Ray Harmony's Blog, page 6

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.

 

 

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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.

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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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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”.

 

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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.

 

 

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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”.

 

 

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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.

 

 

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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”.

 

 

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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.

 

 

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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.

 

 

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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.

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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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How to Write a Locrian RIFF • Music Theory from Metallica "72 Seasons"

 

 

How to Write a Locrian RIFF

 

 

Step 1. Octaves

Set your grid to 1/16 notes and your tempo to 97 BPM. You’re gonna start by writing a creative pattern using only octaves. If you’re writing this on guitar, use your low open E string and the E one octave higher. And be sure to play every 1/16 note, as that’s what gives the riff that heavy momentum. At the very end of the riff, though, play four 1/8 notes. That creates variation, and gives the circle pit a few seconds to breathe!

Quick shoutout to Metallica, as this lesson is based on their song “Too Far Gone?” from the new album “72 Seasons”.

 

Step 2. Mode

Now that you’ve got an outline of your riff, it’s time to start thinking about the melodic element. For this, we’re gonna use the Locrian mode, like Metallica. So, to get the E Locrian mode, which is what they use, start with the E natural minor scale.

Now, flatten the 2nd and 5th notes. And “flattening” just means lowering the note by one semitone - or one fret, if you’re on the guitar. So the 2 (which is F♯), becomes a ♭2 (which is F). And the 5 (which is B), becomes a ♭5 (which is B♭). That’s E Locrian! And if all these numbers and flats are confusing, just read hack 8 in our free book.

 

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. Melody

Finally it’s time to add the melodic element to your riff. Now, you’re not actually going to move any of your low E’s, they’re gonna chug away down there. You’re only gonna move the high E’s. So, have some fun playing around with where you can move those high E’s to.

However, be sure to play the notes that make the Locrian mode different to the natural minor scale, as those are the really dark heavy notes. In other words, play F and B♭. Also be sure to play G, as that’s the ♭3, which is a relatively dark note too.

Lastly, here’s a quick bonus for my fellow theory nerds. At the end of their riff, Metallica plays some 5ths, which guitarists call “power chords”. What’s interesting about this is that the 5th of the root note E, is B. But, in E Locrian there’s a B♭ not a B. So theoretically that B pushes the riff into Phrygian for a split second. However, because our ears only pay attention to the root note of each power chord, that end part of the riff still sounds like it’s in Locrian.

 

 

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How to Write a Catchy MELODY • Music Theory from Beastie Boys "Sure Shot"

 

 

How to Write a Catchy MELODY

 

 

Step 1. Scale

There are two types of catchy melodies: annoyingly repetitive ones you can’t stop singing but actually hate, and awesome ones that are memorable cos they’re unique.

So, to write a catchy melody that isn’t annoying, you need to make it unique somehow. There are numerous ways to do that, and in this example we’ll be using two. The first way is to use an unusual scale. You see, our ears are so used to hearing melodies in the major and minor scales that they often fade into the background. By using a scale that’s more rare, your melody will instantly stand out.

In this example, we’re using the Blues scale. So, to get the Blues scale, you start with the natural minor scale. From the root of A, that’s simply all the white notes. Next, you delete the 2nd and 6th notes. This gives you a five-note scale called the minor pentatonic. Now, to turn the minor pentatonic into the Blues scale, you add what’s known as the “blue note”, which is the ♭5. So in the A Blues scale, that’s E♭.

And a quick shoutout to Beastie Boys, as this lesson is based on their song “Sure Shot”, which features that much-loved flute melody from Jeremy Steig.

 

Step 2. Rhythm

Another great way of making your melody unique is to use an unusual rhythm. And one of the easiest ways to do that, is to use triplets. So, change your grid to 1/16 note triplets. Next, write a cool rhythm on your root note. And to create variety, be sure to use three different note values. Also, use a rest somewhere, which allows your melody to breathe. And by the way, our tempo is 98 BPM.

 

 

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. Contour

Finally, it’s time to create a melodic contour. So, change the pitches now by moving your notes up and down on the grid. And most importantly, remember to play the “blue note” somewhere, which is E♭ in this example. If you don’t play that ♭5, your melody won’t actually be in the Blues scale, it’ll just be in the minor pentatonic. And that’s it!

If you need more help writing melodies, download our Songwriting & Producing PDF (link opens in new tab) and follow the seven guidelines in our Melody Checklist.

 

 

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How to Write Energetic BASS Lines • Music Theory from The Chemical Brothers "No Reason"

 

 

How to Write Energetic BASS Lines

 

 Step 1. Rhythmic Energy

 

There’s a super energetic bass line in the new single “No Reason” by The Chemical Brothers. To write a bass line like this, you need a lot of movement. Not just rhythmic movement, but melodic movement too. So, start by writing an energetic 2-bar rhythm for your bass line. Just use one pitch for now. We used A. You see, if you can get your bass sounding cool on one note, imagine how amazing it’s gonna sound when you bring in the melodic movement!

Here are three guidelines for writing your rhythm. First, use a combination of 1/8 notes and 1/16 notes. This provides speed and variety. Second, use lots of rests. This allows your bass line to breathe. And third, use a few syncopated notes, which are off-beat accents. This makes it groove! And by the way, the tempo is 128 BPM.

 

Free Book

Just before we jump into the next step. If there’s an artist you want us to hack, drop us a comment. 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. Melodic Energy

 

Now it’s time to add melody. So, first think about the chord progression you want your bass to outline. We’re in the key of A minor here, which is all the white notes from A to A. And the chord progression we chose to outline is: Gmaj, Fmaj, Am. Next, move some of your notes an octave higher. This hugely increases the energy, because it hugely increases the melodic range.

It’s sounding good already, but the bass is still only playing the root note of each chord. So, next you wanna move some notes off the roots. Over the Gmaj, we’re playing F a couple times. That’s the ♭7. This is a funk favourite, so try to use a ♭7 somewhere. Over the Fmaj, we’re playing E a couple times, which is the 7.

And by the way, the ♭7 (over G) followed by the 7 (over F) creates a motif. A motif is a short musical idea, which is repeated to give music structure and make it more memorable. Then lastly, over the Am, we played C. That’s the ♭3. This creates some variation. And, the ♭3 is also another funk favourite, so throw one in somewhere if you can!

 

 

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How to Write a Lydian MELODY • Music Theory from Depeche Mode "Ghosts Again"

 

 

How to Write a Lydian MELODY

 

Simple music can be great music. Depeche Mode’s lead single “Ghosts Again” from their new album “Memento Mori” is proof. It has a well-written and creative vocal melody in the verses, but it’s really simple. So, here’s a method for writing melodies from a band that’s been going for over 40 years!

 

Step 1. Mode

If you’re going to write a simple melody, it helps to choose an interesting mode. They chose Lydian, which is an uplifting but quirky mode. So, we’ll use F Lydian for our example, which is all the white notes from F to F.

Just before we jump into the next step. If there’s an artist you want us to hack, drop us a comment. 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: Roots & 3rds

Write a simple four-bar chord progression, then mute your chords and only play the root note of each chord on your bass. That’s the only thing Depeche Mode plays under the vocal melody in their verse.

Right, are you ready for a melody masterclass from Dave Gahan? So, most of his vocal melody consists of only the 1, 3 and 5 of each chord. These are known as harmonic notes, as they form the chord. Over the first two chords, he only sings the 1 and 3 of each chord, and over the third chord he only sings the 1 and 5.

But, his melody sounds extra beautiful for two reasons: First, it’s in Lydian, which makes it unusual. And second, there are no chords playing, so his vocal melody is what creates the harmony and therefore the emotion. The 3rd note of each chord is the most emotional note, as it makes a chord either major or minor. And because there are only root notes in your bass, your melody will create that uplifting sound when it plays a major 3rd, and that sad sound when it plays a minor 3rd.

Also, in a F Lydian melody we wanna use the note B somewhere, as that’s what makes the mode different to the F major scale, which has a B♭. If you wanna learn about the modes and how to use them, that’s in our Songwriting & Producing PDF (link opens in new tab).

 

Step 3: Variations

Over the last chord in the progression, Dave sings the 2 and 4. These are non-harmonic notes. In other words, they’re not in the chord. This is what makes them sound like they’re floating, as they’re not anchored into the chord. So use a couple of non-harmonic notes at the end of your melody, to avoid it becoming predictable. Then lastly, in the second cycle of their melody, Dave sings a small variation to keep it fresh, so change a few notes when you loop your melody.

 

 

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How to Write Polymeter DRUMS • Music Theory from Periphery "Atropos"

 

 

How to Write Polymeter DRUMS

 

Step 1. Kick in 7

The new Periphery single “Atropos” (from the album Periphery V: Djent Is Not a Genre) opens with a classic djent polymeter, which we love! Staying true to Meshuggah’s original polymeter recipe, the kick is in odd time while the snare and cymbals are in 4|4. So, start by programming a one-bar kick rhythm in 7|8. And just cos you’re in 7|8, doesn’t mean you have to only use 1/8 notes, so change your grid to 1/16 notes. By the way, the tempo is 80 BPM.

Once you’re happy with your kick rhythm, copy and paste it over four bars of 4|4. At the end of your 4-bar loop, you’ll notice that you can’t fit a full bar of 7|8. Don’t worry, that’s part of the fun of playing these polymeters. Simply chop off whatever doesn’t fit of your 7|8 rhythm. In fact, that’s how you get those abrupt-sounding loops that are one of the main characteristics of djent polymeters.

Just before we jump into the next step. If there’s an artist you want us to hack, drop us a comment on the YouTube video. Also, are you new to music theory? Or are you experienced, but you want a refresher? Then download our free book (below). 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. Snare in 4

This is the easy and fun part! Start by playing a crash on every 1/8 note. This keeps the pulse and lays your 4|4 foundation. Then for momentum and to give the djent kids something to shake their heads to, throw in a regular backbeat snare, which is on beat 2 and beat  4. Right, now you’ve got a polymeter! But, there’s more.

Periphery’s drummer Matt Halpern does this really cool thing that most people won’t even notice. Where the kick and snare overlap in bar 2 beat 4, he moves that kick a 1/16 note earlier. This tiny variation makes the repeating 7|8 rhythm less obvious, which melts the two time signatures together a little bit. Small tweak, but it’s super creative!

Next, throw in some accents on a second crash (or china). You can do whatever you want here as your polymeter is already established. We accented the first beat in every bar of 7|8 with a china, as well as beat 3 in every bar of 4|4. This further melts the two time signatures together. And lastly, a little kick and snare variation at the end of the loop will act as a mini-fill to transition back around to the beginning.

 

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/* 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: #c83232; -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; }}

 

 

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