Ray Harmony's Blog, page 13
June 5, 2020
246 Melody Rule
246 Melody Rule
With the 246 Rule you can say goodbye to mediocre melodies forever. But first… Tea!
Hello revolutionary music makers, we are Kate and Ray Harmony (AKA Revolution Harmony), and welcome to Hack Music Theory, where we help you make great music that stands out! And if you’re new to theory, or if you just want a refresher, then read our free book “12 Music Theory Hacks to Learn Scales & Chords”. It’ll give you a super solid theory foundation in just 30 minutes.
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Scroll down to listen to the podcast episode of this tutorial.
Most melodies these days are predictable and boring! That’s because most songwriters and producers don’t know music theory, and as a result, they actually end up following the rules without even knowing it. But, when everyone follows the rules, that’s boring! So, we created the 246 Melody Rule as a way to actually break the rules that result in boring melodies. Right, let’s decipher those numbers and get into it. A quick heads up though, the 246 Melody Rule is for intermediate songwriters and producers who are already comfortable writing melodies. If you’re not there yet, no problem at all, simply use the Melody Checklist in our Songwriting & Producing PDF, and your melodies will be elevated to a whole new level!
Right, so as you probably know, a triad is the most basic type of chord, which means it’s also the most popular type of chord (by far!). And as you probably know as well, a triad consists of three notes. For example, the Cmaj triad is made up of the notes C, E and G, which are numbered 1, 3 and 5, respectively. These are known as harmonic notes, as they form the harmony (i.e. the chord). Now, the numbers in our 246 Rule refer to the 2nd note, the 4th note and the 6th note. In other words, the notes that are not in the triad, but are still in the scale. The fancy term for these notes is “non-harmonic”, as they are not part of the harmony (i.e. the chord). And if you’re wondering about the 7, yes it’s also a non-harmonic note here because it’s not in the triad. However, the 7 is a whole different beast, so it’s not part of the 246 Rule, but more on that later.
First, we need to understand why most songwriters and producers are using the 2, 4 and 6 all wrong, despite the fact that they’re not actually wrong notes (cos they’re obviously still in the scale). It seems like a riddle, doesn’t it? Don’t worry though, the 246 Rule solves this issue once and for all! How? Well, when you play the 2, 4 or 6 in your melody, they create tension against your triad below, cos they don’t fit in completely. To hear this, play a triad and then play the 1, 3 and 5 above it as a melody. Those three notes fit in perfectly with your triad below, as they’re merely doubling what’s already there. Now, play a 2 in your melody. This note sits in between the 1 and 3, rubbing up against them and causing tension. And that brings us to the 246 Rule. When most songwriters and producers use the 2, 4 and 6, they resolve them down to the 1, 3 and 5, respectively. But, moving down a note after the 2, 4 and 6 is embarrassingly predictable! And on top of that, creating tension only to resolve it to the predictable note, kinda defeats the purpose of creating that tension in the first place.
For the record, there is absolutely nothing wrong with doing that sometimes. However, most songwriters and producers do that every time they use the 2, 4 or 6. The reason for that, is because they don’t know what to do with the tension they’ve created, so they simply follow where their ear leads them. And therein lies one of the biggest problems with popular music: songwriters and producers are making music by ear, but our ears will always lead us to the most predictable option. That is precisely why we need music theory. You see, for most songwriters and producers, making music feels like a mysterious (and often frustrating) journey through the dark, but it doesn’t have to be like that. Music theory is our flashlight that illuminates the way, revealing musical paths we could not see in the dark. And on that note, if you’re tired of all the trial and error, guesswork, and frustration involved in making music, then you can learn our secret song-whispering method, which we teach in our online apprenticeship course. More on that later, though.
Every time you use a 2, 4 or 6 in your melody, you have three options:
Go down to the predictable harmonic note Go up to the unpredictable harmonic note Go somewhere completely different!
Option 1 is what the rules say you should do, and it’s also what your ears want you to do, and that’s why most songwriters and producers instinctively use option 1 every time, but that’s sooo boring! Great music is all about the other two options.
If you’re wondering why our ears always lead us to resolve the 2, 4 and 6 down to the 1, 3 and 5, respectively, it’s because non-harmonic notes have a gravitational pull to the nearest and strongest harmonic note. And the strongest harmonic note is obviously the root, which is why the 2 wants to resolve down to the 1. The next strongest harmonic note is the 3, as it’s the note responsible for creating the major/minor quality of a chord. And that’s why the 4 wants to resolve down to the 3. And finally, the 6 wants to resolve down to the 5, as there’s no harmonic note directly above it, so there’s no other option (or so it seems to our ears).
[image error]
MIDI Screenshot: The boring and predictable way to resolve non-harmonic notes
Okay, so those are the resolutions that our ears will steer us towards. And because most songwriters and producers are making music by ear, we end up with most songs sounding the same. Seeing as you’re here, you’re obviously wanting more from your music. That’s what the 246 Rule gives you, cos when you use it, your melodies will contain non-harmonic notes, but in a way that’s not predictable and boring!
So now you know why the 246 Rule is a way to break the rules that cause boring melodies, but how does it actually work? Easy! The rule is to ensure that every melody you write includes the second and third options in that list (above). In other words, make sure that at least one non-harmonic note in your melody goes up to the unpredictable harmonic note, like we did over the Cmaj chord, by taking the 2 (D) up to the 3 (E). Also, make sure that at least one non-harmonic note goes somewhere completely different, like we did over the Dm chord, by taking the 2 (E) way up to a completely unexpected ♭7 (C).
It’s that simple! Doing these two things will ensure your melodies are not boring or predictable, so start applying the 246 Rule to your melodies today. One extra thing to consider though. If you want your music to appeal to a broader audience, you should probably use the first option in that list (above) somewhere in your melody as well. In other words, resolve at least one non-harmonic note to the predictable harmonic note.
Lastly, let’s talk about that unique non-harmonic note, the 7, also known as the leading note. And that’s not just a clever name. The gravitational pull on this note is far more than on any other non-harmonic note. The 7 is absolutely desperate to claw its way up to the root, and it’s willing to do anything to get there! Now, we love going against the stream and not resolving the 7, cos taking it somewhere other than the root note creates incredibly strong emotions in the listeners. A warning though, those emotions will include shock! And while we make music purely for art’s sake, we appreciate that you may actually want to build a career as a songwriter/producer, so that’s why we do not include the 7 in our 246 Melody Rule. If you use the 7 and don’t resolve it up to the root, you do so at your own peril, haha!
In our example, we wanted to inspire peace and calm in the listeners, so we did actually resolve the 7 to the root (and by the way, it’s a ♭7 here). However, we used two techniques to make this resolution fresh and unpredictable. Firstly, we didn’t resolve up to the root, instead, we played the root an octave lower. And secondly, we ended a phrase on the 7 and started a new phrase on the root, so there’s actually a rest in between those two notes, which the listener won’t be expecting either. You see, even when you choose to follow the rules, there’s still creative ways to break them!
By the way, if you like the chord progression in this example, you can learn how we wrote the specific piano part in our Chillout Chords video.
[image error]
MIDI Screenshot: Final melody using the 246 Rule
Next
Regarding the current situation around the world. As music teachers, we can’t offer much help through this difficult time. However, as most people are now stuck at home, what we can offer, is a meaningful and productive timeout from the difficulties. It’s with that intention in our hearts that we offer you 50% OFF our online course Apprenticeship #1. It contains 17 hours of video that teach every step of the writing process, from blank screen to finished song. You will literally learn everything you need to know in order to write great songs, and finish them! We know that most people are sadly on unpaid leave right now, so we hope this half-price offer helps alleviate some suffering, and we truly hope you and your families are all safe and healthy. Lastly, please remember that music is magic, so keep pumping those uplifting tunes! Thanks for being here, and until next time, happy songwriting and producing.
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Podcast
Listen below, or on any podcast app.
May 1, 2020
Chillout Chords
How to Write Chillout Chord Progressions
In this tutorial you'll learn how to write chord progressions for the Covid-19 era (and beyond), using our 6-step success formula. But first… Tea!
Hello revolutionary music makers, we are Kate and Ray Harmony (AKA Revolution Harmony), and welcome to Hack Music Theory, where we help you make great music that stands out! And if you’re new to theory, or if you just want a refresher, then read our free book “12 Music Theory Hacks to Learn Scales & Chords”. It’ll give you a super solid theory foundation in just 30 minutes.
Wooohooo!!! You’re a mere 30 minutes away from being even smarter than you already are. Just head on over to your inbox now for your free download.
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“The most brilliant, fast, easy & fun music theory book I’ve ever seen!” DEREK SIVERS, CD Baby founder
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.ck_form_v6.ck_modal .ck_close_link {
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Scroll down to listen to the podcast episode of this tutorial.
Right, let’s talk about success. First things first, though. We measure “success” in terms of how helpful your work is to the world. Measuring success in terms of fame and fortune is so last millenium! And seeing as you’re here, we know that you’re a forward-thinker, so here’s how you can succeed in this Covid-19 era, and beyond.
Listening to music is arguably the easiest and quickest way for someone to transform their psychological state, which in turn transforms their physiological state. So, in these stressful times we’re all living in, it’s vital that us songwriters and producers write and release music that can calm anxious minds and relax tense bodies. This is a very real way that we can all help, because when people calm down, they trigger their parasympathetic nervous system, which then upregulates their immune system. So, a calmer world is literally a healthier world! And in stressful times, people intuitively listen to music that calms them, which is like self-medicating, except there are no side-effects! And this explains why streams in the classical genre have gone up during the Covid-19 era, while streams in almost every other genre have gone down.
Now, in order to write calming music, you need to choose a calming scale. We chose D Dorian, which is all the white notes from D to D. We used the Dorian mode because it conveys a sad-but-hopeful emotion, and sharing hope in these sad times is life-changing. And by the way, if you wanna learn everything you need to know about the modes, their emotions, and how to use them, then download our Songwriting & Producing PDF. It also contains all our other essential music making hacks.
Alright, now that you’ve chosen your scale/mode, it’s time to choose your chords. There are no rules here, you can play any chords in your key, but remember this: When you’re writing music to help people chill out, you need to think differently. For once, you actually don’t wanna make music that stands out, as that would stimulate the listener’s mind, instead of relaxing it. Having said that though, if you write something that totally blends into the background, then you’ll lose the listener’s attention and their mind will wander back into a place of fear and anxiety. Also, you don’t wanna lose your artistic voice, just cos you’re making musical medicine. So, the magic happens on the middle path between “background music” and “art music”!
We created this balance by doing the following. On the “background” side of things, we started by choosing four chords, which is the most common number of chords in a progression. That familiarity is very calming for listeners. Our chords are: Dm→Cmaj→Fmaj→Gmaj. Next, we reinforced that familiarity by using a predictable harmonic rhythm. Harmonic rhythm is simply where each chord begins and ends. We play each chord for exactly two bars. And that brings us to the most important element of writing calming music: Pace. Most songwriters and producers think of a song’s pace as its tempo, but the BPM is only half the story. Lots of songwriters and producers use slow BPMs and think they’re making chillout music, but then they change chords every couple beats, and that faster-paced harmonic rhythm prevents their music (and their listeners) from relaxing. So remember, chillout music needs a slow BPM and a slow harmonic rhythm!
[image error]
MIDI Screenshot: Calming chord progression written using our 6-step success formula (see below)
Okay, so now that you’ve ensured your song is gonna sound calming and comforting to your listeners, you need to prevent it from blending into the background. So, on the “art” side of things, we did the following. We started by using the odd time signature 3/4. This time signature is probably the most common of the odd times, so that makes it feel a little different but without being weird. Also, it’s worth noting here that our chord progression already sounded a bit different because it’s in the Dorian mode, not the usual major or minor scale.
Next, we created even more interest by playing our chords in a slightly unusual way. Instead of playing them as regular block chords (where the notes are played together), or arpeggios (where the notes are played one at a time), we used a combination of these two techniques. We play our root note first, then follow it with two higher notes that are played together. This allows for lots of space (i.e. rests), which makes the progression sound even more chill. We actually used this way of playing the chord as a motif, by playing the rest of the chords this way too. And if you’re new to motifs, they’re short ideas you repeat to give your music structure and make it more memorable.
Lastly, to make our progression extra calming, we started it with a dreamy add9 chord, which we then used as a motif as well. And if you’re new to add9 chords, you can make them by simply adding the 2 to a triad. For example, our first chord is Dm(add9), which is the Dm triad (D, F, A) plus the 2 (E). Now, add9 chords are obviously four-note chords, which create a thicker texture. And while that’s great in some songs, we wanted to keep our texture thin and spacious here, so we left out the 5 of our Dm(add9) chord. When you use chords with four or more notes, leaving out the 5 is a great way of keeping your texture thin. Because, and no disrespect to the 5 here, it doesn’t bring anything special to the chord, it merely fills it out.
So, to summarise everything, here’s our success formula for chord progressions in the Covid-19 era:
Choose a consonant scale (i.e. avoid Phrygian, Locrian, etc.) Write a somewhat predictable chord progression Use a slow and predictable harmonic rhythm Incorporate at least two elements that are slightly unusual Create a motif, and repeat it regularly Optional extras: rests, add9 chords
Alright, now it’s your turn to step up! So, we’ve got a chillout challenge for you: Write a calming chord progression using this formula, then stay tuned for next time, when you’ll learn how to add a relaxing melody. For now though, let’s have a listen to our calming chords that upregulate the immune system. And that is true success! Just before the playthrough though, we’d love to share one more thing with you.
Next
Regarding the current situation around the world. As music teachers, we can’t offer much help through this difficult time. However, as most people are now stuck at home, what we can offer, is a meaningful and productive timeout from the difficulties. It’s with that intention in our hearts that we offer you 50% OFF our online course Apprenticeship #1. It contains 17 hours of video that teach every step of the writing process, from blank screen to finished song. You will literally learn everything you need to know in order to write great songs, and finish them! We know that most people are sadly on unpaid leave right now, so we hope this half-price offer helps alleviate some suffering, and we truly hope you and your families are all safe and healthy. Lastly, please remember that music is magic, so keep pumping those uplifting tunes! Thanks for being here, and until next time, happy songwriting and producing.
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Podcast
Listen below, or on any podcast app.
Pandemic Producing: Covid Chords
Pandemic Producing: Covid Chords
In this tutorial you'll learn how to write chord progressions for the Covid-19 era (and beyond), using our 6-step success formula. But first… Tea!
Hello revolutionary music makers, we are Kate and Ray Harmony (AKA Revolution Harmony), and welcome to Hack Music Theory, where we help you make great music that stands out! And if you’re new to theory, or if you just want a refresher, then read our free book “12 Music Theory Hacks to Learn Scales & Chords”. It’ll give you a super solid theory foundation in just 30 minutes.
Wooohooo!!! You’re a mere 30 minutes away from being even smarter than you already are. Just head on over to your inbox now for your free download.
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“The most brilliant, fast, easy & fun music theory book I’ve ever seen!” DEREK SIVERS, CD Baby founder
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Scroll down to listen to the podcast episode of this tutorial.
Right, let’s talk about success. First things first, though. We measure “success” in terms of how helpful your work is to the world. Measuring success in terms of fame and fortune is so last millenium! And seeing as you’re here, we know that you’re a forward-thinker, so here’s how you can succeed in this Covid-19 era, and beyond.
Listening to music is arguably the easiest and quickest way for someone to transform their psychological state, which in turn transforms their physiological state. So, in these stressful times we’re all living in, it’s vital that us songwriters and producers write and release music that can calm anxious minds and relax tense bodies. This is a very real way that we can all help, because when people calm down, they trigger their parasympathetic nervous system, which then upregulates their immune system. So, a calmer world is literally a healthier world! And in stressful times, people intuitively listen to music that calms them, which is like self-medicating, except there are no side-effects! And this explains why streams in the classical genre have gone up during the Covid-19 era, while streams in almost every other genre have gone down.
Now, in order to write calming music, you need to choose a calming scale. We chose D Dorian, which is all the white notes from D to D. We used the Dorian mode because it conveys a sad-but-hopeful emotion, and sharing hope in these sad times is life-changing. And by the way, if you wanna learn everything you need to know about the modes, their emotions, and how to use them, then download our Songwriting & Producing PDF. It also contains all our other essential music making hacks.
Alright, now that you’ve chosen your scale/mode, it’s time to choose your chords. There are no rules here, you can play any chords in your key, but remember this: When you’re writing music to help people chill out, you need to think differently. For once, you actually don’t wanna make music that stands out, as that would stimulate the listener’s mind, instead of relaxing it. Having said that though, if you write something that totally blends into the background, then you’ll lose the listener’s attention and their mind will wander back into a place of fear and anxiety. Also, you don’t wanna lose your artistic voice, just cos you’re making musical medicine. So, the magic happens on the middle path between “background music” and “art music”!
We created this balance by doing the following. On the “background” side of things, we started by choosing four chords, which is the most common number of chords in a progression. That familiarity is very calming for listeners. Our chords are: Dm→Cmaj→Fmaj→Gmaj. Next, we reinforced that familiarity by using a predictable harmonic rhythm. Harmonic rhythm is simply where each chord begins and ends. We play each chord for exactly two bars. And that brings us to the most important element of writing calming music: Pace. Most songwriters and producers think of a song’s pace as its tempo, but the BPM is only half the story. Lots of songwriters and producers use slow BPMs and think they’re making chillout music, but then they change chords every couple beats, and that faster-paced harmonic rhythm prevents their music (and their listeners) from relaxing. So remember, chillout music needs a slow BPM and a slow harmonic rhythm!
[image error]
MIDI Screenshot: Calming chord progression written using our 6-step success formula (see below)
Okay, so now that you’ve ensured your song is gonna sound calming and comforting to your listeners, you need to prevent it from blending into the background. So, on the “art” side of things, we did the following. We started by using the odd time signature 3/4. This time signature is probably the most common of the odd times, so that makes it feel a little different but without being weird. Also, it’s worth noting here that our chord progression already sounded a bit different because it’s in the Dorian mode, not the usual major or minor scale.
Next, we created even more interest by playing our chords in a slightly unusual way. Instead of playing them as regular block chords (where the notes are played together), or arpeggios (where the notes are played one at a time), we used a combination of these two techniques. We play our root note first, then follow it with two higher notes that are played together. This allows for lots of space (i.e. rests), which makes the progression sound even more chill. We actually used this way of playing the chord as a motif, by playing the rest of the chords this way too. And if you’re new to motifs, they’re short ideas you repeat to give your music structure and make it more memorable.
Lastly, to make our progression extra calming, we started it with a dreamy add9 chord, which we then used as a motif as well. And if you’re new to add9 chords, you can make them by simply adding the 2 to a triad. For example, our first chord is Dm(add9), which is the Dm triad (D, F, A) plus the 2 (E). Now, add9 chords are obviously four-note chords, which create a thicker texture. And while that’s great in some songs, we wanted to keep our texture thin and spacious here, so we left out the 5 of our Dm(add9) chord. When you use chords with four or more notes, leaving out the 5 is a great way of keeping your texture thin. Because, and no disrespect to the 5 here, it doesn’t bring anything special to the chord, it merely fills it out.
So, to summarise everything, here’s our success formula for chord progressions in the Covid-19 era:
Choose a consonant scale (i.e. avoid Phrygian, Locrian, etc.) Write a somewhat predictable chord progression Use a slow and predictable harmonic rhythm Incorporate at least two elements that are slightly unusual Create a motif, and repeat it regularly Optional extras: rests, add9 chords
Alright, now it’s your turn to step up! So, we’ve got a chillout challenge for you: Write a calming chord progression using this formula, then stay tuned for next time, when you’ll learn how to add a relaxing melody. For now though, let’s have a listen to our calming chords that upregulate the immune system. And that is true success! Just before the playthrough though, we’d love to share one more thing with you.
Next
Regarding the current situation around the world. As music teachers, we can’t offer much help through this difficult time. However, as most people are now stuck at home, what we can offer, is a meaningful and productive timeout from the difficulties. It’s with that intention in our hearts that we offer you 50% OFF our online course Apprenticeship #1. It contains 17 hours of video that teach every step of the writing process, from blank screen to finished song. You will literally learn everything you need to know in order to write great songs, and finish them! We know that most people are sadly on unpaid leave right now, so we hope this half-price offer helps alleviate some suffering, and we truly hope you and your families are all safe and healthy. Lastly, please remember that music is magic, so keep pumping those uplifting tunes! Thanks for being here, and until next time, happy songwriting and producing.
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Podcast
Listen below, or on any podcast app.
April 8, 2020
80/20 Bass Rule
80/20 Rule for Better Bass Lines
In this tutorial, you'll learn the secret 80/20 bass rule that will forever change the way you write bass lines. But first… Tea!
Hello revolutionary music makers, we are Kate and Ray Harmony (AKA Revolution Harmony), and welcome to Hack Music Theory, where we help you make great music that stands out! And if you’re new to theory, or if you just want a refresher, then read our free book “12 Music Theory Hacks to Learn Scales & Chords”. It’ll give you a super solid theory foundation in just 30 minutes.
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Scroll down to listen to the podcast episode of this tutorial.
Right, so here’s what a regular bass line sounds like, and this was written in the same way that most bass lines are written these days:
[image error]
MIDI Screenshot: Bass exclusively playing root note of each chord – this is not a bass line!
It’s in the key of A minor, so that’s all the white notes from A to A, and the chords are: Am→Em→Cmaj→Dsus2. Now, because most songwriters and producers don’t know about the secret 80/20 bass rule, most bass lines nowadays simply copy the chord progression by playing the root note of each chord. So in the example you just heard, the bass copied the chords by playing: A→E→C→D. But, that is not a bass line, that is merely the root note of each chord. And that is not a musical approach to bass, it’s a sonic approach, because the bass is so boring that it actually blends into the background and is heard as a frequency, not an instrument!
When we approach bass from a musical perspective, we realise that it obviously wants (and deserves) its own melody. However, this is where we run into the bass paradox: To give the bass an independent melody, it needs to venture off the root note of each chord, but if it does that, then it takes away the music’s stability as it’s no longer providing a solid foundation for the other instruments. So, how can you write a bass line that’s both a solid foundation and also an independent melody? That’s where the 80/20 bass rule comes in. It’s so simple: it is the percentage of time spent on root notes versus the percentage of time spent on other notes.
Root notes in the bass build a solid foundation, but it’s the non-root notes that transform the bass into an independent melody. This is the magic bass balance. Get it right, and your bass lines are pure magic! Get it wrong, and it could literally ruin your whole song. If your bass spends too much time on root notes, it’ll be nothing more than a frequency. On the other hand, if your bass spends too much time on non-root notes, it’ll step forward into the spotlight like a diva and start stealing attention from your lead melody. Remember, the spotlight is only big enough for one!
So, what’s the perfect ratio? 80% roots, 20 % non-roots. And obviously every song is different, and every section within every song is different, but the 80/20 rule will ensure that every bass line you write starts out in the sweetspot, then you can adjust the percentage up or down, depending on what the other instruments are doing. For example, if there isn’t a lead melody in a section, then there’s space for your bass to step forward and take the spotlight, without any musical fights! However, if a section has a lead melody and a backing melody, then your bass should definitely spend a little more time on root notes, for extra stability. In our example, our bass line is 81% root notes and 19% non-root notes. And of course, you don’t actually have to calculate the exact percentage, just get it somewhere in the 80/20 sweetspot.
[image error]
MIDI Screenshot: Bass line with about 80% roots and 20% non-roots (highlighted)
And by the way, if you want our step-by-step guide for writing great bass lines, then download our Songwriting & Producing PDF, which also contains all our other essential music making hacks.
Finally, let’s talk about those non-root notes. There are three possibilities for these: harmonic notes, non-harmonic notes, and non-diatonic notes. Harmonic notes are notes that are in the chord. For example, over the Am chord, the harmonic notes are A, C and E. And A is obviously the root, so the options are C and E. Next, non-harmonic notes are notes that are not in the chord, but are still in the scale. So over the Am chord, the non-harmonic notes are B, D, F and G. Then lastly, non-diatonic notes are not in the chord either, but they’re not even in the scale. These notes are super spicy, so in the same way that you don’t add chili peppers to every meal, you don’t wanna add non-diatonic notes to every bass line. In our example, we do actually play a non-diatonic note (C♯) under every other Dsus2 chord. But, it’s just a 1/16 note. That’s like throwing a tiny sliver of chili pepper into the pot for flavour, not for heat. Okay now I’m hungry, but before we head off to cook up a yummy vegan chili, let’s have a listen to the Before & After of our bass line, so you can hear what a game-changer this 80/20 bass rule is. Just before the playthrough though, we’d love to share one more thing with you.
Next
Regarding the current situation around the world. As music teachers, we can’t offer much help through this difficult time. However, as most people are now stuck at home, what we can offer, is a meaningful and productive timeout from the difficulties. It’s with that intention in our hearts that we offer you 50% OFF our online course Apprenticeship #1. It contains 17 hours of video that teach every step of the writing process, from blank screen to finished song. You will literally learn everything you need to know in order to write great songs, and finish them! We know that most people are sadly on unpaid leave right now, so we hope this half-price offer helps alleviate some suffering, and we truly hope you and your families are all safe and healthy. Lastly, please remember that music is magic, so keep pumping those uplifting tunes! Thanks for being here, and until next time, happy songwriting and producing.
Want More?
Sign up for our newsletter, and get tutorials like this delivered to your inbox.
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Podcast
Listen below, or on any podcast app.
March 24, 2020
Changing Chords Rule
Changing Chords Rule
Are your chord progressions a bit boring? Well don’t worry, cos in this tutorial you’ll learn the one thing you need to change in order to bring your chord progressions to life. And, it only takes a few seconds to change! But first… Tea.
Hello revolutionary music makers, we are Kate and Ray Harmony (AKA Revolution Harmony), and welcome to Hack Music Theory, where we help you make great music that stands out! And if you’re new to theory, or if you just want a refresher, then read our free book “12 Music Theory Hacks to Learn Scales & Chords”. It’ll give you a super solid theory foundation in just 30 minutes.
Wooohooo!!! You’re a mere 30 minutes away from being even smarter than you already are. Just head on over to your inbox now for your free download.
There was an error submitting your subscription. Please try again.
“The most brilliant, fast, easy & fun music theory book I’ve ever seen!” DEREK SIVERS, CD Baby founder
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DOWNLOAD FREE BOOK
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Scroll down to listen to the podcast episode of this tutorial.
So here’s a chord progression that’s similar to a few songs we heard in the new releases this week. It’s in the key of A minor, so that’s all the white notes from A to A, and the chords are: Am→Em→Cmaj→Dsus2 (hear example in video/podcast). It sounds pretty good, cos we’ve re-arranged the notes around the common note E, which is on top of every chord. By the way, if you wanna learn about that, check out our Songwriting & Producing PDF. So yeah, these chords all flow smoothly into each other, and that’s the main reason why it sounds nice. But (and it’s a big but!), if you listen to this chord progression a few times, it gets boring real quick!
[image error]
MIDI Screenshot: Solid but boring chord progression (Am→Em→Cmaj→Dsus2)
This example highlights how you can have a really solid chord progression, yet it still isn’t enough to catch the listener’s attention. So, what’s missing from this chord progression? Rhythm! Well, to be precise: harmonic rhythm. Harmonic rhythm is simply the rhythm of the chords in your progression. You can think of it as where each chord starts, and how long it lasts. Now, most songwriters and producers don’t know about harmonic rhythm, so they just do it by ear, which almost always results in a predictable harmonic rhythm. And a predictable harmonic rhythm is one of the best ways to bore your listeners. That’s why we’re sharing this hack with you, cos friends don’t let friends use boring harmonic rhythms!
Okay let’s get to it! Start by setting up a loop that contains at least two cycles of your chord progression. Why not one? Well, most songwriters and producers just loop their chord progression as it is, which means their harmonic rhythm is the same every time their chord progression repeats. Unless you have an incredibly interesting chord progression though, that’s also gonna get boring real quick! This hack essentially turns a two-bar progression into a four-bar progression, or a four-bar progression into an eight-bar progression. So, to take your chord progressions to the next level, use a different harmonic rhythm every second time.
Right, now it’s time to create your two interesting harmonic rhythms, one for each progression in your loop. Depending on your tempo, you’ll probably want the grid set to 1/8 notes, but if your BPM is really slow, then set your grid to 1/16 notes. Next, just play around with moving the starting point and ending point of each chord, and see where that takes you. There are no rules, but we recommend finding a balance between chords that start on the beat, and chords that start off the beat. This approach will keep your progression accessible, but also super fresh!
[image error]
MIDI Screenshot: By simply changing the harmonic rhythm, that boring progression is now totally captivating!
And remember: Everything is connected! So the bonus of having an interesting harmonic rhythm, is that it will result in a far more creative lead melody on top of your chord progression, and a far more captivating bass line and drum beat underneath. This hack is about a lot more than just your chord progression! Alright, now let’s have a listen to the Before & After of our progression, so you can hear the massive difference that an interesting harmonic rhythm makes (hear example in video/podcast). Just before the playthrough though, we’d love to share one more thing with you.
Next
Regarding the current situation around the world. As music teachers, we can’t offer much help through this difficult time. However, as most people are now stuck at home, what we can offer, is a meaningful and productive timeout from the difficulties. It’s with that intention in our hearts that we offer you 50% OFF our online course Apprenticeship #1. It contains 17 hours of video that teach every step of the writing process, from blank screen to finished song. You will literally learn everything you need to know in order to write great songs, and finish them! We know that most people are sadly on unpaid leave right now, so we hope this half-price offer helps alleviate some suffering, and we truly hope you and your families are all safe and healthy. Lastly, please remember that music is magic, so keep pumping those uplifting tunes! Thanks for being here, and until next time, happy songwriting and producing.
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Podcast
Listen below, or on any podcast app.
Boring Chords? Change This...
Boring Chords? Change This...
Are your chord progressions a bit boring? Well don’t worry, cos in this tutorial you’ll learn the one thing you need to change in order to bring your chord progressions to life. And, it only takes a few seconds to change! But first… Tea.
Hello revolutionary music makers, we are Kate and Ray Harmony (AKA Revolution Harmony), and welcome to Hack Music Theory, where we help you make great music that stands out! And if you’re new to theory, or if you just want a refresher, then read our free book “12 Music Theory Hacks to Learn Scales & Chords”. It’ll give you a super solid theory foundation in just 30 minutes.
Wooohooo!!! You’re a mere 30 minutes away from being even smarter than you already are. Just head on over to your inbox now for your free download.
There was an error submitting your subscription. Please try again.
“The most brilliant, fast, easy & fun music theory book I’ve ever seen!” DEREK SIVERS, CD Baby founder
We use this field to detect spam bots. If you fill this in, you will be marked as a spammer.
DOWNLOAD FREE BOOK
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Scroll down to listen to the podcast episode of this tutorial.
So here’s a chord progression that’s similar to a few songs we heard in the new releases this week. It’s in the key of A minor, so that’s all the white notes from A to A, and the chords are: Am→Em→Cmaj→Dsus2 (hear example in video/podcast). It sounds pretty good, cos we’ve re-arranged the notes around the common note E, which is on top of every chord. By the way, if you wanna learn about that, check out our Songwriting & Producing PDF. So yeah, these chords all flow smoothly into each other, and that’s the main reason why it sounds nice. But (and it’s a big but!), if you listen to this chord progression a few times, it gets boring real quick!
[image error]
MIDI Screenshot: Solid but boring chord progression (Am→Em→Cmaj→Dsus2)
This example highlights how you can have a really solid chord progression, yet it still isn’t enough to catch the listener’s attention. So, what’s missing from this chord progression? Rhythm! Well, to be precise: harmonic rhythm. Harmonic rhythm is simply the rhythm of the chords in your progression. You can think of it as where each chord starts, and how long it lasts. Now, most songwriters and producers don’t know about harmonic rhythm, so they just do it by ear, which almost always results in a predictable harmonic rhythm. And a predictable harmonic rhythm is one of the best ways to bore your listeners. That’s why we’re sharing this hack with you, cos friends don’t let friends use boring harmonic rhythms!
Okay let’s get to it! Start by setting up a loop that contains at least two cycles of your chord progression. Why not one? Well, most songwriters and producers just loop their chord progression as it is, which means their harmonic rhythm is the same every time their chord progression repeats. Unless you have an incredibly interesting chord progression though, that’s also gonna get boring real quick! This hack essentially turns a two-bar progression into a four-bar progression, or a four-bar progression into an eight-bar progression. So, to take your chord progressions to the next level, use a different harmonic rhythm every second time.
Right, now it’s time to create your two interesting harmonic rhythms, one for each progression in your loop. Depending on your tempo, you’ll probably want the grid set to 1/8 notes, but if your BPM is really slow, then set your grid to 1/16 notes. Next, just play around with moving the starting point and ending point of each chord, and see where that takes you. There are no rules, but we recommend finding a balance between chords that start on the beat, and chords that start off the beat. This approach will keep your progression accessible, but also super fresh!
[image error]
MIDI Screenshot: By simply changing the harmonic rhythm, that boring progression is now totally captivating!
And remember: Everything is connected! So the bonus of having an interesting harmonic rhythm, is that it will result in a far more creative lead melody on top of your chord progression, and a far more captivating bass line and drum beat underneath. This hack is about a lot more than just your chord progression! Alright, now let’s have a listen to the Before & After of our progression, so you can hear the massive difference that an interesting harmonic rhythm makes (hear example in video/podcast). Just before the playthrough though, we’d love to share one more thing with you.
Next
Regarding the current situation around the world. As music teachers, we can’t offer much help through this difficult time. However, as most people are now stuck at home, what we can offer, is a meaningful and productive timeout from the difficulties. It’s with that intention in our hearts that we offer you 50% OFF our online course Apprenticeship #1. It contains 17 hours of video that teach every step of the writing process, from blank screen to finished song. You will literally learn everything you need to know in order to write great songs, and finish them! We know that most people are sadly on unpaid leave right now, so we hope this half-price offer helps alleviate some suffering, and we truly hope you and your families are all safe and healthy. Lastly, please remember that music is magic, so keep pumping those uplifting tunes! Thanks for being here, and until next time, happy songwriting and producing.
Want More?
Sign up for our newsletter, and get tutorials like this delivered to your inbox.
Wooohooo!!! You're now one small step away from joining the Hack Music Theory revolution. Just head on over to your inbox, open the email we've sent you, click the link to confirm, and you're in!
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Podcast
Listen below, or on any podcast app.
Change This for Better Chord Progressions
Change This for Better Chord Progressions
Are your chord progressions a bit boring? Well don’t worry, cos in this tutorial you’ll learn the one thing you need to change in order to bring your chord progressions to life. And, it only takes a few seconds to change! But first… Tea.
Hello revolutionary music makers, we are Kate and Ray Harmony (AKA Revolution Harmony), and welcome to Hack Music Theory, where we help you make great music that stands out! And if you’re new to theory, or if you just want a refresher, then read our free book “12 Music Theory Hacks to Learn Scales & Chords”. It’ll give you a super solid theory foundation in just 30 minutes.
Wooohooo!!! You’re a mere 30 minutes away from being even smarter than you already are. Just head on over to your inbox now for your free download.
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“The most brilliant, fast, easy & fun music theory book I’ve ever seen!” DEREK SIVERS, CD Baby founder
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DOWNLOAD FREE BOOK
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Scroll down to listen to the podcast episode of this tutorial.
So here’s a chord progression that’s similar to a few songs we heard in the new releases this week. It’s in the key of A minor, so that’s all the white notes from A to A, and the chords are: Am→Em→Cmaj→Dsus2 (hear example in video/podcast). It sounds pretty good, cos we’ve re-arranged the notes around the common note E, which is on top of every chord. By the way, if you wanna learn about that, check out our Songwriting & Producing PDF. So yeah, these chords all flow smoothly into each other, and that’s the main reason why it sounds nice. But (and it’s a big but!), if you listen to this chord progression a few times, it gets boring real quick!
[image error]
MIDI Screenshot: Solid but boring chord progression (Am→Em→Cmaj→Dsus2)
This example highlights how you can have a really solid chord progression, yet it still isn’t enough to catch the listener’s attention. So, what’s missing from this chord progression? Rhythm! Well, to be precise: harmonic rhythm. Harmonic rhythm is simply the rhythm of the chords in your progression. You can think of it as where each chord starts, and how long it lasts. Now, most songwriters and producers don’t know about harmonic rhythm, so they just do it by ear, which almost always results in a predictable harmonic rhythm. And a predictable harmonic rhythm is one of the best ways to bore your listeners. That’s why we’re sharing this hack with you, cos friends don’t let friends use boring harmonic rhythms!
Okay let’s get to it! Start by setting up a loop that contains at least two cycles of your chord progression. Why not one? Well, most songwriters and producers just loop their chord progression as it is, which means their harmonic rhythm is the same every time their chord progression repeats. Unless you have an incredibly interesting chord progression though, that’s also gonna get boring real quick! This hack essentially turns a two-bar progression into a four-bar progression, or a four-bar progression into an eight-bar progression. So, to take your chord progressions to the next level, use a different harmonic rhythm every second time.
Right, now it’s time to create your two interesting harmonic rhythms, one for each progression in your loop. Depending on your tempo, you’ll probably want the grid set to 1/8 notes, but if your BPM is really slow, then set your grid to 1/16 notes. Next, just play around with moving the starting point and ending point of each chord, and see where that takes you. There are no rules, but we recommend finding a balance between chords that start on the beat, and chords that start off the beat. This approach will keep your progression accessible, but also super fresh!
[image error]
MIDI Screenshot: By simply changing the harmonic rhythm, that boring progression is now totally captivating!
And remember: Everything is connected! So the bonus of having an interesting harmonic rhythm, is that it will result in a far more creative lead melody on top of your chord progression, and a far more captivating bass line and drum beat underneath. This hack is about a lot more than just your chord progression! Alright, now let’s have a listen to the Before & After of our progression, so you can hear the massive difference that an interesting harmonic rhythm makes (hear example in video/podcast). Just before the playthrough though, we’d love to share one more thing with you.
Next
Regarding the current situation around the world. As music teachers, we can’t offer much help through this difficult time. However, as most people are now stuck at home, what we can offer, is a meaningful and productive timeout from the difficulties. It’s with that intention in our hearts that we offer you 50% OFF our online course Apprenticeship #1. It contains 17 hours of video that teach every step of the writing process, from blank screen to finished song. You will literally learn everything you need to know in order to write great songs, and finish them! We know that most people are sadly on unpaid leave right now, so we hope this half-price offer helps alleviate some suffering, and we truly hope you and your families are all safe and healthy. Lastly, please remember that music is magic, so keep pumping those uplifting tunes! Thanks for being here, and until next time, happy songwriting and producing.
Want More?
Sign up for our newsletter, and get tutorials like this delivered to your inbox.
Wooohooo!!! You're now one small step away from joining the Hack Music Theory revolution. Just head on over to your inbox, open the email we've sent you, click the link to confirm, and you're in!
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Email Address
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Podcast
Listen below, or on any podcast app.
March 12, 2020
How to Spice Up Your Melodies with Non-Diatonic Notes (feat. Myrkur music theory hack)
How to Spice Up Your Melodies with Non-Diatonic Notes
In this tutorial, you’ll learn how to spice up your melodies with non-diatonic notes. But first… Tea!
Hello revolutionary music makers, we are Kate and Ray Harmony (AKA Revolution Harmony), and welcome to Hack Music Theory, where we help you make great music that stands out! And if you’re new to theory, or if you just want a refresher, then read our free book “12 Music Theory Hacks to Learn Scales & Chords”. It’ll give you a super solid theory foundation in just 30 minutes.
Wooohooo!!! You’re a mere 30 minutes away from being even smarter than you already are. Just head on over to your inbox now for your free download.
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“The most brilliant, fast, easy & fun music theory book I’ve ever seen!” DEREK SIVERS, CD Baby founder
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Scroll down to listen to the podcast episode of this tutorial.
This hack is from the new single “Gudernes Vilje” by Danish artist Myrkur. The song is off her upcoming album “Folkesange”, and based on the first three singles, it promises to be a magical journey. Right, first things first. What is a non-diatonic note? Well, it is simply a note that is not in the scale. And as a result of it being outside the scale, it stands out (a lot!). And by the way, non-diatonic notes are also known as chromatic notes, so sometimes you’ll hear that term instead.
Now, just a quick warning. When songwriters and producers make music, they use scales for a very good reason: when you stick to a scale, all the notes work well together. So, when you venture out of the scale, you are heading into a musical minefield. I know that sounds dangerous, but it’s not, as long as you know where the musical landmines are. And the main one that most songwriters and producers land on, is the horrible clash between their non-diatonic note and their other instruments (which are playing notes in the scale at the same time). Yep, this clash is actually the sole reason that most songwriters and producers completely avoid non-diatonic notes, which in turn is one of the reasons behind the total predictability of 99.9% of music these days!
But, seeing as you’re here, you’re obviously wanting to learn how to make better music. And using non-diatonic notes is a vital part of making music that captivates people. Think about it like this, if you watch a movie on Netflix and it’s totally predictable, are you disappointed afterwards? Of course! We humans love stories, and songs are musical stories, so take your listeners on an exciting journey. You don’t want people to be able to sing along to your melodies the first time they hear them, right? And the best way to keep your melodies fresh, is to give your listeners a twist in the tale with a non-diatonic note.
So, how do you use a non-diatonic note to spice up a melody? Honestly, that’s actually the easy part, you just use any note that’s not in the scale you’re currently in. What’s not easy though, is what you do with your other instruments, so you don’t end up with that horrible clashing we spoke about earlier. Right, now let’s look at the Myrkur example for a solution to this problem. So, at 2:02 into the song “Gudernes Vilje”, she uses a non-diatonic note in her vocal melody. And that note is a ♭5. This deliciously spicy note is one of the most dissonant notes you get, so when she sings it right after a predictable 5, it’s the ultimate twist in the tale!
[image error]
MIDI Screenshot: Melody with a ♭5 twist in the tale (dark notes below melody show C♯m→Amaj chord progression)
That’s great, but, what are her other instruments doing at that moment in order to prevent a horrible clash? They’re playing a ♭VImaj chord. And as she’s in the key of C♯ minor, that chord is an Amaj. The exact chord isn’t important though, the essential lesson to learn from her chord choice here is that it does not contain the notes on either side of the ♭5, i.e. the 4 and 5 of the key. The reason this is essential, is because the notes in your scale on either side of your non-diatonic note are the notes that will clash with it the worst. So, be sure to avoid those two notes in your other instruments while your melody is on the non-diatonic note.
And a completely different approach to avoiding this musical landmine, would be to actually use the non-diatonic note in the chord below as well. In this example, that non-diatonic note is a G, so she could have used an Em chord below it. And that Em chord would also be non-diatonic, because in the key of C♯ minor, it’s supposed to be Emaj. However, by replacing the G♯ in the chord with G, the chord becomes Em. This option sounds great too, but just a heads up, this approach makes things even more spicy!
Melody Checklist
Now, this hack has been all about spicing up a good melody in order to transform it into a great melody. But, if you’re not at the stage where you’re happy with your melodies yet, then simply use the Melody Checklist in our Songwriting & Producing PDF. It’s the ultimate list of do’s and don’ts for writing great melodies, so just follow that checklist to instantly improve your melodies!
Lastly, as we’re celebrating International Women’s Day this week, we wanna give a very special shoutout to all the women songwriters and producers in the Hack Music Theory community. We see you, we believe in you, and we’re so stoked and grateful that you’re here! And on that note, thanks for reading/listening, and until next time, happy music making!
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Podcast
Listen below, or on any podcast app.
March 5, 2020
How to Improve Your Drum Beats (feat. Dele Sosimi music theory hack)
How to Improve Your Drum Beats
In this episode, you’ll learn how to make more creative drum beats. But first… Tea!
Hello revolutionary music makers, we are Kate and Ray Harmony (AKA Revolution Harmony), and welcome to Hack Music Theory, where we help you make great music that stands out! And if you’re new to theory, or if you just want a refresher, then read our free book “12 Music Theory Hacks to Learn Scales & Chords”. It’ll give you a super solid theory foundation in just 30 minutes.
Wooohooo!!! You’re a mere 30 minutes away from being even smarter than you already are. Just head on over to your inbox now for your free download.
There was an error submitting your subscription. Please try again.
“The most brilliant, fast, easy & fun music theory book I’ve ever seen!” DEREK SIVERS, CD Baby founder
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DOWNLOAD FREE BOOK
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margin-bottom: 0px;
padding: 8px 8px;
width: 100%;
border: 1px solid #d6d6d6; /* stroke */
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-webkit-border-radius: 4px;
border-radius: 30px; /* border radius */
background-color: #fff; /* layer fill content */
height: auto;
}
.ck_form input[type="email"] {
font-size: 16px;
text-align: center;
margin-top: 0px;
margin-bottom: 15px;
padding: 8px 8px;
width: 100%;
border: 1px solid #d6d6d6; /* stroke */
-moz-border-radius: 4px;
-webkit-border-radius: 4px;
border-radius: 30px; /* border radius */
background-color: #fff; /* layer fill content */
height: auto;
}
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}
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margin-left: 4px;
}
.ck_form .ck_opt_in_prompt p {
display: inline;
}
.ck_form .ck_subscribe_button {
width: 100%;
color: #fff;
margin: 0px 0px 0px;
padding: 8px 8px;
font-size: 18px;
background: #d74128;
-moz-border-radius: 4px;
-webkit-border-radius: 4px;
border-radius: 30px; /* border radius */
cursor: pointer;
border: none;
text-shadow: none;
}
.ck_form .ck_guarantee {
color: #626262;
font-size: 12px;
text-align: center;
padding: 5px 0px;
display: block;
}
.ck_form .ck_powered_by {
display: block;
color: #aaa;
}
.ck_form .ck_powered_by:hover {
display: block;
color: #444;
}
.ck_converted_content {
display: none;
padding: 5%;
background: #fff;
}
/* v6 */
.ck_form_v6 #ck_success_msg {
padding: 0px 10px;
}
@media all and (max-width: 403px) {
.ck_form_v6.ck_modal .ck_close_link {
top: 30px;
}
}
@media all and (min-width: 404px) and (max-width: 499px) {
.ck_form_v6.ck_modal .ck_close_link {
top: 57px;
}
}
Scroll down to listen to the podcast episode of this tutorial.
This hack is from the song “We Siddon We Dey Look” by the amazing Afrobeat artist Dele Sosimi. The track is off his album “You No Fit Touch Am”, which is an absolute masterclass in groove. And while every instrument is equally contributing to this groove masterclass, we’re gonna focus on the drums as they’re the foundation. Also, the drummer uses a simple but rare hack in this song that will transform your approach to drums, so we wanted to share it with you.
Okay, so there’s one element in a drum beat that’s hardly ever questioned. What is it? The kick drum on beat 1. Yep, if you listen through a playlist of 100 songs, you’ll be lucky if you hear one drum beat that doesn’t have a beat 1 kick. In fact, putting a kick on beat 1 is the first thing most producers do when starting a new beat. So, by simply not playing a kick on beat 1, you’re already standing out from the crowd.
[image error]
MIDI screenshot: 2-bar drum loop, where bar 1 has a snare (E2) on beat 1, and bar 2 has a kick (C2) on beat 1
And to reap the rewards of this hack, you don’t even need to use it in every bar. For example, the drum beat in this song starts with a snare on beat 1. This beat 1 snare is repeated every other bar, but then the bars in between start with the usual kick on beat 1 instead. This creates a balance of predictable and unpredictable, which keeps the drums sounding fresh.
And for extra freshness, there’s also a motif. A motif is a short musical idea, and the motif here consists of two adjacent 1/16 notes. By repeating the motif, the drummer gives the beat structure and makes the rhythm more memorable.
So, if you wanna take your drums to the next level, then every now and then, play something other than a kick on beat 1. And if you’re feeling brave, play nothing at all on the occasional beat 1. Remember, it’s your drum beat, so just cos everyone else plays a kick on beat 1, that doesn’t mean you have to.
And that’s it! Hope you found this hack useful. And if you wanna get all our essential music making hacks in one place, then download our Songwriting & Producing PDF. Thanks for being here, and until next time, happy songwriting and producing!
Podcast
Listen below, or on any podcast app.
February 28, 2020
How to Stand Out in 2 Seconds (feat. Agnes Obel music theory hack)
How to Stand Out in 2 Seconds
In this episode, you’ll learn two ways to stand out in two seconds. But first… Tea!
Hello revolutionary music makers, we are Kate and Ray Harmony (AKA Revolution Harmony), and welcome to Hack Music Theory, where we help you make great music that stands out! And if you’re new to theory, or if you just want a refresher, then read our free book “12 Music Theory Hacks to Learn Scales & Chords”. It’ll give you a super solid theory foundation in just 30 minutes.
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border-bottom: 1px dotted #aaa;
overflow: hidden;
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/* Trigger the vertical layout with media queries as well */
@media all and (max-width: 499px) {
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background: #fff;
}
.ck_form_content, .ck_form_fields {
padding: 10%;
width: 100%;
float: none;
}
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}
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}
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padding: 10px 10px 0px;
border: solid 1px #ddd;
background: #eee;
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font-weight: bold;
}
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font-size: 16px;
text-align: center;
margin-top: 20px;
margin-bottom: 0px;
padding: 8px 8px;
width: 100%;
border: 1px solid #d6d6d6; /* stroke */
-moz-border-radius: 4px;
-webkit-border-radius: 4px;
border-radius: 30px; /* border radius */
background-color: #fff; /* layer fill content */
height: auto;
}
.ck_form input[type="email"] {
font-size: 16px;
text-align: center;
margin-top: 0px;
margin-bottom: 15px;
padding: 8px 8px;
width: 100%;
border: 1px solid #d6d6d6; /* stroke */
-moz-border-radius: 4px;
-webkit-border-radius: 4px;
border-radius: 30px; /* border radius */
background-color: #fff; /* layer fill content */
height: auto;
}
.ck_form input[type="text"]:focus, .ck_form input[type="email"]:focus {
outline: none;
border-color: #aaa;
}
.ck_checkbox {
padding: 10px 0px 10px 20px;
display: block;
clear: both;
}
.ck_checkbox input.optIn {
margin-left: -20px;
margin-top: 0;
}
.ck_form .ck_opt_in_prompt {
margin-left: 4px;
}
.ck_form .ck_opt_in_prompt p {
display: inline;
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.ck_form .ck_subscribe_button {
width: 100%;
color: #fff;
margin: 0px 0px 0px;
padding: 8px 8px;
font-size: 18px;
background: #d74128;
-moz-border-radius: 4px;
-webkit-border-radius: 4px;
border-radius: 30px; /* border radius */
cursor: pointer;
border: none;
text-shadow: none;
}
.ck_form .ck_guarantee {
color: #626262;
font-size: 12px;
text-align: center;
padding: 5px 0px;
display: block;
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display: block;
color: #aaa;
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.ck_form_v6.ck_modal .ck_close_link {
top: 57px;
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}
Scroll down to listen to the podcast episode of this lesson.
This hack is from the new song “Drosera” by Danish artist Agnes Obel. The track is off her new album “Myopia”, which is stunningly beautiful, definitely one to add to your late-night playlist!
Right, so how on earth does Agnes Obel make this song stand out in its first two seconds (especially considering the intro simply consists of a piano)? Well, she very cleverly does this by surprising us with two totally unexpected things, one on the rhythmic side and one on the melodic side.
On the rhythmic side, she uses the odd time signature 5/8, which is five 1/8 notes in a bar. So, the 1/8 notes in 5/8 can be grouped in 2+3, or, 3+2, which is the version Agnes uses. In other words, her accents in each bar are on the first and fourth 1/8 notes. And the reason her 5/8 is such a surprise, is that the group of three 1/8 notes lulls us into assuming that each group will consist of three 1/8 notes, as most music is predictable like that, but when her second group unfolds, we’re shocked by it containing only two 1/8 notes, which makes the group feel like it’s been cut short. What a great way to wake up your listeners!
[image error]
Figure 1: Piano intro in 5/8 (grouped 3+2), accenting the root note (on beat 1) and the ♭2 (on beat 4)
Now, regarding her surprise on the melodic side. She uses a ♭2, which is the dissonant note found one semitone above the root. The ♭2 is a very unexpected note, as it’s not found in the major scale or the minor scale, and those two scales are used to make most of our music here in the west.
Lastly, Agnes Obel named this song after a big insect-eating plant haha, so she was clearly going for a menacing vibe here! But, if you want your song to stand out without sounding dangerous, then forget about the ♭2 and just use an odd time signature like 5/8 (or 7/8, which is another great one for surprising people).
Next
If you’re already familiar with these hacks, then we can help you take your music to an even higher level with more advanced theory like irrational time signatures, extreme polymeters, octatonic scales, the 12 tone method and much more, all of which you’ll find in our Apprenticeship #2 online course.
And if that all sounded like a foreign language, then Apprenticeship #1 is for you, as that course will teach you how to write new sections for existing sections, how to transition between sections, and how to structure and arrange your songs. Thanks so much for being here, and we hope you found this hack useful. Until next time, happy songwriting and producing!
Podcast
Listen below, or on any podcast app.
