Ray Harmony's Blog, page 14

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.

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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.

 

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.

 

[image error]

 

 

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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.

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.

 

[image error]

 

 

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Podcast

Listen below, or on any podcast app.

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.

 

 
 

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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.

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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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.

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.

 

 
 

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 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.

How to Add Impact to your Choruses (feat. Vukovi music theory hack)

 
How to Add Impact to your Choruses

 

In this episode, you’ll learn how to add impact to your choruses. 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! Also, welcome to the first of our new podcast exclusive episodes. Yep, you won’t find these on YouTube, they’re made just for you here. Hope you enjoy!

And by the way, if you’re new to theory, or if you just want a refresher, please read our free book “12 Music Theory Hacks to Learn Scales & Chords”. It takes about 30 minutes to read, then you’ll have a super solid theory foundation.

 

 
 

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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background: #EAE9EA url(data:image/gif;base64,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) repeat-y center top;
font-family: 'Montserrat';
line-height: 1.5em;
overflow: hidden;
color: #000000;
font-size: 16px;
border-top: none;
border-top-color: #666666;
border-bottom: none;
border-bottom-color: #3d3d3d;
-webkit-box-shadow: none;
-moz-box-shadow: none;
box-shadow: none;
clear: both;
margin: 0px 0px;
}

.ck_form, .ck_form * {
-webkit-box-sizing: border-box;
-moz-box-sizing: border-box;
box-sizing: border-box;
}

#ck_subscribe_form {
clear: both;
}

/* Element Queries — uses JS */

.ck_form_content, .ck_form_fields {
width: 50%;
float: left;
padding: 5%;
}

.ck_form.ck_horizontal {
}

.ck_form_content {
border-bottom: none;
}

.ck_form.ck_vertical {
background: #fff;
}

.ck_vertical .ck_form_content, .ck_vertical .ck_form_fields {
padding: 10%;
width: 100%;
float: none;
}

.ck_vertical .ck_form_content {
border-bottom: 1px dotted #aaa;
overflow: hidden;
}

/* Trigger the vertical layout with media queries as well */

@media all and (max-width: 499px) {

.ck_form {
background: #fff;
}

.ck_form_content, .ck_form_fields {
padding: 10%;
width: 100%;
float: none;
}

.ck_form_content {
border-bottom: 1px dotted #aaa;
}

}

/* Content */

.ck_form_content h3 {
margin: 0px 0px 0px;
font-size: 0px;
padding: 0px;
}


.ck_form_content p {
font-size: 14px;
}

.ck_image {
float: left;
margin-right: 5px;
}

/* Form fields */

.ck_errorArea {
display: none;
}

#ck_success_msg {
padding: 10px 10px 0px;
border: solid 1px #ddd;
background: #eee;
}

.ck_label {
font-size: 14px;
font-weight: bold;
}

.ck_form input[type="text"] {
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;
}

.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 lesson.

 

Alright, it’s time to open your DAW to hack music theory. This hack is from the new song “Aura”, by Scottish band Vukovi. FYI, their new album “Fall Better” is super fun, and it’s overflowing with energy too, so we’ve made it our new workout soundtrack!

So, you’ll notice when the chorus of “Aura” starts, at 0:29 into the track, it has a huge impact! What causes that? Two things. First, the chorus melody actually starts a beat before the chorus. And second, to emphasise the chorus melody, all the other instruments stop when it starts. And by the way, this song is in 4/4.

 

[image error]

Figure 1:  Chorus melody starts on beat 4 of preceding bar

 

Now, you may think you’d get more impact by starting your chorus melody on beat 1 along with everything else, and in some situations you will. But, by stopping all your instruments on beat 4 of the bar preceding your chorus, and starting your melody there, you move all the attention to your melody. This focus on the melody intensifies the transition from verse to chorus. It also thins out the sound, and then when everything comes back in on beat 1 there’s a way bigger impact than if all the instruments had kept playing through the transition.

And as a bonus, beginning your chorus melody on beat 4 of the bar preceding your chorus results in an overlapping phrase, which acts as reinforcement for the transition. Yeah it’s like when you’re building a brick wall, you want the bricks to overlap, so the layer above reinforces the layer below. Not that I’ve ever built a brick wall, but I have watched a lot of Grand Designs on the telly haha!

So the next time you’re wanting to add impact to a chorus, stop all your instruments on beat 4 of the preceding bar, and start your chorus melody there. 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 so much for being here, and until next time, happy songwriting and producing!

 

Podcast

Listen below, or on any podcast app.

How to Add Impact to your Choruses

 
How to Add Impact to your Choruses

 

In this episode, you’ll learn how to add impact to your choruses. 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! Also, welcome to the first of our new podcast exclusive episodes. Yep, you won’t find these on YouTube, they’re made just for you here. Hope you enjoy!

And by the way, if you’re new to theory, or if you just want a refresher, please read our free book “12 Music Theory Hacks to Learn Scales & Chords”. It takes about 30 minutes to read, then you’ll have a super solid theory foundation.

 

 
 

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


/* Layout */
.ck_form {
/* divider image */
background: #EAE9EA url(data:image/gif;base64,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) repeat-y center top;
font-family: 'Montserrat';
line-height: 1.5em;
overflow: hidden;
color: #000000;
font-size: 16px;
border-top: none;
border-top-color: #666666;
border-bottom: none;
border-bottom-color: #3d3d3d;
-webkit-box-shadow: none;
-moz-box-shadow: none;
box-shadow: none;
clear: both;
margin: 0px 0px;
}

.ck_form, .ck_form * {
-webkit-box-sizing: border-box;
-moz-box-sizing: border-box;
box-sizing: border-box;
}

#ck_subscribe_form {
clear: both;
}

/* Element Queries — uses JS */

.ck_form_content, .ck_form_fields {
width: 50%;
float: left;
padding: 5%;
}

.ck_form.ck_horizontal {
}

.ck_form_content {
border-bottom: none;
}

.ck_form.ck_vertical {
background: #fff;
}

.ck_vertical .ck_form_content, .ck_vertical .ck_form_fields {
padding: 10%;
width: 100%;
float: none;
}

.ck_vertical .ck_form_content {
border-bottom: 1px dotted #aaa;
overflow: hidden;
}

/* Trigger the vertical layout with media queries as well */

@media all and (max-width: 499px) {

.ck_form {
background: #fff;
}

.ck_form_content, .ck_form_fields {
padding: 10%;
width: 100%;
float: none;
}

.ck_form_content {
border-bottom: 1px dotted #aaa;
}

}

/* Content */

.ck_form_content h3 {
margin: 0px 0px 0px;
font-size: 0px;
padding: 0px;
}


.ck_form_content p {
font-size: 14px;
}

.ck_image {
float: left;
margin-right: 5px;
}

/* Form fields */

.ck_errorArea {
display: none;
}

#ck_success_msg {
padding: 10px 10px 0px;
border: solid 1px #ddd;
background: #eee;
}

.ck_label {
font-size: 14px;
font-weight: bold;
}

.ck_form input[type="text"] {
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;
}

.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 hack.

 

Alright, it’s time to open your DAW to hack music theory. This hack is from the new song “Aura”, by Scottish band Vukovi. FYI, their new album “Fall Better” is super fun, and it’s overflowing with energy too, so we’ve made it our new workout soundtrack!

So, you’ll notice when the chorus of “Aura” starts, at 0:29 into the track, it has a huge impact! What causes that? Two things. First, the chorus melody actually starts a beat before the chorus. And second, to emphasise the chorus melody, all the other instruments stop when it starts. And by the way, this song is in 4/4.

 

[image error]

Figure 1:  Chorus melody starts on beat 4 of preceding bar

 

Now, you may think you’d get more impact by starting your chorus melody on beat 1 along with everything else, and in some situations you will. But, by stopping all your instruments on beat 4 of the bar preceding your chorus, and starting your melody there, you move all the attention to your melody. This focus on the melody intensifies the transition from verse to chorus. It also thins out the sound, and then when everything comes back in on beat 1 there’s a way bigger impact than if all the instruments had kept playing through the transition.

And as a bonus, beginning your chorus melody on beat 4 of the bar preceding your chorus results in an overlapping phrase, which acts as reinforcement for the transition. Yeah it’s like when you’re building a brick wall, you want the bricks to overlap, so the layer above reinforces the layer below. Not that I’ve ever built a brick wall, but I have watched a lot of Grand Designs on the telly haha!

So the next time you’re wanting to add impact to a chorus, stop all your instruments on beat 4 of the preceding bar, and start your chorus melody there. 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 (click and scroll down). Thanks so much for being here, and until next time, happy songwriting and producing!

 

Podcast

Listen below, or on any podcast app.

Get Your Music Discovered

3 music theory hacks to make your music stand out, so you can get discovered!

Hello revolutionary music makers, we are Kate Harmony and Ray Harmony (AKA Revolution Harmony), and welcome to Hack Music Theory. We help you make great music that stands out, so you can move and grow your audience! If that sounds useful to you, then subscribe to our YouTube channel (or Podcast) and hit that bell to get notified every Friday, when we publish our new lesson.

FREE BOOK
If it's your first time here, be sure to download our free book “12 Music Theory Hacks to Learn Scales & Chords” below. It only takes 30 minutes to read, and then you'll have a super solid music theory foundation!

 
 

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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There’s about 40,000 songs being added to Spotify every day, so the only way you can get discovered, is if your music truly stands out. How do you do that? Well, in this lesson you’ll learn 3 hacks to make your music stand out from the crowd! But first… Tea!

INTRO
So, to counter all the boring year-end lists of smash hits, we started a new Hack Music Theory tradition last year: The Most Artistic Music of the Year. We selected the winner by asking ourselves this question: What release this year contained the most interesting theory, used in the most creative way, resulting in an accessible work of art. And the vital criteria here is accessibility, cos it’s actually surprisingly easy to write creative music, but it’s surprisingly difficult to write creative music that makes people dance and sing along! Now, without further ado, the winner of 2019’s Most Artistic Music of the Year, is… Dan D’Lion.

Dan D’Lion is a British producer and singer, who came outta nowhere this year with two jaw-dropping EPs ("Perspective" EP & "Betterman" EP). The first time we heard Dan D’Lion was in Spotify’s New Music Friday playlist a few months back, when his song “Simmer Down” totally jumped out at us, and almost nothing on that playlist ever stands out, let alone jumps out! So, in this lesson, we’ll hack the pre-chorus of “Simmer Down”, where three musical elements make this song truly stand out from the crowd. To be honest though, we could easily make four lessons on this one section alone, it’s that good! So as soon as this lesson ends, go listen to Dan D’Lion and hit repeat, cos it’ll take many listens to explore the musical depths of his 10 songs.

GIVEAWAY
Now, just before we jump into the lesson, we’ve got exciting news for you: We’re feeling festive, so one of you will win our bestselling online course: Apprenticeship #1 (worth $150). The course contains 17 hours of video that guides you through every step of the music making process, from blank screen to finish song. Details on how to enter coming up later, but now, it’s time to open your DAW to hack music theory.

SETUP
Alright, now you’re gonna learn the three theory hacks from Dan D’Lion that will make your music stand out! And for the example in this lesson, we’ll be using our version that we made earlier, using these three hacks. So, start by setting up four bars of 4/4, with your tempo set to 108 BPM, and your grid set to 1/16 notes. Dan D’Lion uses A natural minor for this section, so we’ll use it too.

HACK 1. MODAL AMBIGUITY
The first thing you’ll feel when listening to this section in “Simmer Down”, is that it’s not obvious what the key is. Dan D’Lion very cleverly does this by starting his bass line with a long note that makes us think it’s the root, but it’s not. Then after this long note, he drops down to the real root (A), which is when the ambiguity takes hold, as we thought the bass line started on the root, but now A feels like the root. Dan D’Lion does help us to hear A minor as the actual key though, by playing synth arpeggios in the background that reinforce A minor. Now, while this ambiguity around keys is a trendy hack these days, when most songwriters and producers use it, they just go back and forth between the relative major and minor keys. But that’s not interesting enough for Dan D’Lion, what he does is to go back and forth between A natural minor and its relative Dorian mode. In our example, we chose the relative Lydian mode, so we started our bass line on F. And whatever relative mode you choose, be sure to start your bass line on that mode’s root note. And if you need help understanding the modes, then simply use the mode hacks in our Songwriting & Producing PDF (click & scroll down).

HACK 2. USE THIS NOTE
Now that you’ve blurred the line between A natural minor and the relative mode that you chose, it’s time to blur that blurred line! You see, Dan D’Lion isn’t satisfied with merely creating ambiguity around the key, he then goes on to break free from those two keys by using the note C♯, which is not in either key, so it’s what we call “non-diatonic”. This blurring of the blurred line not only enhances the ambiguity from Hack 1, but it also creates the ultimate standout moment in your song. In fact, it was this exact note that made Dan D’Lion’s song jump out at us in the first place.

HACK 3. COUNTERPOINT
Dan D’Lion used the compositional technique known as counterpoint to write his backing vocals. And counterpoint is when the contour of your backing melody counters the contour of your lead melody. It’s extremely rare to hear counterpoint in popular music, as almost all backing melodies these days just harmonise the lead melody by following its contour, usually a 3rd above or below. But, by using counterpoint to write your backing melody, you inject one of the rarest elements into your song, which will make it truly stand out from the crowd. And by the way, if you need help with counterpoint, then simply use our counterpoint hack, which is also in our Songwriting & Producing PDF (click & scroll down). And, if you need help with writing melodies, then use our Melody Checklist, which is in that PDF as well. It’s the ultimate list of dos and don’ts for writing great melodies.

MORE
So, now that you’ve got one section coming together, how do you write the other sections? Then, how do you transition between them (especially when they’re in different keys)? And then, how do you structure and arrange your song? These are issues many songwriters and producers struggle with, and that’s exactly why we made our online apprenticeship course, which guides you through every step of the music making process, from blank screen to finished song. So, if you wanna learn our secret method for writing (and finishing) great songs, which we don’t teach in these free lessons, then check out our Apprenticeship #1 online course.

NEXT
Alright, now let’s have a listen to our standout section, but just before the playthrough, here’s how you can win our online course Apprenticeship #1: Write a comment below this video on YouTube, and tell us why you should win. It’s that simple! We’ll then pick our favourite answer, and announce the winner in our newsletter this Sunday (15 Dec 2019). So, be sure to post your comment by Saturday (14 Dec 2019), and also, make sure you’re on our mailing list (you can sign up on our home page).

Sadly, this is our last lesson of the year, but we’ve got EPIC news for you about 2020. When we come back in early January, we’re gonna be launching Apprenticeship #2. This course is the mother of all courses, it’s taken us over a year to make, and it contains over 30 hours of video! So, if your New Year’s resolution is to get serious and commit to your music, then make sure you’ve done Apprenticeship #1 before January, cos come 2020, it’s Apprenticeship #2 time! Thanks for watching (or listening, if you’re on the podcast), and we’ll see you in a few weeks. Until then, happy holidays, and thank you for another magical year, we really appreciate you being here.

Kate & Ray Harmony (AKA Revolution Harmony)
Music Teachers & Producers in Vancouver BC, Canada

 

Take Your Music to the Next Level

LEVEL 1 – FREE BOOK
"12 Music Theory Hacks to Learn Scales & Chords" will give you a super solid music theory foundation in 30 minutes!

LEVEL 2 – SONGWRITING & PRODUCING PDF (click & scroll down)
This is our best-selling PDF, which includes MIDI file examples. Learn the essential hacks for songwriting & producing, like our Melody Checklist (the ultimate list of do's and don'ts for writing great melodies). You'll also learn how to write chord progressions, bass lines, riffs, counterpoint harmonies, and more!

LEVEL 3 – LESSON PACKS
After learning our essential hacks, it's time to put them to practical use and start writing some new songs. Lesson packs include step-by-step PDF guides to making music for different instruments and in different genres (electronic, metal, soundtrack, etc.), as well as multitrack MIDI files of the examples.

LEVEL 4 – ONLINE APPRENTICESHIP
Go from a blank screen to a finished song, in this 17-hour video course. Learn how to write new sections for an existing section, how to transition between sections in different keys, how to structure and arrange, and much more! This course has been called "life-changing" many times, so join 800+ music makers now (from all genres), who are learning Ray's secret hack: Song Whispering.

ABOUT
Hack Music Theory is a pioneering DAW method for making great music that stands out, so you can move and grow your audience! Taught by multi-award-winning music lecturer Ray Harmony, and his protégé wife Kate Harmony, from their studio in Vancouver BC, Canada. Ray is the author of critically-acclaimed book series "Hack Music Theory", and has made music with Serj Tankian (System of a Down), Tom Morello (Rage Against the Machine), Steven Wilson (Porcupine Tree), Devin Townsend (Strapping Young Lad), Ihsahn (Emperor), Kool Keith (Ultramagnetic MCs), Madchild (Swollen Members), and many more! Kate has the highest grade distinction in Popular Music Theory from the London College of Music, and is the only person on the planet who's been trained by Ray to teach his method. On that note, Hack Music Theory teaches relevant and instantly-usable music theory for producers, songwriters, DAW users, and all other music makers (guitarists, bassists, singers, drummers, etc.) in all genres, from EDM to R&B, pop to hip-hop, reggae to rock, electronic to metal (and yes, we djefinitely djent!).

COPYRIGHT
© 2019 Revolution Harmony
Revolution Harmony is Ray Harmony & Kate Harmony
All content (script & music) in video by Revolution Harmony

New UK Jazz Rhythms

Learn how to make a groove inspired by the captivating rhythms of new UK Jazz, using a music theory hack from “Free My Skin” by London collective Steam Down.

Hello revolutionary music makers, we are Kate Harmony and Ray Harmony (AKA Revolution Harmony), and welcome to Hack Music Theory. We help you make great music that stands out, so you can move and grow your audience! If that sounds useful to you, then subscribe to our YouTube channel (or Podcast) and hit that bell to get notified every Friday, when we publish our new lesson.

FREE BOOK
If it's your first time here, be sure to download our free book “12 Music Theory Hacks to Learn Scales & Chords” below. It only takes 30 minutes to read, and then you'll have a super solid music theory foundation!

 
 

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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SETUP
The theory hack in this lesson is from the new single “Free My Skin” by the inspirational London collective, Steam Down. But, the music in this lesson (which you’ll hear at the end), is actually our music that we wrote using their theory. On that note, we could definitely make lessons on their melodies, chords and bass as well, cos there’s so much interesting theory going on in those, but this lesson is all about rhythm, so we’ll focus on their drum groove. Right, so start by setting your tempo to 146 BPM, then make two bars of 4/4, with your grid set to 1/16 notes.

INTRO
Now, the first standout feature you’ll notice is that tempo. That ain’t a tempo for sitting on your ass and listening, that’s a tempo for dancing! This is just one of the many refreshing aspects of this new UK Jazz movement. And this isn’t really Jazz, this is the sound of London. You see, London, which is my hometown, is a melting pot of cultures, so its music is a reflection of that. This is why you’ll hear elements from homegrown grime, Jamaican dancehall, West African afrobeat, and more, all coming together in this new sound. And this musical melting pot is perfectly captured by Steam Down. By the way, big shoutout to Gary Crosby and all the other heroes at the Tomorrow’s Warriors charity for their life-changing educational work behind this movement.

STEP 1. FOUR-ON-THE-FLOOR (ALMOST)
The driving force behind this awesome groove is an almost four-on-the-floor pattern on the kick. The drummer plays beat 1, 3 and 4, but not beat 2. This creates a super dancey groove, but leaves space for something more interesting.

STEP 2. MORE SYNCOPATION!
Next, in that space left open by not playing a kick on beat 2, the drummer plays a couple syncopated snare hits on beats 1a and 2+. Then in the second bar, there’s even more syncopation, as there are three syncopated snare hits on beats 1a, 2e and 2a.

STEP 3. IRREGULAR HATS
Now, there’s only one rule when it comes to the hats in this groove: don’t play beat 2. By leaving that beat totally open, the drummer ensures that the super funky groove created from all those syncopated snares is not watered down, cos this is Steam Down, not water down! Also, by having some rests on the hats, it creates an irregular pattern, which keeps the groove unpredictable. And lastly, there’s a 1/32 note thrown in for extra spice.

SALE • 40% OFF
Alright, now let’s have a listen to this melting pot of rhythms from around the world, but just before the playthrough, if there’s an artist you’d like us to hack, please let us know by commenting on the video in YouTube. And don’t forget, today is the last day of our epic sale, so get involved now for 40% off everything, including our bestsellers: the Songwriting & Producing PDF (click & scroll down) and the Apprenticeship #1 Online Course (SAVE $60). Thanks for reading/watching/listening, and we’ll see you next time!

Kate & Ray Harmony (AKA Revolution Harmony)
Music Teachers & Producers in Vancouver BC, Canada

 

Take Your Music to the Next Level

LEVEL 1 – FREE BOOK
"12 Music Theory Hacks to Learn Scales & Chords" will give you a super solid music theory foundation in 30 minutes!

LEVEL 2 – SONGWRITING & PRODUCING PDF (click & scroll down)
This is our best-selling PDF, which includes MIDI file examples. Learn the essential hacks for songwriting & producing, like our Melody Checklist (the ultimate list of do's and don'ts for writing great melodies). You'll also learn how to write chord progressions, bass lines, riffs, counterpoint harmonies, and more!

LEVEL 3 – LESSON PACKS
After learning our essential hacks, it's time to put them to practical use and start writing some new songs. Lesson packs include step-by-step PDF guides to making music for different instruments and in different genres (electronic, metal, soundtrack, etc.), as well as multitrack MIDI files of the examples.

LEVEL 4 – ONLINE APPRENTICESHIP
Go from a blank screen to a finished song, in this 17-hour video course. Learn how to write new sections for an existing section, how to transition between sections in different keys, how to structure and arrange, and much more! This course has been called "life-changing" many times, so join 800+ music makers now (from all genres), who are learning Ray's secret hack: Song Whispering.

ABOUT
Hack Music Theory is a pioneering DAW method for making great music that stands out, so you can move and grow your audience! Taught by multi-award-winning music lecturer Ray Harmony, and his protégé wife Kate Harmony, from their studio in Vancouver BC, Canada. Ray is the author of critically-acclaimed book series "Hack Music Theory", and has made music with Serj Tankian (System of a Down), Tom Morello (Rage Against the Machine), Steven Wilson (Porcupine Tree), Devin Townsend (Strapping Young Lad), Ihsahn (Emperor), Kool Keith (Ultramagnetic MCs), Madchild (Swollen Members), and many more! Kate has the highest grade distinction in Popular Music Theory from the London College of Music, and is the only person on the planet who's been trained by Ray to teach his method. On that note, Hack Music Theory teaches relevant and instantly-usable music theory for producers, songwriters, DAW users, and all other music makers (guitarists, bassists, singers, drummers, etc.) in all genres, from EDM to R&B, pop to hip-hop, reggae to rock, electronic to metal (and yes, we djefinitely djent!).

COPYRIGHT
© 2019 Revolution Harmony
Revolution Harmony is Ray Harmony & Kate Harmony
All content (script & music) in video by Revolution Harmony
Thumbnail photo of Steam Down from SteamDown.co.uk

2 Hacks for EPIC Bass Lines

Learn how to write a bass line for an epic chorus, by using a music theory hack from Leprous “Alleviate” (off their new album “Pitfalls”).

Hello revolutionary music makers, we are Kate Harmony and Ray Harmony (AKA Revolution Harmony), and welcome to Hack Music Theory. We help you make great music that stands out, so you can move and grow your audience! If that sounds useful to you, then subscribe to our YouTube channel (or Podcast) and hit that bell to get notified every Friday, when we publish our new lesson.

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If it's your first time here, be sure to download our free book “12 Music Theory Hacks to Learn Scales & Chords” below. It only takes 30 minutes to read, and then you'll have a super solid music theory foundation!

 
 

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SETUP
Over the last couple of lessons you’ve learned how to write an epic chord progression and melody (links below), so now you’re gonna learn how to write an epic bass line underneath. And this theory hack is inspired by the chorus of recent single “Alleviate” by the awesome Norwegian band Leprous. But, the example in this lesson is actually our music, which we wrote using their theory. Right, so start by setting up four bars of 4/4, with your grid set to 1/8 notes, and your tempo set to 116 BPM. Leprous use D natural minor for their chorus, and the natural minor scale is a common choice for epic music, so we’ll use it too.

SERIES
1. How to Write Epic Chord Progressions
2. How to Write Epic Melodies

STEP 1. THE PATH
Your bass line needs to be the path upon which all your other instruments will walk, so it’s essential to build a solid path that can take the weight of everything above it. And the best way to do that is to play the root of every chord, as the root is by far the most stable note. Our chords are: Dm → Fmaj → B♭maj → Csus4, so we started writing our bass line by using D→F→B♭→C. And another thing to keep in mind is that as soon as you play a note on your bass guitar, it starts to fade, which weakens the path. So to counter that, simply play 1/8 notes, which has the added advantage of giving your bass line a driving momentum.

STEP 2. STRAY
Now, there’s a huge difference between your bass being a path, and it being a doormat. If your bass only plays root notes, it’ll blend into the background and your other instruments will walk all over it. That’s not cool, so don’t let your bass be a doormat. The best way to avoid that fate (and to ensure your bass line becomes a path) is actually rather counterintuitive. To be the path, your bass needs to stray from the path. Think about it: Your listeners won’t notice your bass line when it’s only playing root notes, so as soon as it strays from those roots, it attracts attention to itself. Then, as soon as it has that attention, it can return to the path, but now that it’s been noticed, the next root note it plays won’t blend into the background. We strayed with one or two 1/8 notes at the end of each bar. And this straying also creates the opportunity to inject motifs, which are short musical ideas that are repeated to make your music memorable, like these ascending 1/8 notes at the end of bars 1 and 2, and these descending 1/8 notes at the end of bars 3 and 4.

MORE
So, now that you’ve got one section down, how do you write the other sections? Then, how do you transition between them (especially when they’re in different keys)? And then, how do you structure and arrange your song? These are issues many songwriters and producers struggle with, and that’s exactly why we made our online apprenticeship course, which guides you through every step of the music making process, from blank screen to finished song. So, if you wanna learn our secret method for writing (and finishing) great songs, which we don’t teach in these free lessons, then check out our Apprenticeship #1 online course.

SALE • 40% OFF
This bass line is not the only epic thing going down this week, our epic Black Friday sale starts today, so get involved now for 40% off everything, including our bestsellers: the Songwriting & Producing PDF (click & scroll down) and the Apprenticeship #1 Online Course - sale ends 2 Dec 2019. Thanks for reading/watching/listening, and we’ll see you next time!

Kate & Ray Harmony (AKA Revolution Harmony)
Music Teachers & Producers in Vancouver BC, Canada

 

Take Your Music to the Next Level

LEVEL 1 – FREE BOOK
"12 Music Theory Hacks to Learn Scales & Chords" will give you a super solid music theory foundation in 30 minutes!

LEVEL 2 – SONGWRITING & PRODUCING PDF (click & scroll down)
This is our best-selling PDF, which includes MIDI file examples. Learn the essential hacks for songwriting & producing, like our Melody Checklist (the ultimate list of do's and don'ts for writing great melodies). You'll also learn how to write chord progressions, bass lines, riffs, counterpoint harmonies, and more!

LEVEL 3 – LESSON PACKS
After learning our essential hacks, it's time to put them to practical use and start writing some new songs. Lesson packs include step-by-step PDF guides to making music for different instruments and in different genres (electronic, metal, soundtrack, etc.), as well as multitrack MIDI files of the examples.

LEVEL 4 – ONLINE APPRENTICESHIP
Go from a blank screen to a finished song, in this online video course. Learn how to write new sections for an existing section, how to transition between sections in different keys, how to structure and arrange, and much more! This course has been called "life-changing" many times, so join 800+ music makers now (from all genres), who are learning Ray's secret hack: Song Whispering.

ABOUT
Hack Music Theory is a pioneering DAW method for making great music that stands out, so you can move and grow your audience! Taught by multi-award-winning music lecturer Ray Harmony, and his protégé wife Kate Harmony, from their studio in Vancouver BC, Canada. Ray is the author of critically-acclaimed book series "Hack Music Theory", and has made music with Serj Tankian (System of a Down), Tom Morello (Rage Against the Machine), Steven Wilson (Porcupine Tree), Devin Townsend (Strapping Young Lad), Ihsahn (Emperor), Kool Keith (Ultramagnetic MCs), Madchild (Swollen Members), and many more! Kate has the highest grade distinction in Popular Music Theory from the London College of Music, and is the only person on the planet who's been trained by Ray to teach his method. On that note, Hack Music Theory teaches relevant and instantly-usable music theory for producers, songwriters, DAW users, and all other music makers (guitarists, bassists, singers, drummers, etc.) in all genres, from EDM to R&B, pop to hip-hop, reggae to rock, electronic to metal (and yes, we djefinitely djent!).

COPYRIGHT
© 2019 Revolution Harmony
Revolution Harmony is Ray Harmony & Kate Harmony
All content (script & music) in video by Revolution Harmony
Thumbnail photo of Simen Børven by Irene Serrano