Ray Harmony's Blog, page 6
July 21, 2023
How to Write a Mixolydian MELODY • Music Theory from Sigur Rós "Klettur"
How to Write a Mixolydian MELODY
Music in a major key is uplifting, but the downside is that it often sounds childlike.
This is because the major scale is the most predictable scale. Predictable things are comforting and reassuring, so it is indeed used in almost all children’s music. The ease at which children can sing along with melodies in the (predictable) major scale is one reason, but an equally important reason is its innocent and naive sound. This is due to its consonant intervals, but that’s acoustic science, so I won’t bore you.
Here’s the problem so many producers face when trying to make uplifting music: How do you write a song that’s happy but not childlike? Or, far worse than childlike… Cheesy. Urgh! And yes, it’s scary/funny how many songs we hear that were obviously intended to be uplifting, but just ended up sounding cheesy instead.
Listen to Example from Tutorial
So how do you make uplifting music that sounds beautiful and mature? Just ask Sigur Rós, as that’s exactly what they did with their song “Klettur”, from the beautiful new album “Átta”. This song has a wonderfully uplifting melody, but instead of sounding like children’s music (or cheese), it sounds solemn.
In case you ask Sigur Rós but don’t get a reply, here’s the answer: their secret is the Mixolydian mode. There’s a few other brilliant tricks they use as well, like the two different ways they deal with tension and resolution, and you’ll learn all these in our 4-step method for writing Mixolydian melodies, which is in our new PDF tutorial. But first… Tea!
Access Tutorial
available on Producer tier
Lastly, are you new to music theory? Or are you experienced, but you want a refresher? Then download our FREE BOOK (link opens in new tab). It only takes 30 minutes to read, then you’ll have a solid theory foundation that you can instantly apply to your songwriting and producing. Enjoy!
Ray Harmony
Multi award-winning college lecturer
July 14, 2023
How to Write Calming CHORDS • Music Theory from Portishead "Roads"
How to Write Calming CHORDS
Within seconds of hearing the opening chords in Portishead “Roads”, you can feel your cortisol levels dropping and your body’s tension releasing. This intro has to be one of the most calming moments in the entire popular music catalogue.
Unlike the mad rush that songs are in nowadays to grab your attention with a catchy hook (in order to avoid the dreaded skip!), the “Roads” intro unfolds at a pace so leisurely that it feels delightfully pre-internet. Aaah… Remember those days? Back when humans had attention spans longer than goldfish!
On that note. According to Spotify data, about 25% of listeners skip a song within five seconds. If those people skipped “Roads” a mere five seconds in, they wouldn’t even get halfway through the chord progression. Oh well, their loss.
Listen to Example from Tutorial
In this dizzyingly fast-paced world, if you want to cater to the distracted listener, then it’s impossible to create a calming atmosphere, as that takes time. For almost the whole first minute of “Roads”, all your hear is the legendary sound of a Fender Rhodes organ. Rumour has it that the song is actually named after the Rhodes.
The vintage sound of a Rhodes organ obviously adds to the atmosphere, but in terms of music theory, what makes these chords so relaxing? Well, it’s not just one thing, it’s many! And in this tutorial you’ll learn them all, as well as our 5-step method for making your own calming chord progression. But first… Tea!
Access Tutorial
available on Producer tier
Lastly, are you new to music theory? Or are you experienced, but you want a refresher? Then download our FREE BOOK (link opens in new tab). It only takes 30 minutes to read, then you’ll have a solid theory foundation that you can instantly apply to your songwriting and producing. Enjoy!
Ray Harmony
Multi award-winning college lecturer
July 6, 2023
How to Write Standout DRUMS • Music Theory from Aphex Twin "Blackbox Life Recorder 21f"
How to Write Standout DRUMS
A standout drum beat can make or break a song. Want proof? Listen to the new Aphex Twin single “Blackbox Life Recorder 21f”.
He’s actually reversed the roles of the instruments in this song, as the melody, chords and bass step into the background while the drums take centre stage. In other words, if this song was played by a live band, the spotlight would be exclusively on the drummer. Drummers rejoice!
So, what makes the drums deserving of the spotlight? Well, compared to the “regular” beats you hear in most songs nowadays, Aphex Twin has added a whopping 5 standout features to his drum beat.
Listen to Example from Tutorial
Each standout feature elevates Aphex Twin's drums to the next level, and in this tutorial you’ll learn all 5 levels of that standout-ness. But, these levels are totally independent (they’re not accumulative), so you can use only the levels that your song requires.
And remember, if you use all 5 levels, your drums will demand the spotlight too, so your other instruments will have to step back. If they don’t, you’ll have a fight on your hands, and no producer wants an instrument fight, not in your DAW at least.
Right, click the link below and subscribe to learn how to make your drums worthy of the spotlight. But first… Tea!
Access Tutorial
Lastly, are you new to music theory? Or are you experienced, but you want a refresher? Then download our FREE BOOK (link opens in new tab). It only takes 30 minutes to read, then you’ll have a solid theory foundation that you can instantly apply to your songwriting and producing. Enjoy!
Ray Harmony
Multi award-winning college lecturer
June 30, 2023
How to Write BASS Lines That Move People • Music Theory from Nine Inch Nails "Closer"
That Move People
I remember the first time I heard “Closer” by Nine Inch Nails in a club back in the ‘90s. I’d never before seen people literally running to the dance floor. Running!
My fellow Gen Xers will remember this, but by the time the bass line starts after about 20 seconds of drums, the dance floor would be completely packed. And this phenomenon happened in every club! The power of a great bass line to move people (even over a simple four-on-the-floor beat, like in “Closer”) still amazes me.
Listen to Example from Tutorial
link opens in new tab
Ever since then, I’ve felt that the ability to get people physically moving is probably the most fun aspect of making music. So, inspired by “Closer”, here’s a step-by-step method for writing bass lines with the power to move bodies, minds, and hearts. But first… Tea!
Access Tutorial
Lastly, are you new to music theory? Or are you experienced, but you want a refresher? Then download our FREE BOOK (link opens in new tab). It only takes 30 minutes to read, then you’ll have a solid theory foundation that you can instantly apply to your songwriting and producing. Enjoy!
Ray Harmony
Multi award-winning college lecturer
June 11, 2023
How to Write Heavy BASS Lines • Music Theory from Front Line Assembly "Purge"
How to Write Heavy BASS Lines
Step 1. Syncopated Octaves
Set up one bar of 4|4 with your grid on 1/16 notes, and your tempo at 110 BPM. You’re gonna start by using only one note, and the octave of that note. We’re using A in our example. So, draw in every 1/16 note on the low A. Now, play around with moving a handful of them one octave up.
These high notes will make accents in your bass line, so you want them to create a cool rhythm all on their own. And one of the best ways to do that is to syncopate most of them. In other words, most of them will not be on the main beats. All that syncopation adds tons of energy!
Step 2. High Line
Your bass line actually consists of two lines now: a high line, and a low line. So in this step you’re gonna add a melodic element to your high line. A great note to start on is the ♭3 (which is C in our example), as it’s super strong and moody! And by the way, if these flats and numbers confuse you, no problem, just read hack 8 in our free book (link below).
Right, so what other notes should you use in your high line? Well, as we’re writing a heavy bass line, you wanna crank up the dissonance, so throw in a ♭2 somewhere (which is B♭ in our example). And if you use the ♭3 and the ♭2, then you could also use the 2, which is the note in between. And feel free to repeat notes. In our example, we played the ♭3 twice, the 2 twice, and the ♭2 once. And a shoutout to local Vancouver BC legends Front Line Assembly, as this lesson is based on the song “Purge” from their 2021 album “Mechanical Soul”.
Free Book
Also, are you new to music theory? Or are you experienced, but you want a refresher? Then download our FREE BOOK (link opens in new tab). It only takes 30 minutes to read, then you’ll have a solid theory foundation that you can instantly apply to your songwriting and producing.
Step 3. Low Line
So as you could hear, the bass line is already sounding good. And to be honest, most producers would think it’s now complete, but not Front Line Assembly! No, they’ve got one more trick up their sleeves, and that’s the dissonance they add to their low line.
Most of their low line remains on the root note, however, they’ve moved a few notes down one semitone to the 7 (which is G♯ in our example). Also, at the very end, you could throw in a ♭3 for a little variation. This makes the bass line loop more smoothly as well.
Adding this dissonance to your low line is a game-changer, as it’s super subtle (seriously, most people won’t even notice it), but it adds a feeling of heaviness that you simply can’t achieve without it!
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June 4, 2023
How to Write Advanced DRUMS • Music Theory from Royal Blood "Mountains at Midnight"
How to Write Advanced DRUMS
Step 1. Pattern
Set up two bars of 4|4 with your grid set to 1/16 notes, and your tempo at 136 BPM. Now, instead of starting to make your drum beat with the usual kick on beat 1 and snare on the backbeats (like everyone else does!), you’re gonna start by writing your kick and snare pattern on the hi-hats.
Wait, what?! I know that seems like a really odd thing to do, but this method is gonna result in a far more creative (and therefore “advanced”) drum beat. Okay, so there are many ways to write a creative pattern, but here’s an easy method. Start by playing every 1/8 note. Then, delete a couple of those. This creates variation. And then, move one or two hits over to the next 1/16 note. This creates surprise.
Step 2. Beat
Right, now that you’ve written a creative rhythm, it’s time to turn it into a drum beat. To do that, simply divide up your pattern between the kick and the snare. In other words, move some notes to the kick and others to the snare. But, instead of falling back into the conventional approach of kick on beat 1 and snare on the backbeats, purposefully avoid doing that in the first bar. This unusual approach in your first bar creates a huge amount of interest that grabs the listeners’ attention.
But, if you repeat this approach in your second bar, it won’t sound as interesting any more, as they’ll be expecting it. So, in your second bar, you’re purposefully going to switch to a conventional approach with the kick on beat 1 and snare on the backbeats (i.e. beats 2 and 4). This cycling back and forth between an unconventional bar and a conventional bar keeps your listeners constantly engaged.
And a shoutout to Royal Blood, and especially their drummer Ben Thatcher, as this lesson is based on his beat from their new single “Mountains at Midnight”. Just before we jump into the next step. If there’s an artist you want us to hack, drop us a comment on YouTube.
Free Book
Also, are you new to music theory? Or are you experienced, but you want a refresher? Then download our FREE BOOK (link opens in new tab). It only takes 30 minutes to read, then you’ll have a solid theory foundation that you can instantly apply to your songwriting and producing.
Step 3. Pulse
This is the easy part. Just add an 1/8 note pulse on a cymbal. This simple rhythm glues the complex beat together. Ben actually switches the pulse between the hats for the verses, and the crash for the choruses. And if you need more help with your beats, download our Hack Drum Beats PDF (link opens in new tab). It contains everything you need to know for making great beats, all in one PDF.
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May 28, 2023
How to Write Locrian BASS Lines • Music Theory from Rezz "Suffer in Silence"
How to Write Locrian BASS Lines
Step 1. Basic
Set up four bars with an 1/8 note grid, and your tempo at 97 BPM. You’re gonna start by writing a basic bass line that plays every 1/8 note. This creates momentum. We’re in B Locrian here, which is just all the white notes from B to B. The Locrian mode is exceptionally dark, and what makes it so dark is the ♭2 (which is C in this example) and the ♭5 (which is F in this example). Now, because those two notes are what make Locrian sound so dark, you wanna be sure to use both of them in your basic bass line. But, start by playing the root note (which is B in this example) for the whole of your first bar, as that anchors it into the key. And by the way, if you find modes confusing, just read the mode hack in our Songwriting & Producing PDF (link opens in new tab).
Step 2. Energy
Next, change your grid to 1/16 notes. You’re gonna create some syncopation now, which is when you accent an off-beat. This will pump energy into your rigid sounding basic bass line and bring it to life. You can add syncopation however you want, but here’s an easy method: shorten an 1/8 note to a 1/16 note, then lengthen the note next to it to fill the gap. Add a couple of these to each of your four bars. And a shoutout to fellow Canadian producer Rezz, as this lesson is based on her recent single “Suffer in Silence”.
Free Book
Just before we jump into the next step. If there’s an artist you want us to hack, drop us a comment on YouTube.
Also, are you new to music theory? Or are you experienced, but you want a refresher? Then download our FREE BOOK (link opens in new tab). It only takes 30 minutes to read, then you’ll have a solid theory foundation that you can instantly apply to your songwriting and producing.
Step 3. Next Level
By now your bass line will already be sounding good, but to take it to the next level, you’re gonna add some octaves. Rezz does something really cool here. She moves some of the notes that fall on the backbeat snare, up an octave. This accentuates those backbeats, and adds even more energy to the bass line. However, don’t do this on every backbeat snare, as that will actually lessen its impact. Also, somewhere in your bass line, move one syncopated note up an octave. This keeps your bass line fresh and unpredictable. Lastly, here’s a bonus step. Use a rest somewhere. This gives your bass line space to breathe. Rezz used a rest at the very end of her bass line, so we’ll do the same thing by deleting our last two notes.
PODCAST
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May 22, 2023
How to Write Beautiful CHORDS • Music Theory from Sleep Token "Take Me Back to Eden"
How to Write a Beautiful CHORD Progression
Step 1. Beauty
Set your grid to 1/16 notes and your tempo to 113 BPM. We’re in the key of A minor here, which is just all the white notes from A to A.
Right, so the first step to writing a beautiful chord progression is finding a beautiful chord. There are many beautiful chords, but a good guideline is to leave space for the harmony to breathe. Think about walking into a beautiful cathedral. The space is as beautiful as the structure.
When applying this concept to chords, it’s as simple as not cramming too many notes in. Three notes is enough. But yes of course, you can use more notes if you want, it’s your music. In this example, the first chord contains the root, ♭ 3 and ♭7. And if all these flats and numbers are confusing, read hack 8 in our free book.
Step 2. Chord Beat
This is the fun part! You’re now gonna turn your chord into a drum beat. A “chord beat”, if you will. If you’re playing this on a keyboard, you’re gonna play the root note (A) in your left hand, and the other two notes (C and G) in your right hand. Now, pretend your left hand is the kick drum and your right hand is the snare drum, and come up with a cool beat. And if you don’t play the keyboard, no problem, just do this step right here on the MIDI grid.
Each hit is only going to be a 1/16 note, so the final result will sound really percussive, like a pitched drum beat. All those rests add rhythmic space to your harmonic space, creating a beautiful simplicity. And a shoutout to Sleep Token, as this lesson is based on their beautiful song “DYWTYLM” from the new album “Take Me Back to Eden”.
Free Book
Just before we jump into the next step. If there’s an artist you want us to hack, drop us a comment on YouTube.
Also, are you new to music theory? Or are you experienced, but you want a refresher? Then download our FREE BOOK (link opens in new tab). It only takes 30 minutes to read, then you’ll have a solid theory foundation that you can instantly apply to your songwriting and producing.
Step 3. Bass
Okay, so we’ve got one beautiful chord played over one bar. Now, let’s turn this into a four-bar chord progression. So, start by copying and pasting your first bar into the remaining three bars. You’re actually going to leave your right-hand notes the same throughout the four bars. This creates unity, which adds to the beauty.
Next, spend some time moving your bass note up and down in bar two. Once you’ve found a beautiful place for it, stay there for the whole bar. Then, do the same thing for bars three and four. Sleep Token stays on the same bass note here for the two bars. You can do that, or you can move it, like we did in our example.
PODCAST
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May 14, 2023
How to Write a BASS Line with Harmony • Music Theory from GoGo Penguin "Everything Is Going to Be OK"
How to Write a BASS Line with Harmony
Step 1. Low
Harmony is when two or more notes are played together. And sadly, it’s rare to hear harmony in a bass line. The word “line” is actually used to convey the fact that it’s a melody, not a harmony. That’s how rare harmony is on the bass!
You see, most producers think the bass frequencies are too low to play harmony. In other words, if you play two notes together, it’ll sound like a rumbling mess. But, that’s not true. That only happens when the two notes are close to each other. For example, if your root note is a low A, and you play a D above that. It doesn’t sound very nice if you play the D that’s five semitones above the A. But, if you play the D an octave higher, so it’s now 17 semitones above the A, it sounds absolutely beautiful!
Alright, so now we know how to successfully add harmony to a bass line, however, we don’t yet have a bass line to add it to. So, step 1 is to write a cool one-bar rhythm on the root note. And we’re using A natural minor. Then, copy and paste that rhythm to three other notes, so you’ve got a four-note bass line over four bars. And feel free to throw in some passing notes to smooth the line out.
And a shoutout to the British band GoGo Penguin, and especially their bassist Nick Blacka, as this lesson is based on the title track from their beautiful new album “Everything Is Going to Be OK”.
Free Book
Just before we jump into the next step. If there’s an artist you want us to hack, drop us a comment on YouTube.
Also, are you new to music theory? Or are you experienced, but you want a refresher? Then download our FREE BOOK (link opens in new tab). It only takes 30 minutes to read, then you’ll have a solid theory foundation that you can instantly apply to your songwriting and producing.
Step 2. High
Now it’s time for the fun part: writing another line over the top, so you’ve got two lines playing together. Start this step by choosing what note you want to use for the harmony over your root note. And this is where Nick Blacka was super creative, as he actually used one high note that sounds good over all four bars. You don’t have to do that, but it’s very cool, so we did something similar in our example. We used D as our high note for three bars, then we varied it in the fourth bar.
Once you’ve chosen your high note, write a cool rhythm for it over your root note in bar one. Then, copy and paste that rhythm into the remaining three bars. Once you’ve done that, feel free to add some rhythmic and melodic variations to keep things fresh. But you don’t have to do that, if you just wanna keep things simple.
PODCAST
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May 7, 2023
How to Write a Standout MELODY • Music Theory from PJ Harvey "A Child's Question, August"
How to Write a Standout MELODY
Step 1. First Impressions
There are many ways to write a standout melody, but it’s difficult to improve on the method PJ Harvey uses in her new single “A Child’s Question, August”. That’s because nothing grabs our attention like a bold first impression. And by first impression, I literally mean the first note of the melody.
You see, PJ Harvey starts her melody in the Dorian mode, and the very first note she sings is the major 6th. That’s the one-and-only note that makes Dorian different from the super common scale that we hear all the time: the natural minor. The vast majority of people are not used to hearing a major 6th over a minor chord, so when her melody begins with that unusual note, it instantly stands out.
So, in D Dorian, which is all the white notes from D to D, the major 6th is B. When we play B in our melody over a D minor chord, you can hear exactly how powerful that one note is at grabbing our attention. So step 1 in this method is to use that unusual note to begin your melody, then finish the phrase with usual notes.
Free Book
Just before we jump into the next step. If there’s an artist you want us to hack, drop us a comment on YouTube.
Also, are you new to music theory? Or are you experienced, but you want a refresher? Then download our FREE BOOK (link opens in new tab). It only takes 30 minutes to read, then you’ll have a solid theory foundation that you can instantly apply to your songwriting and producing.
Step 2: Second Impressions
Your listeners are now familiar with that unusual note, which means that if you play it again, it won’t be unusual any more. In other words, your melody is now at risk of losing its initial impact and therefore losing your listener’s attention. The way PJ Harvey deals with this issue is brilliant!
In the second half of her melody, instead of singing the major 6th again, she sings the minor 6th. That’s the usual 6th note in a natural minor scale, which we’re used to hearing. But, after getting our ears used to that unusual note, the usual note now sounds unusual haha. What a brilliant trick!
So to maintain your listener’s attention, step 2 of this method is to create a powerful second impression by using the minor 6th (which is B♭) in the second half of your melody. In other words, you’re using the natural minor for this phrase.
Just to recap, we’re starting our melody in D Dorian, then switching to D natural minor. So use the major 6th (which is B) as the first note of your melody, then use the minor 6th (which is B♭) in the second half of your melody. And if you need more help writing melodies, just download our Songwriting & Producing PDF (link opens in new tab) and follow the seven guidelines in our Melody Checklist.
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