Songwriting From Scratch: How The Music Works in EDM | Andrew Booth | Skillshare

Songwriting From Scratch: How The Music Works in EDM

Andrew Booth

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56 Lessons (1h 27m)
    • 1. Songwriting from Scratch How the Music Works in EDM Introduction

      1:18
    • 2. Songwriting From Scratch How the Music Works in EDM Intro (part 2)

      1:24
    • 3. Clean Bandit 'Rockabye' Analysis Verse

      0:53
    • 4. Clean Bandit 'Rockabye' Analysis : Verse (part 2)

      1:37
    • 5. Clean Bandit 'Rockabye' Analysis Key and Verse Melody

      1:38
    • 6. Clean Bandit 'Rockabye' Analysis Key and Verse Melody (part 2)

      1:36
    • 7. Clean Bandit 'Rockabye' Analysis Verse Melody

      1:08
    • 8. Clean Bandit Analysis Verse Melody (Part 2)

      0:44
    • 9. Clean Bandit 'Rockabye' Analysis Overall Melodic Development in Verse

      1:23
    • 10. Clean Bandit 'Rockabye' Analysis Overall Melodic Development in Verse (Part 2)

      1:19
    • 11. Clean Bandit 'Rockabye' Analysis Verse Outro Harmony

      1:36
    • 12. Clean Bandit 'Rockabye' Analysis: Verse Outro Harmony (part 2)

      1:37
    • 13. Clean Bandit 'Rockabye' Analysis Hookline

      1:31
    • 14. Clean Bandit 'Rockabye' Analysis Hookline (part 2)

      1:47
    • 15. Calvin Harris 'This Is What You Came For' Analysis Intro

      1:08
    • 16. Calvin Harris 'This Is What You Came For' Analysis Intro (part 2)

      1:05
    • 17. Calvin Harris 'This Is What You Came For' Analysis 1st and 2nd Bars

      1:46
    • 18. Calvin Harris 'This Is What You Came For' Analysis 1st and 2nd Bars (Part 2)

      1:37
    • 19. Calvin Harris 'This Is What You Came For' 3rd and 4th Bars

      1:47
    • 20. Calvin Harris 'This Is What You Came For' Analysis Hookline

      1:39
    • 21. Calvin Harris 'This Is What You Came For' Analysis Hookline (part 2)

      1:29
    • 22. Calvin Harris 'This Is What You Came For' Analysis Hookline (part 3)

      1:46
    • 23. Calvin Harris 'This Is What You Came For' Analysis Verse 2

      1:45
    • 24. Calvin Harris 'This Is What You ame For' Analysis Verse 2 (part 2)

      1:44
    • 25. Calvin Harris 'This Is What You Came For' Analysis Verse 2 (part 3)

      1:46
    • 26. Calvin Harris 'This Is What You Came For' Analysis Verse 3

      1:30
    • 27. Calvin Harris 'This Is What You Came For ' Analysis Verse 3 (part 2)

      1:32
    • 28. Calvin Harris 'This Is What You Came For' Analysis Verse 3 (part 3) mov

      1:45
    • 29. Calvin Harris 'This Is What You Came For' Analysis Verse 3 (part 4)

      1:41
    • 30. Chainsmokers 'Closer' Analysis Verse

      1:37
    • 31. Chainsmokers 'Closer' Analysis Verse (part 2)

      1:42
    • 32. Chainsmokers 'Closer' Analysis Verse (part 3)

      1:44
    • 33. Chainsmokers 'Closer' Analysis Pre Chorus

      1:33
    • 34. Chainsmokers 'Closer' Analysis Pre Chorus (part 2)

      1:34
    • 35. Chainsmokers 'Closer' Analysis Hookline

      1:42
    • 36. Chainsmokers 'Closer' Analysis Hookline (part 2)

      1:43
    • 37. Marshmello 'Alone' Analysis Intro

      1:47
    • 38. Marshmello 'Alone' Analysis Intro (part 2)

      1:32
    • 39. Marshmello 'Alone' Analysis Verse

      1:27
    • 40. Marshmello 'Alone' Analysis Verse (part 2)

      1:46
    • 41. Marshmello 'Alone' Analysis Verse Melody Development

      1:45
    • 42. Marshmello 'Alone' Analysis Verse Rhythmic Development

      1:41
    • 43. Marshmello 'Alone' Analysis Verse Rhythmic Development (part 2)

      1:23
    • 44. Marshmello 'Alone' Analysis Section 4 Melody Development

      1:40
    • 45. Marshmello 'Alone' Analysis Section 4 Melody Development (part 2)

      1:37
    • 46. Marshmello 'Alone' Analysis Hookline

      1:41
    • 47. Marshmello "Alone' Analysis Hookline (part 2)

      1:42
    • 48. Alan Walker 'Faded' Analysis Intro

      1:42
    • 49. Alan Walker 'Faded' Analysis Intro (part 2)

      1:27
    • 50. Alan Walker 'Faded' Analysis Intro Continued

      1:46
    • 51. Alan Walker 'Faded' Analysis Verse

      1:45
    • 52. Alan Walker 'Faded' Analysis Hookline

      1:40
    • 53. Alan Walker 'faded' Analysis Hookline (part 2)

      1:15
    • 54. Alan Walker 'Faded' Analysis Hookline Continued

      1:43
    • 55. Alan Walker 'Faded' Hookline Continued (part 2)

      1:39
    • 56. FULL SIZE Songwriting from Scratch Plenary

      0:27

About This Class

How do the top EDM artists compose their music?  How do they come up with cool chords?  How do they create a hook line for a chorus that you just can't get out of your head?!  Come and join me on this journey through the five most listened to EDM tracks (as of March 2020) Where I will discuss what makes the music great in these tracks!  This video aims to introduce you to the idea that the music itself is as important as the 'production' in these tracks!  All learners at all levels are welcome, this is designed to engage D.J's and producers or those just starting out in the world of composing.  Easy to follow, easy to engage with - No difficult theory concepts to deal with!

Transcripts

1. Songwriting from Scratch How the Music Works in EDM Introduction : rights. Hello, I'm back with more E g. M. Analysis. So apparently you liked the last video produced where we looked at how you write or how rather artists, Right? ADM melodies on. We talked a little bit about scales on and cords, but I didn't go into too much detail because that waas video on itself. In fact, they're two videos separately, So I would refer you to nose, um, when? If you don't know anything about scales, accords definitely go there first. I'm not going to skirt around those issues here. We're going to go into them a bit more because again, this seems to be what you like. This is the feed back up and getting, um So if you want to know more about chords and scales, look at my videos, creating them, working with major scales and creating cord from a major scale on they will set you up to understand everything that we are talking about here. So on it, it will also set you up to be able to write in any of these sorts stalls that we're going to look at in a minute 2. Songwriting From Scratch How the Music Works in EDM Intro (part 2): so if you want to have, although those abilities that you'll command that skill set ready and down so that you can compose this, uh, idea means then I definitely recommend you goingto of also done a previous video on three of the most popular Indian tunes of 2018. So there's another three day to look at if you if you like what you see here and you haven't seen any of the others, right? Okay, so this video is not about producing. It is about the theory. So we're looking at the notes were looking cords were looking at why they might have chosen to do what they did on why that sounds amazing. Um, so if you need to know about logic, this is not that video. This is about how the music work. So without the way, I have used the top 100 most popular electronic songs of all time updated March 2020. So this is where I've taken the top five songs from this time. I'll leave link in the description for you to form this, but it's essentially the most watched videos idea 3. Clean Bandit 'Rockabye' Analysis Verse: Okay, so we're gonna start with Clean Bandit. Sean Paul, Will Nammari Rockabye. Okay, this was number five, I believe. Okay, so first ever listen to the verse off, broken down the verse, there's a little out universal on the talk on, then the chorus or hook line. Okay, um, and we'll talk about the cause. We'll talk about the melody, so we'll go over a little more in depth than we did in the last video. Um, Andi, we'll see how well get on. So let's have a listen to the verse. 4. Clean Bandit 'Rockabye' Analysis : Verse (part 2): So that's the songs How it sounds. I'm sure you're familiar with it. Anyway, big hit eso We've got four chords. So they are a moron which so first cool on then f major here. Uh, g major on. See, my on these cords don't change. There is one instance the end of the first where they change them around a little bit to lead you back in, Which is which is something off I thought was very interesting. And we'll talk about, but yes, simplicity. So Lucas said in the previous video that you may have what, one of the key elements to rotting well in ADM. Any idea if you could keep it simple Onda again? If you know your cords, any scales, then you know everything you need to be able to write in this way. It's probably so I should mention that nobody truly composed. Very. However, if you've got an understanding off it, you immediately know what to do. Okay, so there's an approach you could use that's implicit. But the fact that you know theory you'll understand a lot more about this. So don't forget to watch those other my major scale video on creating quarter majors Goal which help you tremendously with all this, um, self, A shameless plug. There 5. Clean Bandit 'Rockabye' Analysis Key and Verse Melody : Okay, So a minor f major g major and see Major, they all come from the same case. Now, what that means is they were all built using the same scale. So you can start with one scope and you can build all of these cords or four of these calls . Actually, another couple of chords within this key they don't use or use occasionally for this outro small of those exams again, this helps to keep it simple. OK, so simplicity, really the key if you want to get inside someone's head and you want to leave a little hook line there that they can't get out and they can't stop thinking about it And it's, you know, this is why these things have got billions of views because these people understand this fundamental fact, um, you get you'll also see is well, these they also become very similar because they are essentially all trying to do the same thing. I keep it simple. Get that hook lawn. Really? You just can't earworm that you cannot remove from your brain. Andi, These simple chords how together But one scale. Also, this is where the melody comes from. Its key to read E m every time. Certainly from all the analysis I've done so far, so s so like I say, the fundamental scale that they're built from the in this case, we can call it a minor. It's also see Major, but essentially they all both schools contained the same. 6. Clean Bandit 'Rockabye' Analysis Key and Verse Melody (part 2): with the aim on accord. You've got these three fundamental notes here that make that called. So they are a see and a on. What you generally find is these notes tend to be reflected in the melody. So this is an interesting approach, E you've got a kind of a dam would trajectory towards your keynote, right? So your may know here on the starting. Now, if you will, is a So there you go. I would say that they're going for a a more feel over their aim on the court. Okay. So we can see this reflected in the notes that they've used go a day, see? And then now the only note that's not in the court of I de Okay, but it is in the scale of a more. Now, if you went around just using chord tones or the notes that make up the cord in your melody , it would be quite boring. Okay, so you need these extra notes to add a little bit more interest on again. You could do that because a scale has seven notes in. So you're not restricted to the three notes you've got here for your call you can perfectly acceptably use. I could use a bay e f also g and then back to a Okay. So again, they're not using all the notes because they're keeping it simple. A such come reiterated that enough in simplicity is the thing. 7. Clean Bandit 'Rockabye' Analysis Verse Melody : on And we moved Then into the into the second phrase and the notes Oh, now landing on the scene eso una bay So we've got this happens when we go to org cord Now you'll notice in RG called. We have a g Hey. Okay, so these are reflected in these in the melody. Okay, so we're on a be here, which is the third degree of this cold. Okay, So again, it's all about the cool tones you'll notice is well, that we've got a couple of seas now. This is actually they lead into the melody. Okay, so what you hear? First thing you hear when you listen to this song is China, which happens before the first chord. So before the first beat of the bar. So she's leading in with their vocal melody. Um, and this continues to happen with all the other phrasing 8. Clean Bandit Analysis Verse Melody (Part 2): and this particular couple of notes here, which are see, they sit really nicely with this cord. Okay, which is F major, which also has a seeinit. OK, so I don't see any instances whether using whether it's sorry where they're not to using chord tones in the melody. Okay, there's a little bit of additional interest. Like you've got this d here? No, in the court, but in the scale, and it just adds a little bit more interest. Okay, so they're not going. There's no have on guard weirdness that not using any weird notes. These are all part of the scale that they built the cords from, and that may using for chords and the melody, okay? 9. Clean Bandit 'Rockabye' Analysis Overall Melodic Development in Verse: So this is a classic way to develop a melody. So you you make a you make one statement, you respond to that statement with the second part, and then you go back to the first phrase stay and you develop it a bit more. So it's not exactly the same as the first time he did it. This has been true of music for hundreds of years. This is kind of how it's always been done. The only difference here is you know, you've got going on, and it's a little of it electronic. There's really no other difference in that. This is could be for any. So, um, and then you see, you've got another bit of interest in this. This is good because they haven't stuck with the, um, Bay that they did in the second phrase, how you still approached it with a C, and then they've gone up to a date. Um, now this is over the cord. G again. Okay, so last time over the g cold, you had I be in the vocal melody and then the second time they do this, you have a date 10. Clean Bandit 'Rockabye' Analysis Overall Melodic Development in Verse (Part 2): in the melody. So they're both court owns from that called J C J Go Be, and you could dig so they haven't gone near. The gene just used to be in the D. And to be honest, that probably gives the melody a little bit direction. So if you're singing, the same note of your cord could end up being a little bit boring. They haven't gone too far or too mad of it, I can say. But there is some direction there, and they have developed the phrasing. Probably everyone thinks too much about the notes they use on. Know enough about the rhythm. Now look a mentioned before somewhere. This is interesting, rhythmically, because it's like a conversation. So you don't talk like this on your melody. Should know he's either, so that rhythm is boring. You want something like a normal converse conversational rhythm like you would talk to anyone. So this melody reflects good handling good rhythm. Andi. They've used notes that are in the scale. They used to build the cords, and indeed they reflect the tones in the court 11. Clean Bandit 'Rockabye' Analysis Verse Outro Harmony: Now there's a second bit here, which is really interesting. So if we just move along to, uh, it's annoying little, listen to me O. So that forms a little bit of, ah sort of bridge between the end of the verse and then going back into the Mursal. Or of course, indeed. So you've got three chords here. The 1st 1 is, but I've already used it, which is good. So to all intents and purposes, you know, something's changed it because the cord there, no and they're not exactly the same was over before. So you've got an F and you've got a day morning on, then you've got and a major. Now this called isn't the only one that isn't in this key. And I'll tell you what have used it's because it sends you back to the A more in a start of a song, really directly now in any other type of music, I would have added another note here, um, which would be a day. So, for example, now that's a certain type of cool. Now they haven't used that D. But implicit within this type of cord is it's kind of directional, so putting any here send you back to another, and the reason it does is because of where it lives in the case. 12. Clean Bandit 'Rockabye' Analysis: Verse Outro Harmony (part 2): now, minor keys are a little bit strange, but essentially, uh, this and this is the same classical music. This is the same with a lot of jazz. This is the same of a lot of pop, is it? A few years called five in your major scale sequence. So in this case, a minor is our first called. Then we've got a B See, Do you? He is our fifth. Okay, so five chord always send you back to a one called it makes it feel unresolved. And then when you play the a mourner, you feel like you're arrest. You've come home again. OK, so this is literally setting you up to go back. So the aim on. Okay, so to all intents and purposes is kind of a little, which is what the musical term is used in. It's how we express they sort of movement in music. So we call it confidential. On there's a couple of different since is this? This is generally called a perfect cadence. So it's a 51 core progression is called on. It's interesting because it is the first time I've seen I think, or a cord used that technically no in this key. Okay? And I've done it deliberately to send you back to the aim on which is a perfectly legitimate, a normal, functional way that you reduce harmony in lots of other music as well. So it's good to see you here. 13. Clean Bandit 'Rockabye' Analysis Hookline: Okay, so let's move on to the hook loan. So this is the chorus. Andi, let's have a quick listen to this. Okay? So again, the courts haven't changed, but the melody has some or anyway, so you've still got this preoccupation with an A OK, um, And you you'll notice instead off approaching the note way were descending onto a nay before. This time we start on the I and we go up up the scale. Fact. We're using all the notes in this court. So if you look at the court, I'm only because I say an A And then if you look here, we've got a is our first note. We got cheeky being leading onto the sea, and then we got me. So als three of the core tones most senses that because this is the chorus on this is there for the hook line. This is the bit you remember, But they have gone all out to really make the cords speak to the melody and vice versa. So they've used order crawl tones in the melody 14. Clean Bandit 'Rockabye' Analysis Hookline (part 2): and we're sitting on a baby again, just in time for that G called Okay, so we could call that So we called G The root of the court be its third degree and de its fifth degree. So the melody here is very sweet. 1/3 is very sweet. For example, whenever you see when it. So whenever you hear anyone singing the vocal harmony, they'll often being third. Any sort popped you. They're normally stack the harmonies in thirds, and it's because it's like singing Accord. Yes, so you make it like a court. So you build in fert. Um, again, there's nothing. Nothing harsh about any of this. And it repeats. I think that's the other key is the repetition. I want to sing it because But you can see here that it it goes exactly the same. Praising both top. You don't see that in the verse, remember? So you see, you have ah, you have your initial statement, then you have a response, and then you develop that statement and you have a slightly different response again. Where is here? Hook Line? Chorus. The key is to get in people's heads. It's an earworm and It speaks to the cords so deeply here, there, you sharing all the notes, there's only a There's only a little bit of variation where they've added. Like I said, if you just you call time to the melody, it's going to sound exactly like called It would be too boring. So they've added a couple of different notes in there just to have the just to break it up a bit and make it even sweeter. But they're still based entirely on the scale cords built from so the melody and Anna Corti or we use the same. 15. Calvin Harris 'This Is What You Came For' Analysis Intro : So we're going. Teoh, you analyze Calvin Harris speech. Rumyana. This is what you came for. This is number four on the all time top 100 as of March 2020. Or belief? Um, this is actually in the same tea as the previous soul analysis. So, Clean Bandit, Um and I did I think it did mention in the introduction with such a emphasis on simplicity , lots of different artists and producers do end up using the same chord sequences. And that's fine because you've only got a limited amount to use anyway. It's no surprise, really, that you will come together and arrived the same sort. Of course you know you listening to each other's music and you know, this sort thing goes round. Um, I remember in the nineties with Certainly With punked by post punk pop punk, it was generally a 16 to 5 chord progression the whole way through an entire Blink 18 Super album 16. Calvin Harris 'This Is What You Came For' Analysis Intro (part 2): so you could very much tell, um genre specifically what sort of things these are because they fall on the same core progressions quite frequently because they work as a simple explanation for it on. If you've got a handle on your major scales and creating cords and you understand a bit more about my videos will help. Then you can change case if you don't want to sound exactly the same as everyone else. Certainly probably find if you're working with singers that they have a key that they like toe work in specifically anyway, where their voice sounds really good. So in this soul, Rihanna's voice sounds great, and I get the sense that she probably works in this case a lot. So it's certainly worth thinking about if you're working with other musicians. You know, a singer they have always comes in a certain key. It can operate well in some are not well in others. So that hurdle, you want to get out the way straight away, I'm ask your single key that 17. Calvin Harris 'This Is What You Came For' Analysis 1st and 2nd Bars : have got full, different sections. Um, which is kind of say unusual, But the reason for this deprivation in the sections is to give it a bit more, a little bit more complexity. So again, they've done it in a very simple way. I shouldn't use the word complex, but just alter it a little bit here in there so that it's not a lot the same away through so very thin long there between keeping it simple and trying to vary a little. So in this first part here, we've got a little listen. Okay, so again, very simple. Same chords is last time. Different rhythm. It's It will take a longer time to express itself. These four chords, um, one purple this time, Um, but again Look and said they are the same court. So we aim on here now the melodies. Very simple. Very reductive rhythm. So you've got this. We start on the knee. Uh huh. On end on the night. That's our first phrase toe look of said in a previous song were very much melodies throughout history tend Teoh, you tend to make a statement, then you respond to that statement. Then you develop that statement, and then you make another response. So you've got sort of four sections of a melody in which you get Teoh, tell your melodic story and they tends to be the same for me, especially with this e g M. 18. Calvin Harris 'This Is What You Came For' Analysis 1st and 2nd Bars (Part 2): um so e to a is interesting because they're both notes that were in the aim on the court. So there's we're only using called time to t to Royal Melody E T. A itself is quite a big jump, but yes. Oh, it's so simple to notes. And then when we go into our next section here, this is slightly more interesting, if you will. So where we're using is a lot of I, which is the last night we left in the previous bar, so don't dead and then we land on a G. Now the G is interesting because no, actually, in the court. So we've got on f called here with a G in the melody. Now that's not illegal. It's fine because, like I said before, these are all part of the same scale. So actually, in the key of a morning, you've got a G. Actually, we're making an a minor, and it was a jazz called. I might actually play gee in the court, so it would be the fourth night. So I've got a G overnight like is a no illegal. It's part of the scale. So it's done. Put in particular Roy thing to cools a bit off. It's so it's unresolved. So you're not getting that resolution in bar to I think that's important because you want to put that off until the end of the section when you do one of results, so we'll see that now. 19. Calvin Harris 'This Is What You Came For' 3rd and 4th Bars: our third chord is G and interestingly much simpler than the clean bandit motion. This just repeats are phrase from the first bar. Exactly. No development at all this time. Okay, so that's interesting. And then we've got no development for bar four either, so that the melody of in effect repeats toys. The only thing that does change other cool on you'll see in, um, Inbar three. Here we have, um uh a g major chord. Um, again, these you've you don't explicitly have those notes in this cold, But they are in this girl. This so is in the key off a mono. So all that is perfectly legal. They're just going a little bit away from the cool tones in this one. But they have expressly left the melody really simple, repetitive in our final bar, which we're now in C. And you'll notice that the although it didn't resolve in the second bar because of the cold we were using against the melody here it does. So we've got a G in the cold F c c. Okay, g g in the melody. And this basically allows resolution. Okay, So because it's in, it reflects the court more. You get a resolution that you don't get in bar to here, which I think is very interesting. 20. Calvin Harris 'This Is What You Came For' Analysis Hookline: you've got the repetitive melody here, which is continued over a cool change. Eso we've seen this type of thing before. Um, on this is just, you know, repetition is the key here. You're gonna need to get this here, women, someone's head. You need to bang it out for you. Torme's So let's have a listen to this. Look section simple again. Same same chords. Um, I yeah, j and see on the melody is kind of reflective of all of these chords. So it starts on a G. I see. So todo so you've got a little climb, and then it falls back to a tonight. And that's not surprising, really? So you notice that you've got sort of a is the backbone of this melody, if you like, so that no is the only one that's repeated. That's important because it is your key center. So the fact that I've said that this is in the key of a minor and using a name on a scale, you know, these are that's the way you get away with repeat in something so sometimes it will be a cord, so you could just hold on a minor on then the melody goes over that So in this case, you've got the repeating melody with the cords moving underneath it. 21. Calvin Harris 'This Is What You Came For' Analysis Hookline (part 2): there's an emphasis on a because that's the key center. So it really a holds this whole thing together. But again, you want some variation in between that. So they've approached it with a G, and then you go off to see their so again that you can see the distance between these two notes is what we call 1/3. So there's a note missing. There's no be if you like, So a to see you That that's again. That's a noise, huh? So step into the that is reflected in the court. So you've got on a to see here in the court, and then you go see Look, as they see, then you a to d. Okay, So, um, again, that's it's a noise into what they've already used e t A. Which is more. I think I haven't gone back to so, uh, did it s So they've used that in the first statement of melody in our previous section. So I think, you know, probably again, This isn't, um this isn't a weird note from some random place. This is part of the aim on a D is part of the Omanis. Go look aside because they've already used to need before. Thinking helps the variation, Teoh, you over used the same thing and it separates this melody from the last one as well. 22. Calvin Harris 'This Is What You Came For' Analysis Hookline (part 3): you know, there's only a couple of it's a really well thought out Changes in terms of the melody makes all the difference. Just that one little thing that's not use the again on it separates this from the last praising melodic idea on this just repeats over the four chords. So looking to save you go the melody is G A c a d and that repeats a, um you've got to see in the f chord and you go on a as well. So there's lots of notes in common from melody to called because they're all built from the same scale. You can build them from the same scale, but the cords from that scale they will speak to each other, they will be related, and you have the ability to write like this. So, uh, the third court, um, a G and so you've got the start in note here, G to the A to the sea, Um, and the days reflected in this court to you as well. So whatever called is you've got some reflection of that in the melody. This is very cleverly done. Very simple, repetitive. Using the same chords again. Everything's in the same K. To me, this seems like how they write my just Pinckney's randomly because they're the top five. Most listened to songs, but they all seem to share quite a lot in common in terms of the elements of factors we're talking about, you know that you need to write this in this younger with 23. Calvin Harris 'This Is What You Came For' Analysis Verse 2: So our third part in Calvin Harris on Rhianna is the first. This is a little bit of a change, so they've gone back to the original minute. That is the first thing you can notice. And we've got what I call peddled courtiers. So you keep in that kind of you, employing a bit of tension for keeping that called the same for the 1st 2 bars. So in your head, up to now we've been that we've had a Mona on. Then we've had f major and then g major and see Major. Okay, so they've changed essentially the first chord to be the same as the 2nd 1 Now the thing about F major is if you look along here, it actually shares two of its three notes with a mourner That's predominantly boy that can get away with. So your expectation is to hear in a minor, you're almost hearing a name. But with one night different, let's have a listen f f g and C. I think it's really clever just changing that first cool because it's got so much in common with the cord it replaced again. They're all in the same cable. These core to form these in a moment on we've gone back to are just so nobody freaks out Because we've changed the first cold We've got the melody Return to the original original melody on again This works fine Because if you have a look here we've got If I see we've got an A on any 24. Calvin Harris 'This Is What You ame For' Analysis Verse 2 (part 2): So we've got one of these notes is in reflected in the court as well. Both notes are in the sky. Okay, So a B C D E f g these notes. Nothing weird going on Here is what I'm saying. And I think this builds great tension to you at this party. It builds tension and then it gets released. No. So this if you listen to the song as well, this is all part of a buildup. So these, I think, in media and these buildups get longer and longer is three years get older and older. It's interesting to hear the way they're getting differentiated because, you know, genres can end up consuming themselves where they become so similar. And then this is when eventually genres turned into other things or people get bored with that type of musical. So it is really interesting to see the producers and the artists, you know, going going hell for leather to try and get these things to sound really interesting. And of course, really club. Listening to this, um you know, build is everything from so really clever, really clever way of approaching slight differentiation of sections only slight change in one or two little things in this case, the first chord. Um, and it's kind of, you know, it's just a variation of a of your first section rather than it being like a middle eight or bridge. You know, there's no need for that really needy, and, um so yeah. 25. Calvin Harris 'This Is What You Came For' Analysis Verse 2 (part 3): you know, there's only a couple of it's a really well thought out Changes in terms of the melody makes all the difference. Just that one little thing that's not use the again on it separates this from the last praising melodic idea on this just repeats over the four chords. So looking to save you go the melody is G A c a d and that repeats a, um you've got to see in the f chord and you go on a as well. So there's lots of notes in common from melody to called because they're all built from the same scale. You can build them from the same scale, but the cords from that scale they will speak to each other, they will be related, and you have the ability to write like this. So, uh, the third court, um, a G and so you've got the start in note here, G to the A to the sea, Um, and the days reflected in this court to you as well. So whatever called is you've got some reflection of that in the melody. This is very cleverly done. Very simple, repetitive. Using the same chords again. Everything's in the same K. To me, this seems like how they write my just Pinckney's randomly because they're the top five. Most listened to songs, but they all seem to share quite a lot in common in terms of the elements of factors we're talking about, you know that you need to write this in this younger with 26. Calvin Harris 'This Is What You Came For' Analysis Verse 3: This is our fourth and foreign or part for Calvin Harris and Rhianna. This is what you came for? Um, in this section, we we continue with this, uh, peddled first and second bar called being the same to their African zef major. Um Andi, there's this. Interestingly, there's a There's an overall pedal underneath the entirely things you can hear that there's a base element which is in a throughout the section. OK, now, like I said before, if you want a pedal something, I you create tension, but you still need it to work with a will. The other musical things going on, then your best bet is to do it in the key center. So in this case, it's a more so you peddling I and it gives it this grounding that doesn't affect anything else other than Bill tension so that everything else come can build in a BDM way you're so familiar with. Interestingly, as well. There's a variation in the melody, so let's just have a listen on. What we've got is we've got a little harmony. So Rhianna sings thes couple of notes. Here is a definite change in the melody here 27. Calvin Harris 'This Is What You Came For ' Analysis Verse 3 (part 2): on what? Your notices. She's changed the melody completely here. So we've got So we've got, uh, s isn't full of Bonnie. And then she's back to her a again, which reflects the pedal note of the bottom. Andi reflects the overall K. Um So the rhythm is more, you know, this is very similar to the way it's been phrased in other bars. So dead that there's a lot of repetition even if it's not the same notes is a lot of repetition in the phrasing off the melody. So we got our Sorry if stay day down to see Now this is over the f court. Both of these parts over the F chord know NF we've got the notes f a and C Um, But again, all of these notes are in the key of a minor. So I think probably just wanted to differentiate the melody entirely otherwise, there into using exactly the same sections that they've developed before. So this is as far as I can remember from the ones have looked at. This is unusual in that it does. There's a lot of little variations between sections 28. Calvin Harris 'This Is What You Came For' Analysis Verse 3 (part 3) mov: again. It's just, like therefore notes that right next to each other the main melody to me sounds like the lower part. So, um, this is just and he told me you build This is exactly what I said before on all keep on saying it again, I'm sure, But they're built in thirds. So you can see here you've got f there's no G, and then we're onto a name. So we call that 1/3. So if you can see, this is reflected in the court as well, So f I So you've got the harmony right there. So all this happened there. Is there reflecting the harmony that you get in the court which is born from the scale, which is the same thing I've been saying over on what we got here. So this is the same procedure as well. So, um, you've got to an e and a G. So that's slightly different kind of interval. This one is considered a mourner interval. And that one's a major into, and that is just because the distance the notes are slightly further apart, that's all. Um Andi. Then way. Move onto this F here on with what we got here. We've got the right the d to the sea and so d The harmony of that will be f again. Third. So d a yes, that on, um that's the simplest way to harm. And always any melody is harmonize in. 29. Calvin Harris 'This Is What You Came For' Analysis Verse 3 (part 4): you can do it above what they've done here. Or you could do it below depends. The only real concern you should have is is it Do you like it? Is it good? Does it sound good? Yeah. If the answer is yes. Bernie, go with it. If the answer's no, then keep looking. That's really you've got live. If you reall composer, then you have to live with it being on a record and happen to hear it back. You don't want any? You want it to be perfect. You don't want any mistakes in there. So, um, best bet, simple harmonies. Thirds. That's what we've got here. And then it builds again with your genius. See? So you've kind of got this little up left after these peddled cords here, But again, it's still very much because you've got the A in the base the whole time. This whole section feels like it's been it's sort of been restrained, has been grounded, you know, it's on a leash is not allowed to go to um And then, of course, this follows. This is followed by a chorus, so it's very clever. I maintain the next, um, you can quote Andi again. It makes a great soul. So, yeah. Um, same things have said before simplicity. There's a lot of tension in this one with the peddled cords and the pedal notes. The melody has been so simple on repetitive it really effective. So you got this basic melody here? I've ruled graceful. 30. Chainsmokers 'Closer' Analysis Verse: Braun to track three. This is change. Mochas. Closer. Um, now this is bit of a departure from the other two were in a completely different key. We're using a lot of black notes, Um, and again this morning bay, as I mentioned in the previous section, this might be because the singer sings better in this key sits better with their voice, the range, etcetera. Could be that that deformed ski a lot, Actually it Certainly. Whenever I take a rehearsal with students or Rosen in a band, there's something we have to consider. A lot is, you know, where does that singer's voice sit? Should be changed, K. Yeah, So this, this is in appears to be in the key of a flat. If you don't know what a flat is, then I definitely recommend you go and my creating may and using major scales and creating cords from major scales videos. And you will know everything about simple methods but really effective at getting you to understand cool skills. You need to really sort understand these analysis and be able to create your own songs as well. So let's have a listen to the first section. Lovely cords. Very nice indeed. Your notice. There's a departure straight away, as we have a five note called 31. Chainsmokers 'Closer' Analysis Verse (part 2): e flat F a flat. Now that is the three notes you need to create a D flat major. Cool. Then we continue. Now, this is a C on, uh, referred to this before, but if you have more than three chords in a So if you have more than three notes in a chord , then it starts getting quite colorful and quite complex. Um, this has got five notes. Andi uses the what we call the seventh degree. So if you consider that the the bottom note or the root of the called is one you middle note is No. Three, he said, No fifth degree of the scale. You see seventh degree of the scale and then adding a further note. Now you see this Michael video, but when you build cords, you can keep building, so you don't have to stop it. Three or four, you can keep going and you build them in thirds, which is how you built the cold in the first place. If you keep adding thirds on top of the court, you eventually get to what we call annoying. But now this is an interval outside of your 1st 8 notes of your scale. So what that means is it's rather than put in these notes in No, with those first day, it sounds much nicer to have them on top of everything else, and it helps to spread the notes and a chord out a bit. So they're not really close together in class. She on its queen, I would turn. That's quite a jazzy thing to do, you see, like Big Chord thought that all the time and jazz music. 32. Chainsmokers 'Closer' Analysis Verse (part 3): And then, if you know the second cord, they go straight back down to a lack of really this. You've gone back to a three or a triad, as it's called. So three note cortical. Try it. Yeah, we've got five minutes and then we've got this three note chord. I'm hearing an F over the top of this the e flat cold. So all that means is you're adding annoying as well. So this to me this sounds This song sounds quite similar to some of the nineties jazz yearsof called changes. So things are Gypsy woman flowers. Sorry. Moving too far. Stuff like that. Um, accords were a bit more complex on a bit jazzy. So it's very much in that sort of nineties style of court play, if you like. So this goes. This carries on on repeat, and that no one turns really notice on top so that probably what's happened is life. Um decided to limit it to two chords in its entirety, but they've beefed up the cords. Okay, so it's It's half a simple, if you like in terms of chords and harmony than the other two we were we looked at previously worked, but bulked out called. So there's more color in the court. Um, again, you see this throughout these e g m analyses? Is that their sacrifice? One thing I'm in for something else. So in this case, they've gone for thicker harmony, less calls overall. 33. Chainsmokers 'Closer' Analysis Pre Chorus: into the second section, so there's a lot of awful lot of talking in this in terms of its verbalization it I wouldn't call it a melody. Initially, soft kind of talks his way into the first part off the the male vocal. Then it's sung a little bit more after that, before we get to what ostensibly is the chorus eso Let's just have a listen. Great. So I mean, you've got the repetition there anyway, because the courts have just consistently just doing the same thing. So you could be a degree of safety there because, you know, after that first chord, second cold comes on, Then the first call comes again. So you've got you know, you've got all this. This is quite unusual and it's only got to call. But again, simplicity is key that for all the songs of looked up so far, um and I trust more in the future. But yes, the eso we start talking a little bit here, Um, but again, we're only using notes that were in the scale. So a flat B flat. This is very repetitious, and it's all really about the rhythm rather than the notes here. So for these 1st 4 bars, and then it takes off a little bit 34. Chainsmokers 'Closer' Analysis Pre Chorus (part 2): So we've got an e flat again. That speaks volumes because you've got an e flat in this cold. Yeah, um, so you've kept what he's done is kept it really bland on, really sort off. Two notes, very simple. Did it and ended it at that. And then you go into you, give it a left by then vocalizing mawr off the court tones again. So again, you're looking at record, and you're looking at the scale that you built the cords from and you're using that in a melody and see, um, b flat a flat on f Think that all reflected? And they are reflected in that call so that very much this is sort of just a nice little lift after this. Quite precursor to again. This is all about building. So they've got a look at it is, Can't do the same thing all the way through. Got split it up somehow. But this is a lovely contrast to this to this mawr fruity melody here, Um, and that just repeats twice again. That's that's good. If you're gonna stop, make a statement like, you know your initial phrase, it's it's a good idea to repeat it on. They've done that here 35. Chainsmokers 'Closer' Analysis Hookline: give me a final section off chain smokers closer on. This is ostensibly the chorus. If you like the hook along the eso, let's have a little listen the courts have used all the way through. The only thing that is changing is the melody, So B flat. I flat going to see your found all these notes in these courts. So I mean between them or that looks like a with the notes in the scale. Um, now the thing I should say about the key of their Sylvie's, it's a flat major. You're probably thinking, Well, hold on a minute. There's no a flat major in this soul and you'd be right there isn't that doesn't mean that the key can't be a flat major. Okay, they just haven't used that chord. Um, who's call mistake? Teoh. I've got a lot students rehearse a college in life bands or projects and you know they're going get called. She out there, look at the first called on the court sheet and go up. That's the key, that's all. That's it doesn't work. So what you need to do is and again, if you look at my other videos, this will really help is that, um you look all the notes and the chords and they make a decision collectively about a key like that on often no any GM. Interestingly, in most of the music keys change or return to three times in the song, perhaps more sometimes. And so it's something I'm used to. 36. Chainsmokers 'Closer' Analysis Hookline (part 2): then you might not be aware of these things. And I feel it's myself to remind you and me These are the things I went for his world when when I was learning to do all this. So, um, it's important to say it's in a flat major yet there is no way flat in the soul we'd but true. So you've seen that is really the same repetition going on heavy repetition in the melody. So, uh, yeah, I, uh flat b flat se then back to the A flat. In fact, you could say the A flat holds all this together in the melody, So this is a good indication here. The keys are actually correct. She's I because it features heavily in the melody off the course, which has given you the grounding in that key which making me think key center and then all these things happening around it. Actually, these cords D flat major in E flat major are technically the noise it's called. You can use against that. A flat they are away. They're sort of taking on a little journey on and bring you back something with the general overall feeling. But again this is They've gone for very thick cords. I'm very repetitious yet really true to the cords. And true to the scale, they've picked out the noises notes that again like the others, they go with the courts. Eso if you using the same scale, you generate your court from that scale. Generate your melody from that scale, you can come up with these things all day. 37. Marshmello 'Alone' Analysis Intro: Okay, so here we are, attract for this is marshmallow alone. Andi, let's have a listen to the first section to see what we're looking at. Yeah, Okay, great. So it's pretty simple. Um, we're in the key off d major, um, annual A and E, but first cool, Deuce G. And like a we've talked about in one of the previous videos, The first chord does not always indicate the key. You're much better off looking at all of the four chords on using a chart from my other accompanying videos on how to build cords from major scale. And you'll see that these four chords appear in the key of D. So we've got rolling baseline. Andi, it's it's what I would say is it's in fifths. So you start off of your root G and then you go to your fifth d bomb. Dumbo Dumbo done bumped him. And then you do that for the next court from Dumbo dumping bumper on an electron born dumpem. Don't get see, Just keep doing just at the end of each bar where it's about to change to the next court. He's dropped it down to the further the note So you get Route 50 right? Fifth Route 50 group third, and then it drops to the next note of the chord in the sequence. So we've got G D, and then we go move up to a night. 38. Marshmello 'Alone' Analysis Intro (part 2): now that the cheeky little thing about using the third as well is that it drops down nicely to the next note in the sequence. It's quite an abrupt change to the next chord. It just makes it a little more sweet, so the changes a little bit nicer, less harsh, just thinking about how that called the first cool can speak to the 2nd 1 in a less abrupt way. So it's just to smooth the change that be to they say they literally a step away. So that's just clever. Just looking at the notes in that called as it used 1/3 all the way through. That sequence uses it at the end to introduce the next called Very Clever. Very good on this carries on throughout, so you can see that because thes cords all together anyway. So, G if you follow to the next white note on a piano a and into the next point. Now they're all right next to each other in terms of where they are. And so this drop down works and it keeps working. It's a little bit far away here, but I can hear the the court has bean in a lower register rather than in a higher register . But certainly it's a lovely, smooth transition. You know, you've done it for three chords. You might as well keep doing it for the last month, and and it's just a very nice sort of rolling baseline. 39. Marshmello 'Alone' Analysis Verse: so Part two, we can we get a bit of a melody introduced, so let's have a listen. Yeah. Okay, So you've still got that rolling baseline on now we have some melody over the top Now your lotus it's been phrased i e Where the melody happens is predominantly in the first bar and in the third ball here in terms of the notes again, the cords are not changing in this entire song. So we've just got floor for notes here. Andi, they've got peculiar there. No, the usual notes I would choose. For example, the f sharp here is actually no. If you continue building a three note chord G, g, uh, food, they The fifth would be dean. If you had 1/7 degree, that would be in f sharp. And that's what this melody comes from. So again, you get a tiny bit jazzy in terms of the melody because it's you count them all together is being one harmonic thing. Then that that is a bar. But call the seventh called 40. Marshmello 'Alone' Analysis Verse (part 2): there is a point to this. It's very designed, So bear with me what we got there. We gotta dig. So that's 1/5. Now that's That's an actual court tone that's reflected in the court there. Um, we go to a second again, bit more colorful than you probably may have come to expect from this. These these songs that we've looked at so far a lot of them have stayed really close to the core tones that they reflect. So we've got a B. So we've got we've got 1/7 degree and a second degree. Okay? They're still from the scale that both the melody and the cords are built from using some of the notes that aren't in the cords here. So that's, um, that's interesting, and it just adds a bit of color. I like the variation like we've said before. If you're just using cool tones in the melody, then it's limiting yourself. Three possibly full notes. So you adding in little bits here and there, it helps it go up, Step boys on and come descend stepwise as well. So you you know you don't always want big jumps. And if you're using only cool tones. Then you're jumping in thirds. Sometimes it's nice to have a second or 1/4 or so you just breaking up. It is very good. Hasn't done a lot on the second bar. We've just got a on A which over the court of a it's a fit. And then we've got G, which is again 1/7 degrees. They're keeping it quiet, tense. If you like him, the building of tension going on are not using the exact notes that are in that exact cool . 41. Marshmello 'Alone' Analysis Verse Melody Development: And if we move on to bar three, we have We're now with a be called, So we've got some more deformed repetition here. Uh uh uh uh so f sharp to g back to enough shop f sharps of fifth, the genius. 1/6 degree on. And we have, um a which is 1/4 back up to the fifth. So we've got the f sharp as the fifth. It's off grounding us in the melody here cause we keep we keep going back to it. We're approaching it from above. We're approaching it from below Andi Then it drops to Dina full far. And that's the only no in that last bar. And what's the cord day? It makes sense social, that tension that you've built up. And then we were resolved to a day simple, complicated here and then simple. Here. This is called an unusual track. Remember thinking that when I was working out, But again, it's it always comes back to the fact that you need to You're gonna need to come back down from the clouds, the harmonically weird clouds at some point, and that's a great way to do it. You just basically beating around the bush there to land on just a simple D at the end. So lots of tension built using odd notes still from the scope. But in the melody there and then finish it off. Bring it back home to the to the root note and d remember, A said just now is the home court. Is the root called? So you should feel like by that fourth called Every Thin soft are it's results? 42. Marshmello 'Alone' Analysis Verse Rhythmic Development: Okay, so we're moving on to the third section now, so let's have a listen to this. I got it right, because we've got the entire called here being played on top of this base line. So we've got a G. We're gonna t major there, and then we've got on a major there. You can see this. See? Sharpen it on. We've got a B minor on. Then we've got a d major. Okay, so I'm confident by now that we're in the key of day. So reviews the d major scale to build all of this that you see, the cords, the melody, everything, Um, and the interesting thing about this part is no melodious. Its its rhythm. Sometimes it's not about the note. Sometimes it's about the rhythm. Okay. And we've got an interest in rhythm here. So no one, no after another. You know exactly where you are. It's very straight ahead. Okay, so it's 1234 Look, march, if you will. Now the colds go kind of feel like they're going against the grain. And that's because they're triplet. Feel so have another. Listen, we've got, but that so that's a triplet. So you see, these are essentially if squeezing three notes into the space, that too would normally occupied 43. Marshmello 'Alone' Analysis Verse Rhythmic Development (part 2): It's quite a hard concept to think about if you, um if you haven't come across it before, but essentially what we're doing here is forcing three notes into the space of two. Right? So that is actually something that people universally like. It's what we call a poly rhythm. So you'll kind of you've got one rhythm and then you forced another one over the top and 3/2 is common throughout music pop, classic jazz, all sorts. It's really keep hope. Everything, um, there's lots of examples. Eso next time you listen to some music trying one here, that poly rhythm, Um, and it's a great way to break this up again. So you had a melody introduced, you've had the baseline introduced, and now you're being forced to rethink about the baseline because this triplet called thing is off. Facing off against it, um, on and its three over to just sounds great. So really interesting to focus now again on the rhythm, Onda melodies, melodies. Not not there, so yeah, very, very universally used poly rhythm. So 3/2 44. Marshmello 'Alone' Analysis Section 4 Melody Development : so you'll be outta here the top long melody because it's chorus electric piano, So have a listen right now. There's so much going on there. But you notice, even with three to feel of the poly rhythm. So you got the baseline, which is straight, and then you've got the court pushing away against that. She got that internal rhythmical conflict there. Somehow he's managed to put the melody over there so that it doesn't sound like it's conflict him of any of those two things. Have another listen. So again, like when the melody first got introduced here and you had a first bar and the third bar. Now we've got a little bit more development throughout the whole thing. So again, all about the build with ddn. Andi, we're getting more involved with the girl. So So over the genie again. We've got seven degrees we've got We've got some 50 degrees on a route. OK, so a bit more grounded than perhaps it waas when it first appeared. The second bar is is arguably the most sound. The most tense 45. Marshmello 'Alone' Analysis Section 4 Melody Development (part 2): um, And then, uh, we don't get much repetition a tool in terms of the melody being the same in Bob one or three as we've seen before in some of the other songs. Often you get get your initial leitmotif. So you get your first bar, your second bar will be changed. Your third bar goes back to the first. And then you set your fourth barbers. Another development here. We don't have that. But so sad about this is over the beam honor on a again not to use what we got to call times. So we got a day and we've got a G and, uh in F sharp, which is a 50. We've got more called tones here. We got a D in in F sharp, which reflect the cord over which these notes are played on. Then, when we go to our foreign or bar, we have a kind of ascending on. It's very much in d. D f sharp. So So we've gone in terms of the underlying cord route, no third little four to climb to the fear, then back down to finish on the third on. That's arguably the sweetest part of these four bars again because you'll come home. Do use the key. It's right the end tension, tension, tension for the 1st 3 bars and then resolve it. And like I said, it's really clever because it doesn't seem to get in the way of all these chords and all the polyrhythmic pushing going on so very well written, very good. 46. Marshmello 'Alone' Analysis Hookline : Now the final part is interesting. So we've got our final part here and we've got peddled f sharp over the entire melody if you like. Not really. Melody, if it doesn't change too much disposed. But there is some variation here. So we've got the original call route notes here, so D sorry, g a b and then d on over that we've got enough sharp almost exclusively now, at the end of the bar of each of the bars, apart from the very phone, one got a little little running day. No, this is clever again because it reaffirms the key all that on. So if shop is related to each of these chords in turn, so f sharp hyper poverty, that's I would say that's risky. Works really, really very clever. But it's the seventh degree off this g writes, unless tense moments of the time. And then it's got a little bit of a sort of an oasis of the melody at the end where you reaffirm the home court the route. Cool. Okay, say so off. Quite tense. And then you've got this d little d arpeggio mini arpeggio. There 47. Marshmello "Alone' Analysis Hookline (part 2): when you go into your second boat, go on a with the f sharp. Okay, so that's kind of Ah, sixth degree, if you like on. Then again, you've got this little deep half a d arpeggio at the end just to or put it back in context of the entire key. Very clever. Third ball women With that, we've got our team on the court now f sharp over a bit. Use of fifth. So we're getting closer to being harmonious, if you like. As we go along here, we've got quite tense in the first bar. 7/7 degree over. Great. Let me go slightly less 10 6 degree over a room. Then we've got fifth. So we're actually part of the cord now. This melody is reflected directly within that cool de again at the end. Teoh sort of grounded in the home. Kate, on a formally good day is the last called on F Sharp is 1/3 off day. So we it just using the same note. Just goes to show that when you change accords underneath the melody, the relationship changes. So it's gone from tense in bar one two slightly less tense. Two reflecting no in the actual cool two. Reflecting one of the sweetest notes in the courts is very clever. How that moves through him becomes more resolved as it goes along. 48. Alan Walker 'Faded' Analysis Intro : Oh, welcome to track five off our five track E g. M. Analysis. And the last song is animal care faded. Um, so let's have a listen to the first part. Okay? So very much piano based. What? What we call broken calls in the bottom there. See, you don't play them all together. You play don't play them broken. So one no, after another. Um, so again, the fact that they're broken doesn't matter. And this will employ if you can work. If you can see these cords, What family there in key there in if you like, Then you can understand what scale there's being used, and you can understand what other cool it's gonna be. Then you can There therefore use the same scale to write the melody from like, a looker keeps saying you must be put with, but that's how fundamentally is. You take that scale, build those cords, and that's go and you build that melody from Let's go. I haven't seen any derivation from that principal in any of these far. Something on this is indeed. Look at those Get a continuation of that 49. Alan Walker 'Faded' Analysis Intro (part 2): So you've got e flat Minor first called. So it starts off with this kind of a dark void. Mina, they're gonna be darker, Major gonna be happier. So we've gone, which started with with the With Called six In this key now, all that means is it's you've gone option. You get your key, you can even have it in happy mode. We can have it in dark mode. Okay, So if he wanted in, uh, dark mode, like on a more clearly did then is used to sit degree that this go I'm not That called is evil that morning. So if he wanted it happy, he could have used the other Happy called. Okay. And that's the root. This is G flat. Okay, so with it, with any major scale g flat included, you go along six notes It's achieved beef, and you've got You got your relative minor. It's called So you can you can have a scale in a happy vibe. We can have it in a darker vibe. And it's basically the choice between either the major That's the brut before you loveliness or your Dr Morning 50. Alan Walker 'Faded' Analysis Intro Continued: Okay, so that's going to set the vibe for the rest of the song. You've got this minor. You got this dark vibe and then it goes. Teoh four called, which is to be, um, and they're all major called after. This kind of doesn't matter, because if you put a dark cold first you think you're going to feel that dark volume anyway . It's not unusual call progression. I've turned it a 6415 You see this in all sorts of pop music. It's edgy if you know, because you going straight for that morning cold as your starting point and the melody is will be go. It's all thirds. You'll see that this called here has three notes and it be flat more enough to go e flat. You got G flat and you got B flat and and in the melody is a G flat. So it's the third of the court. So again, this is nothing unusual. We add 1/5 there at the end to get to our e flat, which is the third degree of our fecal here on. Then we go on to G flat. Major Andi, we've got B flat So that's the third. And that called so very universal. There's no deviation from using thirds on our final chord, which is the fifth called in this harmonized disco que of this. So on on it's a, uh um, and again you go on F, and that's 1/3 of a deflect. Cool. Uh, nothing untoward. There just played quite nicely in a kind of Coldplay esque sort of way. 51. Alan Walker 'Faded' Analysis Verse: So the second section, uh, we've stopped playing them broken, if you like. So again, this is the whole Leedy and build. We're building gradually, so we're not changing anything. We do harmonically. We're just changing the way it's played. So we've got a bit more of a look. A pedal melody going on. So there's a There's a repetition in the melody over a Siris of changing chords. So the 1st 2 chords here, uh, a flat morning and be got this e flat in the melody. Now E flat is the root of the first cooled B flat, and it's 1/3 of the second cold. Be OK, so foreign to use that note for both of those chords. Again, not, we've said before. You can peddle Basil on while the courts change. You can peddle a melody while the courts change underneath. But what you can do voice facets, It's up to you. It's variations of that helped build the song. So again, very clever. Very, very e g m. And then the melody kind of drops away to just the cords in the last two bars, and you've just got this one base now. Its underlying the cool days. Um, so you're not not know a great deal there just in interesting repeated, uh, E flat over the 1st 2 court. 52. Alan Walker 'Faded' Analysis Hookline: now our third part. So this is a little bit unusual. Um, Those The melody starts a little bit before the bar, so let's just have a listen to this. Yep. So, um, again, the courts don't change. So we've got a B flat, which is happening over R E flat call to Let's Be Flat is 1/5 in any flat chord. So that's very you know, the melody is talking to the harmony here very specifically. Um, yeah, which is nothing apart from this bouncy bass line, which kind of like the marshmallow one, except we use in octaves here. So you've got a low B and then a high B, um, so notes of further apartment, they worth a marshmallow. Okay, so that's a little bit of variation, but the melody itself, uh, looks that we started a b flat over the second chord, which is bay. So we've got 5th 3rd second. So it doesn't quite resolve to the bay, which I think helps to build the tension. If you resolve all the time, it's going to sound like you resolve to early when really, you probably want just resolve the end 53. Alan Walker 'faded' Analysis Hookline (part 2): so, yeah, again, Those two notes there speak to the court. That's no in the cool, but it is in the scale so foreign to use it. But it will add a little bit tension here, which I think it needs on our third corgi flat s. So that's the root note. We start in the root. We go to the fifth when we get to, so those are all called tones. Um, interestingly, they repeat over the D flat as well. Now again, what we've said here is the cords of changing underneath the melody. So we've got a little bit variation and it's just another another a flat there. But again, that's all in the scale. Um, nothing unusual, but just I could say these two parts of repeated and you've got to kind of build up toe. Um, I think it sounds pretty good on again. It's simple and effective, and that's really what all this comes back to every time 54. Alan Walker 'Faded' Analysis Hookline Continued: lots of for a last section here. Wait a little bit of what we got here of the flat. You got G flat, F e flat. Okay, so this is these three notes. Sorry. These two notes approached the root of the court. That's classic writing. Um, and we're getting towards this. Perhaps the longest melody we've seen out of all of the songs, if you include the last section. Um, quite a development. No, it's these two notes basically point directly towards out. We've just got a single note in the second half of the melody that relates exactly to the court. So that's the root note of the cord. So you can tell things that kind of Not that we're not dealing with a lot of tension here anymore. We're going for the home run, so this feels like it's pointing towards resolution. And it's just the that indeed is the only no in that Bo, um, before a brief foray, they're into see show. And then we've got some of this sort of repetition here dead. So we're bouncing back and forth between these notes 55. Alan Walker 'Faded' Hookline Continued (part 2): on. We are in G flat here, so we are looking at the third and the fifth off that G flat roof. So again, these are all called tones we've come away from using Some notes that aren't in the cords were just almost exclusively using notes in the melody. Dark exactly. The ones that are in accord. Um, Andi, we've got a B. Um, again, we're approaching this kind of final note here, which is quite not what you'd expect. Actually, you almost been led to believe that it's going to resolve beautifully to the end. And we've got to be I've really over d flat called You take a D flat called and you add another note on top in the same way that you built record in the first place. So building it in thirds, then you would have what we call 1/7 chord. And so this is quite unusual to finish, but it's essentially the seventh degree of this court. Now. You don't hear it in the court. It's quite ineffective. Use in the top long. It's unusual to end on. Does sound a little unfinished, which isn't traditionally GM for a I might say is the Coors. Um, it took me a while for no, No, because I wasn't expecting that. And so hats off to Alan, because that's fruity little ending. Um 56. FULL SIZE Songwriting from Scratch Plenary: um, and thing. That's it for this one. So hopefully that was useful. Any questions? Thought. Please give me something back. Always read it on the I'll get back to you, Andi. Actually, we can have a discussion about these things. Like the idea that it's not completely one way that you can have a dialogue about these things with me. Um, thank you very much.