How to Master Emotions in Your Music

1. Your Journey to Master Emotions in Music: Hello and welcome music creators. As a music composer and artist, you are a conductor of instruments. You are a director of emotions. You create an amazing story of sounds, and in the end, you create the most powerful art form in the universe. The only language that can be understood and felt in the very heart of each and every person in the world. Music. So would you like to become a master of creating, controlling, and shaping the emotions in your knees. In this course, you will get techniques to master emotions music, advanced tips and secretes, live examples and demonstrations. You will learn all the best and most powerful ways in music composition and production that you can use to shape the emotional storyline of your music composition. And if you want to make music for visual work and soundtracks like movies, TV, video games, or any type of production music for commercial use. Then you will need to master this essential skill. Music creator, learning how to control and shape the emotions of music, Your Story of sounds. So if you are ready to become a master of emotions in music, Let's take action, stored your learning journey and adventure towards mastering the power of emotions in music. Right now. 2. The Emotion Chart of Music: The emotion short of music. So to help you create, shape, and friends form the emotional story of your music, I have developed something that you can use as a guideline. I call it the emotion short of music. And it is based on the tension and energy level of every aspect in your music. I will use the terms energy and tension a lot during this course. But in practice they both have a similar meaning in most cases. And that core emotion is based on how it effects our state of being from peaceful and in perfect harmony all the way to stressful, intense, and high tension emotions. The practical use of this emotion chart is to have a way of describing all fundamental emotions and how they are placed in this chart based on the energy and tension degree they have. You can think of is emotion short as a scale that goes from comb all the way to chaos. We're the lowest energy level would be like you had taken a sleeping pill or meditating. And the highest energy level would be like you just ate the wrong kind of mushroom. That would make you hallucinate like a madman. Now let's have a look at this emotion shorter music. And the corresponding key word that describes the energy and the tension level. Here is the emotion short of music. Level one, corn, peaceful, stillness. Level to harmony, happiness, and empowering. Level 3, sad, emotional, or nostalgic level for suspenseful, thrilling, or exciting. Level 5, chaos, panic, fear, and terror. So basically, everything you do inside your music can be applied to this emotion short of music, or adding or reducing the tension level and, or the energy level. You will learn all the aspects you can use to control and shape the emotions inside this emotion, shorter music in this course. But let me start by giving you some practical examples. So let's start with the lowest level tension and the lowest level energy. You can think of these as ambient, atmospheric or meditating or relaxing music. So the most stable harmony is a perfect fifth like this. Let's say an F power chord. And if you play them with Valmy notes, that will be less energy. Though dynamics will be less energy as well and low tension because it's just a power chord, the root and perfective, and then goes to, let's say the B flat between these two power chords. Long drawn out notes for a long time and go back to the F again. Okay? Now something that would be on the opposite side. So very high tension and a lot of energy level would be to include harmonies and intervals and chords that adds more tension. So let's say we start with D minor. Then go on this note, which is actually D diminished chord and the tritone here. And also add a lot more rhythmic movement to add energy that creates more of this chaotic, intense vibe. So something like this. You can really hear the tension from that diminished core and the augmented. Do it in the base, perhaps go from d2. The minor second movement or so that could be on the opposite side. Of course, you could use other instruments playing rhythmic high Mercado articulations per massive chaos and so on to really reach that highest level of tension and energy. And then you have everything in between. So for example, if you play a major chord like F-major and then go to B flat major. So and then perhaps to see. So all major chords, that is of course low tension level because of the major sounding vibe. But you can increase or decrease the energy level depending on how rhythmic you play these and how much force, dynamics you push into each note. So those ballpark CO2 accents adds more energy, even though all chords or major. But if I play them softly, perhaps with an arpeggio, it has less energy, then you get to the other levels. So introduce a minor chords, which has a bit more tension then major chords. But not as high tension as, for example, minor with an added minor six like this. And even higher tension harmony would be the diminished chord. Or perhaps you go from the minor and then riff on in the base. So think of all these aspects. The hormone is the chords, the intervals you use, the energy level from dynamics, the rhythm, the playing style, the articulations, everything counts and adds up when you shape the emotional storyline of your music. And you will learn all of these aspects in later videos in this course. But this is the starting point. The emotion shorter music, the level of tension, and the level of energy. 3. Emotion from Scale: Emotion from scale, the core language of your music composition will define the emotional starting point. And the first aspect of this foundation is the scale or mode you use. Here is a good guideline regarding the emotional character of the scale type you use. Every scale can have one of the following main characteristics. One, major vibe to minor vibe, three, mixed vibe, and four, Tension vibe. Now how do you define what overall vibe this scale you use has? As a guideline, you can check the diatonic 15 chord of the scale or mode you use the tonic chord. One chord will have the most impact of the overall emotion, followed by the dominant chord, the five chord. If both are major chords, then the scale will have an overall major sound like this standard major scale, also called Ionian mode. So here you can see all the seven diatonic triad chords of the major scale, also called Ionian mode. So in this case, this, the key is C. So you have the C major as the first chord or the tonic chord. So uplifting major vibe is the root vibe of the major scale, but also the fifth chord, or it's called the dominant chord, is in this case G major. So both of these major plus major, of course creates a major sounding vibe. So back to see if both or minor, the scalar mode will have a minor sound like the natural minor scale, also called the Aeolian mode. So I will demonstrate this in the key of D. So this is the D minor scale, also called eolian mode. And as you can see, the tonic chord, the first chord is a minor, so d minor in this case. Okay, so a minor vibe based on the root chord, the tonic. And also since the fifth chord or dominant chord here in this case is a miners are also minor, minor, minor for the tonic chord and dominant 15 chord creates a very emotional minor sounding overall vibe of the scale. If one is major and the other is minor, you will get a mix of a major and minor character, like the Mixolydian mode, for example. So here we have the seven diatonic triads of the Mixolydian mode is. So this scale has a major overall vibe based on the tonic chord being measured in the key of G. This is G major. G major. The major vibe. But since the dominant chord, the fifth chord is a minor, you get a mixed kind of vibe. It's major, but with a minor touch. So as you can see, the major vibe from the G, but then it goes to D minor and then back to the tonic g majors or major. And that really creates that mixed beautiful character of having an overall major uplifting root chord with an emotional, more a minor sounding fifth chord. And if either the one chord or the five chord is a diminished or augmented triad, your harmonic fundamental language will have a build intention vibe, like the Phrygian mode or the Locrian mode. So here you have the Phrygian mode chords. So I have chosen to demonstrate it in E. So E minor is the root chord, the tonic, giving the core fundamental viable this mode or scale, the Phrygian mode. Darker, emotional minor. However, the fifth chord in this case is B diminished, which gives, gives the added character or high tension. Why? Because a diminished triad is a minor third with another minor thirds stacked on top of it, making this interval the tritone inside the code, which is very high tension. So let's go from E minor, diminished by two. That is the core vibe of the Phrygian mode. The tension vibe. Locrian is in fact so high tension that it is hardly used at all in music since it lacks a proper cadence due to its diminished tonic chord. So here you have the Locrian mode, which has a tonic chord, which is actually a diminished chord. So in this case, B diminished. And it's very rare that you hear music use this mode throughout the composition because how do you end a chord progression and resolve it with a diminished chord? As the lost chord. It really is rare, probably for very spooky music, it could work, but you get the diminished tonic coordinates case and then a major actually dominant chord. So in time you start to play these other chords. The listener will have really want to hear another scale tab and type and not go back to the B diminished. But there is at least, it's the highest tension form of scale. Any scale that has a diminished or augmented tonic chord. Here's a quick reference chart for you where I have ordered the seven main modes from the brightest, most uplifting, to the darkest most tension with each diatonic triads per scale degree for each mode. Now as you can see from this chart, I have marked with the colors, the Tonic chord of each mode, as well as the dominant, the fifth cold. So the brightest, most uplifting, if you will, mode in music or scale, because most are actually pretty much scales. With the difference being that in modes share the same notes, but in a different order, different tonic, and so on. So the Lydian mode, Let's do it in the key of F, So you get the major sounding tonic. And then the fifth chord is major as well. So c in this case. But if I only play 151, that is the same as the Ionian mode standard major scale. The difference here is that the Lydian have the second chord being major, while the Ionian have the fifth, fourth, fifth. So you get the video and having the second, so then g. And then see as the fifth golden. Back to that 12 major chords, triads for the 1 first second degree is actually defining the character of this mode. The Ionian have the major tonic, in this case, then the fifth. And I've actually one major major. The difference here is that a fourth chord is also major. So f as the four chord, and then G, and then back to one. And as I demonstrated earlier, you have the Mixolydian mode, which has a major sounding, tonics, so g. And then the fifth chord is actually a minor chord. So, so if I find something here going from G2, D minor, that is the Mixolydian sound. Next we get to the Dorian mode, which has a tonic chord, which is minor. So d minor in this case. The fifth chord is also minor. So in this case you get a minor. D minor. However, that is also shared with the natural minor scale, the next mode, eolian. So what differentiates these two is that the Dorian mode actually has a major fourth chord. So if you play the minor and then a fourth major, so in this case G major. That one minor chord to the 4 fourth major chord is actually defining the character of the Dorian mode. So one minor, four, major, minor fifth. And the next we have the Aeolian mode, the natural minor scale, where both, where all the 154 chords or minors. So now we're getting into super emotional vibe. So let's play it in a minor. A minor is. Minor chord and the fourth minor. So in this case we have the D minor. And the faith cord is also minor, E minor in this case. And then a minor resolve that chord progression. And then you have the Phrygian, where the root chord is minor, as you can see here. So E minor chord is diminished chord in the key of E, you get a, B diminished, as you already heard. And then back to E. So that diminished fifth chord, is it really the characteristics of the Phrygian tension mode? And then a Locrian, as you can see, it's the only one that has a tonic chord which is not minor or major, it's diminished, so you get the B diminished as the tonic. So that is why it's super rare, really used in music at all. So you can pretty much skip that one, but I really recommend that you practice getting into the vibe, that cool vibe of all the rest of the seven main modes of music. So you can choose a scale, type or mode in this case, that really gets the vibe call vibe that you want for your music composition. So to sum up, the first aspect of your overall emotional language of your music composition will be based on this scale or mode you use. It can have an overall major sound, minor sound, mixed sound, or tension sound. And this is mainly decided by the combination of the one chord, the tonic. We're having the most impact followed by the five chord, the dominant, and one final point. And this is very important. You need to remember that the scale or mode you use will simply be the foundation for your harmonic language. The chords and harmonies you as a composer choose to focus on, will always have most impact. For example, even if you use a minor sounding scale, let's say D minor, you can choose to focus more on the major records of that scale in your core progressions to push the emotions towards that made your sounding vibe, the harmonic storyline of your music will always have the biggest impact for the emotional journey of your music compositions. So let me demonstrate this while we watch these chord chart for all the seven main modes of musics. And remember modes or simply scales that all share the same notes, but in a different order. So the court degrees change for each of these modes. So let's take a very bright sounding mode like Ionian, which is the stand another word for this standard major scale. So C major. So if you only focus on the 14 or five chord, chords, 145 degrees, you get a very uplifting, bright may your sounding vibe. But let's say you'd start to introduce some of the other quarter degrees which are minor here. Then you push the emotional harmonic storyline towards a more minor sounding vibe, even though the scale is still a major sounding scales. So start with C. Let's go to the second chord, the minor, D minor, and then to a minor, E minor, back to C. So there you see the tonic here is major. But you can play more of these other minor chords inside your progression. And that actually pushes to track towards a more emotional overall vibe, even though they still major. And you can do it in another opposite thing, scale or mode, like, let's say the eolian, which is a very emotional sounding scanline. So it starts with a minor tonic. Let's say you go to the C major, which is the third major. The six with this for factorising. So you get a more uplifting major sounding vibe even though we are in a minor, which is a very emotional minor sounding scale. So as you can see, the choices you make for your harmonic storyline, the chords and harmonies you focus on for your progression's, have an even bigger impact than the actual scale or mode you use. But still, it is important to recognize that the scale type or mode has the core fundamental, fundamental language and emotion for your music composition. 4. Emotion from Meter: Emotion from a meter. We tend to think mainly of this scale type, chords and harmony when crafting the emotional story of our music. But it should also consider the meter you use. Meter is more commonly called time signature in music, and it's labeled with the two values. The first number is the count per measure, and the second number is the node value that you count. These values define the fundamental rhythmic language of your music. And it can actually have a big impact on the emotional vibe as well. For example, the most common time signature is 44, is even called common time because of how much used it is and how natural it feels to us. You simply count four beats, quarter notes with equal emphasis on each beat to get before for vibe like this, 12341234 and so on. Here's a quick reference chart for what I consider to be the main types over time signatures based on the emotional, rhythmic foundation. One, time signatures with a straight vibe, for example, for 422, These time signatures based on to have that natural street groove as the emotional, rhythmic foundation. It can sometimes even be referred to as the marching meter, since it can sound very military due to that straight and rigid the sound. So here I have created two examples of a time signatures with a straight vibe. The first one is 44 and the second one is 22. So let's have a listen first and then I will explain. That was 44. And this one is intuitive. The reason these times dangerous with a straight vibe sounds so natural to us is if you listen to this, let me count. 1, 2, 3 4 1, 2, 3, 4 or 2, 2, 1, 1. So 22 works great for that marching. By. So think of 12 like we have two feet, so left, right, left, right. Or if we clap, We have two hands or we have a heartbeat, our pulse, everything is straight like this. And that is why it is so much used in pop music, rock music, electronic music. And any time you want that straight kind of pulse for the core groove, the fundamental rhythm of your music, to time signatures with a groovy vibe. For example, 3, 4, or 6, 8. This time signatures based on the number three. Have that groovy vibe, which can be a kind of swing and a sense of waves in your music. 3 four is often referred to as waltz time. And 6, 8 is especially good for action music with lots of energy and drive. But still with that grew the vibe. So we the time signatures with a groovy vibe, you have these divisible by three kinds of policies. We should completely different from the natural straight vibe, that straight pulse. So you have this 123123123123. And I recorded two examples. The first one in 34, like this one. So that is 2, 3, 4. And then I have another example here in 68. So here we get short. It's still the kind of divisible by three the grew the pulse here. But since it's based on, on six eighths, it's much faster and more action vibe. So you can hear rate if I play the short strings here and load shorts. So here we have, instead of 123123, you have the 123456123 purposes. You hear it a lot in cinematic action music, actually in soundtracks and movies. 123456123456123456, and also in progressive rock and so on. You get this very high intensive energy drive inside the music when you use six sites. So actually, now let me play both of these examples, this short conversations. The first one is in 3 4 here. So have a listen and we can actually check the, the piano roll at the same time. That is 34. And you really feel that swinging, groovy kind of vibe, la, la. Like think of the dancing in a circle or something. That is one way you can think of it. But I tend to think of both of these, 3, 4, and 6, 8 as groovy circle, a wavy type of time signatures. So six-eighths can sound like this. Three times signatures with chaotic vibe. For example, 7, 8, or 54. Basically, all time signatures that are almost but not perfectly divisible by two. Since common time for four and any variation of straight meters have such a strong natural connection to us. Whenever you hear a time signature that either Russia's like 78. Or dregs, like four or five. You will add intensity and action from the chaos of how it messes with our natural state and collection to common time. These added intensity and stressful vibe makes these type of time signatures amazing for dramatic music like intense action or chaotic chase music or battle music. So you can really hear these stressful added the chaotic intensity vibe if you count these time signatures. So 7 eighth is 123456781234567123. It's like stumbling faster into the next one, which is why I call it that it rushes because instead of adding that final eighth note, so it's 8, 8 or 4 for her. You rush into the next measure. So 1, 2 3 4 5 6 7, 1 2 3 4, 5, 6, 7. And for example, 54, which is what I call a dragging type. Type is integer. So you drag, you remain on the boar. One quarter note extra. So 44 is 1234, but 54 is 1234512345. It's dragging and you don't expect it. You really wanted to fall back to that natural straight paths, which is why these kind of time signatures with that chaotic vibe, either rushing or dragging, works great for dramatic music, action, music intensity, chaos, battle, and so on. So here's the first example I created in seven-eighths. But you can really hear it if you just listen to the metronome. So that's just mute this for now. So just listen to the metronome. 1 2 3 4 5 6 7 1 2 3 4 5 6 7, 1 2 3 4 5 6 7, 1 2 3 4 5 6, 7 one. It's like it's stumbled into the next bar before. And here for 54 you have 1, 2, 3, 4 pi bond. So instead of 123411, you really hear that extra beat, 1234512345123451. It's surprising, Surprising extra beat basically. Now let's listen to these examples. You can get a feel for them. This what I call time signatures with a chaotic vibe. So here is seven eighths. Okay, let's just listen to the percussion with, let's do the base. And short string is only this. To get it even clearer. Like this, it can really feel it that added rush of energy for stressing into the next bar, each bar, it really moves the music along and drives the energy. Very much used in intensive action music and dramatic music. 54 is stressful in another way because it's dragging. And let's in fact listen to the first hole example first. Okay? As you heard, it still has that chaotic vibe. But instead of rushing, it drags are 1234512. Let's listen to jazz the percussion as to the base low shorts. And let's do this short strings as well. Just days. And released into the 12345123451234123. And that extra beat adds the chaotic intensive divide from dragging. So think of these examples and there are other, of course, anytime you have this extra beat or a beach short of the natural straight vibe, you add this chaotic vibe type over time signature. So to sum up, you can choose your time signature to shape the rhythmic, emotional foundation for your music composition. Straight vibe divisible by two, for example, for four and 22, grew the vibe divisible by three. For example, 3, 4 or 6, 8 or chaotic vibe, which is rushing or dragging time signatures like 7, 8 or 54. 5. Emotion from Tempo: Emotion from Temple. Our sense of tempo and the flow of time in music strongly affects our emotional response to it. And there are two aspects of how tempo creates emotion in music. One, the overrule tempo sets the energy level. So the BPM of your music will set the general tone for the energy level. The slower the BPM, the lower the sense of energy and action will be. And the higher the BPM, the more core energy will be provided in the emotional foundation of your music. What I find fascinating is that the BPM of music is very closely related to the BPM of your heart. For example, if we sit still or lie down, your heart rate is relaxed and your pals with be around 60 BPM or so. And around this range of BPM is where relaxing and styles of music will be. So you can see the connection there. If we dance or move around, our heart rate will be somewhere around 120 to 140 or so, which is where most up-tempo music will be. Here's a quick reference chart I created for the BPM ranges of music and their overall sense of core energy. But keep in mind that at any tempo, your playing styles and the rhythms will always have the biggest impact over this sense of energy in your music. All right, so here is my overall energy chart based on the BPM of your music. Below 50 BPM is what I call meditative energy level. From 50 to 70 BPM is relaxing vibe. 70 to 90 BPM or so is down tempo feel. 90 to 120 is mid-tempo. 120 to 140 is up-tempo. Vibes. 140 to 160 is more action vibe. And finally, above 160 BPM is intensity. Energy levels of music to the tempo changes you create. By changing the tempo at certain sections or transitions in your music compositions, you can shape the emotional response even further. There are two kinds of tempo changes in music. The first being an immediate change. For example, going from your verse at, let's say 128 BPM, and change it immediately when your chorus hits to, let's say, 132 BPM. This small change will increase the sense of energy level in your chorus because we feel the contrast in the temple change from diverse. Some of the most common ways to implement tempo changes, or slower tempo in the intro and the Vs. Slightly higher tempo in the chorus. Brief slow down just before a climax, and gradual slow, slow down in the ending of your music. So now I will actually demonstrate all the different levels of tempo and how it affects the emotional character for your music. Starting with below 50 BPM, which I call meditative temple. You can see the tempo changes for every example here in this step type pattern here. So starting with 50 BPM, which I call meditative, works great for ambient, atmospheric music, which can sound like this. And as you can hear, the use of long notes, low dynamics and soaring transitions between each note works great for this type of music in the very lowest BPM ranges. Because he wanted to have that ambient, atmospheric vibe. As you also heard, there is no percussion here because in these types of temples, percussion really isn't beneficial for the kind of atmosphere you create. So that's the first level of tempo for your emotional energy level below 50 BPM, meditative, ambient core energy. The next one is between 50 and 70. Let's see what I went with hair. So I went with 70 BPM. And this is more of a relaxing vibe. It can sound like this. So the added his cinematic piano to it. Let's move in and see what we have. So it sounds like this. All right, so again, longer nose and lower dynamics work best if you want to have that relaxing vibe between 50 and 70 BPM. No percussion in this example either because I really went for that. Relaxing, pushing it more into the atmospheric type of vibe. Because when you get to the next level, 760 BPMN. Remember these are no streaked like bound race or thresholds. It's just a guideline. It's short that I base my creative choices for when choosing the overall temple level. So 70 to 90 BPM is what I call a down tempo register. And here I went where, let's see, 80 BPM. So it's still relaxing. It's down tempo vibe, but a bit more push in energy compared to the relaxing levels. And here actually used some precaution together with a base and some keys just to get some vibe going. It can sound like this. And as you can here from this example, a lot more use of staccato, short notes, comping and rhythmic patterns. So not only these long soaring notes from the relaxing register of temple, but actually some rhythm. And of course I had a beat going as well. This baseline, instead of only long note, we actually have some groove in it. So that's the down tempo, temp, register or tempo between 70 and 90 BPM, or Rousseau, or right. So moving on to the next range of tempo, which I call mid-tempo. Is it somewhere between that Groovy down tempo vibe and uplifting up-tempo vibe, you have the mid-tempo and it's the guideline high for this is between 90 and 120 BPM. I went with 105 years, so in the lower range here, but basically you get a mix, blend of downsample, upsample somewhere in-between. I have a percussive groove going on. I had the baseline, have some long strings, some staccato strings here, and an arpeggio kind of piano vibe and some keys. And it can sound like this, like this. Okay, So here you get a bit of an up-tempo lift, but it's not from the tempo on its own because this you have to realize, as well as the playing styles actually haven't eaten poor impact on the emotional, energy level and temporal fields. So since I used this short strings here, they adds a sense of vibe. Drive. And then I have the arpeggio pattern here. Add some drive as well. Compare these two just playing long block courts for example. Let's say the keys also have a bit of a groove. But of course I have the percussion creates the most energy and here I have some shakers as well. And this baseline here. So the more nodes you use, the more rhythmic you parts are, the more energy they will have on the entire piece. But it's still in that mid-tempo range for tempo here. Then we get to actually chew the up-tempo between 120 and 140 BPM, which is where most pop music is and the popular rock music and so on, that here on the radio. So it's because it's generally the heart rate, the pulse, the BPM of your heart when you dance and move around and you know, in the app lifting kind of mood. So here I have two basis, a SaaS-based and electric bass, but it's more important. This studio piano, piano comping pattern is what creates the main VIA. Okay, So overall you get this up-tempo feel like so. And of course, the main up-tempo for, for groove comes from the precaution, 1, 2, 3, 4. That's like here. The standard for, for group that you have in most pop music, electronic music, and so on. And well, you get this more energetic, uplifting kind of vibe from the Temple. Of course, it can go a bit higher, but in most cases I would say between 120 and 140 or so. Next to get to the next level here where I've went up. So this was 130. So in between for the up-tempo, then between 140 and 160, I, I would say the range for action, vibe, energy level in tempo. I went with 150 here. And here, I focus a lot more on rhythmic patterns, as you can see for all the nodes, even the baseline here. To get this kind of vibe, Let's actually watch it and listen at the same time. So much more intensive action. Energy from this is in 150. So the temper itself sets the core rhythmic foundation. But of course, watch you play and how fast you rhythmic parser. And the dynamics of the mall and. Playing styles and so on, of course, altogether creates that action and energy vibe. But that is in the action range of temple 114, 116, somewhere around there. Finally, if you get above 160, that's what I call intensity or dramatic range of temples. So here I went with 175 and you really hear it. I, even if I only play the percussion here, you really get that sense of dramatic action. And altogether, it can sound like this. So an intensive dramatic vibe. If you want to have that, consider having the core BPM of your track around 160 and above. And that is where you get that super energetic vibe from the temple. But also of course, consider the rhythmic aspect of every part you write. But when you choose a specific tempo, I feel that you automatically tend to move towards this specific playing style. So if you start in 175 and just listen to the tempo. One. Added impact our campus. Carry datacenter however. So you write faster ports for your instruments. Whereas if you only have, let's say 70 BPM, like in the beginning here. I mean, just from the metronome alone, you really feel those long soaring node, so low moving parts, creating that meditative, ambient, atmospheric vibe. And then of course, all the BPM ranges in-between. So always consider the emotion you get from the tempo of your music. Now, I will also demonstrate the power of the other aspect of tempo in music, which is temporal automation. So here I have actually a short composition with a, basically a chord progression and some rhythmic patterns. But you can see the tempo track here, starting at 84, going slightly up and then ramping up to 110, then gradually moving upwards here, and then into the second part here of the chorus 125, continuing the energetic buildup to 150. And then to resolve the track, I reduce the tempo here gradually, but very brief way as well. So it's below one bar going from 150 to 85 VPM to really slow it down for the final cadence. And this can really make a huge difference. So no tempo changes. And Saturday at 115 sounds like this. But with the power of a tempo automation, you can shape the energetic emotional curve for your music. So as you can see here, starting at very low, ramping up, building intensity, the second part, building even more so it's a huge temp automation range. And then creating this resolved cadence. And listened really to how different the emotional aspect is in terms of energy level over the storyline of this composition. So that is the second aspect of tempo to shape the emotional energy level of immunization, gradual or rapid. Temple automation like this. So to sum up, you can shape the emotion of your music with tempo, meaning the overall BPM, as well as with tempo changes that can either be sudden or gradual. So make sure that you always consider the use of BPM and tempo changes to shape the emotional sense of flow and energy in your music compositions. 6. Emotion from Intervals: Emotion from intervals, the most important elements of music or the actual building blocks used to write it. And that core fundamental ingredient is the intervals you use. You can think of intervals and music like building blocks or Lego pieces if you want. Even if there is only a handful unique intervals in music, they can create an infinite amount of variations, emotions, and stories of sound, depending on how you use them. So let me share a quickie guide on all fundamental intervals in music and how I personally label them in terms of core emotion. So here is my intervals of music. Quick chart. So the first and the shortest interval in music is the minor second, which is one half-step. So if you, if you take any node, let's say C and go to the closest node, either up or down, like this. That is one half-step, so that is a minor second interval, or going up from C to C sharp. Now, the tension level here is very high. I even call this interval the minor second, the tension interval, because even though there are other intervals and music that also have very high tension, the minor second interval is the mother of tension in music. Because let's say you take the tritone. The reason for the high tension is actually, if you look at it, it is one half-step from the stable perfect fifth harmony here. So you could say that the minor second is actually responsible for all other types of tension intervals in music. So let me demonstrate playing the minor second interval in the base, like this in octaves. And you have the Jaws movie theme. Or you have also heard it. The cliche minor second harmony. And harmonic means playing the two nodes together like this. So when you want to add very high tension in your music, consider using the minor second, the mother of all tension with intervals in music. Next, we have the major second, which I call the thrilling interval. It's two half-steps. So if you start on senior skip day no, I skip this. I go here and you have the major second or down like this. And the tension level here is low to medium. It's quite low if you just go in a melodic interval without adding harmony or record. But let's say you have a major chord and then suspend the third, the SAS to here. Then you get. Medium tension, light tension, which bonds to resolve activity. But you will hear the, this thrilling interval. Why I call it that is because it's quite exciting. Both as a harmony or chord like this. Resolving or interval's going often like a thrill like this, which sounds exciting and thrilling. So that's why I call it the thrilling interval. It has that major uplifting sound. And the tension level is low to medium. If you use it. Suspended chord. Next we have the minor third, which I call the emotional interval because it's basically the main ingredient for all emotional, melancholic or sad sounding moved in music. So it's 3.5 steps, 123. So if you add the fifth year, yet in minor, C minor chord is a minor third that creates the sound. In minor triad. Add a tension level is low, so it's a stable interval, but it has that darker, more emotional sound to it. Okay. So that's the minor third. The mother of all emotional and sad sounding hormone is in quarters in music. Next you have the major third, which is the opposite of the minor third interval. I call this feel good interval because it has that uplifting and makes you feel good. It can be motivational, powerful, and so on. And notice that I don't call it the happy interval, that I did not call them minor third, the set interval, even though it can't be. Because major, the major sound doesn't have to be super uplifting and happy. It can be very powerful, noble, majestic, and so on. That's why I call it the feel good interval. It consists of four half-steps. So here from C, 1, 2, 3, 4. And that is what creates the base for, for example, this C major triad. So you can play it in a happy way. But you can also get that very majestic and Noble sounds, or let's say there's an F major. So that's the main theme from the Thor soundtrack, movie soundtrack, which isn't actually in F-major, but it sounds, doesn't sound happy and upbeat. It sounds majestic, noble, and powerful. So the major third is the main ingredient. The fundamental core. Feel good interval in music. The next interval is the perfect fourth, which is 5.5 steps, for example, from C to F. And the tension level is like the major second, low to medium, so low if you just walk in. Integrals like this for melodies and themes and riffs. But if you create a harmony or record with the faith, for example, see here, and use the fourth here to create a suspended fourth chord. You get medium, light emotional attention because it wants to resolve 23rd, just like the SO2. So low tension when pointy like integrals, serious like this. A bit more attention when you play it as a core. Okay, So I call this Diderot any interval because it really wants to progress in a melodic theme, motif and so on. So if you play C to F, So you don't want to go back straight away. You feel that you want to continue the movement, the journey, so to say, of music. So you really hear that pool towards creating some kind of journey and adventure. And so on. So that is the perfect fourth, the journey interval. Next, you have the tritone interval, which I call the devil's interval. And I'm not alone in this. It was actually referred to as the diabolical interval of music in ancient church times, because it has so much tension into it. So if you play a, C, a mango, not too perfect fourth, or the perfect faith, but in-between them, you have this very high tension interval. And you can use it to create very spooky, evil sounding. Theme is melodies and harmonies, or to sound quirky, it's used in the Simpsons theme. A song for music, for example, because it sounds so old in that case. So the tritone is very nice to use for creating super high tension. If you take, for example, a diminished chord, which is a minor third, minor third. The high tension is actually coming from this tritone interval inside the diminished chord. So if you go between the minor and eventually the diminish, you get that tri-tone Devil's Interval. Adding that evil, creepy sounding moved into your music. Right? Then we get to the perfect fifth, which is 7 half-steps. So from c 1234567, G here. And I call this the power interval. It is a stable intervals, so not a lot of tension. And it doesn't actually add much emotional commerce. So it's not uplifting, feel-good. It's not emotional and sad. It's in fact, one of the key ingredients to build cores from. You have the root Perfect fifth, and then you add a third or a suspended no tear to create a triad, adding. Want to add a seventh control precincts or whatever interval on top. But basically, all coords start from those ingredients, root plus the perfect fifth. And why I call it the power interval is because of two reasons. First, it is actually used since it's so stable and doesn't have any real emotional color, use it in power chords so the root pass, perfect faith, promise, potential, extra octamer of the root, create a power cord. So if power chord, which is what do you hear on, for example, electric guitars, lot to music and so on. And the next reason is because it has kind of a powerful vibe to it. So if I play it as intervals in a melody or theme, let's say from C to G Again, you feel that sense of power and you can either remain a long time on that note since it's so stable, or you may feel to continue the journey of the melody. But this interval is really adding a sense of power to either your themes or your chords, and stability as well. Next we get to another minor sounding interval, which is the minor sixth, which is eight half-steps, or from C to here you have the perfect fifth and go up another half step, eight half-steps. So this is the minor mistakes which I call the mystery interval, is it has kind of a medium tension and it has that minor sounding vibes or darker, more emotional or I'd ever, you want to call it. But if you play it in a series of nodes in a melody or theme, you feel you want to continue the journey because it has a medium tension to it. So perhaps down to the perfect fifth, or up, or up like this, to the octet or whatever. So you have a kind of medium tension and also the sense of mystery with his minor sixth. So if appraise high appear as a harmony, it wants to resolve to a perfectly. So again, you can see that it is actually this interval, in a sense, has the tension of a half-steps or minor second inside it. Just like you learned earlier in this lesson. Now, if you use it in a chord, in either an arpeggio or block chord, you can get from a major chord. So if you play, that is a major feel-good vibe. But if you add this minor sixth on top, so we get that magical, magical and mysterious vibe. If you add it on top of a minor triad so you get more spooky. So that is a minor sixth, the mystery interval. Then we have the major sixth, which of course, as you can hear from the name, has an overall major mood, but I call it the exciting interval. It is nine half-steps. So for example, from C here too. This is a major sixth in the moment. It has a low tension level, but the sense of excitement is similar as it is a major second has a thrilling, uplifting and major sounding just like the major sixth, which is the exciting interval. And it can really hear that sense of excitement. So if I play a chord from C here and doing F-Major chord, you get this interval. So the excitement comes from the major sounding overall vibe, but also, if you look at it, if you take a perfect fifth interval again and then compare this perfect fit with the a here, which is the major six. This is actually similar. It is actually a mind or a major second. That is why it has a similar tone to the major second, which is the thrilling interval. It's more open with this extra length. It has an even more exciting character, both in intervals, spring and melodies and themes, as well as in chords. Now we get to the minor seventh, which I call the Jesse interval because it adds that elegans and claws, but a kind of sweet tension. So it has a medium tension level. It's 10 half-step. So for example, C to B flat. It wants to resolve because it has a medium tension level. But it's also has that sweet emotional tension level two. And if you take, for example, a C major chord, the ad is B flat. You actually get a C7 or C dominant seventh chord. And those dominant seventh chords are pretty much foundation in jazz. And elegant music like this, because it has that elegant, sweet tension to it. So, for example, going from C7 to F major, the top voice here went from B flat to a, which is resolving the tension in an elegant, sweet we're way. But even if you use it in a melody or theme, this integral really has that class is Sweden, elegant tension to it. Then we get up to the major seventh, which I call these strange interval. Because even though it is a major sound, since it is 11 half-steps, is almost up to the perfect octave, which means if you go from, for example, C to B here, you really get very high tension because it's so close to the octet. And that is the same thing as you already learned if it's, if it's a minor second from a more stable interval or Perfectly involved, like from C to the Octane base here, the major seventh is actually high in tension. So if you play, for example, is C major, and then add the major 7 has a major sound. But this major seventh really wants to resolve either to another chord like this or to the octave. Because it sounds a bit strange and high tension. And it's rare that you hear it in melodies, but you can hear it in, for example, this Superman movie theme like that. Because it has that kind of strange. It's not the tension level of evil mood, but, but it has a very strange tension to it. And this comes from the fact that it is actually so close to the perfect octave. So the major seventh is the strange interval. Finally, we have the perfect octave, which I call this stable interval because it actually the same note, just an octave below or above. So 12 half-steps. So it has stable tension level, so no tension level, just like the perfect saved. It works great for layering either melodies, chords, harmonies, or anything in music. Whenever you want to add more power, more focus to it. Adding the perfect octane because it's so stable. So that is the perfect octave, the stable interval. Music. Now you can of course go beyond an octane for your intervals in music, but the main intervals will always be within the octave. Why? Well, because there are only 12 notes in music that are repeated in the Octavius. So if you go, for example, let's take the minor ninth interval. So C, and then here, C sharp and save above. That has the same or similar mood, emotional character as the minor second because, why? Well, take a look at this. Take this note down an octave here. So this is actually just a minor second, and then pushed an octave up. So the minor ninth will have very high tension, just like the minor second. The same goals for the major ninth. So c to the d above has that thrilling aspects and mild tension like the major second. So you have this thrilling interval, the major second, and that is the major ninth. But this d is an octave above. So, so basically if you take any interval that goes beyond the octane, like the major ninth, just take this, go down, OK, save this. And you will see that this is a major second. And you know what emotional color and character it will add even though it is beyond an octave. So it Technically called a major 9 in this case. But it has the emotional character very similar to a major second. And you can do this for any interval that goes beyond an Octavian music. So you can choose the chain of intervals in a melody, this stacking of intervals to create harmonies in chords. You can think of layering instrumentation, playing styles, and so many more creative options to shape your music arrangements with these building blocks of music. So basically, every single part, except percussion, is based on the building blocks of music. The intervals, intervals will sound different if you play them going up, going down, all play together in harmony. And when you go beyond two-part harmony into courts, you will create even more complex relationships in your music. Because that is what intervals or harmonic relationships. This is why chord inversions and voicing of courts can sound so completely different, even though they technically use the same notes. Because you do change the way the intervals relate to each other over the whole range of nodes in your music, your progressions, and you open up a whole new dimension on creativity when you see the intervals changing over time in your arrangement. So let me demonstrate this with a very simple example. Let's say you want to go from an F major chord, a C major chord. If you play them both in root position like this, you have to check what each individual volumes of the chord does when it progresses to the next chord. So here, the top voice goes from this node to this node, which is actually perfect fourth down. This goes to a perfect fourth down. And these boys, to see all the voices went in a perfect fourth interval, progressing from an F-major to see major. Now, if a voice a differently, like this inversion here of F-major, this voice actually stays the same in both cores and the other two voices. This one goes from a to G, So a major second movement of an interval there while this one goes from. So a minor second interval. So the bolt will have a completely different character and emotional colder, comparative. And as each individual chain of intervals in every single port, an instrument in your music changes over time in your composition. The entire harmonic storyline of your music flows like a story. That is, when you see the true awesome power of the building books or music, the intervals. 7. Emotion from Chords: Emotion from chords, chord progressions, or the stool relying of your music, it has an extremely big impact on the overall emotional mood of your music. And chords start from the very building blocks of music. The intervals, you can think of chords as essentially stacks of intervals on top of each other. The cause you use is one of the first main aspects to consider when shaping the emotional vibe of your music composition, the emulsion quadrants. I have developed my own system, short guide or whatever you want to call it, to classify the four fundamental core emotions in music, then every specific emotional color will fall into various places inside these four fields, or emotion quadrants, as I call them. The four emotion quadrants, or one major vibe to minor vibe, three, ambiguous vibe and for dissonant vibe. Now the first thing you need to learn about these emotion quadrants of music is that even though they are mainly shaped by the chords and harmonies you play in your music, you can shape the emotional vibe in so many other ways, like playing style, articulation, voice, chord voicing, inversions and so on. And most often you will have a mix, a blend like when you create a good meal, you mix different ingredients. However, if we go back to the fundamental chords in music, the triads. So let's say a C major, you have the root and the fifth. Because both are so stable, they lack much emotional colder. The emotional color mainly comes from the third here in this case. So if you have a major third here, a major triad will basically only be in the major vibe quadrant. However, if you take in minor quadrant, the minor third, we'll make it in the minor vibe quadrant. Now, you will also have a different vibe if you played in an inversion like this. Okay? Because now the root is actually a perfect fourth above the faith. In this case, the root, the perfect fifth is a perfect fifth apart. So you are actually changing the relationships between the individual intervals that make up and chord as a whole. And when you add a note or go outside of a triad like a seven. Now here is where things get super complex because you're actually adding here, in this case, a minor seventh interval. But if you check the entire interval here, accord the C7 chord, you are actually getting so many different relationships in the harmonies between the notes of this chord. Here, you actually get a minor third on top of the major triad. But you also get. As I said, a minor seventh. So, okay, you get some minor extra viable here on top of the major chord. But you also get this interval which is a tritone, which, which has a lot of tension inside it. But overall, it sit deal mainly getting the image core emotion from the third. So may your vibe, but with an added tension and some minor fields with it. Now you're starting to see how complex it all gets when, when you create these emotions and blend the different emotion quadrants for every chord. And of course, how you play each chord, meaning playing style, instrumentation, code, voicing, as well as even how you layer each voice in your arrangement. So let's say you want to take this C7 chord and add more weight to this harmony, this interval of a minor 7. Well, if you add more weight, meaning more layering, more dynamic hydrodynamics, and basically making these louder in the arrangement, the root and the seventh. Well, of course you will get the entire record being pushed more towards the minor vibe of the minor seventh. Now if you add more of the third and have less focus on the seventh, you will get more. Your chord. You're pushed more towards the major vibe, emotion quadrant, while just adding a slight touch of that minor seventh slash tritone tension. Another way to shape the chord in the emotion quadrants is to play it in another voicing, another inversion. So let's take the C7 again. Let's take this root node and push it an octave higher, playing the chord in an inversion. Now, look what happened. You don't no longer have this minor seventh harmony or involved. But instead, you pushed it by pushing this in octave hired into making the seventh and the root being a major second apart. So you have this emotion going into this. Okay? Now, you're actually changing the independent, independent integrals. So you have a minor third here and other minor third there, and then a major second here. And the largest interval is instead a minor, minor sixth. Okay? So that is a complete different emulsion just by how you voice it. So that is something else you have to consider. The chords you use will have the fundamental emotion in one of these emotion quadrants. But you can also add a touch of other emulsion coordinates like you do when you add is seven for example, or for that matter, to see, add six here. Ads. Made your vibe of a manger secants and excitement. And you can also change it by shaping the cord with chord voicings, even layering. Okay? So your layer and a single voice more than another, or even layer in octaves. You have so many creative options to shape every chord inside these emulsion quadrants by creating a mix that changes throughout your emotional story of music. So that's all. Adjust. An example of the C7 chord and a hope that open up your eyes to your huge potential in shaping the emotion, story of your music through the cords based on the harmonies of every voice and how you play them in your music. Now let me demonstrate and give a few examples of all the four emotion coordinates of music. One, the major quadrant. So in the major quadrant, you will have all emotions that have a fundamental major vibe. Here are some examples of common emotional colors in this quadrant. Happy, uplifting, motivational, inspiring, grand, heroic, adventurous. Now of course, the fundamental core of the major quadrant is a major triad. So let's say C major, D major, and so on. But you also learned that every voice inside your chord counts. So if you add an extra hormone, like a C7, you add actually a mix of a minor vibe from this interval. Retention vibe from this interval. Actually an extra mile provide from this harmony here, which is a minor third and so on. Also the playing style and the progression of course. So if you play and how you play, so you can play it super happy, let's say C to D major. Or you can play it in a very heroic, or let's say a grand powerful, very like. Okay, so those were all major chords, but I used a sus4 chord here because that adds a light tension while still having it. A bit of a major vide from the major second. Okay? So if I play and c sus4, you get this harmony here, which is a major second. So it has that made your vibe but still having some tension to it because it wants to resolve. So that's the major quadrant to the minor quadrant. So if we continue to the minor quadrant, the emotional colors of these chords will have a minor vibe. So here are some examples of emotional colors in this quadrant. Sad, tragic. Beautiful, emotional, longing, mellow, sweet. And the fundamental chord of the minor quadrant is of course, a minor triad. So let's say the D minor chord. And here you can play softly like desecrate his sad and melancholic vibe like this. Or you can add some sweetness and longing by adding, for example, sus suspended chords in the voice leading. So let's say D minor again, perhaps adding a seventh to create more ambiguous wipe. Three, the ambiguous quadrant. So here you will find emotional colors that are neither minor nor major, but more ambiguous in its vibe. Mysterious, ambient, Jesse, eerie, haunting, spooky, quirky. Now, this is really important. I call this the ambiguous quadrant. But any time you actually go beyond a standard major triad in the major quadrant, minor triad and a minor coordinator. Anytime you go beyond that by adding, for example, a seventh or altering the third, for example, a suspended chord, or even lowering the fifth, you're actually creating a more ambiguous mixed vibe. It's neither completely major or completely minor. So for example, let's take, if you want to create a mysterious vibe, you could go for starting with a major triad, then add this minor sixth interval, which has this kind of mysterious vibe to it. Okay? So if you play plate-like an arpeggio like this, and it's actually used in some of the Elvin law in music in a Lord of the Rings, that major sound, the minor sixth edition. If you want to create it even more spooky vibe, you start with a minor triad and then add this minor sixths like this. Okay? Now that you get is actually the main theme from the old X-Files TV show, TV series. A minor chord with an added minor sixths. And you can do, for example, if you add this added major seventh, which if you remember the lesson about intervals, a major seven sounds really strange. And high tension. So if you play, for example, a minor triad and add the my major seventh, it adds that haunting vibe as well. Because if you check this again, you are actually getting this minor minor six interval from the third of the minor chord and the seventh. So as you can see, there's so much you can do when you go beyond standard major triad, started minor triad, you are creating if it create, for example, a standard dominant seventh chord, a C seven. In this case, this is in the ambiguous quadrant, but it's still has a major cool vibe from the major third. But adds a bit of ambiguity because you add a minor third on top of the major triad. And the opposite is if you start with a minor, so you get the core emotion from the third, and then you color it with another interval harmony. So minor with a minor seventh, like that, or a minor with a major. Major sevenths sound a bit more strange. It really has high tension and wants to solve x2, for example, the octave. So you can also go with, for example, the tritone. So let's say you start with a major chord and then lower the faith flat to the fifth. Like this, you get this quirky or sounding sound of the tritone, which is actually very high tension. But since you have a still, they may major. Third, you get a major sounding cool vibe with a quirky, odd feeling to it. So you can do so much here in the ambiguous quadrant. I find this to be true, the most powerful quadrant of records and wholeness in music for the dissonant quadrant. So the distant quadrant, the emotional colors, will have high tension to them, like these emotional colors. Thrilling tension, scary, horror, darkness, fear, evil. Now the dissonant quadrant, four chords and harmonies, is where you focus mainly on adding tension to your music. And you remember from the interval lesson that the mother of all tension intervals is the minor seconds, so the half-step. So if you take, for example, a minor triad and then you flat, flatten the fifth like this. You are creating what's called a diminished triad with, because it's made of a minor third harmony with a minor third harm and is stacked on top. So a minor triad with a flatten. You can also use as you all relearned other high tension intervals you have the minor second, for example, in the base. So if you play a minor here and then in the base go a half-step microsecond, either up or down. Here, that high tension or down. Or you can use the tritone lesser learned. So if you, even if you use a major triad, you just flatten the fifth. It's a bit ambiguous. But yes, the tension, the discipline quadrant, part of the emotion from this tritone, and the major core vibe from the major third. You can also use, as you learned, this major seventh because it has high intention. So if you use a minor triad with an added major seventh, that adds high tension, you can even use a diminished triad with the added major seventh. Or use a diminished seventh. So three minor thirds stacked on top of each other, which creates this very spooky and haunting and high tension as well. Also, if you go high than an octave, a very high tension interval is this and minor nine. So try adding, for example, that minor ninth on top of standard minor. Here. Super high tension. Another way to use a bit more powerful, evil vibe, evil boss fight is to start with a minor triad. The reef around the perfect fifth on the tritone and the minor sixth like this. And then perhaps the base, you can go in a minor second interval like this. Then perhaps add the major 7 or the minor knife. Already fear around the octane and minor ninth. But the mother of all tension is based around the minor second or the half-step. So whenever you go in half-steps, that adds that dissonant quadrant vibe. Right? So if you do the root here, go up, down, or the base, perhaps walking in half-steps. And then perhaps two, a minor, minor seventh. And the base is actually a great way to add that dissonant quadrant while still having the core emotion, perhaps a minor quadrant. In this case, in the actual cord. The base augments it with a dissonant quadrant vibe from the minor second harmony. So here you have a lot to do. Reminder second, the tri tone, a bit of tension also from this bouquet. Minus 6, you have the minor 7 bit of attention, but way more hair on the major seventh. You have also the minor ninth. All of these you can use in your chords and harmonies to add a bit of flavor of the dissonant quadrant into your emotional story of music. Mixing emotional colors in music. Now, of course, music is like a story and all stories are a mix of emotions, as well as a progression of the overall emotional mood that develops through each scene. Which means you as a composer, creates your emotional story in music, not only based on the chords and harmonic progression, but also how you play them with which instruments and sounds, and how you blend it all together. Basically, as with a story or a good meal, it's very rarely focused completely on only one ingredient. And you will learn about all these other ingredients on music that you can use to shape the emotional vibe of your music. In more videos inside this course. 8. Emotion from Progression: Emotion from progression. So there are several ways to shape the emotional vibe of your music with progressions. One, emotion from chord changes, the chords you choose, uh, one of the main aspects of shaping the core emotion in your music, meaning that every chord in itself has a built-in core emotion, but of equal or perhaps even more importance, is the emotional aspect of every chord change you make. Let me give you an example. If you ride your track in C major and go from C major to F major, then to G-Major. That chord progression will sound very uplifting and with a feel-good vibe. But if you introduce some minor chords into the same progression, you will change the entire harmonic story towards a more emotional vibe. And let me demonstrate this. If I play C major, F major, and G major in a very uplifting way. And since the progression is only made your chords, this will feel very uplifting and positive vibe. So listen to this. Now, if I introduce some minor chords or even seventh chords or any other records, except standard major triads. I can push it towards a more emotional minor sound, more ambiguous, mysterious sound. Whatever you feel like will work for your emotional storyline of music. So let's start and see you again. Let's go to EMA minor. And then to, let's say a minor, F major. Let's do F major with an added seven. So a major seventh, so major seventh is more ambiguous and has that sweet type of tension to it, even though it is still a major core emotion. The major seventh, which has that odd, strange character, adds that super sweet tension. Then you can start over with C major. Let's do a minor with an added seven. We can introduce some are suspended chords. And you can already hear that you get the minor vibe from those minor chords that miners slash a suspended or intention vibe from the sevenths. The suspended tension, which is uplifting while still having that longing type of tension from the SAT scores and so on. So every chord in the sequence counts when you feel, when you shave the emotional storyline of your music. Here's another example. If you introduce a surprising major record in an otherwise minor focused composition, the listener will feel that sudden contrast as a new kind of hope and light introduced in your music storyline. This is especially true if that major chord is not one of the diatonic chords of your scale. So let's say your composition is in a minor. Okay, then you get this sequence of diatonic triads. So all of the white case, a minor. Now, if you play a progression as a writer, E minor, F major, and then go to D major. That's major. Uplifting sound is really feels that a track lifts in energy to more positive, hopeful vibe. Because the D major chord is not part of the diatonic chords of the a minor scale. So a surprising corded go and go in the opposite direction. Let's say you play in C mater. Okay? Like this, Let's say you go to a major, a surprising major lift there. Or if you go to a minor cold where it's supposed to be a major Corso. So let's say minor F pushes it more towards that minor emotional tone. Even though the scale you use is a standard major scale. To emotion from voice, movement. Another aspect of shaping emotion is about the movement of each individual voice of the court's itself. You can choose this by choosing different chord inversions and voicings. Because when you do your actually altering the voice movement in intervals for every chord change. Let me give you an interesting example of this. Let's say you play a straight G major chord in root position. Of course, this coordinate itself has a major, our emotional core vibe. Let's compare this to an F sharp major trial. That could in itself is also a major sounding emotion. But if you play them going from root position G to a root position, F-sharp major. You are actually taking each independent cold voice in an interval of a half-step. So a minor second which has high tension. So the progression from the G to the F-sharp major chord, or actually. Three progressions, one per voice going in a minor second movement. So even though both these chords are major sounding, this transition of all voices in minor second movements with creating kind of sneaky or mysterious vibe from the progression itself. My point is you need to think about both the core emotions as well as all the individual intervals for each quarter changed when you shape your harmonic storyline or music in a way that suits the emotional impact, you want your music to have three emotion from harmonic direction. Finally, if you look at the complete chords, you can shape the emotions based on the overrule direction and movement. I call this harmonic motion. By harmonic motion, I'm not talking about the individual voice movement and transitions for every chord change. Instead, you need to take a step back and see the entire chord progression as a whole again. And look at the story curve and movement of all voices in your hormone is that they create together, build energy with upwards motion. If the harmonic story curve has a general upwards movement, you will build energy and tangent in music. This is a great technique just before we transition into a new section, where you want to create anticipation and grow the intensity and energy simply from your harmonic story curve. So first let me quickly explain what I mean by harmonic motion. So if you have a chord progression, you can shape the actual movement of the individual voices to make an upward motion for the hormone is like this. Downward more motion if you want to or keep it, the more straight. By basically transposing everything, creating an average direction or the total harmonic progression. Right? So the first thing, the first example here is these staccato string is where I created an upward motion in direction. These are just the bass notes and bases does what they do independently, but basically check what your entire chord progression dust over, over time like this. So here we can actually hear how building energy and excitement by having this Upward Social. And often these works great in combination with increasing in this case, when you go up in direction, the average dynamics over time basically creating a slight crescendo here, resolve with downwards motion. So naturally this leads to the opposite direction, a general downwards movement of your harmonic progression, which creates a sense of resolve moment settling down. And it's great to end a chorus with, if you want to follow with a lower energy section, as well as in the final outro and cadence of your music. If you want to end your composition with a relaxed and resolved mood. All right, So here I took the same chord progression, they won. You can see up here B-flat, G minor, F, B-flat, and so on. And I recorded and other performance on piano, not as static and stiff as boring one bar block chords, but an actual performance. And you can see that here I am using downwards motion for the progression. And if we listen to this, and by the way, I have a slight decrease in dynamics as well. If we listen to this in context or just individually, by the way, you can hear how it resolves and calms down the energy. So playing in 321, stability with the straight motion, if you shape the chord voicings so that the harmonic motion is pretty much a straight line. You will create a very stable mood. It can be a great way to make sure the chord progression is blending into the background for subtle underscoring, ambient and atmospheric tracks are simply push all the harmless to the back of your music. Basically, you can use straight harmonic motion whenever you want your chords and harmonies to blend into the background of your mix. So here I recorded strings and the same cooperation as I have written down up here. But I've used chord inversions and voicings to make it more like a straight line as you can see. And in the case of two chords sharing the same notes, I just joined them to get even less movement because this node stays the same throughout these two chords, for example. So let's listen to how that can sell. Intensity with the chaotic motion. I'm sure you always heard that you should try to minimize the voice movement and use smaller intervals when transitioning from quarter chord. And that you should make the harmonic story curve over time, slow and gradual, like breathing. Well, every rule has an exception, which means you can actually go crazy with the harmonic motion to make the curb almost chaotic, especially for rhythmic writing, of course, the harmless. This will create a very intensive and energetic vibe which can work great in some contexts. For example, chaotic action music. As always, your creative vision and NGO of your music will guide your choices. So shape your harmonic storyline with movement and motion in your progressions that suits your music composition. So to demonstrate this, I recorded this part here on short strings. And as you can see, the harmonic movement is chaotic to create this action vibe. So let's listen to this and you will hear it in action. Let's watch it at the same time playing in 321. So to sum up, you have three main ways of shaping the emotional story of your music with the progression of your chords and harmonies. One emotion from chord changes to emotion from the individual voice movement, and three, emotion from the harmonic direction. 9. Emotion from Rhythm: Emotion from rhythm. You can control the emotional mood by shaping how much action and energy your music has. And there is no better way to control this aspect than with the rhythm. Rhythm can come in many forms, but of course, your percussion tracks, we'll do the biggest job. But also how rhythmic your playing styles or for every instrument playing chords and harmonies. Even your melodies have the rhythmic side, depending on how many notes per bar you have for them. One emotion from rhythmic density. This first and main aspect of how much action and energy your music have is the rhythmic density. This is basically how many nodes or hits for each measure of music you have. For example, if you only have a low drum playing two beats per bar, the action and energy level will be low. But if you add more nodes and more instruments with even faster rhythms, such as high hats, shakers, et cetera, you will increase the energy level. Remember, every instrument counts. So if you're leading Medal the play's long soaring notes, it will have less excitement and energy. But if you listened to, for example, traditional Irish music, the leading melody will often be very fast and high-energy. Consider every performance. It can be a piano or Piaggio strumming pattern on guitar and so on. The overall rhythmic density, meaning how much is going on rhythmically in your music will heavily affect the emotional impact of action and energy in your music composition. So let me demonstrate this by showing you these three examples I created with different amounts of rhythmic density, from minimal to low to high rhythmic density. So the first example sounds like this. Okay? And why does it have so minimal energy? Because it's so simple. The rhythmic density is very, very low, so it's in full for 120 BPM. But the kick drum or low drums percussion here is only on 13, so two heats per bar, the pads and subways and strings here if we check you look or low notes to bars, or one bar long, if I remove the percussion altogether. This is of course, the lowest rhythmically density you can have basically. So it's very few notes here. Going to the next example where I have a drum kit baseline. As you can see, there's more notes for here, for this bar four here, three. And I also have a comping piano playing a bit of an arpeggio vibe, and it sounds like this. Okay? So it's still fairly low rhythmic density. So you can hear from this drum kit alone by the way. So you have more air and gaps in between the hits if I increase it or decrease the energy here. So all the complexity. Okay? And if I increase it yet, higher energy, you shape the emotion from the rhythmic density here and the base. I could have gone for just long one bar bass notes. But I created more of a baseline. Of course, that adds a higher sense of energy. And then finally, where I went basically all in with very high rhythmic density. So the drum kit is playing with most complexity. I'll address shaker here, so only 120 BPM. But you get a little dry. Philip. And the baseline is now going for eighth-note pattern. As a lot of energy. Then I have these strings here making a bit of an arpeggio in high range. Now, the shallows and short strings or more B-C pattern here. And then some low shorts Just as x. And so all in all you can really feel the drive. So that is how we can shape the motional energy level from the rhythmic density of your composition to emotion, from rhythmic complexity. Simple and straight beats feel more natural to our ears. So we tend to feel more in harmony when hearing rhythms in full for with no syncopation or big variation. But if you write your music in another time signature, you can create more complex rhythms that feel more energetic. Other aspects in your rhythms that can make them more complex and thus increase the action and energy. Light or single patient feels transitions, ghost notes and grace notes, and rapid rhythmic changes. So I also created three different examples of shaping the emotional energy from rhythmic complexity. The first one here is adding more variation in the rhythm. So let's check out the baseline instead of just straight eighth notes. I have variation in the rhythmic pattern. And that adds a sense of energy from all that variation. If you check out the percussion here, I went with more fills, so check out the pattern. Okay, so if I increase the fields here, you can see it updates here adding some extra fields, also spices up as variation to repercussion. Here. I would check the shallows and the shorter strings here. You can see that there's lots of variation going on. And they are actually not mimicking completely at some variation in between. So all in all, everything together, you really get a lot of variation that spices up the emotional energy. And in the next example, deal 120 BPM. But here I'm using six eighths and a lot of added complexity in, for example, the percussion here. So all of these super-fast feels okay. So you really feel the energy is open, very high energy, even though it's only in 120 BPM. Add some symbols just for accents. And it would take a listen to the short strings and yellows here. And you see here an arpeggio pattern here in the channels. While we have the staccato pattern here with variation in the short strings. So as you can here, you have these high complexity in the rhythmic patterns of it. All that really amps up the energy level in altogether it sounds like this, right? And finally, in this example, I added some syncopation. Well, I have some syncopation here as well, but here I actually using some triplet note to spice up and add some surprising variation in the example so you can hear it. Let's say right here. So if you listen to it, listen to the triplets. Okay, oops, that one should go there. And I'm also having mimicking that triplet in the baseline here. So if you listen to baseline, and altogether with a short strings, low shorts and set, et cetera, you have high energy or high complexity, as well as variation in the syncopation, meaning basically adding variation in the rhythmic groove over time. And surprising twists and especially this treatment here. So let's take a listen to altogether. So to sum up, you can use the emotional impact of energy and action feel by shaping the rhythmic density as well as the rhythmic complexity. And remember, all instruments and performances in your music composition counts when you consider the overall rhythm. 10. Emotion from Power: Emotion from power, the amount of intensity of both your instruments and sounds in your music, as well as how we play them, will heavily influence the emotional sense of power or lack of power. For example, do you want your music to sound, light and minimal, or go all the way to Epic and powerful. One, power from sound density. Some instruments are simply more powerful in terms of their tone and character than others. For lack of a better word, you could say that their sound is fatter. For example, big brass instruments, low strings, pipe, organs, etc. They all have a very powerful sound, even when played in medium dynamic level. On the opposite side of the scale, you will find the lightest instruments which take less room in the mix because they have a thinner frequency range, less harmonics, or simply more sense of air. Things like plucked strings, high woodwinds, mallets, bills, et cetera. So I will now demonstrate the big difference in power based on the sound density of various instruments and sounds. So a big brass ensemble can sound like this. Pipe organ like this. Okay, so those are high density powerful sounds. While a horse, for example, or a plucked string, it's a CARTO or a bell. All are very light instruments. Two, power from section size. Another aspect of power in music is based on the section size you choose for any instrument meant part in your music. A solo instrument will always be the lightest and the bigger the ensemble playing in unison, the fatter and more powerful. It will sound based on the frequency, density, and level in the mix. So for example, a solo cello will feel less powerful than a big seller section, playing the same phrase. Even dabbled tracking goes into this category. You're basically playing the instrument or vocal essay section. Another common example is to compare a single electric rhythm guitar and compare this to two guitar recordings using the classic doubled tracked left and rights technique. The difference in power is huge. Now let me demonstrate how you can add power from section size. So here I have a solo cello. Let's play the nose of a D minor chord. And then with a big seller in short, ensemble, eight cellos playing in unison like this. Much thicker and bolder sound. And if you layer, for example, is say, low edited and Shambhala with horns on their own, they sound like that, but you get a bigger section and thus more power by layering, like so. And here I have an electric guitar with no double tracking, so just one guitar like this. But listen with headphones when I doubled track, you will get that wide sound in the left and right. Without. Let's play power chords. Without. With an IV, you can of course, doubled track even more so. A quad stacking. For an even more powerful sound, three power from dynamic Exons. If you play a line in your music in an accented type articulation, you will increase the sense of power. For example, bold marcato strings, big sforzando, breath stabs, or simply fortissimo dynamics of role. All types of acts and style, articulations and playing styles will work great for adding a sense of power. And the opposite is to play lightly without emphasis and heavy accents. So let me demonstrate the power of acts and articulations by first playing on a normal sustained note, or go here with the full strings in octaves. Now, on the low strings here I have chosen more Costco, which is a bolder, more accented type of sound here on the full strings ensemble as well, and all the brass. I'm using this accented S4 Rosato articulation. So let's play them. Well, if you listen to it. And here, and here that more emphasized bold attack. And if I play them altogether, except this normal string is to get this super powerful zone for power from production. Two of the best effects to use in music production to increase the power or saturation slash distortion, as well as compression. When you use distortion, you increase the harmonic density, which makes the resulting sound fatter and more powerful. This is what you hear in heavy electric guitars, for example. But you can use it to less degree to make any sound less distorted, but still get that analog phat sound or any instrument in your production. Compression basically compresses the dynamic range so you can increase the overall level of any sound. So here I have a mixing group which I call production with some epic percussion. Sounds like this. Okay, and some brass staccato with layering with some low strings also staccato. So that is how it sounds without adding power from the production. What I did then was to add this saturation distortion effect. And if I turn it on and just increase it from 00, so it becomes more powerful. But after a while you hear that ugly, distorted effects. You really just want to dial it in a bit to make the overall sound thicker and richer. And then I also do use this compressor, which I have set to parallel modes or I'm compressing the signal and then I'm mixing it with the dry signal. This is also cool effect to that power while still having that dynamics remained somewhat so it sounds without it. So now, without both of these effects, I turn it on. You can make your sounds super powerful. And of course, it depends on what type of instruments you use it on percussion and bass and instruments like that, you can use more saturation and compression, and you should be more careful with dynamic instruments like strings, etc. So to sum up, you can shape emotion by this sense of power of your music. And you can do this by controlling the power based on sound density, section size, dynamic accents, and production, and mixing effects. 11. Emotion from Color: Emotion from color. You can create and shape the motion of your music by focusing on colors. By color, I am talking about note, range and frequency, focus and distribution. It can go from super dorky and a deep color all the way to a bright and airy color. One, shape color from tone. Different instruments have different tone color, meaning that a middle C on one instrument can sound warmer or brighter than playing the same middle C on another instrument. It depends on how strong the harmonic overtones are, and of course depends on your playing style as well. You can also shape the tone with dynamics, where lower dynamics have a warmer tone. So if we just compare the difference in tone color from different instruments on middle C. Here on middle dynamics, pipe, organ, clarinet, case, and cello section. You can really feel some instruments are darker in tome, warmer and some are brighter and harsher. And what's important is that many instruments actually increase their high frequency range and tone. If you increase the dynamics, play them louder. So for example, breaths go, can go from very lower dynamics of course is software in volume. But if I increase dynamics, I also open up the tone color towards the higher brighter frequencies. And if you take the organ, for example, this is a cathedral, a cathedral organ. Deep organ have a completely different tone color. Clarinet. Most woodwinds orbits software in tone. Keys like a road or very soft, vividly CR is brighter. Shallow strings can go from warm to bright as well. And there are, of course, various articulations you can use on different instruments that affect tone colors, such as news on breaths, playing in concert DO or muted articulations on strings and so on. So for example, with these shadows, if I play jazz record here, an activated Sortino, you can hear that it's like a soft blanket on the strings, making it warmer in tone color to shape the color from range. When writing your ports, you can shape the emotional color of your music by focusing on certain note ranges in your arrangement. For example, if you want your music to have a darker and warmer tone, focus more on the notes below middle C. Naturally this will lead to using more instruments that have a fundamental range in the lower end, like basis, shallows, based from bones, et cetera. So for example, lower instruments and basis of cores or darker as if I play in the very low range. It has at super evil dark tone, shallows going up a bit more. And violins, let's play above middle. C. Piccolo, flute, very high. You have Horner's in the middle range, low to mid, and trumpets, of course, brighter because they are high register. So you can actually shape the emotional color from the range you focus on in your music from the lowest, darkest, and most evil range should avoid warmer though, mids or all the way up to the high exciting range. For example, like a piccolo flute. But of course, you need to adjust depending on what capabilities, what range the individual instruments have when you add them into your music composition. Three, shape color from mixing. You can also shape the emotional color from the mixing and production stage. Here we will find that equalizers and filters are your best friends. High or low shelves can drastically change the frequency color. You can also use production effects that boost harmonic overtones in the mix, such as distortion and saturation effects, harmonic exciters, et cetera. So here I created a little example with low strings. A string in the sample, brass ensemble and homeowners, which sounds like this. Okay, so let's say that is the backing harmonies in courts for your music. And you want to make them, push them more into the background. While you can shape the color with, for example, an EQ and filters. So I have a high shelf filter here, this one. And I'm added also a EQ cut here at the one to two kilohertz range because that is the most focus frequencies I call them, because we hear them the most. Our ears pick them up because That's where most of the information in the human voices. So I make a cut here before. And when. Again, it's almost like Concertino strings putting a blanket on them. And I do this on the whole group to make the, make the tone color warmer. Of course, you can go in the opposite direction if you want to, for example, on your leading reefs and themes, themes and so on. Another way is to add some saturation. And this warm or bright character is basically just a filter baked into this specific plugin. But let's say you want to go with a very warm feeling. It's the same as do the EQ before. And both together becomes very warm. You can go in the opposite direction. Let's do it bright instead. Bit more saturation without you open up those high frequencies. So as you can see, there's a lot you can do with the shape and the color of your instruments, groups and entire mix from the production side. So EQs, filters, saturation, and so on. So to sum up, you can shape the motions of your music from shaping the overall color, shape, color from the tone of your instruments and sounds, from the focus range with your notes and from production and mixing effects. 12. Emotion from Dynamics: Emotion from dynamics. The dynamics of how you play, each note, each attack, and each sustained for every instrument and performance in your music will have a profound effect on the emotional vibe. In short, louder dynamics will feel more bold, powerful and strong, while softer dynamics will feel more intimate, sweet, and gentle. Increasing the dynamics over time, we'll build energy and decreasing dynamics over time. We'll call things down. And there are basically two forms of dynamics. Attack dynamics for each node and sustain dynamics for nodes over time. One, shape the dynamics with the attack level. The dynamics for the storage of each node is controlled by the force you play. The note that at the initial attack part of the sound. There are two ways to shape this in the media world. The first one, which is most common, is by the velocity level for each node. The second way is to choose an articulation on the instrument which has a pronounced attack like marcato, sforzando, et cetera. So if you play, for example, a piano port where the average dynamics per node is in the lower range, you will get a softer and more intimate sound. And the opposite may be to play a bolts for some new on breaths at a very high dynamic level that will give you a forceful and powerful sound. So here's a piano performance, and if I open up the automation, you can see all the various velocity levels for each note. And this kind of variation in dynamics, attack dynamics by velocity, is one of the key aspects that adds that life-like human quality to a performance. Now, dynamics or attack dynamics mainly controls two things. First, the loudness. So here you can see the average dynamics is about in the middle, but it also controls and shapes the attack, brightness or softness of the tone. So if I decrease this, it will both be quieter but also softer in tone, warmer. And if I move this up, it's both louder but also more bright. And that is the same thing, even if I take, for example, short articulations on strings like staccato here. And you can also see in this example here, I also made sure to really more the main accents. As you can see here, these velocity values for this B tier are much higher than these in-between. And then we have in Maine accent here again. Which sounds like this. And you can also see there's little bit of a slope average dynamics, attack dynamics goes up here to roll into the next accent. So those are some ways you can use the velocity variation to shape the attack dynamics. And this is the same for plucked or strummed instruments like guitar, whore, and many other instruments. Whereas own long sustained note, that's where the other way of shaping dynamics comes in to shape the dynamics with the sustain level. So many instruments can actually change the dynamics over time. For any sustained note, both strings as well as wind instruments like brass and woodwinds, for example. You do this by simply increasing or decreasing the force of air or your bow on the strings to change the dynamic curve over time. In most cases, you do this by recording or writing in automation on a CC value in your DAW. For Dynamics, this is most often your mod wheel, which is CC1. So in this next example, since I'm mostly using longest sustained notes, I focused on adding movement and motion on those sustained notes by shaping the dynamics over time. As you can see from this curve here, which is the modulation wheel or CC1, controlling the dynamics of this particular string library. And it makes a huge difference as you can here from this example. I also do this on the brass playing here. I do it on the winds here to lesser degree, but still these waves here. And then a huge degree on this choir here. Ebola is the packing gave you is if you want to add even more dynamic variation, just controlling the volume, you can do so by adding another modulation source for expression. So expression will not control the tonal character, but only, only the volume. So this way you can increase the dynamic variation and contrast over the sustainable. Or perhaps you want to have the entire performance build slightly in loud and silver time like this. So this goes now in combination with the actual dynamic shaping curve. Okay, So all together. And by the way, I also want to show you that on the piano, I actually chose to decrease the velocity level very low to get that super soft sound because I just wanted in the background. Okay? And since everything now moves over time, you can see it here as well. Like so you can see. And then it comes down and dynamics. So that's how you shape the dynamics of a sustained nodes over time. Build and go back. In dynamics. In most cases you want to do it in waves like this, going up and down, crescendo, decrescendo. But you can of course, shape it however you want, and also you don't have to time it perfectly. It can be. So that is strings get loudest here, while the brass gets loudest here to get variation In the overall movement. This can make a huge difference because the tonal color of your overall piece will change over time as well. This way you can shape the emotion of your music by creating crescendos, meaning increasing dynamics, diminuendo, decreasing dynamics, and creating various types of swells and waves of the dynamic level over time. Now with other instruments like piano, mallets, plucked strings, et cetera, you cannot do this for sustained notes. But you can still shape that dynamics over time by, by playing the ports so that the average dynamics for all nodes in the velocity level go up or down over time. The final example, I want to show you this short three bar chord progression, C major, G major to see and how you can use Dynamics and movement to make it more interesting because it's just a simple C, G and C progression. So on the piano, I have chosen to just go in and have a look here. Have not only variation here and dynamics because I played it, recorded it manually on my midi keyboard. But as you can see, I also shows two, increase the dynamics of the velocity over time may basically making a little crescendo, but with dynamic links from velocity. I also did this on this horse. Arpeggio. Take all this into this. You can also see it here. It goes up gradually, starting at the lowest, sharper, and louder plucks at the end. And of course, on the strings. Here. You can see the automation dynamics here. I recorded this with a fader on my midi keyboard that's white, looks like that. I have it on the brass, the winds, and the choir. But different here. From this, as you can see, you get in most variation if you actually record different dynamic curves for the sustained notes. And altogether, even though it's a super simple chord progression, it sounds beautiful. So to sum up, can shape the emotions of your music by controlling the dynamic level for each instrument, part and note. And you can do this from the attack dynamics for each node, as well as for the sustain dynamics for notes over time. 13. Emotion from Contrast: Emotion from contrast. Cold frost in music can be truly amazing for creating a sense of surprise or it change of direction for the emotional story of your music. And there are so many ways to create contrast in your music composition. One, contrast from Dynamics. One of the most fundamental ways of creating contrasts in music is with dynamics. If you, for example, play a fairly low dynamic level and then suddenly play loud, the more cultural accidents, those will feel more powerful due to the big contrast in intensity and level 2, contrast from rhythm. By changing the rhythmic feel, you can totally shift the character from one port to the next. Or for a new section in your music. For example, going from a straight and steady for, for groove into, let's say, an eighth note, swinging groove, or perhaps triplet syncopation. Three contrast from playing style. You can also shift the playing style from, for example, a rhythmic staccato section into a long soaring legato notes, playing style. Or perhaps from beautiful swirling waves or arpeggios into Southern bursts of loud accents with stabs over more CTO articulations. For contrast from harmony. Here you can choose to change direction, add in something unexpected in terms of cores at harmony, or do a complete modulation to a new key. Consider the four emotion quadrants, four cores and harmony made your quadrant, minor quadrant, ambiguous quadrant, and dissonant quadrant. If your music is written in a major key and you all of a sudden use a chord that is no diatonic. You will create contrast from the unexpected harmonic change. Five, contrast from a arrangement. Layering instruments and changing section sizes can also create a lot of contrast in your music. For example, let's say you start with an expressive solo performance. Then you can repeat that theme, but add contrast and power from having a complete sections played a theme in unison, octaves or even harmony. Six, contrast from color. You can even create contrast from the tone, color, and range of your music. Perhaps you store the section in the lower range with instruments that have a warmer and darker tone. Then you open up the air and brightness by introducing instruments playing in higher ranges and play them in a way adds more high-end frequencies and harmonics. Seven, contrast from production. There are also so many things you can do to create contrast in your music, in the music production and mixing stage. For example, level automation, double tracking, panning for a wider stereo stage, reverb and delay for adding depth filter, an EQ automation, temple automation as cetera. So to sum up, you can create contrast to shift the emotional story of your music, or even introduce unexpected things in many ways, such as contrast from Dynamics, contrast from rhythm, contrast from playing style. Contrast from harmony. Contrast from your arrangement. Contrast from color, and contrast from your music production. 14. Emotion from Vibrato: Emotion from vibrato. Adding a vibrato to any sustained note in your music is one of the most powerful ways to add a truly expressive and emotional vibe and expressively brought a fee's like the note is almost singing in a beautiful way. And with the passionate, emotional playing, all vibrato notes, you might even feel tears forming because of its role, emotional power. Why we brought the music is so emotional. First, let's consider what vibrato is. A note that is played with the vibrato is actually swaying and pulsing in pitch. Meaning that instead of trying to stay Pitch Perfect, the vocalist or instrumentalist is performing the note with pulsating movement in pitch on purpose. The reason these fields, so emotional, is mainly the added expression you get from that movement, as well as the light tension the pulsating pitch tuning creates. But also, if you think about how it sounds when a person that is crying tries to talk, you will hear that the pitch of the words will have more of a swaying tone with pulsing pitch. So in a sense that if you brought a plate on an instrument or vocals is actually kind of mimicking how a crying voice sounds. Now, think about the fragile and pure of heart sound of someone that is crying. Adding this character to your music with passionate vibrato on the nodes will explain why it adds a sad, expressive, and emotional mood, different types of vibrato in music. So when performing a vibrato, you can play it and shape it over time in unlimited ways. Here are the most important aspects of vibrato that you can control. Vibrato strength, which means did depth, the width of the vibrato in pitch. Vibrato speed, meaning the pulsing frequency of the vibrato and vibrato curve, meaning that you can't delay the vibrato during the note and adjust the pitch, speed and depth over time to create a curve for your vibrato. So let me demonstrate this by showing these tuner here. So if you play on pitch without vibrato, you should be pretty much here, straight at 0. When you increase the depth of the vibrato, it means you are creating a wider pals in terms of going flat and sharp, so it will sway wider. That's the depth of the vibrato. So let me play my flute here and I will show you what I mean. I would try to play a straight g first. So that was without vibrato. If I increase the air pressure, pressure and release, decrease the air pressure in pulses, I'm creating a vibrato which will change the volume and the pitch. So check what happens. I will try to do very wide with slow pulses. Okay, so that was very wide or deep vibrato. The next thing is vibrato speed because you can actually change the pulsing frequency of the vibrato. Have a slower Paul's lake is to say quarter note or a file that beats per measure for the vibrato spouse or even faster. So I will try to do vibrato again here or my flute. So I increase the speed there at the end. And then that takes us to the final point you can shape with a vibrato, which is the curve. First, you can delay the vibrato. So you start the sustaining node with a straight note, right? If I go from like that, so you have no vibrato first and then add vibrato. And then you can also vary the vibrato depth and speed for the sustained note. And that way you get all three aspects or vibrato expression to create a truly emotional sound for your music. Now you also need to learn that you perform the broader in different ways on different instruments. For example, a piano can't simply not do a vibrato because you cannot change the pH of the sustained note. So vibrato is swaying the pitch and volume at the same time. In policies that you control with your expressive plain style. So if we take these violin or both strings, for example, look at where the fingerboard here, whether the marker is if I just buy your D without vibrato. Now if I add me, refer to it. As you can see, the little dot here is going up and down, and that is what a string player is doing when he or she is adding vibrato. Okay? And on a guitar you need to bend this ring instead the impulses and, and so on, on breath instruments, of course, as I just showed, you vary the air pressure in pulses, but some instruments can simply not do them. Now with most software instruments and sample libraries, you often just have a slider for the vibratos. You cannot actually change the rate and depth. But basically crossfade in the vibratos. If I just play it like this without vibrato, and then I increase it. Really vibrato becoming stronger and weaker when I move it down again. And some instruments, vibrato is actually recorded into the sample, which is a bit sad because then you cannot add your own expression to the notes. They complete control over vibrato depth, speed, and curve is one reason why live instruments and vocals, or way more expressive than software instruments can be. So to sum up, you can shape the emotions of your music with vibrato, vibrato strength, which is the depth of the vibrato vibrato speed, the pulsing frequency of the vibrato and the Bravo curve, delaying and varying the vibrato during the sustained note. 15. Emotion from Articulations: Emotion from articulations. Articulations in music is about how you play every note, the performance. In software instruments you can often control and shaped the autocorrelations from using key switches and or CSE automation. Sometimes the velocity level for each node can also be powered. What shapes the article Asians? But the main point here is the how. Because how you play the notes will have a huge impact on the emotional and expressive mood of your music. There are so many different articulations to use music. And every instrument group will have their own types of articulations depending on how you can actually play the instrument. For example, on a guitar, there is one articulation called a bend, because you can physically bend this rings, which will affect the pitch. But on, for example, a piano, you cannot alter the pictures of the keys you press on a bowed instruments, a string instrument, since there are no frets, you can actually glide on the same string with a smooth glissando. These are just a few examples of articulations. But to give you further ideas, I have created a guide and overview of the different categories of articulations in music. One, articulations focusing on dynamics. These are articulations that change how the dynamics or controlled and shaped can be both the attack dynamics as well as dynamic curve over time for sustained notes, for example, marcato, sforzando, crescendo, diminuendo and swells. Two articulations focusing on node length. There are plenty of ways to play short notes on moles instruments on, for example, both strings. You can control how short note sounds in a lot of ways. Here are some of the short note articulations on various instrument groups. Staccato, spiccato, pizzicato, and call it linear. Three articulations focusing on pitch. These are articulations that changes the pitch of the note, either in the story of the note, the end of the note, or over the sustain of the node. For example, vibrato, bends, falls, rips, scoops, et cetera, for articulations focusing on transitions. These are techniques that focuses on how you go from one note to the next, from a completely separate notes with no transition, too long, smooth glides between them. And the speed and curve or how you transition between the nodes is really important. For example, legato, portmanteau, Gillies, some though, hammer rooms, pool offs, et cetera, five articulations focusing on a special effects. So there are also a lot of special techniques you can play instruments where that focusing on a certain energy, vibe, tension, or mood based on the very articulation itself. For example, harmonics, tremolo, trills, concertino, mute, growls, flutter, et cetera. So to sum up, there are so many ways to play articulations depending on the instrument and available techniques you can use. But the main point here is that you as a composer, had unlimited creative options to shape the emotions of your music based on how you play every note on the instruments and ports in your music compositions. 16. The Major Quadrant: So in this video, we are going to explore the major quadrant of music emotions. So I had created three short examples here, each with a different field. The first one is lightened, happy than uplifting and enlightening, and then motivational and feel good. So of course, I'm using plenty of the techniques you have already learned in this course about shaping the emotions for the major quadrant. So let's listen to the first example and then I will explain my creative choices. Right? So as you can here, very light and upbeat and happy sound. You can see the court's up here, D major a and G, and then the, so all major chords. And you also can hear that it has a very staccato, focused playing style with lots of short notes here. Also on the strings here. So these create more, these rhythmic staccato playing styles get that more light, upbeat, playful manner. Okay, you can also see that there's an upwards direction creating that uplifting sound, pushing it more to that brightening up the sound. And also using harmonics on the guitar. Very similar to the common pattern on the strings. Also an beat up upwards direction here, as you can see. And it adds that light character because when you play harmonics, you don't get much of the fundamental tone of the node, but rather the higher harmonics. I also use a bell here because, well, a high range bell you can see above middle C. Also as that light, childlike character. And then I added some soft keys in unison with the bell. So as I'm using a very bright patch, patch here with a live roads and piano. Let's see, little shimmer in the reverb there. Just, and I just wanted to basically make these dreamy bill because I'm playing it an octave below just to extend that melody, give it more focus. So the drums here. Okay, but it has some playful fills. So you get that visual syncopation. And the base does this very rhythmic slab kind of feel on it? And of course, if we check out not only the key here, D major with only the 145 chords. So you have to, it's played on a piano, played in a very uplifting vibe. Okay? There is also the tempo 135, which is more in the up tempo vibe for BPM. And altogether, it creates this very uplifting, light, happy, playful vibe. Right? Then the next example, which I call uplifting and enlightening. It's similar to this light and happy but not as childlike, light and happy, more uplifting and enlightening in knowing more magical sense of the vibe. So here I'm also using harmonics. Let's just check the chord progression first. So we are in G, so we have G, a, C, D, all major chords. Again, an extra Korea for them. But, oh yeah, by the way, so if we are in G Here, there is not completely G major because as you can see, there are four chords that are major here. And of course, we have May 3 records in a major scale. So we have a G. And then you can see the a. So this means if you have the one core being a major and the second coordinate also major. Yet that Lydian, lydian, which is the brightest and most uplifting mode of music. And you can already hear it if you take a standard major scale. So you have, let's say C major, C, F, G. The brightest chord change is actually between f here and GE. Take any major chord and then play the medical ward whole step above it. It really is that uplifting, Lydian color of the vibe. So that is the uplifting vibe and enlightening because I'm using still an upwards progression here to build excitement. So the strings also rhythmic manner. But if you listen to the first one here we have more syncopation, more rhythmic groove. While this is more of a straight Dr. Hayes notes. Throughout and building an upwards like that. Piano, tricky. In here you can see a bit of a lift upward direction here. And if we listen to it in solo, it has that enlightening, uplifting feel. Let's compare it to the previous piano. This I feel is lighter and more playful. This is still that major vibe, but more enlightening, not as light and playful. So you can say this is uplifting, but in you'd beat more serious way. Then we have this guitar adding some black here. Okay? And that adds a bit of interest to you because it's not as simple as this first example for a sample and for the base we have. So I did more group going on, they're changing. And then we have the drums, which is video of that classic rock pop drive with the snare and then a bit of a shaker to add some excitement series. So all in all, a lot of the uplifting enlightening actually comes from the guitar and harmonica. Especially this upwards or arpeggio here in the beginning really adds that magical. So all in all, uplifting and enlightening, the tempo, of course, is not as high as it's up-tempo. It's still in the upper temporal range, but closer to the mid-tempo 125. As you can see, if I add up these two 135, I will push this more towards this lighter, happy by gay and especially that lights enlightening me, finish here with a very high range. Also on the strings, as you could see here, moving up a full octet there. And the final example is major quadrant. I call it motivational and feel good. You can see there is a minor chord inside it. And more importantly, the plain style is looked as it's more serious, has more of a not, not as light and uplifting. Well, let's take a listen for us and I will explain later. So you can instantly here that it is much smoother in plain style, lot of staccato, rhythmic focus, but actually longer notes, legato, and more of a smooth ride, so to speak. That's why I called motivational feel-good is still a major key, a my a major. Let's see if we can take the piano here. Then we're going to F sharp and so on. So we can start with strings. They create a lot of these more C or use a beautiful kind of emotion within long notes. You can see the chords here I have tied together. So this one is actually sharing of all the scores in between. And we'll get you the minor chord here. Major again. And see it is also in the low to mid range dynamics here with the automation or the dynamic curve. And let's see. I add some weight with the dress, playing, with the dynamics here, but I simply wanted to add a bit more push focus to the corporation. And you get more of that role. You'll noble character from the breast, long notes on the horns there. But still on the piano. I had a bit more comping rhythm going on. But you can see also it's more in the lower range. If we compare this two. While here we are lower range. And also hello to me dynamics. And there was a lot of times when I play only one note at a time here to give some air. So one or two notes instead of coping with lots of notes and rhythms and so on. Then if we check out the harmonics, I wanted to include them here as well. Where the guitar, these are probably the most light up lifting, partially soluble. Then I added this soft keys here, which is the same passions before the broads with the piano hybrid. Hazard, also in the lower range as you can hear. Low Schmidt. But it adds a bit more weight to the piano here. And a bit more magical sense in that hybrid sound. Then I have this base. Very simple, the asteroid miners second movement there. Every now and then for some interest. And the drums play this very simple soft beat. And I can see also the tempo here is all the way down 115. And all in all, that creates this sort of motivational, uplifting but feel-good vibe with the more serious tone than color of the motions compared to these other more light examples. Minor activator. So if I wanted to push this more true, where does the playful, uplifting, enlightening and vibe I could have used staccato string is, for example, instead of these long strings, more reading on the base, perhaps doing some brass stabs instead of only Longhorn nodes here. And if I wanted to push it more towards the ambiguous or minor quadrant, well, I should have included perhaps one or two more minor chords here, or a seventh chord or anything to add more complexity. And instead, over basically only major courts. But these three examples, I recommend that you experiment with all the techniques you've learned in the previous videos of this course, as well as in this video to explore the major quadrant of music, emotions. 17. The Minor Quadrant: So in this video we are going to explore the miner record rent or music emotions. So I had created these three examples, each with a different vibe of minor, the minor quadrant first one is sad and lonely, then introspective and melancholic, and finally, dark and hopeless. So let's start with the first one. I will play the example first and then explain my creative choices for these kind of sad and lonely emotion in the minor quadrant. So I hope you really felt that sad and lonely vibe. And the first thing is, of course, the, the key and the harmonies, the harmonic focus you'd use. So this is in a minor, but you can see I'm actually using some major chords inside it. However, the key is the main point, so a minor key. If we just play, Let's see, we had the piano here, so a minor. And then to D daemon. Okay? So those two chords are in the beginning real and sets the mood. If you check the temple here, I'm actually using a very slow tempo, but also some automation. So it starts very low here. 59 goes up to 65 and then decrease in the end back to 59. So a slow tempo. That lonely feeling. And other thing is the actual notes I'm using. It's not, not rhythmic. This piece at all. It's more solo ring and long sweeping notes, especially for the leading melody, but also the backing track, yeah, better backing strings. And by the way, the actual sound here for the strings, if you take a look here, oops, it's actually a soft soil tusk DO string. Sound. So very soft in the actual character Colmar of the tone. The base just does, is long notes on the root node. But you hear that attack wherever change. So nothing ReadMe going on there either. And most importantly, you can hear from the leading melody, hear it played on the violin. And violin. You might ask, well, it's the first chair violin, so this is actually a solo violin. I also remove the extra reverb and a hall reverb to make it more close to you because it adds to the expressive focus of the instrument if you feel it more near, close to you. So this is how it sounds. So solo violin first, Sharon, you really hear that expressive vibrato, which of course also add that expressive emotional push. And if we take a look at the melodic line, you have some bigger leaps, which actually creates more emotional tension, adding two to the sad vibe. And I believe I played the same exact thing in the fluids here on the high register. Also a lot of vibrato on the longer notes. So that's a very sad and lonely Melody. Hi registered woodwinds like fluids are great for this, as is solo violin. And I believe I actually, in this case, I had just used a octave lower on the violas. Because I wanted really to have this melody be the focal point of this piece. So a lot of layering will help you with that. Also first, no, not first-year this extra chambers. So for violence, a very small section, viola. And I use him, Sir Dean or here because I wanted a very warm sounds here instead of, Let's remove this Arduino and hole so you can see as the violin and you get this out. I thought that was too much upfront because I wanted the solo violin to have that focal point be up front and close. So I have put Sardinia, which is a muted, softer articulation and included the whole reverb. So on top of the fluids and violins. Okay, So that takes care of the leading melody, super long soaring legato nodes with lots of vibrato. And then these cello line praise the harmony, lower harmony. So strings are very good for these expressive, lonely vibe, emotional vibe, and the piano is playing basically very sparse arrangement. If you listen to this. Not even a full courts like the Octavius here and the melody on top. And all this. Of course, the chord progression and a harmonic story line is very minor quadrant. But this, the lots of air in between the nodes, the pauses adds to this lonely aspect. And finally, I just wanted to add a bit more weight to the piece by having the chords plus the base here on the sofa. Keys patch these broads plus piano hybrid style with some tremolo media that going left, right, bitter. Yes, the chord changes. So all in all you get this very sad and lonely vibe. So that is the first aspect and one of the first example, sad and lonely. All of those are creative choices. Let's move on to the next example I created in the minor quadrant, which is, I call it introspective and melancholic. So I increase the template bit up to 70 here. So it's still downsample, but not as relaxing, ambient, lonely character as 50, 1965 year was 63 or whatever it was. So let's have a listen to this example first. Okay, so here we are in D minor and the first two chords here, or both minor sets the tone, these minor quadrants tone. If you compare it to the previous example, it's a bit faster, not only in temples 70, but also some of the changes did these harmonics here and the dreamy bell here actually goes MLA every half bore. So it's not a rhythmic I would say, but it's more than on the, every bar, like this one here. Here's a bit. The faster. That way. Then you just check the chord progression here played on the soft drinks again. And if you check here, it's in the very low two low man dynamics, which was also, by the way, the case for the previous examples can see here. But it's basically amping up the energy beat more going from this sad, super sad and very lowly to introspective and melancholia. They are similar but just a bit more energy, a bit more happening. So to say, here in the notes. The base justice, exactly as the previous example. One, long bar notes and the y yo lighting place to leading. Malaria. So long notes, but basically, especially with a slow tempo, it feels even longer. Cello takes the harmony. Hello. Okay, and then we have the piano. Let's listen to the actual plain style here. So it's sparse, but not as sparse as the previous one. Here we can actually see full course like here and here. Okay. I added some more weight as with the previous example here on the soft case, but the difference is I add a bit more extra notes for some more interest. Okay, compared to the previous one, which was just one bar chords. So you can see it's another level further here. Going to this introspective and melancholic still very, it's still loan way, but not as sad super long as the first one. Then I have these brass line here playing also long notes. So together with the leading melodies, basically harmony. Okay, so still long soaring notes, legato. And then just for some added rhythmic interest is the basic least harmonics and dreamy bell here that takes it to a site and loner to introspective and a melancholic. These guys here make a huge difference because it's every two times every bar. So all in all, you get this. Mine records aren't more in the introspective and melancholic vibe. So makes you feel philosophize about life and so on. It's introspective. It's, it's another level between here, sad and lonely and the next one. So the final example here, I call this dork and hopeless, less sick, Listen, the temple is back down to 65 year. And it sounds like this. So why does this feel so hopeless? It's, Let's start. Why? It's so dark. So why is it in the minor coordinator in the first place? So it's all a minor key. And as you can see, there's no major chord at all. It's only minor. Whoops, it's only minor chords and suspended of course. But that takes care of the minor quadrant. The templates slow and whites dork. Well, if you check, check the ranges here. It's played, okay, So these strings are a Beatle a year, but they, since they use a soft articulation, it sounds. Warmer, darker in color. And that's the thing here. It's basically playing mainly in the lower ranges, lower dynamics. Let's sector leading melody plus harmony here. Okay? So below middle C here except the flute there. I mean, yes, Take a listen for the leading melody plus harmonic. Without a clue. Yes, the viola shadows are below middle C. Also very long notes. I mean, here you have 1.5 bar. This one is two bars. So it's like that has two, the whole bless vibe. The darkness is the low register and the warm dark color from lower register focus in the actual notes register and the low dynamics and also the soft articulations. I even added the brass here on bottom. So this is middle C and this is, and harmony. Even an octave below middle C. Just to add a bit more weight to the progression. And another aspect that brings the whole bless vibes is no major chords. It's all hope at law. Note no major inclusion in the core progression. Instead, I'm using this suspended chords that go in back to a minor chord, E sus4 back to E minor. So it's like when you feel that might be some hope there is not because it goes to minor and all in all. That takes this minor quadrant example to EcoRI call dork and hopeless. As you can see here. This is middle C. So there's practically all of this fluid with a very low dynamic soft tone that is above middle C. Everything else is around middle C and below, which takes us to the dark color. And well, that's why I feel this is the Jorg and hopeless and range of the minor quarter. And so I recommend that you practice finding different emotional colors in the mind recordings yourself now, start by creating a chord progression and the instruments playing styles, ranges, articulations, colors to shape it into any type of minor quadrant. Then of course, there are more than these three examples, but at least as a starting point, you can explore with. 18. The Ambiguous Quadrant: All right, so in this video we are going to take a look at the ambiguous quadrants of music emotions, or mixed quadrant if you prefer. So it's neither minor nor major, but a mix of the tube and sometimes even a touch of the dissonant quadrant. So I have made three different colors inside the ambiguous quadrant. I call this nostalgia and memories the first example then mysterious and dreamy, and finally, bitter, sweet and hopeful. So let's start with the first one. It sounds like this. All right, so it starts here in the C major, so it has an overrule major positive sound, but with a minor touch. Because if you look here, C to G manners were 15. And the five chord, dominant chord is minor. That is a Mixolydian color, the mix to Mixolydian mode. And that is a bit of a mix between a major vibe but with a minor touch. So on top of that, what makes it nostalgic and memories kind of vibe, emotional color is the slow temple. You also have these low range focus, softer and softer dynamics, so it's not shrill and high register is very low dynamics. And in the lower register. Then you have this solo violin plots the food, taking care of the cost viola or the harmony. The low register food with a legato and a bit of a vibrato on the long notes as a lot of that lighter sound. And the strings which are very soft and sweeping. Plus with this calming piano here. Mixing between an arpeggio and a video comping rhythmic here in between. A very soft sounding that way as well. The brass here is very low. I think that's just in unison with the base and octave above. So overall, not very rhythmic, more focused on long solar in the garden. Low register dynamics. Slow tempo, the Mixolydian. For the moment, T and scale. A bit of a major, minor. Major again, mainly the Mixolydian vibe with a low dynamics, the lungs soaring legato notes, the load register, and the focal point being the solo violin and fluids here in the low register or the fluids to create these very nostalgic vibe. So the next example I call mysterious and remade and it sounds like this. Okay, so here you actually have several things going on. First, the dreamy state is from the slow tempo, these dreamy Bell. And basically this very slow playing style. Lots of air and gaps between the nodes within them ring out like that. But the mysterious part of it comes mainly from starting in a major key here, D major, D major chord. It adds a minor six on top of it. And you can really hear it here on the DRI and belts are the minor sound in court. And then add this minor six. Okay, you hear it on the piano here as well. So it starts. And also here we are going from a major sound from the start and then to a minor, a perfect fourth above. So it's a major sound. What did the mysterious tone? And then we'll get you minor between air. And then to a major lift. Then minors again. And this major, D major with a added flat 9, so minor line. And the cadence is on minor. So it's very much a mix between the major and minor going on here. And you have again, these long notes, legato, transitions, low dynamics, and also focused in on the lower range with soft strings on top. And it can really hear here and daycare and stay added minor 6, which creates this mysterious vibe. And the dreamy state comes from the low tempo, the low register, the air and gap letting the sustain ring out on lots of notes at the soft articulations as well. But he can really feel it from the actual chord progression, the harmonic storyline. Major minor, major, major minor. And these added mysterious intervals for the plus minus 6 there and also a minor ninth up here. So that is the second example. Mysterious and dreamy. We are still in the ambiguous quadrant by the way. And let's see, we have the final example here, which I call bitter, sweet and hopeful. So let's take a listen to what this sounds like. Okay, so it has this very bitter, sweet, melancholy, emotional color to it. Parched still as that hope vibe. And there's also made you feel going on as well. So very much ambiguous, mixed emotional color between major and minor. It starts in a minor, but then immediately goes to a major chord here. So and then on top of that, we have if F major seven. And if you feel the tempo is also really slow. And it's actually has the most going on in the first few Node CRC, how the food, violence and bass and the piano, really the beginnings part. Then it starts to slow down. It more longer notes. And the piano really takes care of. The chord changes mainly. I just ring out no policy. And then, oh yeah. So the final part there where we finished off on a minor, but actually going from the five chord E minor to a major or a major lift as that file hopeful aspect of this chord progression. And if we listen to just the progression part like the soft strings and the other string section here. And the piano. It has these very romantic, sweet sound to it. And that's why I always bittersweet because it still has a lot of minor field, especially since it started the minor key. And as this F major seventh chord, which has this major seventh, you know, the older interval, strange sounding interval of attention in it, and then goes directly to a minor seventh chords are a lot of minor field there. Actually a minor. But then it starts to lift to your neighbor here, but G and F. And it goes back to you, the strange major seventh added and then E minor. So starting to feel that sadness again. And then it pushes to a major instead as the final cadence. So that is that those are three examples of what you can do in the ambiguous quarter and nostalgic and memories, mysterious and dreamy and bitter, sweet and hopeful. 19. The Dissonant Quadrant: Right now in this video, we are going to explore three different examples of the dissonant quadrant of music, emotions or tension quadrant if you want. So I created these three examples, dark and spooky, chaotic and powerful, and ominous and evil. Let's start with the first one. It sounds like this. So what makes this dork and spooky? Well, of course, we are mainly playing in the lower range. If you just exclude the piano, for example. Or a dork and warm color range for the sounds and the notes or in the lower range. And we are also using only minor chords all throughout, as you can see here, G minor, G minor with a major seventh on top and you know, the major seventh interval when you add that, it adds a lot of tension because of how close it is to the perfect octave. And since we are using only minor chords, some of these should have been major chords. If you are in a proper minor key, but with some modulations there, like borrowing chords from another mode, you can simply go and use every chord as minor like I have done here. Another thing is we are playing in a very slow tempo. And basically the only real rhythmic movement is the piano and the base. But you really get that spooky vibe from the minor to only minor is a minor, minor, major seventh and the minor on the fifth. And then the a should have been major if we are in G minor, started key here, but it is actually minor. So I went all in on the miner to create this very dark feeling. And if you take a look at what the instruments are doing here, Let's just check all the strings. So these tracks here go in and have a look. You can see they are playing like that, like this, and a very low dynamics everything and everyone, every track here has its own dynamic curve. From the very low to the low mid range for Dynamics. And if we remove and just listen to everything else except the piano, bass. And really hear how the focus is on very long, sweeping, soaring, dork nodes in the lower register. And again, if you just take a look at the, what they do, short intervals, close voice-leading to make them sweep between each other, each voice in the chord progression. And as you can see, these extra minor seventh year really adds a lot of tension. So you get this tone here. The miners then to a matter. But all using minor chords in this way can create a very dark and spooky aspect. Of course, it's its doors in a minor key. The next example I have is actually, it's chaotic and powerful. So here I went with a 6, 8 time signatures. I hire a head the first time I actually change time Center from 44. I also opt the tempo to, let's see what it is. It's 100 instead. And went with a much more rhythmic playing style, especially fields into the strings here. And the chord progression is in F minor. And I'm actually heroin starting into you some diminished course. And diminished courts are very high tension courts. So if you take a look here, there, here, there is not a major chord inside. Only minor chords and even diminished chords, which makes it very dark, very powerful. But where a comes the chaotic aspect. So it's very powerful since we have these powerful model, more caught articulations here in the beginning and then start ketosis. So more quarters or very bold accent or regulations. The horns play this accented kind of lions. I think I'm using sort of somebody here for Totto. Actually. So very bold notes. And you hear the breath at the bottom here, actually in Octavius to make it even more powerful. Whoops. This everything is in the lower range basically except the few in the mid-range here, around C4 and blow for this staccato strings. And if you take a listen to the harmonies here, the chairman Biola playing in octaves. So what makes it so powerful? Well, less than this one, this one and this one, all, this is full octave brass layered with shallows and viola SaaS actually For, well, you can say this is the leading motif, but there is also a hormone in note in there. Okay? But it makes it very powerful. And then the chaotic aspect comes not only from the chaotic modulations here in the chord progressions to get all these minor chords. Also from the diminished sound and this rhythmic action group. And since it is a 68, she could tan, tan, tan, tan, very powerful. And chaos from the harmonic progression as well as this groove really makes it very powerful, evil boss kind of vibe. And the final example, I went back to 44, it's ominous and evil. So while this is chaotic and powerful evil, more action oriented evil, this is more ominous like think of the jaws, the more scary movie when, when it is very dark and you wait for the evil monsters to come out. Well, it sounds like this. Okay, sort of hurry, ominous and very evil. So what I'm using here, mainly for this super evil, Tony's a big focus on the minor second, D to C sharp, G sharp, a, and so on. And if we check the basis and shallows, believe I just play an octave, so just more, more power. You can see the microsecond move here and back again, here. And then here you can see it in the end. So this is very evil openness stored. And here you really hear what I also use here is very big dynamic swells going up here, especially here, and then down again and up and down, especially here in the first three notes. And then I added this. There, this horn layer, also octave. So I think so whenever we all want very focused, powerful sound layer in unison and especially octaves, and especially in low range like this. And do a lot of dynamic contrast with writing the dynamic curve. So then you get this surprising upwards movement there. And another aspect of what makes it's very creepy, in my opinion is I've always found harpsichord to add kind of creepy Vampires kind of vibe, especially when you use it with these dissonant chord changes. Okay? And then I added the dreamy bell, because bells, we use bell sounds when you have a very low door, homeless, low strings, low brass kind of instruments, it has that innocent, innocent vibe of the bell, which is very creepy because it's like it doesn't, it's misplaced. You can hear this in a lot of like all the horror movies. And then a big swell at the end there with a pooled power, the Octavius, a layering there. So very ominous and evil sounding major focus on, a very big focus on these minor second movement and super big contrast in dynamic curves, as well as the dichotomy of the bell between versus all these low range focused instruments, bases and shadows and low homes. And this very creepy harpsichord on top of it all. So that is, those are three different examples of colors inside the dissonant quadrant. Dork and spooky, chaotic and powerful, more action field and ominous and evil. So go ahead and experiment with all these for emotion quadrants of music. I just made three examples of each. But you can go in any direction you want to mix and blend between them. Go from super happiest of Happy to the darkest of dark and high tension and everything in between. 20. Avengers - Main Theme: All right, so now we are going to analyze the emotional aspects from the main theme, from the Avengers main owned end the game it's called. So let's start with listening. I will pause as I explained, the emotional aspects. Okay, So it starts actually in the major quadrant 4, that Victoria's vibe. So I think we are in G0. Okay, So it's major, major, very major right here. And then it continues still the ball grass there. And then I transition into you. Okay, so a lift, it goes up here. The voices go up and you get some symbol. Crashes really amps up the emotional power for that Victoria's vibe. Even further. Take it up a notch. The brass response and starts to play that fanfare as playing style. It comes more here. So those fanfare, brass playing style really brings out at Royal noble vibe. Almost like a king is being crowned here. So victorious vibe with the royal noble vibe. And here we get from the fanfare into those accented bald transition notes is like Lee Sin up now is the music saying here, basis importance. Okay, So then back to repeating that major victorious vibe. Very major are pointing. And again, that accented transition. Bald, long notes with more CO2, big, powerful notes. Super accented transition. Like that. Those marcato notes really brings out this superpowers from these heroes. Now we're hearing that something new is coming up and you get some more excitement. Those staccato strings add some drive. And this is important. The track goes, the theme goes from that G major, the major quadrant into a minor key actually. So E minor. But as you can see, we are with ADC, E minor, but it goes from E minor to C, then to a. And that a is actually a Dorian mode. It's not part of the EMA minor scale. And then goes to C major. G major is all major chords expect except that E minor. So it has that emotional core, but brings out a lot of that victorious vibe still. And you had a data, data, data, data. Those staccato string is add some drive and excitement. But the main theme is that bold, powerful marcato notes for the main theme and melody, which really brings it up to that. Know both superhero powerful vibe. And you hear that breath is heavy on the brass here brings up that power and also some excitement by boosting the dynamics here. So he had the breast really opening up the practice. So repetition over maintain. And the second time you hear that breath opens up the brightness and the dynamics. And then a twist here in the end with the horns. And that adds kind of a vibe that, okay, So we did it, but the story is not over and goes into the final transition of n. Repetition of the main theme. Here. It abruptly, abruptly stops the main theme and goes into those accented excitement stabs. I call them in the NBA. Listen to it, it, it's almost calling out these stories solver. But what will come next? You'll be expected to continue that. It's almost like putting in the music that there will be more Avengers movies coming Or superhero movies in this, in this world. So that is the emotional analysis of the main on end theme from the final Avengers Endgame movie. 21. LOTR - The Shire Theme: Now we're going to analyze the emotional aspects of the Shire, a theme from the Lord of the Rings. Okay, so the first thing, it is very heavily focused on the major record rent for that uplifting and positive vibes. So you have D major, G major, a major, back to D major, and a minor major. And then it goes around again. And you have these very expressive solu, food playing in a major vibe for that joyful and simple live kind of vibe. Let's continue. Test that sweet and innocent kind of vibe to it. And then transitions in today's short solo violin phrase CSU via those breaks, those pauses in between, and those playful phrase articulations. Printing this playful unhappy by transitioning into this full string section, which for me, it creates a sense of the Hobbits, love for life and the lush landscape. So they're lush, full string sexual, romantic ideally provide so that playful vibe, but it goes up into the transition in today's. These long notes in the transition, which is kind of pausing and reflecting the moment. That's just taking it in. And then back to staccato rhythm. Strings. This harpsichord, I think it is. And then on top of this staccato string and rhythm, you get the staccato food. Very playful. Again. Think about the major coordinate vibe. Since then switching between that lush sweetness and the joyful playfulness. Again back to joyful, playful. Like they are really enjoying the simple life here in the Shire. And then it transitions once again into this ending, which is the Soul Food, very expressive. Really. Feel that joy but still that complete innocence. And how beautiful it was simple and unspoiled Lamb at the sky. Really settling down, resolving, calling things style. And that is a, that's the Lord of the Rings, The Shire theme. That emotional analysis. 22. The Lion King - Mufasa Dies Theme: I will start by playing a bit of the theme and then I will pause as I explain each point here that contributes to the emotions. So this is just offer more fossa have died. Okay, so that beginning is a major. Seventh starts, so it's like in E minor. But instead of having the octane here, you go from the octane to the major seventh. And that is a very strange and old interval, especially in a minor since it's non-diatonic note. So it adds a bit of confusion, symbols confused here. So here you can really feel that the harmonies, the chords and harmonies, or heavily weighted to the minor quadrant 4, that sad, emotional vibe. So you have a minor, you have B minor, you have E minor here. And so on. A couple of major courts as well, of course, but definitely in the minor quadrant. Okay, So you'll also hear that it is, has very minimal arrangement. It's just a bit of quires, strings. And then you hear the flute come in and you have a very slow. So that adds, the minimal arrangement adds to that lonely vibe. And a slow tempo makes it very gentle. And now listen to this expressive solo flute that really feels like The Innocence and fragile moment, both the moment and Simba himself. And he had for the first part with a string arrangement on top of the, behind the expressive soul food. I would say it has a bald weight of the moment kind of feel. And now it's a transition into the second part where the string is taken more expressive. Arctic is playing style for an emotional push. Some more vibrato, more dynamic movements. Super emotional expressive air. So he's like he, he, when he tries to wake, move fossa and don't realize jet that he's dead or he doesn't want to realize. And now the final part is where the highest strings take over, removed the low strings. It's almost like move faster, have now died. Real. Cbo has realized this. And it's only the high strings and high woodwinds. And you really feel that seem buys now enter that state of sorrow and grief. Super emotional woodwinds here. The minor intervals. And the distant precaution is like distant memories. So minimal, so expressive. Okay, so I will end here because it transitions into the next track on the soundtrack. But that is my analysis for the emotions of the music of the MOOC. Fossa dies theme from the Lion King. 23. Congratulations: Congratulations my friend. You have now learned the core foundations, the advanced techniques and guidelines. The hormones is sounds, colors, playing styles, and loss of creative ways to shape the emotions through your music store. I recommend that you take action now on everything you have learned in this course, go back and re-watch lessons if you write. But the most important thing is that you practice every single aspect you want to truly master in your DAW and with your instruments because nothing beats learning from doing. So. What emotions will you create in your music stories? My name is Mike, and I wish you great success on your journey and music.