Music Composition - Create Powerful Rhythmic Ostinatos

1. Welcome - Master the Energy of Ostinatos: Hello and welcome all music composers and producers. My name is Mike, and I will now teach you how to create rhythmic Austin autos. To add that powerful driving energy into your music compositions, get a complete guide off ostinato fundamentals. Learn the sounds, articulations and styles of Austin. Oh, toes. Watch live examples off Austin Autos in action and get lots of practical tips and tricks along the way. You will learn how to create straight Austin autos, bouncy Austin autos, Harmonic, Austin Autos and melodic Austin totals. In the end, you will be able to create any type and style of Austin Auto for your music with the practical knowledge you will gain from this course. My name is Mike founder or professional. Composers don't come music composer and sound designer since 1998 and I truly love to inspire, motivate and educate creative people like you. Now it is time for you to take action and dive into the world of powerful driving. Austin Autos for music composition. Let's do this right now, 2. Introduction to Ostinatos: Let's start by defining what in Austin auto is here is the Wikipedia definition. In music, an ostinato is a motif or phrase that persistently repeats in the same musical voice frequently in the same pitch. All right, but let's make these mawr clear for you. Ostinato is the Italian word for stubborn, persistent or obstinate. Knowing this will help you get a better sense off the true meaning over in Austin Auto. A rhythmic note pattern that feels repetitive or pidio owes versus riffs versus Austin autos. Now you can play many things in music in a repetitive fashion. Let's compare three examples or pity ALS reefs and Austin totals. The difference between each is notice strict line, but rather a gradual one. Like the colors of a rainbow. However, I have a couple of aspects on each of these examples that I used to define them. Musically, one or pedals equals flow. The focus is on running and jumping around on the Cornell's. Even though arpeggios can feel repetitive, they are rather focused on a flow compared to a driving pulse. Here's an example over, nor pidio, and you can clearly hear the flow between the cords and each of the Cornell's here, so it's almost like a wave here. Riding between each chord change riffs equals focus. The focus off riffs is to create a musical motif that people remember. No one really remembers a driving ostinato or flowing or pidio, but a riff is played to be in focus. Riffs often have more variation in the performance techniques, as well as added expression in the notes, like adding a V bro toe or bend on some notes gliding between notes using various note lengths in a musical fashion rather than strictly rhythmic and so on. I have chosen to show you an example of a brief using the same track stack as I just played you with the or PDO, which is this a driving baseline, short strings and staccato piano. But this is not the usual instrument selection to created re phone, because I will not use any. The goto librato glides and so on. However, this will demonstrate clearly the playing style, meaning the note patterns, the creative use of note lengths and rhythm, and where the accents go to form the melody Griff to create this rift style repetition pattern. So let's listen to how it sounds first. And as you can hear, it has way more focus than the or PDO. You can clearly hear the mill melody inside these riff, and you can also hear that it could be repeated here and go for a couple of sections here and then finish on this if you wanted to, which makes it a repetitive pattern in a rift style form. Boston auto equals drive, the focus of Austin autos is on ridden and pals, and even though you can switch notes, looked too full of chords and harmonies. The main purpose of an ostinato is to add that persistent drive that adds energy into your music. So let me demonstrate the drive over an ostinato. And even though there are harmonic variations and I folded the core progression, you can clearly hear that the main focus off over an ostinato is to add that Dr and Pau's done in Tarrant and Tintin, Tanta and Tarrant Anton Penton into your music composition, which you can do many different instruments and many different articulations, which you will learn more about later. In this course, the sounds of Austin autos and the styles of Austin autos Mano Phonic versus poorly For Nick Austin, Ordell's Strictly speaking, I believe a true Austin order should be Mona Fornek, meaning one voice played at the time. However, practically speaking, I believe you can think of rhythmic harmonies as Austin autos to if you play them in the same repetitive fashion. And if the end goal and purpose of those parts is the same, which again is to add rhythmic pals and drive into your composition? This means that you can use block chords and harmonies on for examples, the cattle strings as Austin autos or perhaps chugging power chords on electric guitar. Always dense, the same dense, However, whether you use mono fornek or poorly for Nick Austin autos, you should always be aware off the main rhythms, harmonies and melodies in the rest of your composition. Because all elements of music should dance the same dance together. So let me demonstrate this with these second example, and I will go deeper into all of these three different examples off driving us in autos later in this course. But let's, for example, play. One of the ostinato is here from the second example, and if you listen carefully wait can hear that it is following the hormone over track and you can hear it more clearly if I play the courts here on strings at the same time. So it owners the chords and harmonies of your music, of course, and also in context, especially for the accents. If it works into the fool ostinato section old of these tracks here. So from the beginning, thinking especially he wrote in the accents on the steps and breast here, Tom, don't, um, down dum dum dum dum dum. You can see it here if I go in more clearly, of course. And if we check that with, for example, the Taiko drums here, which is the lowest drums playing the main accents, you will see that they correspond here, Tom. Downtown Taunton town town, town town. So if you listen to this at the same time as this Ah, let's see on so one So it all dances the same dance so together it sounds like this and you need to be careful about this so that you follow the harmonies, the rhythms and so on in your music. So they all all the tracks dance the same dance together so that your music composition will get the focus and clarity it deserves. Congratulations. You have now learned what Austin autos are, the focus and purpose off them and the difference between or Pedj, ALS riffs and Austin autos. You have also learned about mono, fornek versus poorly for nickels, Donatos and finally, the most important lesson in music composition, in my opinion that all tracks in your music should dance the same dance together. 3. The Sounds of Ostinatos: There are all kinds off instruments and sounds you can use to create Austin autos for your music. But all of them share one common thing. They are all focused on short articulations because short notes is the way you can create driving rhythm, which is the foundation often ostinato. I am now going to demonstrate what I consider the main sounds for Austin autos. These are instruments and articulations I personally use as a composer to create Austin autos with, and I really recommend you to try them all out yourself to Are you ready to get live? Examples of various sounds of Austin autos? Let's do this right now. The most natural ostinato is probably the classic driving baseline, which can be a sin, an electric bass or even acoustic bass. You can do anything from a straight driving baseline to a groovy performance to an almost reef like ostinato. Since you can control the note length on have a lot of articulation options. For each note, you can pretty much do any Austin ortolan Davant on a baseline for faster patterns. You can add some pool muting if you'd use a string based base on a synth space. You can emulate this by modulating the AMP and fielder envelopes. You might also use a bass AMP or add a saturation or distortion effect to beef up the final based sound when creating a baseline ostinato. Chugging on an electric guitar is actually rhythmic power chords, but really has the feel, often ostinato, especially since you mainly hear the low string Shug. Anyway. You can also easily open up the pole, muting for accents and longer notes in the ostinato, and you can even include special articulations to add expression to the performance. Like slides. Ben's etcetera. Even though chugging guitars has its roots in rock and metal, you can use it in a lot of music show Unger's, simply because how great they are for adding that rich and powerful drive in the lower register. You also have unlimited choices to shape the sound off the chugging guitar with different guitars, pickups, amps, cabinets, pedals, effects, etcetera, pianos or perhaps not the first choice for us in autos. But it can, of course, place that cattle parts on a piano on. If you do it in octaves, you can really get a rich ostinato with a very powerful tone. You may not want to use pianos for really fast Austin autos, since you cannot really mute the notes to be very short and plucky. So if you play there, if rest patterns, the notes will inevitably blend into each other, which is something you need to be aware of. Eighth notes are fine, but too many 16th notes might sound a bit muddy and unfocused compared to let's say, speak out of strings. However, staccato piano Austin autos are very useful for layering with, for example, short strings. They also work amazingly well for augmenting the accents on the main ostinato instruments. Short note Articulations on orchestral strings is one of the most used Austin auto sounds, especially in film, TV games and other soundtrack productions. And personally, I think short string articulations or the most powerful and effective sounds to create Austin autos with because you can go from Super short speak Otto to stock a tous, Imo staccato and even more cattle for accents. Strings also have one of the greatest range off dynamics and expressiveness off all instruments. This means that Austin auto strings are great for adding rhythm within the rhythm by using different dynamics of the notes in the pattern, as well as intensity movement like crescendos and dim innuendos. Since all four main orchestral string instruments share of the same playing styles and articulations, they are amazing for layering off the North reports with, for example, playing one rhythm on the chill owes and another on violas who, perhaps marking the accents on the basis fast rhythmic breast patterns can really add some flair to your Austin autos. Most often faster breast ports will be rhythmic harmonies and chords. Brass is also amazing for augmenting the accents off the main Austin auto pattern because of the rich and bold sound they have. But they can also be played very fast and rhythmic. In a non Austin Nautile style. However, I personally mainly use fast ostinato breasts broken up in shorter, rhythmic bursts, like adding little spices here and there in the composition. Because brass is so rich in overtones and has that sharp sound which works great for bursts and accents compared to a continues ostinato rhythm. Also, it would be technically impossible for a brass player to play ostinato lines for an extended period of time. Fast reports on woodwinds or very often scare runs or videos or rhythmic spices like with brass. You will probably most often create short reports when playing fast rhythms on woodwinds because the players need to breathe. But you can create ostinato patterns on wood wins. However, since they all more mellow with less overtones, you will probably Onley use them as an extra layer in your overrule ostinato sound palette and also often in harmonies to get a richer sound. I personally rarely used woodwinds for fast Austin autos, if knows, are fine, even eight note triplets. But when you go into 16th notes, I only use them occasionally. I also think Food Windows Donatos sounds way better when they have some harmonic variation and movement compared to a straight repeated note, synthesizers or amazing because you can create any type of sound on them. And every synth has its own character and work flow. So you can pretty much shoes. What ever seen do you want? By designing a short, plucky and pals like sound, you can create amazing ostinato lines on a synthesizer, and you can even use L. Ifo's AARP aviators or gate effects to convert any long, sustained sound into a rhythmic ostinato. I most often create the synth Austin autos with actual notes in the sequencer, because I want to be in control of the articulation off the sound. This is mainly done by shaping the AMP envelope and filter envelope to design how short and plucky each note will be. Congratulations. You have now learned what I consider the main sounds off Austin autos. I really recommend that you practice creating Austin autos, meaning rhythmic patterns with short articulations on all off these instruments or any other instruments for that matter that you can use short note articulations on to create rhythmic Austin autos. 4. Action - Active Listening: now here is a practice activity for you that I call active listening. Go to your favorite music streaming platform, for example, Spotify, or perhaps even YouTube search for music that includes a lot Austin autos, for example. Trailer music, epic music, cinematic music, etcetera. Then listen carefully and pay attention to all the details. You can hear how the Austin orders are played, what rhythms they use. The sounds used, the expression, the layering, this style, etcetera. And, finally, how the Austin totals work together with the rest off the instruments and ports in the composition. So take action now and do an active listening session focusing on music composition that includes Austin autos. 5. Step 1 - Create the Patterns: step one. Create the patterns when creating your ostinato patterns. You can vary a lot of things, but the fundamental aspect often ostinato or one note pitch to note length and three silence. Let's start with pitch. In its most simple form on Austin, auto can basically be a pulsing rhythm on the same note. Here is an example of a simple, straight ostinato pulse. Basically, you can use a range off the pitch variation, often ostinato pattern from a straight line to a jumpy curve. So in this example, I still use straight 16th notes as their rhythm throughout the full pattern. But I use a lot off note pitch variation, as you can see here, almost making a curve out of this ostinato, and it will sound completely different. So let's listen to this. The more pitch variation you add, the more you're ostinato will be tied to your harmonies, melodies, etcetera. You can even make your ostinato double the most important notes off the metal D reef motif and so on. You can also vary the length off each note in the ostinato to create a groove instead of using a straight 16th note pattern, for example, you can make some notes, eighth notes and whatever other note value you want to add. A good use of introducing longer notes is to mark accents in your rhythms, riffs, melodies, etcetera. So in these Austin auto example, I use eight notes here and here. And not only that, I have also added a key switch here to change the articulations. So these are more Cotto's and the rest of the notes or speak. Kutteles. Let's listen to how this sounds. You can also spice up the groove even further by adding, for example, triplet notes. If you want those triplets to really be heard in the mix, you need to also make sure your other instruments in your composition also owner that rhythm in a specific part. I always teach that music is a mix off sound and silence, and a rhythmic ostinato is no different. You can really add interest in the groove and bounds off your Austin autos by adding in some silence into the pattern. For example, on eighth node rest here and there, or perhaps a shorter 16th. No tourist. When you look at any rhythm in music, you should consider the fact that the silence between the sounds form a rhythmic pattern as well, sound and silence, or basically two sides of the same coin when it comes to music and rhythm. So in this example, I have actually used the power off silence to add more rhythmic variation into the ostinato . Instead of having straight 16th notes throughout, I have removed the final 16th note here before the quarter note change here, and I also use simple quarter notes here on the lower base knows. So let's listen to hell, these cells. And here is where you can get really creative with your Austin autos by creating the rhythm off silence in between the notes. So, for example, let's change this note. Teoh, over here, that no two over here, like so on and you will get a completely different ostinato, which sounds like this bonus tip. My best advice is to always consider the rhythm of your ostinato patterns first, and the pictures off the notes. Second, because the very essence of an ostinato is to add energy and drive into your music, which, of course, comes from rhythm, groove and bounds. You can, for example, hum of the rhythm on a single note as you come up with ideas for your ostinato rhythm. Or you can play the ostinato on the root note of the scale you use in your composition, the tonic on your piano or MIDI keyboard. So let's say the key of your song is in G. Well, you can simply start by doing a rhythmic bounce on the G note on your piano keyboard like this. Try to make sure you get the accents and the rid me groove right in that performance, And that could be your starting idea to build your full Austin auto pattern from So Step one is to focus on the rhythmic pattern off your Austin auto parts. 6. Step 2 - Add Amazing Expression: to create music that creates a new emotional impact. You always need to focus on ways to add expression into your parts and performances off your composition. But you cannot really use lots of emotional and expressive articulations and playing techniques on a driving Austin auto. Can you? Well, not really beautiful v brought O's or the Rickel the daughters? No, but here or five fundamental ways to air expression into your Austin auto performances, one dynamics to accents, three harmonies, four articulations and five color dynamics. You can add variation in the intensity and loudness of each note in the Austin Auto Pattern . There are two aspects of this. One is the individual note intensity, meaning that velocity value in media in most cases. And second is the gradual intensity changes, meaning the average dynamic level over time, for example, crescendos and diminuendo. So let's take a look at these two examples. These are the same ostinato lines, but as you can see from the color here, the first example has no velocity. Differences between the notes and the second has the accents here, but also the different tints of green, as you can see, which is lots of variation in the dynamic level, and this will make it mawr expressive. So let's take a listen before without I bet you accents where you choose to plays. Your accent's inside. Your ostinato will create kind off the rhythm inside the rhythm and creative use of accents will make your ostinato feel more expressive and interesting. A tip is to always consider the main accents in your overall composition when you add your accents into your Austin autos. So if we take a look at this example now you can see the accents are clearly marked here in higher velocity, as you can see from the colors off these notes, and I have also chosen to mark the accents more clearly by doubling the accents in the octaves here. I've done this on this instrument, but you can also see that I've doubled them on other strings, accents and breast accents down here, which are the same as these notes here and octave below. So if we take a listen to everything together now, the main ostinato, including the accents and let's take a look at these at the same time, take a listen right now harmonies the great thing about Horman is in music is that you can go from zero 22 part harmony to courts any time you like. So let's say you have a model for Nick Austin or deport, meaning one note as a time. Well, one way to add expression to that port is to choose some notes in the rhythm and add a harmony to them. Not only that, but you can change what kind of harmony used throughout the ostinato. So if we take a listen to this ostinato line here without adding any hormone it to spice it up, we still have the accents. We have the variation in the velocity, so it sounds pretty good, however, weaken spiced up further and expression from harmonies. And I've already done that, so I will just bring it forward again. And as you can see, I have chosen to add the harmonies on the accents, which can be a good way to actually make them thicker. And Maurin focus. And what kind of harmonies is up to you? You can see what I have chosen right here, and it sounds like this now pretty good, right? You can also do this with another instrument. So let's to go back to the main ostinato line and shake what I've done here on these instrument I've ever actually played the courts here, and I added a couple of more ones instead of using the these instruments for the Harmonists . So if we listen to them layered like this with the harmonies on this instrument, I can bring them forward so we can see both. Right now, it sounds like this articulations A great way to add variation and expression is to change the short note articulation during your ostinato pattern, meaning the playing technique used on the specific notes. For example, changing between speak Otto Staccato and Mark Otto on. There are also plenty of other articulation techniques you can use, especially if you consider other instruments than orchestral strings, as I used in my examples. So if we take a look at this particular instrumental sample Ivory I used for this ostinato line here you can see that I can change between staccato Mark Otto and also between stock A T seem a form of staccato and staccato stock. Autism is way shorter, by the way. So the main articulation I used throughout this pattern is stuck a tous Imo But you can see here I have modulated with the modulation Well, to go up here, which means it will go into stuck out to actually. So if you take a look when When this comes in, check this. Ah, A short burst of stock at hours of this notice actually played as is stuck out Oh, which is slightly longer than stuck a tizzy more. And for these accents here I have actually used keys which, as you can see here, que switching from, um, Mark Otto, which is a longer accented note Ah, back to stuck out of here and you can see change rapidly if you check here. Of course, you can clearly hear the difference, especially if I play these Both examples This one I do's no modulation and gnocchi switching to change articulations. So listen to the difference that this will be all. Speak out right now. Cooler By using creative layering off instruments in your Austin auto parts, you can basically create an overall sound color that changes over time. For example, let's say you have short articulations strings as your main off the not a port, then you can add cooler expression by using a wood wings layer on Onley, some notes or with a completely different rhythm. And perhaps you add 1/3 layer, which is played by short notes on breasts, where you mainly focus on the accents, basically painting your coolers creatively on your overall Austin auto canvas. So let's take a listen to the difference first, the main ostinato with only the strings here. I could, of course, double that up with another strings patch. But using expression with cooler is a great way. So if we add these woodwinds here with short stack after notice, sounds like race on Ive also added these breasts accents right here on. And of course, you can continue to fill up the canvas with different colors to paint your overall Austin auto performance. And once you have filled up the entire canvas, let's say with strings here for the main ostinato, doubling it up on another string patch, adding some harmony lines here with violence, that is, um, quarters, you know, toe some accents and strings brass and even spicing it up with woodwinds. I will bring up this now so you can see everything and it sells like this. So Step two is to focus on adding expression into your Austin auto performances 7. Step 3 - Power Up with Layering: veering is my favorite way to add power depth and creating reacher sounding music. It works in all parts of music creation, from composition to sound design to production. Very ring is essential. There are, of course, many ways to use raring, but I will now share my own personal five top guidelines on layering to create powerful Austin autos in your music. One layer in unison and octaves. Two. Harmonic layering. Three. Rhythmic the layering four left right they ring and five they bring with percussion. They were in unison and octaves. When layering different instruments to create your full ostinato performance, you can make the layered instruments play in unison or even in octaves. This is the easiest form of layering, since it is basically copay paste and then transposing in octaves or leaving the duplicated port in unison. Layering with unison and octaves will create a more focused and powerful sound. So first, here we have the main ostinato played by this sample library cinematic strengths, and I've already programmed, as you have seen, the key switches for articulations and the velocity information and so on. And then I have doubled it with another instrument which will only play speak cattles. So actually you will hear variation in the tone color because these changes with the articulation this will not. And individual. It sounds like this on together with this layered in unison and with a slightly lower volume, we can still hear it fattening up the total sound. And if I even moved this, I can actually go here and transpose it. List they have. Transport is is down an octave, so individually the layer will sounds like this right so together. Now they will sound like this, since it is the same ostinato line that is doubled and also layered in octaves. It will get more bite and clarity for each note. As you can hear harmonic layering, you can make your layered instruments play harmonies instead of simple unison and octaves, and you can also vary what harmonic intervals you use and even which notes in the pattern you layer with the harmony. Note. Layering with harmonies will create a much richer and deeper overall sound in your Austin autos, especially if you don't layer every note in the main ostinato pattern with your harmonies. But on Lee, the nodes you choose from a creative standpoint. So here again we have the main ostinato, right. But to layer it with the harmony you can either later with harmony line meaning in Mali. Fornek line a two part harmony or even chords. So let's check what I've done here on violence. I have made another ostinato type pattern. Ah, and made it more for Nick, as you can see. And it's playing different notes than the main ostinato, basically creating a harmony on top of this. So individually, the main pattern sounds like this compared that to when I layer this harmony line on top, Uh, or you can even go as far as layering quartz rhythmic court ostinato pattern like this one , which sounds like this on its own, on so on and together with in Maine, ostinato, even while seeking end up with the other harmonic line. And together you get so lots more complex and rich total ostinato by using harmony layers. Rhythmic layering when adding more instruments as layers to your Austin auto performances. You can also vary the rhythms between them instead of simply layering the same patterns. For example, let's say your main ostinato plays a straight 16th note pattern, Then you might add two layers on different instruments, doing a creative eighth noted rhythm. So let's take a listen to the main Lost a load line, which is a straight 16. No pattern. But I have included the accents and some dynamic variation. As you can see, it sounds like this, right? Pretty good, but still very simple. So then I added a double rhythm layered with eighth notes, and I added the accents here, as you can see and together it sounds like this now. Oh, by the way, this is, of course, an Octavo. Where to Really thinking enough. Aziz. Well, And then finally, I added another rhythm here with 16th knows. But I left a gap here in the final 16th note before the quarter note, so it creates this pattern on its own. As you can hear, I also use the power of harmony, meaning I created a harmony. This which isn't layer on top off the main. What is it? G note here. So all in all with this kind of layering with rhythmic wearing, it sounds like this lift right there. Ring using the stereo stage when layering is extremely powerful for rhythmic driving parts like Austin autos. I often use a high degree off separation in the stereo field, sometimes even full left and right panning, especially on parts layering in unison. Just be sure to balance the overall sound off the complete Austin auto performance so that it is not tilting towards the left. All right, so in this example, I have actually panned the strings accents to the far left and the breast accents to the fall. Right. But first, let me put them back to the middle so you can hear the difference. I will make them stronger. As you can clearly hear these accidents come out. Ah, so on its own in the middle, it sounds like this. But when you have similar Austin orders like these, meaning they play exactly the same rhythm, the same notes Ah, they are layered with each other and also in the same auction. It makes sense because they both have the same rhythm and the same amount of energy. Now you can use the power of left right layering. So when I use this to the fore left this want to the fall, right, it is basically similar to when you record a doubled fact guitar or double tracked vocals and pan one version to the four left another to the four. Right now it sounds deeper and more powerful with a wider stereo stage. Listen to the difference, right? So you lose a bit of clarity since you lose the middle information. However, in full context, you will clearly here that you have received a virus serious stage, which makes the fool ostinato richer and more powerful. Of course, this is only my creative choice. It could if you want to keep those in the middle, but I just want to show you that you can use the power of left right layering Teoh. Add a wider and bigger stereo stage in your mix. However, I would like to point out that panning orchestral instruments like I just did Here is not very common because they are already recorded on a stereo stage with the natural stereo mix in the recording. So what I did is, ah, a bit unnatural. You could say, however, you as a composer like I have the creative, artistic freedom to do whatever we want. So if you want to pan orchestral instruments and use left right, layering like I just did. Please go ahead and try it out, layering with the percussion Now one of the most important things with layering is to respect the rhythms, and by that I mean all rhythms inside your composition on the most important relationship in rhythm will be between your percussion mix and your ostinato makes, for example, checking your main accents on the percussion and using the same accents in your Austin autos. So let me demonstrate this by first playing the main Austin outline by its own. Now the percussion, which I have created on one single fact and listen to the main beach on rhythm here, right and together. You can hear that they play well together because they respect the main rhythm I have created, right and ah total. And with the fool ostinato mix and the percussion, it will sound like this. So Step three will be to focus on layering and blending instruments and parts to create a more powerful overall performance 8. The Styles of Ostinatos: Austin Autos come in many shapes, styles and forms, and you can design your own style of Austin autos by, for example, using variation in the note patterns, note lengths, timing, groove speed, articulations, dynamics and many other things. I will now show you live examples off different styles off Austin autos. And, of course, as a composer, you can mix and blend and jump and shift between any off these styles to shape your overall Austin out of performances Here are the fundamental styles off Austin autos I will show you now one straight ostinato too bouncy ostinato, three harmonic ostinato and four Melo Dick ostinato. All right, let's dive right in and check out these Austin auto styles right now. 9. How to write Straight Ostinatos: in this video, I will explain and show live examples of what I call the straight ostinato style, which is the most simple and most persistent type of Austin auto. And this is also the easiest to use because you can basically use this against any other type of rhythm, since this is a redid straight rhythm that goes well with any type of rhythm. So let's say you have a 44 track. Well, you can do a straight ostinato like this 12341 Obviously, that is very, very simple. So I say we use eight notes one and two and three and four, and and you can, of course, choose where you add those accents. But in the most simple form, it will be like this one and two and three and four and one anti Manti and four rent one and so one or spice it up, perhaps, ah, with harmonic notes but still keeping that straight drive that is still a straight ostinato . So let me show you this. So it's more clear for you if we go into these live examples here. So the 1st 1 let's be solo that and go into the piano roll Looks like this. And you can clearly see how straight these arrhythmias we have. The half note here and here. You have quarter notes. Here we have. Ah, 16th knows that seems to keep on it. Sounds like this. Very simple, but very effective. So this could be your main starting point when you try to practice creating Austin autos basically at the fastest rhythm on the in the higher register and then add the accidents in the lower register like this. All right, so let's move on to the second example Over here. Let's go into the piano. Roll on. Let's check out what we have here. So here we have these notes, which are basically marking the accents on the boar change. And then you have court notes here and here you have a straight 16th note and up on top, we actually have a little harmonic rhythm, which seems like a straight eighth notes pattern, and you can see here harmony on top of that line. So let's start, in fact, by removing these notes first just to see what the straight line sounds like, very, very repetitive. So let's bring back those notes. And you can actually see that these ads some harmonic context, but it's still very straight Austin. Or do the full bore notes here the court in OCR 16th and the eighth note pattern without any change in that rhythm. So it sounds like this, right? So let's check out the final third example off a straight ostinato style. So let's go over here into the funeral and check out what we have here so you can see the quarter note pattern on the base simply a straight pattern without any rhythmic changes. Eighth notes. Here here we have quarter notes again doubling the bass and up here we have 16 notes with some harmonic context. So let's see what this sounds like. All right, so now you have learned what straight ostinato styles or and also go to live examples off different very agents off them. So go ahead and practice creating your own straight Austin autos 10. How to write Bouncy Ostinatos: In this video, I will show you how to write bouncy Austin autos, as I call them, which compared to straight Austin autos, which are a redid rhythmic pattern that really doesn't change like one and 23 in Poland. 19 Teoh reimport compared to a bouncy ostinato where you really bounced around with with rhythmic variation in the pulse. So, for example, instead of straight eight notes you can do add a pause in between or spices up with, for example, triplet notes or change the note value altogether like this. Let's say we start on C. Uh, well, perhaps something like this, or adding even more pauses in between in the rhythmic pattern to spice it up further. So let's go into the D. A. W now, and I will show you three different examples off a bouncy ostinato. Let's start with this one. Go into the piano roll and check out what we have here so you can see that it's not a straight 16th note pattern. Up here, you can see the pores is in between the changing off the rhythmic pattern, which creates create that bouncy feel. Ah, and it's also present here in the lower ranges, as you can see, and it's not even here on the quarter notes or the half bar, it's an eighth note before here really create that That balance, it feels so let's take a listen to this. So while tip I have for you if you think this is kind of difficult to record directly with your MIDI keyboard, is to start with Onley the Lobe reports, which doesn't usually play as many notes as the higher register. So if I knew thes notes, this is basically the main groove, the main bouncy everything. Then you could basically take these notes and making copying it in octave above and then start Teoh, add like copy notes and add more notes into the higher register. Or even if we undo that record this in two stages, basically layering up the performance in one single media part. All right, so let's move on to the second example which we have here on. Let's check out what we have so we can see the local register. It starts with half board here, have poor, so it's straight, but then it changes. The rhythm here have poor again and changes again creates the groove in the lower register . Ah, let's see, in the middle register, it looks like one and two and three. And yeah, here we have on on me. But the here is and four and this is in between 16th note and it's not. Ah, totally eighth notes here. And you have even more variation in the higher register residency thought with eight notes , then 16th. Um, basically changing between eighth and 16th notes here. And so let's see what they sounds all together now cools. You really heard especial here in this little spice up port here. A little transition, basically, and also a rhythmic changing the end. Listen again, rights. Let's continue to the final and third example which we have here and let's see three. Let's see, here we have looks or variation. This is actually the most variation in the grooves that this will sound really bouncy. You can see it down here. We start with double eighth notes here, coming out at the half bore lie and double eighth notes and then changes again. Lots ovaries in here in the middle of swell starts with 4/16 notes, goes to eight notes for a while, and then 16th c, um, and in the high register, start here with the paws coming out with in with eighth notes. So let's check out how this all sounds together and again to really feel the groove here. I'm going to mute the middle and highest register so you can only listen to the lower part . Rips that one, too. Listen carefully for the bounds in the rhythm. Congratulations. You have now learned how to write what I call a bouncy ostinato, which is all about changing up the rhythmic patterns. So go ahead and practice this in action right now. Create your own bouncy ostinato patterns. 11. How to write Harmonic Ostinatos: Now in this video, I'm going to show and explain to you how to write harmonic Austin autos, meaning off course ostinato patterns that focus mainly on the harmony of your composition. So your chord progression basically all right, So let's say you're cool. Progression goes something like this from That's a G minor two D major say to see Major and then perhaps g major. So let me play this, but with a hormone IQ ostinato style. So instead of having a simple piano, I will use short string gesticulations and stuck out of piano, layered so it could solve something like this thing. Same courts. But with that Austin auto pals in the pattern and this example, I played as book cords in a rhythmic fashion, meeting the full chord as one. But it could, for example, play this chord progression as kind of on or paid you type rhythm in the hormone Nicholson lto or break it up into harmonies, we within the chord. So if you have a three note chord like there, you could play, for example, something like these two notes and then these two or something like that so you could basically blend mix and switch between the pool block court playing one note at the time throughout the court on Harmony's within the Court. So you make your own creative mix between each, because the main focus is still to focus on the harmonic progression, meaning the cords in your track. Like so. All right, so let's check out some practical examples here of harmonic ostinato. So let's check out the first example here on. If we look here in the piano roll, you can see that we have look cords here in there with rhythmic fashion and two part harmonies up here in the higher range and octaves in the lower range. So let's see how they sounds like Great. So let me also mute these higher range groups so you can hear or see that one, um, you those notes and butte, the lower octaves swells against really here all the the book courts here in the rhythmic fashion. Let's play it once again, because what I really want you to learn is you don't have to play all these parts in the same recording. In fact, I think this would be pretty impossible to play on the piano. Ah, but you can actually separate the recordings by range. So let's say you first record these court looks in a Boston out of fashion, Then whatever you want to add, on top by added to port hormone is here. And I always use the low range for the accents and the main notes really for the groove. So let's move on to the second example of a harmonic style off the Notre Um, it would shake the piano roll. You can see that it's very similar in style. I have recorded court looks in a rhythm, cash in here in the middle range on dumb, actually added harmonies as individuals here, um, basically bouncing around on two part harmony for the high range and octaves again in the low range included some kind of walking bass theoretic and see between the scored on record in the next bar. So let's listen to how this sounds awesome. So let's look at the final third example also off a harmonic ostinato moved into the piano roll editor, and here we can see I have octaves here, but I actually included some notes as you can see the higher octaves or extra competitive lower Oakdale. And what's mostly different here is that I do not play cooled blocks in a ostinato fashion , but rather one note at a time. Basically kind of or pidio style. Austin 02 but still bouncing on Thanks, notes. So it's not really full or PDO, since I have one main note in focus. All right, so let's listen to how this hormone Nicholson Auto Sounds. Congratulations. You have now learned how to write Harmonic Austin autos. Basically, it's all about focusing on, but your actual cooled progressions are, and the chord changes and optimize your ostinato ports. Teoh really follow every chord, either in a book cord, fashion or patio style or in a harmonic style meaning to notes at the time, Theo or something like that. So go ahead and practice, creating your own hora. Monix style. Austin Autos 12. How to write Melodic Ostinatos: Now in this video, I'm going to show and explain how we can write what I call Melo Dick Austin autos. And this is Austin autos that really have some kind off Melo dick aspect to it s O, for example, if you only play one note at a time with the ostinato, the horrific pattern really changes peach a lot and creates a motif or melody on its own. So, for example, which, of course, doesn't really sound like in Austin auto on its own. But together with all the other rhythmic aspects off these fools in order performance, it will really come through. So, for example, you can play something like this. Basically, you can think off a mellow dick Ostinato style as kind off embedding a melody within the Fool Austin auto performance. And you will understand this better if I go here into the practical examples. And for this version, I have actually separated the Austin Alter ports in several different instruments, as you can see here. So I have to select all of them. But basically I think the main melodic part of the ostinato is appear on this track here, which sounds like Let's see if we can shake it in the funeral like this. See? Do we have it? No, I will never need that one. So it sounds like this. That is the rhythmic, melodic part off the Austin auto that is embedded in the food ostinato, which consists of more like these courts here and hormone e notes in block fashion. See how that sounds. I can see that I actually invented this as a layer the middle here on the top part. If I just mute that highest port here, you can still hear the chord progression. So as you can hear, that is more rhythmic blocks of courts. And I layered the melodic Portis. Well, let's see. I also added the accents off the Austin Auto in this track. Let's see other cells so tepid a bedpan, pep. So you can see that it is more sports. But I still have the main accents there. I did this also on breasts, which is basically a double in unison off these strings accents. And all in all, if we solo everything and check the funeral for all of this could see it looks kind of complex, But this is really the same melody part with an octave apart as well as the accidents in the baseboard here. So let's see how it all sounds together now. So once again, remember that Austin autos if you really want him to cap through and have more power and energy in your makes, it's all about Vega Ring. So he have the melodious, laid in oak taste. You can see the courts in the middle of the base notes here, the low octaves and it all really comes through, especially if you see the accents or in the base in the course. Add the melody. That's how you really make sure your main accents come through in the mix. So let's move on to this second example, which we have here and again. It looks like I have recorded the melodic part of those Noto up Here s oh, by the way, the reason I call these Milord Egleston alters only so when it sounds like a melody. But it is played on short note articulations, I think, speak out of strings, so there's no regard Gov brought or like expressive types of articulations in the melody. So basically it is a rhythmic style, Milady on It plays on top of all the other rhythmic elements, such as these quarters here. And as you can see again, I have layered melody inside this track to make it really come forward in the mix. So let's listen to how that sounds only sewn on. As always, I like to include accents on dedicated tracks like I've done here and basically always in octaves, as you can see actually straight quarter note beat there. So all in all this second example, if I open up the piano roll, you can see everything sounds like this. And now, for the third and final example off a melodic ostinato, I have this and let's check the mellow dick part of it first, as always. So, by the way it tip is if you use this technique to create a melodic or a melody inside the ostinato, I would, of course, recommend for added expression to make a riel melodic instrument. Instruments such as solo strings and other so basement we're even vocals have the expression, the emotional part off the Milady, such as the legal to transitions and other articulations, the broad toe and so on. So Let's listen to how these other track sounds. These or the court books playing a rhythmical stone like this. Let's say we're always, um, here. So it sounds like this on its own on. Once again, I have included a layer off the melody inside this rhythmic or look here and added it here , which is an octave below the's. Violins up here on you can see the accidents in the base here creating the groove basically . So all in all this third example, I would check the general with everything included. Sounds like the lists. Congratulations. You have now learned how to write what I call Melo Dick Austin autos, meaning full lost in order performances with an embedded melody within it that has a rhythmic style. For example, one famous soundtrack has this kind of Austin auto melody type rhythm, and I believe you will really here which movie this is from. So go ahead and practice, creating your own Melo Dick Austin Auto parts now basically embedding a melody reef and motif inside the complete Austin auto performance 13. Action - Practice & Learn: Now it is time for you to take action. Open up your DW or sit by your piano and practice playing Austin autos in different styles , mood and character. You can start by playing a simple straight ostinato on a single note, then start to introduce the other main aspect. It can vary. Note, pitch, note, length, rhythm, harmony, silence and so on. I think you will find this exercise both fun and creative, because the number of ways you can play an Austin auto pattern is almost endless. So go ahead and practice playing different Austin auto styles on your piano or many keyboard right now. 14. Ostinatos vs The Colors of Music: music is a mix of three main colors. Viven, harmony and melody. And, of course, your Austin auto parts must consider all three colors for the rest off the instruments and performances in your composition. As a composer, it is your creative vision that will guide your choices when it comes to how much your Austin autos should follow each of these three colors in your room composition. I will now show you and do a breakdown off three live examples where I had composed my Austin autos to focus on one ostinato versus the rhythms to Austin Auto versus the harmonies and three Austin Auto versus the melodies. But before I show you these examples, I want to point out that is always a unique blend of colors that you will create for the Austin autos. In every piece of your music, you compose on it even shifts over time in the same composition. These examples are just to demonstrate the three types of colors you can focus on when writing your Austin autos in a way to complement the rest of your music composition. All right, let's dive right into the practical examples now 15. Live Action 1 - Ostinato vs Rhythm: So this first live example, which I call ostinato versus rhythm, means that the overrule ostinato style will focus mainly on the rhythmic aspect off the track compared to harmonies and melodies. So let's listen through the ostinato drive, which I call it here. This is all ostinato parts on its own. First, and I will play the full track, including the Austin autos. You can hear the rhythmic drive, it really adds, And then I will break down what I have done here. So this is how the ostinato sounds on its own. And let's listen next to the full track, including the ostinato. Sounds like this. So first, what do I mean by Austin autos focusing on rhythm? Well, basically, that the main aspect off the Austin auto is the rhythmic pattern without very much harmonic information or a melodic reef type pattern. So, for example, if I play something on the same note in octaves like this, Onley changing the rhythm that is a non ostinato mainly focused on rhythm and again it will always be a mix. If I include even one other note, that is a couple of percent, perhaps harmonic focus, but still, I would say it is a rhythmic ostinato, mainly also notice off or, of course, rhythmic. But I mean it is the most persistent type of ostinato compared to if I play a chord, that is more a harmonic focus. So let's see what I've done here. Ah, the main Austin Auto, I think, is this one. Which is, if we go into this, you can see it is on a single no tear and then some spice in between. On I have double that with this string port as well. Let's see how it sounds together. Some more bite. Does he come here then, regardless off the type of ostinato. If it focuses on freedom, harmony or melody, I always make sure to create the accents. The main accents, as you can see, are here on. Of course, I have increased the velocity to mark those accidents on this particular track, but I also doublet up with layers here, accents on breast. As you can see, it's on Lee these notes here, which on its own sounds like this and that will really make the access more powerful. I even added another one, which I added some mawr driving to Actually, if we listen to that sounds ah, like that and to get her it all sounds like this. Now, with the accents, you can see these sports. If I remove those accents again, you will hear a clear difference way get you here. I've included small little feel bit, which is good before transition here and then the violas and violins as individual instruments comes in. And let's see what I play here on the viola. It actually AZM or interest and spices up the so four mainly rhythmic focus. So it sounds like this on his own. What's Ah like this? So some harmonic variation there and also this violin port here and I would see what that was. I think it's doubling up, basically, as you can see here also, yes, some harmony notes as well. Now it sounds exactly the same as viola, an octave higher, which is a good practice for layering. At least start trying to layering in unison or in octaves that you can vary the harmonies and some notes, or if you want him or harmonic focusing, Of course, do it in complete harmony and also this track here, which is simply some spicing up off woodwinds on a staccato. Where do we have it right here? Quite sports, as you can see, just at some, because woodwinds, I tend to think, sounds pretty bad on faster Austin all reports they don't have the same harmonic rich overtones and so on. It's too simple of a sound to sound good as and also not on his own. So now all in all that port sounds like this, I exclude these extra violas, violence and wins. And here the difference I will write. You can hear it is all about as almost a no toes. If you want to be really powerful and driving and have those accents clearly marked, it's all about layering and really taking your time to create the accents. Inside the piano roll editor. They bring with other instruments, adding spices and, ah, filling up the pallet, so to speak. Now you have already learned that in music, all tracks in your composition should dance the same dance together. So for rhythm, this means, let's see, if we compare, let's say this ostinato here or these two. You feel the rhythmic groove with the accents and the rhythmic pattern there. Well, let's take a look how that Inter plays with another track that has rhythm in this composition, these electric bass and that sub base here which if we go into this, you can see that tan, tan, tan, tan, tan 10 You can already hear from my humming that it is the same type of groove, right? So not the complete exact same Ah pattern, but the same feel in the groove. So it's not a duplicate. Er did not copy pace and simply lowered the octaves. How will her They will play perfectly together. Rest you can hear if I sold these just removed us. You can still hear the base with a so you can hear from that And also it even more importantly, perhaps, is the percussion, the percussion and the Austin autos will have to play well together. And you can old receipt here If I go into this, the accidents dumped on down on the deep titles. There goes well with the brass accents that can see here by solo only the title section, which includes some high drive. But even here you can see the, um, accents. And on this Tyco here is. Well, I added some couple in between. So this is the actions. But this isn't it feeling old in between. So together these will sound like this, right? You hear it instantly. And if if I had the main Austin orderlies ALS those accidents were also present on the Tyco's here. And even if I check the she matter, which is a chambering track, which, of course has many, many notes hopes, Let's see if I consume in here. But if I check, I at least make sure that the accents or here so those notes are played, that they're there and so on. Ah, not as important all the high percussion. You can have some single patient in there, but all in all, you will really heal it. Here it come forward in the mix when the rhythm they dance the same dance together. The ostinato is the percussion driving baselines. If you have some pulsing synthesizer or whatever you add in your composition, so again, listen down like that. So these live example was Austin autos, mainly focusing on rhythm. But as you heard, there were some harmonic part, of course, and some spices, and it was not complete a same note pattern. So But still, I would say if we listen to these this note, uh s so I would say it starts with the round. Let's say 70% rhythmic focus, and that's a 25% harmony. Focus in 5% Melo Dick. Focus on. Then it. When we continue here starts to introduce more harm. Harmonic focus into the mix. But still, I would say mainly rhythmic focus, perhaps 50% Britain Focus. Well, let's say 30% hormone e focus and 20% melodic focus. If you listen to this well, you get what I mean. The thing is that all Austin autos and all music is always a mix between rhythm, harmony and melody. This first live example you heard, I would say, is mainly focusing on the rhythm. 16. Live Action 2 - Ostinato vs Harmony: now in this life example, I will play this composition here where the ostinato pores or mainly focusing on the harmony off the music. So I will start by playing the courts here on strings, the court progression standard loans. You will hear the harmonic context off this music story. All right, so that was the chord progression off this piece played on warm, long, sustained strings. So that will be the focus for these Austin auto parts. Because in this example, I've wanted the full ostinato performance to have its main focus on the harmony on DA. If we check here on the main ostinato pattern, which is this strings short one. If I go into the piano roll editor, assuming you will see that you have chords playing here every now and then it plays at blocks and then it plays harmony lines and jumping around on the court notes and well, if I play this solely, will hear the core progression very clearly thing, Theo. Right, So Ah, a lot more complex than a simple, rhythmic, focused ostinato. I double it up with winds here would wins too. Basically Kohler, the full ostinato a bit more. I If I play this together with the core professional strings, you will hear how well they play together because they follow very much the core progression the courts basically or pages in between. And you get this on. So that is the main focus to create the harmonic aspect. Then I also included some spice ice I always like to do. Ah, which is this next string pattern here. If we take a look inside it, you will see. Oh, let's see. We have this Su main here. You will see more, um, not called blocks as you can see the notes or stand alone here, but they run around on the cords like the main ostinato patent without the court book. So it sounds like this again. It goes very well with the corporation. Eso you can hear again that this is very much harmonic in its focus. It's really onerous the course instead of, for example, bouncing on the root note off the court until the court change. All right, so the next one I included is this Via Were here in this part will see what that is about us. A bit more sports when I when you spice up any ostinato or anything in music when you want to add some spice and detail, consider adding a sports performance like this one here. So ah, let's see what that sounds like together with the old all the main Austin autos and the corporation. Just add some flared there in the higher register. And then finally, of course, I I'll really like augmenting the accents with separate tracks. If we go into the short strings, you will see that there are actually accents. This is slightly higher than this, for example, so ah, immoral. The accent is much more clearly with these instruments. Ah, stabs on breasts here. Let's see. It's only so low these What's I think that is? What's the strings plus stock outdoor breasts? Ah, this is basically stack off stabs, um, together with and you will see that's on Lee. The main axe and step. Dump them. If I play this together with the percussion, you will hear the the titles, especially here, the Tyco's and the steps. You will hear the main accents being very clear now, plus the accessible brass where I included some or else in between. So, um, well, see, I actually think I will change these. I see. I haven't included that data data here and here. Let's go ahead and moving. Where do you have that? It's right there. And I see it seems to be on just before the quarter note. Is it? So it's on the eighth note there. Let's see how it sounds. If I just that on the quarter note, Um, I right here now, no, like so, Like so And I can do it again over here. I think like so Right that to the quarter notes. So we have the double accents, their away. Right. So, um, those accents really help in bringing out the power off the ostinato. Now, if you listen to the complete ostinato performance without the rest of the track, it sounds like this. So you really hear the harmonies and the core progression in in there. Which is why I will would say that these Austin auto performance in this composition is mainly focused on the harmony over the track now. Ah, especially if you listen to, um, the percussion. I always say when you ride Austin alter ports, sold them with your percussion and really make sure that they play Ah, well together. Basically they dance the same dance as I like to say so I have also the percussion on Lee and the driver here was just the ostinato patterns. Let's listen to how they sell them together. Yeah, they really it make those s accents come true. Ah, come through in the mixed when they are layered like this. So you get the same accents in the percussion as you get in the Austin autos. Right? So ah, let's listen to the complete performance, including base shallows, some symbols here, the strings and all the Austin autos. Nice. So the way you go about making harmonic ostinato is like this is if I go back to the main ostinato pattern that when I started with, which is this is basically ah, the same, the books or the same notes as the courts. See those? Why don't I hear anything? Am I on the right track here? These notes three knows all the same. So, uh, they should be Jean Byner, as you can see here, and we have G minor playing here on the other notes in between, or jumping around on the Cornell's here is the Harmony double, um, here. So basically, it's a mix between court blocks in a rhythmic fashion, like strumming a detour and ah, basically jumping around in almost in our pidio style on the court notes, so you can actually start out with the courts. One way to do this. If you don't like to record on your midi keyboard or writing in note by note, you can start with the core progression, copy it to the short strings track like this, and then simply and reduced these notes to, let's say, 16th notes, and then start to copy them around in a new pattern. As you wish so, to create an ostinato performance that has the main focus on the harmony off the composition, you can sort by playing the chords on adding a rhythmic pattern into it. So instead of playing long sustained notes, you'd use a short articulation. For example, on strings like this. It was a G Maynor minor court, and then you can change court when you're cool. Progression actually changes course, of course, right so and I also recommend actually to really, if you play recordings on your medic e board all with the manually writing in the notes, try Teoh Air the accent straight away in the main Western art apart on, I often use the accents on the base here in octaves on also, of course, playing to be told her on the excess, the accents so you can also spice it up with or page geo style almost in the ostinato wishes, of course, jumping around on the court notes instead of on you can do it makes in between on, of course, this is only one port. Then it comes Teoh actually laying with other torso. For example, one ostinato pattern, one also support among all your layers could be the courts almost like strumming on the tour, and another could play basically in arpeggio or, for example, only to new Tor Marie like this, jumping around like so you have lots of options to choose from, but as long as you focus on the underlying chord progression, all right, so that was an ostinato performance, focusing on the harmony aspect of the composition. So I recommend that you practice this by first creating the corporation on piano strings or whatever and then creating the Austin Auto Lines to really follow the harmonic progression 17. Live Action 3 - Ostinato vs Melody: Now, in this live example, I will play this short composition where the Austin or reports are focusing mainly on the melody off the composition. So compared to the first example where it was mainly about rhythm beating on with next example where the Austin autos were focusing mainly only harmony. So this time it's about Melody, something that will keep the listeners attention and focus. So I will play a famous example of this right now on my keyboard and it goes like this on. I'm sure you know what movie soundtrack that composition is from. So that, as you can hear, is focusing on a milady inside the Austin Auto. But Antara, Taran, Taran, Taran Teradata data, and it's still very rhythmic. So I would say it's still a type of Austin Auto X, especially when you listen to allow the ports together. So how can you do this? Well, instead of focusing on the rhythm on one note, for example, way or harmony, you focus on creating a rhythmic kind of reef like melody Theo. So basically, I could say you can think of these as starting with a rhythmic melody and then paint all the other rhythms around it to complete the full ostinato, which I would say is a melodic ostinato. So let's listen to what I have done here in this composition on Lee. Let's start with the Ah Main Melo Dickie Austin author pattern thing. I have doublet with violence here. I think basically, that is what I started with. Recorded it this manually on my mini keyboard. And then I doubled it up with this layer an octave above to really make the metal be clearly heard in the mix. Then I added a counter ridden, which is this one here? It's not done that that that that that that, uh, it's a bit more sports, as I like to keep counter rhythms, counter melodies and extra spies in the the rule makes. Let's see, I think this is a doubled on this as well, by all of us know, it's actually another. Another country with them so temporary I have dialed down the melodic and harmonic poor. So it's more rhythmic here. Well, a bit harmonic, but not as melodic as the main. So together they all sound like this now. Oh, but that was not enough for me. I wanted despise it up further with colors. I added these winds here, as you can see, very soft and mellow. But it adds some colder too. But see these second string port here? No. Ah, this one. But I could increase devoted me if I wanted to in fact here. And then finally I added these extent some brass which orange really accent sized, simply doubled up the main melody because I really wanted to come forward in the mix. So if I listen to this and solo So if I remove that and all, they listen to the fullest in auto reports here without those breasts, I wanted it to have a bit more fat in the main milady Costin Auto. So I double it up, let's play and I will. Um you do this. You hear that? It comes forward even more as a one. No, it's very important. Still to dance the same dance and you can hear it if I play the cool progression here on. I actually included. Ah, big more variation here with full bore court here. A Let's see, I change. The court here at in the middle of board went to seven and so one. So if you listen to this together with Austin autos No, just do the main one. For Lucy. It's this one a second here it follows the harmony, but still it's very melodic in its focus. And I have, ah, the base sports here which, of course, ah also dances the same dance So you can actually listen to this room this shallow Just the electric bass into sub Can you hear the rhythm? Listen, if you think back on the main milady costing also. Tom. Papa, Papa! Papa that But the potato data. It's the exact same rhythm, of course. This place the root note throughout here on the base But again dance the same dance and then we have the percussion. Listen to the rhythm on this. So ah, not every note in the melody about the main accents downtown downtown. Tendered ticket 10 10 10 and so one. So together the food composition sounds like this. All right, so that was my life example of what I call Melo dick ostinato, meaning a complete ostinato performance that focus mainly on the melodic aspect off the composition. So my tip for you is when you write these types of Austin autos start with a milord IQ rhythm and then continue to fill up the full canvas off. Ostinato pours, for example, something like this. All right, so go ahead and practice writing. Melo Dick Austin Autos Right now, start with rhythmic melodies and then fill up with the rest off the real Austin orders. Because what I just played is no technically called in Austin auto on its own, but in context off the entire ostinato performance like this, it turns out into what I call a mellow Dick Austin Oughta or in Austin auto performance, focusing on the middle Arctic aspect over the composition. Then, finally, I would also add a real melodic instrument on top of this to play all the ornaments and expressive ports into the melody, for example, solo strings, another solo instrument or even vocals. Whatever you want to perform the lead melody on where you can addle the important expressions such as ornaments, vibe, rato, they go to transitions and all that really expressive and emotional stuff into the melody. Compared to this rhythmic melody, which basically is more like in Austin Auto, good luck and have fun with Melo Dick most in L toes 18. Congratulations + Your Final Project: congratulations. You have now learned how to create powerful and driving or sin autos for your music compositions. The fundamentals, this styles and techniques, the instruments and sounds and lots of practical tips and examples become a master off driving Austin autos. I always say that the best way to master any field in life is learning. By doing so, I recommend that you take action right now and practise an experiment with everything you have learned and create your own. Austin autos Here is your final project to get you started. Create a music composition in your DW that is at least 16 bars long and includes enough instruments to have a complete and full sound. And then add Austin NOTA ports to add energy drive and rhythm to the composition. Use your creative power as a composer. To design this style. Austin autos shaped the sound color palette, Add expression and so on until you're happy with the final sound. Good luck and have fun with powerful driving. Austin Auto readers. My name is Mike, and I wish you great success for your journey in music