[RU] Hack Music Theory for Songwriting & Producing - Ray Harmony (2016)

©2016 Revolution Harmony
HACK MUSIC THEORY
для написания песен и
продюссирования
Как создать отличные песни в
любом жанре
RAY HARMONY
12 СОВЕТОВ ПО ТЕОРИИ МУЗЫКИ ДЛЯ ИЗУЧЕНИЯ
ГАММ И АККОРДОВ
©2016 REVOLUTION HARMONY
VIBES
seven feelings, one formula
Scales are modes, and modes are scales. Same thing, diCerent name. A scale/mode is
a family of notes that sound good together. Most western music over the last
thousand years has been made using the same set of seven notes, which occur from
the Pythagorean-based formula of semitones: 2 2 1 2 2 2 1
Start on any note, then follow this formula and you’ll have the mother of all scales,
Ionian, the one that nature gave us from whole-number ratios in sound. Remember,
when counting semitones, don’t include the note you’re on.
Then, to get a diCerent vibe, start somewhere else within the above formula, like from
the Crst 1 semitone: 1 2 2 2 1 2 2. If you use this mode to compose your chord
progression and melody, they will convey a dark mood.
Where you begin determines the musical home and creates the emotion, so be sure to
select the correct mode for what you’re wanting to express, and then be sure to
emphasize its root note and triad in order to orientate the ear. And yes, if you like, you
can use a diCerent mode in each section of your song.
Mode
Vibe
Formula
Example
(in semitones)
Ionian
Happy
2212221
CDEFGAB
Dorian
Sad but hopeful
2122212
DEFGABC
Phrygian
Dark
1222122
EFGABCD
Lydian
Quirkily uplifting
2221221
FGABCDE
Mixolydian
Happy but serious
2212212
GABCDEF
Aeolian
Sad
2122122
ABCDEFG
Evil
1221222
BCDEFGA
AKA “the major scale”
AKA “the minor scale”
Locrian
POWER HACK (BONUS):
It's way easier and quicker to compose in the “white note” modes above, and besides,
then you don't even need to remember any formulas at all. So, pick your mode based
on the vibe you wanna create, then once you're done making your chord progression
and melodies on the white notes, just select all the MIDI and drag it up or down to
where ever you want/need it to be.
HackMusicTheory.com
MODES
notes & chords that are diCerent between modes
The modes are categorized into major (happy) or minor (sad) by their 3rd note. If a
mode's 3rd note is four semitones above its root (interval of a major 3rd), then that
mode is a major mode. If a mode's 3rd note is three semitones above its root (interval
of a minor 3rd), then that mode is a minor mode. There are three major modes, and
four minor modes.
MAJORS:
− Ionian (AKA “the major scale”, this is the parent major mode that our ears are used to hearing)
− Lydian (this mode is “the major scale” with a ♯4 instead of a 4)
− Mixolydian (this mode is “the major scale” with a ♭7 instead of a 7)
MINORS:
− Aeolian (AKA “the minor scale”, this is the parent minor mode that our ears are used to hearing)
− Dorian (this mode is “the minor scale” with a 6 instead of a ♭6)
− Phrygian (this mode is “the minor scale” with a ♭2 instead of a 2)
− Locrian (this mode is “the minor scale” with a ♭2 instead of a 2, and a ♭5 instead of a 5)
Mode
Ionian
(major mode)
Dorian
(minor mode)
Phrygian
(minor mode)
Lydian
(major mode)
Mixolydian
(major mode)
Aeolian
(minor mode)
Locrian
(minor mode)
Spelling
Example from C
1234567
CDEFGAB
1 2 ♭3 4 5 6 ♭7
C D E♭ F G A B♭
1 ♭2 ♭3 4 5 ♭6 ♭7
C D♭ E♭ F G A♭ B♭
1 2 3 ♯4 5 6 7
C D E F♯ G A B
1 2 3 4 5 6 ♭7
C D E F G A B♭
1 2 ♭3 4 5 ♭6 ♭7
C D E♭ F G A♭ B♭
1 ♭2 ♭3 4 ♭5 ♭6 ♭7
C D♭ E♭ F G♭ A♭ B♭
HackMusicTheory.com
Emphasize
F maj
(ears are used to a Fm)
B♭m
(ears are used to a B♭maj)
Dmaj
(ears are used to a Dm)
Gm
(ears are used to a Gmaj)
E♭m
(ears are used to a E♭maj)
MORE VIBES
what makes each mode sound and feel unique
It is essential to emphasize the root triad in order to orientate your listeners' ears to the
musical home that you have chosen. There are a few ways of doing this, like starting
your chord progression on the root triad, or spending more time on the root triad than
the other chords. This will establish the root note and the major/minor quality of the
mode, however, it will not highlight the unique character of your chosen mode.
After hundreds of years of music mostly being composed in Ionian (AKA “the major
scale”) and Aeolian (AKA “the minor scale”), our western ears are so accustomed to
these two scales, that it's actually really di韁�cult to draw the ear away from them. This
is why it's also essential to emphasize the main chord that makes that mode di韁�erent
to its “parent” mode (i.e. Ionian for major modes, and Aeolian for minor modes). You
can 韟�nd the main chord that highlights a mode's vibe, by building a chord around that
mode's unique note (i.e. 6 in Dorian), where that note becomes the 3rd in the chord
(i.e. IV in Dorian). This unique note changes that chord to the opposite quality
(major/minor) of what we're used to hearing, and therefore catches our ears.
For example, a chord progression in Dorian can accidentally sound like Aeolian
instead. How do you prevent this? You play the main chord that is not found in Aeolian,
the IV major. In Aeolian, the IV chord is always a minor, so by playing this as a major
chord, you are 韟�rmly establishing the Dorian atmosphere through highlighting its
di韁�erence from Aeolian. Do you need to apply this method to Ionian and Aeolian?
Nope, as our ears automatically default to these two modes already.
Mode
Vibe
Spelling
Emphasize
(unique notes underlined)
Ionian
Happy
1234567
Sad but hopeful
1 2 ♭3 4 5 6 ♭7
-
(major mode)
Dorian
(minor mode)
Phrygian
1 ♭2 ♭3 4 5 ♭6 ♭7
Dark
(minor mode)
Lydian
Quirkily uplifting
1 2 3 ♯4 5 6 7
(major mode)
Mixolydian
♭VII m
(ears are used to a ♭VII maj)
II maj
(ears are used to a II m)
Happy but serious
1 2 3 4 5 6 ♭7
(major mode)
Aeolian
IV maj
(ears are used to a IV m)
Vm
(ears are used to a V maj)
Sad
1 2 ♭3 4 5 ♭6 ♭7
-
Evil
1 ♭2 ♭3 4 ♭5 ♭6 ♭7
♭III m
(minor mode)
Locrian
(minor mode)
HackMusicTheory.com
(ears are used to a ♭III maj)
INTERVALS
understanding all musical relationships & their emotions
An interval is the distance between two notes, measured in semitones, which has a unique
emotion resulting from how the vibrations of those two notes interact. Intervals are therefore
musical relationships, which makes intervals the most important thing to master in music.
When you're composing a melody (horizontal music), you're working with melodic intervals
occurring as one note moves to the next note. When you're composing harmony/chords
(vertical music), you're working with harmonic intervals occurring from all the notes vibrating
together at the same time.
We only have 12 notes total, and if you understand each note's purpose and hope for its life,
you can use those to manipulate the emotions of your listeners. For example, 7 is one of those
notes who really isn't satis⁈ed with his life, and desperately wants to keep up with The Joneses
(i.e. the 1 or 8, AKA the root). So, every time you call on the 7, it's gonna try its best to pull you
up to the 8. Please be aware that harmonic intervals like this, are heard in relation to whatever
chord is playing at the time. In other words, a B over a Cmaj chord is a 7 and will desperately
want to go up to the root C (as mentioned above), however, a B over a Bm is not a 7 anymore,
it's the root, and will therefore sound totally solid, and won't want to go anywhere.
Harmonic notes are notes in the chord, and non-harmonic notes are notes not in the chord. A
great melody has a balance of both! In the examples above, the B is solid over the Bm as it's
already in the chord (harmonic note), but the B over the Cmaj is not in the chord (non-harmonic
note), so it really really wants to move to the nearest harmonic note, the C. This is the musical
gravity you can control and play around with when you understand musical relationships (i.e.
intervals). You can choose to build anticipation but then thrill your listeners by going
somewhere unexpected, whereas people making music by ear will tend to be guided by this
musical gravity, resulting in predictable music. What emotion does each interval make you feel?
Semitones
Name
Spelling
Example from C
zero
Perfect Unison
1
C
one
Minor 2nd
♭2
D♭
two
Major 2nd
2
D
three
Minor 3rd
♭3
E♭
sad
four
Major 3rd
3
E
happy
⁈ve
Perfect 4th
4
F
six
Augmented 4th / Diminished 5th
♯4 / ♭5
F♯ / G♭
seven
Perfect 5th
5
G
eight
Minor 6th
♭6
A♭
nine
Major 6th
6
A
ten
Minor 7th
♭7
B♭
eleven
Major 7th
7
B
twelve
Perfect 8th / Octave
8
C
HackMusicTheory.com
Emotion ?
АККОРДЫ
составление последовательности аккордов в 4 шага
1. Определите гамму (используя ее полутоновую формулу) и написание:
1
2
♭3
4
5
♭6
♭7
8
D
E
F
G
A
B♭
C
D
2. Выпишите все трезвучия в этой тональности, используя символы аккордов:
I
II
♭III
IV
V
♭VI
♭VII
-
Dm
Edim
Fmaj
Gm
Am
B♭maj
Cmaj
-
3. решите, что вы хотите сказать своей музыкальной историей (т.е.
последовательностью аккордов), затем выберите подходящие аккорды (мажор =
веселый, минор = грустный, уменьшенный = WTF?!).:
Последовательность аккордов (пример)
Ноты в каждом аккорде
I - Dm
DFA
V - Am
ACE
IV - Gm
G B♭ D
♭VI - B♭maj
B♭ D F
♭III - Fmaj
FAC
4. переставьте все вокруг общих нот (используя инверсии), а там, где между аккор
дами нет общих нот, создайте одну (используя аккорд sus).:
Последовательность аккордов (пример)
Перестановка нот в каждом аккорде
ноты - A и F, из последнего
A D F (обычные
аккорда: Fmaj/A)*
I - Dm/A
V - Am
A C E (общая нота - "А" внизу)
(добавлено, поскольку у Am и Gm
IV – Gsus4 нет общего примечания)
G C D (обычная нота - C, в середине)
IV - Gm
G B♭ D (распространенные ноты - G & D, внизу и вверху)
♭VI - B♭maj/F
F B♭ D (распространенные ноты - B♭ и D, в середине и вверху)
♭VI - B♭maj
(тот же аккорд, другое положение = без изменения
B♭ D F аккорда)
♭III - Fmaj/A
A C F (обычная нота - F, вверху)
* Всегда сравнивайте свой последний аккорд с первым аккордом в каждой последовател
ьности аккордов (для зацикливания) и убедитесь, что в этих аккордах есть хотя бы одна о
бщая нота и что она находится в одном и том же месте (внизу, посередине или вверху).
HackMusicTheory.com
BASS
compose a bass/synth line in 2 steps
1. Work out the scale (using the semitone formula) and its spelling:
1
2
♭3
4
5
♭6
♭7
8
D
E
F
G
A
B♭
C
D
2. Play around with these notes, perhaps beginning on the root to help establish your key,
just for now. Be sure to inject life and energy into your bass lines by using di韁�erent note
lengths (note values) on the MIDI grid, and placing some of your notes on o韁�-beats
(syncopation). Also, when you're playing around and experimenting with the notes in
your scale, always be on the look out for a short musical idea (motif) emerging, which
you can repeat to give your bass line structure and familiarity. However, don't overuse
these - usually two repetitions in a row of a motif is great, but three in a row can often be
too much of a good thing. Lastly, use rests/silence to frame sections of your bass line
(phrasing), which will break it up into memorable chunks and give the bass time to
“breathe”.
3. BONUS: for maximum melodic strength, avoid moving in perfect 4ths (i.e. 5 semitones,
e.g. E to A) and perfect 5ths (i.e. 7 semitones, e.g. G to D), as those sound waves vibrate
too similarly and are therefore rather weak/boring. If you jam out a bass line that you
really dig, but then discover afterward that there's a perfect 5th between a couple notes,
don't worry, this is an awesome opportunity to create something even more special.
Break up this perfect interval by adding an extra note in between these two notes. This
will actually make your bass line even more unique and unpredictable, as you would
never have thought to put a note in there if it weren't for that moment of weakness from
the perfect 5th. Finally, always check your last note back to your 韟�rst note within each
bass line (for looping), and if you 韟�nd that it's a perfect 4th/5th, be sure to add in a note
to break up that perfect interval too.
HackMusicTheory.com
BASS FOR CHORDS
compose a bass line for a chord progression in 2 steps
1. Write out the scale you used for your chord progression (see Chords PDF)
1
2
♭3
4
5
♭6
♭7
8
D
E
F
G
A
B♭
C
D
2. Write out your chord progression, then begin playing around in the low end,
remembering to center your bass line around the root note in each chord. For an
awesome bass line, balance the stability created from these root notes, with the
instability created from the other six notes in the scale. Too much stability will make your
bass line boring, but too much instability will make your musical foundation too weak to
hold all the chords and melodies above it. Lastly, when composing any melody, always
use the MELODY CHECKLIST (in Vocals PDF) for an ultimate list of hacks to compose a
great melody!
EXAMPLE: Bass line for chord progression example in Chords PDF
Chord progression
Bass melody, with spelling
example
spelling is heard & written in relation to each chord's root note
(highlighted in the green MIDI chords above)
I - Dm/A
D (1) → D (1) → C (♭7)
V - Am
A (1) → A (1)
IV - Gsus4 to Gm
G (1) → G (1) → G (1) → F (♭7) → D (5)
♭VI - B♭maj/F to B♭maj
B♭ (1) → B♭ (1) → D (3)
♭III – Fmaj/A
F (1)
only goes to B♭maj Crst time, second time stays on B♭maj/F
second time plays Fmaj (root position) leading into chorus
HackMusicTheory.com
MORE BASS
compose a funky bass/synth line in 4 steps
1. work out a natural minor scale (AKA “the minor scale” or Aeolian mode) and its spelling:
1
2
♭3
4
5
♭6
♭7
8
F♯
G♯
A
B
C♯
D
E
F♯
2. now turn this into a pentatonic minor scale by deleting the 2 and ♭6 notes:
1
-
♭3
4
5
-
♭7
8
F♯
-
A
B
C♯
-
E
F♯
3. Cnally, turn this into a blues scale (i.e. the funky scale) by adding a ♭5 note:
1
-
♭3
4
♭5
5
-
♭7
8
F♯
-
A
B
C
C♯
-
E
F♯
4. start jamming and have fun with those oC-beats (syncopation), and, be sure to include
the funky trio of ♭7 to 8 with some ♭3 to avour. For an even funkier bass line, play
around with octave jumps, and for ultra mega funkiness, try throw in the ♭5 too! And
remember, always be motif hunting for that short musical idea you can repeat, to give
your bass line structure and a catchy familiarity. Lastly, phrase your bass line by using
rests/silence to give it space to “breathe”.
5. BONUS: for maximum melodic strength, avoid moving in perfect 4ths (i.e. 5 semitones,
e.g. E to A) and perfect 5ths (i.e. 7 semitones, e.g. G to D), as those sound waves vibrate
too similarly and are therefore rather weak/boring. If you jam out a bass line that you
really dig, but then discover afterward that there's a perfect 5th between a couple notes,
don't worry, this is an awesome opportunity to create something even more unique.
Break up this perfect interval by adding an extra note in between. Finally, always check
your last note back to your Crst note within each bass line (for looping), and if you Cnd
that it's a perfect 4th/5th, be sure to add in a note to break up that perfect interval too.
Funky bass line (example):
F♯ → A → C → E
E → F♯ → E → F♯ → C → B → A → A → F♯ → E → C → E
E → F♯ → F♯ → F♯ → A → C → E
E → F♯ → A → F♯ → A → C♯ → A → B → C → B → C → A → F♯ → E → C → E → E
HackMusicTheory.com
GUITAR
compose a unique guitar/synth part in 4 steps
1. Write out the scale you used for your chord progression (example below is in F Lydian)
1
2
3
♯4
5
6
7
8
F
G
A
B
C
D
E
F
2. Write out all the triads in that key, using chord symbols
I
II
III
♯IV
V
VI
VII
-
Fmaj
Gmaj
Am
Bdim
Cmaj
Dm
Em
-
3. Decide what you want to say through your musical story (i.e. chord progression), then choose the
appropriate chords: major=happy, minor=sad, diminished=WTF?!
4. Guitars & higher-pitched synths thrive on melody and harmony, so break down your chords into
their individual notes, and then approach them melodically. Lastly, always use the MELODY
CHECKLIST (in the Vocal PDF) for an ultimate list of hacks to compose a great melody!
Chord progression
example
Guitar/Synth part (highlighted in MIDI), with spelling
spelling is heard & written in relation to each chord's root note (dark notes at bottom of MIDI)
F maj
F(1) → E(7) → G(2)
Am
E(5) → C(♭3) → B(2) → G(♭7) → E(5) → C(♭3) → D(4) → C(♭3)
C maj
D(2) → E(3) → D(2) → B(7)
G maj
G(1) → A(2)
F maj
F(1) → E(7) → G(2)
Am
E(5) → C(♭3) → B(2) → G(♭7) → E(5) → G(♭7) → A(1) → C(♭3) → A(1) → G(♭7)
C maj
A(6) → B(7)
G maj
D(5)
Please note: repeated parts are in black, variations are in grey
HackMusicTheory.com
MODULATION
change keys successfully using these 3 methods
Modulating is the fancy word for changing key. For example, if your song's verse is in D Aeolian and the chorus is in F
Ionian, the music is said to modulate between these two sections. You wouldn't wanna spend four minutes saying
exactly the same thing to someone, as that's not very interesting for them to listen to. It's the same with music. You
can express a great deal in four minutes, and your listeners deserve that, so move through a minimum of two
di�erent keys in every song. This will express two sides to your story, and keep them captivated throughout the
journey. And, what's better than two? Yep. Ideally, songs should have at least three di�erent sections (verse, chorus,
bridge), so why not treat your listeners to a di�erent key for each section. They will thank you with their full attention!
I like to think of notes as people, so imagine your music is a room with seven people in it (i.e. the current mode/key
you're using). It doesn't take long for your listener to get to know all seven notes, and then the conversation gets
stale. So, as the host, you kick some old notes out and replace them with new ones, and everything's fresh again!
Then after a while, those new notes aren't new any more either, so you ditch 'em for the old ones again, who now
sound fresh as they've been away. The amount of new notes you introduce when you modulate, determines how
close or distant the new key sounds to the old one. Lastly, always try a direct/abrupt modulation �rst, as sometimes
going straight into a new key can create an incredibly interesting change. But, if your ear tells you that sucked, then
try one of these three hacks:
METHOD
FOR
EXAMPLE
Root Notes
Di�erent
notes, same
root
F Lydian → F Ionian
This method is
Change instantly and
especially useful in
e�ortlessly to
electronic music, when
whatever mode you
you want to maintain a
want, by simply
particular low frequency
keeping the same
throughout a whole
root note.
song.
Relative Keys
Same notes,
di�erent root
D Aeolian → F Ionian
When you want a
Start your new
seamless modulation,
section on the root
emphasize another note
triad of the mode
within the current mode you've modulated to.
as your new root. Be
Sometimes it helps to
sure to emphasize it
avoid the root chord
su�ciently though,
of the mode you just
otherwise the ear will
came from,
not be pulled away from otherwise the ear can
the old mode.
be tempted back to
it.
Perfect Cadences
Di�erent
notes,
di�erent root
E Dorian → F Ionian
There's something
uniquely refreshing
about changing notes
and roots between
sections in a song.
However, this type of
modulation is potent
and perhaps not for
every song. Approach
with caution, but know
that your boldness will
be rewarded!
key w/ two ♯ → key w/ one ♭
chord progression example:
Em (old key's root)
→ Amaj (pivot on A, old key)
→ Am (pivot on A, new key)
→ Cmaj (new key's Vmaj)
→ Fmaj (new key's root)
WHY
HOW
Use Vmaj of the new
key you're going to,
followed by the root
chord of that new
key. If possible,
precede the Vmaj
with a chord that's in
both old & new keys,
AKA a pivot chord.
If that's not possible,
try �nd a note that's
the same in both
keys, AKA a pivot
note, and play both
versions of the chord
from it
(see example on left).
HackMusicTheory.com
KEYS
work out any key signature for any mode in seconds
Key = scale/mode
Key signature = sharps (♯) or ats (♭) in a key
The Key Signature Killing Machine™ is one of the most powerful hacks. It’s based on
the “circle of Cfths” but goes way beyond the circle’s limitations. In seconds, the Killing
Machine will give you the key signature (and therefore all the notes) of any scale, while
also showing you which scales don’t exist. Without further ado, here it is: F C G D A E B
INSTRUCTIONS:
1. Start on the respective “white note” key (the one with no ♯ or ♭) for your
scale/mode - these are written below the Killing Machine
2. If the root of your scale/mode is a natural note (no ♯ or ♭): Locate the root of
your key, then count each note until you reach that root (going right means
you’ll have ♯s in your key, and going left gives you ♭s) - don’t count the starting
“white note” key, as it has zero ♯ and ♭
3. If the root of your key is a ♯ or ♭ note: Count right for ♯ and left for ♭ until you
reach the end on either side, then loop around and continue, but now each note
has an invisible ♯ (if you were going right) or ♭ (if you were going left) - stop
counting once you reach the root of your key
4. When you arrive at the root of your key, the amount you counted away from the
“white note” key is the number of ♯s or ♭s in your scale/mode - remember, if you
went right you’ll have ♯s and left you’ll have ♭s
5. Lastly, what are the actual ♯s or ♭s in your scale/mode? For keys with ♯s, your
Crst ♯ is always F, then go right and add as many as you need. For keys with ♭s,
your Crst ♭ is always B, then go left and add as many as you need scales/modes have 7 notes, so if you count more than 7 ♯s or ♭s, that key does
not exist and you need to use the enharmonic of its root instead (e.g. G♯ Ionian
would have 8 ♯s, which means it does not exist, the Ionian from that root note
needs to be called A♭ Ionian instead)
HackMusicTheory.com
МЕЛОДИЯ / ВОКАЛ
идеальный контрольный список для создания великолепной мелодии
1.
Запишите гамму, которую вы использовали для своей последовательности аккордов.
1
2
♭3
4
5
♭6
♭7
8
D
E
F
G
A
B♭
C
D
2. Запишите свою последовательность аккордов, или гармоническую историю, а затем начните рассказывать свою
мелодическую историю поверх нее.
КОНТРОЛЬНЫЙ СПИСОК МЕЛОДИЙ - используйте все эти приемы, чтобы сочинить отличную мелодию! (смотрите пример ниже)
Совет и определение
Почему и как
гармонические ноты (в аккорде, хотят оставаться на
месте)
негармонические ноты (не в аккорде, хотят двигаться)
Почему: Напряженность и решительность придают вашей мелодии импульс
Как: Используйте сочетание гармонических и негармонических нот
избегайте движения в идеальных 4-х (пять полутонов)
и идеальных 5-х (семь полутонов)
мотивы (короткие музыкальные идеи, мелодичные или
ритмичные)
большие интервалы (6-й и 7-й)
значения нот (длина/длительность каждой ноты)
синкопа (подчеркивающая сбивчивость ритма)
построение фразы (обрамление фрагмента паузами/
молчанием)
Почему: Эти интервалы звучат слишком похоже, поэтому звучат слабо /
скучно
Как: Избегайте их, но если они у вас получатся, замените их другой нотой
Почему: Повторяя их, вы придаете мелодии структуру и узнаваемость
Как: Следите за тем, чтобы в процессе экспериментов не появилось ничего
запоминающегося
Почему: Большие интервалы привлекают внимание и вызывают интерес
Как: Используйте небольшие интервалы для течения и большие интервалы для драмы
Почему: Ноты разной длительности наполняют вашу мелодию жизнью и
энергией
Как: Поиграйте с нотами разной длительности в MIDI-сетке
Почему: Несколько непредсказуемых нот, не сочетающихся с ритмом, вызыв а
ют волнение
Как: Используйте ноты в такт, чтобы произвести впечатление, и ноты, не сочет
ающиеся
с ритмом,мелодии
чтобы вызвать
трепет
Почему: Разбивая
на части,
вы делаете их более запоминающимися
Как: Пойте свою мелодию и используйте паузы там, где вам хочется дышать
Вокальная мелодия (выделена в MIDI-аккорде выше) с указанием орфографии орф
Последовательность акк
ография прослушивается и записывается в соответствии с основной нотой каждого аккорда (выделена
ордов (пример)
в MIDI-аккорде выше).
I - Dm/A
D (1) → B♭ (♭6) → A (5) → C (♭7) переходит к следующему аккорду...
V - Am
…становится C (♭3) → A (1) → G (♭7) → B♭ (♭2)
IV - Gsus4 to Gm
A (2) → B♭ (♭3)
♭VI - B♭maj/F to B♭maj
♭III - Fmaj/A
C (2) → A (7) → F (5) ненадолго задерживается до следующего аккорда...
…становится F (1)
HackMusicTheory.com
COUNTERPOINT
creating depth by adding musical layers of countering melodies
WTF is Counterpoint? Let's just say it's one of the best ways to make your music stand out from
the crowd, as there's probably less than 0.01% of all popular music that has any counterpoint in
it. Counterpoint is the method of adding musical layers by composing melodies with countering
contours. A song could have ten diCerent synths in it, but if they're all playing the same thing,
it'll sound thin with only one musical layer. On the other hand, a song could have a mere two
synths, but if they're playing totally diCerent melodies at the same time, that creates two
musical layers and therefore true musical depth. Yes, two synths using counterpoint will sound
bigger than ten synths not using counterpoint. This is because counterpoint stimulates the
brain to listen both melodically (horizontally) and harmonically (vertically). The hacks below
exist to ensure your multitracks are actually perceived as musical layers.
THREE COUNTERPOINT HACKS
1. if the lead melody moves up, the backing melody moves down (contrary motion) - the
holy grail!
2. if the lead melody moves up, the backing melody stays the same
3. if both melodies move in same direction, one moves by small interval, the other by big
interval
Using the above methods will always ensure your melodies are heard as independent layers,
and not just copies of each other. These compositional techniques can be used for all your
layers, from backing vocals to bass, from synths to guitars. Anything and everything beneCts
from counterpoint composition.
Chorus example
Root notes
of chord progression
(dark long notes in MIDI
above)
Lead vocal melody, with spelling
spelling is heard & written in relation to
each chord's root note
Vocal counterpoint (highlighted in MIDI above),
with spelling
spelling is heard & written in relation to each chord's
root note
F for Fmaj
G (2) → A (3) → C (5) → E (7)
_* → F (1) harmonizes A(3) → A (3) harmonizes
C(5) →
C (5) harmonizes E(7)
A for Am
F (♭6) → A (1)
A (1) harmonizes F(♭6) → F (♭6) harmonizes A(1)
D for Dm
-
-
*The Crst note of the lead vocal melody (G) is not harmonized, as I wanted to create a “springboard” note from
which we can jump into the counterpoint, which also starts on a strong rhythmic beat for extra impact.
BONUS HACK: It's not always possible, but try to harmonize in 3rds (e.g. A & C), as this is the magic interval we use
to build chords.
HackMusicTheory.com
LYRIC HACKING
creating timeless lines & catchy hooks with depth
Great lyrics are timeless. They convey thoughts that are deeply human, providing a mirror for each listener to re韟�ect on their
own life. On the opposite extreme, rubbish lyrics are disposable. They rely on tired cliches and shallow hooks, often conveying
absolutely no message/meaning whatsoever. Are lyrics really that important? In a word: Yes! In two words: Hells yes! We're all
hardwired to connect with the human voice, and that fact makes vocals the most important instrument. On top of this, when
the human voice and language are fused, this uni韟�cation of melody and words is by far the most powerful part of all music.
Nothing else comes even close to this ultimate musical combo!
CHORUS
This is the take-home message for your song. Short and punchy! What's the one thing you want listeners to remember from
your song? Write your chorus lyrics around that one theme. Also, a lyrical motif (hook) is vital in creating coherency as your
song's story unfolds. This hook will be your song title, too. In Create/Generate, we wanted to open a discussion about the
bene韟�ts of humans and machines working harmoniously together to make art. The hook/title came from the contrasting
approach of humans creating with feelings, and machines generating with algorithms. Starting the chorus with “We” establishes
a strong and positive united front. “Arti韟�cial art” makes use of alliteration, and the “art” in “arti韟�cial” is also emphasized vocally
with it being sung twice, in a stutter-style, 韟�rst by Kate and then by Ray who 韟�nishes the word. The 韟�nal line looks to an
optimistic future and concludes with “collaborate”, which also rhymes with the song title in the 韟�rst line.
We create/generate . Heartfelt algorithm . Arti韟�cial art . Evolve, collaborate
VERSES
These are the sections of your song in which you can freely develop your narrative. Verses don't need hooks, and they don't
need to be nearly as concise as choruses. It's common to have two or three di韁�erent verses in a song, forming the bulk of the
lyrics, and therefore the place in which the story progresses.
OTHER
A pre-chorus (AKA pre/build) raises anticipation to the conclusion that is the chorus. A bridge/breakdown takes a time-out to
allow for a fresh perspective. An intro gives a little teaser preview, while an outro wraps up with a 韟�nal thought. These extra
sections provide opportunities for covering your story from di韁�erent perspectives, keeping listeners captivated throughout your
entire song.
LYRIC HACKS
• Start here #1: a favourite interview question is always: “What's this song about?”, so start writing your lyrics by
answering this question. Then zoom into the underlying theme, and write, write, write, and write some more!
• Start here #2: got nothin' to say? No probs. Write down a bunch of random words that your song makes you feel.
• Editing: the most vital stage of lyric writing, is editing. Once you've done #1 or #2 above and have a bunch of pages
韟�lled with scribbles, go through them and circle anything that stands out. Now, play around with combining those
words into tighter ideas and lines, and get rid of any words that aren't really necessary within those lines.
• Sentences: avoid writing sentences. While lyrics should make sense, words like “and” can easily be replaced with a
comma, resulting in a much tighter vocal part. It's also fun to stitch ideas together into a lyrical collage.
• Questions: a rhetorical question can engage listeners, subconsciously demanding their attention.
• Visuals: a picture is worth a thousand words, so always try to write visually, by planting images in listeners minds.
• Double meanings: using words/phrases that can be interpreted in di韁�erent ways, allows for depth and space in which
listeners can 韟�nd their own relevant meanings.
• I's & You's: use these pronouns sparingly, and only when you really need to. “I” can close o韁� your lyrics to listeners and
inhibit their own interpretations, and “you” can come across as forceful and preachy.
• Cliches: they exist cos they're usually true, but no song bene韟�ts from them. If you 韟�nd yourself drawn to one,
experiment with a di韁�erent way of saying the same thing. For example, “every cloud has a silver lining” could rather be
“silver surrounds our grey”. Same meaning, but a fresh angle that's much more interesting.
• Rhyming: de韟�nitely not necessary in lyrics, and can often sound cheesy and child-like. If in doubt, don't rhyme!
• Alliteration: using the same letter/sound at the beginning of adjacent words can be used as a more subtle alternative
to rhyming.
• Dictionary: looking up a word's exact de韟�nition, especially its etymology (origin/development), can spark creative ideas
and give you a di韁�erent angle to explore.
• Thesaurus: amazingly insightful and helpful tool, but use it mindfully, otherwise you could easily end up with lyrics that
nobody (including yourself) can understand.
• Synesthesia: pretend you have this condition that muddles up the senses, and you'll tap into some truly unique
expressions. For example, “minutes in mauve”, or “elude the taste of silence”. Meaningful, di韁�erent, and super fun!
HackMusicTheory.com
Create/Generate
Verse 1
Technology developing
Identity, intelligence
Authentic purpose
The transcendence
Pre
What is progress?
What is art?
If not a future we design
Sign of our time
Man made machine
Hybrid mind elevates
Chorus
We create/generate
Heartfelt algorithm
ArtiCcial art
Evolve, collaborate
Verse 2
Systematic discovery
Through circuitry
Transformation by
Hands behind the code
The transmission
Lyrics © 2016 Ray Harmony & Kate Harmony