intervals were there minor. Second, made a second. The third turned worse. Maybe 1/3 here on their strike tone up here now take action and practice all main intervals in music by playing them first, going up and then going down, then choose a scale and key and start experimenting by creating different melodies that focus on a specific interval and motion. 5. Rhythm - The Groove of Your Melody: rhythm is the second main ingredient off your melodies and themes after the chain off intervals of years. Rhythm in melodies and themes has several aspect, which I categorized as follows timing starting point in the grid for each note length, the note length for each note in the melody Silence the time and air in between the notes and tempo, which is decided by the current BPM. On top of these four main aspect that is used to create the groove of your melody, you also have to take into account the core foundation for rhythm and groove in your composition, which is decided by the time signature. So, for example, a 44 straight pattern like this or a triplet groove that will it affect every other aspect when creating the group of humility? So I will now demonstrate that as well as all these four main elements. So, for example, timing If I play ah straight for four pattern like this timing, the starting point of each note in the melody is the first aspect off the group way. Then you have the node length so you can switch between shorter notes and longer notes. Also, the silence the time in between the notes create a pattern in the groove as well. Way on, of course, the temple. So let's increase the temple to create a more action oriented Milady was due within D. So let me give you some practical examples. I will start with the time signature off. 34 I will use a slow temple, and I will use mainly long notes, with some shortest a Cata notes in between and even some silence for effect. Something like this. For example, let's do another example, and this time I will use 6/8 as a time signature High Temple and mawr Shorter knows for a more rhythmic action feel on not as much silence. So something like this. For example, in this next example, I will use four Forrest, the time Senator. Quite a slower tempo, basically no silence in between the notes and focusing on more longer notes and lyrical playing style and a harmonic based melody. Something like this, for example, now take action and practice the rhythmic aspects off melody on your keyboard or piano really get a feel for the groove inside your melody. Then once you get into the flow. Introduce the interval aspect and you have the two main ingredients of melodies to shape the story off. Your melodic phrases with you can in fact remove the intervals of any famous melody and motif. And on Li, listen to the rhythmic aspects of it. Let's do that right now as an exercise. So let's start with no teeth from Beethoven's Fifth Symphony, which is now if we only play that with one single note. Or perhaps octaves like this and Onley focus on their groove, the rhythmic aspect of ability, it can sound something like this. Now let's do another example, but I will flee. Put the perspective and let's see if you can figure out what motif this is when I only play it in octaves like this, right? Have a guess. This waas the theme. So it was the Imperial March or Dorthe Vader's theme from Star Wars, right? So let's do another example. Ah, Pirates of the Caribbean. It is a very rhythmic motif, so let's try it right. So let's do that, and I recommend that you use the root note off the composition when you do these exercises . D in this case and this exercise. You should do it on various motives and riffs and leading melodies just to make sure you train your instincts when it comes to the groove, the rhythmic aspect of your melody without thinking about the intervals and harmonies and such that you'd use. And now it is your turn to take action and do these exercise. I find that using instruments that has unlimited, sustained when you hold the note and then cuts off immediately when you release it is the best sound to use for this practice activity. Then simply listen to any melody you like. Pause it and immediately try to mimic the melody Onley using one single key on your keyboard because your focus is to practice the rhythmic aspects off that melody. 6. Canvas - The Balance of Your Melody: the balance of your melody is based on the range off notes you use for it as well as the overall frequency balance, meaning the note range of your melody, where that range is placed within the canvas of notes for music as well as the frequency spectrum for the instruments playing your melody. For example, let's say your melodic phrase has a total range off 12 semi tones, which is a perfect octave by range. I mean the interval between the lowest note in your melody and the highest. Then, of course, you need to have that range played somewhere in the canvas of music. All those octaves you have in your power as a composer. The lower range off this octave canvas will have a more powerful, deep and warm sound for any melodies you play there. The middle range will have the most focus on attention, since those are the frequencies our ears respond more to, and the highest range will sound more fragile, airy and thin. Now let me give you some practical examples off range and balance in the canvas of music to shape the tone of your melody and themes. Dork canvas, warm canvas right focused canvas and bright canvas. All right, so that is the main aspect of the balance of your melody, where in the canvas of music you place it, the other is the range of your entire melodic phrase. So let's take a practical example the pirates of the Caribbean theme. It goes something like this starting on a below middle c here. So let's check out the range off the first part off this motif. Oh, okay, So that was two reputations and it went from a two. The highest note being jean meaning the range of that port. The melody eyes a minor seven. Let's continue with the turn of the second part, Theo Like that. And here we went up, actually to be fat. So we go from a to the highest note in this entire melodic phrase is a B flesh. It's actually plus 1/2 step or minor. Second, that is the entire range of this particular theme. Now take action and practice, creating melodies with different range and in different ports off the canvas off music and notice how incredibly strong this impacts the character and emotion off your Miller dick phrases. Regardless of what intervals and rhythms use use for it 7. Sound - The Tone of Your Melody: your melodies and themes will, of course, be heavily influenced by the instruments and sounds used to play them. Every instrument has its own fundamental character or tone, as I call it. You can also have a soul instrument, a small ensemble or a huge section playing the melody, which will all create a different overall tone. Let me share some of the most important aspect off instruments and sounds that you should consider when writing your melodies, the instrument family, for example. Strings or amazing for emotional, expressive and lyrical melodies like this, focusing your milady on breast can give it a more powerful and even noble sounds. Something like this, for example, and focusing on woodwinds can give your melody and more lighthearted and sweet corrected or something like this. These section size. So listen to the difference in tone quality between these examples, starting with a solo violin continuing with six violence, more chamber sizes or a bit bigger on 12 violence, which is, of course, even lusher. The mix off instruments, for example, strings and breast in the range like this will give immense power, and might you can combine Horvath and piano for relight and plucky sound with the airy she berry quality like this, or perhaps combining a small string section with some high woodwinds for a very light, tortured character like this, the layering off voices. So if I only play a single instrument like this, this is six Silence, Theo. I can choose to layer it in Jenison with, for example, flutes like this. Or let's say I pulled that flute part up in oak Change. So let me just change this. And now it will get a completely ah different sound like this. And of course, it can continue stacking your instruments to play in your leading melody. So now I have main strings, some shallows, solo viol, rain horns, trumpets, clarinet food and piccolo in unison, and some in octaves, like the woodwinds and solo violin, and trump it. So it's play something like this. Then you can, of course, at one layer being a harmony on top of your main melody. So if your main meal is, you can play another voice with another instrument. Something like this. Shaping the tone and character of your melodies and themes with the sounds and instruments is a very important part of your composing skills, and Croft used these guidelines you just learned as your starting point right one Melo Rick phrase on piano, for example, and then use it in several different ways by changing instrument's sounds, section sizes, mix of instruments and layering off voices. 8. Style - The Character of Your Melody: now this is a mantra I teach that has a profound impact for everything you do in music composition. How you play the notes is more important than what knows you play, because this is how you shape the fundamental character off your melodies. This means the playing styles and performance techniques, Jews in your melodic phrases and on every instrument that plays the melody and main theme. Now let me give you some practical examples of how you can shape the style and character off your melodic performances. Main playing style. For example, the main playing style off your milady can be lyrical like this. It can be more rhythmic like this. Or you can go for a mix between the two. Something like this articulations so you can go for a more sustained knows for you melody like this, you can go from or more cultural articulation like this. We're focused more on short note articulations like staccato and stuck a testimony, or even speak Otto for a more rhythmic type. Melody like this transitions so you can have ah sustained notes, but with no transition between them basically adding silence in between the notes, something like this Or you can connect the nose with the smooth flow using ill Agata articulations like this. Or you can extend that no transition into a beautiful, longer porter mental like this on shallow. Ah, of course, those longer transitions you should use with care In your melodic phrase, I will now play something and I will use a mix between the Goto and Port Aumento like this way uh, adding accents in your melodic phrase. So the main way of adding accents into your melodic phrases, of course, with dynamic something like this, of course, I overdid is there just for the demonstration. The next one is adding longer notes is actually somewhat of an accent if the surrounding knows or shorter or something like. And of course, you can use articulations that have a sharp accent like Marco toes for Soto stuck out or whatever to give that particular note in your melodic phrase, a stronger accent. Now take action. Start by creating a melodic idea on your keyboard than take that idea and shape the style and overall character off the melody by using a mix of different playing styles, articulations, transitions and ex scented notes. In the melodic phrase, you will see that you have unlimited options off shaping any melodic idea into infinite variations 9. Expression - The Emotion of Your Melody: like the styling off your melody. The expression you put into every note in the performance is way more important for the emotional result than what notes you play. The playing style and expression goes hand in hand and creates the how that I always teach is the most important thing in music when considering the final emotion, expression and mood. Now let me give you the top practical ways off, shaping the expression off. Your melodies and themes shape the dynamics. So the main way of shaping the dynamics of your melodic performances is with dynamic note variation, meaning the initial dynamic for each note and that is decided by the velocity value per note here in Midi. So if I open up the note velocity, you can see it described here, but it consult also see it in the colors here so you can actually add the strongest notes in your melodic phrase as higher velocity as you can see by these red values. Of course, I overdid this just for demonstration purposes, but this is how it sounds. Breathe the dynamic variation and the dynamic accents like this a second here, you can clearly hear where the strong notes are in the military phrase. And also you get these variation off the villas of developing Comparative. If I just set everything s the same, it will just be a plane dynamic all throughout the sequence, which is, of course, much more boring because you don't get that variation. The other aspect off dynamics in your performances is, of course, dynamics over time for the sustaining part of the sounds. So we'll demonstrate this by playing strings now. So if I just play something like this without changing the dynamics at all, that will just be a static dynamic. Even though you get the emotional part of the strings, they will become much mawr emotional and expressive if you change the dynamics over time. So I have actually programmed this fader, and you can do with your modulation well, in most cases on your media keyboard to record a performance with that dynamic curve over time. So let me show you this, and I will overdo it for demonstration purposes again. So that is basically the with string players how much force they put into when they when they bowl with the strings that will increase the dynamic level and that you can control over time on many instruments, such as strings, brass and woodwinds. Ask opposed to piano, for example, where you can Onley control the dynamic note variation on the initial attack of each note. So pay attention to what kind of instrument to use and use dynamics over time, creating curves. If you have control over the dynamics for the sustaining part of the sound like that, you can even see the big difference if you check out the wave forms for these two performances. And, of course, the top one here is where I did melt. Use any dynamic expression over time. So that is how clear the difference is with the expressive storyline with a curve off dynamics over time. Shape the pitch So we brought on a sustaining note is an amazing way to ADM, or emotion into your mellow did performances. Now, with various software instruments, you may have different types of control, and some doesn't have any control over the broader. But let's say you have a flute like this without we brought. I can just shape the dynamics, curve, the shape, the loudness intensity. But if I add the next dimension abroad so I can add, is stronger or softer or Novi broader. So if I use the slider here, either mapped it to the broader. No vibrato was, and the more I increase it, the more ad ah stronger every brought her to the note. So then you can shape the performance with both dynamics and be brought to like this. So dynamics is basically used to shape the loudness and intensity curve off your melodic performances, while the brought to can shape the expressive and emotional curve. Now all instruments cannot do the broader piano. For example, cannot the horse cannot but strings, brass and woodwinds can in the orchestra as well as, for example, electric and acoustic guitar, where you basically do have it brought to by bending the string with your finger to create this upwards and downwards be brought to in pitch. One thing I want to give us a tip for using the broader is this is the solo flute. The broader will always be clearer and more focused with solo instruments. The Mawr instruments used in this section, the less you will actually hear that the broader because it will, they will blur into each other's on a string 30 violin string section. You basically I will not hear the Gibraltar as well Ah, or at all. Even so, I recommend that using the broader issued focus on solo instruments or perhaps small chamber size sections. Now another great wager that expression into your melodies with the pitch is by doing some kind of Ben's or even longer glides So you can do this, for example, with your pitch bend. It doesn't sound as natural as a real bend or glide with an acoustic instrument. But for example, if you have strings like this, you can use the pitch. Spend two from simple bandits up and then down again, or vice versa, or even perhaps bend into the notes of starting with a pitchman here and then go up on If you remember the good old T H X logo type sound that goes from the high arranged and the low range that is basically a pitchman in both directions that meet together. So long glide. But if you have so for instruments that have real recorded Ben's as articulations, that will sound even better. Ziff, I just bring up this brass sound here, and I play the same note here. A. It will bend down 1/2 step. You hear that? Full in the end, bending down the pitch. Eso It depends on yourself for instruments, but Ben's, for example, acoustic guitar electric it. Oregon can bend into a note or band up and going down again, just as I showed you with the strings here. And that can also be a great way to add some flare into some particular notes during your whole melodic phrase. Shape the groove now the main ways to shape the groove of your melodic performances with the actual temple changing over time. Which means that your entire BPM actually has a curving it. Ah, for your composition and also the timing off the notes on DA and another extra tip is adding fast grace notes or small little details as kind of filling out the performance. So if I just play something here on piano, you will see what I mean. So shaping performance, the groove with tempo it could could be something like this. So as you heard there, I started slower than I sped it up with a performance type tempo and then slowed it down again. The timing as well so you can have. So, as you heard the air of the base, came on the beach while the melody was slightly lagging behind behind or dragging. So rushing or dragging on some notes can really shape the groove as well. Um, so that's timing. That the Grace notes could be something like, uh, you heard those fast little sequences. Um, so basically, you still have the strong notes of the melody will be adding those something like that. So those are the three main ways, the tempo making a curve as well. As I always say, the expression, expression and emotional music is all based on curves, movement and emotion, like a roller coaster that is more exciting than a straight train track. Now take action stored by creating a simple melodic phrase. Then use these practical ways to add expression into your theme and shape the emotion into the end result you are looking for. I recommend that you take the same melody and use the power of expression to create several variations from it. This way you will train your ears and composer instinct to focus more on the how you play those melodies because you truly want to become a master off emotion and expression when writing melodies, motifs and themes for your music compositions. 10. Counter Melody - The Sidekick to Your Melody: counter millet is in use. It can be amazingly effective in adding mawr interest variation and creating a richer, overall theme. But not only that, a counter melody can even compliment the main melody simply by dancing around it, just like support dancers for a leader, denser or background vocals to a lead vocal. Think about it, the presence off a sidekick but adds another dimension and perspective to the main spotlight and center off. Focus is used all over in all kinds of storytelling, in books, in movies serious and games, for example, that man with his sidekick Robin or Sherlock Holmes with his sidekick, Watson. And think about all the villains throughout the history off entertainment. It is super common that they have a sidekick because it adds dynamics to the story by giving the main characters someone to interact with. So take this concept back to music. Now I think off the counter melody as the sidekick that creates a richer experience for the main theme of your music, while the leading milady is still the focus. Now let me give you some practical examples to consider for counter militants and their indirection with your leading milady cool and response. The cool and response technique is really effective. It is when you divide your entire a melodic phrase into sections like a question and an answer port, and then you play them with the different instruments and layers of instruments. So, as you can see here, I have the main Melo dick instruments being breasts supported by strings. And if I open up here, you can see it. It's playing octaves of breasts and strings, which sounds like this. The That's the question, and then it. I provide the answer off that melodic phrase way. The the counter melody, which basically is the same mentality craze but played as you see here by other instruments . So flutes, bassoon and piano takes over and place the second part. And if I check them together, I have even used different colors. You can clearly see it here, the question and the answer. So it's listen to ourselves. And this, of course, is even more effective when you have different tone colors and sounds for these. So this is focused on breasts with the support from strings on. This is more focused on wind instruments, with some support from piano that makes the question and also stand out on their own by the differences in tone, quality and number shift focus while resting. So the main purpose of this technique is to have the counter melody shine when the leading militar the main instruments, playing the theme or resting or playing long notes. So if you go into the piano roll and look here, the leading melodies played in octaves here, marked in Jell O and the orange chair is the counter melody plea. Ah, often higher, almost so when you see here the most action, so to speak, in the leading milady, that is more or less when the counter ability is silent and on these longer notes on the leading melody than that's when the counter melody takes over. It takes some of this boat light, so let's listen to how it sounds in action so you can have these taking technique vice versa as well. So, for example, here I leave a long note on the counter melody so that because of when you have long notes , they do not take the listener's attention as much. And then the leading melody doesn't look more here, so this tiki goes in both directions, long notes. Or, of course, if it should be silence here. But when you do it like that, it becomes more of a cold response to kick add variation in playing style. So it can also help to differentiate your leading melody with your counter melodies by using different playing styles. For example, having in a leading melody b'more long notes and lyrical like this Theun having your counter melody being more rigid, making playing styles of short notes and short note articulations like this. So when I play those together, they will separate more clearly add variation in tone and color. So I hope you have started to learn now that separation is really important between your leading melody, the instruments playing those and the counter melody. So the first way to separate them is, of course, with the instruments use and also with a tone color. So the layering off the instrument and the intensity dynamics and so one and finally range , of course, where those or plays So here the leading melody is played by main strings strings an octave above Inish smaller section and then brass in Jenison, the counter melodies played by Flute Pickle flute north of above Angela Asst So more lighter sound. And if we go into the piano roll, we can see that, of course, the dynamics of different here. But more importantly here, the leading melodies playing in octaves Onda, the counter melody is playing basically a higher range here, and that means that they are separated invoices, meaning of range in instrumentation and in tone color because off the intensity off dynamics here being louder in the leading melody. So if we listen to this in context now, you will have really hear it and let me just, um, in fact, bring up these on screens. You can see you as they play now take action practice creating a counter, milady that supports an adds character and perspective to your leading melody. Make sure the leading melody remains the overall focus, even if the counter melody might get a few moments here and there in the spotlight over the complete phrase for your main theme. So go ahead and practice adding a sidekick to your melody counter melodies 11. The Sounds for Melodies: now, in this video, we are going to explore the sounds and instruments. You can use four melodies. Of course, there are a lot of choices, but I will go through some of the main ones that I use, and I recommend you to start with as well. So let's start with the most fundamental instrument off them all. The piano, now a piano for melodies can create him or soft but still focused sound because you have the initial attack off each note, which makes the melody more focused. But you also have that soft sound from the resonating strings so you can create mellows like this strings. So apart from the human voice bowed string instruments like violins and shallows and someone or the most expressive instruments in existence. So, of course, they are great for melodies. And they can go anything from super lush like a big ah string in samba like this, which, as you can hear, have a very lush, warm and big sound. Because it is an example off all orchestral strings here. Now the next one we can do is a violin section on its own, which, of course, will get you more focused sound but still sound lush, depending on the section sizes. For example, this is a big section or violins. Then we can go to a smaller violin section. This is six violence in a chamber sized section. The smaller the section, the more clear the expressiveness and the focus off the melody will become, and this naturally takes us to solo violin for your melodies. And of course, any solo instrument will always have the most expressiveness and emotional clarity. So this is solo violin breast instruments for your melodies. So the breast instrument family have a huge tonal range for the sounds, meaning that the sound character changes a lot from the lower dynamics to the higher dynamics, so you can go from warm and bold sounds. If you're for example, play horns in the mid range or just below. For example, let me play something like this on Horns are generally one off the most used instruments for, ah, melodious in cinematic music because it has that warm, bold on da, almost noble character in the sound. But you can also go to shore per and brighter settings with higher dynamics, which even the horn can Ah do you like this? If on the highest FF, if sitting on even more so if you use mawr attack articulations like sports auto, for example, like this. And of course, if you go to higher instruments like trumpets on the hires, dynamics like this theme. And of course, the same rule applies for the brass instruments. As for the string instrument, meaning that the bigger section you used for your melodies, the more lush and powerful the final sound will become. But if you go in the other direction to, for example, smaller sections or even solo trumpet or solar horn, you will get mawr focused expressiveness and emotion in the sound. So let me briefly demonstrate this by playing a solo trombone. But you sound like this. And let's compare this to a big breasts in samba, which, of course, will sound mawr powerful and lush. The ah, but doesn't have that clarity in the expression as you get from a solo instrument woodwinds for your melodies. So, in my opinion, woodwinds have the sweetest and most intimate and lighthearted sound over orchestral instruments, at least so you can play things like, and in fact my recommendation. There were at least what I use myself is for leading melodies on woodwinds. I generally always go for solos of solo flute or solo clarinet solo oboe, because he can get such an amazing the broader and expression from the solo instruments Sheiman Instruments for your melodies. So what do I mean by Shimmer instruments? Well, I am referring to those delicate light meaning Maurin, the high range and thinner and almost airy type instruments and often very lighthearted, for example, plucked strings like Corp. Those plaques could also, for example, be pizzicato strings or even plucked guitar strings. You get that focused, crisp em and light attacking the sound while you can regulate how much sustain you get. So, for example, with harp, don't get as much sustained as with a guitar because you have the resident body there. Other types of shimmering sprints can be Mellott instruments like marine but, for example, and you can also use various types off bill like instruments. So, for example, a bill like this, or even glockenspiel and other types off the instruments that have that shimmery resident bell type character. And those can be great for adding that shy like feel to your melodious seems so. Seeing decisive is kind, of course, cover the entire range off tonality and character for yourselves. But for lead instruments, there's basically what I consider the motif or reef type scenes like this theme like that, or the model for Nick. Lead type instruments like this thing or dirty and distorted sing sounds, which are more for melodic motifs and hard riffs like this. And finally, off course, a hybrid A mix off layers or instruments to play your melodies, which in most cases is what you will do and hear your options or on limited. So, for example, if you take a piano with a flute, you can get this kind of sound. The light heartedness and delicate vibes off the woodwinds with the focused clarity of the attack in the piano or a violin section. For example, a chamber sized violin combined with some shimmer instruments and some strikes and malice here, which gets the emotional expressiveness from those vile wins with the added crispness and air from the shimmer instruments and attack from the maladies here. Or perhaps some light plaques from a horse together with a piano and perhaps even some uh, solo horn on top of that. Now it's time for you to take action and practice, creating your own melodies, using different types off instruments and also how big the actual sections. Or, for example, a big Lushan samba. Will a small chamber size section or a solo instrument, as well as finally experiment with the most fun port, which is to create a hybrid mix to Veii, er, several instruments playing your leading melody in either unison and or oak tapes and harmony. 12. The Power of a Sketch Track: Now in this video, you're going to learn how to use the power off a mass through skits, track to come up with new ideas and write melodies, motifs and themes for your music composition. Now let me first explain why using a master skits track is so powerful when experimenting and trying out various melodies, motives and themes for your music composition. It's simply because the power off the sound character playing style articulation range and moved. It's incredible. So what I recommend it to do is to first create a folder at the top of your sequencer. After that, you simply drag in instruments in it because you're going to play them as a group as a hybrid mix and off course. What kind off melody, what kind of style and mood you want to create will dictate what instruments you place in here so personally, I always start with a classic piano as one of the layers. Then I've already created some instruments in here, which I'm going to drag in. So this is my bank of instruments. So let's say I want to add some the whole or peer for the plucky character. And also let's say a violin chat, some expressive or even do a solo violin. Let's take a check here. Yeah, there's a solo in. So now I have piano horse and solo violin. No, I'm going to play those. Ah, in a hybrid mix like this and what you can do as well ISS dial in the actual blend of them with the levels here. If your DW doesn't support a group playing a group track like this, you need to record enable everyone so you can play them. Oh, like that. And what you also can do is actually go in and set your individual modulations and automation. So when you play them, you can perform the different expression data, which will also have a huge impact on the sound. Right? So that is one example. Let me show you another example, so I will just keep the piano. I always have a piano there. Let's say I'm adding some rhythmic strings like this, so stuck out the strings with a piano and perhaps some mallets for extra focused attack. And now I can play militants like this in here. I'm no longer playing beautiful, lyrical, the gotta here because the instruments. The sound mix here dictates what inspiration and creativity I feel, and that sparks new ideas. So if it's changed it out again, let's move those down So you can't use this technique as well. Like I do here have like a instrument bank for just below your sketching track. So this is just a folder with all instruments already created. Ah, all right, so let's start just with a piano and let's do something bolder and more powerful. So let's add a breast and string section in here, and I will put the strings in sardine. Oh, remove the close mike. Let's see what the brasses was do long sustained here. Alright, sledges to top dynamics to make it warmer. And now I can play something like this. Instead, increase the dynamics again. A totally, completely different vibe and character. Let's try out a solo flute with solar horn and some strings, not even a piano. This time, let's see what we can yet as inspiration, right? So I'm actually going to use these ensemble horns instead. Again, mawr warm and beautiful sound there and lots of power from the horns so you can basically use this method to start sketching out ideas. So if you come up with, for example, I want create some lighthearted character. Don't go for the lush strings. Go for the, for example to see what? This this um So these are the last violins, and here we have the chamber violence on, for example, the piano and, for example, the food. You can even go and mix different e cues and panning off these instruments. This starts playing whatever you want. Now take action and create your own master sketch track, which I recommend you to use for every new composition that you make. And remember, you can even change out the instrument USA's layers, how you blend and mix them in your D A W and how you perform the playing style on the modulation you add, depending on what part you want to add to your composition, for example, in one party might want to go for full of bold and powerful sound of big breasts, ensembles and bold strings. For example, while in a daughter another part of the composition, you might want to go for a lighter feel with some rhythmic instruments and lighter instruments, so take action and start experimenting 13. Bass + Melody to Create Your Theme: now in this video, I'm going to teach you a very efficient method of creating your main theme for your music composition. I call it the base plus melody technique. Now, what is so powerful about this base pas melody technique for creating your main theme is because you don't have to worry about the court progression, and the hormone is as much just focus on the essential hormone IQ voices, which is the top voice, the melody and the lowest voice. The anchor of your harmony, which is the base. So what I usually do is that when I sketch my theme, I use most often piano plus an ensemble strings. I usually put the in sambal strings on a soft patch like Sardinha strings. And then I dialling how much of the strings I want and play them like this. So, piano, now, in some strings on now, you could of course, only focus on your melody like this. Yeah, however, it becomes so much more powerful and becomes a theme. If you do the base in your left hand. I usually do it in octaves while you play your melody in your right end, because then you can create something like this. So of course it could create this by only focusing on the melody. But without the interaction between the base where you can do with them. You can do bass lines and groove and the melody. It's really tricky to come up with, Ah, that pattern with silence, because if you check again so you have to skip the first beat because the basis playing there it's really tricky to come up with something like that without using some other type of instrument on. My technique for days is based with your left hand can off course if you want to only use piano. However, I like to add ensemble strings because then you can go from something. Mortgage, groove and rhythm focus too lyrical like get the mix of both worlds. The rhythmic and focused and clarity aspect of the piano, with ill wash nous and lyrical aspect off the strings and those in combination together with this technique based in your left hand, mellowed in your right hand, and you can start creating melodies with base to create your theme. And of course, another aspect of this is if you create some kind of more rude making groovy theme. You can use your base in your left. Tend to add some energy like this. For example, add the main accents with your baseline for your melody to create this theme of yours. Now, as the bonus tip, I want to recommend using the same technique the basin doctors with your left and the melody in your right hand, but or not only add the accented groove with your base, but also, if you want or commend some of the stronger notes of your melody. Go from Mona Fornek, meaning one note at the time with your melody. Oh, that two notes to create a harmony so so you can do harmonies on Lee on the Strongest knows that you want to accept, and when you record that you automatically basically get a guideline for the chord progression there. So in combination, you can create something like this. Now use all these techniques in combination to create your main theme like this. Now take action and try out this method off, creating your main theme for your music by playing the bass an octave easy with your left hand, including the rhythmic groove of it all as well as some baselines and your melody in your right hand. And if you want to go advanced, augment the strongest notes off your main melody with Harmonists on certain notes. 14. Add Beautiful Harmony to Your Melody: in this video, you are going to learn some great guidelines and tips on adding harmony to your melodies so that you can go from this through this tip. One base is the low voice off harmony. So if you play your melody with your right on, that is one voice, and that is a harmony with if you play the bass with your lift. And because the base, as all voices in music, have a harmonic relationship with all the other voices that play tip to Melody is the top voice of harmony. So if I play a complete core progression with based in the left hand in oak stays on the court in the right hand like this, the took voice in this entire harmonic storyline is the actual voice off the melody. So it goes like this. That was only the base taste with their melody von voice with the right and tip three. Melo Dick Harmony is the dancing voice off harmony. So what do I mean by Melody Harmony? I do not mean playing courts like this. What I mean is that if you play the bass with your left hand on the leading melody with one voice with your right hand. Now things get pretty exciting because you can add another voice with your right hand that goes together and place together like a dense with your leading melody. So instead of playing, look at what the difference is here with the right hand Instead, one voice. You can play voices like that, the dance together to create the hormone, and this is the main practice activity I want you to do. Try to start with the base and milady and then add on that extra melo D Carmen E, meaning the dancing voice that goes together with your leading melody. Make sure that when you practice days, you start out with only two notes at the same time. Like that tape. Four. Harmony follow in sync for focus and clarity. So what do I mean by this? Well, let's say you have the base in the left hand again starting a here and tried to do something with the melody in the right. And now let's add that extra Milady Kamini. Now what you can do is follow the harmony in sync, meaning that you play the melody comedy. Let's say this is the top boys every time it changed the note with your melody, you either repeat the note with the melodic harmony or change that as well, like something like this on his. Both of them play at the same time like this. It really provides like a harmonic accent. If you think of your lead melody as your main dancer, the melody Carmen is like the backup dancer, and if he or she follows the same synchronized movement as the lead dancer, it becomes more like it's synchronized dance, which provides more clarity to the movements, of course, and more voices that changed at the same time, the more focused and clear their synchronized movement will be. So if you check again, I have the baseline. Let's start with F If I change the baseline, as well as the melody leading melody and the harmonic Ah dolls here it becomes a really accented harmonic storyline. I could still do the main dance here, the but not move in synchronization with the baseline, something like in the middle there. I didn't move the basic notes. Ah, a soon as the base moves along together instinct with these main milady on the melody Harmony, it becomes mawr accented. Now, which notes can you add to your leading melody to create that harmony? Well, in most cases, you will go in third like this major third or in minor third, depending on the court you used and scale on. In other cases, you will go to the fifth like this, 1/3 or fifth all the most common. But also, you will use lots of, um, sussed e or sauce four movement like this this or even go up to 1/7 like this. Those are probably the most common, but you could do whatever he could go to a six. Like this, for example, augmented Fifth, whatever will suit your harmonic storyline harmonic movement, variation for beauty and depth. So this is when you really open up the true potential of harmony in music. And that is, if you play the base with your left hand again, I will play it in oak tapes that start in D. Let's say you have the leading melody starting on F at a harmony on D Now, instead of doing synchronized movement like this, add variation in the movement off that a relationship within between the mini melody Voice on the Harmony voice like this. So as you can see the melody moved, harmonic voice here was left on D on. Let's do the opposite Now, where the melodic voice rests and the harmony voice starts to move on, go to not accord four minutes, - Asi concede. You open up so many potential moving men's and combinations. For example, in D minor, I recommend you start try like a simple thing like this in the base. If with a voice metallurgic voice here as the melody, Kamini start to move around their leading voice stability, then do something while this rests on the common. So go back and forth between which of these voices move either the melody course leading melody or the melodic harmony. No, that is how you open up the true power off harmony in music. Now it's time for my advanced bonus tape if you want to dive really deep, which is play full courts and base with voice leading. Basically you play everything because if you have a piano you have both hands at your disposal. You can play the bass way left at an oak tapes. Mostly I recommend doing that, actually, and then play full court. So not only the melody, not only the melody comedy, because that's only two voices plus bass voice. Add the complete core, and then you can play something like this. Oh, take action now and practise adding harmony to your melodies, both with the bass, the melody Karmini and even as advanced as the full court voice leading that complements your leading melodies. 15. The Power of Layering for Melodies: Now in this video, I will give you some great tips on how to use the power off layering four melodies. So I have three tips that I will go through in this video. But first, let me play the example I composed for this video. And then I will break down the tips one by one. So playing this example in three, 21 the hearing in unison for tone and colder. So if you check this example here, these two yellow ports here or played in unison. So I have layered the main part that I recorded here with the violin here just above sea. Four medals the with In this case I have chosen a clarinet. So ah, with orchestration, when you compose your music, what instruments and party layer together will have a huge impact on the final tone and color of your music. So I could have chosen to just go over the clarinet like this. Eyes soft and warm. Kohler. Ah, but I just added it. And as you can hear, it's very low in dynamics. Listen now, when I when I layer the clarinet on top eyes, hints of that would in color of the clarinet. So a bonus tip I want to give for you is when you consider layering in Jenison, try to find instruments that share a similar best range, so to say so. If you think the main melody sounds great here between C four and C five, like in this case on the violin, find another instrument that sounds great in that range. So perhaps not the highest range of the horns or whatever. Ah, or, for example, the flutes will struggle if they go lower, but they shine in the higher ranges. So if if you, for example, played a leading melody with shell owes, then perhaps you can live in unison with horns because those instruments share the similar um, best range for their tonal color and character, layering in octaves for power and clarity. So whatever parts you there in octaves in your composition will become much more powerful and clear and cut out in the mix. So let's say a great example of this is the backing parts like courts for the lowest note. Generally, the base here is laid with shell owes, for example, an octave above, because that adds weight and clarity As you can hear from this, you really hear it more clearly there because off the layering off, these lowers deepest base with a higher shell. Oh, range. Now the same goes for your melodies, of course. So if you take this leading melody here the violin c four to C five and layer it with the flute and octave higher here between C five and C six, which sounds like this now in the first case when we layered in Jenison, that is more for tone, color and clarity or character things case if a layer the first the violence here with the flute, it will become much more clearer in the mix on it can also become more powerful since you take up much more room if you check here in Ah, let's see here. If I bringing this up here, this is the yellow part. Is the violence leading melody this in octave higher So they become more powerful by taking up more off Ah, the harmonic room here in the arrangement. Now what you can do is also go in the other direction to lay or not it below, as I have done with the horns because I think they shine. Ah, a bit. Vote were in the in the range here. So they sound like this. They provide more of that powerful, bold tone of the breasts. Together with the violence, Theo provide more weight while the flutes an octave higher, provide more high end clarity and shimmer. Oh, now, if I had the clarinet again, just the tone colder in Judson. We owe just the violence, Theo. Huge difference depending on how you orchestrate in layers, selective veering for accents and augmentation. So by accents, I actually mean that you ex ent the stronger notes of your melody. And by augmentation, I generally mean the same thing. But you can add a bit more like naughty. Not a hard accents, but ah, a bit more off the stronger notes. So what I mean by this? Well, these orange here would orange dark orange layers or actually what I call the selective layering off the Milady. So if we take the lead in middle of the hear the violins Now, if I check the horror, Pierre and open it up, you can see let's say, why don't I Don't I see both like that? You can see that I have submitted some of the notes or the melody or if you think of it in the opposite way I have or commended what I consider to be the stronger notes off the melody. Ah, so this is, of course, a creative choice you have to make. But I meant the pom pom pom something, um, term. But you can, of course. But they want to amend it like this. It instead. So it actually creates a different group. Done done. 10 10 10. As you can hear it from this, I think this is a choice you have to make as a composer, but essentially augmenting whatever notes you born to. Ah, well become more clear in the mix. And I generally like to use more focused Ah, sounds for these sounds that have a clearer, crisper attack like piano horror, pizzicato strings, for example, mallets and so warm. And, ah, if you want to go in the more extreme direction like accents here I have just used basic of the one on the piano 111 on the one on the boar. Except here it is to know, So the piano is simple of this, which sounds pretty stupid on its own pubic with that lots of silent in between. But when I literate on top on the leading milady O immense those strongest notes. So I have actually done different augmentation with the harp and the piano, which creates even more complexity. If you check it here, tha finally, a bonus tip here if you want to go. Even Mawr extreme with layering is to actually take this leading melody here and at another instance, playing in Harmony's not unison, not octaves, not unison or octaves with the augmented or selective layering about an actual hormonal line. So you could take, for example, this clarinet and instead or yeah, this clarinet. And instead of playing it, um, on the exact unison hair, perhaps he sure you would make it play for example, 1/3 above. Of course, you need to make sure that the Harmonists are respected for the key and scale you juice, so some of these need to be transposed to make the harmonies match. But even so, that could add an even richer complexity to your arrangement. So let's listen to this in fine ality again. Everything layer on top of each other, and I will actually mute the strings. Inquires. It can only hear the melodic ports, which sound like this. That is the power off veil hearing for your melodies. So take action now and practice the power off the hearing very or melodies in unison to practice tonal Kohler and character. There, in octaves to provide power and clarity, uses Cilic Steve, layering for accents and augmenting certain stronger notes in your melodies. And if you want to go really advanced practice, layering your leading milady in harmonies. 16. Tips for Creating Memorable Melodies: now in this video, I will actually give you practical tips for creating memorable melodies. Here we go simplicity. Now, if you want to write a memorable melody, in most cases you want to keep it simple so that people can hum along to it. So if it's too complex, people will generally not remember it. So, for example, take this melody from The Lord of the Rings. You know, it's very simple. Both the harmony, which is going from one core to the D major, they g major and a major. But check out the medal this well. It's so is focusing on the three notes in the D made record with this transition note. Otherwise, it's just keeping to those harmonies there. Now let's take another example. For example, Ah, Star Wars, The force thing, which goes like this. So again, the pattern off the notes in these memory is actually very simple, but it has so much emotion in it, so it's basically thes notes that it evolves around on. Then the bass line just goes, so the harmonies, the pattern for the harmonic progression is simple and the stability over the melodic pattern as well. Now another way to make your melody stand out and be memorable is to go in the other direction, make it really original and unique to stand out. It might be harder to hum along, too, but it will definitely be something that people remember. For example, the Pink Panter theme. Ah, the courses super quirky and original and that where you can make it memorable as well. You can also make your melodies stand out by including vinyl Teoh. Small surprises for the listener inside the whole melodic pattern. So not super quirky and regional, but perhaps one or two in modulation throughout the storyline off your melodic progression something like, for example, a in modulation where the listener expects a minor chord on. Did you give a major record instead? Like in this land from the Lion King, which goes like this, uh, on modulation. So the voicing for the courts there go to e a major instead off minor. And that comes as a surprise and it includes Ah, in the second part of this theme, that modulation as well, emotion. Now this might be the most important guideline because if you want to make your melodious memorable you need to have lots of emotion in them. It doesn't have to be sad and tragic. It can be happy and uplifting as well. Our major field, for example, it would take the theme from the movie Thor. It goes something like this. So how do you make your melodies emotional While the main thing is to focus on the playing style for your melodic phrase, in most cases, longer nose and leg Otto transitions, which means smooth transition between the nose is mawr emotional, which is the case, for example, here in the Thor soundtrack on I'm even holding the sustain pedal between the transition there to make sure I get those Lego transitions so smooth flow in your melodies. It's very emotional. The other thing is dynamics. So if I play on piano dynamic variation, which means, um, how hard I hit the notes basically the difference there in dynamics. But even more important to dynamics over time, which you can control on the strings. Brass woodwind since etcetera by modulating the dynamic expression like this next, adding other types of expression over time like for example, adding the broad auto Andi doing some kind of expressive articulations like bending into the note and other articulations like that to really add emotion into the melodic phrase hilarity. And this is actually super important, but sometimes a bit neglected by music composers, which is that if you want to create memorable melodies in your music compositions, make sure they stand out compared to all the other ports the rhythm, the harmonies and other parts in your music, which means two things. Loudness, meaning how loud your main melodies are, which comes from the dynamic, a zealous how much you layer them in octaves and unison and to the arrangement. So if if you play the leading melody like this, make sure that where the leading maillot militaries focused this tonal centre and range ah , that other instruments don't don't interfere too much in these range. So if you want to add harmonies, make sure you can focus on the lower end and perhaps some times on the higher end. But more of the lower end. The base, of course, is down here, and even rhythms. You want to perhaps focus mawr outside of the range of your milady. You want to create that clarity because the focus off the melody makes it stand out and makes people really hum along to your melody, and that makes it memorable. Repetition. A memorable melody often includes various degrees of repetition on this goes two ways. First, the repetition in the rhythmic groove as second, the repetition in the intervals used in the melody. So, for example, take this from Jurassic Park. It really focuses on this on then. Ah, those intervals chiefs upwards about the general groove is still there. Three. Now let's take the theme from Pirates of the Caribbean, which goes like this. That was the first time and then the second part East repetition with only one difference. It was only one note here, instead of so the first time it ends and the second time like that. Otherwise it's takes act, same pattern journey. So you should think of your entire melodic theme as a storyline with several segments, a beginning, a middle and an end. So you want to start and then go on a journey and then come back home. So let me create something like this. For example, let's take a melody in D minor. Segment one segment You, which is almost a repetition but hot going higher. So we have the repetition part of the memorable Milady there and then continue way right, really excited. And then let's go back home. Oh, on. In most cases, you, of course, start on the Tonique the route cord of your scale and end on that as well. In many cases, you even start and end on the same note. Now I want you to take action and practice all the guidelines and elements that goes into creating a melody and all these seven tips for creating memorable melodies. Good luck, my friend, and have fun creating memorable melodies for your music. 17. Assignment - Sound Instinct: congratulations. You have now learned the cool fundamentals of melody and themes in music composition as well as God. Lots of live examples, including my creative and practical tips and guidelines. Now it's time for your final assignment off this model, which I call sound instinct, because in order to level up and evolved as a music composer, you will have to develop a good ear for music and sound by listening and analyzing professional productions. Your assignment is there for what I call sound instinct, meaning, listening to music with your full attention and analyze everything that is going on. In this case, your focus will, of course, be melodies and main themes of the music. Make sure to listen to the details of what is being played. Tempo, key instruments and sound mix, playing style expression, intervals used, of course. And so I will now give you a list off great examples off space Sifi compositions you can use as a starting point for these exercise. But of course, you can use any track with melody and theme. So now go ahead and do this sound instinct, exercise to develop your ear and instinct for melodies and themes in action. Then let's continue your journey in the next video 18. Uplifting & Lighthearted: in this video, you're going to learn my guidelines for uplifting and lighthearted melodies in music. Uptempo bpm, so uplifting and light for the music benefits from a mid to high tempo or what I call it up Temple BPM. Somewhere around 140 can be a good starting point, which can sound something like this major scale and harmonies. So, of course, for that uplifting vibe, you want to focus on the major scale and the major chords of that scale, especially the 145 So let's say you have D major scale get D major G major and a major. So a good guideline can be to focus your main strong notes in your up wasting and lighthearted melodious in those three chords, for example, something like this avoided dissonance. Now for most types of music. Actually, throwing in some tension and unexpected harmonies and intervals into your story line can really create some variation and interest for the listener. However, when you want that uplifting and lighthearted vibe, you should really focus on the major major scale. And also the lighthearted vibe means the listeners should really expect most things that come next. So not really in his sudden known diatonic notes like that really doesn't fit into the uplifting in light ordered vibe. No tension cores like the diminished quarter or something like that. Now, if you want to throw in some surprise or twist, you could go to a major core when it should be a minor chord. So in the case over the major, the second quarter's E minor well, modulate that you e major instead of something like this on now you get somewhat of a surprise, but it is a an uplifting Is the price, so to speak? Invite instrumentation now for that light ordered feel. We really want to focus your leading melodies on ah, thinner, lighter area and high range instruments. So not super thick sections, but, for example, solo violin solo viola flute, piccolo, the high wrench piano mallets can work Willis for this on. And of course, you can layer them together to create something like this. For example, high range focus. So not only the instruments themselves play a role here, but actually where you play your notes. So, for example, I recommend going into the higher range here for that really uplifting in light hearted character. So let's say I layer a solo violin with the flute and piccolo. Then I even made so that the piccolo is playing an octave higher and the flu does well. Then you can play something here and have the piccolo and flute up here. Mills E is here, so above middle C. Even an oak stayed higher could be a great starting point, at least bouncy playing style. So for the uplifting vibe, you don't really need this balance of rhythmical jumping playing style. As I call it, You can just go with something like this that can create amore uplifting but ideal lick or lyrical sound. However, if you want more light heartedness, I recommend doing more rhythmic stuff and add some groove and bounds into it. Like so, take action now and practice, creating uplifting and lighthearted melodies. 19. Action & Energy: in this video, you're going to learn my best guidelines and tips for creating melodies that focus on action and energy. Fast action tempo. As a guideline, I generally stored somewhere in the range of 1 40 to 1 80 bpm, so I have now set it in between here at 1 60 On it can sound something like this rhythmic playing style. So I recommend that you think percussive when you create your melodies for the action and energy vibe. So instead of playing something like this with notes and legal transitions, you really consider that your keyboard is a drum set that can play melodies. So short notes and really think about the beat, the groove of your melodies. You play something like this is that, or perhaps days that he might recognize accented articulations. So not all issued your focus on short and rhythmic playing styles, but also from the dynamic points of you. Think about the harder accents off your action and energy melody. So stabs Mark Otto's for Sato on breath and so on. Those articulations that have a stronger and more emphasized accent in the beginning so you can play something like this if you play rhythmic. Add those harder accents with higher dynamics into your action and energy. Milady. ADM. Or notes. The more don't you add into your melody, the more action and energy via beacon get, and you can do this in two ways. Basically repetitions, meaning you repeat the same note like a burst of notes on the same like that on also grace note, as I call them the In between notes from the strong melody notes. So if your melodies like you, can add those in between notes to make it like and that adds to the energy viable swells so you can make something like this. For example, votes are voice movement. So if your melodies moving around Mawr, you will get in more action and energy vibe. That means the chord progressions with faster court changes as well as the intervals. Faster interval changes in your melodies something like this, for example, now take action and practice these tips and guidelines to create melodies that focus on action and energy. 20. Emotional & Beautiful: in this video, you are going to learn my tips and guidelines for creating melodies that focus on an emotional and beautiful sound, though, to meet Tempo as a starting point, I would recommend somewhere in the range from 80 to 1 30 bpm for that emotional and beautiful vibe in your melodies. So I have said it to 1 10 here in my d W. And let's see how that can sound like vehicle playing style. By this, I mean that he focus on longer notes and connected the go to transitions for that really emotional and beautiful vibe. Something like this, for example, softer sound. So you will get a more emotional sound if you focus on the lower dynamics, sewing it decreased dynamics when you play and not too much layering to creative fat sound , but rather an intimate and beautiful sounds. So I've excluded, for example, grass on this, so it's only strings, flute and the piano in a softer dynamic. So you said off playing like this with your dynamics and lots of layering make it softer, something like this instead, minor harmonies for extra emotion, and by this, I mean that you can off course create emotional and beautiful metal, is focusing on major courts, like if major like this, because music and the emotion you get is more about how you play something than what you play. But even so, if you want extra deeper emotion, I recommend going for the minor scales. So something like in D Minor, for example, suss voice leading for extra beauty. And by this I mean off course suspended chords, because those can really add a magical and beautiful character and longing to resolve. So if you start with, for example, if I want to go to see, you might want to include this suspended fourth there. So the top voice is, of course, the melody in your profession. So something like, perhaps you want to go even Teoh. If so, studio, just play the top, hear voices so you can hear it more clearly. Minimalism for focused emotion. So for really beautiful that emotional melodies you can benefit from playing them either by a solo instrument or a individual section, instead of having lots of in samba is layered with each others. For example, a solo flute like this or ah, solo violin or even a violin section like this. Now go ahead and practice, creating melodies that focus on emotion and beauty. 21. Power & Strength: Now you're going to learn my best guidelines on creating melodies that focus on power and strength, though, to meet Tempo. So I would recommend as a starting point to focus somewhere in the range of 90 to 120 bpm for that really powerful vibe. So let me demonstrate this. I've said the tempo to 90 bpm to create something like this all perhaps going to the higher range off my recommendation around 1 20 like this, the range for a warm and bald tone so generally for that powerful and more importantly, strength vibe. You want to focus your melodies here below middle C So perhaps something like this compared to playing appear long notes for authority. So compared to playing rhythmic like this when you add longer notes, which can be more call to accents or longer sustained notes with high dynamics, you generally get more power in the form of authority like this. For example, Hi dynamics. So by this, I mean both hard accents like stabs marco toes for Soto articulations and so on, but also really big contracts and using high fortissimo dynamics to make your melodies stand out and feed more powerful. So compared to playing low like this, really push those dynamics up and add the hard accidents in the form of more coach articulations and so on. Something like this. Bold sounds. So to create a melody that has power and strength as its main focus, you want to do lots of layering of instruments and parts and also focus more on bigger and som bols instead of solo section. So, for example, instead of doing a flute part like this, which is light and airy, kind of thin in the mix and, well, the opposite off power and strength. Basically, you want to go all in with big string sections combined with big breasts sections and sworn and layer everything up to create a fuller, deeper and more powerful sounds. Something like this slow voice leading for both courts and harmonies and harmonies. I also mean the intervals used in your actual melody. So instead of playing something less, which is the rhythmic but it also goes all over the place with the harmonies there with voice leading, you want to focus if you want to create melodies with power and strength. On slow were voice leading, so don't do too many intervals in your melody and too many chord changes or something like Now, go ahead and take action practice creating and shaping melodies that focus on power and strength. 22. Dark & Evil: In this video you will learn my guidelines for creating melodies with a dork and evil character, though, to meet tempo for that dark and evil atmosphere, I recommend a starting point to be somewhere around 75 to 1 20 b. P. M. Of course, the lower bpm, the more dork atmosphere e you create, the higher you go, the more action and intensity you can add to that dark and evil character. So, for example, at 75 ppm, he might want to create something like this. Okay, on if you go higher to 1 20 or somewhere around there, you might want to create mawr. Authoritative tone in your dark metal is like decent and tor minis. So of course, for the dark and evil vibe, you want to focus your cords, voice leading and intervals in your main melody on dissonant changes like the most important is probably the half step or minor second. So this one make sure to focus on your voice leading on that interval. So, for example, something like this lo darkness vs high tension. So this is about range. When you focus your range here in the little rain, she will get that more dork and evil tone, whereas the high range you get more off a intense tension type reeling sound. So, for example, if it played down here, you can get darkness versus the high tension way up here. Still on the dissonant intervals. Invoice leading. Of course, intense rhythm versus authority sustains so you can focus your dark melodies on mawr rhythmic playing style for that intense sound like this, the dissonant harmonies there and voice leading by that intensity in the playing style as a more kind of, um, evil in the sense of chaos. But you can also go the other way, which is authority sustains. So not as much On Read Me play styles. I will change out the articulations tomb or longer sustain sounds to something like this. No fragile eyes versus mighty mountain. By this, I mean, the actual blending of sounds to use to create your dark and evil abilities can either go with a very thin and crispy sound, for example, with solo instruments and often Maurin the high wrench. But it can be the low range as well. So, for example, with violence you could create something like this or he can choose to go for the mighty mountain type sound, which is often playing Maurin low range. But more importantly, where your vaguer instrument imports and use bigger in samba walls to play your dark and evil mill. This so you can create something like this, for example, now take action and practice, creating melodies that focus on a dork and evil character. 23. LOTR - The Shire: in this video, we're going to break down the essence off the Shire theme from Lord of the Rings. So let's get started right away. My first point is major sound on 145 with a strong focus on major third. And by this I mean if you take a look at what the harmonies are doing and the melody So it goes from D G a. The major courts in the major scale 145 And if you take a listen to the melody notes here and I will only play on the base root notes here in with my left hand So the melody goes and I think the melody knows has a stronger focus on the major thirds. If we start here, Thinks is the major, it lands there and holds for a moment, and the next one is falls on the third on the G major, also the third with a major. So that, combined with the three major courts, makes this theme very uplifting and major light instrumentation. And this goes for the entire composition which has them or minimal and sports arrangement to give it that light hearted and air equality that as well as the fact that the leading melodies or based up here in the high ranges Anoke stable so above Middle C and the Lady Melody is focused on solar strings and solar, Baldwin's or more specifically, solo violin, that solo flute. So what I Play here is actually a combination of them both. But more specifically, the first main melody is focused on solo flute, while the second is focused on solo violin. The main military is very smooth and lyrical to give this theme that romantic and idyllic vibe. But it also includes lots of fast grace notes, which adds flair. So let me show you. Yeah, so that is the first part of the main melody. Very smooth and lyrical. But if I add those fast grace notes, it really adds some excitement to the melody. So if you're going to go from Thrace, noted this now, you can add those fast race knows in between in the transition between the notes or something like the second main melody here in the Shire theme is more jumpy and bouncy with those rapid stops, and it's played by solo violin. So it goes something like this now go ahead and practice the Shire theme from Lord of the Rings and then let's continue to the next video. 24. Thor - Main Theme: Now, in this video, we're going to break down the leading melody and main theme from the movie Thor, which is composed by Patrick Doyle. So first it has these majestic major harmony, which comes from the fact that it uses, if major, if major and it focuses a lot on the 145 chord. So if b flat major on D. C. So let me just play this using the voice living and inversions, you can clearly hear the theme in it, so that is the first repetition of themes lands on the five. Then it repeats the same progression, um, and finishes on the one instead. So the final parties instead of this five, it goes to the one like this to the cadence there. The theme has a very warm and bold sound, which mainly comes from the fact that it uses though range breasts and strings for the main theme like this. It is also lyrical and smooth, which adds to the noble vibe. As you can hear it has this slowly go to graceful movement. Yeah, like you're king slowly and gracefully walking along a red corporate. The leading melody also has a very short and limited range, which gives it a sense of stability and authority. So if you check it here, if I play it up here, Theo. So as you can see the lowest note in this militaries, is he here? Then it's this B flat. So this is the limited range, which really adds to that stability and graceful vibe. Then it actually has suspended voice leading both in the first part of the melody and the second, which has beautiful emotion from that flow in the voice leading. So if I play it with the courts here like this can really hear it on here comes to Suss for where the leading part of top Port voice here for System Main Melody goes from F to E to resolve that C major chord. I think the second part of the melody actually goes into minor vibes. So it had some emotional vibe because this resolves So the second part of the theme goes up to a minor up here on then to see seven on if sauce for so again, some suspended voice leading there again, playing this on resolving to the cadence. So go ahead and practice these main theme to really get familiar with these majestic and major vibe. So I recommend you play the bass with your left hand with octaves and Onley the melody voice with your right hand like this. I mean, continue with the second part off the theme as well. 25. Pirates of the Caribbean - Main Theme: all right. Now we're going to analyze the main theme from Pirates of the Caribbean. At least have one people are most familiar with. So, of course it is. This the so. The first point here is that it has a very rhythmic in action playing style. Comparative beautiful leg ultimate Ledee. So, of course, stuck out on speak out of strings. I have lived a piano here for clarity, but it's mainly using staccato and short articulations. So and it also has a very kind of percussive groove in the style of the melody. So basically, you can think over drum set playing this but very drum like feel as you can really hear from all those speak Catalan staccato articulations on. Also, it's more focusing on the timing and the groove over those notes in a melody. But at Tampa, compared to the actual melody notes. Ah, another aspect of this is it is. It has a very uplifting vibe, even though it is written in D minor on. This is the case for this entire soundtrack in Paris of the Caribbean, which were, I think believe basically every track is in minor in a minor key, but the uplifting vibe come from the very playing style, how you played if you play in his jumpy, groovy and abrupt kind off the playing style. You get that mawr almost comedic style, um, and uplifting vibe. So you get on if I change this to play in court. Yeah, it gets, ah, more sad because it is in a minor key. And he uses this Hans Timmer a lot in the soundtrack, where he goes from this uplifting and inspiring, almost comedic style, um, playing styles. And then he goes and plays the same themes, slowing gracefully with Agata transitions, which makes it more emotional. Also, another thing that is important to know about this main theme is it uses lots of repetition , both in the actual rhythms that aton Toronto in Toronto and, um, and in the actual phrasing off the notes. So if you listen to this the first time he goes like this, need to change it again, Teoh the staccato chords. So first time it goes like this, that was basically two repetitions. The only difference is that in the ending compared to that ending, otherwise, I believe it was exactly the same. And then it goes to the second turn off the phrase like so and a lot of these movement, but at that that that that that that that that better, it's still the same kind off groove. And that is a way to get bore stability basically and familiar familiarity for the listeners off your main theme and melodies. Now the range of these melody is actually over an octave, which actually adds to the intensity in action and chaotic vibe a little due to the play style as well as the nose going all over the map, so to speak. So it starts here on the A and goes to D's like this. I think that repeats, of course, twice. And then the second part of the team is on, and then it goes up like this thing. So that means it goes from a at the lowest note of theme and B flat at the top. Notes on Oak Save and a cemetery Now take action and practice playing this actual melodic theme from Paris of the Caribbean and more importantly, just practice these vivid, meek and action playing styles for your melodies and themes. 26. Live Breakdown - Gentle Wind of Hearts: in this video, we are going to check behind the scenes off my composition called gentle wind of hearts and see how the leading melodies are used and how they play together with the other parts off the music composition. Okay, Okay, so this is the entire composition on. I have already highlighted these three tracks, as you can see, because I want to show you the most important thing with melodies and how to arrange your voices in your music compositions. Because there's top folder here, which I call story is actually a mock up off the entire composition with the most important elements rhythm, bass, harmony and melody. So I actually even muted the rhythm parts. You can just take a look at these three tracks the base, which is the lowest voice in harmony. Ah, the course and harmonies and the main melody voice. So going into the piano roll, you can see this as I have career clearly labelled them with colors, the bottom voices, the base moving alot slowly right here the middle voices, all the courts and harmonies that back up the top voice, which is the melody. So let's take a listen at this hurdle is a short snippet of it and really notice how they all work together and that the bottom voice provides that total anchor for your music. The harmony creates the depth and complexity and variation and movement. And the top voice is the focus of your music. So playing in 321 Yeah. Okay, so then it basically repeats here with a slightly different twist. And then, ah, the course, Milady comes in here. So the second part off the injuries basically the same with a twist coming up and then down . And then the chorus sport comes in here right here. All right, So as you can hear, it has the main elements. Of course, it doesn't sound that good, because it just didn't look up off the main ports. Now, if I'm u that and we go into the real composition and check out how I have arranged this, let's open up everything except the story folder and let's delete everything that's not used. So first I start with very little percussion, very literal rhythm and focus on the base, the harmonies here and the leading melodies actually played by Viola here in the sea for C five up a range. Ah, let's see on its laid with obo in unison, which sounds like this, why isn't the old ball play? It is, but it's just lower in volume, so the oboe provides some of that video show. I find that the oboe has one of the most beautiful V brought owes in the entire orchestra and can really provide that romantic Kohler, which was what I was offering this track. It's somewhat unusual to let the Viola's take care of the leading milady because it sounds kind of sharp. But I wanted to start it out with that in the beginning than the chills and violence take over here in the second part of the chorus. Because this is by all us usually have that a bit more harsh sound. Then I have a horse which provides this was arpeggio vibe here, all right. And in the second part of the intro, I believe I augment the military here with a glockenspiel, and that might not seem like much, but it actually makes a difference. I also later it with clarinet. Um, here 00 no, that is actually accountability. So let's plate and you can hear three to bomb. So whenever you add a counter melody, make sure it is dialed back in the background, in the level in the range. And so once or the leading melody will always being focused. Now, for the second part with the chorus here, let's check out that leading milady, Um, a plate on cello and oboe here. So, of course, the cello is layering the melody an octave below which you have already learned about layering in unison in octaves which can be above or below. And I believe the glockenspiel is lettering very high here, too. We really take care of the shimmer now and then In the second part, off the chorus, you get this flute also an octave higher. Also layering with the oboe here and with a glockenspiel and with the choke shell Oh, the inductive below the violins still into C four c five ranch here and then the string in samples, by the way, also, just taking it up on the solo cello, um, or old violin section, I think. Yeah. So let's take a listen to the second part of the chorus. Now, if I stop there, what is really pay attention to is when you make when you go from an inter to chorus, you generally want Teoh extend the layering. So here, um, the lambing and unison goes further where the string ensemble comes in to layer the violence the shallows coming an octave lower overall Still unison flute an octave above glockenspiel and Octavia Bob because you really want to make the entire sound of your really melody thicker and more powerful in the chorus. So it cuts through in the mix because lots of other things are coming in here like a big or not big but mortal but lots more percussion compared to the intro, for example. Now let's also check Ah, the counter melody Wish I have Ah, I believe it is here on the flute, actually. So if you listen to the first part here, right, So that is the leading melody layered up. And then the flu tear actually takes care of the counter melodies. Okay, my mistake. That is not a layer that is a counter melody. But since all the other main melodies or layered like this, they're they're they're oboe glockenspiel. Um, the flute. It takes a really dials back position in the background, which is great for a counter melody. It sounds like this on his own, right on in context. You can really hear it now. If I knew did it really adds a lot of the complexity and feeling to these main melody. So this counter melody is really a sidekick that adds complexity and characters to the leading melody and makes the entire arrangement more interesting and have more variation. And if we get to the second chorus, the main melody is still here. Now I bring in piano to layer it just augment of metal day like this because that has a clear increase attack that comes through in the mix, which makes stability as even more clear. So you can also see that the flutes or in this case, actually ah layering as well. So instead of having these counter melody is actually layering all through the year, Andi, I believe I later even more here. Yeah, The second violence comes in the second part here, of course, going up an octave here and it's actually changing to a different leading melody, which you can hear if I play the string in samba, for example, right here. So it changes the melody in the final part of the chorus and Dusty's upwards and then settling in the end on in context, it sounds like this. Let's take a look at the leading melody with the chords on. And let's say these two guys this well, when we listen to it room here. So again, the very important lesson is the layering, which really makes your leading melody cut through in the mix. The arrangement of voices courts here in the middle bass, of course, lower on the highest voices. Usually in most cases, the leading melody, of course, often layer in octaves like this, but also that you should think of your melody as a story. You can see the archaea going in waves and then an upward direction and then settling with longer nose. And on this final cadence, it resolves. All right, so that is a brief overview off my composition. Gentle wind off horse. I hope you have picked up some tips and freaks and learn something from watching behind the scenes and got some few tips here that you can apply to your music compositions when you create your melodies in combination with every other parties used in your tracks. 27. Congratulations + Final Assignment: congratulations. You have now learned the foundations, the guidelines, this secrets and my practical tips on melodies and themes in music composition. Now it is time for you to take action and do your final assignment. Which, of course, is to compose and produce your own main theme and melody, supported with some harmony and ridden that will suit your main theme, choose a specific style and moved off music, designed the starting sound palette in your DW and then start composing. My name is Mike, and I wish you great success on your professional journey in music.