Music Theory for Electronic Music Producers - The Complete Course! | Tomas George | Skillshare

Music Theory for Electronic Music Producers - The Complete Course!

Tomas George, Music + Audio Production Instructor

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46 Lessons (8h 39m)
    • 1. Introduction

    • 2. Keyboard Layout and Octaves

    • 3. Basic Music Theory Terms

    • 4. Working out Major Scales

    • 5. Perfect 5ths

    • 6. The 3rd

    • 7. Chords and Inversions

    • 8. Chord Progressions

    • 9. Inversions

    • 10. 7th Chords

    • 11. Perfect 4ths

    • 12. Minor Scales

    • 13. Chords in the Natural Minor scale

    • 14. Harmonic and Melodic Minor

    • 15. Chord Extensions

    • 16. Suspended Chords

    • 17. Circle of 5ths

    • 18. Write the Chords, then the Melody

    • 19. Write the Melody, then the Chords

    • 20. Arpeggios

    • 21. Writing Bass Parts

    • 22. Writing Bass Riffs and Adapting Melodies

    • 23. Song Analysis - Chords

    • 24. Song Analysis - Melody

    • 25. Song Analysis - Arrangement

    • 26. Song 2 Analysis - Arrangement

    • 27. Song 2 Analysis - Chords

    • 28. Song 2 Analysis - Melodies

    • 29. Song 3 Analysis - Chords

    • 30. Song 3 Analysis - Melodies and Arrangement

    • 31. Create a Song from a Drum Beat - Part 1

    • 32. Create a Song from a Drum Beat - Part 2

    • 33. Create a Song from a Drum Beat - Part 3

    • 34. Create a Song from a Drum Beat - Part 4

    • 35. Create a Song from a Chord Progression

    • 36. Create a Song from a Melody

    • 37. Modes Intro

    • 38. Ionian

    • 39. Dorian

    • 40. Phrygian

    • 41. Lydian

    • 42. Mixolydian

    • 43. Aeolian

    • 44. Locrian

    • 45. Dorian Mode Example

    • 46. Pentatonic Scales

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About This Class

Learning how to write and create music effectively will dramatically improve the quality of your music and the speed you create it.

In this course, you will gain a deep understanding of Music Theory and ideas techniques and formulas to use when creating your own electronic music to allow you more options. You'll learn the beauty and the power of music theory that's used by professionals today. 

This course will cover such topics as major scales, minor scales, major chords, minor chords, diminished chords, chord progressions, modulation, relative majors, relative minors, modes, song analyse, deconstructed several tracks, writing a song from a drum beat, how to write a song from a chord progression, how to write a song from a melody, how to write melodies, how to write harmonies, how to work out keys and scales, pentatonic scales, and more. 

What you'll learn in this course will make you a better music producer, and improve your songwriting abilities in any Digital Audio Workstations!

Learn to love music theory and creating electronic music with these easy to learn techniques!


1. Introduction: Hello and welcome to this music theory. For electron, it produces course. My name is Thomas George. I mean music producer have taught thousands of students all around the world. So this courses for anyone that's a music producer on the want to rapidly improve their music with a bit of music theory. So what I've done is I've actually filmed this lecture was one of the latest lectures, and I'll give you a quick overview. Now off what you're going to learn on screen with May. We're going to start off by looking at major scales. Then we're going to look at minor scales. Major chords, mind the course. Diminished chords, core progressions, modulation relative majors, relative miners, modes, song analysis, track deconstruction. I'm also going to show you how to write a song from a drumbeat, How to write a song from a core progression. How to Write a Song from a melody. Also, how to write melodies, how to write harmonies, Hell to work eight keys and Scales on pentatonic Scales and much, much more. So let's get started and I'll see you in the first lecture 2. Keyboard Layout and Octaves: Hello and welcome to this first lecture. This lecture is all about the keyboard layout in our digital audio workstation. So in our d A w we should have a piano roll editor. So which ever d aaw you use it doesn't really matter. They all will have a piano roll editor. The one I'm going to demonstrate is able to live nine. But if you're using se que bass Pro tools logic probe or maybe fl studio, they will have a piano roll editor. So this along the side here is that piano roll editor and so this actually is a keyboard. So if you flip this on its side has the notes of a cabled on, if we extend this out look very similar to a piano. So all the really done is chopped this off here because the way it's actually shaped like this is for their hands off a piano so complacent on parts that have just chopped off and put it on its side. Okay, so we actually have the names off the notes whenever we hover over these notes in our digital audio workstation. So here you can see, I've got see free C sharp free Dee Dee sharp free etcetera and the white notes go from a to G and then repeats. But let's start on. See, it makes more sense if we start on sea, so it go. C D E f G, then repeats the alphabet so a. B C and just repeats all the way up the active. You'll notice here that C has this black moat actually has two black notes, and then it has a pattern of free black notes. So just like that, remember the pattern of two. Then the pattern of free on just to the left off the pattern off to you'll find. I see. So we do have these notes, these black ones as well. So in between we can sharp or flat. To sharpen, basically means just a little bit higher and flattened just means a little bit lower. So this one here will be a C sharp because a little bit higher than a C or a D flat, because it's a little bit lower van a day. Same with the day. So we have a D sharp or e flat because it's a little bit lower. We don't have any sharps or flats between E or F on the same between B and C. So between B and C, there's no sharps and flats and e and F. So just remember that there isn't an F Flats Bernie shop and there isn't a B sharp or a C flat. Okay, now let's have a look at what middle see actually is. You might have heard that middle C. It doesn't really make any sense to start with middle C. It does on a piano because it's in the middle off the piano. But when we look at our digital audio workstation, you can go really low and really high. There isn't really a middle C, but we do refer to something called a middle C all the time. So it's good to know what a middle see actually is. So the middle C is the SE four and then below this we have a C free below this, we have a C two below this we have a C one. We can even get C zero c, negative one and see negative too, if we do a really low based stuff and it goes up against C five c six c seven c eight. So looking at our digital audio workstation, we can find the C four here because it just says C four on this. Here is my middle C. You might hear the term octave as well, so the term octave will get thrown around a lot. Adoptive is basically this note, but the pattern higher or lower. So if we're on C four, if you say an octave higher this woman C five or if we are on C four and you're saying octave lower, this will mean see free. So it's the same pattern. Just remember two blocks off the black notes in the free blocks of the black notes, and then it repeats fruit octaves like a said earlier, the two blocks of black notes just to the left of this you'll find a C. Then it goes up C D E f G and then repeats A, B, C or the A Actually repeat. So it goes from a to G. Most of the time we think about it, starting with C, which will have a look at later on. But just remember to start at sea. If you're new to music theory and electronic music production so active if we look at the physics, is just half the length of the wave. So C five is half the length off C four and C four is half the length off. See free etcetera. The easiest way to describe this is to look at a guitar. So this is a guitar here. If we look on the strings, exactly halfway will be the 12 threat on this 12. Fret is an octave higher off one of the strings because we're quite literally just chopping the string in half to make it half the length which will make conductive. And these octaves fit perfectly and can be used lows, a different music, especially baselines. If you ever stop, just stick on octave on. That will sound perfect. So if we look at these waves here, one below is an octave higher. It's just, yeah, half the lamp. Really? Because it half a lamp, the waves are twice as much, so this will create an octave. So in this lecture, we've had a look at the keyboard on our digital audio workstation what the piano role actually is. So we have the notes up here on a cross. We have time. So just remember, it's just a different way of writing music. So these the nights and this is time. So when we go across, we have a time value on a note value. We've also had a look at the names off the notes, so which these are actually called. So just remember, it goes from A to G and then repeats. I've also had look at Middle C, which is also see for and then we've had look at octaves, just going to play a few octaves now. I just threw this together on ableto live nine. It's just a few octaves played on the synthesizer. You can create some cool rhythms and beats and bass lines just for octaves. Really, it's quite simple. Through this is a rhythm I just threw together. I talked to end on the piano roll editor. I just used it's little pencil Tal Andre with him, and this just allows you to create a nice sounding kind of rhythmic Simpson. Just were octaves. You don't have to over complicate stuff. If you're new to music theory, I recommend just starting with octaves. Just hearing what this sounds like. I think of the interval off somewhere over the rainbow as an active say somewhere so there's different patterns you can think off or you can hear a note and you know what interval is? An interval is basically just the distance between the notes. So that's the easiest way I thought off. So we can even put this down active. You can hear the interval again two octaves down or won t o so that lows a different patterns we can actually use to remember certain intervals. But of course, on our digital audio workstation, even tellers, as we can see on the left here, which note actually were actually hovering over. So here we have see free and going up. We have C five see full. We can easily notice that these octaves if you train your ear, let's just play this again so we can go through and just change this around as long as we stick to actives, you're not really going to go wrong if any active within a reason. Obviously, if you're putting C minus five, it might be too low or C nine. It might be too high. We can just bash in a few of these really quickly just to get some kind of octaves in Really create a nice interest in sound. We can't go wrong, so definitely start off with octaves if you're new to music Fairy So I hope you found this useful Its first lecture. Just remember the actives. Easy way to start making music on. Then Just remember the two black notes to the left of this. You're fine. See, on this pattern just repeats two black notes, free blood notes and then repeats. So thank you for watching and I'll see you in the next one. 3. Basic Music Theory Terms: Hello. In this lecture, we're going to be looking at some common music terms. So if you're brand new to making music music theory of music production of sure, this lecture could really help you acts. If you be in writing music for quite a while, you know a lot of these terms. Maybe just skip this lecture. So these are the terms were going to be looking up pitch scales, chords, rhythms, melody, harmony on intervals. So if you collaborate with musicians or produces thes terms, will be thrown around quite a lot. And generally there will expect you to know what these terms mean. So first of all we have pitch. This is basically where the note is. Is it high? Is it low? So if we have a low note, Germany. This is a low pitch. And if we have a high notes generally this is, ah, high pitch. So this No, here you can hits quite low as a lower Pittston. This notes on this note up here has a higher pitch on both of the notes, so high pitched just means it sounds high. Low pitch means it sounds low. Next, we have scale so a scale is just a pattern or sequence of notes that fits a certain pattern off certain scale, Also called mode, is a different type of scale we're going to be looking at later on. But for now, just remember scale as a pattern of notes. When writing music, we don't have to stick to a scale, weaken do basically whatever we want. But if you're brand new to writing music music theory, I recommend just sticking to a scale. It's when the left here we have a C major scale on the right. We have a C minus girl. Both sound slightly different. If you want to stick to a C major scale basically just means just use these notes on. If you want to stick to a C minor scale, it basically means just sees these notes. That's what scale is, is just a Siris of notes that fit in a pattern. There's loads of different types, like said about modes, which we will look at later on. But for now, the main ones really want to worry about a major scale on a minor scale. Next we have court cord is basically just two or more notes that's all it really is. The most common type of court is called a triad, which is free notes, which is usually the route the third and the fifth off the scale. So if you look at the scale, could be the root note. The third No on the fifth, but depends on where you are in the scale, which no you start on but generally called is two or more notes. You can have a court of 10 notes. You can have a cord with just two notes. Next is rhythm and rhythm is basically just a sequence with arrangements off sounds and silences. So let's go back into able to life. Just delete these so rhythm. Like I said, the sequence with tones or notes on also silences they don't have to be pitched. Notes. You can get rhythm on a drum kit, for example, or different drums, but you can get river on pitch notes like a piano. So let's just play this and this is a rhythm. You can see there's different notes for tones or sounds, and then there's also gaps or silences, so that's the river you can change. The river can move it around, that's all. A river Moez. I'm sure you've heard this hundreds. Thousands, maybe from millions of times. Next is a melody, and the melody is Siri's off tones or notes that creates a pattern. So let's go into able to live again. So melody, a series of notes or tones so it could be No, I a lot of the time melodies do resolve, so it will go down to the starting notes off the court. But not always. There's no really golden rule for this. Generally, we do like to resolve melodies, so this could be a money thing. A lot of the time melodies are repetitive on their generally do fit a pattern. This is kind of overall term off a melody that have to be included that have to be in scale that they always have to repeat. But a melody is generally a pattern that's pretty much what it is, and like I said, it normally resolves. But if you get into more experimental music, might not want to resolve your melodies, but if you're starting off, I would recommend making your melodies resolve the key or the court. Next we have harmony. This is quite similar to called. It's really one or more note being played simultaneously, so one or more note being played at the same time and this will create a harmony. So if we have this note here, which is a C, we could have a harmony of an active, which is just the same night, but up in the different octave here. So we have C two on Dr Above SC free. It's a really simple harmony is just octave above. So I could just drag all these or copy of these over or draw them in again. Up on the directive. We have this one here which isn't a no and at the end of the C, I don't have to have the doctor for all these notes. I can choose different harmonies, so this one here could on this note here could be changed to, say a J here, and this will create another harmony. It's basically just two notes or more being played simultaneously, and this will create a different harmony that's a humming similar to accord. But harmony come using the melody on of interest mints, too. Intervals is a distance between two notes, so if you go back to Mableton. So this is the interval off octave because you'll see here it's a C two. This is C free octave difference. So that is an interval of adoptive. Here we have seats, a just look, which is em Interval off a major third. And here again we have e G, which is the interval off mine affair. Don't worry about the major and minor fare differences now. Just remember, an interval is a difference between the two notes. Oh nisi one is this Interval isn't active. You can hear it here. That's Interval this one had. This is the interval. This is the interval has all it really means. He's basically the terms we have pitch, which is basically the high notes in the low notes scales, a pattern or sequence of notes and generally trying to fit in the scale. Women writing music but can always try new stuff. You can always experiment. Record is two or more notes, a rhythm. It's just sequence with some kind of sound and silence. Melody is a pattern off sequence of notes of harmony is one or more two or more than it's being played at the same time. Interval is the distance between the notes, and these are kind of the main terms that going to be thrown around in this course, and also when you collaborate with musicians or producers, these is common terms. Really. We're not going to be looking at any Italian terms like crescendo or diminuendo, anything that that it's more just these normal terms would be using when producing music. I'm writing music of musicians or producers to thank you for watching this lecture. Help you find it useful. And I hope you understand some of the most common terms that will be used in this course, and also you're writing music with other musicians and producers. 4. Working out Major Scales: Hello and welcome to this lecture. In this lecture, we're going to be looking at major scales on playing in key. You may have heard this term. Are you playing in scale? Are you playing in key a few times? Well, that basically means is there's structure of music in Western music anyway, off playing in the 12 tones or 12 notes off the scale. So if we look at the keyboard, I'm account from sea to sea. 123456789 10 11 12. There's 12 of these notes, including the black notes on each one of these has a separate key. At the moment, we're just going to look at major scales, and later on we'll have a look at minor scales. So we have 12 of these notes here. I mean, it can actually work at a major scale for each one of these notes. So if you're just starting off, I recommend just sticking in the key or sticking in the major scale for now. And when you get more advanced, you can try minor scales also changing scales and changing key throughout your son. But for now, let's just start with major scales on the way we do. That's the way we work out. By using this pattern here T t s t t t s. You might be thinking what's T T s t t t s and t t s t t t s is tone, tone, semi tone, tone, tone, tone, semi tone A tone is two notes. So if we look at sea here to notes above sea so go up one that c sharp d flat But let's call it c sharp now. So you got one c sharp make up to this d So that is a tone above two D is a tone above sea and a semi tome is just up one. So C sharp is a semi tone above sea Each one of these will give us the name off the note that we have in our scale So if you go up tone, tone, semi tone, tone, tone, tone, semi tone, weaken Go through these notes and actually work out what notes we need to use in our major scale. This only works for major scales. We will look at minus girls later on. But let's just stick with Major scales for now. So let's open up a word document. Let's work out Festival. Let's do see Major. So we start with C. Then we go up a tone says, Remember to count to 12 And now we've got D. Okay, so we got gears. A second note. Now we need to get another tone 12 and we've got a So so far we've got C. D and A by just going up to tones. That's right. This down a and going along, we need to go a semi tone. So a semi tone from a It's just one note noticed. There's no black note here, so it just goes to F and then we need to go along a tone, This tone here, this t 12 that's G got never tone here 12 a. Then we have another tone here, one to be and then a semi tone. And there's no black moat between B and C, so it just goes straight to see so you can make a little document like this Just say no what's actually going on So c major scale from working that i o c D E f g A B. We can even go onto our digital audio workstation on just type this in to be able to hear major scale. You do need to train your ears to recognize what a major scale sounds like. So you see, let's put it here day Okay? Yes, J by on the bay when we've finished with the sea as well just to finish off. So it sounds nice we can play. This thing is a major scale and this is all just from this pattern of tone tone, semi tone, tone, tone, tone, semi attain. You do have to go through and work this out for yourself. It's more thing me saying saying it, but you really have to just train your ear and realize what a major scale actually is. We don't have to just do see, we could start on D E F G a B, or even these sharps and flats in between. So now let's go up to D. So let's go up a tone. Remember so one too. So a tone is counting two semi tones or two notes. So I got D and then we've got a Then we've got another tone. So 12 on this sharp, Remember, have to count the black notes as well. So I've got D E and now f sharp. And now we have to count a semi tone F shop and G. And now we have to carry a tone, which is a another tone, which is bay another tone. So it's two of these 12 to go to the sea shop here and now a semi tone which is d So go through that again. So can't 1 to 1 to the first tone. 12 for the second tone, one for the semi tone here 12 for the same for the tone. 12 for the tone, 12 up to the sharp for the tone and then 17 Time to finish back down to D so you can write this in our documents. But in D Major, if you remember, it was day on a f. We can use a shop as kind of Ah, the hashtag. We can use a flat as a B as well. Little B that went J a bay. It was a C shop finished on a day. If you want to write data, we can just leave up in the last night. You can also go into our digital audio workstation and just type this in or an even easier way. If you want to be really cheeky too, can just grab it all just move up. Atone because the pattern is the same for every single major scale. So if you look on here d e f sharp G A B C sharp. So the notes have changed on the pattern actually fits exactly what we had by dragging it up. Alternatively, we can grow, go in and actually just draw this in. Let's have a listen to this. I'm going to add a D on the end just to kind of finish officer, it sounds like scale. The that's a d major scale and go through all the keys here. Toe. Work this out just by using this pattern. T t s t T T s. One little cheeky thing you can do is you can just put in one scale on your digital audio workstation. For example, this is the pattern of a major scale contract this down. Say to it be you might not know what be major scale is, but now you will be C sharp D sharp, e f sharp and G shop and a shop on the bay. But I do recommend going through working this out just so your brain will kind of remember the different notes of the scale. If you ever get stuck and you don't know what notes will fit in the scale and it's a major scale, remember, use the pattern tone, tone, semi tone, tone, tone, tone, semi tone. This works on the black notes as well as the white notes toe, every single notes or in this 12 tone scale, this is basically the Western music. 12 tones, of course, Indian music and of a world musics do use different types of tones and scales. But for this we're just going to be looking at the Western 12 tones. It's called 12 tones because 123456789 10 11 12 notes in octave. So from sea to sea, 12 notes there on. This is the pattern we use to work out a major scale. So just try and remember this t t s t t t s to to tease s free teas s tone tone, semi tone, tone, tone, tone, semi tone. That way you can work out all the notes in a major scale. Hope this helps. And remember, if you've just started out writing music, I would just stick to the notes in the key. When you get more advanced or when you continue through these lectures, you can start to use more unusual notes, more unusual cords. But to start with, just stick with the notes in the scale. So thank you for watching. I hope you found this useful and I'll see you in the next lecture. 5. Perfect 5ths: Hello. This lecture is all about fifth on perfect 5th 1/5 is just the fifth note off Accord or the fifth note off the root note. The root note is basically just the starting note. The court note. So if you were in, see, this is the root note playing a C chord, and we want to find the fifth. We just go. Four notes. Find the fifth now off the scale. So see is one D is to e is free. F is four on Gs five. If we don't know their names off the notes in the scale, for example, we're starting on G. You might not know the G scale, the G major or the G minor scale, and you want to find the fifth. We can go up seven semi tones, a semi tone. It just one of these notes a black or a white note. So let's go up. Seven semi tones. 123456 on seven. So the day is the fifth of J. Let's try on a 1234567 So the E is the fifth off? A. It's quite simple to do you using a major scale or minor scale, a major core, that minor chord. The fifth is the same. It's called a perfect fifth because it pretty much sounds perfect. It's great for chords and harmonies, and it's really simple toe work out. If you don't actually know the notes of the scale, just use the seven semi tones formula to find the fifth. If you don't quite get it right and you get a little bit lower, it can sound horrible. So make sure you can't the right amount. For example, in a if you don't hit a you hit and the flat or D Sharp can sign. Quite bad. This could be commonly known as a tri tone augmented fourth or a diminished fifth. And this is quite advanced harmony. If you want toe, use these horrible sounding notes to create something that can work in your music. But for now, let's just forget about that. Basically, an augmented fourth is 1/4 notes or a day of the A, but a bit bigger, says the D Shop or diminished Fifth, which is the A but smaller So it's a D sharp or any flats. But for now, let's just look at 5th 5th a really great to start from because they're basically just time perfect. Which is why it's called a perfect fifth. So let's go into our digital audio workstation. Let's type in to see Andi. That's type in a date. That's type in a J. Okay, now we need to find the fifth of a C. If you remember i c major scale, it's a G. But let's actually count up seven semi tones just so we get used to doing this. 1234567 So it's a J. Let's do the same of day 1234567 sets in a on let's do the same of G 1234567 So that's a day. Let's hear this back. Oh, that's the sound of 1/5. You really have to train your ear to know the sound. One thing I like to do is just play the notes and try and sing in. What I actually want on the fifth is actually the same as the star was famous. So, bum bum. I guess that Letta s a so just remember that Star Wars fame to find 1/5. It's quite easy today. So is little patterns for each of the notes. For 1/4 I like to think of. Here comes a bright so it's boom bump of, um, on the fifth Star Wars. It's lows of other ones as well. We go over later. Six. My Bonnie fell into the ocean, uh, hand a few of a swell. That's basically how you can work out. Just think of the Star Wars theme if you need to write in by ear, if you can't actually work out or you want to just train your ears. Think of the Star Wars fame because that is the interval of 1/5. Or you could just count seven semi tones. Want to free for 567 or the fifth note off the scale if you know the key. So, for example, D Major, you go back to that lecture all about working at major scales because D E f sharp g a se de a shop G A. So you can work at the fifth there, and J the fifth of the scale is G on a B C D. Pretty much the same as the Sea, but it's got EFF shop instead of an F. But let's not worry about that from there. It let's just look at 5th 5th a really easy ways of just finding some nice harmony. So few bits stuck. You can't go wrong with 1/5 and octave. So the octave of see it's obviously the same note above same of the A. I'm sorry today and they'll say, Jay here. So we have to do is look at this now here. Just put it up of death on active that easy. Let's say this back. This is just a roots, which is the starting at the bottom note for court the J, which is the fifth of the sea and the roots. Well, stuff just start off route and fifths. And then we're going to continue in this course and look at some more complex harmony. But for now, just start writing with roots and fifths. It is a great starting point that is called a perfect fifth because is quite perfect works of major scales and minor scales. So thank you for watching this lecture. I hope you found it useful in this lecture. We've just gone through how to actually work out 1/5. We can do it by coming up to the fifth note of the scale. If we know the scale, don't know the scale, you can count up seven semi tones or we can think off the Star Wars theme to actually do it by ear. Uh 6. The 3rd: Okay, now we're going to have a look at the third. So the third is really the most important thing that determines our accord. Whether it's a major court or a minor chord, the roots or the first note of the court on the fifth could be the same in a major court. Onda a minor chord. But the third, depending what type of fed it is, will really determine if it's a major chord or a minor chord. We do get mine. If EDS on major feds. But let's go back to this pattern we looked at previously, which is tone, tone, semi tone, tone, tone, tone, cemetery. And this is the easiest way to actually work at what our third is for the key that we're in . Remember that tone is two notes on a semi tone is just one note. So that includes the black notes, which means chromatic Lee and dramatically basically means all the notes that there are in front of us. So Western music dramatically. There's 12 notes so C c. Sharp, d flat, Dee dee sharp e flat E etcetera. All of these notes here, let's go into our digital audio workstation and Let's start on sea on right out dramatically. What they're actually is so all these notes here. But if you want to use the pattern off tone, tone, semi tone, tone, tone, tone, semi tone, we were actually need to work this out in our digital audio workstation. So let's start on C. Let's go one tone So 12 then another tone one say Then a semi tone. Remember our pattern tone tone, semi tone, tone, tone tone, semi attain So semi tone gets us to f a tone g a tone want Teoh a and then atone to be on then a cemetery to say so. These are all the notes in C major contract this pattern to say d and this is all the notes in D Major. This is great in our general to actually just drag the pattern around. If this was it was actually playing this on the piano to transpose this, which basically means moved to a different keep be a lot harder than just dragging it around. We have to know what notes in the scale. This pattern here is quite similar to a guitar, though. If you have the pattern or the shape of the guitar. You can basically just transpose it by moving up or down. But some instruments. You can't do this, especially some woodwind and brass. You really have to know your instrument back to front, But on the piano roll editor, it's really easy to do. Let's go back to see, though. Okay, that sounds like a bit of a mess at the moment. If you hear it because it's just playing all the notes at the same time, that wouldn't be a very good cord is just too muddy, too much going on. So let's actually draw in here I c major scale, or C major chord. So we've got the roots, which is to say, on the third, So we just count up here. So 12 free just a on the 5th 45 which is the G? That's the easiest way to do. It's just basically just cowards up. Just remember, a traditional cord has the route, the third in the fifth. So just the first night we miss out one note. The next note. We missed that one note. The next notes quite simple today, and this is a major or a major third in the middle here. If we actually dropped this by one semi tone will make it a minor. And if we put the minor up by one cemetery will make it a major. If it's a minor there, you'll notice it's this note D sharp or e flat. And that's not in our scale here. So the moment let's just keep to our scale. So let's put it back to Hey, another way of finding out if I called is major or minor is to just listen to it. But listening to this does this sound happy or sad? It's a complete generalization, but major chord sound happy on minor called Sound sad. So let's hear this. So that is meant to sound happy. It's just direct this over and let's turn this into minor. The easiest way we we tend a major chord into a minor is to drop the Fed by one semi tone. So this should sound happy and then should sound sad. Let's just slow this tempo down a bit here. It gives a different mood. If you can't hit a difference at the moment, don't worry. With practice on time, you'll be able to hear the difference. So one way you can just do it just here. Is this a major or minor? So that's just sound reasonably happy on the 2nd 1 Should sound reasonably sad. Should be able to tell that that's a minor. But if you can't tell at the moment, don't worry it. Welcome to you. Eventually, there is another way of actually working out our major A minor courts on the major and minor fed, and that is five and four for Major before five for Minor. That might not make any sense of the moment, but it basically means five semi tones and then four semi tones to write in a major chord and for Minor writes in four semi tones than 57 tones. So if you start on C who go up five so five semi tones 12 free for five starting on the sea won t 345 We come to the A and then including the vig. Up 41234 it's a G. So 12 free for five. That's to say. Then 1234 will take us to a G. So just remember to include starting note. So one. Just delete these and delete these, having a draw in a major court on a minor course of one to free for five. Then count for 1234 That's our major chord. And now for a minor chord, it's four on five. So let's counts up for one, 234 12345 That sound minor chord. So whatever. No, it will start on. So let's start on D. So now we're going to start on day and use the same pattern five and four toe. Find a major chord or to write in the major chord on four and five for a minor chord. So these the ways have showed you so far. The one way is five and four. Form five. The other way is to just write in all the notes in the scale. You can work out which one's you need to butt in and live away. It's just to hear it. So let's just do this on deep. So five and 41 to free for five. Remember to current the first note and then for 12 free for and then minus 1234 on Major or the 5 17 12345 So this should be major chord in. This should be a minor chord. So let's hear the major and then going into the minor, you can hear the 2nd 1 does sound a lot sadder. You should be able to hear it doesn't send us happy. Signed a bit Moody compared Teoh this one. You've probably had major court on minor chords, hundreds, thousands, maybe even millions of times in your life and not really realized that this is a major minor. Okay, we do have something called augmented on a diminished chord. I wouldn't really worry about too much now. It's just a different type of cord. There is a pattern toe wet. Is that as well? I just show you quickly so or commented basically means a bit bigger. So that's five and five, and diminish means a bit smaller. That's four and four so quickly put in Diminished and an augmented court. Let's start with the augmented Let's go back to see delete these So augmented is 5512345 and then 512 free for five. This will give a different kind of san you might not be used to on their certain places. We can actually use this type of court, but for now, we're not really going to worry about augmented on Diminished. But let's just hear this augmented Good. You can hear it doesn't sound as nice. So we really do have to know are fearing to know where to put this cord. Now let's try their diminished. So that was four on 41 234 and 41234 Sounds a little bit odd. It can be used later on. But for now, let's just think about major on D minor courts. So, like I said earlier to change a minor to a major, it's just got to go up one semi tone and to change a minor to a major. Just got word that go out down 17. So let me just explain that in our digital audio workstation. So we've got dragged the saver see, let's make this a major. So 123451234 This is Major. I want to make this in mind. All we have to do So change the miners go down a cemetery on the third. Remember, The third note just drops one semi tone that will make it of minor. No, now this is a minor. And if you want to make the minor a major to change the major, just go up on semi tone. So all we have to do is get fed and put up. 70. This is a major, so the difference between a major and the minor court really is just the third. We can stack these notes as well, so we can put different octaves on. So could put this sea appear? I could put this G on top of a bigger Simon Cord is just the free notes, just in different orders of added an octave that sounds a bit bigger than so. We can create different sounds, especially in pop music and dance music. It really is just built around thes free notes in jazz music, or maybe r and B or music with kind of thicker harmonies. It does have more notes and more chords, which we look at later, but generally, if you want it to sound a bit jazzy, ADM or notes in the court. If you wanted to sound more simple, more straightforward. What kind of pop music? Dance? Music. I just stick with the free notes, so the root third on the fifth. So that's basically how you can work out major chord or a minor chord. It's all based around this fed. So if we go up, remember five and four major. So one 2345 to see a 1234 C E and G is a major court or major triad. Triad just basically means free notes on a minor. It's 41234 to C E. Flat 12345 and A. G to see the flats and G is minor. So minor tried or minor chord. That's basically how we can work out major chords and minor chords. Now we go to have a look at digital audio workstation, and now we're going to put in other chords on by writing that these notes here tone tone, semi tone, tone, tone, tone, cemetery trying remember that T T s T. T. T s so duties and s free teas and s tone tone, semi tone, tone, tone, tone, semi tone. So remember that we can write out all the notes in the scale, so C d e a breath g a B C. That's the C major scale. So if we start in the day, I'm just full of notes here. So remember, it's the first the Fed in the fifth. So 12 free won t 345 Let's hear this. Does that siren happy or sad to you? Do So is the first way of working out. Hopefully, that should sound a bit sad because it's that mind of called and they have a way of knowing it's a minor chord is to count up one to 34 sets, four and then 12345 So that's Form five on four or five is a minor, so that's a minor chord. So this is a D minor is in the scale of C Major because it's using the C major chords, but it's a D minor court. Let's try another one. Let's start on F. So remember F third and the fifth so 12 free, so it's adding this one, which is an aid, and then 12345 Theun see. So according to our scale here. The route is Nef. The third. His name on the fifth is a C. Let's hear this that sound happy or sad? Hopefully, this should sound a bit happier to you. Of course, it's a complete generalization, but this kind of like the way we can work this out also is to count up so one to free for five since five between Afrin A on the 1234 four semi tones. Any of these notes grammatically climatically just means all the notes. So it's 54 Let's have a look at this five and four, some major so f is a major. So we just made or wrote in F minor. And so I D. Minor and F Major and, of course, weaken. Stack these together and we know seem owners see major as well, because that's just root chord, which is just the 1st 1st note of the court. So let's put in these notes here. Let's start worth F major, and then there's type in the 2nd 1 if you remember, is called a D minor. So let's go back today it was four and 51234 12345 And then that's put in C, which is a major cause It's the scale of C major. 123451234 Let's just throughout this over how we can play this. To be on this, this note sounds a bit high, so you can put it down an octave. So we just find a never see Let's play this back. The best sounding chord progression, which just Siris of gods. But it works. Okay, let's put him a baseline now. So you can do is just find this pattern for a baseline. Remember this? What? C wasn't up here? The sea was up here before. That's just delete. All these notes are low ones. Basically, that's the easiest way of doing a baseline. So it's F d and C. Let's just play. This base is normally lower. So could drop this knock tive, so this should be a lot lower. We can even add a bit of river this just making it like some chords on the baseline just from what we did. Just working out the notes in the scale, working at the root for in the fifth and then put in the different chords together. The F nature, the D minor on the C major, We go back to here. Remember, we wrote out of C major scale. We could work out all the notes and all the court that go of C Major. Of course, we can use different scales. Different keys. But for now, let's just stick with this. Let's add in the fifth. So the fifth of Earth for N. C majors. 12345 Or we can work out this way. So seem F major. Five and four. 12345 So it's gonna a is a Fed 12 1234 and C is the fifth so f I see so you can use that. See if our baseline as well. So that's odd. And but down. Okay, let's do a similar kind of thing with a D. Let's use this pattern. Then let's go up. That's what you go down to the fifth. I think that sounded cool. Okay, so the fifth of D D minor, if you remember, says 45 but it doesn't really matter for the fifth. It's the same note for a major chord or minor call, but let's work it out. So we got one to free force a DNF 12345 A. So you can use the A and R guy slide. So let's copy this pattern. That's a on the sea, that she is. This pattern as well. The seas twice. 11 things you'll notice here. Just copy this over twice. Another thing we can date. You could just copy this over on because A is the same for major and minor. It doesn't matter that we copied over still a G, which is the fifth toe I remember. See, Major, because it's the first court of the scale. It's the root cord, So let's work this out. 12345 Seeing a 1234 g g should be Our theft has cut this over again. That's here. This with the baseline. No way is not the best kind of Ah, um, pattern in the world. It's not the best chord progression, but it works. That's out some drums in. That's if this works with the drums that's increased the tempo a little bit 100 bpm. Way to just throw together some courts and it fits us all and keeps all in tune. The baseline with 1/5 sounds fine along the date is throw on a drum. Get sounds all right thing where we did that, it's just to work out. What third waas And then we know it's a major or minor chord and to also work out all the notes in the scale with tone, tone, semi tone, tone, tone, tone, semi tome. Then you come out all the notes in the scale. After a while, you're just remember, you know, that C. Major is just the white notes, and then when you go through the ever scales never keys. You realize certain patterns, for example, D major as an f sharp instead of NF on. When you go through tone tone, cemetery in tone, tone, tone, semi tone, you'll realize these different patterns. And, of course, because we're using the piano roll editor, you can just go through and drag these up. So let's just do this now. Struck this C two a day, of course, means to the same of the base. So drug Elice Andi find the sea dragged to a date. Now that's here. This booth, it's the same pattern just a bit higher. Tone higher. Just two semi tones. Two of these notes on the side could do the same. Let's drag it down. Let's drag this down to a sharp. Let's find this pattern here. Oh, drag this down to in a sharp as well. That's a really quick way. We can write in some chord progressions that actually work. I've seen a lot of producers try and do it by ear, which can work a few ears trained. Well, you can write out the chords on their deadmau. Stirs a lot of this by here. But if you're new to music production, you're new to writing music. You will really need to know what you're actually doing. What the court names are, what notes go well together. You need to train years to realize that say this. God on this God Fit together might not be the most interesting chord progression, but it works, and it's better to have something that works. And it's simple and something that doesn't work all and sounds horrible. So I hope you found this lecture useful in this lecture. We've gone through the difference between major chords on minor chords. Basically, major chords are happy minor chords. Sad, really simple way of putting it. But the way of working out a major and a minor major is five and four, So count up five, including the first note on Minor is four and five. And if we write out all the notes of our scale of tone, tone, semi tone, tone, tone, tone, cemetery, please remember that DTs DTs. You get really quick it doing that, then we can actually work out all the all the cords that fit in our scale, which is really useful. We went over quickly, diminish little augmented. Augmented is a bit bigger. Diminished is a bit smaller. We look at these later run on the difference of how you can change accord to a major and a minor basically just dropped the third a little bit to make a moaner make a bit minor called a bit higher, referred to make a major, but this will come into place a bit later on, and that's basically it. So from this lecture, I recommend just going out or going on your digital audio workstation, writing in all the notes of your scale and just going through and drawing in all the possible cause you could use to remember the route fared in the fifth, Then try and work out. If it's a major chord or minor chord, the five in the four and if need be, maybe an augmented and diminished. But we look at this later on in the next lecture. Gonna give you really interesting pattern. Really call Useful pattern. We'll allow you to work out if record. It's a major or minor. Which cords go where in our key. So thank you for watching hope your phone it's useful and stay tuned for the next lecture. 7. Chords and Inversions: hello. In this lecture, we're going to be looking at chords on which cords we can use for our scale. So previously we looked at this pattern tone, tone, semi tone, tone, tone, tone. Semi tone on this was so we can work out all the notes in a major scale. So let's just quickly go back to that and I'll open up my digital audio workstation and let's just right in tone tone, semi tone, tone, tone, tone, semi tone to find the notes in our major scale. Then I'm going to show you a little pattern so you know which cord you can actually play with each note. Or which note has a separate cord. So let's start on C. Let's just draw in a few notes here. So we have C. Then we need to get Coppertone. So at the time, from C is day, Papa Tone is a tone toned and semi tone has tone G tone. It's a no tone is big on then semi tone see so tone tone, semi tone, tone, tone, tone. 17. Please don't forget that it's really bottom. And now if each one of these notes here we also complain accord so we can have major chords , minor chords and is even one diminished court. So if you remember from before, the pattern for major Chord is five semi tones than four semi tones. So let's just start on C. So one we know already that c major. So the first court is a major in the major scale. One to free 45 on, then 41234 Or you could be lazy and just hit the one here, Miss one outs. That's to free, Mr. Now that's five to the 1st 1 is a C major, but what other other ones? And they've actually come up with a pattern or this really simple pattern you can use to actually work these out. This might look a bit weird and mathematical, but the pattern is major. Minor, minor, major, major, minor, diminished major triangle is a major minus. Symbol is a minor on the circle is diminished. This might be a bit weird right now. I have also written out like this. The capital M means major. The little M means minor. The dim means diminished, so the first note is a major. Second note is a minor. Third note is a minor. The fourth note is a major. The fifth note is a major. The six note is a major at the seventh is a diminished than it repeats to the first again. So any scale any note was starting on any major scale. Use this pattern major minor, minor, major, major minor, diminished major to try and memorize this major minor, minor major major minor, diminished major. I've also put the room in numerals so one capital is major and a little lower case is minor on this little circle means diminished, says Major Minor, minor, major, major, minor, diminished major. So let's go back to able to life. So the first note is a C, which is a major. The second is a day, which is minor. Third is a A, which is minor. The fourth is Nef, which is F major. Then we have G major, a minor be diminished and see, Major, I know this because going back we know the notes of the off the scale here C D E f g A B C . Throughput is long here. So have C mejor de minor, a minor s major G major a minor, be diminished and then see, Major, I like to use these personally. It's very similar to kind of jazz lead sheets. They use thes symbols. A lot of people do prefer the capital M, and some people do prefer the Roman numerals. That's right. This in able to life so you can actually hear these notes. So there's two patterns you need to remember. Tone, tone, semi tone, tone, tone, tone, semi tone on the other one is major minor, minor, major, major, minor, diminished major on the other. One is four and five means minor, 54 means major and also form four means diminished. So that means five and four. So five semi tones from the route to the third and then four semi tones from the third to the fifth is major five and four major for five. Minor. Explain this again in able to live now, just from going a bit too fast, there is a lot of information to take in here. Yeah, try and memorize this as fast as you can. Major minor, minor, major, major, minor, diminish major and tone tone, semi tone, tone, tone, tone, semi tone because it's really important for writing music. Okay, so remember is major minor, minor, major, major, minor, diminished major. You probably won't be ousted. Its fasters may, but hopefully you should be able to learn their see No, which cords you can play in key. So in C major key now and the 2nd 1 remember Waas minor? So let's draw in the next one minor D minor. We could be lazy. Put all the notes on the side by doing tone, tone, semi tone, tone, tone, tone, semi tone. Or we can use the pattern four and five. So four semi tones and then five semi tones for minor. Let's do both for now, so you can remember by for them. So the easy way D and then miss one. That's the third. So one Teoh free is F now 45 is a really cheeky, easy way of doing it, or this is a mine. If we go back to hear the second is minor can actually account for one to free four just F 12345 Just a Now let's do the 3rd 1 12 free, which is minor. Let's have a look at the notes on the side. 12 free, just a so have a minus for 51234 12345 Remember to count the first notes. What we can just do this 12 free says E g 345 bay. Next is an F. Come back to this 12341234 to 1. Count up here or up here. So the 4th 11234 We're going along here, which is why the Roman numerals are quite handy because it basically tells us the names of the numbers. 1234 which is capitals or cattle and or going back to these patterns, he symbols 1234 It means major. So let's type in F major. The pattern four Major, if you remember, is five semi tones than four semi tones. A route deferred, five semi tones, third to 5th 4 semi tones or we could just be really cheeky. Just use them along here so free and then five, which is here. That's adding s'more tone tone cemetery and turned to intern cemetery alongside so tone tone, semi attain tone, tone, tone, semi time Okay, so let's draw in G. Actually, let's do that first f is five from fourth F. That's five won t free four and see. And now let's do G, which is 12345 The fifth or 12345 The fifth on 12345 which is major the case. So the fifth chord off the scale which is going along, is a G major. So the fifth note is a G, and we know it's a G major. So one still a lazy way. 12 free to G and the B and we have free for five and a day or five or four semi tones. So 123451234 Okay, now let's go up to the next one, which is in a way we can see on the side. No, on the A is the six, which is minor. Okay, so 1234 12345 or the lazy way. Want 12 free just to see 45 and a The next one is the seventh, which is a diminished. So diminished is four and four. So I've said it many times. But remember, major five, then four minor, four and five diminished for four. You need remember those patterns and also this pattern. Major, minor, minor, major, major minor diminish in major So I say it slower. Major, minor, minor, major, major, minor, diminished major. On the other pattern is tone tone, semi tone, tone, tone, tone, semi tone, tone, tone, semi tone, tone, tone, tone, cemetery. This goes up all the way. This, although scale through all the active these patterns. So here are the free ways of looking at major minor, minor major, major mining diminish Major. I like the top way, but I know a lot of people do like this Roman numeral way just because you can see instantly which number it is. The 7th 1 has this little circle, which means diminished such four semi tones from route deferred and never four semi tomes from third to fifth. So this is a bit of a weird one of Diminished wouldn't really stay on this court for a long time. It's more for passing chords, or if you want to create the kind of moody, angry, disturbing sound you might use, it diminished chord, but generally for pop and dance music, you will be avoiding a diminished chord most the time. So beats the 7th 12345 So 1234567 Starting on the C 1234567 So 12341234 We can just can't up on the side. So the 1st 2nd fed for fifth. So it should be a day on a F That's here. This back. Okay, then back to see Just say okay on the J. We can use this pattern any off the scale any of the keys ready so you can jump this up. Say we want to use D major That sounds called a cluster of all the notes At the same time, it doesn't sound very nice, but that's here, d major, so that they are all the notes of the major scale, which is the same aside, you probably had this little pattern as well Doh ray me far So Lartigue day. So if you sing that it naturally forms a major scale toe doh ray me far. So, uh, t dough by singing is quite terrible. hit my head. I can I can dio Let's go back to see Major So it's dough, right? And put this open octave. Okay, Says go ray me far, So don t go. So you really need to lock in that pattern off knowing what a major scale actually sounds like. So, for example, one the notes is slightly are you should be able to hear the deal was shopping. We will look up more advanced scales that modes minor scales. But for now, we're just going to be looking at this major scale. So from this little pattern major mind, mind the major, major, minor, diminished major. We know all the cords that fit in that major scale or fit in that key. So this is basically playing in key or playing the chords in key. So also, yeah, going back. Remember, this pattern is Well, Major is five from four. So from C, I got four for minor. I have five from Major. So one, 2345 a and then 41234 So when they're see Major, it's a note C e and G C minor. 1234 S, C E flat. 12345 g and C diminished 1234 c e flat 1234 and G flat. So this is how we know the difference between the major mining diminish. We can work them out. They do have different sounds. Generally, Major is happy, Minor is sad, and two Minutes sounds a bit odd as a complete generalization, but does normally work. Let's have a look at an example. Now let's have a look at Sung called Say It by Flume Phil Done shadows walking home, walking with a game on You want my kind classic mind and you look so fine calls. Welcome Bosie, if in the shade, and get your heartbreak so kind of free. Same for me. Don't know what I need You make me want Break my bed, Make me want to stay Can baby make me break? Make me want to stay So from here in that song should be after here. It's a nice sounding song. There's nothing really that's too weird or too unusual. It all fits is all in key, and from having a look at the cords, it uses a G, A D and e minor on the sea. It's just that repeated a lot of the time. The first called will be the cord of the key. That's a G. So let's just work out now if this is in key, but we can hear straight away is in key. We're going to go for him, work out if it's in key. So remember G d e minor and see. So let's go back to a pattern. Major, minor, minor, major, major, minor, diminish major on. We also need to work out tone, tone, semi tone, tone, tone tone, Cemetery four g major. You can just use this pattern we use before. Let's just direct this up to a J. Okay, this would give us all the notes now in the G major scale. Let's just have a look through here and see if the courts that flew Muse actually are in key on our in scale. We should be up to trainer here that that song is in key but is good to go through and just check on. One thing we can do is to make our own songs by using someone else's cords, rearranging them and adding new courts. Now we know what? Cause we can play in G major. We can add new ones, change them around so it gives us loads of new options. So going back to the courts was a c sorry g a d and e minor and the C to G D minus c. So let's have a look. Super G? Yep. And then day. Yep. That a minor And then see Okay. You should be able to train your ears to know which made a major a minor. If you're not quite there yet, don't worry. So it was one more time J D. C minus e. So let's go back to this major mind. Mind a major, major, minor, diminished major. So you have G Major a minor? We have B minor C major with C energies there in De Mate Major E minor F sharp diminished and then back to G major. So just linking this up, we know that all the cords actually fit in that song. What we can do is actually you some of his cords. So let's use the movie's over for a bit. Okay, So you had a G starts off with a G major, then D E. C. So let's just put in D, E and C. We know the pattern, so we just need to find the day here than a minor and then see Major, we can move some of these notes around just because he's got a really high up compared to this. So let's put this G appear so that they are the cords he was using. Obviously, he used and for much longer that weren't just one beat a time but say we could make this a over here. We could also add in a minor Good to see you. That's just delete these. Let's make our own little pattern, though, by using the courts from flume and just rearranging them to make our own courts. So if you're new to music production or writing music, I recommend starting off like this. You can use my music. Is that other people's music? As long as you that plagiarizing copy it, you could take inspiration ideas from people. Let's move this sale here. We're just changing the actives we allowed to do that. We can move the octaves around just because if the gaps are too big, it might sound a bit jumpy, so we moved them next to each other. Then we have this A We can move this a up here. Then we have this d minor and then this big. Let's just make this bay up here, crease at some point way. Compare that to the flume song. You can hear it in the same key. Sounds very different. We got the quicker kind of stab You grieve here, Theo. Quick wave confronts him, cause together weaken draw in the baseline here. And it's really easy way of just finding out which court Beacon used. So here actually moved from the notes around. It's easier to do the notes in the right place, but just looking at this, I know that this is a g. So for me, this back have g down here and then this is a day this is an a minor. This is any minor on this is a C, but just changed a few of the notes around made inversions, which is basically where we moved. The notes generally want the base to kind of keep the same. So the base here needs to be a B and then a day, so let's just draw this in bay than a day, are you? And going back, we had in a minor? No. So that's a really quick way. We can make me sick just from looking at other people's music. And after this, be hard, any minor, and then see you can hear instantly. That's the wrong night. Okay, I'm just going to drive this down inductive. Okay, let's Oh, okay, let's say this back way first isn't quite right. That's because the first note should be G. I played it in that as a bay there's no Golden rule would fit, but it wouldn't give the correct sound of the courts. Let's put it back on G. But this is a more advance way called inversions, where we basically take the notes of the chord and just swap them around. Ah, that's a really quick way. We can use someone else's music Inversions, a bit confusing, just starts with the cords in the just a normal position of root third and fifth. So let's put this G back to reach third and fifth and fed 50 the second cold as a day. So let's put this on a day enough. Sharpen a theme. Next chord Waas A minor. The next chord after this is Anemona. Next one after this is C might be going quite fast. But this is how fast you can actually gather If you learn major, minor, minor, major, major, minor damage. Major tone tone 17 17 17 If you learn toe, internalize that. Like if someone said to me now, I don't know, play the fourth chord and see, Major, I know instantly in F major, You just know what notes go well together. You just realize which cords actually fit and you just internalize these patterns. It's just a really simple way of doing. Um, I've got a little bit to advance view in this inversions, but basically what inversion is is you just move the notes around Just a match up here. There's a big jump. This is all this space here. So all of that is just move. Find this, Jay. Live up there in this less space. Same here. There's a bit space here. So on here, there's a bit space. I could move the seal, and now this less of a jump. It'll unless space so actually fits together a lot. Nisus, that's one inversion ist from this lecture. We've gone over the pattern. Major, minor, minor, major, major mind. Amish major. You need to get that fast. The really deep dish needs internalized major minor, minor, major, major, minor diminish major. So the first chord is a is a major. Second is a minor Fed is a minor. The fourth is a major. The fifth is a major, the six is a minor. Seventh is of diminished and going back again to the first, it's a major and everyone going back again. It's tone, tone, semi tone, tone, tone, tone, semi tone. So we need this pattern toe work at the the notes in the major scale. So tone, tone, semi tone, tone, tone, tone, semi tone, the matter where you are on the keyboard. If you use this pattern tone, tone, semi tone, tone, tone, tone cemetery, you can work out the major scale. Then, from that major scale, you can workouts, which cords you can play. It's a major, minor, minor, major, major, minor, diminished major, so it's really crucial gone over this a lot, but you do need to internalize. It might take a while just to remember tone tone. 17 2010 17 Major minor, minor major monument to make major, but you do need to memorize and everything is 454 Minor If you don't use this pattern if you don't write out tone tone. 17 dividends Having you didn't you Didn't remember four or five major five or four for minus 44 Diminished. That's basically it have also gone over inversions on looking at someone else's song to analyze someone else's songs. Look up the cords online is going Google and type in someone sung and flume in the courts, and you can see what courts people are using. Fine songs that you like and try and backwards engineer the cords that they use, and then you can go through right these courts out in your digital audio workstation and then swap them around, Move them about changed inversions. Obviously, they plagiarize, don't copy, but take inspirations and you can move these cords around. And this is basically how you can write chords in key. So if someone says that's not in key, basically means the courts don't fit major minor mind. A major, major, minor diminish major in the scale, of course, is other stuff like melodies were going to be looking at later on. But for now, this is how you write a diatonic chord progression. Diatonic means it's in the key. Chromatic means it's any of the notes, so this is a diatonic chord progression. So now you should know how to write diatonic chord progression and also move something notes around to create version, So hope you found it useful one more time. Just remember tone, tone, semi tone, tone, tone, tone, semi tone and major minor, minor major. Major, minor, diminished major four and four for Diminished four or five for minor on five before for Major. It's a lot to take in this lecture, so really in depth in detail lecture. But hopefully you should remember these free things. Major minor, minor major major minor damage. Major tone tone, semi tone, tone, tone tone. Cemetery for four diminished for five minor five before major and then you're sorted. You can write diatonic chord progressions. You know how to write cords for any scale or any major scale that you come across Later on . We're going to be looking at minor scales, and you're going to be looking out writing melodies. But for now, just remember, this is how you writes a diatonic chord progression in a major scale or major key. Thank you again for watching the hope you found it useful, and I'll see you in the next one. 8. Chord Progressions: hello. In this lecture, we're going to be looking at chord progressions. So called progressions are basically just a load, of course, be put together in our song. We can use different chord progressions for different parts of the sun. Or we can just use the same chords or chord progressions on a loop for at the whole song. If you're making electronic dance music. Ah, lot of the time it is quite repetitive. But you can put different chord progressions for OutKast song just to mix it up and to make it a bit more interesting. So let's go back to tone tone, semi tone, tone, tone, tone, semi tone. This is really important just so we can actually work out the notes we need for our major scale. So let's go back into our digital audio workstation, and soon enough, you'll realize why this is important for core progressions. So this time, let's start on day tone soap to a tone up to this black on F sharp semi tone to G tone, a tone to bay tone to this black onesie. Shots on semi tone to D. So this is a major scale in D Major six D E f sharp G a B c sharp d And now we can work at which cause we can actually right in this key. So we had day A f sharp G A, B C sharp D And if you and if you remember the pattern from before major minor, minor, major, major, minor, diminished major, we just link it up. So the 1st 1 D major e minus the 2nd 1 The 3rd 1 is minor F sharp minor, fourth major Mona Mona Major G Major Major. A major minor chairs B minor diminished. Just see Sharp diminished. We only really use this as a passing chord unless you want to create something purposely angry or moody. But generally in kind of purple dance music, you don't really use a diminished chord that much. And then back to the 1st 1 which is major. So these are all the cause we can actually use in our song in the key of D major Silicon use D Major E minor F Sharp minor G major, a major B minus C sharp diminished, maybe. And then, of course, back to D Major. So is loaded of different options. We can use. But which order should you put these in? It really does depend. There's no golden room, but there are a few different common core progressions we can use. So let's just look at this court pattern in a different way. So we have Major, which is the one minor, which is the second so e minor, which is the to F sharp, which is the free. Remember, the lower case is minor. Capitals is major on. The little circle means diminished. So a lot of the time when we talk about core progressions, we do use Roman numerals. So obviously, when it has the little Roman numerals, it means it's minor on the capital, which means it's major. There's a load of common core progressions that written most songs. Really, a lot of songs do follow formulas on have just put together some of the most common ones, and I go through a few of these in that digital audio workstation soon, So the 1st 1 is from Don't stop believing by journey. It's 1564 so it's a major one. So in that key major one as day and then five, which is a major so it's D and then a and then six, says D A B Minor says D A B minor and then four, which is a major because of capital. So we got D I. Let's go back to D A B minor on then. Jay. So you have D a B minor g d a b minor g so we can put that in tow. A digital audio workstation D A B minor g really common one. So let's just write this in so we have day start on day, so I just miss one out. That would give Root third and fifth. What we can use. The pattern. Five and four It was 123451234 Today let's go back. It was Day I B Minor J. We know this because it is 1564 So one D five a six b minor for G to D major. A major B minor G major. So that's right. This in D Major, A major B might naturally made a really simple That's putting everyone here a major, so that starts on a Let's get one that says see shop, and then we can add on tone tone, semi tones we haven't evocative as well. So just added tone tone, cemetery in tone, tone, tone, semi tone in D major. So it's two octaves. So I remember Just skip on out. So we have a day and then a we can go back to remember it's a major 123451234 Okay, so let's go back to this. So it was 15 have written, and now and then we want six, which is 123456 b minor needs. But now, so that starts on B. She has one above here. Remember, we can just skip when I fed on, then for the fifth, which is F sharp. Or we can use the pattern four and five. You can see here. It's a minor because their majors got more space there and less space. This has less space here, more space, but let's just come into as well. 1234 12345 So this is a B minor. It's just extend this site, okay, and then let's put in the last one. So it's 15 64 So Let's put in the fourth going back to this. We know fourth is a G. That's G major. So once you know this pattern, you come right out. Lows of core progressions. You can use other people's core progressions as long as you change the melodies and the style of it. But I could exercise is to write out a load of these common core progressions. Just see no what they really sound like. And then you can rearrange, move them about things, create your own. It's the last one was a J. Let's go to Jay here skittling out. Add on the tone tone cemetery in tone, tone, tone cemetery. So you have the time. Let's look at these here. Tone tone 17. Tone tone, tone 17. We're gonna zoom out a bit so you can see this here. So remember to miss one, so ever be. Then we have a date you can see here. There's a bigger space here in a smaller space, but 12345 1234 That's a major. So we've got a D major, a major, a B minor on a G major. Let's just play this on just going to stop all the lips on. Let's just play this one, okay? We can spread this out. Obviously, we don't need it that close together. So let's just spread these cords out of it. So no move. These two here. I made these along. Of course we can radical of these. Yeah. Wait, can just drag the saver. Okay. Okay. So Oh, sounds fine. It's not the most interesting thing in the world, but works. It's in key. It's in tune. It's a very, very common core progression. Oh, so you can use this 115 for so 1564 So it's major. One major five minus six on mindful. So it can do is take a screenshot some of these. If you want to print them out, put them on your wall if you're just starting out. So 156 for really coming one. The next one is 1645 pretty much the same. But we just swap in these around a bit. So 16 45 So in D major, 1645 So one is D six is B minor for G and five is a so day B minor J A. So that's going to our digital audio workstation. T b minor G A. So good to swap around here, everyone. You know the patterns. No, A goes at the end. No. So just move this around seven. It's, um oh, so G d major B minor G major. A major which is same causes standby maces 1645 So let's hear this back. This is just another really common core progression you can use. Oh, so just made a bit of a ribbon there just taken here. This works. This could be played in a dance song. You could imagine this science very generic. Very common. Yeah, it's not the most interesting thing in the world, but it will work. Just gonna delete some of these. Okay? And the number one is 156 free 4145 A bigger core progression. You may have heard the sun packing bells, cannon or classical song. Really common son. You've probably heard it hundreds, maybe thousands of times. That's the core progression that he used. Of course, there's the blues, which is 1111 What for? For 115511 You've probably heard that hundreds of times as well. So it's just the 14 times before the major fourth, twice with one twice more, the major fifth and then twice again. Then we have smoke on the water or the Purple haze port chord progression, which is 245 really common one. That's just put the answer to form five. I wouldn't know already to form five in D Major is a minor, and then is G G major and then a major. So a minor G major a major mere minutes realize that Let's just go back just to check. So a minor g major A so di basically just d g and a sorry e minor gene A starts on that. You can put the date you could have De Jean a e minor June A. You could have f sharp minor B minor. Um, a major. There's no real relief in just flipping around. Put what you want. I'm gonna make one up now that start with a minor. Okay, so we know he minor starts on a then skip on that such a G, and then one expects to be, so you can tell this is a minor because the gap smaller 123412345 So I got the one. Now that's pullin well, the first call, which is the minor. Let's put it in the, uh, It's putting six. So be minor. Okay, so sort of that on. Let's put in day the major, the one. So skip one out here. So it's 12 free and then 45 just on you can tell us is a major, because that's bigger. 123451234 Let's put in two more now That's been the C sharp diminished. Just for fun is a leading cord on. Then finish on the A. So she see shop into a no. So let's move there, see shop, then you're gonna miss one. So it's 12 free and then for five on the J. This might sound a bit weird, but it's a leading cord, and then we're going to finish on the five, which isn't a major. Okay, so that's just right this over and then find a major. Okay, miss one out. So go to the C sharp. Missed one out. So we go to the so. 123451234 So here we've got a minor B minor, bit more mind sounding D major C sharp diminished the weird one for 412341234 Then a major . 123451234 I just threw this together just by looking at these hand just picking whatever. Of course, there's the common ones at this 156416451 56 Free for one 45 at the Blues. 2455 for one, Which is sweet home Alabama or sweet child of mine. But these are just a guys I use whatever you want. Use whatever you think. Sounds good. There's no Golden rule, so that's just create little rhythm here. Quite like to have a ribbon before, Okay? No, no. Okay, let's hear what this times like with their drums as well. Just a put some chords in really quickly. I know it's going to be pretty much in tune. It's gonna sound a bit weird at the end. That's just a leading court. I might even just put one stab there just so it comes in quickly and there goes, let's say this seashell wonder. Same pretty weird but Sunny. There just is a little leading corpse. You could leave it. I probably won't put that in. Let's change this to something. Sounds a bit mawr usable. That's changed this to F Sharp Minor K, the third on F sharp minor. So let's go back on. Let's go down, Teoh F Sharp, Miss. One out. So it's a miss one out. See shop. Oh, I still don't like that. I think the fourth would sound good. G. Let's try that. So it's all about experimenting and just going in and trying stuff out. So 12345 that needs to be up there. 1234 way even change. The five at the end doesn't have to be in a. We could put it back on the G. Let's try that way. Just copy. It's over. It doesn't really sound as good as the other ones because they have ones. We've actually heard hundreds thousands of times thes really common ones here. This is why these sound good, because we're just so so used to an idi work that the way they've been put together just works. And that's why they're being used so many times. So I'd say it's go through these most common ones. 15641645 and then maybe the 245 and then the 541 go for these, right them or that like I did and then just experiment, move stuff around and try and find your own core progressions. So this is basically what core progressions are just a bunch of court put together effectively. But you do need to write out tone, tone, semi tone, tone, tone, tone, semi tone until we internalize all the different notes in a major scale, for example, you should know a C major. It's just all the white notes, so maybe you don't need to write that out. You just know all the notes aren't sharp or flats, so you could do that quite easily on then you could go through Andi workout with major minor minor major major mind diminish Major. So see major D minor e minor F major G major a minor. Be diminished on back to see. So if you work the sound every single key, or at least the most common ones, the ones you might want to use. Stop C major that may be going to d major G major a major and then experiment. You can use the black notes as well. Don't be scared of using the black notes. This is basically how you can work out the chords you can play and then put together a load of different core progression. Start off of the most common ones and then feel free to experiment, move stuff around, try and stay in key for now, to try and use the courts that fit in the key. Then later run. We get bit more advanced. You can experiment with different chords in different keys. But maybe wait a while until I explain that a bit fair run for out this course. So thank you for watching this lecture all about chord progressions. Hope you found it useful in the next lecture. We're going to be looking at inversions 9. Inversions: Hello. In this lecture, we're going to be looking at inversions. So inversions is basically where we move certain notes off the court, up or down on active so they blend together with the core. Next, them a bit nicer. So wrote in this core progression in the previous lecture, which is one of the most common core progressions. 15 64 So it's a major one major five minor, six on major for you can hear it's quite jumpy, cause jump up quite a lot. You can see all this space here and inversions is where we basically just move some of the notes around So they fit together a lot nicer blend. It's a lot better and just sounds slicker and more professional. Really. So what we can just do is we've got is a here you can just drop this down unlocked. If we can do the same of the sea shop on that when we go between these courts, you can see instantly. That is just gonna lock in a lot better. And we've also got a continually growing for out. Come here. It's a lot. So if we go back, jumped up quite a lot. Okay, let's do the same here so we can keep that. Be there. Let's move this D down active. Let's move this shop down. Active. You can see it. Just still go up a bit, but hasn't got that big jump. You could move that be down here as well if you wanted. Let's move the baby down and see what that sounds like either. These work. Really? So I'm gonna keep the G there. Let's move the be on the day down. So inversions is basically just moving some of the notes. Oppel down octaves, airlock in bit better. It's a really simple way of doing this. You can even write in bass notes Now. Could keep it as it was before. So we had the day. Let's just put this down. No. And then the second cord was five to the key of D Major. The fifth is a name major, so we can go back to a okay, and then the next one was six on in D Major. The six is be Mata. So let's find a bay on the base. No, full of this pattern as well, so it looks a bit better. Okay, and then the last one waas before So in D Major. The fourth is G major, so let's put that as a G. You can hear that still works fine. We've got the original bass note, the original route notes. So it's the bottom one. Off the court. We get different names for the inversions well, at first inversion second inversion, but wouldn't really worry about that. It's more about just making it sound good, moving them open down, the operative so fit, since it blends a lot more. Rather than being really jumpy, it gives us more options as well. I can see here the route now at the end is a B, so let's move this up to be just here. If this works that works, we can even leave it to this root note. See shop, and we get kind of a different sounding court Now gives a lot more options when using versions could really just change the base. Now this is still in a major, but kind of doing a major thirst inversion because of C Sharp is at the bottom rather than the A says different ways. We can actually make the court sound and gives us more options and color in our music. This is really great for baselines. Like I said, l you can change the baselines around. We can leave the baselines and reposition completely up to you. I'm just gonna put this back into reposition where it was before. So we had a day, then we had an A and looking at this b minor in this one, we've got a G major. So once you get used to playing these chords and right now, it cause you could just instantly see that this is a G major, it might take a while. I'd start off just working out slowly. It is not really a race. It's more about getting your music to sound good rather than just trying to put as much music as possible. Really? So let's just copy these over, then I'm going to actually put in the pad part. Okay, so this is the part part, and there's a lot more sustained on this as well, so we can drag these outward saying good. You'll notice that this a Actually, it's in both of these courts. So what? We can dio just have this a going along all of them. This is saying great in held chords or any since that have a lot sustained. So these don't actually have anything, so you can there. These here can change this inversion as well. The inversions don't have to be the same every instrument. So let's put this up to obey. Track this across. Okay, let's do the same. You notice there's be here as well. Both of these that has the same shared notes so we can direct this across this note slightly different. This goes to a G. So let's get rid of this. And this goes to a day to inversions. Allows us to find the courts that basically go more than one court and just have this goon across. Maybe not for stab sounds or piano sound, because you want toe re attack the sound but court or pads This come work great. So let's hear this in the mix as well. That's just to wrap this to the right place. Okay, let's hear this That's triggered. This just instantly created a song that links to govern signs. A lot more professional, noted previously before is a bit too jumpy. It didn't really sound that fluid now it links a lot better. It's great for pad sounds when you use inversions so you can actually share the same note in one or more courts to several of these calls could use Now. You could even use stuff like pedal notes. We just keep the continuing note going across, and then over parts of the notes actually change. We look at this later on, that's a bit more complex, but really, you could, for example, move this day o pe a and have the d going all the way across. And now we've got a different kind of court going on. But then you will have to go back to this one and change the 2nd 1 to a date. Let's hear this way could even be at the top is well, but we're going to continue looking at this kind of stuff. But this just gives you some options of what you can actually do, which is holding these notes and changing these inversions around. I'd start off just keeping it really, really simple, and then later run well, actually go in and we make a bit more complex and add some kind of color on more flavor to our cords. But for now, this is basically how you work out all the scales in a major scale. It's all different courts. Sorry in how major scale. So if you follow the steps have showed you in the last few lectures, you should know which cords you can put in a. Now you we've gone through some chord progressions on also have gone over some inversions. So you should start to be making some music that actually sounds in key and quite musical and could be used as a regular son. Doesn't sound too all over the place locks in a lot better. And when we continue through this course, we're going to be looking at some more complex harmony. So stuff like seventh chords change. You go around customizing your tracks a bit more and also melodies. So thank you for watching this lecture all about inversions. Hope you can use this to actually change some of your cords to make the flow a lot better and just sound a lot more professional. 10. 7th Chords: Hello. In this lecture we're going to be looking at seventh chords. So previously we looked at building of cord of the route, the third and the fifth on. Now we're going to have a look at seventh chords. Seventh chords is quite basically just adding 1/7 note off our court. We do have free different types off. Seventh chords were going to be looking at a major seventh, a minor seventh on a dominant seventh. So going back to tone, tone, semi tone, tone, tone, tone, semi tone, this is how we can build all the notes on a major scale. And also, if we have a look at major, minor, minor, major, major, minor diminish major, we can actually build the cords from an major scale. So if we in C major, we will have a C major chord in the second will be a D minor, a minor f major G major, a minor be diminished and then back to see. So we do have three different types. The major seven, the minor seven on the dominant seventh. So basically, if we have a major chord, it will be a major seventh, quite literally. Just the seventh note of scale. And if we have a minor chord, it will be a minor seventh if you want to stay in the key, which we will now, and they have one that is called a dominant seventh, which is quite strange. But in our scale, the fifth note for the fifth court in the major scale will give us a dominant seventh. Might be quite a strange term, but it basically means a major chord, but with a minor seventh. So let's go into ableto life, and I'll explain a bit further the differences between a major seventh, a minor seventh and a dominance, Um, and what they actually sound like how you can use them in your music. So let's actually draw in tone, tone, semi tone, tone, tone, tone, semi tone to create a major scale tone, semi tone, tone, tone, tone, semi tone. So here we have a C major scale, so let's draw in a C major chord. So remember, it's the route third, so just count up 12 free on then 5th 45 So it's the sea A on the J. Let's add in the second, which is a D minor So we have the route furred and then the fifth Cancer up one to free for five. So just using the notes that in the scale on Day one was a dominant seventh, which is the fifth note or the fifth chord of scale. So if we can top 512345 this is a J. So that's adding a J. And then we have 12 free. Let's continue this scale up here to atone. Turn 17 tone tone turned seven time, and so we have one to free for five since this cold. So all we have to do is just add on the seventh notes. If we just look on the side here, we have the notes of our majors girl. So we have 1234567 So this will give us a B. So the seventh of A C is a B on looking at the note above, which is the active. It's just one semi tone between them, for so for a major seventh. The gap between the top note the active in the seventh is just one semi time. Let's have a look at this D minor seven. So we have 1234567 So to see on the octave above the roots which is a day is here. This is a big gap in see here this is 1 17 and this is two semi tones. So a major seventh has the gap of two semi tones you can quickly see here. This is a major seventh and this is a minor seventh. Don't forget, the 2nd 1 is actually a minor chord. So this is a C major seventh because it's a C major chord. We have also 1/7 which fits in the scale, and the second is a D minor chord of a seven. So c d minor seventh and the third is a G major. But like I said before, we have a minus seven. So it's a G major minus seven or called a dominant seventh. So, basically, let's add on the seventh notes. We have 12 free for 567 will give us this F. So this is a G Major Cordova seventh and the gap between the seventh on the route, which is a J, says one, 22 semi tones. Same is the minor, so it has a minor seventh. But some major chord just called a dominant seventh. The only one in the scale is the fifth gold. So just remember, the fifth is the dominant. So let's just play these free and you can hear the difference between a major seventh, a minor seventh, and the dominance of that's the major seventh we have a listen to this again gives us a bigger, richer sound them about the seventh. I'm with seventh. Oh, sounds a bit jazzier, I guess you could say just a bit wider, more color. So it really depends on what type of music you want to create. One. To create something that sounds a bit jazzy, orbit more color or depth to it. Maybe consider considering adding a seven or a major seventh. This one is a minor seventh. Oh, some of the kind of thing sounds a bit more moody to me than the major seventh. Let's take off the seventh. This is with the seventh. The best thing to do is experiment yourself. Go in and just play around with the cords. Maybe try them. It's 1/7 and just usual ear and see which one you like the best. Now let's try the dominance of this one. Sounds quite jazzy. Two to May on without the seventh with the seventh. Yeah, so this is so This is basically how you can build 1/7 into your court. So just remember, if it's the fifth chord or the fifth note off the scale, it will be a dominant seventh. So it's a major called of a minor seventh. We know it's a minor seventh because there's two semi tones between the seventh and the root note off the court for minor chord. Well, we have to do is count up seven notes of the scale with a key Berin not off their of the court. So seven notes notes off the key so used tone tone, semi tone, tone, tone, tone cemetery to find the notes off the scale, Then just count up. The seventh note on this will be two semi tones away from the root position off the court also, So if we're d minor should be this one here, which is a C and then the major seventh has just one semi tone between the Route seventh and also the active off the roots. So seven notes above the route give us the seventh on its just one semi tone between this on the active off the route position. So this is basically what seventh chord is, how you can use it. Your music. So just remember, an example of a major seventh in C major is of course, see, Major seven on this is how we write it. Just an A J seven. You can also use a little triangle. This is more. The jazz kind of were writing it. But if you see a sea triangle on a seven, this will mean the C major seven minus seven. You're right, I m I n omens d men seven SD minus seven And this could be used as a little dash like this . But this is more jazz music on then. Dominant seventh is just G seven. So if you in there the scale of C major, the fifth chord. The fifth note is G on. If you want to turn this into 1/7 it will be a G dominant seventh. So it's basically a G major. My seven. There's a G major call of a minor seventh, but you wouldn't really call it that. Call it G major minor. Seventh is a bit long in a bit complicated. Just G seven is what you call it. That's basically the terminology, is a dominant seventh G seven. So this is basically how we create major minor sevenths and dominant sevenths for our music in our scale. So just remember to go back to tone, tone, semi tone, tone, tone, tone, semi tone. I've said it 100 times, but this will allow you to work out the notes of the scale. That way it's really easy to build your seventh chords, and eventually you will just internalize the notes in the scale. See, Made is quite an easy one because it's just the white. Now it's But for example, if you're using D major or G major or F major, there's a few differences that you will need to look at and using this pattern tone, tone, semi tone, tone, tone, tone, semi tone and, of course, using the major minor, minor major major minor diminished major toe workout, the court types and then it's really easy from there, just used the notes of the scale buildup as 1/7. And now you should know the differences between a major seventh. A minor seventh on a dominant seventh. So thank you for watching this lecture. I hope you found it useful, and I'll see you in the next one. 11. Perfect 4ths: hello. In this lecture, we're going to be looking at perfect fourths. So previously we had look at perfect fifths on perfect fourths quite similar to perfect fifths. That basically means they can fit in a major scale or a minor scale. So in C Major, before fun up will be an f Remember to go back to tone, tone, semi tone, tone, tone, tone, semi tone, toe work this out. You really do need to internalize this. It basically allows you to work out all the notes in the major scale. So that's hop into able to live here and have just written in the pattern tone, tone, semi tone, tone, tone, tone, semi tone. So the fourth currency major is 1234 eyes. This F on the fifth note is this. G thes are both perfect fourths and fifths, So this means in C minor, it will have an F, N, G and C major. It will have an F energy. It's just the way of saying it will fit in a major scale and a minor scale, so the fourths are quite useful. We don't really use them for building cords, but the really useful for inversions. So if we put down the route, which is a C on the fourth, which is 1234 and f, this is the interval of 1/4. But if we invert this so if you put the F down here now, no, this actually gives us interval off a perfect fit. So this force a really useful for actually creating intervals. You'll hear that this gives a very different sound. Get the right note so we count down this way as well. So if you continue the pattern well, you So it's 12345 It's 1/5 darling. So above is 1/4 up 1234 F on below 12345 It's 1/5 down, so if you flip it on inverted weaken, turn this fourth into fifth. Thats gives a very different sound to us. Just gives us a few more options when we're adding and inverting cords. Just remember about the perfect fourth. You can use it in both a major and a minor scale. So that's it for this lecture. I just wanted to show you how you can use 1/4 in your your music and writing courts. Easiest way I like to do this is true inverted. Put it down on active and then you've got a fif, which can be quite useful one building and creating different sounding chords At the moment , we've got quite rigid sounding major, minor, minor, major, major, minor, diminished major courts. But if you want to experiment and try to new different ideas and vet in the fourth, I can give you some new flavors and textures to your cords. Of course, you want to try and stay in keyed for now. If you're new to music, very the experiment and try new ideas unusual here. Most importantly, theory does help. If you don't manage to train your ear, you don't write the music that do you think. Sounds good. There isn't really that much point, so just go through an experiment on one of the easiest ways you can do this is putting in the fourth and then dropping it down an octave below the roots. This way you can create some new, interesting courts, so let's write in a C major here, so we have the route the Fed in the fifth, so it's 12345 Count up River major scale here. And if you put the F down here, a complete, different sounding court take out there, they're still fits. Gives a really different flavor to our court. I could even add this see below? No. So this just allows us to create some new interest in ideas, because if we just keep it too rigid and too obvious, not really creating anything that's unique or just sound a bit different and interesting for the listener on this is an easy way, and a little cheeky short cut of doing this is sticking the fourth. Drop it down, octave. An experiment of this as it's a perfect fourth similar to the perfect Fifth is going toe almost fit all the time, so it gives us loads of new options to work with. So thank you fortunate lecture, and I'll see you in the next one 12. Minor Scales: Hello. In this lecture, we're going to be looking at minor scales. So previously we had look at major scales how toe work at a major scale have tone, tone, semi tone, tone, tone, tone, semi tome. We also had a look at some major core progressions and how to work out which court you can use in major scale. Now we're going to be looking at minor scales, minor scales, concave, a different sound, a major scale. If you're writing a lot of dance music Onda electronic music, you really want to know how to write minor scales as well as major scales. Just because you've got a minor chord, this doesn't mean it's a minor scale. You can get minor chords in a major scale also. So going back to major itwas tone tone, semi tone, tone, tone tone, 17 toe work at a major scale. I'm sure you're sick of this name, but you really need to internalize this. Just taken, get the basics of working out of major scale and then let's have a look at C major on from this, we know the notes in C major on the different types of courts, so he knows if we're sticking to the scale, we can explore new scales. We don't have to stick to the scale. But if you're new to music theory, it's a good idea to know the basics on to just stay in key and just use the notes on and the cords to start with on. Then when you get bit. But when you get a bit more comfortable and you kind of want to explore new ideas, then we're going to be having a look at changing key modulations and moving keys. Andi created some new experimental ideas, but for now, let's just stay in key. So we have seen Major. This triangle means Major. This dash here means miner this circle means diminished to see major d minor e minor f major G major a minor. Be diminished and see majors. That's basically a major scale. You can shift this up so to do major E major F major D flat, major loaded, different scales and this is the major pattern. So now let's have a look at the minor pattern, easy thing to do. We can actually change a major scale into a minor scale by flattening the third six on the seven. So this basically means we take the note here. Just put it down. One semi tone. So if we have C major, the next will be C D E f g a beat and see. So if you flat in the third will be e flat or the shop, but generally in this scale, its new flat. So you have a flat and a flat on a B flats. Let's just hop into able to life now on our right at a major scale, and I show you a really quick way of telling this major scale into a minor scale. And that is by flattening the third six on the seventh. This would create a natural minor scale this other types of minor scales going to look into later on, but the natural minor. It's kind of the standard minor scale. So if you recall its tone, yeah, tones, semi attain tone, tone tone. 17. So this is C Major, and to turn this into C minor, that's just right here next to it. So same kind of thing we have to flat in the third. So here's the third, so just one step below make this notes. Then let's continue on. It was six as well. So just flattened this. Yeah, So is this note on flat in the seventh? So is this note so you can see quickly way have the first notes. The second notes flattened. Third note, the fourth notes the same fifth notes the same. Then we have the flat and six flattened. Seven. Same of the active. So this will play a major scale festival of that in mind scale after it's a big cluster at the moment, so you can't really tell, but let's just move this along. So this is a scene may just go Then we're going to put in the C minor scale straight after hopefully be able to hear the difference. The major scale generally is happy ever over. Simplification on the minor scalp is sad. Okay? To slow the tempo right down, I'll play the major skill and then the minus girl straight after listen for their third, the six and the seventh note. You can hear it slightly different. Just get that minor should here. That's slightly different, just by flat in the third of six and seven. But they create a completely different sound. If you want to create generally dark and music, it might want to use a minor scale. But like I said in a major scale, you still get minor courts. So, for example, D Minor, a minor on a minor in C major. So this is kind of the quick, short cut way off writing a minor scale to write a major scale flatten deferred flat in the sixth and flattened seventh. All we can use a pattern tone, semi tone, tone, tone, semi tone, tone tone. You might want to write the start or remember this so tone, semi tone, tone, tone, semi tone tone tone. So you can use this for working out of mind scale as well. So its tone, semi tone, tone, tone, semi tone, tone, tone. So this is very similar to working at major scale. We just use a different pattern. Such tone, semi tone, tone, tone, semi tone tone tone can use it here. So tone, semi tone, tone, tone, semi tone, tone, tone. So you see, minus girl it will be see day, a flat F G a flat B flat C. So this is the basic pattern of working outs. This pattern actually repeats round. So if we have a look at the major pattern tone, tone, semi tone, tone, tone, tone, semi tone on the mine, a pattern tone, semi tone, tone, tone, semi tone, tone tone you see it's just the same but shifted over. So the minor scale has the major scale starting here. So it's just the same pattern that shifted around. We'll have a look at this in more detail. When we look at core progressions, it's just a Siris of patterns that shifted in a different position. This basically how you can work out a minor scale. So just try and remember this tone, semi tone, tone, tone, semi tone, tone, tone. This is how you can work at minus coffee. Know how to work out major scale. It's the same thing, really just the same pattern in a different order. Or if you want the cheeky, easy way, just flatten the fed flattened six flattened seventh and that will allow you to rights will convert. It may just go into a minor scalp. This wouldn't give you the relative minor. We'll look at relative minor later on, so each major scale will have a relative minor so kind of the minor equivalent. But for now, just remember this pattern tone, semi tone, tone, tone, semi tone, tone, tone, toe work at a minor scale. Or you can flatten, referred, Flattened six flattened, seventh to turn major scale into a minor scale. So thank you for watching this lecture. I hope you found it useful and just try. Remember these key takeaways? Like I said, minor scale pattern tone, semi tone, tone tone, cemetery tone, tone. I'll see you in the next lecture, where we're going to be looking at minor court regressions and how to work out the different chords you can get in a minor scale. 13. Chords in the Natural Minor scale: Hello. In this lecture, we're going to be looking at minor chords so previously reused a pattern toe, work out the major chords which waas major minor, minor, major, major, minor, diminished major. So this allowed us to work out which courts we play in the major scale. So, for example, the first night will be a major 16. It will be a minor and so on and so forth. But we also have a pattern toe work out a minor scale. This is the bottom. So the pattern is minor, diminished major, minor, minor major major than that repeats. That's basically a similar kind of thing for major scale. So if we're starting on C minor, the 1st 1 will be a C minor. Then it will be de diminished. E flat major F minor G minor, a flat major and then B flat, Major and Simona Remember before toe workout. A major scale. It's five semi tones from the route to the third and then fourth semi tones from the third to the fifth toe work at a minor called It's 4 10 semi tones from the route to the third and five semi tones from the for to the fifth and to work at a diminished chord. It's four semi tones from the route to the third and therefore semi tones from the third to the fifth. So you can just write out some of these right now. Let's go into able to life. It's the 1st 1 is seat minor. So we have to use this pattern, which is tone, semi tone, tone, tone, semi tone, tone, tone. So let's use this to write out the notes of C minor. So its tone. All right. Seven time tone, semi tone, tone, tone, semi tone, tone, tone. So its tone. 1st 1 cemetery tone tone, semi tone tone. And these are the notes off C Minor, sometimes able to live or other digital audio workstations, will write sharp since to the flats and C minor. Really, it's Annie Flats and a flat on the B flats, but it's the same kind of thing, really. Efforts, a sharp or flat is just written differently, but music theory terms a traditional music very person with Jem really wants this written flats. But if it says sharps, if it sounds the same, it's pretty much the same to these other notes that we're going to use. So the 1st 1 is the sea that starts in this. Now here we can work out. Like I said before, by using this pattern. Minor diminish major, minor, minor, major, major, minor. Or we could just go through the courts and just work out. Really. The route differed in the fifth on because a lot of time see if it's a major chord by the spaces or minor chord or diminished chord by the gaps between the route, the third and the fifth. But I show you on here also. So the 1st 1 was a C minus, sir, room to free. So this is the third for five. This is the fifth we can't up here. 1234! 12345 That's four and five the distance. So that means it's a C minor. Next one's this note. Here it's 12 free This note here 45 That's not here because instantly see this is diminished because the gaps smaller can also count. 12341234 So this one is a D diminished. Next one is this note here Just a day shop or in a flat. Don't worry too much. If you're getting confused about sharps and flats, they basically mean the same thing. They're just different names for the notes. One to freeze. It's this one here. You can see now that this gets bigger, so this must be a major or augmented. You never know. Augmented is five and five, but it's not. It's a major, says 345 This one here, that's 123451234 So this one is a DIY shop or in e flat major. Next is this F one to free? So this note here G sharp or a flat? 145 Just this one here can see. Now that's quite small. That's quite big zits. 123412345 So that's F minor. Next is a G No. 12 Free This note. Here. We can just continue this passing up here. So to write that in, I went quite fast. I just used the pattern tone, semi tone, tone, tone, semi tone, tone, tone. That's how come right in a minus girl. When you start doing this a lot, it'll just become second nature. You won't even need to think about it just right in the scales right in the court. And you just instantly know. For example, the fifth chord off. C Minor is a gym owner if you're in a minor scale, but in the major scale, the fifth chord of C major is G major, but you're just understand after a while it just from a little bit faster. You get a bit quicker every single time, but it does take practice, and you do have to kind of go in and do it a long, hard way to start with that. Eventually it will just become easier. Like any skill, any sport, any art, anything like that. The first few times you try, it's quite difficult. After a while, become easier and easier on once you've done a lot of times, it just becomes second nature. Really? Okay, so fifth off the G. So it's 12345 Is this d here? And this is a minor. We can tell by the gaps. 123412345 So in the moment we've got C minor de diminished a flat major f minor and G minor . Okay, let's try this E flat a flat since one. It's free here for five here. That doesn't look quite right. One stuffs on this nice. Yeah, yes, I want It's a phrase that's the sea 45 So I knew that wasn't right, because it created a diminished shape, which is four and four semi tones. The route to the third for Cemetery referred to the 5th 47 times, and I know there's only one diminished chord and a major scale. So I knew instantly just by looking at the shape of that here. And get that that wasn't right. So a lot of the time you will make mistakes like that, but just work out. Go back to this. Go back to this pattern. You could just work a flat. OK, so that is a major. So that needs to be a major shape. Now it's a major shape. You can tell by the larger space there on. Finally, the last one is this I shop or B flat. It's quite hard to match up when it's this far away. Sometimes you might make a mistake. The good thing is, when you move your pencil tool or your curse, it'll it will tell you on the side of able to life anyway. What? Natural? Actually hovering over. It's one to free. That's full five Comptel instantly. This is a major. So this is a B flat or a shot, major. So just by looking at this, we can tell minor diminished major minor Marta Major Minor. Let's check. Minor, diminished major, minor, minor. Major. Major, let's just have ah, listen to this. Move these arrows here. Yeah. Oh, put a different sound too. A major progression. A lot of the time, you wouldn't really use a diminished chord. You can use it as a passing court. So you've got a sequence. Of course, you can play in the dimension really quickly or if you're making, say, really purposely angry or disturbing music. So if you're writing music for TV or film, this may be a horror sequence or some kind of dramatic seeing going gun. Maybe you could do some minor calls, but generally, especially in a lot of dance music, you just want stick with major and minor chords. But using these core progressions for a minor scale, you can create different sound. Generally more moody, darker can create more kind of depth to music. A lot of the time, I do like to write in major major scales on minor scales, but is worth experimenting with both and just seeing which you like. But to start with, I'd recommend writing all of this out, working out the course just so you know what the cords are, where they are getting used to these patterns. So if we look at this pattern here of working out a minor scale actually the same as a major scale pattern but shifted along, so ignore these last ones. This is where the pattern repeats. So we know there's only one diminished chord in the whole of these patterns, so we could just work out from the diminished courts. So if we look here, it starts minor, diminished. Major, minor, minor Major Major, This is the minus girl. Minor diminish, major, minor, minor major major. So what we can do? It's just Kevin tough. We can find it here. So this is the first note so you can just count up. 123456 to the six Note off a major scale is the minor scale. So this is also how we can work out the relative minor. So each major scale has a relative minor. It's basically the minor equivalent off the major scale. So if you count up six notes in C major c d E f G A. This is a minor on the relative major of C major Relative Minor of C major is a minor. So basically, I'm just saying if you count up six notes in the major scale, this will be your relative minor. That's the easiest way. Stood ready. We're 123456 all come back. 312 free. I've fair to count up six, but some people I know can't back free. So for look at sea, count up 612 free for 56 Because remember, see, Major is just the white notes. When you explore different keys, that will be different, black notes. But for C major, it's just the white notes. 123456 It's a minor or can't back 312 free. And that's how we can work out our relative minor so we could work out this as well, Andi, that's basically what a relative minor is. A will go into more detail about this. That's good to know that the patterns are the same. They're just in different orders. So major, minor, minor, major, major mind diminish major from left that here as well. So you look at this major minor, minor major major minor diminished back again, might major. So the minor pattern also repeats. So it's just good to know that these aren't completely different. There are quite similar. There is a relative major on a relative minor for each pattern, and that is basically how you can work at minor chord progressions. Quite a deep, detailed subject. This maybe it might want to go back or even screenshot few of these just so you can work out what's actually going on. So this is the major pattern. Here is the minor pattern. Like I said, we will go into more detail about the relative minor on the related major for the minor scale. But just know for now every major scale has a relative minor. Every minor scale has a relative major, so we can interlock these. We can do something called modulation, which is where we can change keys on. There's a certain technique and pattern we can use when changing keys, so it doesn't sound too weird. We can change you so it's nice and smooth. But don't worry about this for now. We'll be looking at this later on. But like I said earlier, I do recommend learning how to write minor scales as well as major scales. Once you've learned how to do the scales, you can work at which cords go of this, and this is really useful seeking crate a lot more interesting music, Really. Major scales are great. There's a lot of fantastic music made just of major scales. But using the tone, semi tone, tone, tone, semi tone, tone, tone, pattern, toe work at minor scales, then you can work out what chords go over The minor scale sits minor, diminished major, minor, minor major major, and that's how you can work out a minor scale and all the cords you can use in this diatonic minor scale. So diatonic means you can play the chords writing key. Of course, when you get a bit more events, you don't have to stick to the key. You don't have to stick to the cords. You can basically put what you want, But you can't break the rules until you know the rules. Because you're not even gonna know what roles you're breaking or if you are breaking any rules. So a good thing I would say, Learn all this as best you can. Memorize it, internalize that hundreds of times. And then once you know what you're doing, once you know what the rules are, then feel free to break them. But to start with, if you're new to Music Ferry, just follow these rules tone, semi tone, tone, tone, cemetery in tone tone minor, diminished major and minor Minor major major minor toe workout. A minor scale on which cause you can use to stay in key of your minor scale 14. Harmonic and Melodic Minor: Okay, now we're going to continue looking at minor scales. So previously we had a look at the natural minor scale, basically the same as the major scale, but starting on a different note. So, for example, see Major, the natural minor is a minor. We know this because all we have to do is go up. Six notes in the scale On the sixth note is our natural minor scale. So let's just write in C major by using toning, tone, semi tone, tone, tone, tone, semi 10. You're probably sick of this, but the best way to learn something is through repetitions who have tone, tone, semi tone, tone, tone tone. 17. This is C. Pick up six notes. 123456 We have the A and you can see here actually matches up. It just needs a few more notes on the bottom. Get rid of the ones here. This is a minor scale. Live away is we can use the pattern for minor scale, which is tone, semi tone, tone, tone, semi tone, tone, tone. So if you just use tone, semi tone, tone, tone, semi tone, tone tone from where I was well, or we can use the major scale and then flatten the third flatten six and flat in the seventh. So if you write out a major, so we have tone tone, semi tone, tone, tone, tone, semi tone, then all we have to do is flatten just means put the third note down in one semi tone. Put the 61 down, one semi tone on the seventh day. One semi tone. This makes a minor scale as well, so there's a few different ways we can actually work out a minor scale. And now we're going to have a look at the harmonic minor scale on the melodic, minor scale, melodic minor scale. It's kind of a hybrid half major, half minor scale. It's a little strange on the harmonic minor scale is basically the same. All we have to do is raise the seventh night, so let's just type in the harmonic minor scale. No. So you can see this kind of a bigger gap here, so this creates a leading notes. So when we're on this note here, we really want to go back to here, so it gives us a lot more tension. And when it resolves back to the root note or the first note. It just adds more release adds more tension. So if you want to create some of it more tense, maybe have a look at the harmonic minor scales. So if you play this again on a pose on the seventh sounds really unnatural. You want to go back to the first. So just another technique you can use in pop music on media, music, electronic music, dance music. It's not so common, but still explore it still work of it. And then we have the melodic minor scale. So we're still flat in the third. It's the Fed. Often a major is a C shop, so we have this flat into her. See, then, no, we dont flat in the sixth and seventh with Sharpen the six in the seventh. So it's kind of first half of it is a minus girl in the second half of it is a major scale . It's a little weird, but we can create some interesting sound of this. So let's hear this melodic minor scale. Yeah, first half minor, second half major, This will, of course, change all our courts. So you will have to go through and work out the courts. Now, the best way to do this is to just right the notes in here. So now this is a melodic minor. So you have the first half. So we have the flat inferred as a minor in the second half. No flat inferred, no flattened. Six no flattened. Seventh. So the second half is major is kind of weird, so we'll have to go through and work out at 3rd 5th Great. That fifth, third, fifth for Fif and so on. So we've got some kind of different chords here. The easiest way to do that's just can't want to free four fives. The 1st 1 is 1234 is a minor than a major gap here. So 12345 The 1st 1 is a minor. The 2nd 1 we can see straight away. This is a minor by the gaps are 123412345 The second is a B minor, and then so does kind of change the courts quite a bit, because before, this would have been a diminished at some minor. So it gives us some new course to work with. So it's something you can experiment with but recommend just sticking with the natural minor scale and then going through working out, which cause the next I'm not going to show you. Now. If you want to work at melodic minor scale, I think it's best to go through work out yourself because that's the best way to learn release, to go for experiment and work out. Tweak what you want to work, but we'll change some of the courts. Like I said, Mr Minutes Court is now a minor call on this card here. This looks like a weird one before would have been a major chord. 123451234 Now it's this big chord sounds a bit with this is called augmented chord. So this is where we get a normal major court make a bit bigger. Really, it's a major chord. We have the gap off five and four with semi tones. The route deferred five semi tones and then for 2 54 semi tones, but augmented its route to fed five semi tones for 2 55 semi tones gets, um, newer cause here so you can get some interesting stuff going on. No. And this is basically what I'm Lovett minus careless to the harmonic minor. Well, we have to do his shop in the seventh on the melodic minor. We sharpen the six on the seventh. Or we could look at that live way around if you're in a major scale, your flat in the third, not six. Not the seventh. Well, if you wanna look it from the minor point of view, the minor scale is sharp in the six and seven, so it might sound a bit complex. Let's have a look at this again, sir. If we're in a major remember tone tone, semi tone tone tone. 10 17. This is a major on the tennis into a maino, a natural minor flatten, the third flooding. Six. Flooding 1/7. But when the change this a major into a melodic, minor flattened Ferg. Now it's melodic, minor kind of a hybrid. Half minor, half major first half minor, second half major Oh, when the changes major scale into a harmonic minor were flat in the third flooding six. And then we still have this semi tonal movement by the roots on the seventh, which gives a real leading no adds more tension, so it can be good to experiment with or if you're in a minor scale or we have to dio Sharpe in the seventh. It's a few different ways is a bit more complex. It's not that commonly used. Just remember melodic minor. We've still got the flat furred we've got. Yeah, sharpened six. Sharpen seventh Or, if you looking, get at it from a major point of view. Or you have to do to create a melodic minor flatten referred to create a harmonic minor. It's flat in the third flattened six. That's basically the difference. You probably won't use these very much, so I'm not going into too much detail. Just remember, there is a melodic minor on a harmonic minor, and you can go through work out all the calls. You can use reach of these, but generally a lot of electronic and pop music. It will be the natural minor, but have an experiment with the natural harmonic and melodic minor on. Remember, they're there, so you can always just create a song and a natural mind if you wanna change and stare up for maybe even just one section. You could try changing that bit into a melodic, monaural harmonic minor. But be careful of this is quite easy to get confused. Maybe just off the natural minor, but yeah, harmonic Minor Sharpe in the seventh Melodic minor sharpen the six and the seventh. So thank you for watching this lecture. I haven't found it useful. It was starting to understand now that there's different types of minor scales, but maybe just stop the natural minor. But there is the melodic and the harmonic. They have different uses. Like I said, the melodic kind of this weird hybrid thing going on, if you want to be major and minor on the harmonics, if you want to create some more attention at the end and have that leading note. 15. Chord Extensions: Okay, now we're going to have a look at some more cord extensions. So previously we had a look at the seventh, and now we're going to have a look at the knife. 11th and 13th. You might be thinking there's only seven notes in the scale. Eight, including the active. So what's the knife? 11 from 13th? This is basically way and notes above the court. So let's just type in C major. Remember the pattern, its own tone? 17. So that's taking quickly for NSE, major or a really simple way. Just the white. Now it's starting on C. So this is a C major. So if you type in the cord since the route third on the fist. So this is just a standard C major chord we add in the seventh. So we have 67 We have this big. It gives a really nice sound to see Major Seventh because it's ah, major note The major seventh. Now we're going to add in the knife you might think in nine. Okay, so if you can't up again So eight, nine. So we have 12345678 Back again. Nine. Which is the day or the second. It's kind of the second, but for the second could be played here so nine could be played up. So this is a C major. Nine. Sounds a bit more jazzy them or extend these cords more jazzy. It sounds. Of course. We have stuff like the dominant on the minor knife. So if we're in C major, we will have a D minor, which is the 2nd 1 major minor, minor Major, major, Minor diminish Major. The 2nd 1 is C. D. So D minor route 12 free 45 You know that. Then we have the fifth and above this we have 67 which is the sea. Oh, so we have see mine at nine. And the 2nd 1 is D seven. So if you add on the knife as well, which is the second technically but this octave above. So there's nine. So we have 1234567 a nine. Remember, we have to go back to the day. 1234567 a nine. Is this a We had an octave above. So this is a d minor night. The different kind of sound to the major nine way. Continue for out all the cords and the scale, obviously the Fed one. It will be a minor 944 major, nine and so on and so forth. We also have 13th. So it's a little crazy now, just some more jazzy, the more we build up. So if you think we have the knife 11th on the 13th the for teams actually more commonly used in 11th. So let's just start with a fair team and then we can at the 11th as well. So it 12345678 9 10 11 So 11 for being F 12 13 for being a. So if you want to turn it into 11th we just add on F A furtive got on a or six. So basically the seventh is 1/7 night. The knife is a second look. Productive. Above 11 is 1/4 note. An octave above. On the 13th is a six night full octave above So 1234567 notes. This is gonna sound look crazy now. Little jazzy. It doesn't sound as nice and clean. It's just a traditional major scale. That sounds, in my opinion, a bit cleaner, a bit crisper push. One experiment will make it a bit jazzy. You could try it. Just the 11th still sounds a little dissonant. You can try the different courts, so if you want to turn the day into on 11th So we just had on the fourth basically octave above 1234 Sweet Adeline G. And that's here. What this d minor 11 sounds like. I think that sounds a bit nicer. Personally can change it into 1/13 as well. So the 13th is six bucks have above toe. 1234567 A. 9 10 11 12 13 says the B. I know this looking assigned? Yeah, a little distant. A little too much. That's good to know from the crap. Big huge court. If you're making it's a music for pitch and you want a big over the top. Jazzy cord, maybe 1/13 maybe a knife. Maybe even 11th really does depend what you want to do. What you trying to achieve. I like the minor night. I think the minor night sounds nice. Of course, the seven sounds great, but go for an experiment. Just know you have different court extensions. You can just add more notes, but the more notes you add thicker. It sounds, and generally the more jazzy it sounds. But maybe to start the seventh and then build upto a knife 11 13 from did by ear. See what you want have in your cord, but a lot of time. I love pop lot electronic music. You probably won't have more than, say, five or six notes of the chord. I don't know. You would often have a 13 for an 11th but now and again you might want to add one in. Now you know, it's basically just more notes in the scale. On the way we call it is the seventh knife 11 from the 14th 13th. You could try 14th but it's just the same, is not active. So this is basically how we conduct or 14 to be 1/7 above just a way of adding more notes. So thank you for this lecture. It's just all about called extensions. Like I said, you probably won't use it too much, but good to know, especially if you're playing with another musician or if you in the recording session, and they're like, Oh, let's for a night If you know a night fears the night notes. So it's basically the second octave above self that said, That's froze on the E minor. Nine. You should know you by working out of minor scale. Add on the seconds they just add non F sharp to the That's what the minor knife it's. But if we in the key of C in the say less out South F major 11 so you can work at quickly F major, so you have one to free for 56 So these. So we have 12345 So try it, then we have 67 Then we can add on 89 This will be an F major nine. It might take a few moments to work it out, but it's better than not no more. That is so at least now, especially if you're making, say, R and B music, jazz music, maybe blues. You want to kind of change up some of the cords Ants of extensions. But generally in pop music, it's not as common, but good to know, and I hope you find this less useful just to know about different chord extensions 16. Suspended Chords: Okay, Now we're going to have a look at suss courts or suspended chords. You might see that sometimes on the court it's just written of S U S, which means a suspended court. So this is basically where we move the third so we can have a sauce, too, which is basically where we change the third off the court, down to second or sets forth, which is where we change the fed up to the fourth. So let's just write in C major. So we have room third and fifth so we can have a C to we change the Fed to a second. Then we have a C four way change, the third to fourth. So 1234 These are great for creating suspension and building up certain parts. So let's just draw in an example now. So if we have just a rhythmic pattern here and then we have suspended chords, so we have the suss four to start with. Let's put it back down to the source. Normalcy, major. Then let's add a few sauce seconds start so we have this tension off the sauce. Fourth releases to see major than buildup. Attention again with the suss to. This could be great for buildups or creating some kind of tense and music way. You just have some schools all way for it's just going to tense the whole time. Of course, if you want music that's just tense all the time and never releases, you have so escorts way in here. It's just tense. Let's release this way with dusty tense the whole way. Released C major tense again. Way to create buildups. Intention. Just by moving the third minute dime to the second on it be called See us to suspended, too. We live up to the fourth and it be called C Suss four or suspended fourth. This is basically how can quickly add in some tension and release in your music, because to release this or you have to do is put it back to the third and to build up tension. Experiment of the fourth on the second. So thank you for watch this lecture all about source codes or suspended courts 17. Circle of 5ths: Hello. In this lecture we're going to be looking at the Circle of Fifths. So the circle of fifths is basically a diagram that shows us a few different things about relative miners. Relative majors on modulation modulation is where we can change our key into a different key, and the circle of fifth just allows us to quickly see the closest keys. So say, for example, way are in C major and we have the notes C d E f g A b back to see all the white notes. Then we have the cause that go with this. So we have major minor, minor, major, major, minor diminish major. So we have seen major D minor E minor F major G major a minor and be diminished. We don't actually want any of those, cause I don't quite sound right. They're not the ones we want. We can actually do something called modulate. So this is where we can basically move from one key to another. So for N. C could move over to the right on McAdoo's G, or we can move to the left and use F over here. The reason these work is because G has one different note to see instead. F. This has an F sharp. If you used Teoh reading classical music or any kind of score, you might know these signatures here. That's basically just means one shop, which is an F. If a guy left, we actually are adding a flat so f uses a B flat instead of a bay. You can work these out by using tone, tone, semi tone, tone, tone, tone, semi tone like we did previously. Basically, F has a B flat or one flat and see doesn't so it's just one no difference so that this is what these scores or these clefts are there. Just tell New has more flats or more sharps, and that's basically it. We've got to hear because see, Flat is actually the same as B on G Flat is the same as F sharp, just different way they're written. Don't really worry about that. If you say C sharp or D flat doesn't really matter, even one is fine. You still sound the same so we can move to the left or right any off these. So say we're in a song in a major. If you easily moved to D major that you can use all the court from D Major also, or we could move to a major news records from a major or even but in major. So for using one key can quickly go in between these different keys and go along the fifth . So if you want to be really experimental, if you go round and round and these lows of crazy cords, But to start with, I just recommend using one key and then modulating or moving to a different key so you could go to Jay, go back to see and then get to F. So this wheel just quickly allows us to look and see which keys are kind of next to each other and have the closest number of notes. So if you go to the right, this goes round in fifth. So which is why it's called the Circle of Fifth. So if we go clockwise, C T. J is 1/5 c d e f g on G. Today is the fifth DT A is 1/5 etcetera, going round on if we go anti clockwise or left seat F c d E f is for notes have to be flat if we're in the key of F. So you count from the Kieran because F has a B flat, not be natural. You can tell it's gotta be flat just because of this note above on this basically means yeah, up 1/4. So if you go left its fourth go right, that's 1/5. It's called the Circle of Fifth because traditionally around clockwise. But if you want to go around the other way, you can use it sometimes called circle of force. But regularly, it's called Circle of Fifths also shows us the relative minor. So see, Major has a relative minor or a natural minor, and this is a minor the way we work this out. We just got six notes, so C d E f g a. Six notes. Just a minor Sergey up. Six Notes a minor day up. Six notes. Beam owner etcetera. Remember to stick in the key when you count up because in a there's an f sharp. So instead in F. So if you can't up six from a a B C. Sharp, D. E F shop, we know instantly that it's an f sharp minor because he has free shops. It doesn't really matter if you don't know what names are. You just know this free shops. And of course you can work this all out while using tone, tone, semi tone, tone, tone tone, 17 toe workout notes in the major scale. And then we can look at the circle of Fifths and then we can see it's relative minor. It works the other way as well. So if we're in a minor, we just can't up free notes. ABC confined out Relative major, which is a C, was quickly look up here so we know that e minus relative major is G major, For this is kind of what the Circle Fifth does. Just allows us to quickly find some new cords or new notes that modulate will move into a different key because a lot of the time you might be right in some core progressions. He don't just want to use the ones in the one key one use in different ones, but not 100% sure which ones you can use. This is why, if you just have a copy of the Circle of Fifths, is going Google images and just take a screenshot or print off and put it somewhere. Maybe that hanging on your wall it's not the coolest thing in the world is quite old fashioned, and it was used schools quite a lot, so I wouldn't really hanging up in their recording studio. But it's good to just reference now and against you quickly know how to modulate and change the different keys. The other thing it does, it shows us actually the serviced away notes. So for going see, we get all the way straight down, we find the furthest away notes, which is a G flat on the same of the eighth, all the way down to the flats. So this is a tri tone of words. It's called an augmented fourth. Slightly bigger fourth or a diminished fifth. Slightly smaller fifth or a try time. These are the worst notes you can use of each other. If you want to make really horrible, spooky kind of horror music, maybe you can use these, but generally I would avoid augmented fourths diminished fifth so or try tones, whatever you call it, So C to F Sharp or the flat is Yeah, not very nice interval, which lets just right on here. So we have see here, then we have deaf shop. Let's just right. The sun will probably sound like horror music. Oh, I noticed when I played that as a B the Fertile actually signed it. Okay, that sounds fine. Just one semi tone away from a perfect fifth. So perfect fifth sounds perfect most of the time, just slightly off, and it's really uncomfortable there. Anything that's more uncomfortable than this is perhaps, oh, put in a semi turned apart. Oh, that's pretty about as well. I'd avoid a semi tone clash like that, but there try tone, yet it's not Ivory Pleasant interval. So maybe avoid that in a circle of fifth just allows you to quickly see So we're playing in the Give F. Or I wouldn't use be because this one class So for an F, then you put the note off bay. You know instantly. It's probably not gonna work. Like I said, if you want to create some more unusual musical, maybe some kind of jazz try tones can work horror music, film music, but generally for any kind of e g m dance music, pop music Ah would avoid using these Triton's. So this is the cycle of fifths. It just really allows us to quickly see which keys we can modulate or moving to so you can just go around who come, writes music allows us to try to explore new keys rather than just sticking in the same kill. The time is quickly seeking your left or right, and it's only one note away. And then you can also see the relative minor on giveaway. If we're in a minor key, weaken quickly. See the relative major. So thank you for watching this lecture. I hope you found it useful and I'll see you in the next one. 18. Write the Chords, then the Melody: Hello. In this lecture, we're going to be looking at building a melody from a core progression. So this basically means we write our cords out and then we can write Melody on top of this . This is the main way. I like to write my melodies, but you can do it the other way around. You can write the melody first and then put cords to the melody, which we will be looking at the next lecture. So what we need to do, first of all, is right out chord progression. So let's just pick your key. That's pick, say, G major. So this is basically see Major, but of one different note in F Sharp. We know this from doing tone, tone, semi tone, tone, tone, tone 17. So we have all the nights of G major, and then we can work out which cords go where. So we could try the first chord, which would bay from looking at this a G major. So we have the route to free the third for five on the fifth on the gaps between here. 12345 1234 means this is a G major so you could start with this one and then we could add on a different court. Let's try the Fed as I'd only be minor have to bay. So 123 day for 5.5 shop. Yeah, okay. We can put this time to invest in it just looks a bit cleaner and sounds a bit smoother as well. Now we can add on, and if one as well should stretch this out of it. Okay, so you could have Let's try a day. So going free. Major, minor, minor major major. We know the G is a G major. The B is ah want to free. It's the first major mind. The minor is a B minor on the D will be major minor, minor, major, major a. D major. So let's try this God d major. Let's right in Notes of d major. So going back here we have the day. Let me have that shop. It's 12 free. Come back again. 45 We have this A Let's move these random it invert these that put their f sharp down here . Okay, Uh, that's ill Dawn. One more court that's trying a major minor, minor Major. Major Minor. She's the six, actually. Let's put the six here, then put the d last because the deal be 1/5. It would give a nice five toe one basically make the pattern go round and round. So I'm gonna move this just over here, and then I'm gonna add on an e minor. It's me now, since one that's not here to free go back and for five. So we have to bay Just gonna put this G Not if and maybe he is. Well, know that they're okay. So this pattern or from G major, these cause will fit. Just gonna move this. I don't mind that cluster sound every day. I put this back really, really quickly how we come out called progression. Okay, let's just let this. So we have G major B minor e minor on then d major. Really, really simple. I'm just gonna add a loop to give a bit more flavor to this. Let's just find loops. It's just search loop. See what? This will do. It really simple. Okay, It's one thing I like to do is actually copy all of this over. I'm just gonna color this differently. Just so I know it's a different one, and then I'm gonna k free delete all the But now it's just keep the top ones. So a lot of time the melodies just top note of the court. Easy thing to start from and then actually put this so productive I say, Okay, it's just a really, really easy way. It's a bit boring to start with, but it's a good starting point. We can add a few passing notes, so not always the notes in the court. We can move them around. It's actually just do practice then, sir, complaining both at the same time. Let's hear this sounds a bit dull at the moment because it's just way we can do. It's just draw in a few extra passengers, so we know the first chord as a G major. So really, we kind of wanna stick to notes in G major on. We know the route offered. Fifth is a G being a deep. It could be a bit kind of cheeky, adding this f sharp in the melody to you don't have to just stick to this. We can I didn't over notes, passing notes passing tones. That's a good idea to really stick to the notes in the court to start with, but we can just add in a few of one. So let's try this be here, which is the Fed. And that's half a passing notes both the shop, which is the seventh. Then we have d the 2nd 1 So you have the cord is B minor. If you remember, so have the B D in the F sharp BDNF shop. So we start with a day, could land on. This could be quite predictable. We could move it to another. No, we don't have to stand this day. Let's try. Let's try to do there trying either, but to the shop. Then we're going to go back to the e kind of play this melody and early. This is a good effect. You conduced next chord as a J Bay in A and E minor. So can use that in the copy the shape from the start. So this is actually the seventh of the minor, and then this is the 50 monger. So we're copying this melodic shape, but we're actually putting on different notes, so let's try that I'm gonna move over slightly. Continue this. A So we have the similar kind of shape is a little bit different. And then the last time I'm gonna do similar kind of thing. Copy the shape here. Looking back, this last called is a theme major. So we have the d e f sharp on the A. So this has a day in F sharp. So and then in a So we could copy this, but change it, modify it quite like the shape changing a little bit. Okay, so the day in a shop, then it goes to a But I'm gonna of this land on a different note. Try the day again. Okay, so that's just a really quick melody. I'm not really too sure what's good going to sound like, but I know it's gonna fit, so let's hear what this sounds like. Okay. Lets just like this Onda, uh, play again. Nice fit. But the river was a bit boring to me, so you can add a few more in so I could do something like this, Remember? As long as we stay in key from really add whatever notes you want, it doesn't have to be notes of the chord we can have passing notes. That makes it a bit more exciting as well. So that's changes to an A. That note didn't really work. Let's try this. There is a bit too much space at the moment. The songs very bare see can kind of make the melody a bit more complex. But if you passing tones, move it as well. So it's kind of off beats not always landing when the cord is just kind of throw it around a bit. Just to stare up doesn't have today the same every single time you try to see that I want to put see and even though it's the the seventh. But come look, maybe not saying tries big. That's the thing. You mess it off, but it doesn't matter. Just change it around. That looks. Create new management now so you can have more of a simp signed. Really try more lead sound dragged us over, and that works. - So this is built just around these cords or works all fits inky. It's a few passing tones just to make it a bit more exciting. Like I said, there's no riel fixed rule that's a combination stick into the key using notes in the court and also adding some passing notes just to make it a bit more exciting because it is just the notes in the court can be a bit boring. You have to look at the notes going down and also for us to think of the ribbons. You to think what? There's something quite exciting that people could sing along. To me, this sounds quite catchy. It's not too predictable is a few passing tones. Some ribbons keep it flowing, keep it moving. But this is basically basically how I would write melody from a court progression. Next, we're going to look the other way round. We're going to write the melody first of all, and then have the courts afterwards. So thank you for watching this lecture on. I'll join you in the next lecture, where were writing the melody first and then adding the courts 19. Write the Melody, then the Chords: Hello. In this lecture we're going to continue writing Melody that this time we're going to write the melody. First of all, on then at the courts Previously we added a core progression and then wrote the melody. But now we're going to do that way around So we're in the key of G major. We know this from writing out tone tone, semi tone, tone, tone, tone cemetery in starting on the note of G. So we're gonna write a melody in G you to think of the rhythm as well. It can't be too boring. Want something that's quite repetitive but isn't too boring has a bit going on. So we're gonna put some passing notes in add a bit of river to try and create something that people could kind of seeing the longer to maybe at home or something that could be quite catchy. But first of all, let's just experiment with some notes that fit in the scale of G. So you could start off way of the fed, keep it really simple, and then have this day then go to the sea then, um, good the day again. So this is really, really boring this'll would be an awful melody. So we need to do now is kind of mix it up at a few other stuff in. So you could have this and then add It's kind of doing this randomly. Uh huh. Uh huh, I think. And I'm just looking at that. Notes that fit in the key then scorer Pete, some of these patterns as well this time go down day. I'm gonna copy three. Copy this Copy. Uh, this'll but have it backwards. Someone start Chile with this. And on this Maeve a couple of nights, right? It's a similar kind of pattern, but a little bit different. Okay, let's say this not this bit e like one bar one in before in 10. 10 in my just copy this, then drag it die. Drag it down. It has the same shape. Might stop this round of it. So start on the bay. I'm just copying this, but having it the other way around a similar kind of shape, but different notes I'm gonna add and passing out here as well. And I'll say here. So if this works, I think bar one to work. Bar free doesn't getting somewhere just looking at the shapes, really looking at the notes that fit in the court or the fit in the scale. So I'm not really thinking about cause just yet. I discovered a free maybe just keep this really, really simple. Yeah. Doomed. Doomed A quite out this bit. My copy this over again. This shape as well, passing time now , like all apart from the last bus. It's really just trial and error. I like to think of something that's quite singable. Maybe just have this repeated. Seems captured. Maybe not too irritable. Okay. And now it's just get these notes of the scale. Congrats. McCord's underneath and later our copy and paste the move into So you know, NJ, Major is the notes. Okay, I'm gonna see Look for these notes and see which court basically has. All these notes were most of these notes by looking at the root 3rd 5th and seventh of the court. So this baby is quite strong note. So I think this being needs to be in the court, stuff like this. See, here Maybe this day could be a passing tone, but be definitely needs to be in it. Okay? And then we have the e. I think that is quite strong now as well. I think what cold has a on the bay, so could be quite a few. Could be a C major seven. So see e g and B that could work. So we have the c and the D could be a passing tone. Let's try that. But the G appear be down there. Um, changes to a sacred have to be in the melody Quite pretty sounding call. You could make this a bit darker. We don't necessarily have to have this so we could change this to a day, then a J 1st 1 could be a J. Because we have the J. You have the bay on the day. Then we have to see in the I quite like the major C major semaphore That's quite good. Could even have going to be really jazzy 1/9 for a second, but really would have to put the nine up top. I think it sounds better like this, So let's just move these notes across could have on the record here. So this day is quite strong night as well. At this day, Um, this F sharp seems like quite strong that because it's repeated never ones could be passing tones. I really want the day on F sharp, Obvious wanted Bay D major. Or we could have an A minus seven. So we have a day in the F shop if you want to make it a knife. But really, that's just keep this simple. That's just have a D major. So the day of the F sharp movie A thistle fit. Okay, let's hear the 1st 2 This bees quite strong, notes. It's less at this base way. Then we have their shop. Seems like quite strong that as well. Easy one to go here is Ah yeah, just a B minor copy. This D over also can copy these notes over like, say, we have the melody going from here don't necessarily need to have that be. There is pretty much being player at the top, but let's have a listen. Sounds a bit Bassel quite like the baby. But this is what I would normally do. What a darker sound. You could try different chords, but the moment we have a, uh, of B J. C major seven kind of weird pretty cool, I guess. Then we have the d major very major, very happy. And then we have the B minus. That's getting a bit darker, So fill it. We should have another minor here. Stop. They have sharp this Have shops. Ah, driven month. Theun This day it's quite driven one. Um then we could have Ah, never Night try. Uh, so it sounds over a in there as well. This is a D major again. We could make it minor. We could try. Maybe e minus us two could try that. So it's basically a of in that shop. Might sound a little to trade stranger to my attention that might work very tense. Or we could go back to the d major on a bit kind of more released. There's a different kind of feel We don't necessarily have to stick to these gods. For example, we have a baby in f sharp so we could use kind of weird called from before. Let's try that. Let's try this a minor, then we have the F shops. It's kind of a suss accord even change the court. There have this kind of suss feel here. Then nave Ah, it would be minor record hits and have to stay the same. Could add this e minor. So studio based in the mind of f sharp in again at the end at a bit of attention. So we have tension and release at this E, and then we have their of sharp. Then, baby, let's put this in the base. Last one sounds a little strange from even it down to be minor. This is a few different options we can do. And now let's just stick, please. It's one thing we can do, and it's just copy this over unable to life. Okay, so we have this one that's just color this differently. This could be the melody. Just rename this as well. It's great to rename stuff. I know this isn't unable to live tutorial, but still useful to rename stuff whatever digital audio workstation urine. Because getting confused the lead in the wrong stuff can be pretty bad. So this one is in. See the cords? Let's delete this melody. Uh, just top notes. We have the cords down here, so these the courts and vice versa for the melody. So we just, uh, let the courts. You can't have it all in the Afghanistan if you want, but stuff a bit easier. When you're mixing tohave on different instruments, turn the course down. 10 Melody up and that's Ah, let's hear this. Make sure the loop set okay? And let's say this waken Adam on two different instruments. I think this works is a electronic song. I think it sounds a bit boring just on the piano sang. But when you add some different Simpson's pads, riffs plucks, signed a bit more interesting. This is good. The melody. It's not too predictable. Still got a bit going on. Still catchy. Remember this some of the courts? You'll in key few kind of interesting ones like this ive of the f sharp. And we've also got seen Major seven starts, the top of their melodious find a day. Be sorry, major seventh. Then we go to there. This is substituted even f sharp. So we've got major seven chord suspended second courts tension release, never wear. You can write a song, right melody right in the melody, right stick with the notes and key. To start with, you can, of course, experiment of notes that don't thinkI modulation. Look at the circle fest for that. That's kind of more advanced version of this. But to start with just right melody in the key and then go through and work out what cause conflict with this. So this is another way of writing a melody. And then you heard the core progression to the melody. So thank you for watching this lecture. I hope you find it useful, and I'll see you soon. 20. Arpeggios: Hello. In this lecture, we're going to be looking at AARP educators. Snap Educator is basically a midi effect that plays the notes one after the other. So if there's a court with free, different notes, it will just play these free notes in the pattern we determine so enable some life we do have in our Pejeta plug him. This basically just plays the notes one after the other, and you can choose different patterns. So up, down, up, down, etcetera, different steps. So if it goes up more than one active, a lot of digital audio X stations will have an arpeggio ater built in with the D. A. W. Or you can just type in the notes yourself. So let's hear what this says all have really done is got these courts from previously and just create a new track and just stuck on our pejeta and change the Simpson lightly. That's pretty much it. So that's here what this sounds like so we can increase the steps so it goes up more actives the rate as well. So what right it goes through the notes way, that kind of thing also going to type the seven manually because it's good to know what's actually do rather than just flying on a plug him. So let's just open up this clip What it was really deal was just playing one note, one after the other. So let's just talk the Senate. We can choose any pattern. Really. Arpeggio is great as kind of a counter melody. So it's not the main melody, but something else going on a bit of movement because sometimes the courts can just be of ecstatic. But if we have an arpeggio, going wrong as well can create a bit more movement, so you can just use this shape. Well, maybe just speed up. That's double time this then that's just repeat this. You can choose different patterns so we could have this a last night. Go or productive, you do the same in the next card. So used the same pattern. Remember, there's also be there left shop there. Let's just straw in f sharp here, so we just know for later. Then I hear. So, yeah, you can do this manually, or you can just draw it and you can use the arpeggio plucking if you have all my most data views will so just adds a bit more flavor to your music. A big movement, kind of a counter melody. This won't be the tune that people will be walking around humming. It's very common in Elektronik music to have arpeggio a lot of the time. You won't even notice it's that's just in the background, but it probably will notice there's a bit more movements in the track. This one has put a productive nearly that. So the last couple cords just so you can see how to actually write in an arpeggio manually just about using the same shapes. Just remember where the notes go. That's kind of it's really simple. And of course, you can mix up. You can change the passing around. It doesn't have to be the same every time. It's nice to have a repetitive pattern, sometimes just to make it a little bit more memorable at times. So there you go way, couldn't be there and bit maybe start with the data, then have to be at the end and have this f sharp up on this D tracks. Like I said, you could just select all drag it back and then double up more interesting. Affect your great was hitting each note twice. Now on go through. Maybe even move some of these a productive perhaps So the first and the third. I'm gonna move open. Update for the court. The second night first furred this kind of thing. You is quite a few different things you can do. Sometimes using the arpeggio eater doesn't really give you as much customization as if you just go it manually. Do it yourself. Obviously, it's a bit hard. It's do it yourself. It can be nice and easy and quick. Just a throw on an arpeggio just to see what it's like. Sometimes I'm really good, never times it might not. If you spend all this time messing around with these patterns and you realize it's not really good, he might be wasted a few minutes, but sort of experimentation. Let's hear this. I think this could be great for a buildup. Just add a bit more movement flow in your music. Simple. Just change it around a bit. - You can do that's just me quickly just messing around in the simplex said. This is not a sound. Design courses the music very course one waking quickly. Go in. I had a bit of movement into a track is adding, adding in an arpeggio, so you can even find your MIDI instrument. Then just throw in an arpeggio effect before it goes to the symphony. Or you can just type in manually what you want to happen. Just a bit more difficult, a bit harder. But I purse, you think, is the better way of doing it. So thank you for watching this lecture all about an arpeggio. 21. Writing Bass Parts: Hello. This lecture is all about creating a bass parts. So the baseline is really important. Just a kind of lock in with the drums. Add some low frequencies that really fault, fill out the sound. And just to make the songs, I'm more professional relief. There's no base generally doesn't really sound that professional. A base locks in the low frequencies and makes the mics sound a lot better. Obviously, this is a music very class, not a mixing tutorial. But writing a baseline is extremely important that a few different ways we can do this. We can write a bass riff, so basically, just pay a repetitive pattern going over and over again. Something catchy and memorable, a bit like maybe money by Pink Floyd. There's a baseline, and that is extremely memorable. Or maybe it could just be locking in with the cords, getting some groove and river, and just following the court pattern, there's a few ways we can do it. We could even have the court following the bass part, or we could have the bass part following the courts. We must start off with having the bass part followed records, all of them just copy and paste over the called pattern onto this piano sound. That's pretty much it. Let's hear this. So what I've done here have actually inverted the court. Have moved some of the notes around. So you think the bass part would be thes bottom notes? But it's not necessarily that. So. One thing you need to do is go through and work out. You can tell by the shape instantly. Comptel, this is major cards have got 123451234 So now the first note is a C. So let's just type in the sea below the active this 1123451234 This didn't have a major chord for this. One is a day as well. So let's just, ah, about the day in, Okay, Then you have this one, which is a bit more unusual. I remember it was actually a sauce to cord. So 1234561 to freeze. It's definitely some kind of inversion. So if you put this bill productive, this was actually what happened. It's 123123456 So this was the F Sharp was kind of replacing the G, replacing the first of this actually an e in the boast night. This 1123412345 So the form five distance between the route the Fed third and fifth means it's a minor. So it's B. This one looks like some kind of inversion. So let's just put this day up here. 1234123456 That's not quite right. Just right back down again. So it's 123451234 So this is five and four. So the day is a major to put this down, Doctor, that's 1123412345 So this is reposition. This is bait to these of the bass notes. So what we can do is just delete all this, okay? And it's already done octave apart. The old an octave. Generally, you want the base to be lower than records, kind of bit boring, but the notes let's check to see if it thats one. Sounds a bit strange. That's because it's their suspended called. It's meant to build up tension, so we couldn't theory. Just use this. Be as well. Let's hear if this works. I quite like the I think it works. So of course we can do stuff like make some rhythms so we could just copy and pace few patterns over like so remember, that's a day. So we just copy us over to a day and then this one to in a So this will just add a bit of movements. Still not going to be terribly exciting, but it's a start. This was a date, and this was a bit end, So this should a little bit of movement. You can add some passing notes as well. So to this day, so remember the notes in the court. Remember the scale in Let's just check for the cords. What scouring So ever say that we have the day of in F sharp beer of enough sharps. It looks like from looking at this well in G Major because we have this f sharp so basically do majors the same a c my major of one different note the F sharp. Okay, so let's look at this base part. Let's rename this as well to base. It can get quite confusing. When there's different tracks, you don't know what's well, Okay, so in C major for the first court sissy major than its D major, that's e minor B minor d major B minor. So in the key of G major, all these chords, so we can even use passing chords. So cords that are in the scale but not in the court or which is a bit easier we can use. That's in the cold. So this is the Fed, so this will go to the seventh. This might not work. Sometimes using the seven from the base note can sound a bit strange, but let's hear it. Sometimes it works. Maybe not to the F sharp, perhaps 1/3 of the day. The last one is the look, actually fourth, so B C D E. Then it goes on to the third of the sea, says different things we can do. We can take a few notes out here, the river. Say what this sounds like on the off beat, which creates a bit more of a pulse again and said the bass drum, the bass drum playing on every beat. So if the based on the off beat, it will a lot of space for the kick drum and the bass to be heard with. So this kind of thing so exact role. We just want some of that kind of looks in. So quite like this pattern we have, it starts so that we're missing one. Then we have one missing one than them four. So let's have a look. So missing one have one missing 11 So free four So missing one have one Someone have 11 34 octaves Used to many operatives, it will sound disco, but it's good to his operatives. Married again for basements Just be careful. Depends he might want it disco sounding. Maybe not. Who knows This kind of thing could work is a baseline and of course we'll change it from a piano sound. This kind of electronic music Maybe not Piano is the most suitable. So I'm going to just drop on simple cold site serum. Stay silent, then serums silence and of a great one serum. I personally prefer for this kind of music so I can tell instantly these doctors don't really work Now. Put it more kind of into context, so you can dio find base part, then find the optician. Just stick it back down. It just sounds a little bit too out of context. But to disk A for my liking, find it will make a disco truck. So this is one way we can create baseline. It's just base. It's on the chord progression. Another way. Of course, we could make a bass riff, which we look at next. 22. Writing Bass Riffs and Adapting Melodies : Okay, let's have a look at creating a bass riff now. So this is another way we can actually create a baseline. So that have to have the base follow the cords. We can have the courts follow the base so you can start off with a baseline. So it just opened up a new clip here. Just gonna draw in a baseline. So I'm just going to stick to AKI, which waas G major just using. So far the roots, 3rd 5th and then are the passing that here on, then see what this sounds like. Love is about trying there, unless you have a MIDI control in your playing in also went in the right register. So when it low So I do believe create the base riffs about being quite repetitive, Um, of the drums to this. I think so. This is really just based around the route, which is the G third, which shares the Bay the fifth, which is the day I don't have a passing notes of in a on of F Sharp, which is the major seventh. So in theory, but could just play this G major chord. I'll probably fit. It might be a bit boring, but it will fit. I'm just gonna draw in G major chord just to show you that it will fit. It will sign a bit bland as well. So just this plane every on da Yeah, you probably want to mix up your hair soon, See if remember, we're just playing the basically the G major cord. But we haven't a in F sharp, so you could add a few of records we don't have to stick exactly to. These rules are quite like this pattern for the courts, the river. You can change it to different notes to see what it sounds. So we have the G, the day and the B was just having a in a naff shop. So that's just we can do, of course, similar to melody writing. It's just Ah, copy this over. Just conceal what's actually going on. So we have this here case, and now you can see it lands on this cord. It has a bay we could change this to, quite simply, would be minor. So the B minus kind of the same. But instead of G F shop. We know this because if we got for them. 5123412345 of shop The repeats against that goes back on the G so maybe we could try a different night. We could try a day the d chord, so we have kind of ah d major slash g sets a g in the base, but a d major in the core progression. So 1234 says F sharp on 12345 So want to free 45 after up, then 1234 is an ace of this team. Needs to get into a gives a different kind of sound Try and of one we could try. Maybe even a e minor. Let's try that. Yeah, but this J Bay repeating the G again at the end of controlling the record, Remember, Major mind Mind a major major mind emission major for G Major so we could try a minor. Let's try a minor. This gives a but of unusual signed, but it might work not so much. I don't like that one. Go back to the G. Look at this could probably have the big gun for at the whole refers well so we can just add off a notes as well to these quarter for really want. This is more kind of comes under melody counter melody, But so then we can write a complete new melody based around this base rest, but we can even see if our old melody actually fits. It's no harm in experimenting. So let's find out Old Melody. Sometimes this kind of stuff won't work. Sometimes it will he never Actually, no. So here is our old melody, this drug it down safe. Just get rid of that high. Be now because that clashes with the melody. See if this fits. Sounds a bit messy. It's a starting point. You could go in and find out the bass notes and compare them to the melody. Or just compare to start with perhaps even the cords with the melody. So let's go back to the courts, select all these and then go to the melody. It's just different ways of finding new parts for your arrangement. It was one thing just writing. If you cause another thing, actually make interest in adding new parts. So this is basically accords here. It's just directly is across first one's day here. Okay, First now is obey. She'll fit with our cord G major second has a e d. C Bay kind of fits here and then we have the day of the A B in the G. That kind of fits is not maybe not the most ideal thing in the world. This one kind of clashes f sharp with e g. So we could change this court to enough sharp. Or it could even change the melody to a J. So there's a few different options. Weaken dio Same here. The be that works fine. Have sharp be that works fine G f sharp this again This change the melody up to a J Then Jay has changed this f sharp porter j now I think it should fit a bit better on we've got the records that fit with the base light and now the melody that fits records. One thing we need to do here is go into our synthesizers and actually quite a bit more spaces bit muddy at the moment. Like I said, this isn't really music. Very, but it is at the same time, because our mix is super important. - Try this with the melody. Okay, so now we're gonna try the melody with this new bass riff. Let's move this onto here. So this is just a piano. Sounds a bit easier to hear what's going on, because sometimes you've got all these different synthesizes quite hard to hear what's going on because it's so much sound design. It's quite hard to sculpt him because you can get de tune and different effects and noise from the Simpson. If you just go back to the piano, Sound can be a lot easier. Sometimes it's easier to hear certain clashes on what's going on. Just gonna move this chord sequence over to a piano. When you can hear it works, you can move it back to a simple thing to start with. It's not always the best thing to do for an arpeggio. Later, there's loads, different stuff we can do now. We've got a bit more going on, so now I'm just going to extend these courts and just make something a bit more interest him and hopefully some kind of mawr former song cause right now I think you should be getting the basics of what notes on what chords fit together. It's more about creating actual music. - Now we've got the base Peggy at the drums today, so these let's hear the whole thing together. Course we have these cause playing here. It's just got to these guys strip out of at the cords or that drums. So it's just the base on the wrist. So we did change this riff, which changed Death Shop, too A. J. So I'm going quite fast in this lecture. But basically all I've done is I've created the bass riff that for Pettitte, if that fits with new chords and with these new courts not stay, adapted the ref to fit these chords. So the baseline has cords and the ref new ref. It's these chords so we can go between the old riff on the new refs. It's kind of similar, but the old one has cords that fit the ref New one. The riff. It's the Cords, which fits the baseline. So we've got two different sections now, so this is the first section now over its in a complete new section, 1234 way could go back to the old section. So really, this is about a bass riff in creating the bass riff that s'more gone into how you can create new sections and adapt melodies to different parts. Because it's not just about right. The bass riff, right? Nicole progression. It's about all the parts interlocking together and creating some nice music. You have to be aware, really, like the bass riff on those chords. That shot was clashing, so we had to change it to a G so certain stuff like that. But we still got their sharp in the first riff on in a second. If we haven't so, it does have a slight few variations, which can make your music a bit more interesting because a lot of the time Elektronik music it needs to be repetitive, but it also needs to be different at the same time. So what you need is one most of the parts repeating but certain intricate parts changing every time, adding a bass riff, changing the cords around this bass riff for rights in the courts around the melody, or writing the melody around the cords a different ways. You can stir up and create new music and create new melodies and keep it repetitive. But also interesting at the same time. So thank you. Fortunate Lecture was mainly about base riffs, but also about adapting your music to different instruments and different parts. 23. Song Analysis - Chords: Hello. In this next section, we're going to actually deconstruct song and analyze some work out how this was created, harmonically courts that we used on the melodies. So the track I'm going to actually deconstruct or analyze is one of my own tracks called Space Raider. There's basically two main sections in this song, kind of a section under a one section. So basically the main chord sequence with the melody and then another chord sequence that's slightly different and the melody adapts to this. So we're going to split these lessons up. So first of all, I'm going to go over the courts. Then I'm going to go over the melody and then I'm going to go over the arrangement. So in this first lesson here, we're going to have a look at the court. So I'm just going to play the song now. Then we're going to have a look at the cords on going to deconstruct and analyze how I actually created these courts. These were created by a combination. It's playing what I heard in my head and also working out certain things by using music. Very so is a combination of using your ear and using music theory to kind of write your own songs and melodies from my experience anyway. So let's have a listen to this song way, and then the song kind of repeats. But this is basically the song. It's from these two sections, this green one here, which is a section on this purple one here, which is the A one section. So the melodies We're going to have a look at the next lecture, but for now, let's just have a look at the cords on the baseline. The easiest way my experience toe workout cords is by looking at the baseline. And then you can look at the court patterns on top of that, and you can basically work out what's going on here. So I'm just going to Solo is called Patterns on. Let's So the baseline. So this green section here is a section Celester. Sleep this. If you're not using able to live, don't worry that other digital audio X stations will have an arrangement. View a view like this where it's quite similar. So let's just look at this a section and from work out what the cords up because so let's start with the baseline and here we can see we've got a G s on the G. So let's just write this down to a then the 2nd 1 Waas g Then we had an f and then G so this first chord was first baseline goes from bar 12 bar free. So this is a So let's have a look at the pattern above. So really, we've got two chords here. But if very similar as we can see, that's one that difference here on this note here, which I class really is a leading note, not as a separate cord. So here we have the notes. A a B. Let's write this e eight beat the 1st 1 So I had a at the bottom. Then above, we have a a bay a Hey, on day. This is how I like to write cords out just by working them out like this. So I need to think a is at the bottom. So generally is going to be a called. It could be a slash court. I reckon it's just going to be in a chord. So now we need to think what order this could be. Him So this is probably an inversion we can tell here by the gaps that's bigger than five or four semi tones. 123456 So it's probably some kind of inversion. I did write this song, but I wrote it while going to Can't completely remember. Remember how I wrote it? It was a good idea to go through and actually analyze your own songs, because it's a lot easier when you have the arrangement like this, you can see the certain notes, but you can, of course, download MIDI tracks on MIDI files off other people's trucks and go in and analyze these. So we have a B and A. I would say a be on a So if you had a baby in a it's gonna write this in a bay on A So this is kind of ah suss to because if this was a minor would be a on 1234 to see 12345 to a as we've gotta be Mr have a C. This is actually a sauce, too, so we're playing the second cord instead of the third corps. This gives a different kind of sound. So the 1st 1 I would say, is a suss to I think, these cauldron two parts as well to the second part. Let's put this in to divide. Yeah, the 2nd 1 we have a have a so that I on the base. We have a in the court anyway, but let's just leave the in the base so we know it's kind of a record, okay? And then we haven't a as well says Put the on top. Then we have a day. So have a day on the day. This is kind of a bit different, really. Instead of being a bit closer with the ceases to have the fourth, which is for your drawing here one, 234 So we have ah sauce. Fourth. So we have the A. We have the A and we have a day. So since fourth means we play the fourth step the third. So this is a sauce fourth. So the first god or the first platter is a source to a size four. Then it kind of has a leading that here, back to their source to So we've got the 1st 2 court tonight. Let's see if we can work out the over two. We know the bass note further over to is a G. And so we have these nets here, which is day J and Bay D. G and B should know this already. It's the 2nd 1 We have a J. We have day J dgb. You shouldn't know this really easy one. That's day. Okay, They So this is actually an inversion as well. So if we start with the J in the base, it would have day G being a day. So count up. 123451234 means to major chord. And it said G major really simple. So after this, the next court is a j. But this here Just so you know, there's a divide on the court after as we drop the bay to in a So there's no Betas A instead. So it's ah g de on a g d and a so G day and I so this one need to think she did a It s a G card and stuff playing the bay its name one lower, so one lower than the third is a second. So this means to G sussed too. Not playing the third claim. The second instead. So space We just mean to play that instead of the third. So we've got our thirst forecourt tonight halfway that of working at first sequence the next one Have a look at the base notes. Always referred to the basement. Bayside makes it a lot easier. So we have an f So the next chord starts with After out here, let me have a c on the A really easy one. So see, I this is a never inversion. So if you just put it around sometimes just have you just have to look to see if it's some kind of inversion you can tell by the gaps, gaps a two bagel or not quite right Comptel with some kind of inversion toe f i n c So that's right in f i n c. So we have f Okay, I see to the gaps. One, 2345 1234 So five and four is a major court. So this is f major. Nice. Simple called that which is good. Listen here. Okay. The next one will be efforts Well, in this time you've got there the F chord. We've added something. So this isn't a sauce. It's not swapping referred, actually adding a day. So if we can f 12345 days to six. So it's the F ad today, so this will be a f at six. Maybe use the words add literally. Just need to be added their own news. What sauce? A lot of time. It just means we swap it suspended. So we swap it for another court normally replacing the Fed. So we've got, I suppose, to isis four g Jesus to F F at six. Okay. And the last one, we have the route now off a G. We've got a big inversion here to Comptel because it swapped around, But the notes d j on a say day, Jane s a day and a we've got added to the J so g d in a safe. We're going with the site Day G day on a the bass notes check in the basement again. The last one is a J. So it's really a g chord. Let's see, Come work out, which called as this one is a little bit more unusual in the rest, so we haven't actually got third. Where's the be? The third of the J is obey, so you haven't really got one of them. Look along here actually goes to a day. It's this cold, quite bad, ready? No third. So it's kind of a I would say G sauce six doesn't really exist. The Sussex. But from my point of view, the Sussman just swap in for the third, so such six means you get rid of the Fed, he added, in a six. That's one way of writing it. Another way could be a slash course technology in the base and never called on top. But for May offer, see Jesus. Six. It means I'm swapping the third for a six because there's no actual fared in this court. When we look at the melodies, we might change the court a bit because the melodies will add in the harmony if it played certain time the court. But for now, I would say this Aggie, so sex is better than usual. Cord. I quite like unusual cause. It adds a bit more flavor to the music, and this one. It's basically just a G but about the third, then we add the third in there. So I might just call this one A J. Because we do have the 3rd 2nd half way free. I don't have to be 100% accurate, but I can kind of tell what's going on here. So I would say this So I'd say this is the court sequence for this. A section says a source, too. Isis for G, Jesus to F F at six G's of six and G. The next section is this purple section. Let's just have a listen to this. You can hear a lot different. There's a few stranger courts in this. Let's have a look at the base. Actually, first of all, let's see what Q in for now, we can tell by looking at this. We are in a minor. Let's say his first call. I just realized it's actually a minor 60 on a because there isn't a c sharp. Okay, let's have a look at the B section, so in a minor. So look at these cords, the bass notes. So I have a have left sharp, which is out of key, so changing keys here. Let's just write this in a in F sharp. So this is Ah, a section. Now let's have a look at the A. One section called it is Quite similar has a few different chords in a one section first note. Waas, I think, was the same as a a minor. Next one is in F sharp. Okay, It's a bit more interesting, though. Then it goes down. One semi tone kind of breaks a few rules here to an F. It works. I think it works. Then the next note is J. So Got summer of dissonance here is going to be out of key. I think the same is interested up to you what you want to do. But me personally, I like it sounds a bit more interesting. It's good to break the rules. It's good to try new things because it just up to the key stick to the rules all the time. Just going to sound like everyone else. It's gonna sound a bit boring. Personally, it's best to start with the rules and learn to break an expanded modulate and try new ideas . Okay, so the 1st 1 was a well, you know, it's an a minor. We can tell it doesn't swap keys on the first chord. Let's have a look. So we have a on A and Obey E and I in the bay. No prom before that. This so says to you, This is the same Caldas before to have a minor 60. Then the 2nd 1 goes up to the data is the same as before. A minor. So it's four. This is the way called Let's Have a Listen to this again. The 2nd 1 That's a bit more tension. Really. Like that court just f shop that's working well, that is his shop. I see shop F sharp, a C shop. The 2nd 1 is have shop. I see shop que se one to free four sets of minor 12345 Simply just f sharp minor modulation going here. I like this. Then it's work at the next one, goes up to Dean's to have a C shop, then goes back down to a C sharp. You could call a add six because we're playing. Both of them were playing the fifth on the six. I would call this F sharp minor. Add six F shop minor at six. Well, we could just call the f sharp Minor. Six kind of implies Has the six as well Evens find at 66 Depends what comfortable with. So we got some quite interesting chords here. Let's have a look at this one. This goes to a F thank you f major. Same as before. The for court. So you haven't f because it goes f a. See if we can't up. 123451234 That's a major court. The root note is F f major. After this, it goes up to the day. This is ah, same as before. Belief F at six. Have a look at the court before before we after the six not have replaced the six you can see here. So let's call this one here. F minor. Add six. We don't get too confused. Isn't really a exact role for writing these six cores when you replace them, but it's kind of Ah yes, six cold up. So we've got some Chromatis ism here, so we're just moving there in semi time. I think there sounds really cool personally, which by wrote it But I'm quite biased, but depends what you want If you want to insert a bit more unusual but more tension, maybe have a look at changing the key and some chromatic notes doesn't have to always stay in key notice Later on, when we talk about the melody, the medic, the melody actually adapts and changes to these changing court. So the melody didn't stay the same. Sound similar, But it does. We've with these cords also okay. And that we have the last one chairs this G start that bass note waas a J So if we look down here, base notes G make up to this God. So we have Jay day. Thank you. Them see? Same as before. This the g So six. It basically means that sex is a bit of a strange one. It means you play six. Note step the third that I think it's the same as before. It goes down to this day and obey. So this is just a j. Okay, so these are the cords? Quite complicated. Really? You hear? It just sounds like music. A lot of time. If you haven't trained, you hear music theory. Let's have a listen back then you realize you deconstruct the court to realize this quite a lot of stuff going on to the first section. We have the A minus us two, so we play the second now instead of the third, any minus us four. So play the fourth note instead of the third G juice sauce to swim. Play the second there instead of the third f f Add six. I don't six note as well G sauce. Six. Pitiful, Weird. Once we played the six note instead of the third, then a G 20 major on the A one section a minus us two. So it's a minor chord, but play the second instead of the third in behind the Suss four. So you play the fourth now instead of the third F sharp minus. I've got a key change here called. That doesn't fit in key. Then we have F minor at six. So you basically had the six note F. So we changing the key back again. F. Six. So this would add the six. We play the six note. Let's have a look at this again. So here, actually playing the six notes have the fifth note just watch called the F six. Then we have a G. So six the weird one Again we play the six notes No third note, if a strange one and then back to G Major or G. So this is the core progression that's used in this song, and this is how you deconstruct. It's not the easiest thing. The basic thing to start with is right down the bass note. But once you've got the bass note right in the other notes, and then try and get a pattern off, say, five and four major form. Fight for minor form four for diminished five and five for augmented two different types of patterns, you might have to readjust them. There's a lot of the time when people write music and they arranged the music. They create different inversions, so it's not always in the right order. So don't be afraid to have a look at these notes of flip them around a bit, and then you can kind of work at generally. What's going on. This is quite a complex chord progression, really a lot off. A lot of songs just have really simple ones like C D minor G but this one is a little bit more complicated. Is a bit more going on before being interested. Want to show you a bit more interesting? And it's one of my songs as well, so I'm a bit more biased, Um, but I personally prefer this kind of course Sequences called Pattern just sounds a bit more interesting than just regular of 25 ones. This add a bit more flavor, color and character to your music. So thank you for watching this first section this first lecture off this deconstructing section. Next, we're going to have a look at the melodies used in this track. 24. Song Analysis - Melody: okay. In the last lecture, we had a look at the cords from this track on. We also deconstructed and worked out what the cords were. The two main sections, a section on day one section quite similar, but the A one section had a few slight different chords and had this kind of chord that wasn't really part of The key on was quite dramatic. Court. I passed. You think this works now we're going to have a look at the ref or the melody off the track . The track is basically based around these two chord progressions on the melody that locks in with the core progression. So let's have a listen to the melody from the first section, the section, and then we're going to deconstruct and work out what its melodies actually doing. So from looking at this melody or listening to this melody, you can hear and see that it's split to two parts and they both repeats. So it's really just based around these nights, Bay Day A J. Let's have a listen again. Then the melody repeats. Looking at the cords, the cords carry on. The melody repeats the way I really wrote this was thinking about the notes in the scale on what I could create a logically. So I think you have something that's quite catchy and remember memorable and also quite repetitive. So the notes B, D and G fit Maskell a Mona, which other notes? A, B, C, D, E, F, G and h so basically the white notes. But starting on a is a scale a minor, but they don't necessarily use. The note should expect to a lot of the time you expect refs or melodies kind of revolving around the third and the fifth. Look at this one. The first court we have a B, D and G. Corder playing is an A minus us two. So you have the baby in the CST because an A minus us two cord, we have a let me have the biggest ever See then we have and a here we have a day as well on we have a G. So this kind of changes the court as well. So this really turns the court into 1/7 chord. Also adds on this day. So I got quite a few different things going on Release This court is not necessarily a minor sauce to from looking at the cords it is. But when we hear this melody adds a different shape, this kind of makes it a lot bigger and thicker siren in. So you've got kind of the seven for minor seventh and also this 1234 Whatever 5/4 it's more turning into an a minor suss to add. Seven. Add 4/7. So really, they cannot this quarter, making it sound more color, more colorful them or kind of government into the deeper sound. Which is why this sounds quite mysterious. And the tractor actually called Space Raider because I imagined a spaceship flying through space and robbing different planets like a space raider. This kind of big, mysterious sound is creating, created by a combination off the synthesizer sounds, because musing quite a spacious synthesizers, Sam and also the chords and notes selection. So really, it's not on a minor, so stew it isn't stopped. When the notes come into the rift, it changes the shape off the court completely adds bigger shape to the court. This was kind of done subconsciously, but I also knew I was adapting the sound off the court by adding this melodies. And then we've got the second cord, which the A minor sauce, too similar kind of thing. And then we have the G. So we got the notes of the G here, So we kind of have this tension of this first chord that's all built up. It has these different notes that aren't the traditional notes of the Triad. And then it gets released by the second cord, which has a nice straight geez, let's listen to this again. So we kind of have this first couple of cords are quite straining, quite colorful. Have all this tension that it gets released on this G here and then kind of add attention a bit more with a G sauce to Let's just listen to this again. It's quite hard to notice until you trained year. So we start with attention, then release and it builds up again. Let's have a look at this fair court and the melody that links to this for court. So you have this a minor chairs? Yeah. Then we have the G kind of releases a bit. The tension builds up when we have this us too. Then we have this record here, just kind of Ah, a lot of tension going on because at this be with the F which clashes. So actually playing this note here this big with the sea at the same time was clashes, which is another thing I subconscious did. I want attention to build up a bit more. Nothing is created from this clash in sound and then a similar kind of thing. We got the six behave, got the fifth. Then we have the G, which releases again. That builds up because, uh, going back around again to this a minus. So it's really just the core progression and the melody should build up tension and release buildup, tension and release as long as it's released by the end. As you can see here, we're playing a G on the last chord has a b a d under a. So I kind of had a little bit of tension with this. A on a G not too much, says melodious, has built up around, causing tension release causing tension release causing tension release. That's basically it on. What it wants to do is create something that was quite melodic, memorable repetitive, but also had a bit flavor habit color on a bit depth. So let's just listen to this again at the start. I just repeat, to debate this ref just to kind of give you a little taste of what's going to happen. And then we have a one section. It's quite similar. We have a similar kind of riff. Let's play this. It's the same thing. So the 1st 1 is pretty much the same. What is the same? And then the 2nd 1 something different happens here. This is kind of crazy, the 2nd 1 So let's have a listen to this again. C sharp d and the A. So it's still kind of have this release because the sea shop in the A on the third and the fifth of the C sharp, minor chord so still have a bit of a release. But the court changes to a different key is called That doesn't fit in the key. So we have the release on detention at the same time, which I think works well, similar kind of thing. We have the days at a bit more tension and then we go. But this f and then back to the G. So it's all about at intention, using the notes that fit in this scale, but not necessarily always the root, the first in the fifth, not always the predictable notes. Let's just listen to this second section again. So love. It isn't just about following the rules and writing the exact same thing in using the exact chord Chord Pattern writes in the route Food and fair for melodies. A lot. The time it's just hearing stuff in your head. I'm just what I can get out tryingto transcribed what you hear in your head and writing it down in your digital audio workstation. A lot of techniques I like to use is causing tension and then release as long as it's kind of released by the end of the pattern, and it can loop around is a loop you can pretty much put wherever cords, whatever notes you want. There's no real rules, but generally you want to use the melodies, the notes of the melody, which fit in the court that don't necessarily have to be the obvious notes and just make sure it can continuously loop around. Of course, not all electronic music has to be repetitive, but a lot of the time we do repeat certain phrases, certain patterns, certain melodies that would change certain elements, like the drum parts, may be the cause. Instrumentation behind it. Ad development A mood. I'm really allow your music toe. Let your listener go on the journey. But this is basically how I created the melody, used notes that fit in the court notes that fit in the scale and that when the cords and the scale changed because we have a key change down here, I added different notes that fit in these chords and scales, but not always the obvious. No, no, Always the route, Not always the third, always the fifth to add a bit of attention at a bit of color. Just make it a bit more interesting to listen to, because I think if it's too obvious, it's too clean, too happy. It's a bit boring personally, but right there, right the music, whatever you think, sounds good. It's not about what I think Sam's goods about what you think sounds good. So I hope you're firing this lecture useful about writing melodies, and I do believe I wrote this on the keyboard. I played the end on my media keyboard. Then I adjusted it and moved a few stuff around. So you can write melodies on your midi keyboard if you're used to playing the keyboard. Or you can just type in on the piano roll editor, you can even use other devices like the push to refuse, unable to live launchpads, different kind of MIDI controllers to trigger clips onto right part. Since I think you get to watch this lecture on the next lecture, we're going to be looking at arrangement. 25. Song Analysis - Arrangement: Hello. This lecture is all about arranging your track. Of course, once you get your court and then you get the melodies, you really want to arrange your track and just not have the same thing, repeating all the time that certain elements you can repeat like chord progression, the melodies and certain points. But you do want to kind of create a mood and create a journey. Fuel listeners when they're listening to your music. Really, if it's just the same thing all the way through all the time, they're going to get bored quite quickly, so arrangement is extremely important. This doesn't necessarily fit under the music theory kind of hob, but arrangement is as important as anything else when you're writing music, if you have got a good arrangement, it's going to get a bit boring or might be a bit strange. Which is why I think arrangement is super important. You have to go through and create different arrangement fuel tracks because it's not always going to be perfect the first time and able to live now when we have to kind of views, you have like a session view where we can trick eclipse in on. We have an arrangement view. But other digital audio workstations just used the arrangement view, which is fine. You don't have to use different clips a lot of the time when creating music. I use different controllers. A module is to create the sirens and launch clips, but you can just do it all with your musical typing just by drawing and you don't need in the keyboards. As long as you know your music theory and you've got your arrangements sorted. You can still create great Sam contracts just like that. So no dead mouse uses able to life nine doesn't use many media keyboard. Just types in Samos, Skrillex and loads of the big name producers create music just by typing in. So don't worry if you haven't got the latest push, we haven't got latest ABC controller. You can still do all in the box. So this track is really arranged through these different sections of the A section and then a one section. A one section has kind of a weird cord in there, which I think makes it sound a bit more mysterious. More moody on the track is called Space Raider. So when I was creating this track, I imagined a spaceship flying through space, kind of landing on other planets and robin them and going back in the spaceship and being a space right. That's what I envisioned when creating this song. A bit strange, but a lot of the time when they're right. Music. I have an image in my head. What kind of a mini clip off? Yeah, a lot of time. It's weird, spacious things. A lot of people write love songs, the songs I write and normally about aliens, spaceships, monsters, movies, that kind of things. That really depends on the kind of thing you interview until at SciFi and this kind of thing. It can be quite interesting to write music like this. So I really wanted their journey toe to go through space and have different ups and downs, Which is why I've got this strange chord in there. And they've also have another section where we use now, Peggy Ater, which basically just plays through the notes of the chord. So let's just have a looks into this section, just a kind of mixed up a bit. I thought Dad on arpeggio just to make it a bit more interesting and stop the same thing, repeating over and over again. And then the riff plays over this arpeggio, and you also have stuff like washes, sound effects, simp reverse symbols just to kind of make it more interesting to listen to. And then I chop up the rift at the end so it doesn't play the way Fruits is. Part of the riffs were kind of hinting the referent before and then listener Comptel, the songs going to ends and them I bring back this the original chords, so certain things we can do. This isn't really a lecturer on health to use able to life. It's right. It's about really arranging your track. And now in that you want to create your music, see a list that doesn't get bored. It's something site, and you can use visions or imagery. When you're writing, you can even use visual score. See, come right out on the piece of paper what you want to happen. You can follow that, and you can use your arrangement to follow that. So if you write a big crazy bang, you know the music's got build up and have a lot of tension, and you can use the cords and the melodies toe attention. And then you can release the tension by using the predictable notes. And you can build a attention by using the stranger out of tune out of key weird notes. But really, arrangement is about experimenting and just creating the music that you find interesting. And you also think a listener find interesting, of course, orchestration. You don't just use the same instrument, every single track. When the change it mixed up a bit. Add percussion. You hear the drum part in here. There's a role on the hi hats on the really, really have this role when there's space in the rift, because if there's too much going gun listener won't know what to latch on on there. Just be muddy and ness in your music. So a lot of the time, if you have space, then you can add something. There was a space for a new instrument, or if there's a lot going on, just push back and allow. This. Reform led to stand out and shines. The listener can latch onto that, too, so let's just have a listen to the drumbeats and here you can hear the hi hats. And when this high hats are playing, you can hear that the breath isn't really doing much. Some of the notes are held. Du du dude. Then we have the high hats, this little intricate things like that that most people wouldn't really realized. There's the hats playing a ribbon like that on the space in the melody. They just think all this sounds good. I like this. Most people don't really realize this stuff and listen to music. They just let their emotions take over and dictate what they're feeling. First, we ask a non musician what they think of a track. A lot of the time they will say, I like the lyrics. It makes me feel happy. It makes me feel sad, really generic terms that could mean anything, but they don't really listen to what the court is doing. They won't listen to this and be all. The first court creates tension. A second called releases the tension but also modulates to a different key about this. I don't think that they won't think the fares called, has a lot of attention. The second course releases attention, but much. It's a different kid. I think this sounds spacey. This sounds weird. This sounds nice. Or maybe this sounds horrible. There wouldn't necessarily know this stuff, but as a music producer, electronic music producer or composer musician, whatever term you want to call yourself, because they will kind of fall into the same bracket. Nowadays. If you write your own music and you produce that you are Elektronik, composer on electronic producer and musician. For any of those terms, you really have to be able to deconstruct and analyzed music in general. Your own music's easiest to analyze because you can go in and you can look at the project and you can see what's actually going on. Of course, you can download MIDI files for other projects or other songs. Or maybe just ask your friends if they can send you one of their tracks and you can have a look of it just to analyze what's going on. So that's the easiest way my experiences get the MIDI file, work out what the notes of doing when you get bit more advanced, you can do of audio files, and you could do it with tracks and try and work out what different parts for actually doing by here. But it's a lot easier to do it in the media tracks I thank you for watch this lecture. I hope you found it useful. It's mainly about arrangement. How you can. He's different arrangements and different patterns and techniques to actually create some interesting music. 26. Song 2 Analysis - Arrangement: Hello. In this lecture we're going to do another song analysis on We're going to have a look at number one of my tracks on. Basically, just deconstruct this and I'll show you how and why I wrote it like this. When we look at some of the music theory off, why and how I wrote it like this too. So in able to live nine and you might notice straight away that's all this space here at the top. The reason is, is the way I normally arrange my music is I write loads of it. You can see down here it starts about 60 minutes. So our in of just arranging and trying new ideas and eventually came up often arrangement that I liked. And for the purpose of this demo, I just deleted all these here and, well, I saved as a new project and deleted although of ah arrangements that I didn't actually use . We have a look in the session view able to live. This is just another view where I like to write love my music and trigger in clips with different module synths. These are some of the clips I use. So it's a massive project, really, And it's just being a range down to four minutes or so. So remember when you're arranging music a lot of the time, it's not gonna be perfect straight away. This probably took me maybe a couple of hours to rights and then maybe several days just to arrange it and find arrangement I'm happy with and then to mix the actual track. So when you're writing music, just remember about the arrangement and taking the listener on the journey. It's not just about playing in certain chords playing in certain notes. It's about arrangement, which is as important as the writing the music as the mixing the music as the same process arrangement. It's super important to so some of these tracks here actually have midi data and audio data . The audio data. A lot of it has been re amped, so basically have taken this mini midi signal and re recorded it through a synthesizer and then through an amplifier, and then put it back into able to live is quite complex. It just allows your music to have a different kind of sign. Make it more unique. That makes it a bit crunchy. and crispy and dirty for an amplifier. I've got a workshop called Beyond the Music Workshop where explain all this, but I just make you aware of what these audio waves actually are, and they have certain things. Here have been some sample in of some sounds frying pan signs, that kind of thing on. Then react this emphasize er all these different drum parts big riffs, bass part never bass, part pluck, sound side chain and the ref more refs, horn refs, revamped horn refs washes sound effects on some vocal samples here. So obviously, how you write music and getting the notes toe work created melodies is very important. But also think about arrangement. This track is being arranged so much to get this four minutes, as you can see. Like I said before an hour's worth of arranging before what pair it was huge. I remember doing this. I spent a lot of time trying to find this arrangement. Came up with his range with them, eventually happy with. You can also see if I zoom in. It doesn't stop banging on the bar here. It doesn't start in the what you to conceive. Consider the right place. But when I put a few effects and the start to get some movement in the song, have a look section, then it comes in on Bar one. So this little tricks and tactics you can use like that. But a lot of it is just right Loads and loads and loads of stuff and then arrange, Arrange arranged. You expect to get right straight away, etc. People do live streams with a live stream. A whole track in one hour doesn't work like that. If you want to make a song that you're happy with what you think's decent, it's going to be a lot of trial and error up. Even the huge artists don't create a song of one hour. They spend a lot of time just going through fine picking, dotting the I's cross Nitties, making slight adjustments until you're happy with it. Don't rush. Take your time so of writing music. Take your time and think of stuff you're happy with and also arrange and take your time. So this let's just just really about arranging and seeing that my project here, how much stuff have actually gotten it just to arrange it down to four minutes loaded Our eclipse loads of different stuff just to these four minutes here. So just remember that when you're writing music and your range in take your time don't rush . And if need be, make maybe 10 20 different arrangements until we're happy with what the next lecture, we're going to be looking at the cords and some of my melodies and how I actually worked out. 27. Song 2 Analysis - Chords: Okay, now we're going to have a look at The cords are used for this track, but let's just first of all, have a listen to this so you can kind of hear what's actually going on. It's basically just these four chords repeated round around the have the two bass notes, but there's actually four chords going on. So let's just hear this. There's intro part where have this kind of weird effect that I've sampled, and then the cords and delicious plate from where the courts enter? Yeah. Then there's a rift there enters and then the court. Then the courts come in after this as well. Way These are basically the cords, and there's different riffs that enter different melodies. It's basically just these four courts. It's more stuff that goes up. Ah, I recommend. Listen to this track if you really want to go through and have a listen to everything that's going on. But for the cords sake, it's just these four chords to base notes and then four chords I've got there, the kind of organ sound revamped, so we have some richer, thicker sirens going on, so it makes it sound a bit dear to you as well. We've got two different pads here, £1 left, £1 right to create a bigger sound. But this isn't a lecture about mixing music. That's a lecture about court. So let's open up and have a look at these courts. So we've included the bass note here on the 1st 1 and kind of see is a similar court pretty much the same. Same with the 2nd 1 So it's kind of two chords, but then a slight adjustment of the cords well, I wanted to create. Here was tension and release, So the first thirst cord is quite tense than it releases, and then the third one's quite tense than it releases. Just the kind of out, a bit of movement on the kind of depth to my music personally. So let's have a look at the 1st 1 We've got this note here, which is a G. So let's write in G. So that's the base notes. Let's put the bass note down here. This is how I like to work out, start the bass note and then build up. Then we have a G there as well. Then we have a B flats or in a shop. Let's call it a B flat. And then we have a day so we could work the site. 1234 12345 So that's formed. Five. So the 1st 1 is G minor. The next one is a G B flat on Dee Dee Sharp. So the way I've actually done this is it starts released and then the tension builds up. Then it starts more attention and releases. So it's just a matter of release, intention and bill, not tension. So I actually started with release tension, then build up a bit here because we go up a semi tone. She isn't the most comfortable interval ready to go up. I did. This purpose is just to create tension. A lot of the time. I don't think exactly how can I right? These chords in this court progression a lot of time. It's how can I create a mood or movements and you really have to go for an internalized, all different course. You know which college you can and play. But to start with, just try an experiment of creating tension when you're even playing a keyboard or writing in the piano roll editor. Just experiment with creating something that you think the listener well, kind of Take them on the journey. It's more than just writing music for mathematically and writing stuff. Facts about creating the art form. It's kind of a combination between the maths of music theory, working at the patterns and also the kind off artistry side there, the side of music where it's imagery. It's a journey. It's experience for the listener. So you kind of combining your left and right bet. Brain. So you're the artistic side with their kind of logical sides. That can be quite difficult sometimes. But remember trial and error. You're not going to get it right. First time. You have to do a lot of experimenting a lot. Get stuff wrong, but as long as you enjoying it and you're realizing it's slow and steady progress, don't worry if you get a few things wrong, everyone get stuff wrong all the time. As long as you're learning from your mistakes. Mistakes are absolutely fine, so the second court is a G. Then we have a B flat, and then we have this a flat, so it's a bit different here, so some minor. But instead of the fifth we've got their six, it's in the G minor scale. We have the e flat. It's part of their scale. So this is a G minor six to the second cord with Sinise G minus six. So it's a bit tenser. So we have this of a semi tonal movement, which makes it a bit tenser. So we have the released an attention. 3rd 1 is this f So it's an effort, the base, the bottom. And then we have this note here is B flat. Then we have this note here, which is a day. So this is kind of ah n f slash G. Cause we have there the third and the fifth of the G, but the base of the F. So you could write this as f slash J, which means behalf the F was the bass note and then G as the cord G minor s last gym owner or you could write this eyes. Yes, it's quite hard to tell if it's a minor or major because the B flat, it's both in a major scale on a minor scale. But what we can do is call this EFS us four because we're playing the fourth instead off the third, just to be flat. So if you count up 1234 but then we also have it's kind of six. Note that the day instead of the sea because the fifth no off F is a C, so it's kind of a f suss floor slash six. You could call it or you could call that a slash G minor so you could call it that. So basically, it's a G minor court, but there's a F note in the base, so it's a few options that it doesn't really matter too much. What you call it just really need to know what's going on, because these cords might be a bit more complex than you used to, which is good. It's a major. Trains have been new. I'm trying to venue. I mean that we have an F court f bass notes, and then the next one is F. Then we have this here, which is a B flat again. Then we have ah see, So we've got the fifth it now, which is good. So you have f b flat and then say so This is almost and f chord. But instead we've got this B flat, which is the fourth notes. So we got 1234 so forth in a major and a minor scale. So really, this is a f suss for because we're playing the fourth note instead of the third. So these are basically the court's going on. We have a lot of tension here with this same eternal movement kind of releases again, but the bass note changes, so we start off with a release that we have a bit attention. Then we release, but of a bit of color because we're changing the bass note. Then we have the tension again. This if this suss fourth, so it's kind of creating a lot of movement. But what? I actually moving the bass note very much. The base that's only moving from a G to F. But then we've got all these different chords above creating something a bit more colorful , a bit more exciting than just having the G minor on the left. If you just had a reminder of the F, it might be a bit boring as I've added this G minor d minor, six f slash g minor and f c us Fourth. We create more tension. We create mawr movement. We create more stuff to actually here. So let's just listen to the essence. Just have it here to see if you can hear this tension here. What's actually going on? It was basically just built around these four chords, and that's kind of the song with different melodies. Refs, I wrote it just around these cause are just playing around on my midi keyboard, and I found a chord progression that I liked that I wrote another thought. That's right, some melodies and riffs on top of this and then after a load of different melodies, there's a lot more than the ones here. Then I went through and arranged it. But this is basically how I wrote the court's just experimenting. It kind of started up from just G Minor and F. And then I thought, This sounds nice, but it's a bit too bland. It's a bit too boring. How can know jazz or for how can I make this M G minus? I'm or interesting. So I played the six on how can you make this f a bit more interesting? So change. It's one f slash g minor and also change the fifth to the fourth. You need to know what you're doing, but also try let go At the same time, you think to mathematically if you go gave that right side of your brain, you won't kind of let the feeling of the music takeover, But the same time if you don't know the fear and you don't know that the musical maths you might not really right stuff as good as you could if you knew a little bit of music. Very so thank you for watching this lecture. Hope it didn't go into too much depth, the hope you understand and get and seeing the next lecture where we're going to be looking at some of these riffs and melodies used in this song 28. Song 2 Analysis - Melodies: okay in this lecture, we're going to be looking at the melodies in this track skylight. So previously we looked at the courts. Now we're going to have a quick look at the melodies and just work out how I actually created these lines and these refs within this song. So, like I said previously, this track is built around four courts with two bass notes. So basically just a G minor on death. And that's kind of the track. Obviously, a lot of arranging a lot of just fine tweaks movement, stuff around from creating some movement intention for at the track, got a few different riffs and melodies, and I'm just going to go through a few of these now just so you could create similar kind of melodies. Work out how I did it. A lot of this was just by ear. It wasn't all using music theory. It's a combination just feeling the track, feeling what notes should go there. But this is from years of writing music and kind of realizing what notes fit together, which notes don't fit together. But you can make fit or change and adapt, but about their core fundamentals of music theory. It's very difficult to do correctly. So let's just play from the start here, okay? Free a few off the melodies on what I actually did. He's delayed notes that the starts you can hear the delay store ringing. So let's just have a look at a few of these. So the day and the B flat that's played on the second court, So A D and B flat fits into the G minor on DSO. It's aji mine out. Six. Really, if we're including these notes because the G and the B flat fits in G minor but G minus six with the e flat, so can't got bit clashing here by quite like clashing adds a bit of tension because we have the release from the fair scored and then the tension from the second cord on the bigger release. But a strange release on the third because we've got a slash court. We've got a different base note that we have a bit more tension with the four form. So for me it's about release, tension, release tension, this track on a belief. I did that with this Just have a look and never won these examples, So I think it's the same note, the D A and the B flat. So I love. It's just finding what notes fit in the scale, say need to go through. I'm right down the notes in either your major scale where your mind the scale look at which colds to use. Have a look at the previous lectures about that. If you don't know that already and then just go through and working at shapes and melodies that you think will sound good and experimenting, there's no rule that you must choose the fourth, the fifth in the third to write Melody Royal every sound goods. But think of something in mind. If you want to have something of a lot of attention, don't use the predictable notes. Don't use the root, the first in the fifth. Use them or less common, unusual notes, and this will create some more attention. Add more notes in the court to make it more jazzy. I guess this concrete's more tension, more dissonance. It's about experimental, really. Let's have a look at this refugee as well. Okay, cause and to hear, let's just have a look through some of this This is kind of, Ah, repetitive rift that's changes slightly every time and adapts with the courts of the 1st 1 fits for the G minor. So we have the notes here, the G two B flat race shop, C D. And then we got to this d sharp here, which actually fits in the six chord that may have F. So the base that goes down to the F we have that they shop as well. So we have a few notes up, just fit in the scale, really fit and adapt with the courts. When the court changes, the ref changes slightly. That's really what it's about. The bass note changes on the few that no change, but it's also quite repetitive, so it could be quite catchy, memorable. But the cords behind it changed the few the notes change, so it's not too predictable. That's what a lot of it is about. In my opinion, let me have a few more refs here way. Have this baseline play look at the baseline, so playing the root note, which is the G. We're going up to the third on death playing the bass note and then we're going up to the third, which is, Ah, a flap. So this isn't actually in F minor. We found now F minus says. For because we're finally here in this third, which establishes the note or the cord as a minor rather than a major, there's a major would be this note. I think it worked as well, so it could be a major, a minor. But I decided to choose a minor to make it sound a bit deeper a bit Muteia as previously we wouldn't. We weren't actually hearing the third note, which is establishes the cord as a major or a minor so that his base note and then for at the Sun we've got a few more rifts as well, kind of long held notes, which are very delayed. Also, this is playing the day, which is the fifth off Jay way playing the F. I'm a few passing notes and then we go to the sea, which is the fifth. So these are basically just playing fifth notes, obviously fit in the scale. Then we have this horn riff, and I have this re amped here as well. Revamping is basically we take the signal into an amplifier and re record this back in, so you can get some sounds from the amplifier like distortion sounds of the room. But for music theories sake, let's just have a look at this riff. But so if you recall, we're in G minor. So we have the notes that B flat or a sharp G F, which is the seventh so and a bit more color with the seventh G. A few more notes here as well, with C so that in the fourth, then we get into the the F also establishing things fourth as well, quite strongly. So if you have a look at the cord, that's us four coming in as well. This a shop. It was basically based around the notes of the chord of the tried of the court, a few blue notes in betweens. That's basically how have written the refs. So I've written the cords. I thought of something that's quite catchy and melodic. Repetitive also follows the notes recorders, a few notes that aren't the route, the third, the fifth or whatever the courts playing. For example, this cord is more based around the fourth and the fifth, or the third. This was more based around the six than the fifth, so still have fallen the traditional route food and fifth. I might follow the route for from Fair for the Route fared and six. So the notes already based around the cords. But the same time I want to have an interest in River, something that's quite catchy. Something back of I think people could sing along to to listen to this riff here. I think this is quite catchy. I think people could sing along to this, have different operatives of notes going on. They're not all the same active because if the on the same active, it can quite get quite moody can clash. But if you got different octaves, you're spreading out that spectrum of sirens you can create a lot more going on to. A listener can pick out different parts, so obviously we get the bass notes. We get a lower If we get higher riffs, we get the held notes, the courts, the drum rhythms says a lot of different stuff that listener can actually listen on, pick out. But that's basically how I created the melodies. I thought of something rhythmical that's quite catchy and also follows the notes in the scale and follows the notes in the court. Sometimes you can put notes that slightly at scale or slightly out of the court. If they're passing notes, this come work but wouldn't really hold or stay on a note. That isn't really a strong, established note of the call. So depends on what the court is. For example, the G minor. You really want to kind of establish the ref or the cords or the pattern around this route . Furd of 50 of the Jew B flat on the d six. You wanna establish it more round the six rather than the fifth on the same of the suss. Fourth, you want to establish it more around the fourth note than the third note. So this is kind of how right my melodies. A lot of it was just by ear on just playing well, I thought would feel right. Onda also thinking to make music, very thinking about the notes in the court, thinking about scale and combining this all as one. So thank you for watching this lecture. I hope you found it useful and I'll see you in the next one 29. Song 3 Analysis - Chords: Hello. In this lecture, we're going to be analyzing another one of my tracks. This one is called Angels. Pray. I do believe it's a bit more intricate. There's a bit more going on than in the other tracks. It's really just based around the same four chords than I have. Different melodies come in then. Different textures. A lot of work on arrangement. This tracker. Remember, I've spent a long time arranging this. We look at the top. The whole piece was about an hour long, and I arranged this to just over 3.5 minutes, so arrangement was super key. This, however, it's not a tutorial about able to life or mixing or plug in tutorial. This is about music theory and working at the cords on the melody. So we're going to be looking at my courts how I constructed the court and also how I constructed. The melodies also have a look down here. These red lines. This is tempo tempo changes, just part of arrangement and texture, which I believe really important. You want to create some or interesting music. You can always put some tempo changes in, so let's have a listen to this. It's quite a big project, considered a lot of different instruments. It's really just based around the same four chords, and I add a few different melodies in use. Different orchestration. So but these riffs on different instruments, then just try and make it turn into more of a journey for the listener and really just turn these four chords into a lot more than just the same four chords. But it started off just with four chords and a few different riffs, and we're gonna work at Howard did this. The rest of it was really arrangement and mixing. Like I said, we're not really going to be looking at mixing but will go into a bit of detail about how I actually arranged this. So let's have a listen. - So there is really a lot going on in terms of arrangement for this track, but it's just based around these four calls. A lot of tracks are just based around four chords, and that's where the idea started. It was a huge arrangement on their stripped it back down to just over 3.5 minutes, and then what I basically did is I wrote this four course on the right, loads of different melodies that should go with these four chords. The worked out, which melodies I could play at the same time. Which ones after locked together the baselines, the pads, different octaves I can put together trying not to class sounds too much. And then it was all about mixing and plug ins. But it all started off just with these four courts. So let's actually work at the four chords. I don't think the best thing is to find the bass notes, and then once you've got the bass notes, it's quite easy to work out what the cords are. Let's have a look at this, so we've got G F. C on DSI as well. So let's just write this in the document. G FCC. So, bass notes. Got G F C. See, it's the 1st 1 It's probably going to be some kind of G chord looking care. We've got this the sharp or the flat, so we know it's not going to be G major because she major does not have the sharp or the flat. Maybe it's a G minor might think of the key. Who knows Maybe a C minor doesn't necessarily have to stop on the first notes that the key doesn't have to be the first night. So that's basically the baseline, a few little passing notes. So let's have a look at the courts now. We know the base nexus G FCC, and they're using up agitator for this so it just plays through the notes. So let's have a look. So we have g a sharp will be flat. Then day so instantly you should know that this is a G minor God Because of the gaps here, there's no inversion going on. It's just in reposition, says 1234 Andi, when you have an interval off four notes like this or four semi tones between Rumford and then third and fair for 512345 So for five, that's a minor chord, so we know instantly. This first court is G minor from work a second cause, so the base knows F This will be Comptel straightaway isn't as common you can do by listening to this as well. You should know that the first court is quite a regular court. Second, that kind of drops down with the arpeggios. It's a bit of a different sounding court adds a bit of tension, so we have an F B flat on the day. So let's just write this down F B Flat day so F b flat on a day. This is kind of ah, B flat chord. So if you spot these notes around a bit and put the B flat in the bass, we can actually create different kind, of course. So that's just so if the b flat it's in the bases B flat D F. This is a B flat major chord because the gap between the B flat 12345 in a day is five, and the gap between the day 1234 is four. So this would be a B flat major, however half this base in the court. It's about this bass note, which isn't really ah B flat major car, so I could write as b flat slash f so this would be a B flat Corber f in the base. Or we could write it as kind of ah nef for slash six. So this means we're playing the fourth note, which would bay to be flattened step today and we're playing the six instead of five, which today So we could have It s us for suss six or B flat slash f. It doesn't really matter too much. It's more. You know what the notes on what's going up. I quite like the ah b flat slash B flat slash F F sauce for slash six, a little bit confusing. So really, we just keep the same notes home. We just drop the bass one. That's pretty much what's going on. So these notes the same. We droppin the bass from a G to an F just adds a bit more color and movement to the courts because you don't write the cords exactly like B Flat Slash. Therefore be just for six. It doesn't. It's more about knowing what the notes are doing and then, knowing how this signs, we just know it drops down the base. That's a bit more attention. That's all I'm trying to correct. I wasn't really thinking. I'm gonna have a And if Salesforce last six, I was just thinking, I want to add a bit tension and just change this very so slightly and changed the base. Now at the same time when we got this one, which is a J B flat. Oh, a slightly different court here. So this is the G minor. But instead of playing there a day, I got this the shop instead. So it's a bit different. This good on the G minor is the relative minor off B flat major and in B flat, we have two flats a flats on the B flat services in key. Just A. I like this court sounds a bit more interested in just It was a different tone, different fields. So this is really just g minor six because we're playing the six note instead of the 5th 1 So the next one is T minus six and then got another one here. She is kind of the same. You think? Oh, so we got this g minor again, But look at the base now and it's a c. So we've got the G minor, which is looking at this G B flat day. Want 23412345 You think it's a G minor, but this is seeing the base. So what? It should kind of hint the first chord. Change the base now as well. So we're hint in back to the first court. But changing the bass note just toe mix up a little bit. That's kind of what I was feeling at the time. So we've got this. Ah, soon the base. Then we got the J. And we got B flat. We got the day so this could be ah se se just to seven perhaps sees us to seven because we're playing the day instead the flats, which is the third of a minor chord. So see minuses to seventh chord. I could write like that. So now you know, the sisters were playing a day instead of any flats on the seventh because I got a B flat. Or we could just call that G minus last see him probably in the court, that so I just know it's the G minor chord is the same. The base. So now I know it is g minor B flat chord F in the base that I know, Um d minor. But playing the the flats dead the day and then gym owner with C, I also listen to this same time and look at the piano roll. If I was trying toe jam. The certain live situations say I had a band together. I want to play this life. I probably give the musicians just a lead sheet of court chart, maybe a few of the notes of the melody and some chords. No, but listen to the trap work out. Then they have to work out the parts from these courts. That's kind of quite common thing for lead ships or remixes. If you didn't remix or someone sending your remix a lot of time, you'll get some chords. You got work the rest of out, but I would say this is pretty standard for May. Just look at the courts most of the time. I wouldn't even work at the cause. I just write it, and I just kind of did by year. But it's good to know Workout Howard did this and the different elements ingredients are used. It's like cooking or baking. Really, if you're baking a cake, it's great to taste the cake. But knowing what exact ingredients you put in form the cake in a certain way. So we've got this. That's kind of what the courts based on the track. Next, we're gonna have a look at melody and the different melodies used and how uses to kind of create counter melodies and interlock the melodies together. In this lecture, we've gone over this track. Andi also have a look at the different cause used. There's a lot slash cause, a lot of movement in the base. While the court is staying the same. The base is moving, which I let's do a lot of time, adds a bit more color to your cords, and it makes it feel like it's staying in the same place. But it's moving at the same time, so you can have a lot of tension doing this. 30. Song 3 Analysis - Melodies and Arrangement: Okay, now we're going to have a look at the melodies in this track. Angels pray on the way around. The melodies was thinking, First of all, what are the notes in the court? So I know notes. These cords. Ah, basically based around a G minor. So it's a G minus scale, but we're kind of changing the different chords, but it all fits in G minor. There's no modulation. I believe all the melodies just fit in G minor. There's no riel clashing notes here, but mostly thinking what could a right that melodic? What kind of right? That's catchy. What kind of writing a listener will enjoy to listen to. So it's not just all over the place is quite repetitive. It's also, I think it's quite interesting, because if it's too repressed of too predictable, do you think it can sound a bit cheesy? It can send a bit boring, so want to create a few different melodies that lock in with each other a few different elements. This track is very heavily arranged is quite a lot going on suddenly really based around four cause in a few different melodies, but the way of put together. Let's find a few these melodies on. Explain how I actually wrote this. You can hear that. Is this one melody here? Things never melody. It's lower believes kind of the same trying to find this. I thought this base melody really on them, locking in with this higher melody. So first of all, play this just a kind of hidden to end. So you know what's gonna happen. You feel all this, this Rift German repeats again, then that repeats with a base melody. And then we have the big, huge melody hands in the air section. So let's have a look at this part. First of all, I remember the first couple's G minor, so we have the root third just there, the G B flat. Then we have the fifth, which is a day, but the roots. It's really simple stuff. And then up to the day again, down to see which is the fourth. Some say it's just rude. 3rd 5th 4th simple stuff. Then this riff repeats, but on the Fed called this time Theo third quarter, the third base note because it isn't really established court. It's just the bass note, which I believe has a say base That is a say third time, so they are playing the same ready. But so we've got there the J which fits of a soups of the fifth B flat, which is the seventh now off a C minus scale, or C dominant scale. So we don't really have a cord. Yes, just the bass note on the ref. So this kind of hints is towards C dominant or C minor, but we have the beef the day. Then we have to see to be flats is kind of Ah, Eva, because we're not playing this note ever see Dominant or C minor kind of a standard ref, but were hinting towards the seventh to add a bit more flavor. But more blues sound but more color way have this kind of karent melody or second melody and bass melody just the same, but just lower, really. So it's just dropping the active several look and that's really it's quite simple. So this is plain G two. This one is playing. I do, too, but I believe in the in the Sem Fous jumped up inoperative as well. That's really all I'm doing. It's not that difficult. So this is, in their synthesizer, going to see its active. I don't really worry about this. This is just for for me just to work out exactly how he did it. But synthesis and that kind of stuff. I recommends checking out my complete able to life course. So, yeah, just change the active a little bit. And that's basically so he can tell. I've got the active these parts and here I've kept it. Whereas eso ever start with harmonizing parts, shoes, octaves, you could do a lot with different keyboard sounds. You can pan the sounds that you can change the sounds conducive. Michael e que where you kind of change the same frequencies of the space for each part to be heard. But och, Ziff's is a really easy one if you just want to create really simple harmony. So that's already did. It's just based this around notes off the scale at a few kind of colorful notes, like there the seventh, and that's really it. She's playing in octaves that's based around the G for the first call this the G minor. Then we moved to this F. The second cord has a route. No oven f and B flat using the F going to be flat, just sticking around the notes in the court, mainly around the root. Third and fifth. The next one is C. We have some B flat as well, so we're kind of hinting towards this kind of Ah, C seventh chord. Let me sticking on. Yeah, kind of the same, but small about creating something memorable that I like to think of rather than thinking I'm going to stick to the cords. So a lot of time it's about year thinking of something that's kind of catchy. That just comes a practice and listen to a lot of other music. So this one that just realized has a C in the base note. So it's kind of Ah G minor. Six. Sassy. I wouldn't really worry too much about the technicalities, but from high own sake, let's put this in. So the basement is the sea, but really, it's G minor chord. I never be flat with an F in the base, kind of a different kind of G minor. So I just put the fifth up to a six. We're seeing the base and never G minor with the sea in the base. So it's a lot of it is creating tension and then release, crave attention and release. And then the whole track is really just about arrangement. Some intricate parts like a lot of washes, tempo changes, effects, different kind of instruments. A lot of instrumentation on this, maybe 30 instruments, quite a lot going on. But they're never all playing at the same time. This parts where be one instrument playing or maybe five entrance playing and then one instrument playing the punishments part. Never instrument playing their insurance part productive up, productive down or harmonize and different kind of sounds going on, but all based really around the same kind of thing. Vocal samples plan. I really like this part. It's cool. That riff Spacey. Let's work out what I'm doing here. I remember right ness and thinking, This is a really nice part. This has kind of a country notice, really, A leading up, sir. It's a little bit too. Sounds a bit strange, but just to give that kind of leading up. So playing there the seventh and the root and the third, the first chord, which the G minor. The second call, which is, Ah B flat of nothing. The base were playing the day. So this is Yeah, the fifth we've got on a shop would be flats. The Fed called is kind of a G minor. Ever seen the basis of playing the third and then replaying the roots? So it's just really simple root third and fifth. So So, I think, sounds really nice for the rest of the track, just layer and on the other melodies, making sure they don't clash too much. They're not trying to play different melodies with the same frequencies at the same time to think of that. Like I said, this isn't really a mixing class, but when you write in different parts, trying toe, have them clashing or to muddy because you don't have space for every entrance be heard. So if you do want to play several different instruments, think about slayer and different octaves, different harmonies and, fifth, that kind of things, that space for every instrument to be. Oh, bring back the ovary from before the recall, a different instrument. So it's just really about layering new things in Hinton, different instruments on this time I actually put it for an amplifier, so you get more of a crunchy sound. That's a technique called the ramp in something you might wanna look into if you want, have creates a more unique sounds. But that's more back mix and rather than arrangements. But it's different things to think about. Of course, you want to think about straight away. What notes can you play, what courts can you could play? How can I make this work? How come it is catchy? How can I make this memorable? And then you want to think about more than intricate parts like layer in different sections within the different melodies and riffs on different instruments and not making get too predictable. You want a constant sand for out something the listener can latch onto, but at the same time you don't want it to repetitive. You don't too boring, which is where arrangement comes in. So I'd recommend if you are new, to write music to start of a chord sequence of core progression, then right few melodies on top of this, and then think about stuff like drums, bass parts and then mix in and plug ins. Think about that after, But without the core fundamentals off this court progression and these different melodies, this track wouldn't really work and able to live. You can write in the session, but you can see here there's tons of different parts. So each one of these is basically just a little clip on. Then you can just go for and played a little clips. Some of them work. Some of them don't work as well. You don't really know if I experimented. So what? It basically does all right. Lows, a little riffs, lows, different melodies, those different drum parts. A lot of them I didn't even use. I didn't actually use this in the track. So and then I kind of arranged it and records that to this part. And I went through and changed all of this. But it all came from writing a nice chord. Progression, I think, is a nice chord. Progression right now low the different melodies, then go through and just arrangement, arrangement, arrangement. I know this is music, very class, but arrangement is so important. But you need to know what notes fit together. You need to train your ear to realize know also what fits well together. What do you think? Some interest in what the listener will latch onto. What listener will be humming in their head after be singing along a day later after here in your tracks. So it's really a combination of knowing what works and thinking off the listener thinking, What would they want? How could you make this interesting? How can you make this really exciting for the listener? For them not to get bored and to be hooked in for the whole two minutes, 10 minutes, 15 minutes of your track. So thank you for watching this lecture. I hope you found it useful and I'll see you in the next one. 31. Create a Song from a Drum Beat - Part 1: hello in this lecture, going to show you how I build a song from scratch. So there's one thing knowing about music theory. But the other thing actually putting this into practice, building your song one of the most intimidating things can just be seeing or d aaw or digital audio workstation completely blank with nothing toe work from. So I'm going to show you a few of my techniques that I use personally for actually building on writing your own music. So these techniques are going to be building a song from a drumbeat, building some from a cool progression on building a song from a melody. Again, start off with a drumbeat. I'll show you the technique I actually use for creating a song. The digital audio workstation that I'm going to be using will be able to in life. Really all the D. A. W's have similar kind of thing. So if you're using Ethel Studio or maybe que baseball logic probe, it will be similar to this. The main difference in able to live. You have the session view, which is this view here, but you also have the arrangement view, which looks like this which you're probably more familiar with if you use any other digital audio workstation. So I just created a few different tracks, created a drum rack. So with a few different drum hits like a kick drum snare Cymbals, that kind of thing, a bass sound with a synthesizer called serum. Don't worry if you don't have this synthesizer you can use over ones, but I like this one at the moments and then a keyboard part with serum, a pluck sound on the ref. But it's all gonna be based around a drum beats. So that's the main way. Or write. Music is around from beats now a lot of people that use different techniques and different styles. But for this example, I'm just gonna be doing get with a drumbeat, really. So, like I said, unable to life, you do have a session view Andi arrangement view. I normally right in the session do, but I fought in the arrangement view because this is what most people will be using if they don't use able to live if don't use able to life. Don't worry, I still use logic pro and actually started off using a digital audio workstation called Q basis, which is kind of really basic version of Q base and then went on to reason and then Garrett Band and then logic pro. And they're able to live also, so it doesn't really matter, and they have a lot of producers who use protocols. But if you want to make Elektronik music, it doesn't really matter which digital audio workstation use all about what the music sounds like. A good foundation of music theory will really help you, so I'll be using some of the techniques that we've been using. I've showed you in this video class was video course, but hopefully I might be able to teach you a single to about my technique and how I actually create music. Yeah, this one thing just learning tone tone, cemetery in tone, tone, tone, semi tone on about scales and some of the theory, but nothing actually creating music. You might be the best person the world that memorize in theory, memorizing different patterns and workarounds, but it's actually about creating music. If you want to be a music producer, one to be music composer, you have tow write music. That's really what it's about. So Let's stop this drumbeat. I also got a MIDI controller here. So, so many keyboard is the M audio oxygen 25 people ask me all the time. Which midi controller do you recommend? I love the auction, Siri's just because it's really easy to use and enables in life. It's really easy to map, so you can basically assigned some of these pads and dials and knobs really easily for different Simpson effects in automation, that kind of thing. But if you don't have a MIDI controller that we'll show you how you can do it in musical typing as well, so you can type in the parts. So I've got this drum right care. So I'm just gonna on this one. So here's my kick drum snap. Hi hats open high hat, press symbol, right symbol, a rim shop on a clap. So one thing I like to do is just jam in the pattern. But it's one thing he's saying that another thing. Actually, you doing it. I said to think of the kick drum rhythm to start with or if you really stuff, you can just have a straight kick drum with them. So an easy way to do this and able to live or any digital audio workstation is to just record a part Time of a steam might want to put the metro among and increase the tempo to 1 to 2. So you heard there might? No, it wasn't exactly on the beat. Let's just have a look at what actually played. So having a look at this river, it wasn't 1234 Because if we look in here, have one to free four. The kick drum isn't quite on that just gonna quantities this commanding key. Oh, commanding you. That's the thing about using multiple digital audio workstations. A lot of the time, you can get some of the key commands mixed up. I used the key command for logic Pro that rather ableto. But let's work out what I did with this kid from bottom. So if you can't bond 23412341 Okay, let's let this 1234123412341234 So I'm actually playing on the one and on the end of the two. So if we can, If we split up sets one and two and three and four and one and two and three and four and one and two and free. You hear that second kick drum lands on the and one and two and three and I'm not just counting 1234 Because we have four crutch. It's or four beats in the bar of splitting up basically 212345678 or one onto and free and four and on the and is in between the beats one and two So one and two and three and four and one and two and three and four and one and two and three and four and one and two ad free so they can work out. I'm using a kick drum on the one, the to the end of the two. Another four. That's the pattern onto I'm free and thought on one and two and free and thought. And so we just write this them. We don't need to play him. We know now it's one and then two hands and then four. So one two hands and then full one So and then two. And so there's two and in between two and phrase this big, so one to, and it's to wrap this back to the right place, and I would play this buck would be one and two and number two, end of the two Cygan even play in anybody keyboard. You can see it's blinking there because I'm playing it or you can draw it in. Now we can put the snare, and so same again. You can play on your meeting people, or you can just write in. I'm gonna have to snare on. Let's try on this free here. That sounds because there's a bit of space. There is no kick drum on the free. So, for for put first now in there, allow the snare to be head on the kick drum. Also, try the snare second time round on the end of the one. So just the second time around. So it's one. And so we have space as well, and at the ends have the four and just a mix up a bit more. I have never kicked from here on the one end of the third bar, so here we have bar one bar to bar free and bar four. So this isn't too repetitive. We have a strong pulse, but slightly different. It would sell the match name so love. It's about just experimenting, building, allowing space, each instrument to be heard. You're going to play some of these with a rim shop, this one here, Okay, adding some rims now just by the space. And I think I give a good grief. It's all about allowing each instrument to be heard and also writing something that's repetitive and writing something. It's kind of memorable and catchy, but not too predictable. Not too cheesy, really. I'm just looking for space. So here we have on beat, too. On the under four beat, too. Under four be to split up even more, Andi split the beat up even more so. Not on the ends on the Anne Ando. So the another part of the beat fervor along some just allow in space, Really, To try this, so just kind of pushes it a bit more because it's not exactly in the right place, all in the bang on the bang on the beat. So it's kind of allowing a better shuffle along a bit of flavor to our music Now I'm gonna add some hats. This is just going to be really straight. We're gonna zoom in a bit here. Quite a few roles as well. It's this kind of trapped feel I like to write. Has a lot of rolling high hats, so you can kind of build in this kind of thing as well. We had a few more high hats. Do you have space here so I can add in a few more? Maybe not that small, but try this. I think that's a bit too busy. It might save that right for the end. Look for some more space is all about creating space. Got some space there, have that there. We're gonna copy this rhythm over. Then I'm going to mix up a bit. So basically what we've done is created a strong kick drum river. So it's the one end of two on the four added in a few extra ones, kind of mixed up and snares pretty much just on free on every of the time. The end of two. And then out of this rim just wears some space. So it's about creating something that's unique, different, but also repetitive at the same time because you want strong pulse that's repetitive. That basically for dance music. I want people to dance to it so it can't be too over the place. I'm going to copy these hats now to some of these repeating really the last time gonna have this role. So I'm just gonna pace this in slowly, one bit at a time. Fourth time's going to be here and most like in the ad open an open high APs. And then my I didn't crash just on the one good turn. That symbol down of it was bit too loud. So this is the kind of drum rhythm we've got so far just from playing around with that. Have some more roles in these high hats. Here's a bit space. I'm just gonna add in a little bit more. You're going to get rid of that last ness putting a few roles here, just create that space. Well, this is about creating space. Let's try that. So strong beat might look super crazy and super complicated, but it's just about building less, starting off with kick drum and add in the snare having the hi hats, then adding effects like rim shots and symbols. It's a pity visit in about. Okay, so there's the drumbeat is built up around this kick drum, really one and two and three and four and one and two and three and 41 and two and three and four. I met them on one and two and three and four and one and two and three and four and one and two and three and four and one and two free throw on the third Wednesday. 12341231 and two and greet and thought and 12 and free and thought. And 123 and four and 12 and three and four. They're you confined under the beats. You don't just stick on the kick drum. It is a bit boring out a bit more, so that's a drumbeat. I don't really like to use drum loops. I like to write on myself. I find it a lot more satisfying, and now we've got a bass part. So let's arm the bass track and I'm gonna be listening to this kick drum. You could even look in with a kick drum or play whether kick drum isn't plane to create a bit more movement in space. Of course, you think about what notes you're playing. I'm going to use the key a minor. So it's basically the white notes. But starting on a So is the relative minor of C Major C major. Which tone tone 17 tone tone tone Sem eating all the white notes, the six now up to say some, basically just trying to play in the spaces. So have a look here, the way some loathe fourth beat but playing in the spaces here and here. So you need a play. And if you use the money keyboard or you could just manually going on draw. And so it's really up to you. Just gonna record this in this. The technique I like today just record him. 32. Create a Song from a Drum Beat - Part 2: basically that look, let's have a look at what I was actually doing that a lot of the time you will play this just free feel molesting into a lot of music and write a lot of music. So it's in there, and here it's just quantifies. This is basically in time. Sometimes when the quantities it doesn't always get it right. But it can mean you make a few mistakes, which can sound good. So sometimes stuff not going exactly how it planned can sound nice. We can just drag it around and find the exact place. One thing you can do as well. You can actually add this to your drum parts just to kind of find a good rhythm. Find from space so it could add it say, on this high hat. So if you look on this based but here starts on the and of one so we could travel this over . I don't normally do this, but this is a technique of same people do. So you could drive the saver, then go on to on the one here and now you can just match up and see whether space of this one that space there. This woman, it's a little bit space. Move that there. Then they'd be more space. Then we have the rim shot. We could move the rim shot too to this that pushes and have the base there. Then we could move this here. Then we've got a role. Best that I want to correct a bit of space, one that rose to be hurt. So put that there. Make a dad when we have the four you could use. This is the main river in Really? So remember, it's the end of the one, so I just cut that So it's not there. Let's go back in this base part. Let's delete this and paste this in. So now if you listen, the space for the base to be head on the drums way don't need to have on the four. That could basically be the bass part. Really simple. It doesn't need to be too complex, just semen. We could change the base note. Don't have to always just down the one notes, so it could change this down to Let's try a C just the Fed of a minor. So this will be a C major chord we could put there. We go back to the A minor. I like to color these as well. So another different parts. This is basically how crazy, easy beat. There's plenty of wasted. This just a really simple way kind of groove it in my field and then go for incorrect it. Look for space allowed space to be heard in your music. Of course, you can lock in. You can use techniques like site like side chain compression. So when the kick drums played, everything else goes. That is compressive. Site trade goes down in volume, so there's not too many classes of frequencies, so the kick drum can easily get heard. Let's let's try this on a G, which will Bay G major, which the seventh called of a minor. That's killer s slight, different color That would just leap this. And that's just hear what this time is like at some keys pots. I just like the two cords for now. So it's just a minor C major, really? So the 1st 1 and playing a C on a minor root position. So a c and a 2nd 1 just moving one note down just the A G. So do Nick on inversion off c major so that kind of thing. Really? So this is playing this in by feel is a bit too much going on, so might simplify a bit more kind of thing. So you might think I want you, didn't you going too fast? But all I'm really doing it's just playing the chords that fit with a bass note. If we're in the key when the key of a minor So all I'm doing is playing on a minor chord. I made a mistake there on a C major chord. C major chord. I'm using an inversion so it's not the sea. At the bottom is the G on the A minor. It's just a se a On the sea is J say, Hey, quantum of this canto and that's just ah, over to here on like all digital audio X stations, you can just drag stuff around. Copy and paste is amazing. Remember using an old eight track recorder we had toe Yeah, record without going out copy and paste and say, the times we're living there are a lot better. Remember even using a four track cassette recorder. It's a long time ago, even before the eight tracks, and they had a digital 16 track where you could just about copy and paste if you played it perfectly in time. There's no quanta izing. So what we have now have our digital audio X stations is incredible. I still think this is too busy, so I'm just really just gonna strip it down even further because this drum be. If you playing quite complex drumbeat, you don't really want too much being played because it depends if you want the drumbeat to be heard. Clearly, you kind of wanna strip everything else down. If you just have a simple from beat, you can put stuff a bit more complain. So good things. There's just less in usurious lesson. I can have Listen for space. What's going on? So that won't this be no cords from that? Want this? See? So I can't really tell you this is certain technique for writing music. A lot of it's just trial and error and experimented just listening for the individual parts . So I want that room that's natto ready. Just punch out with this. These cords also, that might just put on abrupt start just before. Just to make this snare hit on this chord with a snack is stand out. Copy that we can do because I know there's just one day difference. I can just copy this over holding bolts, let's say and then just move this to A J So all that it has moved this A to a J Mike Rabbit space there will. So I think in the end off four, I'm gonna play this note again. Okay, Same here on the full. So the under four. I want a lot space. I don't want anything else really playing. So let's go into the drums here instantly. Here, that wasn't dragged in the right place. So they say. So let's go to the base note because behead the symptom. Wrong that you can always go into the synthesizer. Find out if it's the notes or if it's a synthesizer. Michael D tuning care. We can change the tuning bigger chorus effect. Be careful of this as well. So there. I think it's kind of a life feel you got for me right now, but this is Germany. How are right music? Just kind of common. 10. As a girl long so under four, scared of that rim shop and at the end it's on the full feet. It's not some beat four. I want to change this to the end. Let's get rid of this. So the first time. So on this, a minor when the changes to onder four not before slightly wrong, because it wasn't zoomed in so that that guy it wasn't The tune is because I haven't got a loop set in the right place that's playing this now again, which is the G to sometimes you're not always sure what's going on. Make sure loops in the right place cause I got a bit far enough there because of what the tuning was run off. What I put this down is G. Renee. There checked. Didn't sound were. Therefore it was their synthesizer synthesizer. And then it was actually the loop wasn't set up in the right place. Unable to live, you can use something called set 1.11 from here. Then you won't have the issue. That's the thing. There's no exact ruling. Create music like this because you never know what's gonna happen, really. But once you know the fundamentals of music theory, building music from certain chords. It makes a lot easier than just relying on the ear. Because I know this first court isn't a minor bass note isn't a I'm using the cords and then it moves to a C C major. Really? Basic stuff allow in space for the ribbons to be heard and all fits harmonically. Still gonna move this around a bit. A lot of that is about river changes keyboard parts of shoot. An issue on this is from me off quite a bit. Okay, just messing around with LFO. It's that low frequency oscillator seeing create pulsating effect but decide not to use that. That's good. Someone delete this one and change this. Say to the end. Okay. It can be unable to live if it's just the same. Copy and paste. Get this loop set up. Okay, we can just drag over. Uh, that's that's just ah, a company like this. Ready basic Greece. I think the drums is still a bit too busy when they go through the strip. A few things that it is hats a bit simpler. I'm happy with the kick in the snatched in the hi hats a bit too much going on. Oh, okay, Let's hear this. So there isn't really a exact formal I'm doing here. It's more just experimenting around with what I think will sound good. Training is from right music a lot. So this is coming Main basics like another pluck bull bill around this drumbeat here. Second time there's no drumbeat, a lot more freedom for stuff to go up so you can strip out the drumbeat, your writing as well. If you don't want to just stick to the drumbeat. But now we've got the main rhythm section. So rhythm section of a band is the bass guitarist, a drummer in the keyboard. Bless. Now I've got the main rhythm section we can add on the lead parts so we can add on basically the high sense that's emphasizes. Just could be playing around the court so we can do a little sheep thing in able to live on of a digital audio X stations, and that is just play in the notes. And then we can just add on and arpeggio. Otis, Let's do that. So let's find the notes here 33. Create a Song from a Drum Beat - Part 3: Okay, well, we have to do to direct this over. I might in Venice it stick a productive so it doesn't clash too much. And then nice little cheeky Trekkie. Can there do? Sometimes Smith, we know that a minor and see has two of the same notes for the Triad. But there's a G Stephan a So we can just do it like this dragon over. Okay, copy and paste this or hold down bolts and then you can just had under arpeggio later. This isn't a to tour about ableto life, so if using, say, logic Pro, there's also a midi arpeggio later on that it's just sticking arpeggio data. Now let's hear this. It's the tempos all over the place here, so let's just go in and fix this tempo. But yes, sometimes when you're writing, you will do stuff by accident will just mess things up, but you can always just fix it. A lot of this is just trial and error there. You can just yeah, make it sound good. You never gonna buy a perfect song straight away. Even now, I always make a lot of mistakes, But sometimes mistakes could be a good thing so that we get you Cut the tempo. Settled 1 to 2. Just good. Play around with the arpeggio a little bit. Okay. Got that. Go on a bit of distortion. Everyone like it said this isn't able to likely Taurel. Just think about distortion Will be nice at this In the synthesizer Increase the river. Have delight Now we can add a riff on top of this We've got the main ribbon section Dumb We've got an arpeggio just to kind of give it for, like, find the right Sounds important to obviously fieriest It's a combination getting the right notes Know what you're writing, Andi, Find some cool interesting sounds kind of thing So I just played that in on my midi keyboard. Just gonna go for it and shop. They stop me that around and able to live you hold on, Command J will consolidate. It turns into one track. Let's hit us. The first note to me didn't sound quite right. That's because I was playing the fourth. So if we have a look this fourth night on did with were in the key the court of a minor. The fourth will work. I think the fearful sound nicer. Let's just listen to this. But also without note. 2 May I confined the batter note than this. I've got kind of a basic pattern now, love. It's about a sounds nice. Try the J. Which the seventh. So a lot of it is trial and error not going together. Perfect. First time. Oh, I like this little pattern. I did hear this. Listen, Run. So I'm just gonna repeat this. I don't like that ended. Find the right now as well, eh? So we got a which is their fifth off a minor. And then Jay, which the seventh kind of leading note and that passes into the ages, the route. But when we want to the say, this is the, uh, fed of, say, the fifth of say in the six of c. So it's a bit of a different effect when we go to see a day which the night for the second thing, we've got C, which is the root. Not sure about this first night, so Oh, uh uh, Let's hear this back. Uh uh Oh, Oh. So this is the kind of thing I'm after. I think this will do for now. This? Yes, well, when the quantities deception time Theo, that was the thing I didn't like. I want the rift to be on kind of a stronger landing note on now it lands on whether snare and the cord hits. It sounds a bit strong enough there again, I want this landing on their third. So if you go back to the drumbeat, we know in the third there's this snare, and if you go to the base, there's a lot space. But if you go to the keys, find the keep up. Third has this court as well as the court played, so have kind of a stronger pulse now. So let's try this. Trying to have a role in effect on here as well, safe and get something a bit more, the more rhythmical, this kind of shuffling effect. So get bit more of a riff out of this. Let's hear this back. So love, it's about find the right notes that I like to put in a kind of shuffle Lee effect on that as well. There could do the same of these parts here. Let's just copy this. That's a bit more of a shuffle kind of jittery sound to the ref, which I personally like. There's copy this rhythm here. So it's on the end of one of the answers on Dhere on then. Here it's experiment, Really. I don't go kind of do the same, But just remember, it starts on the day and goes down to the sea sending a copy. This pattern starts in the day goes down to this Say way. Copy this past as well. I don't really like the 1st 1 being doubled. Trump it. Eva notes on the and, uh so their feet I'm using my ear to just remember what notes What? But you can just look over as well. Okay, it's the same. Copy this over. Okay. Okay. He also add a harmony as well to our melody if we want So we know the first called is on a minor. Try this You know about this. So we've got the sea and the EU going So I've got there. Mina fared harmony over the a minor which works Ugo Day. Who could try when trying to be the clashes card that could try the G. So we've got this again. Try to say Jay. Try a day, then we've got this a trust. See? Again. Do you got I mean, sorry, I'll actually tried a strike. A I'm just creating harmonies, thes air notes that fit in the scale also, but they're also I'm just training might Well, I'm just playing around and kind of going by here and see what Think the same. Right? So it's a combination of the both, uh, first a here, So it goes down Teoh. See? But when the top notes been a melody and then the harmonies to be below things notes the day so you could go to an a try g because we changed to a C chord This is a secret. Also sets charged this cto g people going trump of this harmony over. So this harmony has a C A D and EQ which fits in both. See major on a minor. Perfectly fine. So it's from this note here this'd about the harmony we're gonna bring the harmony back here that repeats ransoms bit variation release. It's about creating something that's memorable also, something that's a little bit different. Okay, so now I'm gonna add a fear effects, not the drum rock. Okay, so I'm gonna add a few effects to effects to the ref. So open up, serum sympathy Don't get this was able to live unfortunately, when you have to buy separately, but it is pretty awesome. Like I said, this isn't able to live, tutorial, But this is important for your music. Fairytales wanna make electric music? Sometimes you're not going to get this right straight like then we're gonna add on a never many track. She's just at duplicate this so command day able to life. Then could they put this a productive and not play the harmony? Just play the top notes, then choose never synthesizer Never sound just a layer up octave is a great way to a great way to layer any synthesizer. And that's really easy as well. But this is basically what I do. This is how great music a lot of time all just start from the drumbeat locking in the ribbon section from best of the patents as well. So I left and right speaker try a different effect. Different sounds after this is all about arrangement. So I could take out the bass part there. I could add in the bass part here that could add the drums in as well. Turn off the loop, the drums and the bass in there could have it with. Ah, no keys to start with. Bring the keys in here. Just chop the riff that have the whole riff in yet. So stop. You could just play part of the riff. 34. Create a Song from a Drum Beat - Part 4: again. Then just go through a range. Arrange, arrange, arrange, arrange. We'll also save your track. So drum example. So this on to your hard drive. I think it's better to have a hard drive. Few music rather than saving it onto your desk drive personally got something called SLICE , which is automatically saved your music. And also it's quite useful. If you do use serum, you can set up a payment plans. He played $10 a month for other than buying it straight away, says Splices. A few different options, which can be quite useful for music producers. But let's hear this. Like I said, this is more about music. Very. These are also important tips like where to get your plug ins from how to mix your music. All kind of links in music theory on writing music. So here there's no base. If you listen, bring in the base and now of your guy, Riffs will chopped up. Jump up there. If it was well, okay, so this kind of thing, This is basically how I write something based around the drumbeat this the most. Come away. I actually do this. Let's have a listen again listen for the space. You can hear all instruments quite easily. Space, everything to be heard. Of course, I was just making this on the fly. I didn't plan this because I thought be better if I just go through it and right so it's more realistic of what will actually happen. Made a few mistakes now and again, but that is, as expected. It's not going to be perfect when you write music a specially if you are brand new, and especially if you're not very good at Music Ferry. So learning music theory is really important because I know which called fit, where also writing melodies can be useful in you Know which notes is fit together Love. It's to do with training your ears to know what notes fit together and also knowing in theory which notes fits again. So it's a combination of the two, Really? - Of course it was gave through. Copy this over. I like to call them differently if at a different part. Now I'm gonna take out the kick drum on the snap, okay, then I'm gonna add the kick drum and the snare and after some interesting tricks, it's all about arranging and not just doing the same thing over and over again. And then I've actually chopped up this ref you can see here. Add in this chopped out ref towards the end. Let's hear what I've got. This just attractive just thrown together for this tutorial. This lecture. So I think it's really useful to know how you can start making music just from a blank slate. Then you can go through an ad stuff like automation. If you are interested in that, A recommend checking out my complete ableto live nine course, which I'll go through automation house use, able to live in details. But this isn't really unable to life course. No, I'm good, actually changed the kick drums at the end of make them straight, so go for and changed the kick. See if you notice so straight May space. It just means on every beats four beats in the bar. Okay, so this one's different also. So this one is one. Be everybody different kind of flavor and feel could actually double up the base as well as the base is gonna be playing twice as often here. Subtle. That's more movements. Second, just build and build and build and build a belt. There you go. There's a woman at 40 sung that I've made just off the cuff write music based around this drumbeat. So it starts off kind of shuffle beat. There was slowly adding more elements, but it was all built from this drumbeat. Let's hear this once more and try and pick out the different elements of the drums, the base to keyboard parts they arpeggio hated riff, and then also the keyboard parts that so there the regular ref and then the heart, the harmonized referenced in the octave. Lois is quite a few things going on. It's all based around two cards a minor and see really, really simple, I think works no kick from bringing the kick in fourth floor, every bait ready, building up, building their songs. Move stuff around as well. It's on the second time round. Stopping in that works, but worth a try. Okay, so that's how I created this song. Fell around a drumbeat. Pretty simple. This is all completely improvised. I had no plan when I did it, so no for a lot of people just looking at that blank screen of your digital audio workstation can be really intimidating. Hopefully, I've just given you insight how I can build music of a lot of this is a combination of learning, music theory and training. Get here, but you won't be able to train the air as efficiently if you don't learn music theory, because when you learn music theory, you learn the building blocks off what chords on what notes go together, and then the ears will kind of recognize the patterns. Recognize what's going on When you're building, you write music. Eventually, you won't have to think about what chords you're playing, what melodies like. A lot of this is subconscious to me now, because of internalized the cause of internalized, a harmony of internalized a theory. So that's we need to do. But the best way to do it, of course, go through these lessons. Learned what the chords, scales, melodies, how to write them on. Then you need to just go in, experiment, experiment, experiment and write and write and write and write, because a lot of the time it's not going to perfect. You can make a lot of mistakes. As you saw drawing during this, I met quite few mistakes, really. But sometimes these mistakes worked in my favor. Sometimes it created something a bit, a little bit more colorful. That wouldn't necessarily a think off. So you don't always have to stick to the exact rules of a minor must user. The A. They're seeing the the roof earned the fifth. You can try different ideas, try different melodies, rhythms and just train. You hear about the end of day write music that you like. So thank you for watching this lecture. I hope you found it useful and I'll see you in the next one. 35. Create a Song from a Chord Progression: Okay, now we're going to look at building a song from a cold progression. So we've gone through the music very off work at the scales, on the cords and things like that. But now it's really about writing the music and actually looking at a blank slate and writing music from talking to a lot of producers who knew to actually writing music. The blank slate is the most intimidate. Things opened up your digital audio workstation. Nothin. There can be really scary for a lot of people I'm using able to live right now. We have the session view, which is like this. Then we have the arrangement view which might let more familiar to you. If you don't use able to life, I will be using the arrangement view by often used the session view as well. However, this is not unable to live. Do Taurel. If you want unable to live tutorial, make sure you check out my complete ableto life tutorial. But for this is gonna be about theory. Really explain what I've already put on the screen a gun instrument called chords, which has this kind of eighth. Now you feel it's called a low frequency oscillator basically created a pulsing sound. And so we're gonna be looking at the notes, and then this pulsing sound would go in the notes and then I've got a few of a keyboards here as well. With the serum this'll going to be my based on. So I'm gonna rename this base and then we're gonna have a rift rename this riff and then drums. But previously I built a track from drums. Now we're going to build a track from the courts, so that's kind of it really is. Of course, you can create it several ways and able to life you can do in the session view like this. You can draw a 10 or you can do it in the arrangement. You what you can do as well as you can also copy and paste clips from the arrangement view to the session view, and then you can kind of go between the both. Like I said, this isn't really unable to live tutorial Some of the stuff I'm going to talk about but will be specific ableto life. But I'm sure you can use them in of a digital audio workstations to so I'm going to use the key off, G major. So the fast court is gonna bay G. I know. So I haven't actually planned this. I thought would be better for me to just write music, explain as a go along rather than have the structured format you've had previously, which I think is great for learning from. But when someone's actually in the flow and didn't get us to go along, you get to see that mistakes as well as what they're doing because it's not always perfect writing music stuff can go wrong. I'm going to use a G festival then. So I got this here. Let's make this a bit longer. Then I'm gonna drop from Listen to that one to drop this G to an F. But keep these notes here. This could sound kind of strange. This technique of writing really doesn't allow you to kind of create mawr intricate chords than writing from a beat, writing from a bit more thinking about the river. But this way, you more thinking why thinking more thinking like the cords and the harmony, so they have advantages and disadvantages, So let's hear this. So this is kind of a g slash f. So we're changing the basement to an F. That's kind of new detention because we have this fourth here. I don't know if it works. Let's try on the A No day. No, that didn't work. So let's go and try a different chord progression. A lot of time it's just training. You're here. Needs to know the fear of what worked. For example, I try to ask her new That wasn't in the Cabo. I just wanted to show you what music sounds like played in real time. When it's not in key, don't about it. Very super importance. Let's try a day D major, which is the fifth of G. So if we go major minor, minor Major major, you know it's the major, so day in the top already. So we can just extend this. Then we have I hear left out here Contrive Never invested. I wanna try something a bit different. That's nice having the higher pattern. Okay. And now extend the site. Great. Four bar phrase. A lot of times. Just stuffing four bar phrases. Create a bar phrase a t two bar phrase. Sorry. My extends to a four bar phrase, maybe even the eight bar phrase, but a lot of time it's just about right in and playing it by ear, just enjoying what you're doing. But to get to that point, you do kind of need to know the fear, the fear. It does really, really help. OK, so to start with you got this. Where is that feeling alone now? That and 10 Tintin Dunton So we need to stick to our fairy but also use ie of writing chord progressions. So can't. We can, But I want to stick in the key of G. We can't use the F. There's no reason why we can't modulate. So looking at the circle of Fifths, you go up 1/5 from J. It's day, so become much late into day. Off we go backwards 1/4 time from J B A. C. So a few different options we can use here. So let's, um I'm feeling that's modulate to D major. So we're gonna have the sea shop in here. This could be quite interesting because we got to see d down to see sharp so using, Or you could look at this as we're always bean in day, but we're starting on the the fourth since a few different ways. You can look at this about Harry and go back. Music Fairy. It would be quite difficult case if you count up. 1234582 C sharp. That's 1/5. And then 1234 This is a major. So now we've got a g major. Okay, D major a major. That's just, uh, extend this out okay on a populace over a second time round and adding a bit of a moody accord Second time. So as this is going to be a bit different, I'm going to color a different this time. Let's change this much, Elect the other way. Crazy stuff here, back to sea, Major. That's changed this from a major to an a minor. Okay, Some interesting stuff that's here. This then put it back to Yeah, you can consolidate this in able to live. So basically put it is one track commanding J. So remember, we've got J day a major g de a minus got some modulation going. So I wrote this around. The drumbeat might not be thinking about the cords in detail like this. But as this is based around the cords, thinking more about what caused fit of what modulations there some sneaker trips going on here that unless there might not even realize I might think. What Sevens, nice or interesting? Back again. Okay, it's a moody stuff going on that we will say, Get the notes that are continuing toe tournament toe one night because we have this elephant low frequency oscillator. So the pulse continues, so we don't need Teoh have separate notes there. So the bass notes is the same. It's really a g d n a. But then the harmony changes. So that's created based partner. What we can do is just dropped this over here, delayed all these and just leave the bottom notes and put them down active. Now this is down Octave got pretty much the bass part. Obviously, it won't have that low frequency oscillator, that pulsing sound. I think that let's try a high active no lo relative was better. Just this sound isn't very good, but we can change that through the correct some two bit straighter because the last lecture it was more were trapped kind of hip hop feel Now I'm gonna make this more e g m could have dance, feel you notice there that isn't on the bait. So it's on the end off free. If you remember previously one and two and three and four I might just keep it straight. Really simple for this. Remember, it wasn't a G and A because we had the inversions. So you remember it was a g a day on a Okay, Come back to the I here. That's the thing about dragging these calls down for using inversions is going to sound different. To be honest, I think this bass sound is quite unsuitable. So you might have all the music theory might have the notes. 50. My have something called an interesting, but if the sound is bad, it's not gonna work. So let's try, um deep how space That's better, in fact, produce him from the bass part as well. It's called offbeat. So instead of having 12 free for you one and two and three and four and so we're just playing on the ends to create more of ah dancey feel. So there's so far is just beta base around these cords. I've got the modulation. So we're starting in g major. Then we go to D major them against a major so very happy. And then we have the G major in the D major in the mind. Seem, I was thinking that we could even change this f sharp two in after the second time so I could even do that. Let's hear this now. It's modulating to the a major, then would modulate him back to the G major. Then we modulated the sea earlier. There's a few options we could have. Or even we could have this later on the song. We could change this to different modulation there. All those the different options we can do in the base note will stay of the same. This would affect the base, which is great, Okay? Adding a really simple drumbeat. The drug ever actually this base notes so I can see the river. I have to do this. I know it's off beats, but it's nice. Just a she was going on. So no, here. These aren't actually triggering anything, so I can just track these down to see Well, gee, sorry, because the J isn't triggering out of them. And then now I just know the bass notes. I can kind of lock in be easier, but during this the space for the base to be heard on the kick drum. See, this is why the off beats really really useful. It doesn't need to be this long. I can make it shorter. The drumbeat kind of a long drum beat. And this kind of Elektronik TDM star music A lot of the time, the drumbeats very repetitive that we can add on a clap. I don't snap. Um, some high hats Turnley fund refusing able to live soon We just drag it out like so in summer remain shots here just to make it more exciting. Add a bit of a kind of percussive elements. You can break it down. Just have a kick. Yes. Now through this time slightly different color it differently bring it back. But about the progressive elements. So arrangements important. But this is kind of ah, a lot the way All right around cords So we've got there first section where modulates later the second section that modulates earlier sneaky pits. You might not realize of a color that up so, you know, instantly blows the blue and the of yellowy Grey is the ever bet it's killed the drums as well. And then I'm gonna have the drums. Actually, I'm gonna have it Vice versa. So I mean by this is I'm gonna have the percussion, the collapse, but not snatch. Then I'm gonna bring it all. And so just a little bit of arrangement for you. Just understand arrangement is important. So you're gonna start actually without this and bring in life. So then bring back the section. So this section, if you recall, is the later modulation. The first section is the first modulation. Okay, so this just built around these calls Really, really simple drumbeat space Evans be heard, Bring the codes and add some melodies. Remember about the modulation of the melodies Could be in a different key. Now we really have to think about the notes when you add in the reference. So this kind of yellow grey section has to recall enough sharp on the blue section has never natural, so changes key easier earlier. So remember that basically, we've got an f sharp the first bet. Second bit we haven't But where they have sharp changes is important to the blue one. Their shop changes earlier. There isn't f sharp the key changes on bar free on the gray one that key changes on bar force. It's just something to think about when you're writing this in. Remember the great gray one, while the first bit doesn't matter, because we haven't got the cord so you can play anything. The key. Really. It's strange, but what I like still a lot of times fingers are really simple, repeated and then change. Modulate the notes as you go along that that wasn't very good, but it's just experimentation. So what you do is record some stuff and now shop at the bits that I like and then move the notes to fit in key from there. - So , like that did you do did, too. So maybe I could use that. We're just the first bit on really that fits and pull the keys. This fits in the key of D major. If it's in the key of C Major and G major, let's just check. So I'm just really just playing around. Some notes in the courts have gotten a fits. A jail It's fits in the sea, so it's just much this up. That's the thing. Go when you who's unable to life on logic pray Come on. Cue. Yeah, isn't Kwan ties? It's quit, so just remember that. So I'm playing to see here, so let's just check. We've got five point free five there, so it's good to check the notes. We have got to be there in a sea of what that sounded A little I see. No, that's seeing the f sharp kind of clashes a bit because we play a scene. F Sharp is a non augmented fourth, which isn't a very nice interval. So might change that. So let's change that to a C Sharp doesn't quite sound right to me. - Um , these the ones that kind of wanting to avoid. So it was Just have this then the second time because we've got a little key change. I can always sneak in the ah, the scenes that the day de works. I was just about knowing what the cords are. Also training your years. A combination of two. We got the Fed called to check shut. These notes fits with a G and a day that's for gone from here. Half a day energy. That's fine. Dana J. Said. F Shop is a minor third of the day, which fits perfect. And even if we do this key change early here, let's just check. So we have the a d Jay here f shop. She's a major fed, which fits. Yeah, so we can use this riff over the key changes and it'll fit fine, which is really nice. So initially, people won't probably realizes some modulation going on. They just think, Oh, this is a nice song. Unless you're a musician, you probably don't realize this. Let's hear this buck. Listen for the modulation. Not so sure in this precaution, I think it's a bit a bit rubbish to get rid of that. It's, uh, I think it's just pointless personally. So, yeah, this is just them really easy way of building around a core progression. The difference between this and the drumbeat is, I think, where I do it I built like this. I'm thinking more about for chords and notes of the chords of modulations and sneaky tricks , the cords rather than the beat. But what you really want is combined them both think about a drumbeat. Think about the cords. All right. - So really, really simple. I just need some of these riffs around. Just there wasn't rest the whole time because it might get a bit boring and repetitive. It comes in now and again. Not always. The same point puts a list on the toes a bit. Could do the same in the dramas you could chop up, move around same of the cords. It doesn't have to always stay in one place. The notes that always have to be the same because they always have to be the same. You could just repeat certain parts of over and over again. For example, like this. So we have that second caused repeated doesn't have to be same all the time. This is really arrangement. But this kind of comes in music theory as well. It is important to know just to stir it up a bit. So we've got the same ref going, but the course of different release. So you have that tension built up from the second cord says building, building release little tricks like this. But you won't really know this straightaway to experimenting. Trying new things. Don't be afraid to try stuff that doesn't necessarily fit in key control. New ideas like modulations. A good way to kind of had, if you look sneaking notes, they weren't necessarily thought of, but this is really is built around a core progression of built up. I thought about modulation of thought about the notes in the courtroom, right in the melody, the rift in the baseline. The baseline can stay the same, but the cords could modulate and change. Staying with the same with the ref terrific and stayed the same is longer to use, certain that it's as long as you're smart, what you're doing on that. It's about arrangement, chopping stuff, up effects and that kind of thing as well. So I hope you find this useful. This was completely on the fly also. I didn't plan this, I thought, because you to see how I write music around. A core progression on Yes, sir, mistakes certain techniques on the flow that I use when creating music this way. Next we're going to look at writing music, starting from a melody which is a never way and every useful way of creating music. So thank you for watching this. I hope you found it useful. It's not strictly music theory, but there's still lot of theory elements around writing. I'm kind of working out what you can do in which direction you can take your music. So thank you for watching, and I'll see you in the next lecture. 36. Create a Song from a Melody: Okay, Now we're going to look at writing a track from a melody. So what I'm gonna do now is just right Sunk completely fresh because a lot of people I've noticed that I've talked to her new to music theory on you to music production. Quite intimidated by this blank screen, this blank slate. So I'm gonna do the same thing When the right from nothing, hopefully you'll be able to get a few ideas, tips and techniques from what I'm doing. So I'm writing from a melody. Want to think about the key? First of all, a sticking G. So this is kind of a C, but of an f sharp Stephan f So do tone tone cemetery in tone tone tone cemetery in from J to find well, the notes in the scale. I'm using a MIDI controllers. Well, this the m audio auction 25. You can write this in the piano roll I like to right with a midi keyboard and then going to be on a roll edit, change it around, move stuff about. That's just how I like to do. I recommend trying this way. Of course you could try. We have a different controller like a push to if using able to life or you could just right in the piano roll editor, it's completely up to you. It depends what you used to. This the technical like to use medically board and then edit and manipulate and change the friend. Choppy chop up, arrange, arrange, arrange arrangements so important when writing music. Obviously, this is a music very, of course, not unable to live. Course a recommend having it look like complete able to live. Nine Course. You want to learn more technical elements off able to life because I will be going through a lot. That's quite quickly. That's more about theory in the writing I want to emphasize in this. So let's create a melody. So I've got no ideas, but I know that the scale of J the route referred the fifth and the active well, quite that that I use this blue note. So I went into D ready, so maybe I could play Andy. Let's try that. I'm gonna play the sin and their allies what I played after so you can see I also want to turn on the Metro because a bit faster. Well, So when the changes the speed of the song from the start because I did a lot of times I changed the mention of mid flow and that re records the whole thing. So let's just, uh, go back to the start. And now with the changed tempo to so faster 112 way e g m tempo. Because before we had a kind of a slow hip hop tempo in the house to temp of 1 to 2 Now we're gonna have a faster tempo of 1 to 8 kind of traditional medium tempo. See, that was wrong. But when you play and you always make mistakes, we could chalk in and change it. That kind of thing. I think I could make work. Let's have a look. Explain exactly what I did and the notes are used. It's gonna set 1.1 from here. If you move this over unable to live, you can change it. So the one starts there. So that Havel the old information. Okay, get rid of all this as well. So when kwon ties this to put it in time command, you Obviously it was a wrong note there. I'm just gonna use thes patterns. I think I just work around this. Okay, let's just use these. So we've got Let's just stop of this. So, what you need today? It's really just go free. Work out what the's notes are. Zoom in the bet. So you got G Bay a day on this kind of funky C sharp sounds a lot. I quite like it. Do you think what notes thinking this obvious one would be a G g major, not the C sharp, though someone use so thinking of accord underneath. So it kind of goes around D major. But then it has this passing, though. That's a bit long for a person, though. Maybe think off cord. That has kind of a diminished field. Think personally, or you could try a B minor, which is We go. Let's just build it below for now. And if you can change the notes after going to keep this up here, then spilled in a B minor hit, the sounds like it might sound terrible. Might sound really good. So let's draw the sense of bay. Then we have. We can always change this also, so I could stop of obey or even a J. Let's start with a G actually, because we have Jean Major change my mind as I go along. This is a lot. How write music. A lot of times quite sporadic. You're thinking your ideas and new things pop into your head constantly. So this note here is a G. It's not here. This be this note. Here is a day so 12345 major 1234 foot two free force. This 1st 1 is a major corgi major. We could put here just awesome. So let's add in the g b d basic, just the notes that were playing Then we have this new funky note here this and change the court here. So let's change this to I think, being minor because B minor has left shop. All of that has changed this J downturn in f sharp and this will create a B minor. So in the base, if we have a G right in the G as well, this is the bass note. Go for and change this day of instruments after and to obey. This is a bass note. Let's hear this. And now we have a bit space. I don't smoke her own courts. So that's think we're in the key of G because we got enough shop. Now we've got count up, We've got the route. So major 112 free. Remember, it's major minor minor. So this to be minor, so got root third, or it's a major. Then we've got there the third of the court, which is a major also, that's other minor and hair thing combined to be nice. Maybe a e minor, which is the six notes. I think of a minor just filling that. So stop the bass. Note that a that I got to the J Bay Day says. Very similar. I think that sounds too happy. If we keep this d here, this would be e minor seventh, because if we get in minor, this is the seventh note. If you count up to seven, that's much better. Listen, this is the happy too happy for May. Put this down to seven so much better, and them naturally feels like it needs to drop down. Let's try a D major. So did in the base F shop. Hey, still too happy. Maybe I should try major seventh. So we have the sea instead. For a day. I didn't really sound very nice, So it's quite hard, really to find something that fits well, that doesn't sound too cheesy, so I don't want to play a day. Let's try. I never called us Try F sharp. So which is the one? It's the dominant. So maybe not their shop got. See left. See, Major, let's try this. Something to change this, which is the fourth so perfect? Fourth, the fourth major minor minor major. Such a C major removed right on a major scale, say A. J. So this is C major, but different inversion. It works, but I still don't like it. Why don't modulate around? Of course. Ready. Apart from the F sharp, I don't think of work because it's the dominance and the diminished seventh. So thinking of G, Let's go to day, okay, said D. We got few actual cords major and minor minor. Maybe an f sharp minor. Then we've got this. See shoppers? Well, Seth shop. Okay, let's try this thing that works. Even so, it's just about experiment and find what works, what candy as well. You can just hold the note called before. If you can't find something, if you don't modulate, just do this and then repeat. If we repeat this and we look at what's going on, can also change the last time. So that plus the same. But that's what happens when you move it. So this riff here we go to a left sharp in this court here we've got a f sharp so fit this time on the change the last chord. So it's not too repetitive. So let's try. I'm gonna try a day this time a d minor because I'm gonna modulate from G to see. It's a little funky little unusual. But you can do that one bit, right? Oh, music do we want Really? We'll try that shop kind of predictable, but it works. It works around the melody we always go through at different cause. Now we know there's so many different cause we can choose from weaken news pretty much all the cause in the scale maybe not diminished less. It's a passing chord. And then, if we don't like this cause, become modulate backwards of fourth or forwards. If if we look at the circle of fifth. So there's so much to choose from. Now I'm gonna dio to take these bass notes, stick them on the base. So easy way to do this to actually just copy the whole thing. Then go into the base pop, then just really everything apart from the low notes That's the base Pretty easy. Yeah, that's the base. And then do the same for the courts we have today is just delete everything apart from the courts, which the middle ones I've got LFO It's the low frequency oscillator set on. And if no itself does bob pulsing feel which I think works and then go to the riff on delete them all apart from the high ones That's why away you can see everything in one place. You can quickly see what fits and what doesn't. Because right in the round melody is about to seeing what courts fit with the river as well . Okay. And that bass part is a bit boring. So we want to really add a little bit river into this. Okay, So what could do is just Ah, I really want a lot of some of the drums, but I can put something For now, I have a different kind of feel, really to make it a bit more exciting because it's a bit dull at the moment. But the great thing about write music, really, in the digital audio workstation like this, if you make a mistake, we got dio command and said that I do and does it remember using cassette recorders, the first going to music production? He made a mistake record again and that the Foo Fighters still record on tape because they're adamant to play everything in perfect, which is cool for session players offer for bands like that. But if you are so low electronic music producer yeah, right like this is so much easier, right? Let's have a listen to this. Now you can just quickly add a drum part in. Well, I've done is I've just direct over the bass part for the drums just so I can actually just see what's going on, really? So I can see the ribbon. So what can do? It's just Zuman, Then that's just them. It's the same rhythm all the way through. Some just in a copy and paste. One of these notes, G copy and paste their second just see the bass rhythm with the drums. So it's easier to lock in what I'm actually playing. Rather, them kind of thinking. I know what the drums doing when sometimes a day case. We got a kick here, Get this nice and simple tough. The Mets Ramos well before it drives us insane. Really simple for no tightness and drum parts just on every beat for the kick on on the two on the four for the snack. Just a bit of variation for the clap. Then add a bit of a high hats. A copy of this rhythm over get really G's here and then just copy this over. You have a high hat on every 16th. I think from that. Same good. Just keep it really, really simple about that. No hard. Oh, this is basically how have built start of a song from a melody. Like I said, if you didn't make a mistake in a digital audio workstation we have today, Presque Commanding said Net and does it, which is pretty cool. Or you could just hold out hope to drag stuff around this hold on hopes. Okay, I'm just going to add on open high hat the end Stir up a bit. Can that setting just repeat this turn on the boom? That's kind of it. Really. This is a really simple arrangement. Have done just from this melody writing around this melody. Then you can quick arrangement. I'm just gonna take away the hats apart from the open Hi hats at the end. I'm also gonna take away the snow as we leave the collapse arrangement is important. And then I'm gonna leave the cords or the LFO cords going on the ref get rid of the base, and I'm just gonna bring it back after really, really simple arrangement and bring it all in here. That's kind of Ah, yeah, quick arrangement allows you to think of new ideas you wouldn't necessarily think of. Because you know what I was doing that I was thinking of the notes in the melody. And then I was thinking, what cause could have fit under here when his freedom and space and you melody If reads modulate, try new ideas, trying new courts that you wouldn't always think of if you're writing around courts or if you're writing around a drumbeat. So these different methods have shown you just allow you different techniques for writing. So the 1st 1 was right around the drumbeat. This allows you a lot of time to create more of a funky grooved river to keep more grooving . Yeah, be. It's more beat driven. If you want to write a song, be written around the beat The second way it was the right around courts. This is great for finding some call modulations and interesting cause. The third way it was right around the melody, which is great, gives you more freedom and flexibility than just writing round a strict idea that you've already got. So let's hear this back in this third way just really quickly, just off that off my head. Because I know a lot of producers, especially the newer guys. They get a bit intimidated when they stood up blank screen. Where do I start? Where do I begin? So if given your free techniques here right around the drumbeat, writing around a core progression on writing around a melody, obviously the fundamentals off knowing music, various super important bunch of kind of cut is drilled in and internalizing from the techniques have showed you a recommend going into your digital audio workstation on. Right on. Right on, Right. It's not gonna be perfect Straight away. You're gonna make a lot mistakes, but it's fun as long as you enjoy it. The mistakes are a learning curve. As long as you learn from your mistakes. It doesn't matter that you make mistakes. So let's just hear this once more and thank you again for watching this lecture. So it's really simple, but the building blocks are there. You could change the melody. Expand analogy, move the melody. Could use the musical typing to change on, add a new melody or go back to your MIDI controller and right in new parts, right. New courts around this or you could stick to these cause and use their techniques and the cords that showed you for right new chord progressions or change up this drumbeat and lock all in and combine all free off these songwriting techniques that showed you thank you again for watching this lecture. Hope you found it useful, and I'll see you in the next one 37. Modes Intro: Okay. Now we're going to be looking at something called Modes. So every scale has seven different modes. We've actually already looked at two of them, which is 1st 1 on the 61 So basically, we can play every major scale start on a different note in the scale. So C major, for example, if we start on, see the notes will B C D E F G A B C, but we can also use thes notes, but start them in a different order so you can stop D E f g a B C D. So it's still the notes of C major was starting them in a different order on we're having a different route note. So the song is based around this the root note. But the notes are the notes of C major. So this is one example of a mode. We can go up every single note in the scale and start from this point on, this will be a different mode. So this is basically what the modes are. We have different names for each one. There are a little strange I do believe they derive from their Greek tribes have been going from thousands of years, but basically these are modes. If we start from the first note, which is just a regular major scale, is called Union. If we start from the second note, it's called Dorian The Third Night Fridge in fourth note Lady in the fifth mixed Libyan of six I'll Ian, which is the same as a natural minor and seven lakh reum. So I've got a little pattern to remember this It is a bit strange. I've always used this. Just remember these names of the off the modes. They are quite complicated. Some of these names like Lady and a mix of idiom on getting the order because this is the audio only indoor in fridge in Lydia Mixed lead in early in on locker room. So to remember this I use this this whole pattern. If Dora plays like me, all is lost. So this is from playing the piano. So when it plays like me means playing the piano. So if Dora plays like me, all is lost. You can make your own pattern. But basically the eye is f. The day is Dora plays like me. All is lost. So if is Only in Dora is Dorian Fridge in Lydian. Mixed lady in early in the locker. And so that's a little pattern. I used to remember the names of the modes in which order I still use this today because I sometimes do get a bit lost of the order because these air words that I don't use in everyday language, So to just remember, for example, the 5th 1 is mixed lady, um, using this little pattern or make your own pattern from really help. So these are basically the modes and there is a pattern or yeah, So, for example, the 2nd 1 which is a Dorian there is a certain pattern to work this out. Of course, you could just play. The notes are move it to the second. So Dorian is the second. If door plays like may always last so you could just play every single note and shift it up to the second note. So, for example, in C major, we could play the notes D E f G a, B, C d. And this is Dorian just quite literally just started on a different note. Or we can use certain patterns for each one I'm going to go through each mode now on all the different patterns you can use for each one. Or quite simply, the easiest way to remember no modes is it's just like a child off the parent scale said. We have the scale, which is the parent, and split into seven different Children. On these different Children are the different modes, just only in Dorion Fridge in Lydian mixed Litan earlier on locker room. And it's just the scale. But starting on a different note, it works for all the major scales. Not just see, I'm just using see, because it's a really easy example because it's just, quite literally, the white notes. So next we're going to have a look at only in on them again to continue looking through the other modes. 38. Ionian: okay, I only in is quite literally, just the major scale. It's called only in before it was called the major scale. Because these modes date for a really, really long way back and going back to our modes only in it's just number one, which is also the major scale, which I'm sure you already know. Seven. C major just c D E f g a b c. Remember the pattern tone, tone, semi tone, tone, tone, tone, semi tone toe work at a major scale? That's basically it. So, yeah, it's commonly known as the major scale and C major see only in. But no one really says, See, I own in just a C major. That's basically it's a really, really simple one. Next, we're going to look at the Dorian Scale. 39. Dorian: Okay, now we're going to have a look at the Dorian mode, so the door in mode is the second mode. The 1st 1 is only in the second is Doren. And the easiest way to think this is just to play the major scale. But start on the second note. So looking at C major if we use D Doeren is quite literally see, Major, but we're rooting around the second note, the D. So that's our date, A f J A. B C on day. So this will give a different flavor, a different sound. There's a way we can actually work this out. The easiest way to think of it is just the major scale, but kind of shifted up a rooting round another note. But for a major scale, we can flat in the third and the seventh on this create adoring scale. So if you look at D major sits D E f sharp, G A B C sharp D just flat in the third, Which is there a shop to Neff on the sea shop to see Oh, we can actually sharpen the six note to create adoring scale. So D minor has a B flat. No, we have to sharpen this to obey. So let's have a look in ableto life. A digital audio workstation just gonna write out a D. Dorian scale. So what we can do is quite literally, just write out a C major. So we have one. It's a major. So, of course, for a major scale, its tone, tone, semi tone, tone, tone, tone 17. You're probably really sicken me saying that, but it's easiest way to work A lot, of course, in C major is just the white notes. So this is the most of the major. So what we can do is just shift them, although stop on that day or we can actually flatten the third on the seventh of the major scale. This will make a D Doeren. It gives a different kind of sound. Or, if we're in D minor thistles, the relative minor off F major. That means we have a B flat or in a shop. So to turn this d minor into a D door in all, we have to dio sharpen the six note. I thought this is a D Doeren, so it's kind of the same as a c major. But starting on this different note on this being in the same notes of the scale but starting on a different route? No, and having this different route, that makes such a big difference. So let's just go back to see Major. Sounds very different. Alternatively, we can just get this. See, I'm able to this day on this track. All these I'm ready creates a different interesting music if we build the cords up from here. So we have 12 free so f thurn 45 of a. It is, of course, is different from the major mind in mind. A major major mind diminished major chords we get of a major scale because it's a mode. It started on the second. So we're starting on different kind of nights will start on the minor. So goes minor, minor, major, major, minor, diminished major minor. We have different orders of notes, so it's effectively the same notes of the major scale, the the Ionian, but because of the order, it creates a really different sound. It feels like it should be rooting around the sea, but as is rooting around the day, it just gives a different kind of sound. So this is the door in mode. And like I said, you can flat in the third and the seventh to create during scale. If you major scale, or for a minute, you can sharpen the six. Or you can just playoff second hoat on. Just root around this second note. So Griff's a different feeling, a different emotion around your scale. So, yeah, thank you for watching this lecture. Next, we're going to be looking at the next mode, which is the fridge in. 40. Phrygian: Okay, The next mode is the fridge in mode. So this is the 3rd 1 after Union and Dorian. We have fridge in. So if we're in C major, we could say E fridge in which quite literally means the C major scale starting on the East . So we have the notes. A f g a B C D e. There is a way we can work this out. So for a major scale, we have to flat in the second the 3rd 6th and seventh. Quite complicated to remember or for minor scale. This is a a lot easier. We just flatten the second note. So in e minor, we have a F sharp, G, A, B, C and D. Because it's the relative minor of G Major, which has an F sharp. It's all we have to do is flat in this F sharp to an F, and this will give us the fridge in scale. So it's a lot easier to remember the pattern for the minor scale just flat in the second rather than the major scare flat in the second. The for the sixth and seventh, you can do it like that. It's a bit more complex or quite literally, just yeah, play the major scale, but route around the third note. That's kind of the fridge in scale. This will give you a different sound as well, so that's happen to able to life. So we really have to do. It's just play I C. Major scale starts on the A and just route it around the so it gives a different flavor. Different feel. Let's just have a listen to this. Instantly tell that second note sounds a bit different, because when we hear a minor scale we used to their second being a bit high. It's just a semi tonal movement, so I think creates a nice, interesting sound. This'll is a fridge in. Of course you can use it all the other scales as well. I'm just using C as an example, because it's really easy because the White nights, Yeah, this is a free gym. Next, we're going to have a look at the Lydian 41. Lydian: Okay. Now let's have a look at the fourth mode, which is Lady, Um So the 1st 1 is early in, which is starting on the major scale. Starting on the first note. Dorian starting starting on the second note Fridge in third lady in fourth. So if we say f Lydian, we just can't back four notes and then we know this is the mode for this major scales f Lydian would be all the notes off c major. So easy way to work this out if we don't want to count back is we just sharpened before for a major scale f major, for example, do tone, tone, semi tone, tone, tone, tone, semi tone will have b flat or in a shop. So all we have to do is sharpen this to obey and this will make led in scale. You can't play the major scale and start on the fourth now, of course, that's easiest way of doing it. Or you can just sharpen the fourth. So let's have a look in able to life. All we have to do is just sharpen the fourth note and this would give us Lydian scale. So if we have a F major scale. Have this be flatter Asia s. So if you shop in the fourth, we'll have this B and they're just listen to the stem eternal movement between B and C. It gives a different flavor to your music. Yeah, that is video. 42. Mixolydian: next is Mixer Lydian. So this is the mode, and it starts on the fifth note off the major scale. So I have my own in, which is one during, which is to Fridge in Lydian now mixed salad Ian. This is quite popular in a lot of jazz music on blues music because actually flattening the seventh notes and when we flat in the seventh note, this is quite similar to the the dominant scale or the dominant core where we have a flattened seventh. So it's very popular in jazz and blues. Just remember that on tape. Okay, so G mixed. Lydian will be the fifth now up off the scale. So if it waas a mixed Lodin, we will know it has the notes of D Major, but starts on a on G. Mixed Lydian means it has the notes off, See Major, but starts on G two g A, B, C D E f g. And if we have a look at G major scale, he knows this next shop to do tone tone. 17 tone tone tone, semi tones left shop To turn this major scale into a mix of Lydia, all we have to do is flatten this F sharp to an F. It gives us quite a jazzy blues sound that's basically what mixed leading Lydian scale it. So let's have a look able to life just ah, movies up to G. So of course it can't just be the fifth note off the scale on route around this. So in C major would be g mixed Lydian or you can just flatten our sub notes. So G Major has an f sharp. So this is just a g major scale, really simple, or we can flatten this to an F. Now listen to this movement at the end. Let's just hear if it sounds quite jazzy. Teoh give you a different kind of sound using this new music. So if one that creates something quite jazzy or quite blue Z, maybe have a look at the mix Lydian mode 43. Aeolian: The next mode is a earlier. This is the six mode or the six note of our major scale. So for have a look up, see Major League Up six notes. This is a alien toe. One, 23456 That's a B C D E f g a. Hopefully you'll recognize this already. It's the same as the natural minor scale. So these names just being changed over the years. And now it's just called the natural minor scale. It's really simple one. So you can just play the major scale and start on the six note, or you could just play the minor scale. 44. Locrian: Okay, now we're going to look at the locker and mode, so this is the seventh notes seventh mode. So it's basically a major scale starting on the seventh note. So if you have a look at B Locker in will be C d E f G A B. This is a kind of a weird mode. Wouldn't really use it very often, maybe in jazz, maybe experimental music. If ones have a crazy experimental section, you could swap to LA Korean and then swap back, but I wouldn't necessarily use it very often in electronica. Music could be making music for film or TV and want to have a crazy, ridiculous section. Maybe could use locker room, but it was not really gonna sound very nice off a pretty starts on the diminished chord. But it's good to know, just in case you want something really crazy, so you can look at that as a minor of a flattened second on 1/5. Or you could just look at that as the major scale. But starting on the seventh note, let's have a look in able to life, and this is a B locker, and it's not the nicest sound in scale in the world. But it's good to note in case you want something a bit weird, a bit crazy and a bit experimental fills like it needs to go back to the sea, but it doesn't so it really feels like it needs to result resolve. But these are the modes before I tell you about them is quite useful to know. So these other ones in every single major scale has seven different most two of them. Well, do you know which is the major scale in the minor scale? But then we have the over five should good to know you can even work out the patterns for each one. Or just remember it's the major scale, but starting on a different note. 45. Dorian Mode Example: Okay, Now I'm going to write a song based on a motile scale, so it's still the same scale. It's still one of the major scales would choose, but it's just starting on a different. That's basically what a mode is. It's not really a completely different scale. It's just kind of a new scale based on a major scale. So, for example, D. Dorian will be C major, starting on the day and kind of rooted around the day that she was Dorine. As an example, I just throw together some loops here, just Cem drums Onda tabler effect Just to make it more interesting. I've also got a bass sound apart sound on a lead sound. So that's just draw in a baseline. Remember, the Dorian is the notes off. See, Major. But starting on the day so the difference between D. Dorian on D Minor is instead of this, a sharp will be flat. We have a B natural. So we really do is sharpen this six note here. So one to free 456 of this was sharp in it, too, being natural instead off on a sharp or a B flat. And that's basically the difference between among the scale and adoring scalp. Easiest way to think of it is it's just the second note off a major scale. Of course, we need to include the sharp and six note to make it sound door. And if we don't even have this shop in six now, just stand like a minor scale will sound slightly different, slightly out of key or out of tune. That's because the mode gives it new flavor in a new color, but it might not necessarily be used to, but that can make some interesting sounds. So let's choose D. Dorian. I'm just going right in the base. Don't really quickly. It's just right if you really simple baselines, - Okay ? And now I'm just gonna copy this over to the pad just so you can write apart Sign based around these bass notes, basically built some chords now and then Just put it up on active. So we have the day. I'm just gonna start with a D minor. Then I'm gonna include this be So let's go to a a minor. Then we have this day again, so I'm just gonna try a date. But I'm gonna keep the bay. So have a day seven and 1/2 and then the base. So we kind of using a six instead of the fifth. I'm just going to repeat this. I can just go stretch these notes out of it. So yeah, this be sign should really give that motile de Dorie and feel without this it's really just a d minor. So let's hear this now. And of course, just gonna put it all on active. I'm going for this quite quickly as this is a music theory class. No, a able to live course. If you want to check out my complete able to live course, if you do want to know more about able to life. But this could be used in any digital audio workstations more about how to write a song on the sound off modal scales. Just going to go into this emphasizing quickly, make it a bit less harsh because now I'm going to take these cords and track them above to lead engagement and just go in tennis into lead instrument. Really? So I'm just gonna put this open up to as well, just so it stands out so can hear the instruments. Clearly, I'm just gonna base the lead instrument around these top notes of the A and the B especially want to be to be heard because this is the note differentiates a minor scale on and natural Dorian scale. So if we can't hear this B, it's not a during school, it's just a minor. So let's just, uh, from the few notes here, a passing tone there, Then I'm just gonna base it around this be Let's just see the courts So we have a J and then the F So it's good to have the cause up. Why writing melodies just because you can know what actually will fit. So the moment I'm not actually hearing any notes, But I know from the theory that this will actually work. This is kind of how Beethoven wrote when he he lost his hearing. The new is music theory. So Well, you could write music without actually being after hearing, which seems absolutely incredible now. But obviously, I'm sure his music theory knowledge waas really top notch. Okay, so let's say this. - I'm just gonna go into this emphasize and just change the sounds around slightly just so I could hear this a bit clearer so you can hear now. It sounds kind of weird, but I think it works. That sounds nice. It doesn't sound like a major. It doesn't sound like a minor. It sounds like a minor, but something's slightly off, but in a good way. That's what Modi really it's slightly off in a good way on this is an example. Off the door in mode, Let's just have a listen to this loop again to come rock music completely, a motor that have to use the major in the minor scale. Of course, they are types of moves the but it allows us to write some interest in music that sounds slightly different, and it uses a new way of writing. But all that really is is the major scale, but rooting around and never know the scale. So thank you. Watch this lecture all about writing music in the door in mode 46. Pentatonic Scales: hi. In this lecture, we're going to be looking at pentatonic scales, so we do have major pentatonic scales on also minor pentatonic scales. So these are different from modes we don't have most. For pentatonic scales, it's really just a different way of writing riffs or different lines or solo parts with a major or minor scale. It really does have a lot less emotion, but pentatonic scales great for solos or riffs. So if you want Simp solo or you want to add maybe a guitar solo or that kind of thing, a pentatonic scale could be really, really useful. It's really popular in blues music because basically, it's really simple to playing. The guitar has become very popular and blues. You can also use this electronic music if you want to have like a said keyboard solo or simp solo Pensa means five, So the pentatonic scale has five notes instead of seven notes. So for the major pentatonic scale, believe out the fourth and also the seventh. So if we take a regular court progression, we can just play notes in the pencil scale over this regular major chord progression. So we have to do is take out the fourth on the seventh. So let's go into able to live now. I've got drumbeat here. Let's just writes in cool progression. So let's try. I just got in a few now It's now going to make Let's start with C major. So have C E A G, and then that's half a minor c. A different inversions has a on. Now we just have these two golds. Let's try F and also A J. It's an African version. We can use the C and 1/2 on the A on the last ones, AGI, which is the fifth start of a day amusing conversions here. G and also Bay C A, F J in the baseline, C, F and G to go down to a minor to the base, not be a and then that's just add in F Also Jay. Really simple. I have a few extra notes, and this guy is a bit boring. Just a few passing tones and so just mixed up added a few action notes. Him I just wrote in a few passing tones, Justin notes in the scale change the way, just added and remember to make it a pentatonic scale. We have to have five notes instead of seven. That's basically it. So for a major pentatonic scale, we just have to leave up before in the seventh. So in C major, the fourth C d e f the seventh c d e f g a b to know f and thobe, that's basically it. So that's adding a ref and just leave out the F on the baby. And that's yeah, that's it. Ready? It's quite simple today. That's just odd and really simple. Ref. It's like I said, This is great for solos riffs, and it can pretty much just any no you want. So let's start off with the sea, and that's just add a few more notes since and no f on da maybe. Let's put this down locked. If, okay, so I can't use the f This has to pay in the case. Try, say, day A. J. Hold on J today, remember? No, if you don't want the fourth no. B as well, Nuff, said Jay. So let's hear this all over. They don't just quickly furnace them, and because it depends static scale, it will fit. Do do you? Do you you do isn't the most exciting part in the world, but it looks just copy this first over again. Slight change a second time. Well, there's some really fast paced rests that might here in a lot of heavy metal blues rock. Do this here just using the pen site scale. So no, Which the seventh? No, after which the fourth. There's some big jumps, big leaps. Let's just see if this works good change. The keyboard sang a little bit because this one's a little kind of hunter here. Go to different lead so it would put class pace refs. I think this is best well, really, rather than slow melodic riffs. Just why it's really popular. And blues doesn't have much emotion a lot of the time because it's so fast. But thats useful if you want to create some fast runs. So is that day really good? Extreme? Just adding a load of notes really just wants him crazy fast post thing planting space. Final notes that fit Like I said, Penta is five. We really need to remember it's five notes. So in the majors girl, that is the fourth that use the seventh. That's pretty much it Susan of a non Western music as well. No love Chinese music uses pentatonic scales. Pentatonic scales have been around for very, very little time. It's not something you avoid certain notes sort of. I did the blue note they might heard. So is this g sharp DGSE that have to necessary Stick to the rules all the time because and blues to do a lot of Ben's on the guitar, just kind of trying to simulate that Teoh. So that is a major pentatonic and how you can use it in a song. Like I said, it is normally on a guitar, But you can do this with Central Keyboard, and we have to remember to leave at the fourth in the seventh. So, yeah, just take a regular court progression, play the notes in the major scale for the cords and then ref over the pentatonic scales. So, yeah, it really is hard to play about note because all these notes fit perfectly, which is why it's so popular on the guitar. Sometimes a lot of guitarist don't necessarily always know what they're playing, but if you just playing the guitar and shredded through riffs can't really play a bad note . Let's have a look at the minor pentatonic scale now, so this is kind of the same, but you leave out the second on the six. So the major live at the fourth on the seventh on the minor leave at the second in the six . That's kind of it, really? So you just have to put some Corton in the minor progression. Andi. It is more common than the major progression. I think this is because on the guitar the minor pinsight scales actually easier to play in the major pentatonic scales. It's become more popular in a lot of blues and pop music. There's no reason why you can't use this in electronica music, too. So just member to leave at the second on the six. Let's play over a minor key. So let's go back into able to life and just remember to leave at the second on the six to make it Penta five notes. So let's stick with this key, which is a minor. If we use the relative minor because of the moments in C major, you could change for you these cords around, so start of a minor 2nd 1 I'm gonna use Thea f Major. Then go use G G Major and then just repeat the jitney. And really, really simple. All we've got here is a minor F major g major. Really, really simple. So a on a f n j Just go change the bass notes is the most exciting part in the world in terms of the base. But if it's I believe that third there just for a bit flavor and then shit end, leave that as a person note this kind of the baseline, all we have to do. Just remember Italy that second in the six and then we can play. Yeah, that's really easy. The second a minor is to be in the six. Got a B C D e f f is well, do you think about it? A second of the sex is the same as 1/7 on the fourth in the major scalp. Just a different orders because in the minor scale, play differently. So we have to do is live at the B and F, which have a look at the rest. Before what we did, we left at the B and F assisted the drumbeat here, Look at the rest. Left out be Yes, Theo way. The cause of different This gives a different kind of feeling now because it's more made more minor, the major, because before we start on the major chord now we're starting on. The minor called Gives different feelings. Different flavours. But it's effectively the same thing. So all you have to remember pentatonic Penta means five. In the minor scale, you leave out the second on the six, and in the major scale you leave up to fourth in the seventh, and that's pretty much it. So you like You said the minor two pence talent scout is more commonly used. All we have to his player over a minor key. So it's really, really common in blues music. That's pretty much what the pentatonic scale is. Like I said, I wouldn't necessarily use it apart from a solo section. So those section we won't be fast and powerful or in a keyboard fast and powerful. Rather than showing a lot of emotion, it could be really useful for quick refs. Quick runs pence stunt scale will really help you with that. So thank you fortune. This lecture all about pentatonic scales