Ray Harmony's Blog, page 33

010 | Introduction to Modes and How to Use Them

Alan from Portland, Oregon emailed us and asked: “I understand the major and minor scales, and I use them in my tracks all the time, but I don’t understand the modes. I know they’re like scales, but I don’t get what the difference is, and I don’t really get why they’re useful either. Sorry that’s more than one question, but I hope you can still help me.” Thank you, Alan. Yes of course we can and will help you, that’s what we’re here for! There’s actually two great questions here, but I’m still gonna give you a one-sentence answer, so here it is:

While modes and scales have slightly different histories, the terms are practically interchangeable in popular music today, besides, the modes are merely scales that convey different emotions by starting on different degrees of the major scale formula.

Now, let’s talk and play through the modes and their emotions. When you play all the white notes from C to C (i.e. C D E F G A B C), you get the major scale, which sounds happy. And, when you play all the white notes from A to A (i.e. A B C D E F G A), you get the natural minor scale, which sounds sad. These are relative scales, as they share the exact same notes, but start in different places and create different emotions. This is one of the greatest magic tricks in music theory, and an awesome songwriting hack, as it allows you to tap into totally different emotions without changing any notes. For more on relatives, please read chapter five of our free book: 12 Music Theory Hacks to Learn Scales & Chords.

You probably noticed that there are five other notes in the major scale that we could also start on (i.e. the 2, 3, 4, 5, and 7), which would create five other scales with five other emotions. These five other scales are known as the modes. And this is where the confusion between scales and modes comes from, because the two scales we use all the time in popular music, the major and natural minor scales, are also modes. They are merely two modes in a family of seven. So, in order to truly express ourselves as songwriters, we need to treat all the modes as equal relatives.

The two modes that we refer to as the major and natural minor scales are the most normal sounding of the seven modes, so predictably they became the most popular, which resulted in the other five modes being pretty much forgotten in popular music. But, because the other five modes are almost never used in songs these days, if you want your music to instantly stand out from everyone else’s, just use these “forgotten” modes.

Please note that you must always secure the five forgotten modes to their respective root notes, in order to create their unique emotions. Otherwise, your listeners may perceive your mode as the relative major or relative natural minor scale, because we’re all so used to hearing those two modes. The best way to secure a mode to its root note is to emphasize it in some way, like starting your chord progression on the root triad. In the following examples, I’ll secure each mode to its root note by playing the root in my left hand. So, here are all seven modes, their names, and their unique emotions:

The white notes from C to C create the Ionian mode (AKA the major scale), which sounds happy
The white notes from D to D create the Dorian mode, which sounds sad but hopeful
The white notes from E to E create the Phrygian mode, which sounds dark
The white notes from F to F create the Lydian mode, which sounds uplifting but quirky
The white notes from G to G create the Mixolydian mode, which sounds happy but serious
The white notes from A to A create the Aeolian mode (AKA the natural minor scale), which sounds sad
The white notes from B to B create the Locrian mode, which sounds evil (and is a favourite of metal bands)

So that’s my answer! Thanks for reading. Now, here’s an exercise for you: Choose one of the five “forgotten” modes. Write a melody or chord progression that expresses a more complex core emotion than just happy or sad. Then, play it to a friend and ask them how it makes them feel. Did you tap into a more complex emotion? Please let us know how it goes in the comments below, and if you’d like to learn more about modes and how to use them, check out our Hack Music Theory for Songwriting & Producing PDF.

Do you feel a little bit smarter now than you did a few minutes ago? Then please subscribe so we can do it all again next week! And if you have a question you’d like us to answer here on Q&A Tuesday, please comment below or connect with us.

Kate :)

PS. Have you downloaded our free music theory book yet?

The Chainsmokers – Hack the Music Theory in "Closer" & "Something Just Like This"

Discover the go-to chord progression that The Chainsmokers use in their hit-making formula!

When The Chainsmokers' brand new Coldplay collaboration "Something Just Like This" came out two weeks ago, did you notice that it sounds just like their smash hit from last year, "Closer"? Well, that's because they use the exact same chord progression and the exact same harmonic rhythm (i.e. when the chords change), in both these songs. Before I expose the music theory behind The Chainsmokers hit factory, be sure to subscribe if you wanna stay bang up-to-date on 2017’s hottest music theory trends!

Right, without further ado, here's their secret formula: ♭VImaj(add9) → ♭VIImaj → Im7 → ♭VIImaj

They're in the key of F minor (and not A♭ major, as Wikipedia is incorrectly informing the world!), so therefore the actual chords they're using are: D♭maj(add9) → E♭maj → Fm7 → E♭maj. Check out the MIDI piano roll below for the notes in each chord:

[image error]

Why is this chord progression so popular? There's a few reasons for this. First, it starts on a maj(add9) chord, which is always instantly lovable, as major is happy and adding the 9 (i.e. 2nd note) makes the chord sound super dreamy. Second, you hear two happy major chords before the first minor arrives, and people like feeling happy. Third, the one common note on top of every chord makes the changes flow and keeps every chord sounding familiar, but therefore predictable. Fourth, it slowly climbs up to the root chord Fm7, so by the time the root finally arrives, it feels rather satisfying, but predictable. Fifth, the last chord is actually the second chord repeated, which makes this chord progression even more predictable.

Do you see a pattern forming? This, my revolutionary music-making friends, is always the downfall of hits. For a song to become a hit, it needs to be predictable, but people get really really sick of hearing a predictable song after a few months. The insanely short shelf-life of hits is the sacrifice these hit factories make when they're chasing hits. Is that sacrifice worth it to you? The fact that you're here reading a music theory blog tells me that you want more, you want to learn the language of music so you can make artistic songs that will not expire after a few months. I salute you for that!

And on that note, watch the video above to find out how this chord progression can be improved in order to extend its longevity into the decades, then use this approach for your own music, and it will be both popular and long-lasting.

As always, please feel free to connect or comment below, I read all messages. Thank you sincerely for your time, your open mind, and your dedication to the art of music. Happy songwriting!

Ray :)

PS. Have you downloaded our free music theory book yet?

009 | The Chainsmokers – Hack the Music Theory in "Closer" & "Something Just Like This"

Discover the go-to chord progression that The Chainsmokers use in their hit-making formula!

When The Chainsmokers' brand new Coldplay collaboration "Something Just Like This" came out two weeks ago, did you notice that it sounds just like their smash hit from last year, "Closer"? Well, that's because they use the exact same chord progression and the exact same harmonic rhythm (i.e. when the chords change), in both these songs. Before I expose the music theory behind The Chainsmokers hit factory, be sure to subscribe if you wanna stay bang up-to-date on 2017’s hottest music theory trends!

Right, without further ado, here's their secret formula: ♭VImaj(add9) → ♭VIImaj → Im7 → ♭VIImaj

They're in the key of F minor (and not A♭ major, as Wikipedia is incorrectly informing the world!), so therefore the actual chords they're using are: D♭maj(add9) → E♭maj → Fm7 → E♭maj. Check out the MIDI piano roll below for the notes in each chord:

[image error]

Why is this chord progression so popular? There's a few reasons for this. First, it starts on a maj(add9) chord, which is always instantly lovable, as major is happy and adding the 9 (i.e. 2nd note) makes the chord sound super dreamy. Second, you hear two happy major chords before the first minor arrives, and people like feeling happy. Third, the one common note on top of every chord makes the changes flow and keeps every chord sounding familiar, but therefore predictable. Fourth, it slowly climbs up to the root chord Fm7, so by the time the root finally arrives, it feels rather satisfying, but predictable. Fifth, the last chord is actually the second chord repeated, which makes this chord progression even more predictable.

Do you see a pattern forming? This, my revolutionary music-making friends, is always the downfall of hits. For a song to become a hit, it needs to be predictable, but people get really really sick of hearing a predictable song after a few months. The insanely short shelf-life of hits is the sacrifice these hit factories make when they're chasing hits. Is that sacrifice worth it to you? The fact that you're here reading a music theory blog tells me that you want more, you want to learn the language of music so you can make artistic songs that will not expire after a few months. I salute you for that!

And on that note, watch the video above to find out how this chord progression can be improved in order to extend its longevity into the decades, then use this approach for your own music, and it will be both popular and long-lasting.

As always, please feel free to connect or comment below, I read all messages. Thank you sincerely for your time, your open mind, and your dedication to the art of music. Happy songwriting!

Ray :)

PS. Have you downloaded our free music theory book yet?

Hack the Hits on the Hack Music Theory show

Welcome to the Hack Music Theory show! I’m Ray Harmony, and I’m pumped to announce our brand new series, Hack-A-Hit, where I will expose the hottest music theory trends behind the latest hits.

Hack-A-Hit was inspired by John Seabrook’s masterpiece of a book The Song Machine: Inside the Hit Factory (buy it and read it right now, it'll blow your mind!), which exposes the process and intentions behind making hits, but not the actual music theory itself. So that’s exactly what I’m going to do in Hack-A-Hit.

Hits are sonic drugs, designed to give you a three-and-a-half-minute trip that instantly hooks you. But, in order to achieve this, they rely heavily on extreme simplicity, and extreme repetition of that extreme simplicity. This results in the lifespan of hits usually being no more than a few weeks or months, because after that, everyone’s sick of hearing them!

In Hack-A-Hit, I will expose the music theory tricks behind these hits, so you can use them, too. But more importantly, I will reveal the songwriting hacks that would extend these hits’ lifespans into the decades. Apply these tricks and hacks to your own music, and your songs will stand the test of time!

First up, I’ll be hacking The Chainsmokers’ favourite chord progression, which they used in both “Closer” and “Something Just Like This” (their brand new single with Coldplay). So, if you wanna stay bang up-to-date on 2017’s hottest music theory trends, subscribe now!

Ray :)

PS. Have you downloaded our free music theory book yet?

008 | Hack the Hits on the Hack Music Theory show

Welcome to the Hack Music Theory show! I’m Ray Harmony, and I’m pumped to announce our brand new series, Hack-A-Hit, where I will expose the hottest music theory trends behind the latest hits.

Hack-A-Hit was inspired by John Seabrook’s masterpiece of a book The Song Machine: Inside the Hit Factory (buy it and read it right now, it'll blow your mind!), which exposes the process and intentions behind making hits, but not the actual music theory itself. So that’s exactly what I’m going to do in Hack-A-Hit.

Hits are sonic drugs, designed to give you a three-and-a-half-minute trip that instantly hooks you. But, in order to achieve this, they rely heavily on extreme simplicity, and extreme repetition of that extreme simplicity. This results in the lifespan of hits usually being no more than a few weeks or months, because after that, everyone’s sick of hearing them!

In Hack-A-Hit, I will expose the music theory tricks behind these hits, so you can use them, too. But more importantly, I will reveal the songwriting hacks that would extend these hits’ lifespans into the decades. Apply these tricks and hacks to your own music, and your songs will stand the test of time!

First up, I’ll be hacking The Chainsmokers’ favourite chord progression, which they used in both “Closer” and “Something Just Like This” (their brand new single with Coldplay). So, if you wanna stay bang up-to-date on 2017’s hottest music theory trends, subscribe now!

Ray :)

PS. Have you downloaded our free music theory book yet?

Why You Need to Spell Music with Numbers

Damian from Birmingham, England emailed us with this question: “I’ve watched all your videos and learnt so much already, thank you. I kinda get the idea of numbering notes, but I’m not sure how the numbers with flats work. Can you please explain how this whole numbering system works?” Thank you Damian, great question and a great opportunity to talk about one of the most important concepts in music theory: Spelling! But first, here’s my one sentence answer to your question:

Spelling is the numerical way of writing or talking about music, where each note is assigned the number of its degree in a scale, or chord.

Let’s work through an example of this now, using the A major and A minor scales. Remember, the major scale is the original scale, so all other scales are spelled in a way that shows how they differ from the major scale. Using the major scale semitone formula starting from A, we get A major: A B C♯ D E F♯ G♯, and then back to A an octave higher. We spell the notes of major scales as: 1 2 3 4 5 6 7, and 8, which is the 1 an octave higher. By the way, if you want to know more about semitone formulas and how to use them, check out chapters four and five in our free ebook: 12 Music Theory Hacks to Learn Scales & Chords. And if you want a much faster, but more advanced, method of working out scales, check out our Key Signature hack in the Hack Music Theory for Songwriting & Producing PDF.

Now, using the natural minor scale semitone formula starting from A, we get A natural minor: A B C D E F G, and back to A. Remember in A major the 3rd was C♯, but in A minor it’s C. In A major the 6th was F♯, but in A minor it’s F. And in A major the 7th was G♯, but in A minor it’s G. This tells us that the 3rd, 6th and 7th notes in natural minor scales are one semitone lower than where they are in major scales. To represent this one semitone lower, we add a flat (♭) to the spelling of the 3rd, 6th and 7th notes in natural minor scales, so in A minor the C is spelled as ♭3, the F is spelled as ♭6 and the G is spelled as ♭7. To be clear, these flats tell us that their associated notes are one semitone down from where they are in a major scale, they do not tell us that the notes themselves are flats, like in A minor where the ♭3 is C, a white note.

Lastly. Why is spelling useful? Let me show you one of many common examples that occurs in studios every day. Say you have a melody in A minor, like this: A → F → E → C, so that’s the 1 → ♭6 → 5 → ♭3. But, this melody is too low for the singer you’re working with, so you need to raise the whole melody into their range. This is called transposing, it happens all the time, and it’s super simple when you know the spelling of what you’re doing. So, say you want to move this melody from A minor up to D minor, you merely play the same spelling: 1 → ♭6 → 5 → ♭3, but in the D natural minor scale, so that’s: D → B♭ → A → F. Easy!

So that’s my answer! Thanks for reading. Now, here’s an exercise for you: Take your favourite melody and work out the spelling of its notes. This will start to reveal your personal preferences, which you can then use to develop your own unique style of writing music. This is one of the most powerful uses for spelling! Please let us know how it goes in the comments below, and if you’d like to learn more about spelling, check out chapter eight in our free book: 12 Music Theory Hacks to Learn Scales & Chords.

Do you feel a little bit smarter now than you did a few minutes ago? Then hit Subscribe so we can do it all again next week! And if you have a question you’d like us to answer here on Q&A Tuesday, please connect with us.

Kate :)

PS. Have you downloaded our free music theory book yet?

007 | Why You Need to Spell Music with Numbers

Damian from Birmingham, England emailed us with this question: “I’ve watched all your videos and learnt so much already, thank you. I kinda get the idea of numbering notes, but I’m not sure how the numbers with flats work. Can you please explain how this whole numbering system works?” Thank you Damian, great question and a great opportunity to talk about one of the most important concepts in music theory: Spelling! But first, here’s my one sentence answer to your question:

Spelling is the numerical way of writing or talking about music, where each note is assigned the number of its degree in a scale, or chord.

Let’s work through an example of this now, using the A major and A minor scales. Remember, the major scale is the original scale, so all other scales are spelled in a way that shows how they differ from the major scale. Using the major scale semitone formula starting from A, we get A major: A B C♯ D E F♯ G♯, and then back to A an octave higher. We spell the notes of major scales as: 1 2 3 4 5 6 7, and 8, which is the 1 an octave higher. By the way, if you want to know more about semitone formulas and how to use them, check out chapters four and five in our free ebook: 12 Music Theory Hacks to Learn Scales & Chords. And if you want a much faster, but more advanced, method of working out scales, check out our Key Signature hack in the Hack Music Theory for Songwriting & Producing PDF.

Now, using the natural minor scale semitone formula starting from A, we get A natural minor: A B C D E F G, and back to A. Remember in A major the 3rd was C♯, but in A minor it’s C. In A major the 6th was F♯, but in A minor it’s F. And in A major the 7th was G♯, but in A minor it’s G. This tells us that the 3rd, 6th and 7th notes in natural minor scales are one semitone lower than where they are in major scales. To represent this one semitone lower, we add a flat (♭) to the spelling of the 3rd, 6th and 7th notes in natural minor scales, so in A minor the C is spelled as ♭3, the F is spelled as ♭6 and the G is spelled as ♭7. To be clear, these flats tell us that their associated notes are one semitone down from where they are in a major scale, they do not tell us that the notes themselves are flats, like in A minor where the ♭3 is C, a white note.

Lastly. Why is spelling useful? Let me show you one of many common examples that occurs in studios every day. Say you have a melody in A minor, like this: A → F → E → C, so that’s the 1 → ♭6 → 5 → ♭3. But, this melody is too low for the singer you’re working with, so you need to raise the whole melody into their range. This is called transposing, it happens all the time, and it’s super simple when you know the spelling of what you’re doing. So, say you want to move this melody from A minor up to D minor, you merely play the same spelling: 1 → ♭6 → 5 → ♭3, but in the D natural minor scale, so that’s: D → B♭ → A → F. Easy!

So that’s my answer! Thanks for watching. Now, here’s an exercise for you: Take your favourite melody and work out the spelling of its notes. This will start to reveal your personal preferences, which you can then use to develop your own unique style of writing music. This is one of the most powerful uses for spelling! Please let us know how it goes in the comments below, and if you’d like to learn more about spelling, check out chapter eight in our free book: 12 Music Theory Hacks to Learn Scales & Chords.

Do you feel a little bit smarter now than you did a few minutes ago? Then hit Subscribe so we can do it all again next week! And if you have a question you’d like us to answer here on Q&A Tuesday, please connect with us.

Kate :)

PS. Have you downloaded our free music theory book?

How to Write Great Songs: Guitar Riffs (Song 1)

How do write an epic riff that’s so tasty it sounds just as good on a guitar as it does on a synth? Easy, just follow these three music theory hacks:

Step 1: Start with the root note of each chord in your chord progression
If you’re working in a digital audio workstation (DAW), then copy and paste the MIDI of your chord progression into your guitar/synth track. Now delete all the notes in it, other than the root note of each chord. Be sure not to get confused with any inversions though, cos if you’ve inverted a chord, the root will not be the lowest note. You don’t need to hear the root notes, just see where they change, so mute them all now. These muted root notes show you the harmonic rhythm, which is the template you’ll write your guitar/synth riff over. If you’re doing this old-school with a pen and paper, then just write down the root note of each chord, and you’re ready to start. The root notes in our E Dorian chord progression in this video lesson, are: E → B → G → A → D

Step 2: Break down each chord into its individual notes
Remember, most chords contain three notes, and guitars and synths (especially higher-pitched ones) thrive on melody and harmony. So, break down your chords into their individual notes, and then approach them melodically. This music theory hack unbundles each chord and frees its individual notes, so you can play them wherever and however you want.  As a result, you don’t need to rely on those awful guitar “shapes” or keyboard “block” chords that most other musicians use (which is why most other musicians all sound the same!). As always, be sure to use non-harmonic notes too, i.e. notes that are not in the chord, but are still in the scale.

Step 3. Break up all melodic movements of a perfect 4th and perfect 5th
These are perfectly vibrating intervals that sound way too similar to each other, and are therefore very boring. We need to break up these melodic movements, by adding a note in between. The most thrilling part of doing this is actually the unpredictable and magical detours your riffs will take, which would never happen if it weren’t for these boring intervals needing to be spiced up. For more info on this vital step, refer to my Melody Checklist. I spent ages pouring everything I know about writing melodies into an ultimate checklist, so if you want every melody you ever write to be a great one, use the Melody Checklist in my Hack Music Theory for Songwriting & Producing PDF.

Finally, here's the guitar tab for the riff in this video lesson. Enjoy!
[image error]And that, my friends, is how you write an epic guitar or synth riff! Over to you now, so have fun writing great riffs over your chord progressions, and be sure to connect and let us know how you get on with this hackwork. Until next week, happy songwriting!

Ray :)

PS. Have you downloaded our free music theory book?

006 | How to Write Great Songs: Guitar Riffs (Song 1)

How do write an epic riff that’s so tasty it sounds just as good on a guitar as it does on a synth? Easy, just follow these three music theory hacks:

Step 1: Start with the root note of each chord in your chord progression
If you’re working in a digital audio workstation (DAW), then copy and paste the MIDI of your chord progression into your guitar/synth track. Now delete all the notes in it, other than the root note of each chord. Be sure not to get confused with any inversions though, cos if you’ve inverted a chord, the root will not be the lowest note. You don’t need to hear the root notes, just see where they change, so mute them all now. These muted root notes show you the harmonic rhythm, which is the template you’ll write your guitar/synth riff over. If you’re doing this old-school with a pen and paper, then just write down the root note of each chord, and you’re ready to start. The root notes in our E Dorian chord progression in this video lesson, are: E → B → G → A → D

Step 2: Break down each chord into its individual notes
Remember, most chords contain three notes, and guitars and synths (especially higher-pitched ones) thrive on melody and harmony. So, break down your chords into their individual notes, and then approach them melodically. This music theory hack unbundles each chord and frees its individual notes, so you can play them wherever and however you want.  As a result, you don’t need to rely on those awful guitar “shapes” or keyboard “block” chords that most other musicians use (which is why most other musicians all sound the same!). As always, be sure to use non-harmonic notes too, i.e. notes that are not in the chord, but are still in the scale.

Step 3. Break up all melodic movements of a perfect 4th and perfect 5th
These are perfectly vibrating intervals that sound way too similar to each other, and are therefore very boring. We need to break up these melodic movements, by adding a note in between. The most thrilling part of doing this is actually the unpredictable and magical detours your riffs will take, which would never happen if it weren’t for these boring intervals needing to be spiced up. For more info on this vital step, refer to my Melody Checklist. I spent ages pouring everything I know about writing melodies into an ultimate checklist, so if you want every melody you ever write to be a great one, use the Melody Checklist in my Hack Music Theory for Songwriting & Producing PDF.

Finally, here's the guitar tab for the riff in this video lesson. Enjoy!
[image error]And that, my friends, is how you write an epic guitar or synth riff! Over to you now, so have fun writing great riffs over your chord progressions, and be sure to connect and let us know how you get on with this hackwork. Until next week, happy songwriting!

Ray :)

PS. Have you downloaded our free music theory book?

005 | How to Make Happy Funk

Roland from Germany emailed us and asked: “I really love the blues scale, it's so juicy and funky for writing bass lines. But if I've got it right, you can only make a blues scale out of a minor scale, right? Sometimes I would love to have a kind of blues scale in a major, though. So here's my question: Is there an equivalent blues scale for major?” Thank you Roland, this is a rather advanced songwriting question, so I'm excited to explore the options with you. But first, here's my one-sentence answer to your question:

Funky bass lines rely heavily on the trio of notes: 1, ♭3 and ♭7, so while we can never have a ♭3 in a major mode (as that would turn it into a minor), we can bring two-thirds of that funk by getting a groove going between the 1 and the ♭7.

Let me give you an example. Here's the A Aeolian mode, AKA the natural minor scale: A B C D E F G. In order to make it into a blues scale, we first have to delete the 2 (i.e. B) and the ♭6 (i.e. F), which gives us a pentatonic minor scale. Now we add the ♭5 (i.e. E♭) and we've got a blues scale: 1 ♭3 4 ♭5 5 and ♭7 (i.e. A C D E♭ E G). The ultimate funky scale!

But if we look closely, we'll notice that the only note we need to change to turn this into a major, is the ♭3 (i.e. C). The 4, 5 and ♭7 are found in the major mode Mixolydian, and the ♭5 is only ever used as a spicy passing note. Therefore, once we've changed the ♭3 to a 3 (i.e. C♯), we can use this Mixolydian version of the blues scale: 1 3 4 ♭5 5 ♭7 (i.e. A C♯ D E♭ E G) to make a happy, funky bass line.

So that's my answer! Thanks for reading. Now, here's my question to you: Do you have a Mixolydian chord progression you feel is lacking in energy? If so, try funk up its bass line with this music theory hack, and please let us know how it goes in the comments below. Remember, if you need help with scales/modes, like blues or Mixolydian, check out our books and PDFs.

Do you feel a little bit smarter now than you did a few minutes ago? Then subscribe so we can do it all again next week! And if you have a question you'd like us to answer here on Q&A Tuesday, please connect with us!

Kate :)

PS. Have you downloaded our free music theory book?