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As you probably know, Harry Houdini (né Erik Weisz) was a Hungarian-American magician who was especially famous for his seemingly impossible escape acts. He was also the inspiration behind Eminem’s recent song “Houdini”. This was the lead single from his new album “The Death of Slim Shady”, and it was a huge hit!
Eminem’s lyrics are controversial at the best of times, so we’re not here to comment on that element. But, regardless of what we all think of his potty-mouth, there’s magic and illusion bubbling up from the bass line in this song. So what’s causing the magic? Well, Eminem* creates two musical illusions by using a melodic sequence, as well as a non-diatonic note. It’s simple yet super effective, kinda like the musical equivalent of that classic pull a rabbit out a hat magic trick.**
If you’re new to these techniques, a melodic sequence is when a segment of the melody is repeated at a higher or lower pitch. It creates the illusion that you’re listening to something fresh yet familiar at the same time, because the notes are different but the contour is the same. The other technique Eminem uses for his magic trick is a non-diatonic note, which is just a note that’s not in the scale.
So, inspired by “Houdini”, here’s our 5-step method for writing a magic-trick bass line that creates a captivating sonic illusion. But first… let’s pull a nice cup of tea out the hat!
*There are other people who co-wrote “Houdini”, but for brevity we’ll just be saying Eminem.
**If you have a pet rabbit, please don’t try this at home. Well, unless you want poop in your hat!
Step 1. Scale
Open your DAW, leave the time signature on 4|4, but change your tempo to 127 BPM. Next, create a four-bar loop on your bass track, with a 1/16 note grid.
“Houdini” is in the key of A minor, which is all the white notes on the piano from A to A. We’ll be using A minor for our example in this tutorial, too.
A natural minor
1
2
♭3
4
5
♭6
♭7
A
B
C
D
E
F
G
A natural minor (root note highlighted)
There’s a couple tweaks to this scale. We’ll cover one now, and the other in Step 5.
The first tweak is that Eminem actually uses the pentatonic version of A minor. If you’re new to the minor pentatonic, it’s the same scale but without its 2 and ♭6.
So, delete the B (2) and F (♭6) from your A minor scale. The remaining five notes are the A minor pentatonic, and that’s what we’ll be working with for this bass line.
A minor pentatonic
1
2
♭3
4
5
♭6
♭7
A
-
C
D
E
-
G
The minor pentatonic scale is a favourite in blues and funk, but it can be used in any and all genres. For example, lots of those heavy Rage Against The Machine riffs are in the minor pentatonic scale. Its simplicity makes it incredibly versatile!
A minor pentatonic (root note highlighted)
Step 2. Arpeggio+
Alright, it’s time to get creative! So, the first thing you’re gonna do is write a one-bar arpeggio, i.e. play the Am chord one note at a time. You can start on the A, C, or E, and play them in any order. If you like, you can repeat a note or two.
The only guideline here is to use lots of rests. There’s two reasons for this. Firstly, you’re gonna smooth out your contour with some non-harmonic notes next, i.e. notes that are not in the chord (that’s D and G over Am). Secondly, rests add energy to a bass line. It sounds counterintuitive, but it’s true. Try both ways and compare. Use shorter notes with rests (like ours below). Then extend the notes to make them longer and don’t use any rests. You’ll hear instantly: rests add energy!
By the way, for maximum energy, use 1/8 notes and 1/16 notes for your arpeggio. Also, Eminem starts his bass line on an off-beat. This is a great hack for surprising your listeners right outta the gate, because beat 1 hits and there’s no bass, but then suddenly it comes in on beat 1+. We did this too, but you can start on another off-beat (i.e. beat 1e, or beat 1a). However, if you prefer, you can start on beat 1.
Our Am arpeggio in bar one (root note highlighted)
Now it’s time to create a more interesting contour. No diss to Eminem here, but he doesn’t do this. He only uses the harmonic notes (A, C, E). The teacher in me wants to give him a B grade for that. Good, but not great. It would’ve been more captivating with a non-harmonic note, or two. But hey, if you want your song to appeal to hundreds of millions of people, then keep it very simple. It’s your choice.
To read the rest of this tutorial, please buy the PDF. Supporting our work helps us keep teaching. Thank you :)
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
How to Write a Staccato Chord Progression • Music Theory from Dr. Dre "Still D.R.E." (feat. Snoop Dogg)
Jul 25, 2024
I was living in Los Angeles when Dr. Dre’s album “2001” was released. On the streets, it seemed like every car was blasting it. Every store I walked into was either playing a song from it, or if not, they would be before I walked out. I’ve never heard one album played so much, and for good reason: it’s a hip-hop masterpiece!
The lead single from the album was “Still D.R.E.” (feat. Snoop Dogg), and in LA during November 1999, this was the one song you’d be guaranteed to hear absolutely everywhere! To this day, every time I hear that intro with those staccato chords, I’m instantly transported back there. Those chords have since become iconic, and for good reason too: they’re somehow rough and smooth at the same time! In this PDF you’ll learn the hacks Dre* used to make his unique progression.
Also, in a genre where the emphasis is almost always on the drums and bass, the fact that “Still D.R.E.” put chords in the spotlight was also unique. Obviously there were lots of hip-hop songs that had chords before “Still D.R.E.”, however, their chords were almost always in the background. Hip-hop was, and still is, all about the drums and bass. But, “Still D.R.E.” is all about the chords. And a quarter of a century later, it still stands out in the genre. That’s mightily impressive!
So, inspired by “Still D.R.E.”, here’s our 6-step method for writing a staccato chord progression that instantly stands out. But first… Tea!
P.S. Cool story: If you watch the “Still D.R.E.” music video, at 2:35 there’s a tall dude dressed all in white with a black hat. That was the rapper in my old band :)
*There are other producers who co-wrote “Still D.R.E.”, but for brevity, we’re just saying Dre.
Step 1. Chords
Open your DAW, leave the time signature on 4|4, but change your tempo to 93 BPM. Next, create a two-bar loop on your chords track, with a 1/16 note grid. Just use a piano sound for now, then when you’re finished writing you can change the sound, if you want. But, staccato chords sound amazing on piano, so we kept it. “Still D.R.E.” is in the key of A minor (it’s tuned slightly off A, though). So, we’ll use A minor too, which is just all the white notes on the piano from A to A.
A natural minor (notes)
1
2
♭3
4
5
♭6
♭7
A
B
C
D
E
F
G
A natural minor (chords)
1
2
♭3
4
5
♭6
♭7
Am
Bdim
Cmaj
Dm
Em
Fmaj
Gmaj
The main feature of Dre’s chords are the staccato way that they’re played. If you’re new to that word, “staccato” just means “detached”. And in practical terms, staccato means you’re playing the note/chord as a really short note value, like a 1/32 note. Because the main characteristic of this progression is rhythmic, Dre only uses two chords. If he used more than that, the listener’s attention would be drawn away from the rhythm to the melodic/harmonic side. We’ll do this example like Dre’s, with only two chords, but if you’re into a different genre where more chords would be better, you can choose four chords and follow the same method.
There is one BIG problem with only using two chords, though. If you choose the same two that Dre used, you’ll be getting a scary letter from his legal team. We certainly don’t want that letter, and we don’t want you to get it either, so let’s all avoid using Am and Em. It’s essential to start on Am, as the root chord anchors the progression into the key. So, your choice for the second chord is: Cmaj, Dm, Fmaj, or Gmaj. You don’t wanna use Bdim either, as it’s dissonant. We chose Am and Dm. And we won’t send you a scary letter if you wanna use those chords, too!
After you’ve chosen your two chords, draw them into your DAW with each chord lasting one full bar. Also, draw in the root note of each chord in the octave below.
Our two chords (roots highlighted), with their root notes below, i.e. in the bass
Step 2. Suspension
Here comes the first part of making this progression smooth. Dre uses a creative (and clever) hack here to not only make the chords sound like they’re melting into each other, but this hack also results in the progression sounding like it has three chords instead of two.
You see, instead of going directly from Am to Em, Dre uses a sus chord in between, which acts as a transition between the two chords. If you’re new to sus chords, the “sus” means “suspended”. And the reason they’re called that is because the 3rd note is suspended (i.e. moved off the 3rd). The 3rd note is the magic note*, though, because it determines whether a chord is major or minor.
*If you wanna learn all about the magic of the 3rd note, read Hacks 8 and 9 in our Free Book.
So, when you suspend the 3rd (i.e. move it down to the 2, or up to the 4), your chord is not major or minor, it’s neutral. The major or minor quality only occurs when (or if) you move the 2 or 4 to the 3. A sus2 chord is when you play the 2 instead of the 3 (i.e. 1, 2, 5). And a sus4 chord is when you play the 4 instead of the 3 (i.e. 1, 4, 5). Dre uses Esus4. Then he resolves the 4 (A) down to the ♭3 (G). The Esus4 is neutral. The chord quality only becomes minor after that resolution.
Dre uses the Esus4 because its 4 is A, which is the root note of the first chord (Am). That way he continues playing the A through this chord change, which makes it sound like the Am is melting into the Em. So, when you choose whether to play a sus2 or sus4, make that decision based on the Am (i.e. A, C, E). In other words, you want to continue playing A, C or E through this chord change.
You may already have a common note between your two chords (like Dre and we do), but Dre’s idea behind using a sus chord here is to create another common note. However, if you already had two common notes to start with (like Am and Cmaj), then you’ll actually lose one of your common notes when you create the sus chord. That’s not a problem. As long as there’s one common note, you’re good!
But, before you start experimenting with a sus chord, slice your second chord on beat 2+. Now you can play around with moving its 3rd to the 2nd, or to the 4th. To read the rest of this tutorial, please buy the PDF. Supporting our work helps us to keep teaching. Thank you :)
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
How to Write a Relaxing Piano Piece • Music Theory from Ólafur Arnalds "Happiness Does Not Wait"
May 28, 2024
The world seems to get more stressful every week. It’s no wonder that more and more people are seeking relief wherever they can find it. Sadly, though, their relief usually involves a substance or activity that isn’t very healthy. But it doesn’t have to be that way. There’s an abundance of scientific studies proving the effectiveness of music therapy. While a qualified professional is necessary for more serious issues, we can all freely enjoy the stress-relieving effects of relaxing music. And it’s safe, too. The only side-effect is drowsiness! So when you’ve finished this tutorial and you have your new piano piece, please don’t listen to it while driving. Mmmkay?
When writing relaxing music, we have to think completely differently to how we think when writing songs. The reason for this is because our goal is not to end up with a good song, but a piece of music that induces relaxation. You can think of it like writing soundtrack music. In films, the best soundtracks are the ones you don’t notice. Directors don’t want soundtracks taking attention away from their films, so they ask composers to write music that induces particular emotions. When we sit down to write a relaxing piano piece, we can imagine we’re making it for a scene in a movie. Perhaps the actor is walking on a beautiful Caribbean beach at sunset?
We’ve based this tutorial on “Happiness Does Not Wait” by Icelandic producer Ólafur Arnalds. In this track Ólafur perfectly balances simplicity with creativity. That balance is vital. If the music is too simple, it will get repetitive and annoying. That’s the opposite of relaxing! But, if it’s too creative, it will be stimulating, and that’s not relaxing either. This balance is what the art of relaxing music is all about.
So, inspired by “Happiness Does Not Wait”, here’s our 7-step method for writing piano music with relaxing arpeggios (left-hand) and soothing melodies (right-hand). But first… Tea! And maybe it should be a decaf this time?
Step 1 [Chords]. Common Notes
Open your DAW, change your time signature to 3|4, and set your tempo to 123 BPM. Next, create an eight-bar loop on your piano track, with an 1/8 note grid.
“Happiness Does Not Wait” is in the key of F minor, but we’ll use A minor to keep things simple, cos it’s just all the white notes on the piano from A to A.
A natural minor (notes)
1
2
♭3
4
5
♭6
♭7
A
B
C
D
E
F
G
A natural minor (chords)
I
II
♭III
IV
V
♭VI
♭VII
Am
Bdim
Cmaj
Dm
Em
Fmaj
Gmaj
You’ll notice a recurring theme in this tutorial: balancing simplicity with creativity.
We’re constantly gonna be striving to make the most creative music we can, but without stimulating our listeners. And when we listen to a chord progression, every time the chord changes, it has the potential to stimulate us with new notes. Newness and novelty are stimulating. So, we need to be extremely careful when introducing new notes. The best way to change chords without stimulating our listeners, is to use chords that have one or two notes in common. By doing this, we only introduce one or two new notes when the chords change, instead of all three.
Now, spend some time choosing four chords for your progression. Remember that your last chord will loop around to your first chord, so make sure those two chords also have a common note. Play your four chords for two full bars each. For interest sake, these are Ólafur’s chords: Im → ♭VImaj → ♭IIImaj → Vm. If you need help with roman numerals and chord symbols, read Hack 13 in our Free Book.
And here’s our progression: I (Am) → V (Em) → ♭VII (Gmaj) → IV (Dm).
As you’ll notice, Ólafur’s chord progression has two major (happy) chords and two minor (sad) chords, so his happy/sad balance is 50/50. If you want more of one, simply use three of that chord quality, and one of the other. We wanted a slightly more melancholic atmosphere, so we chose three minor chords and one major.
Also, although you can start on any chord in the key, beginning your progression on the root chord (Am) will be the most calming option. The reason for this is because starting on another chord will create some tension, as it’s not the “home” chord. While that’s fine in other circumstances, in this situation we want to instantly anchor our progression into the key, so the listeners feel instantly settled.
Our chord progression (root note of each chord highlighted)
Step 2 [Chords]. Inversions
The next way we’re gonna make our chord changes even more relaxed is to use inversions - the chords will actually sound like they’re melting into each other! If you’re new to inversions, it’s just when you re-arrange the notes of a chord.
By keeping the common note in the same place (i.e. bottom, middle, or top note) within adjacent chords, we create a common musical thread that’s deeply relaxing.
For example, in our progression the first chord (Am) and the second chord (Em) have the note E in common. E is the highest note in our Am chord, so we need to make E the highest note in our Em chord as well. We do this by inverting the Em chord. So in our Em chord, instead of playing E, G, B (see the second chord in MIDI above), we’re going to play G, B, E (see the second chord in MIDI below).
Chord progression with inversions (root note of each chord highlighted)
Then between our second chord (Em) and our third chord (Gmaj), there’s actually two common notes: G and B. And they’re already in the same place (bottom and middle) within both chords, so we don’t need to invert our Gmaj.
Finally, between our third chord (Gmaj) and our fourth chord (Dm), the common note is D. That note is at the top of our Gmaj chord, so we re-arranged Dm (D, F, A) to get D at the top of that chord too. So, our Dm chord is now F, A, D.
By the way, you’d usually wanna do this process from your last chord to your first chord as well, but in our progression that would involve playing two different versions of our last chord (see MIDI below) in order to get the common note (A) into the same place as it is in our first chord (bottom note). We’d do this in other situations, but it would add movement and therefore increase the energy, so we decided not to do that here. You can do whatever works best for your progression.
Two versions of last chord (highlighted), which we chose not to use
Step 3 [Chords]. Arpeggios v1
The next way we’re gonna soften our chords is by turning them into arpeggios. In other words, we’ll play each chord one note at a time. This is very relaxing indeed. To read the rest of this tutorial, please buy the PDF. Supporting our work helps us to keep teaching. Thank you :)
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
How to Write a Catchy Melody • Music Theory from Glass Animals "Creatures in Heaven"
May 08, 2024
If the link above does not work, paste this into your browser: https://hackmusictheory.com/album/2877864/catchy-melody
Intro.
British band Glass Animals are absolutely massive! At the time of writing this, they’re ranked #257 in the world on Spotify. Most artists as famous as them have achieved their success as a result of an obsessive striving for celebrity. However, Glass Animals seem to be obsessed with making catchy music instead. And not only that, their music is surprisingly creative for a band as successful as them.
If you’ve been doing our Hack Music Theory tutorials for a few years, you’ll know that we don’t usually cover “celebrity artists”. The reason for that is because (nowadays) there’s an inverse correlation between the success of an artist and the creativity of their music. For an artist to achieve a fanbase of tens of millions, their music needs to appeal to the masses. And most people (nowadays) want “sugary” ear-candy music that’s pleasantly predictable, i.e. boring, bland background music.
So why are we doing a tutorial on such a huge band? Well, Glass Animals’ new single “Creatures in Heaven” is a masterclass in catchy melody writing. The lead melody in their chorus has a whole bunch of creative hacks, as well as a very clever twist in its tale. So, inspired by “Creatures in Heaven”, here’s our 6-step method for writing a great melody that’s catchy enough for the masses. But first… Tea!
Step 1. The Chords
Open your DAW, leave the time signature on 4|4, but change your tempo to 80 BPM. Next, create a four-bar loop on your melody track, with a 1/16 grid. Okay so you may be wondering why the first step in a melody tutorial is… the chords?!
Well, all great melodies are written over chords, or implied chords (chords are “implied” when they’re not played separately but their notes are incorporated into the melody instead). The reason it’s best to write a melody over chords is because it gives the melody a harmonic progression. Without this progression, the melody will sound mind-numbingly boring, as it won’t go anywhere harmonically. The difference is night and day. It’s like walking through a beautiful forest along the ocean compared to walking on a treadmill in a stinky gym. There’s no comparison!
So let’s get our chord progression written, that way we’ve set ourselves up to write a great melody. Glass Animals are in the key of D major for their chorus (so we’ll use it too), and they use four chords in their progression (so we’ll do that too).
D Major (notes)
1
2
3
4
5
6
7
D
E
F♯
G
A
B
C♯
D Major (chords)*
1
2
3
4
5
6
7
Dmaj
Em
F♯m
Gmaj
Amaj
Bm
C♯dim
*If you need help working out the chords in a key, read Hack 10 in our Free Book.
As you probably know (or as you’ll hear if you play it), the diminished chord is crazy dissonant. It’s safe to say that using C♯dim ain’t gonna appeal to the masses, so take that off your menu. But other than that, you can use whatever you want.
Glass Animals use all three major chords, and only one minor. Playing three major chords in a major key gives their chorus a wonderfully uplifting vibe. So, think about your balance between major (happy) and minor (sad) chords. Also, think about the order of your chords. Glass Animals play the root chord (Dmaj) second. This detracts attention from it and creates a more fluid atmosphere. We played Dmaj last, though, which creates a more final ending. You can play Dmaj wherever you want, but consider where you want to draw people to the “home” chord. Here’s our progression: Gmaj → Bm → Amaj → Dmaj
Once you’ve chosen your four chords, draw in the root note of each chord for a full bar (in a low octave). These roots will provide harmonic reference for your melody, which you’re gonna write above. This way you’ll be able to hear the relationship between each note in your melody and its accompanying chord. When you’ve finished writing your melody, mute these low roots. Then, create another track specifically for your progression, and draw in each full chord (i.e. 1, 3, 5).
Root note of each chord in progression (key note, D, highlighted)
Step 2. The Drama
Great melodies contain drama, and there’s no better way to bring the drama than by using a big interval. You see, larger intervals create intensity, while smaller intervals create continuity. You need both. In fact, you need a lot more smaller intervals than bigger intervals. However, if your melody contains only small intervals, it’ll be awfully boring. On the other hand, if your melody contains only big intervals, people will presume you were thoroughly drunk when you wrote it. Download the PDF to read the rest of this 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!
If the FREE BOOK link doesn't work, just visit our BOOKS page: https://hackmusictheory.com/books
Ray Harmony Multi award-winning college lecturer
How to Write a Chromatic Bass Line • Music Theory from The Motet "We Got U"
Apr 12, 2024
There aren’t many songs where the bass is in the spotlight. And there’s a good reason for that: Most bass lines suck! Of course there are exceptions, but in most genres the bass is nothing more than a frequency. Its only function is to fill out the bottom end of the sound. Thankfully though, not all genres have sucky bass lines.
Thank you, funk! Yep, funk is one of the only genres in which most songs (usually) contain real bass lines. In other words, actual melodies played on the bass.
You see, that’s what makes a real bass line. If a bass merely plays the root note of each chord, then that bass is perceived by the listeners as a frequency (not a melody). That’s why songs with good bass lines also have more depth, because their bass is adding a musical layer with both melodic and rhythmic independence.
An example of a great bass line can be heard in the new single “We Got U” by American funk band The Motet. Not only does this song kick off with an amazing bass line, but respect is due to their bassist Garrett Sayers for being able to play so fast, and with so much groove. It’s a complex bass line, but in this PDF we’ll break down its elements and teach you how to use them to make your own version.
So, inspired by “We Got U”, here’s our easy method for writing great bass lines (in any genre) with chromaticism. What’s that? Read on to find out. But first… Tea!
Step 1. Mixolydian Mode
Open your DAW, leave the time signature on 4|4, but change your tempo to 111 BPM. Next, create a four-bar loop on your bass track, with a 1/16 note grid.
Right, so the first unusual element about this bass line is its mode: Mixolydian. Mixolydian is a very underused mode, and that makes this bass line instantly stand out. If you’re new to Mixolydian, it’s just all the white notes from G up to G.
G Mixolydian
1
2
3
4
5
6
♭7
G
A
B
C
D
E
F
The first thing you’ll notice about Mixolydian is that it’s a major mode, i.e. it has a major 3rd (3). The next thing you’ll notice about it is its last note, which is a minor 7th (♭7).* As Mixolydian is major, listeners will be expecting a major 7th (7).**
The ♭7 is the only note that makes Mixolydian different to the major scale, so it’s vital to play that ♭7, otherwise it will just sound like the major scale. If you play Mixolydian a few times, you’ll hear that it sounds like a slightly sad version of the major scale, a.k.a. the “happy” scale. It’s amazing the difference one note makes, right? The major scale is known for its use in children’s music (and Christmas songs), due to its uplifting childlike quality. However, by simply moving its 7th note down one semitone, we create a mode that sounds like an adult version of the major scale. And that’s why Mixolydian should be used way more often: it brings the uplifting nature of the major scale, but without its childlike vibe.
Before we get writing, just a quick update. The Motet use E Mixolydian for their bass line, so if you programmed in those MIDI notes we mentioned above (from G to G), grab them all and move ‘em down to E. Now you’ve got E Mixolydian.
E Mixolydian
1
2
3
4
5
6
♭7
E
F♯
G♯
A
B
C♯
D
*Remember to use 3 and ♭7 a few times in your bass, as they’re what make Mixolydian unique!
For the record, a bass line in Mixolydian would already stand out. But, that wasn’t enough for The Motet. They spiced up this underused mode with not one but two chromatic notes! So what’s a chromatic note? It’s simply a note that is not in the scale/mode. And by the way, another word for chromatic is non-diatonic, so you’ll see both of those terms being used to describe notes outside the scale/mode. So, what two chromatic notes did they add? To read the rest of this tutorial, please buy the PDF. Supporting our work helps us to keep teaching. Thank you :)
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
How to Write a Better Snare Rhythm • Music Theory from Matt Sassari & Tony Romera "Snare Thing"
Mar 18, 2024
If the link above does not work, paste this into your browser: https://hackmusictheory.com/album/2806684/snare-rhythms
Intro.
While it’s normal to hear at least a few different kick patterns and hi-hat patterns in music nowadays, it’s rare to hear an interesting snare pattern. The rhythm assigned to this neglected element of the drumkit is almost always an afterthought. In 4|4 (which most music is in), the snare is usually one of these three rhythms:
Regular backbeat (beats 2 and 4): used in most songs
Half-time backbeat (beat 3): used for a slower vibe
Double-time backbeat (beats 1+, 2+, 3+, 4+): used for a faster vibe
So, when listening through to the new releases on Spotify, it was rather shocking (pleasantly so) to hear something completely unusual. The collaborative single “Snare Thing” by French producers Matt Sassari and Tony Romera is a refreshing celebration of the drum that almost always plays the most boring rhythm!
With these PDF tutorials, we usually have to make an educated guess as to what the creator’s intention and process was behind the song. But, based on the less-than-subtle title of their track, it’s safe to say that the duo were intentionally showcasing the snare drum’s creative potential. So, inspired by “Snare Thing”, here’s our 4-step method for writing creative snare patterns. But first… Tea!
Step 1. Motif
Set up two bars of 4|4 with your grid on 1/16 notes, and your tempo at 126 BPM. The first thing we need to do is write a motif, which is a short idea that’s repeated to give the music structure and make it more memorable.
As we’re writing for the drums, our motif will obviously be a rhythmic motif (when using pitched instruments, you can also write melodic and harmonic motifs). The motif that Matt and Tony use is a couple of 1/16 notes followed by a 1/16 rest. They then repeat this motif to create their snare rhythm.
Motif repeated to create snare rhythm
As you can see, their motif is three 1/16 notes long. Having a motif that’s an odd duration (like three, five, seven, etc.) will make it far more interesting, because each time the motif is repeated it’ll start on a different 1/16 note beat (e.g. 1a, 2+, 3e).
A motif lasting four (or eight) 1/16 notes will repeat on the same beat, so it’ll get repetitive and boring extremely quickly. Therefore, avoid using an even-number motif here. For the record, though, they can sound great when played on melodic instruments, because you can repeat the same rhythm while changing the pitches.
Right, when you’re happy with your motif, copy and paste it into the first three 1/4 note beats of bar one. You wanna leave beat 4 open for now, as that’s where you’re gonna write a variation. Next, copy and paste your rhythm into bar two.
Snare rhythm copied and pasted into bar two (highlighted)
Now it’s time to write your variation in beat 4 of bar two. This variation will prevent the snare rhythm from getting boring, by turning it into a two-bar rhythm:
Two-bar snare rhythm created by adding variation (highlighted)
Step 2. Swing
With such an unusual snare rhythm, it would be completely acceptable to move on and write the kick drum pattern now. But, Matt and Tony have one more brilliant snare trick up their sleeves. Instead of using the regular straight grid that you hear in almost every song, they use a swing grid. This is a game-changer! Download the PDF to read the rest of this 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!
If the FREE BOOK link doesn't work, just visit our BOOKS page: https://hackmusictheory.com/books
Ray Harmony Multi award-winning college lecturer
How to Write a Crazy Drum Beat • Music Theory from Blue Lab Beats "Never Doubt"
Feb 25, 2024
Drums nowadays are arguably the most boring element in music! That’s probably due to the widespread use of drum loops. If you listen to the new releases on Spotify every Friday, you’ll hear the same handful of drum patterns over and over again. The best you can hope for is a few variations of those popular patterns.
It would be an interesting experiment to actually count how many different drum patterns are used in the New Music Friday playlist, which usually contains 100 songs. We’re pretty sure it’ll only be a handful of patterns, but that’s some super boring research, so we won’t be volunteering to conduct that experiment. AI can do it!
Having said all that, for us producers, this is actually a blessing in disguise. Why? Because it makes it easier than ever to stand out and grab people’s attention. All you need to do is use an unusual drum beat. Or even better, a crazy drum beat!
This is exactly what happened when the song “Never Doubt” started playing. It’s by the UK duo Blue Lab Beats. Their drums are unlike anything else we heard on that playlist! And after listening to their crazy beats, and then continuing through the remainder of that playlist, the other songs’ drums sounded even more boring.
Drum beats usually consist of three elements: kick, snare, and cymbals. Giving one or two of these an unusual pattern would be enough to make a beat stand out, but Blue Lab Beats have made the patterns of all three elements unusual. That’s crazy!
So, inspired by “Never Doubt”, here’s our 4-step method for writing crazy beats. But first… Tea!
Step 1. Snare
Set your tempo to 75 BPM and your time signature to 7|8.
And yes, that’s a crazy time signature! It’s the foundation of crazy upon which they build their standout beats. Why is 7|8 a crazy time signature? Because it sounds like 4|4 on a broken drum machine, as the last 1/8 note of each bar is cut off. This makes it sound like the record (or CD) is skipping. Ah, remember those days?
Next, create a two-bar loop on your drum track, with the grid set to 1/32 notes.
So, when it comes to a snare pattern in 7|8, the most common one is to play the snare on beats 3 and 7. That’s because in 4|4 the snare is almost always played on beats 2 and 4, which is called a regular backbeat. And if you count 4|4 in 1/8 note beats, then the snare hits of that regular backbeat fall on beats 3 and 7.
Standard 7|8 drum pattern with regular backbeat snare (highlighted) on beats 3 and 7
As you can hear (and see in the MIDI above), the bar is cut short by an 1/8 note.
And to be clear, while that’s the snare pattern you’ll most usually hear in 7|8, that definitely doesn’t make it sound normal. It still sounds crazy! That fact will give you an idea of exactly how crazy the snare patterns are in this Blue Lab Beats song.
And without further ado. Here’s their snare pattern: beat 6. Yep, that’s all they play on the snare. That’s way more space than you’d usually hear in a 7|8 beat. But, spoiler alert: they’re not done with the snare yet. It’ll be revisited in Step 4 below.
Lastly, to give your beat 6 snare a reference point, draw in a kick drum on beat 1.
Also, there’s so much space in this snare pattern that you’ll need to hear the 1/8 note pulse to put the snare in context. So, turn on the metronome when listening.
Kick on beat 1, snare (highlighted) on beat 6
Step 2. Kick
With hardly any snares in this beat (currently), all that space can be filled with kicks. And that’s precisely what Blue Lab Beats do. They play a kick on beat 1 and a super syncopated kick on the fourth 1/32 note. If you’re new to the concept of syncopation, it’s simply when an off-beat is accented. Their kick on the fourth 1/32 note is the perfect example of syncopation. And obviously when you accent a 1/32 note off-beat, it sounds a lot more syncopated than a 1/16 note off-beat.
Kick added on fourth 1/32 note (highlighted)
For the rest of the tutorial, please buy the PDF. Supporting our work helps us to keep teaching. Thank you :)
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
How to Write a Dreamy Chord Progression • Music Theory from Four Tet "Loved"
Feb 02, 2024
New single “Loved” by British producer Four Tet (Kieran Hebden) is a dreamy soundscape that floats your thoughts away on its neuro-massaging vibrations!
If you listen to it with your eyes closed, you can easily imagine sitting by a window on a rainy morning, sipping your tea and day-dreaming as you stare out into quantum clouds of possibility. Even the pitter-patter accent of his hi-hat rhythm mirrors the sound of rain drops on the roof.
The outro (from 2:43) further lowers the energy, deepening the introspection. There’s a sprinkling of arpeggios (i.e. chords played one note at a time) throughout the song, but in the outro he uses them exclusively. That’s only one of the many elements that make this section sooooo soothing. Right, inspired by the “Loved” outro, here’s our 6-step method for writing dreamy chords. But first… Tea!
Step 1. Arpeggio
Set your tempo to 82 BPM and your time signature to 4|4. Then, create an eight-bar section with a 1/16 note grid. Next, load up a gentle keyboard sound like a Rhodes organ, or something similar. You can find the perfect sound afterwards.
One of the most interesting elements of this section is that Four Tet wrote it in the major scale. Nowadays, the major scale is hugely unpopular, which is a shame and a loss. You’ll only really hear this scale in children’s music or Christmas songs. But, it’s the most consonant scale, which means the harmonies it creates are the most peaceful for us. In these dissonant times, we believe there needs to be far more music written in major keys to help people let go of their daily stress and anxiety.
To be fair, there’s a valid reason why most producers don’t use the major scale: all that consonance makes it predictable! Therefore, music written in a major key is at a high risk of being boring. That’s no problem for Four Tet, though, as he has some great hacks up his sleeve to avoid this problem.
Right, so Four Tet uses G major for this section. We chose C major, as it’s simply all the white notes from C to C, but you can use whatever major scale you like.
C major scale:
1
2
3
4
5
6
7
C
D
E
F
G
A
B
He starts this outro section by playing the root chord (Cmaj in our example), and the first hack he uses to create a dreamy vibe is to play the chord as an arpeggio. Also, he plays the root note in two octaves: C (1) → G (5) → C (8, i.e. the root an octave higher than 1). Technically this is a harmony (or interval) and not a chord, as it only contains 1 and 5 (it’s missing 3), but he does play 3 in the melody above.
FYI: If you wanna play this on the keyboard instead of drawing in the MIDI, you’ll play the arpeggio in your left hand, and the melody above in your right hand.
While the technique of playing a left-hand 1→5→8 arpeggio is nothing new (it was common in Mozart’s day), the way Four Tet weaves in his melody is original. He doesn’t just add a melody over the top, like most producers would do, he tricks the listener into hearing his melody as part of the arpeggio. Well, at first…
But then it sounds like his melody begins to break away from the arpeggio. We then hear it as a separate layer. And then it seems to join the arpeggio again?! This uncertainty as to whether it’s a separate melody or part of the arpeggios is one of the brilliant hacks Four Tet uses to create his dream-like atmosphere. It gives us that feeling of waking up from a dream and thinking: Did that really happen?
So, start by drawing in a 1→5→8 arpeggio from your root (C in our example). Let your arpeggio sound for half the bar, then copy and paste it into the second half.
1→5→8 Arpeggio
screenshot is zoomed in to the first two beats
1→5→8 Arpeggio copied and pasted (highlighted)
screenshot is zoomed out to the full eight-bar loop
Step 2. Repeat
Here’s a question for you: Have you ever had that dream where you’re running but you’re going nowhere?! Well, that’s the next hack Four Tet uses to create a dream-like quality to his chords. For the rest of the tutorial, please buy the PDF. Supporting our work helps us to keep teaching. Thank you :)
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
How to Write a Non-Cheesy Festive Melody • Music Theory from the traditional Christmas carol "Noël Nouvelet"
Dec 07, 2023
“Noël Nouvelet” is a traditional French Christmas Carol dating from the 15th or 16th century. So what on earth can we learn from a 500-year old holiday tune? A game-changing melody hack that will totally transform your festive season music!
You see, almost all Christmas songs are written in major keys. And as you can hear from walking into any shop in December, the results are usually very very very cheesy songs! And yes of course there are exceptions, but most of the new holiday music being released is blatantly trying (and failing) to cash in on the “happy holiday” song formula. That brings us back to our traditional tune…
The composer of “Noël Nouvelet” used the most innovative cheese-removal magic trick, as this Christmas carol is 100% cheese-free. And it could so easily have been cheesy because the melody is upbeat and uplifting (like most Christmas music), but it somehow stays far away from the cheese. It’s a Christmas miracle! So there you go, that’s what we can learn from a 500-year old Christmas carol.
And on that note, inspired by “Noël Nouvelet”, here’s our 4-step method for writing an upbeat and uplifting festive melody, without the cheese. But first… Tea!
Step 1. Festive Rhythm
First, regarding the tempo. As with most 500-year old music, you can more-or-less interpret the performance of it however you want. There are lots of breathtakingly beautiful versions of “Noël Nouvelet”, but our favourite is by Libera, a boy’s choir in London, UK. Libera’s performance is around 77 BPM, so we’ll use that too.
Now, create an eight-bar loop with a 1/16 note grid, then load up a piano sound on that track. And yes, piano, that’s not a typo. Piano is the perfect instrument for writing on, because it’s about as “neutral” sounding as you can get, and the attack of the instrument is instant (due to the piano’s hammer action).
Some choir plugins have a very slow attack, and we’ll be using some quicker notes in our melody because it’s a lively one, so we don’t want the choir plugin holding us back. At the end of the writing process, though, you can go through all your choir plugins and see which one works best for your final melody.
Right, spend some time writing a two-bar rhythm now, and be sure to use a vibrant combination of 1/4 notes, 1/8 notes, and two 1/16 notes. Regarding those 1/16 notes. Don’t make them syncopated. Approach them like an 1/8 note split in two.
Also, don’t use any rests within your rhythm. After your rhythm, though, you’ll use a rest. So, don’t play anything on beat 4 of your second bar. This 1/4 note rest is for phrasing (i.e. where the singers would breathe if your melody was sung). And lastly, remember that your rhythm needs to be an upbeat, festive one, so have fun!
Two-bar rhythm, ending with 1/4 note rest
Step 2. Cheesy Melody
Wait, what?! We promised you a cheese-free melody, and now we’re telling you to write a cheesy melody? Yep! That’s the genius of the “Noël Nouvelet” composer’s cheese-removal magic trick, but that will only be revealed in Step 4.
For the record, we obviously have no idea if this is how the anonymous composer wrote the carol, but when reverse-engineering this melody and trying to figure out their method (that’s the process we use to make all our PDF tutorials, by the way), it seems this method is certainly plausible. In fact, we can totally imagine the story…
It’s December 1st, 1499. Our composer turns up to choir rehearsal with their brand new carol, all pleased and proud of it. The choir gives it a run through. There’s an awkward silence as someone tries to think of a nice way to say it. Someone pipes up with “Erm… it’s very Christmassy!” More erms from the choir. Then a brave soul says: “Any chance of making it… erm… [silence] less cheesy?”
The composer storms out. Fast forward a couple hours. They’ve had a walk in the fresh December air and calmed down. Now, back in their study, they pull out the manuscript, dip their quill in the ink. And… Boom! A stroke of genius. They scream Hallelujah!, run out the room and back to the church, screaming Hallelujah! all the way. Choir sings it. Everyone cries. They love it. Composer sighs with relief.
The End.
[roll the credits]
Surely that’s a better story than the one where our composer walks into their study, sits down, then proceeds to write a non-cheesy Christmas carol in one go. Boring!
Alright, let’s write a melody. So we’re in the key of D major, and here’s our scale:
D major scale
1
2
3
4
5
6
7
D
E
F♯
G
A
B
C♯
In order for this method to work, there are 5 rules you need to follow in this step…
For the rest of the tutorial, please buy the PDF. Supporting our work helps us to keep teaching. Thank you :)
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
How to Write a Captivating Bass Line • Music Theory from The Smile (Thom Yorke) "The Smoke"
Nov 24, 2023
How to Write Captivating Bass Using Displacements for Variations
Do you ever write a bass line (or synth/guitar riff) that you love, but after a few loops it gets boring? No problem, you think to yourself, being here in the Hack Music Theory community you know that you need to write a variation for it. So you get to work on that. Fast forward an hour, and everything you’ve tried resulted in the magic of your original version being lost. This is a common problem, and Thom Yorke (Radiohead) and his band The Smile have a brilliant solution for you!
In their song “The Smoke”, they use a super creative method for turning a one-bar bass line (and guitar riff) into an epic ten-bar adventure. And most importantly, they do that without creating a conventional variation anywhere in their line/riff*. How? They take their one-bar riff and repeat it a few times, then just as it’s about to get boring, they displace it. What on earth does that mean? Well, this is how the dictionary defines the word “displace”: To move something from its usual place or position. So in musical terms, what displacement means is to play the exact same thing but in a different place/position in the bar (i.e. the riff starts on an earlier/later beat).
However, they don’t just displace their riff, they also cut it up and displace those segments. The result is mesmerising, and we’re captivated by this displacement as our brains try to figure out what’s going on. They then repeat their ten-bar riff, and the second loop feels even more captivating, as it catches us off-guard because we weren’t expecting it to repeat after ten bars (but more on that in Step 1).
So, inspired by “The Smoke”, here’s our 5-step method for writing a ten-bar riff that will totally captivate your listeners with its displacements. But first… Tea!
*Thom Yorke (bass) and Jonny Greenwood (guitar) play the exact same thing in the main section of this song, so to keep things simple, we’ll just be referring to what they both play as a riff.
Step 1. One-Bar Riff
Change your tempo to 93 BPM, then create a ten-bar loop on your bass track (or guitar track, if you prefer). When you’re done writing your riff, you’ll duplicate the track and load up the other instrument (guitar/bass), so it doesn’t actually matter which one you use to write the riff. Now, open your MIDI editor, set the grid to 1/16 notes, and let’s get to it!
You’re gonna start by writing a one-bar riff. You really want to take your time here, as this one bar is the source material for the whole ten bars, so make it good! The Smile uses E minor pentatonic scale for their riff, so we’ll use it too. If you’re new to this scale, it’s just the natural minor scale without its 2nd and 6th notes.*
E natural minor scale
1
2
♭3
4
5
♭6
♭7
E
F♯
G
A
B
C
D
E minor pentatonic scale
1
♭3
4
5
♭7
E
G
A
B
D
You can use any notes from the scale, but there are four rhythm rules to follow:
use 1/16 notes exclusively
use a few rests
accent beat 1 by playing a note on it
accent beat 3 by playing a note on it
*For help with writing in the minor pentatonic scale, as well as in the blues scale (a spicy variation of the minor pentatonic), use Hack 8 in our Songwriting & Producing PDF.
Here’s our one-bar riff:
One-bar riff, with the accented notes on beats 1 and 3 highlighted
Step 2. Repeat & Displace
The Smile repeats their one-bar riff four times, exactly as it is. Four bars is the absolute maximum you’d want to repeat such a short riff. Any more repetition than that, and it’ll not only be boring to your listeners, it’ll actually be annoying!
But, they’re very intentionally pushing their repetition to the max. The reason for that is because they need their listeners to be 100% familiar with the riff before they start messing with it. If the listeners don’t have the original version 100% stuck in their heads, then all the upcoming displacements would be completely disorientating, and therefore completely unpleasant to the ears.
But let’s not get ahead of ourselves. First things first, let’s get our riff stuck in the listeners’ heads! So, copy and paste your one-bar riff into bars two through four.
For the rest of the tutorial, please buy the PDF. Supporting our work helps us to keep teaching. Thank you :)
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
How to Write Sweeping Arpeggios • Music Theory from Daft Punk "Motherboard"
Nov 17, 2023
How to Write Sweeping Arpeggios using a unique layering technique
If the link above does not work, paste this into your browser: https://hackmusictheory.com/album/2639559/sweeping-arpeggios
Intro.
Do your arpeggios all sound rather similar? It’s a common problem for producers.
Arpeggios are when you play a chord one note at a time, and it’s one of the best techniques for making your progressions more interesting. And while it’s definitely more rare to hear arpeggios than “block” chords in popular music genres, most of the arpeggios you do hear are rather boring. Merely playing chords one note at a time is not a foolproof way of making progressions more creative. If you want better arpeggios, you need to write an internal melody within them. Want even better arpeggios? Write two internal melodies, or maybe even three!
What are we talking about when we talk about “internal melodies”? Well, the melodies need to be formed from notes within the arpeggios, as opposed to writing a melody over the top of them. There’s obviously nothing wrong with doing that, but it will be heard as a separate melody, not as part of the arpeggios.
While there’s an abundance of genius examples of this in classical music, there are sadly not many to be found in popular music genres. If you’re into the rock side of things, Muse has plenty of creative arpeggios. Examples are even rarer on the electronic side of things, though, but Daft Punk comes to the rescue with their song “Motherboard” (check out their new “Drumless Edition” of this song, as it’s easier to hear the arpeggios). At 28 seconds into this track, the most beautiful arpeggios begin to sweep up and down. Despite their fast pace (i.e. 1/16 notes), they’re thoroughly calming due to their smooth, sweeping motion. And it’s not just the fast pace that makes their arpeggios so creative, it’s also their choice of notes.
So, inspired by “Motherboard”, here’s our 5-step method for writing sweeping arpeggios, which are guaranteed to stand out from all those boring, clichéd arpeggios. But first… Tea!
Step 1. Chords
As arpeggios are simply broken up chords, the first step is to write a chord progression. So, set your tempo to 103 BPM, then create a four-bar loop and set your grid to 1/16 notes.
Daft Punk play their arpeggios on woodwind instruments, but we’ll get to that in the last step. For now, we actually recommend using a piano, for two reasons. Firstly, piano arpeggios are beautiful, so if you want, you can keep them on a piano sound (we did). Secondly, the piano has a much bigger range than any woodwind instrument, so you won’t be held back by not being able to play a note because it’s too high/low for that instrument.
Daft Punk’s arpeggios are in the key of E minor, so we’ll use it too:
E natural minor
1
2
♭3
4
5
♭6
♭7
Em
F♯dim
Gmaj
Am
Bm
Cmaj
Dmaj
Regarding what chords to choose. This PDF is all about arpeggios, so we’re not going to cover the “chord choice” topic. If you need help with writing better chord progressions, we recommend our Songwriting & Producing Course.
The only three guidelines we suggest are to choose four chords, avoid the diminished chord, and play the root chord somewhere (you don’t have to start with it, though). Here are the chords we chose for our progression:
Cmaj → Gmaj → Dmaj → Em
After you’ve chosen your four chords, draw in each chord’s root note for one bar.
Root note of each chord in progression
Download the free PDF to read the rest of this 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!
If the FREE BOOK link doesn't work, just visit our BOOKS page: https://hackmusictheory.com/books
Ray Harmony Multi award-winning college lecturer
How to Write a Timeless Piano Part • Music Theory from The Beatles "Now And Then"
Nov 10, 2023
The last Beatles song. That’s what the official press release calls “Now And Then”. The Beatles made history this week (again!), but the internet is flooded with writing about this song, so we won’t repeat the story of how “Now And Then” came to be. Instead, we’ll focus exclusively on why this song sounds timeless.
Until recently, I used to think that J.S. Bach’s music was timeless. But now I’m not so sure. I’ve been to many Bach concerts, and while my head is bald by choice, almost all the other men in there didn’t have a choice with their bald heads, if you know what I mean?! So, who’s gonna be listening to Bach in 30 years from now? Don’t get me wrong, there will always be Bach superfans (like me!), but is his music timeless if it’s not popular with the general public now? Bach’s music is far too complex to appeal to most modern musical taste buds, so it’s not really timeless. It’s the same with art and poetry. Yes, there will always be William Blake superfans (like me!), but the general public nowadays is clearly not interested in this genius’ work. Great art will always be great art, but perhaps it’s not timeless.
So why is this PDF titled “Timeless Piano” then? Well, by definition timeless music has to appeal to generation after generation, and there’s been a clear trend for many decades in the music that the general public listens to. Yep, it’s been getting simpler and simpler. So, perhaps the way to write music that’s going to have the best chance of being timeless, is to make it extremely simple. But, the simpler the music, the more chance there is of it getting boring. And if it gets boring, it’s obviously not going to have a very long shelf life. That’s where the genius of The Beatles shines: they’re masters of making simple music that has just enough interest to prevent it from getting boring. The result? Timeless(ish) music.
You see, I still don’t believe that any music can be said to be truly timeless, as how can we possibly know if the general public will be listening to it in a thousand years from now!? Nevertheless, inspired by “Now And Then”, here’s our 4-step method for writing a piano part that’s as timeless as The Beatles. But first… Tea!
Step 1. A Couple Chords
The chord progression in “Now And Then” mainly consists of two chords. Before we get to those two chords, though, a brilliant and creative hack that The Beatles use is to make their progression ten bars long. We’re obviously used to hearing loops of two bars, four bars, or sometimes eight bars. But ten bars? Nope, we’re not used to that at all. So, despite their progression being super simple, those extra two bars at the end keep us interested and engaged, because they’re unexpected.
So, change your tempo to 87 BPM, then create a ten-bar loop on your piano track. We’re gonna start off with the grid on 1/4 notes. The Beatles begin their song (intro and verse, which is what we’re teaching here) in the key of A minor , so we’ll use it too.
A natural minor
1
2
♭3
4
5
♭6
♭7
Am
Bdim
Cmaj
Dm
Em
Fmaj
Gmaj
Now it’s time to choose your two chords. Your progression is going to change back and forth between these two chords for five bars, so make sure you really like them. You can use any chords from the key, other than the diminished (Bdim). Well, unless you want to make your listeners feel very very uncomfortable.
The Beatles begin on the root chord (Am), as it anchors their progression into the key. For this reason, we suggest you also start on Am. We did, too. Their second chord is Em. We chose Dm. Their choice of two minors (Am→Em) obviously makes “Now And Then” deeply solemn. If you want a more uplifting sounding progression, though, then definitely choose a major as your second chord.
Once you’re happy with your two chords, draw them in, with each chord lasting one bar. This is another great example of how The Beatles keep their progression simple. They could’ve changed chords on beat 3, or even an off-beat, which would sound more interesting, but maybe that’s too interesting for timeless(ish) music.
Beginning of our progression: Am to Dm
Next, invert your second chord to get the common note in the same place. If you don’t have a common note, you’ll need to make one. If you don’t know how to do that, we teach it in our Songwriting & Producing (Course). Otherwise just choose a different second chord that does contain a common note with the Am.
Dm inverted by moving A down an octave
Next, delete the ♭3 (C) in your Am chord. Why? Well, it’s yet another way that The Beatles create interest without making it too interesting. And by deleting the 3rd note of Am, it’s theoretically no longer Am, it’s now A5 (i.e. the root and 5th).
As you know, the 3rd note determines a chord’s quality (i.e. whether it’s major or minor), so by deleting the ♭3 in our Am chord, we’ve de-minored it. And no, that’s definitely not a musical term! Also, for the record, it’s no longer a “chord” either, because a chord requires at least three notes. It’s now an interval/harmony.
Am with ♭3 (C) deleted, moving to Dm/A* (root note of each chord highlighted)
For the rest of the tutorial, please buy the PDF. Supporting our work helps us to keep teaching. Thank you :)
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
How to Write a Memorable Bass Line • Music Theory from Röyksopp "So Easy"
Nov 03, 2023
How to Write a Memorable Bass Line using modal ambiguity
Yes, your lead melody is important. But a great bass line has the power to make or break a section. Despite that fact, though, most producers approach their bass as an afterthought. Think about it. How many songs’ bass lines can you remember?
Almost all the bass lines we hear in the new releases each week are not really bass lines, they’re bass frequencies. If a producer merely plays each chord’s root note as their bass line, that’s not a melody (“line” is just an informal word for melody).
In order for it to be a bass line, it needs to be an actual melody. We’re obviously not saying that your bass should play a catchy melody like you’d want on the lead synth or vocals. But, it does need to contain the characteristics of a well-written melody, which will also make it memorable. And that’s a good test for yourself. The day after you’ve been writing, can you remember the bass line in your head?
A great example of a super memorable bass line, which doesn’t steal any attention away from the lead melody, can be found in the song “So Easy” by Norwegian electronic duo, Röyksopp. If you haven’t heard this song, have a quick listen, it’s the opening track on their brilliant album “Melody A.M.” from 2001. The song actually begins with both their bass line and lead melody playing, and while the lead is crazy catchy, the bass below is 100% memorable as well, without ever taking any attention away from the lead melody. It’s truly brilliant!
In this PDF you’ll learn the characteristics that make their bass line so memorable, as well as our 4-step method for writing memorable bass lines. But first… Tea!
Step 1. Half & Half
Set your tempo to 104 BPM and leave your time signature on 4|4. Then create an eight-bar loop on your bass track, and set your grid to 1/16 notes. When you analyse Röyksopp’s bass line, one of the most obvious characteristics you’ll notice is that half of it isn’t there, or so it seems. In other words, they use a ton of rests! So many, in fact, that their bass line consists of about half notes and half rests.
That’s a rather counterintuitive approach to bass, as it’s the foundation upon which the music is built. If half your foundation isn’t there, then surely you’re heading for trouble, right? Nope. Their clever use of rests ensures their bass line stands out because it’s different. But, as it’s not even there half the time, it’s not taking attention away from the lead melody. On that note, their lead is the opposite. It consists of longer connected notes, with no rests other than where they phrase it.
Okay let’s get to it! So you’re gonna start by writing a two-bar rhythm on C, the root note. But remember, you want about half of it to be rests. Also, all the notes should be short, so use a combination of 1/8 notes and 1/16 notes. And don’t be shy with the syncopation! If you play too many notes on the beat, it’s going to sound stiff and rigid. Those off-beat accents are gonna bring your bass line to life.
Two-bar rhythm on root note, C
When you’re happy with your lively two-bar rhythm, copy and paste it into bars three and four. Now, delete beat 4 in the fourth bar. You’ll find out why in Step 4.
Two-bar rhythm copied and pasted (highlighted) with beat 4 in fourth bar deleted
Then for variation, make one tiny change to a note towards the end of bar four.
Tiny rhythmic variation created at end of fourth bar (highlighted)
Step 2. Anchors & Arcs
The next thing you’ll notice about Röyksopp’s brilliant bass line is that it begins with three punchy on-beat root notes, before taking off to a bunch of other notes.
They repeat this pattern every two bars. That anchors the bass line into their key’s root note, as well as providing a rhythmic anchor. Every couple bars their bass briefly anchors melodically (to the root) and rhythmically (to the beat), before it ventures off to explore. And that exploration creates a melodic “arc” (i.e. contour), which we’ll get to in Step 3.
For the rest of the tutorial, please buy the PDF. Supporting our work helps us to keep teaching. Thank you :)
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
How to Write a Modulating Melody • Music Theory from John Carpenter "Halloween Theme"
Oct 27, 2023
How to Write a Modulating Melody using a series of direct key changes
John Carpenter’s “Halloween Theme” is one of the most recognizable pieces of music in the horror film genre. And that’s not just because the movie is so famous, it’s because the music is massively attention-grabbing due to all its original ideas.
One of the many creative techniques he uses is modulating (i.e. changing key) in the middle of his melody. That’s completely crazy! To put it in context. Most music nowadays doesn’t even modulate at all. In other words, the whole song (verse, chorus, and everything else) is all in the same key. How mind-numbingly boring!
So, when Mr Carpenter changes key halfway through his “Halloween” melody, it grabs your full, undivided attention, as it’s unlike anything you’ve heard before. It goes without saying that this technique can be used in any genre, and wherever you use it, heads are gonna turn, because nothing grabs attention like a mid-melody modulation. And that’s not even the only modulation he does, there’s a lot more!
Without further ado. Inspired by the “Halloween Theme”, here’s our 7-step method for writing modulating melodies like John Carpenter. But first… Tea!
Step 1. Repetition
In our research for this tutorial, we found a video of John Carpenter talking about his “Halloween Theme” being in 5|4. However, because of the way he groups his piano part, the time signature is actually 10|8. And yes, they’re obviously the exact same length: five 1/4 notes = ten 1/8 notes. But, when you listen to the original you can clearly hear the 10|8 grouping: two groups of three 1/8 notes, followed by two groups of two 1/8 notes.
MIDI for John Carpenter’s “Halloween Theme” piano part (right-hand):
First group of three 1/8 notes highlighted (beats 1, 2, 3)
Second group of three 1/8 notes highlighted (beats 4, 5, 6)
First group of two 1/8 notes highlighted (beats 7, 8)
Second group of two 1/8 notes highlighted (beats 9, 10)
If the piano part was in 5|4, there would be five groups of two 1/8 notes, like this:
Example of what piano part would look like if time signature was 5|4 and not 10|8
(first note of each group of two 1/8 notes highlighted)
To complicate things, though, the drums play a four-on-the-floor style pattern, except it’s actually five-on-the-floor due to the length of each bar:
“Halloween Theme” drum beat plays a kick (highlighted) on each 1/4 note beat
With the drums accenting every 1/4 note beat, it’s clear that they’re in 5|4. So, when we take the drums into account, we realise there’s actually a polymeter here (i.e. two time signature playing simultaneously): the drums are playing in 5|4 while the piano is playing in 10|8. Very cool! But seeing as Mr Carpenter considers the whole thing to be in 5|4, we’ll go with that too, just to keep it nice and simple.
So, load up a piano track, then create a four-bar loop in 5|4, with your grid on 1/8 notes. Set your DAW’s tempo to 136 BPM. There’s actually two different versions of the “Halloween Theme”, the original one from 1978 and the remake from 2018. They’re both in the same tempo (and keys), and they’re pretty much the same, other than one relatively big difference that we’ll talk about in Step 4.
Right, let’s get down to the music making! We’re gonna start by writing the right-hand part of our piano. This part is super simple. As you can see in the MIDI screenshots above of the original version, John Carpenter only uses three notes: the 1 (F♯), 5 (C♯), and ♭6 (D). The original starts in the key of F♯ minor, but we’ll use A minor to keep things simple, as that’s just all the white notes from A to A.
For the rest of the tutorial, please buy the PDF. Supporting our work helps us to keep teaching. Thank you :)
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
How to Write Haunting Arpeggios • Music Theory from Danny Elfman "Wednesday Main Titles"
Oct 20, 2023
How to Write Haunting Arpeggios using parallel keys and borrowed chords
Danny Elfman’s theme song for the Netflix show Wednesday (officially called “Wednesday Main Titles” on the soundtrack album) is utterly brilliant! It’s just over one minute, but the amount of creative theory it contains is thoroughly impressive.
One of the most unusual sections is at 21 seconds into the track. It’s a crazy creative chord progression, played as triplet arpeggios. The section is so haunting and unsettling, because he slides through three different keys in the space of four bars. This leaves the listener feeling disorientated, as their subconscious is trying to figure out if it did actually hear a key change or if it just imagined that. You know the feeling, right? Maybe that was just a shadow at the window, and that noise was probably (hopefully) just a branch knocking against the house. Hmmm…
On that note, go and check that all your doors are locked and your windows are closed. Then, turn off your lights, put on your headphones, and let’s make some spooky music! So, inspired by the Wednesday theme song, here’s our 4-step method for writing haunting arpeggios like Danny Elfman. But first… Tea!
Step 1. Chords
There’s two stages to this method. First you’ll write a haunting chord progression (Steps 1 & 2), then you’ll turn that into arpeggios (Step 3). As a bonus, we’ve included a section on how to write a haunting bass line for your arpeggios (Step 4). By the way, Stage 2 is super quick and easy, but Stage 1 will take some time. Okay let’s get to work, cos these arpeggios aren’t gonna write themselves - they’re haunting arpeggios, not haunted arpeggios!
Set your tempo to 98 BPM, then create four bars of 4|4. You can just use a piano sound for now, then after you’ve finished writing, you can play around with some different sounds. Next, change your grid to 1/8 note triplets. If you want your whole song to be in this triplet feel, though, then you can use the 12|8 time signature. We’re using triplets because the opening section of Wednesday is in 4|4. It switches to 1/8 note triplets after 21 seconds, when this arpeggio section begins.
Now that you’re all set up, it’s time to grab some paper and a pen. Yep, we’re going old-school in Step 1. An arpeggio is simply a chord played one note at a time. So, before we get to our arpeggios, we obviously need to write a chord progression.
Here is Danny Elfman’s progression: Dm → F♯m → C♯m → Bm → Dm
A surface-level analysis of that progression reveals that he’s only using minor chords. That’s a great hack all on its own, because a progression made up exclusively of minor chords will sound seriously dark, as you’re never giving your listener a break from the somber nature of minor chords. Now, if you do a deep analysis, you’ll discover something far more remarkable. The progression is in the key of D minor, so what do you notice about its chords?
D natural minor scale
1
2
♭3
4
5
♭6
♭7
Dm
Edim
Fmaj
Gm
Am
B♭maj
Cmaj
Our deep analysis doesn’t even get past the second chord before we discover that Danny Elfman has officially left the key! There’s no F♯ in D minor. So, the second chord in this progression is a non-diatonic chord, i.e. a chord that’s not in the key. On we go to the third chord. Oh, he’s done it again! There’s no C♯ in D minor either. And on to the fourth chord. Same again! There’s no B in D minor. What?!
So, sandwiched between two root chords that start and finish the progression, he has three non-diatonic chords. That’s obviously not normal. In fact, it’s so unusual that it takes us back to the drawing board, because if the root chord is the only chord that’s in the key, then is the key really D minor or did we get it wrong?
No we didn’t. The key is D minor, but each of those three non-diatonic chords is from a different key. A parallel key! A parallel key is just the fancy term for a key (i.e. scale/mode) that has the same root note. And when you play a chord from a parallel key, it’s called a borrowed chord. In this example, D natural minor and D major are parallel. D Lydian is also parallel, which is another key Danny Elfman uses in his progression.
For the rest of the tutorial, please buy the PDF. Supporting our work helps us to keep teaching. Thank you :)
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
How to Write Suspenseful Soundtrack Music • Music Theory from Mike Oldfield "Tubular Bells" The Exorcist (1973) theme
Oct 13, 2023
If the link above does not work, paste this into your browser: https://hackmusictheory.com/album/2591466/suspenseful-melody
Intro.
The dictionary definition of suspenseful is “causing a feeling of excitement or nervousness because you are waiting for something to happen”.
That perfectly describes the intro of “Tubular Bells - Pt. I” by Mike Oldfield. It’s easy to hear why The Exorcist (1973) director William Friedkin chose this music for his film. Recall that classic scene where Chris starts walking home alone as the “Tubular Bells” intro begins. Eeek! Talk about “waiting for something to happen”.
If you wanna make music that keeps people listening because they need to know what happens next, then knowing how to create suspense is essential. Mike Oldfield has given us a masterclass with this music. So, inspired by “Tubular Bells”, here’s our 4-step method for writing a suspenseful melody. But first… Tea!
Step 1. Odd
One of the first things we notice about the intro of “Tubular Bells - Pt. I” is that it’s in an odd time signature. If you count along with that piano part in the intro, you’ll count 15 beats. So, change your DAW’s time signature to 15|4 and set the tempo to 150 BPM.
On closer analyses of the piano part (i.e. where its melody repeats), it becomes apparent that the time signature is actually one bar of 7|4 followed by two bars of 4|4. But as that adds up to 15|4, we’ll just go with that to keep things simpler.
Next, create a one-bar loop of 15|4 on your piano track, with the grid on 1/8 notes. We’re gonna start by writing a rhythm on E (the root), using only 1/8 notes and 1/8 rests. You can do whatever you want, but don’t play more than two notes in a row. Also, only make your rhythm seven 1/4 notes long, i.e. one bar of 7|4.
7|4 rhythm (on E)
Step 2. Pitch
Now it’s time to turn this rhythm into a melody! Mike Oldfield uses the E natural minor scale for this piano part, so we’ll use it too.
E natural minor scale
1
2
♭3
4
5
♭6
♭7
E
F♯
G
A
B
C
D
You may be wondering why F♯ (2) is in red. That’s because it’s out-of-bounds! Yep, you can’t use that note in your melody. Why? Well, we’re gonna create some suspense all of our own here, as we’re not revealing the reason for this until Step 4. One more tiny guideline here. If you wanna use E, use the high octave (i.e. the 8).
Without the F♯ (2) you still have six notes, which is plenty, so write your melody by using all the usual elements, like a big range and a smooth contour. Need help with this? Use the Melody Checklist in our Songwriting & Producing PDF.
7|4 rhythm turned into melody, by moving notes to different pitches of E minor
When you’re happy with your melody, then copy and paste it (starting at beat 8).
7|4 melody copied and pasted (highlighted)
That gives us 14|4, so extend your melody by one note to complete the 15|4 bar.
Note added (highlighted) to end of melody, completing bar of 15|4
Now that you have the full melody, you can hear that it’s a 7|4 melody looping, except the loop has an extra beat that makes it eight 1/4 notes long (i.e. two bars of 4|4). That odd-time element from Step 1 has now become very noticeable!
7|4 melody looped, with looped version (highlighted) transformed into two bars of 4|4
The interesting takeaway here is that alternating between an odd time signature (7|4) and an even time signature (two bars of 4|4) makes the melody sound more odd. It seems counterintuitive, but the melody would actually sound more normal if it was exclusively in 7|4. The reason for that is because our pattern-loving brains will figure out an odd time signature after a few loops, and then get used to it. Therefore, alternating back and forth prevents us from adjusting to the odd time. So thanks to those 4|4 bars, the 7|4 continues to sound odd every time we hear it.
Step 3. Drone
This is the final piece of the piano part, and it’s the easiest. Simply draw in the root note (E) in all the rests. This drone on E creates two layers in your piano part, which not only adds depth, it also adds tension between the melody and its root.
Final piano part, with drone on root note (E) highlighted
Now that you’ve finished your piano part, you can have some fun with the orchestration by duplicating the track, then changing its sound (and octave). As this piano part is at a super high register, you can lower it by an octave on the duplicated track, then change the sound to a glockenspiel or anything suspenseful.
Step 4. Bass
That’s enough suspense! It’s finally time to reveal why you couldn’t play F♯ in your piano part, back in Step 2. This is gonna be pretty shocking! So, are you ready for a massive twist in the tale of this tutorial? Okay, here it is. Download the PDF to read the rest of this 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!
If the FREE BOOK link doesn't work, just visit our BOOKS page: https://hackmusictheory.com/books
Ray Harmony Multi award-winning college lecturer
How to Write a Mysterious Melody • Music Theory from John Williams "Harry Potter" theme
Oct 06, 2023
How to Write a Mysterious Melody Using the Chromatic Scale
The epitome of a mysterious and magical melody is the Harry Potter theme (titled “Prologue” on the soundtrack album) by legendary film composer, John Williams.
This melody is overflowing with mystery and magic for a few reasons, all of which you’ll learn in this PDF, but the main reason is: chromaticism. That’s just the fancy word for using notes that are not in the scale. While this technique is (sadly) rare in popular music, it’s common in classical and soundtrack music.
However, John Williams elevates his chromaticism in the Harry Potter theme with an additional technique, which you’ll also learn in this tutorial. For now though, it’s sufficient to know that the chromaticism found in this melody is not your average run-of-the-mill chromaticism, this is very special.
Whatever genre you make music in*, if you want to learn how to convey mystery and magic through a melody, you can learn everything you need to know from John Williams. So, inspired by the Harry Potter theme, in this PDF you’ll learn our 6-step method for writing mysterious melodies. But first… Tea!
*Like all the Hack Music Theory teachings, the method in this tutorial will work in any genre.
Step 1. Diatonic
First things first. Before we can play notes that are not in the scale, we need a scale. Remember though, no matter what scale you’re using, you can always add chromatic notes to your melody. And by the way, another word for chromatic is non-diatonic (notes in the key are diatonic, notes outside the key are non-diatonic).
So, while the Harry Potter theme is rooted in the natural minor scale, after you’ve worked through this PDF, you can follow the method again but in another scale/mode. For this example, though, we’ll be using the E natural minor scale:
E Natural Minor Scale
1
2
♭3
4
5
♭6
♭7
E
F♯
G
A
B
C
D
Set your DAW’s time signature to 3|8 and the tempo to about 90 BPM. As the original recording was played by an orchestra (not a computer), the tempo varies a lot due to the musicians’ expressive performance. After you’ve written your melody, revisit your tempo and try some faster or slower BPMs to see if that better suits your specific melody.
Next, create a 16-bar loop on your melody track. That sounds like a super long melody, but it’s not really, because each bar is only three 1/8 notes long. So the length of this melody will be the equivalent of six bars of 4|4.
Regarding the virtual instrument to load up on this track. John Williams uses a celesta, which is a beautiful instrument, but rather rare. If you don’t have a celesta in your library, as we don’t, then you can use a vibraphone, which is what we used. Or you can use a vintage organ, an electric piano, or even a regular piano. Obviously the more mysterious (i.e. the less common) your instrument, the more mysterious your final music will sound, so try to at least find something unusual.
Step 2. Chromatic
Walls have ears, so please make sure nobody’s listening in, because we’re about to talk about those mysterious and magical chromatic notes. Shhh…
For the rest of the tutorial, please buy the PDF. Supporting our work helps us to keep teaching. Thank you :)
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
How to Write a Technical Drum Beat • Music Theory from TesseracT "Natural Disaster"
Sep 29, 2023
If the link above does not work, paste this into your browser: https://hackmusictheory.com/album/2579130/tech-drums
Intro.
If you’ve been in the Hack Music Theory family for a while, you’ll know we love technical drum beats! And there probably ain’t nothin’ more tech’ than polymeters*. While polymeters were relatively popular with those bold “modern classical” composers of the early 20th century, they haven’t been used much since then.
And yes, over the last few decades there have been a few rare examples of polymeters in popular music. But, it wasn’t until a group of hairy Swedes with exceptional talent (otherwise known as Meshuggah) came along and re-popularised the polymeter. What made Meshuggah’s polymeters unique, though, is their genius idea of having their drummer’s hands (snare & cymbals) play in 4|4 as the one time signature, while his feet (kick) play in an odd time signature, like 17|16. The genius of the Meshuggah method is that listeners can nod (or mosh) along to the 4|4 time signature, while the odd time signature slithers around unpredictably. The brilliance of this can’t be overstated. They created a way to play in odd time while the audience dances in 4|4.
To get an idea of how weird odd time signatures sound without this method, listen to “March of the Pigs” by Nine Inch Nails. They alternate three bars of 7|8 with one bar of 4|4. And while we love this song, you have to have a relatively high level of music theory knowledge just to be able to dance along to it. That’s obviously not ideal for the average listener. Also, 7|8 isn’t even that weird. Meshuggah uses far weirder time signatures! But, because they’re playing them against 4|4, you can dance along.
Meshuggah’s method has become a favourite for prog/tech bands over the last couple decades, and TesseracT are one of them. Their new album “War of Being” kicks off with a great polymeter (in the track “Natural Disaster”) which finds them adding a few creative twists to Meshuggah’s method. So, inspired by “Natural Disaster”, here’s our 6-step method for making technical polymetric drum beats. But first… Tea!
*If you’re new to polymeters, it’s the term for playing in two (or more) time signatures simultaneously.
Step 1. The Even
When it comes to the Meshuggah polymeter method, the one time signature is usually 4|4 played by the drummer’s hands (snare and cymbals), so that’s where we’re gonna start. And this is where TesseracT brings their first creative twist to the table. This type of polymeter almost always loops every eight (or sixteen) bars of 4|4. However, TesseracT loops their polymeter every four and a half bars!
So, set your DAW’s time signature to 4|4. Then, create a loop on your drums track of four bars and a bar of 2|4 at the end, making the polymeter’s loop a total of eighteen 1/4 notes. And for this step you can set your grid to 1/8 notes.
If you look up the tempo of this song online at one of the many BPM websites, they say the tempo is 165 BPM. But, the pulse of this song (measured in 1/4 notes) is clearly half that, so set your tempo to 82.5 BPM. It might not seem like that’ll make any difference, but at 165 BPM all the notes values will be twice as fast as their normal range. For example, a 1/4 note pulse, which is the range your heart beats in when it’s resting, will instead feel like you’ve just been for a really fast run!
Now, draw in 1/8 notes on your crash (or hi-hats, if you don’t want the section to sound heavy). Then, draw in a regular backbeat snare, which is on beats 2 and 4.
4|4 pattern consisting of 1/4 note pulse on crash and regular backbeat snare (highlighted)
Step 2. The Odd
Right, now it’s time to get this polymeter party started, so change your grid to 1/16 notes. TesseracT chose 17|16 for their odd time signature, so we’ll use it too. It’s a super fun time signature, because it’s only one 1/16 note longer than a bar of 4|4, so it feels like a slightly stretched out 4|4. Now, spend some time making a creative kick pattern in 17|16 (i.e. the pattern’s length is seventeen 1/16 notes). You can play two or three (or more) consecutive 1/16 notes, but be sure to leave some rests too, as that contrast will actually make your drums groove way more! Download the PDF to read the rest of this 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!
If the FREE BOOK link doesn't work, just visit our BOOKS page: https://hackmusictheory.com/books
Ray Harmony Multi award-winning college lecturer
How to Write a Prog Melody • Music Theory from Steven Wilson "Impossible Tightrope"
Sep 22, 2023
How to Write a Prog Melody
using the Major-Minor scale, aka Mixolydian ♭6
There aren’t many melodies that stand out nowadays. In an era where most musicians are trying to sound like the popular musicians in their genre, the result is a narrowing of musical territory. This should shock the world, as artists have historically been the brave explorers boldly trekking into unmapped cultural regions. These days, though, most “artists” tend to be copycats playing it safe, doing everything in their power (and AI’s power) to stay within the narrow boundaries of what the masses deem acceptable. The result is not art, but product.
It only requires a cursory glance in the rearview mirror to see that the artists who stand the test of time are the ones who bring something new to the table. To be clear, the artist’s job is not to reinvent the musical wheel (like Arnold Schoenberg did). But, every human has a slightly different way of seeing the world, and art is supposed to be a way for the artist to capture and share their unique worldview.
One of the rare artists who still takes his job description seriously is prog rock legend Steven Wilson. Regardless of what you think of his music (or him as a person), and regardless of whether you love or hate his band Porcupine Tree, huge respect is owed to the man for sticking to the artist’s brief. Steven Wilson’s music is not groundbreaking, but it always sounds like Steven Wilson’s music, not someone else’s. Yet he continues to mature and explore new musical ground (for him). A recent example of this is his new single “Impossible Tightrope” from upcoming album “The Harmony Codex”. And what a great name for an album, right?
At 5:46 into the epic 10-minute song, there’s a section where the bass and drums play a captivatingly syncopated groove, while Steven sings a beautifully strange melody over the top. This melody instantly stands out, as the scale is not a normal scale. The first time I heard this section, I knew I had to share it with you. So, in this PDF you’ll learn this beautifully strange scale, and our 6-step method for using it to write a prog melody. But first… Tea!
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
How to Write an Octatonic Riff • Music Theory from Ministry "Goddamn White Trash"
Sep 14, 2023
How to Write an Octatonic Riff
Using the Half-Whole Diminished Scale
Almost all popular music (in every genre and subgenre) is made using the major scale or the natural minor scale. That’s a vast ocean of music from only two scales! And yes, some of the more creative producers will use the modes. That’s great. But, the modes are also 7-note scales (just like the major and natural minor scales).
And, like those two scales, they also contain a major 3rd or a minor 3rd. In other words, each one of the five rarer modes sound either like a variation of the major scale, or a variation of the natural minor scale. So yes, the Dorian, Phrygian, Lydian, Mixolydian and Locian modes open a lot more doors, however, they all lead into the same 7-note house.
For the record, Mozart had no problems writing genius-level music using only the major and minor scales, so there’s obviously nothing wrong with using those scales. But, as a counter argument, there was significantly less music when Mozart was alive. Nowadays, it can easily feel like all the possibilities that those two scales offer have been thoroughly explored already. I don’t believe that’s true, though it’s undeniable that it is significantly harder to create something new with those scales.
So, if you’re looking to explore some new musical territory, one of the best ways to get there is with 8-note scales. These are called octatonic scales. They were relatively common in the “modern” classical music of the early 20th century, but you hardly ever hear them in popular music. One of our favourite examples of an octatonic scale in popular music is in the song “I Am That Thirst” by Meshuggah. And another song we recently heard that features an octatonic scale is “Goddamn White Trash” by Ministry. They use it in a heavy breakdown riff (starts at 2:03).
So, if you’re ready to try the exciting world of 8-note scales, then in this tutorial you’re gonna learn our 5-step method for writing octatonic riffs. But first… Tea!
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
How to Write a Beautiful Melody • Music Theory from Swedish House Mafia "Ray Of Solar"
Sep 07, 2023
How to Write a Beautiful Melody
There are 7 elements that create a beautiful melody. In our new PDF tutorial (download link below), you'll learn what they are and how to use them!
When I recently heard “Ray Of Solar” by Swedish House Mafia on Spotify’s “New Music Friday” playlist, the song’s beauty jumped out at me from amongst the almost 150 tracks that all seem to be sounding more and more alike each week.
And for the record, while I’ve heard the name Swedish House Mafia, I don’t think I’d ever listened to them before. In fact, I don’t even know if they’re from Sweden. I mean, you’d think the electronic duo Boards of Canada are from Canada, right? Wrong. They’re from Scotland! What?! Yep, it’s true. But I digress… So, despite not being a Swedish House Mafia fan, the beauty of this song is undeniable. And as a result, we’ve ended up in the rare situation of making two tutorials on the same song.
In last week’s tutorial BEAUTIFUL ARPEGGIOS (PDF) we taught our 6-step method for making a beautiful chord progression like you hear in “Ray Of Solar”. In this tutorial, inspired by the same section, you’ll learn our 7-step method for writing a beautiful melody.
And no, you don’t need to have done the previous tutorial, this one is completely independent. If you have, though, then you can write a melody for the beautiful arpeggios you made from that tutorial. Alright, download the PDF at the link below, then read on to learn the music theory hacks that create this undeniable beauty, and how you can use them to write your own beautiful melody. But first… Tea!
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
How to Write Beautiful Arpeggios • Music Theory from Swedish House Mafia "Ray Of Solar"
Aug 25, 2023
How to Write Beautiful Arpeggios
If you play all the notes of a chord simultaneously, you’ll create an instant emotion in your listener. This is a powerful technique, and the most common way to play chords. While allowing a chord to unfold and reveal its emotion one note at a time is arguably less powerful, in the right context, it can be even more beautiful.
One such context is the new single “Ray Of Solar” by Swedish House Mafia. I’ll be honest, I don’t think I’ve ever listened to Swedish House Mafia before, and I don’t know anything about them, but when I was going through the new releases on Spotify, this song instantly stood out thanks to its beautiful arpeggio intro.
And yes, arpeggios are widely used, but they’re almost always boring. Most producers clearly don’t know how to be creative with arpeggios. And as Swedish House Mafia uses so many clever hacks to make their arpeggios creative, we simply had to share them with you. So, inspired by “Ray Of Solar”, here’s our 6-step method for writing beautiful arpeggios that will definitely stand out. But first… Tea!
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
How to Write a Melodic Bass Drop • Music Theory from Grabbitz "Hero"
Aug 18, 2023
How to Write a Melodic Bass Drop
EDM producers didn’t invent the bass drop, but it’s easy to argue they perfected it!
Having said that, though, the bass drop has long since gone stale. After becoming so popular, it was sadly turned into a formulaic cliché. However, every now and then a creative producer comes along with a fresh angle. The recent single “Hero” by Grabbitz (who’s probably my favourite EDM producer), contains an exciting example of this. At 57 seconds into the track, he drops an absolute beauty!
So, inspired by Grabbitz, here’s our 5-step method for making melodic bass drops. But first… Tea!
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
How to Write a Rhythmic CHORD Progression • Music Theory from Maribou State "Midas"
Aug 11, 2023
How to Write a Rhythmic CHORD Progression
One of the most common mistakes producers make when writing chord progressions is focusing exclusively on the notes (i.e. the harmony). Now, it obviously goes without saying that the notes are a vital ingredient in chord progressions, however, another vital ingredient that is often ignored is rhythm.
As a result of this widespread oversight, it’s normal to hear chord progressions that are entirely lacking in vital energy. This lack is more obvious in certain genres than others, but the problem most certainly occurs in all genres.
British electronic duo Maribou State has a great example of what a lively chord progression sounds like. You can hear it in their song “Midas”. It’s a super chill track and the chords are not at all dominant, yet they’re full of vital energy.
So regardless of whether you want to write something uptempo or something chill, the 3-step method in this tutorial (inspired by Maribou State “Midas”) will guide you through making a chord progression that’s full of life, by using a creative rhythm, inversions, add chords, and 7th chords. But first… Tea!
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
How to Write "Peaceful Piano" Music • Music Theory from Ludovico Einaudi "Experience"
Aug 04, 2023
How to Write "Peaceful Piano" Music
I’m just old enough that I got in my Grade 1 to 12 school years before computers and the internet took over. If you’re a Gen X like me, and there wasn’t a computer in your school building either, then our schooling experience was pretty much the same as our grandfathers’ schooling experiences in their youth. How crazy is that?!
And the deeper you go back into the past, the longer those stretches of time are where nothing changed. Fast forward to today, and robots are making music and cars are driving themselves! It’s not surprising that there’s a tidal wave of nostalgia sweeping industrialised countries. People are desperate to find anything that can lessen the unpredictable nature of this relentlessly-changing modern world.
For most people, an unpredictable world causes anxiety. And the opposite is true too: A predictable world causes calm. It’s totally understandable that this desperate desire to find some predictability in our world has resulted in “Peaceful Piano” being one of the most popular playlists on Spotify. Every track on this playlist creates a predictable musical environment, which counterbalances all the change.
If you’ve been in the Hack Music Theory family for a while, you’ll probably be amused right now, as I’ve spent decades teaching people how to make music that’s not predictable haha! Well, my views on music have evolved over the decades, and I now see (and hear) the benefit of well-written predictable music. For the record though, I don’t mean the manufactured “content” that makes up most of the new releases every week, I’m talking about artistic music that’s predictable, like Mozart.
One of the most popular composers in the Peaceful Piano “genre”, who’s been paving the minimal path since the mid-90s, is the Italian pianist and composer Ludovico Einaudi.
So, inspired by “Experience”, one of Einaudi’s most popular songs, here’s our 5-step method for writing “Peaceful Piano” music. But first… Tea!
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
How to Write in 2 Modes Simultaneously • Music Theory from The Brooks "Pain & Bliss"
Jul 28, 2023
How to Write in 2 Modes Simultaneously
Humans are walking paradoxes! You know those times when you’re feeling two contradicting emotions at the same time? Like when you’re in a difficult situation but you feel hopeful about the future, while simultaneously doubting your own optimism. How on earth would you reflect those contradicting feelings in music?
As we cover in our Songwriting & Producing PDF, each mode conveys a general emotion. Feeling optimistic in a difficult situation would be well represented by the Dorian mode, which is the natural minor scale* with a major 6th (i.e. the cloud’s silver lining). Cancelling out that optimism with doubt would revert back to the natural minor scale, where the cloud doesn’t have a silver lining.
So you may be thinking now that it can’t be too difficult to write something using the Dorian mode then switch to the Aeolian mode. And you’re right, that’s not difficult. However, using one mode first and then moving into the other one, does not reflect the paradox of feeling both of the contradicting emotions simultaneously.
But you can’t use two modes at the same time, can you? Yes my friend, yes you can!
This is where things get juicy. Are you ready? Right, so in the title-track of their album “Pain & Bliss”, The Brooks play in both the Dorian and Aeolian modes at the same time. The guitar plays in Dorian while the bass simultaneously plays in Aeolian. It’s awesome!
So, inspired by this great song, here’s our 6-step method for writing music in two modes that will be played at the same time. But first… Tea!
*Natural minor scale is another name for the Aeolian mode.
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
How to Write a Mixolydian MELODY • Music Theory from Sigur Rós "Klettur"
Jul 21, 2023
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.
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!
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
How to Write a Calming Chord Progression • Music Theory from Portishead "Roads"
Jul 14, 2023
If the link above does not work, paste this into your browser: https://hackmusictheory.com/album/2520762/calming-chords
Intro.
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.
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!
Step 0. Relax
Before we get to Step 1, we need to set the scene. To ensure that our blank canvas is calm to begin with, we need to find a relaxing tempo. Breathe in, breathe out…
When we’re relaxed, our heart rate is usually between 60 and 100 beats per minute (BPM). As the BPM of music unconsciously affects our heart rates, the slower your song’s BPM, the more relaxed your listeners (and you) will feel, and vice versa.
Portishead chose 76 BPM for “Roads”, so we went with 76 too. But, feel free to choose a slower tempo if you want to relax your listeners (and yourself) even more.
Step 1. Roots
If you have a slow tempo but your chords are changing every couple of beats, then your progression isn’t going to feel very calming. So, in the “Roads” intro, each chord is played for an entire bar!
This slow harmonic rhythm creates an illusion of the tempo being slower than it is. And by the way, harmonic rhythm is how long you play each chord for. In other words, where the chords change. The longer you spend on each chord, the slower the harmonic rhythm, and the more relaxed your chord progression will feel.
Another issue to consider is that if you play an uneven amount of chords (e.g. three or five), your listeners could unconsciously feel some tension. It’s the same with time signatures. If you write a progression in 3|4 or 5|4, you could unintentionally make your listeners feel uneasy, as they will be expecting the familiar 4|4.
Symmetry tends to calm us, so choose four chords for your progression. “Roads” is in the key of A minor, so we used it too. Our chords are: Am, Dm, Cmaj, Em.
If you’ve done my Online Apprenticeship, you’ll be wondering about the perfect 4th from A up to D, as well as E up to A. As you know, perfect intervals lack the emotional charge of other intervals. This actually makes them remarkably calming, so that’s why we’ve used them here.
Right, once you’ve chosen your four chords, draw in their root notes. And if you want a fuller sound, you can add the octave of each root note.
Root note (and its octave) of each chord in progression: Am, Dm, Cmaj, Em
Step 2. Unify
If you play what you have so far, you’ll notice that the progression currently sounds disjointed, and separation certainly doesn’t feel calming. So, the next step is to create a unifying connection throughout your progression, which will make it flow beautifully. Unification feels comforting, and therefore calming.
The best way to connect your root notes is by adding a common note above them. A common note is just a note that’s the same between two chords. In other words, when you change chords, their common note doesn’t change.
The ultimate common note is one that you can stay on throughout your chord progression. That’s obviously not something you want to achieve in every progression, but to create a common thread that remains all the way through this chord progression will be deeply comforting, and therefore deeply calming.
The 5 is a great common note. In A minor, that’s E. The 5 of your key will work well over most chords in that key due to its strong relationship to the key-note (i.e. the first note of your scale).
Feel free to use a different common note, though. Choose the common note that feels most calming over the root notes in your progression.
Common note (highlighted) added above root notes
Step 3. Melody
As you can tell, we’re building up our chord progression one note at a time, instead of jumping in with full chords. If we had drawn in the full chords in Step 1, it would be sounding like every other progression. But, the method in this tutorial is a melodic approach to chords, which is sadly rather rare in popular music genres.
Writing a progression in this way (by adding melodies on top of each other), is one of the most fun ways to liberate yourself from the confines of block chords.
When using full chords, it can often feel like whatever progression you write, it sounds similar to something you’ve written before. With this melodic approach to chords, though, there are so many more options. It’s a game-changer!
Right, in this step you’re going to add the third melody to your progression. This is arguably the most important, because it has a double function. Not only will it complete your chords, but it will also act as the “lead melody” of your progression. So, take your time writing this melody, as it’s a make or break step.
Use a few more notes in this melody, to breathe some life into the progression. However, if you use too many notes, that will ruin the calming atmosphere you’ve worked so hard to create.
Also, if possible, use a melodic motif.* We created a motif by repeating the first three notes (B, C, A) of our bar 1 melody in bar 3. This repetition makes our chord progression’s “lead melody” more memorable, which is always a good thing!
“Lead melody” (highlighted) added above common note
*A motif is a short music idea. Repeating it gives your music structure and makes it memorable.
Step 4. Spice
As you can hear, your chord progression is already sounding great, so feel free to stop here. However, if you want to take it to the next level, then it’s time to add some spice. This step is about making your progression’s “lead melody” a little more interesting. As it’s a super simple melody (because we don’t want too many notes in it), there’s a risk of it getting boring. A sprinkle of spice will fix that!
Portishead do something really cool here, as they switch from A natural minor to A harmonic minor over the E chord in their progression. In other words, instead of playing Em, which is what you get in A natural minor, they play Emaj. To make this switch into harmonic minor over the E chord, they simply move the G to G♯.
This is such a tasty way to spice up the “lead melody”, that we used it too.
G moved up to G♯ (highlighted), which turns Em into Emaj
Step 5. Backing
As you can hear, your chord progression sounds awesome now! But, if you’re still hungry for more, then this step is the cherry on top.
Your progression is made up of three melodies already, so adding a fourth melody will create complexity, which will ruin your calming vibe. So, instead of adding another melody, you’re just going to add one note in bar 2, and another note in bar 4. Both of these notes should be above your “lead melody”.
Just as we add backing vocals to a lead vocal for extra emphasis, you can think of these notes as “backing” for your chord progression’s “lead melody”.
Right, and with that, you’re done! Sit back, hit play, and enjoy your calming chords.
Final chord progression with “backing” notes (highlighted)
Make Music You LOVE.
I know you want to be a confident producer who finishes songs, and loves the results. In order to become a confident producer, though, you need decades of knowledge and experience. To gain that knowledge, you need a good teacher. To gain that experience, you need decades of practice. That’s overwhelming!
I understand that searching for a good teacher is frustrating. Most courses are taught by YouTubers who are not qualified in music, and are not qualified teachers either. The few who are qualified in both, have no industry experience. I feel your pain. Truly. Most of my music teachers were bad. That’s why I studied music and education in order to become a lecturer, and why I created Hack Music Theory.
Also, over my 30+ years of composing, I developed a unique method called Song-Whispering, which I’ve used to make music with multiplatinum Grammy winners. In my one-of-a-kind online apprenticeship, you’ll learn my method and turbocharge your music with my decades of knowledge and experience.
Enroll Now and stop wasting years of your life learning from bad teachers and trying to get better through trial-and-error. Transform into the confident producer you would be in 10+ years now, and start loving your music!
Ray Harmony Multi award-winning college lecturer, teaching since 1995
“Song-Whispering may be the single greatest concept ever!” –Glynne Owen (Japan)
“I followed their YouTube for a while before taking their course. I wish I'd taken it sooner!” –Sagar Saluja (India)
“I wrote the first song in my life that I actually like!” –Anastasia Lucas (USA)
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!
If the FREE BOOK link doesn't work, just visit our BOOKS page: https://hackmusictheory.com/books
How to Write Standout DRUMS • Music Theory from Aphex Twin "Blackbox Life Recorder 21f"
Jul 06, 2023
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.
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!
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
How to Write BASS LINES That Move People • Music Theory from Nine Inch Nails "Closer"
Jun 30, 2023
If the link above does not work, paste this into your browser: https://hackmusictheory.com/album/2505465/bass-moves
Intro.
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.
Ever since then, I’ve felt that the ability to get people physically moving is probably the most fun aspect of making music. So, here’s a step-by-step method inspired by “Closer” for writing bass lines with the power to move bodies, minds, and hearts! But first… Tea!
Step 1. Body
Set your tempo to 90 BPM, then throw in a simple four-on-the-floor beat on your drum track. If you don’t know what that is, no problem, it’s just a kick on every 1/4 note and a snare on beats 2 and 4 (see MIDI below).
Right, now set up two bars on your bass track, with your grid on 1/16 notes. You’re gonna start by making a dancy rhythm on only one note, C, which is our root note. Keep in mind that your rhythm needs to be good enough to move bodies all on its own. Adding the melodic element later isn’t going to make your bass line any dancier, so this is the time to maximise its danceability.
Four-on-the-floor drum beat (one bar)
So, what makes a rhythm dancy? Well, arguably the most dancy element is syncopation, which is when you accent an off-beat. However, if you only play off-beats, then your rhythm is gonna sound like a cat walking on your keyboard. So, be sure to play at least one of the main beats. In our example, we played beat 3.
Also, you want a ton of space in your bass line, as that gives way more impact to the few notes that you do play. So, limit yourself to only six notes in this step, and make all of them 1/16 notes. And yes, keep all of them on C. Don’t worry though, we’ll add a couple more notes in step 3. On that note, leave beat 4 open, as that’s where those extra notes will go (see MIDI below).
Repetition also plays a huge part in making a rhythm dancy. You wanna give your listeners an almost hypnotic rhythm that moves their bodies and releases their minds from thought. So, you’re only gonna write a one-bar rhythm. Then, when you’re happy with it, copy and paste it into your second bar.
One-bar rhythm on root note (C) copied and pasted into bar 2 (highlighted)
Step 2. Mind
Now that you’ve got the body moving with your rhythm, it’s time to move the mind. You’re gonna do this by spreading your rhythm out over two full octaves. Yeah I know, that’s a massive range! But, with that range you can play three versions of the root note: C2, C3, and C4 (see MIDI below).
This is a game-changer, as you can maintain that simplicity you created in step 1, but instead of playing your rhythm on one pitch, you’re now playing it on three different pitches. Technically your bass line is still only on one note, C, but sonically it’s now on three different pitches. This illusion of variation will feed your listeners’ minds with its interest, while not stimulating their brains to start thinking.
Bass line playing root note, C, on three different pitches (C2, C3, C4)
Step 3. Heart
Right, now that you’ve got the body and mind moving, it’s time to move the heart. So, this is where you’re gonna add a couple of other notes, in order to infuse your bass line with emotion.
Nine Inch Nails uses the super dissonant ♭5 (which is G♭ in this example), and the funky ♭7 (which is B♭). We used those notes in our example too, but they obviously make the bass line sound dissonant and heavy. So, if you’re wanting to make a more uplifting song, then use more consonant notes. By the way, if you need help with choosing which scale/notes to use, please read our Free Book.
Once you’ve decided on your two notes, add them into beat 4 of both bars. But, play them differently in each bar, i.e. play them in a different order and/or using a different rhythm. This variation will keep your bass line from getting too repetitive.
Bass line with ♭5 (G♭) and ♭7 (B♭) highlighted
Lastly, add another root note into beat 4 in both bars, but use a different octave for each (highlighted below). This will make it flow more, and also add momentum.
Final bass line
Make Music You LOVE.
I know you want to be a confident producer who finishes songs, and loves the results. In order to become a confident producer, though, you need decades of knowledge and experience. To gain that knowledge, you need a good teacher. To gain that experience, you need decades of practice. That’s overwhelming!
I understand that searching for a good teacher is frustrating. Most courses are taught by YouTubers who are not qualified in music, and are not qualified teachers either. The few who are qualified in both, have no industry experience. I feel your pain. Truly. Most of my music teachers were bad. That’s why I studied music and education in order to become a lecturer, and why I created Hack Music Theory.
Also, over my 30+ years of composing, I developed a unique method called Song-Whispering, which I’ve used to make music with multiplatinum Grammy winners. In my one-of-a-kind online apprenticeship, you’ll learn my method and turbocharge your music with my decades of knowledge and experience.
Enroll Now and stop wasting years of your life learning from bad teachers and trying to get better through trial-and-error. Transform into the confident producer you would be in 10+ years now, and start loving your music!
Ray Harmony Multi award-winning college lecturer, teaching since 1995
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How to Write Heavy BASS Lines • Music Theory from Front Line Assembly "Purge"
Jun 11, 2023
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”.
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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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How to Write Advanced DRUMS • Music Theory from Royal Blood "Mountains at Midnight"
Jun 04, 2023
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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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"
May 28, 2023
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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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"
May 22, 2023
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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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"
May 14, 2023
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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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"
May 07, 2023
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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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"
Apr 23, 2023
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.
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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"
Apr 09, 2023
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.
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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"
Apr 02, 2023
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.
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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"
Mar 20, 2023
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"
Mar 09, 2023
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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How to Write a Layered RIFF • Music Theory from Polyphia "Ego Death"
Mar 01, 2023
How to Write a Layered Guitar RIFF
Step 1. Bass
The first thing you notice in the opening riff of “Ego Death” by Polyphia is that there are two layers. There’s a bass line and a lead melody all in one riff, played by one guitar. By adding bass notes below the melody they’re implying chords and creating harmony. This adds a beautiful depth to the riff. And yes, this technique is not new. In fact, it’s hundreds of years old and is common in classical guitar pieces. But, it’s actually rare to hear it in popular music where the guitar usually plays either chords or melody, not both at the same time. So, you’re gonna start by writing a bass line for your riff. You can make this complex, or you can keep it simple and just play the root note of each implied chord. That’s what Polyphia does here, so we’ll do that too. Also, make your bass line at least 4 bars long. We’re in the key of G minor, but whatever you use, start on the root chord to establish your key.
Step 2. Melody
Next, you’re gonna write a 2-bar melody over the top. Once you’re happy with this, then copy and paste it over the rest of your bass line. Some of your melodic notes may not sound as good over different bass notes, but just move those ones. And that actually creates some nice variation too. By repeating the melody over different bass notes you create both familiarity and freshness in your riff. It’s a very clever technique, which Polyphia nails in this intro. And by the way, if you need help writing melodies, simply follow the Melody Checklist in our Songwriting & Producing PDF.
Step 3. Spice
Lastly, to spice up your riff, you’re gonna move one bass note outside the scale. This is called a non-diatonic note. Polyphia’s intro is in the natural minor scale, but then at the end of the riff they use the 7 instead of the ♭7, which temporarily shifts the riff into harmonic minor. So, we did this too, by moving our ♭7 (F) up to the 7 (F♯). And if you find this 7 / ♭7 stuff confusing, no problem, just download our Free Book. It only takes 30 minutes to read, then you’ll have a solid music theory foundation! Okay, so all you need to do now is check if there’s a ♭7 in your melody above the 7 in your bass. If there is, move that ♭7 up to 7 as well, otherwise it will clash. We didn’t have a ♭7 in our melody here, so we didn’t need to change anything. Finally, if you’re playing this on guitar, you can mute a few notes for that percussive sound.
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Could you hear the missing ingredient in our drum beat? (click play above). If not, don’t worry, that’s because the beat is actually pretty good the way it is. The kick pattern is a two-bar rhythm, which gives the drum beat variety. There’s also some off-beat kicks, which add groove. The hi-hat accents change in the second bar, which creates more variety. And the regular backbeat snare provides momentum. It’s a decent drum beat! So, what’s wrong with it then? Well, it’s a bit stiff and lifeless. And what’s the missing ingredient that will transform this decent beat into a great beat? Hip-Hop!
INTRO
Wait, what?! Isn’t hip-hop a genre? Yes, of course! But, as with all genres, there are theoretical characteristics that make music recognizable as hip-hop. And those characteristics can be isolated and applied to other genres to spice them up. Considering hip-hop has been the most popular genre for the last few years, if we want people to connect with our music, then there’s a lot we can learn from hip-hop’s secret formula. As you’ve probably heard in the music news, hip-hop is celebrating its 50th anniversary in 2023. In its 50 years, hip-hop has influenced almost every other genre. That fact inspired the idea behind our epic new Genre Project. In this ongoing series, we’ll hack different genres to reveal their secret formulas and how you can use those formulas to make better music in whatever genre you work in. So, if there’s a genre you want us to hack, drop us a comment. And just a quick caveat. Genres are also recognizable by non-theoretical characteristics, like instrumentation, and even some non-musical characteristics, like culture. But, we focus exclusively on melody, harmony, and rhythm. Also, every genre’s characteristics have their roots in earlier genres. However, exploring a genre’s heritage is a rabbit hole! A fun one, but still, we’re not going down there. Alright, let’s jump in!
KICKS
Hip-hop is all about groove, and one of the easiest ways to instantly add groove is to change your grid to 1/16 note triplets. Okay, well you have to do a little more than just change your grid. But, that’s the game-changer right there. Seriously! All you do now is move your kicks onto that new grid. And by the way, the tempo of our example is 84 BPM. Also, depending on where your kicks were before, some of them might sound weird on the new 1/16 triplet grid, but just delete those weird-sounding kicks. The magic hip-hop kick that probably adds the most groove is on the 1/16 note triplet right before beat 3. So, that’s what we played. And you can hear this magic hip-hop kick everywhere, but a classic example is in Wu-Tang Clan’s 1993 track “Cash Rules Everything Around Me”.
SNARE
Hip-hop usually uses a regular backbeat snare, which is on beat 2 and beat 4. There’s obviously nothing unusual about that. But, where hip-hop gets creative with the snare is by adding a syncopated hit to the drum beat. And syncopation just means that it’s played off the beat, in other words, in between the main beats. This snare is often on the 1/16 triplet grid as well, so we added this syncopated snare on the 1/16 note triplet right before our kick that’s on beat 3+. And you can hear this hip-hop snare everywhere, but a classic example is in Ice-T’s 1986 track “6 in the Mornin’”.
HATS
Many other genres use the hi-hats as the pulse; simply a way of keeping time. Not hip-hop, though. Oh no! Great hip-hop producers never waste an opportunity to be creative, so there’s none of those boring metronome-style hi-hat patterns here. Pretty much anything goes when it comes to the hi-hat, as your groove is already established from your kick, and the momentum is coming from the snare, so you’re free to experiment on the hats. That’s exactly what we did here, creating a similar but different rhythm for bar 1 and bar 2. Both are still using the 1/16 triplet grid. And you can hear those hip-hop hats everywhere, but a classic example is in Dr. Dre’s 1999 track “Forgot About Dre”. A bonus hat hack is to change your grid to 1/32 straight, then add 1/32 note rolls in a few places. We replaced the hats in the beginning of both bars with 1/32 rolls.
So, no matter what genre of music you make, whenever your beats are sounding a bit stiff and lifeless, apply these hip-hop hacks and they’ll instantly pump your drums full of energy and groove!
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Why You Struggle to Make Music
Nov 18, 2022
Why You Struggle to Make Music
Do you sometimes find yourself staring at a blank screen, with absolutely no ideas? Then we have the solution for preventing that from ever happening again. How can we be so confident that this solution will eliminate writer’s block? Because I’ve been writing music for over 30 years, and I’ve never had writer’s block. Ever!
So, what’s this magic solution? Music theory! I know, I know, it’s not the exciting answer you were anticipating, but it’s the truth. A solid knowledge of music theory (and how to creatively apply it) will end your writer’s block forever. How? Well, music is a form of communication, and do you struggle to communicate using your first language? Of course not!
If you want to express what you feel, you effortlessly explain it in words. And music theory empowers you to have that same effortless communication, but through music. If you want to communicate musically that you’re feeling joyful, you simply use the notes which express that emotion. And obviously the deeper your knowledge of music theory grows, the more nuanced your communication can be.
So, you literally only need two things to overcome writer’s block forever: music theory, and feelings!
You bring the feelings, and we’ll bring the music theory! On that note, we invite you to download our free book, which will only take you 30 minutes to read. Yep, music theory really is that simple. If you’ve been confused by music theory in the past, it’s not you. You just had a bad teacher. You see, music consists of only 12 notes, and music theory is simply the relationships of those 12 notes. It’s that easy!
So, if you wanna learn music theory from Ray Harmony, a multi award-winning college lecturer who’s made music with multiplatinum Grammy-winning artists, then download our free book below.
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Sound Design Is Ruining Your Music
Nov 04, 2022
Sound Design Is Ruining Your Music
Have you ever opened your digital audio workstation (DAW) because you’re in the mood to make some music, but then you end up spending hours searching for the right bass sound? Then, feeling frustrated because you’ve wasted hours and didn’t even find the right sound, you close your DAW and open Instagram instead.
If you’ve ever done that, then we have a huge secret to reveal to you: forget about sound design, it’s probably the worst distraction in the music making process!
Now, we’re not saying that you shouldn’t spend hours on designing the perfect sounds. We’re saying that you should not be spending your time trying to design the right bass sound, when you haven’t even written the bass line yet. How could you possibly know what the right sound is for a bass line you haven’t yet written?
Working on sound design before you’ve written the music, is like mastering before you’ve mixed. Yes, mastering is essential but it needs to happen after the mixing. Same with sound design. Yes, it’s essential, but it needs to happen after the writing.
And of course, the sound you choose will usually affect what you write for it. For example, the line you’d write for a bass guitar will be different to the one you’d write for a bass synth. But (and it’s a BIG but), will the line you’d write for a Fender 4-string bass guitar be different to the one you’d write for a Gibson 4-string bass guitar? No! And that’s exactly why you should use presets when writing.
Simply decide if the melody you wanna write is for a bass guitar or a bass synth, then choose a preset that’s kinda close to what you want, and get writing! Then, when you’re happy with your bass line, don’t start sound designing it. Not yet. You’re still in the writing stage, so move on to your drums.
And use the same approach here. Do you want a realistic sounding drum kit or an electronic kit? Choose a preset that’s in the ballpark of what you want, then get writing! Then continue on to the next instrument. And the next. Chords. Melody. Counter melody. Then move on to the next section. Keep going! Stay focused. Don’t start sound designing until you’ve completely finished writing.
You see, when you’re writing music, you’re in the sublime state known as Flow. This is where time disappears. You and your music are one. In fact, there is no you anymore, just oneness. The flow state is the ultimate high, but it can be lost in a split second. And one of the easiest ways to lose it is to switch tasks. Also, you’re exponentially more creative when you’re in the flow state. So, you can massively improve your creativity and therefore your music, by simply focusing on the writing process exclusively, and avoiding distractions like sound design.
However, it’s vital that you actually know the method for writing a song from start to finish. Especially when it comes to how you write a new section for an existing section, how you transition between sections, and how you structure and arrange your song. So, if you wanna learn Ray’s secret method, which he has used to make music with multiplatinum Grammy-winning artists, then enroll in our Video Course.
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When you loop a melody, do you just copy and paste it? If so, that way of looping could be ruining your melodies!
But the good news is that in this lesson you’ll learn a creative way of looping, which will actually make your melodies better than they were before you looped them. Seriously, this looping hack can even make boring melodies kinda interesting.
But first, what’s wrong with looping a melody by copying and pasting it? Well, when you do that, the rigid repetition of the melody shortens its lifespan. In other words, even if your melody is really good, it will get stale and boring after a few loops. Remember: repetition kills a melody’s longevity, but variation extends it.
THEORY
Our brains are designed to pay attention to things in the environment that change, and filter out those things that stay the same. So, if your melody has been copied and pasted, your listeners will pay attention for the first couple of loops, but then their brains will shift attention away from your music to something in their environment that’s changing (like their Instagram feed).
This process will happen automatically and unconsciously in your listener’s mind, well, unless they’re an advanced meditator. So, the best way to hold your listener’s attention is to keep your music changing. And as our attention is usually on the lead melody, by continually varying that, your listeners will be utterly captivated.
If you keep varying your melody, though, won’t you end up with a long string of notes that’s impossible for your listeners to remember, resulting in them not wanting to listen to your song again? Well, yes. That’s why you need this looping hack. And for the record, there are ways to vary a melody just enough so that when it repeats, it’s familiar and fresh.
HACK
This looping hack bypasses that entire problem, though. It’s a way to create variation in your melody without actually changing any of its notes. I know, it sounds impossible, right? But, it’s not only possible, it’s also easy!
Are you ready? Here’s the hack: each time you copy and paste your melody, you rhythmically displace it.
What exactly does that mean? Well, it’s easiest to show you with an example, so let’s jump into the practical part of this lesson now.
MUSIC
This looping hack is used brilliantly by Björk in her new song “fossora”, so this example is our version that we made using the music theory from that song.
Alright, so open your DAW and set the tempo to 100 BPM. Then create a track for your melody, make a six-bar section, and set the grid to 1/8 notes. This example is in the key of G minor, and if you find keys, scales and chords a bit confusing, then download our free book: 12 Music Theory Hacks to Learn Scales & Chords. The link is below.
So, start by making a two-bar melody using 1/8 notes. And as this lesson is focused on looping, we’re not gonna cover how to write a good melody here, but if you need help with that, then simply use the Melody Checklist in our Songwriting & Producing PDF. The PDF also contains our other essential music making hacks. Over 10,000 producers around the world use this guide as their studio handbook. So if you’re struggling with your music, this PDF is for you!
Right, now it’s time for the juicy part. So, copy and paste your melody into bars three and four. Then, instead of leaving your melody as it is, you’re going to rhythmically displace it by an 1/8 note or a 1/4 note. In other words, move your looped melody a little earlier or later. Björk moves the second repetition of her melody an 1/8 note later, so we did that too.
Next, copy and paste your original melody into bars five and six. Then displace that third repetition as well. Björk actually did something even cooler here: she didn’t displace the first half of her melody, only the second half. She did this by moving it a 1/4 note later. We did the same thing, so you can hear how cool it is!
Then, to make her music even more creative, when Björk repeats this section later in the song, she actually changes the displacements again. This totally captivates your brain, because even though you’re expecting the displacements in the repetition of that section, they’re not where you expect them to be. Utterly brilliant!
BONUS
And here’s a bonus hack from Björk. This section in her song is only six bars, not the usual eight bars. So it actually sounds like it ends too early, which grabs your attention yet again. If you want your music to sound less weird than Björk, which I’m guessing you do, then use eight bars for this section. That will create familiarity.
And just a warning. There’s one caveat to rhythmically displacing your melody. If you’ve already written a chord progression and/or bass line below, then you’ll need to make sure that your displaced melody still works over that underlying harmony.
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Wrong Notes for Better Chord Progressions
Sep 29, 2022
Can you hear the weakness in this chord progression?
It’s a common weakness that you hear in most songs. Did you spot it? If not, here’s the answer: all the chords are in the key! Wait, what?! Isn’t that a good thing? Well, not always…
You see, there are only seven chords in a key. That doesn’t give you much choice if you’re trying to make creative music. And to make things worse, one of those seven is the diminished chord, which is super dissonant, so most producers don’t use it.
You’ve probably done the maths already, and yes, you’re correct. Most of the music you hear these days is made using only six chords. Six chords! How many songs can you write with the same six chords before they start sounding the same?
And I’m afraid it gets even worse than that. Of those six chords, four of them work effortlessly together. In other words, a producer doesn’t need to know any theory to get these four chords sounding good. Sadly though, most modern songs don’t even have progressions with four chords, a lot of them use only three chords, or sometimes even just two!
And yes, of course, simple music can be good. But honestly, that was much easier to achieve decades ago when there weren’t tens of thousands of songs being released every day! These days, if you want to write a simple song with only three or four chords, all of which are in the key, then you’re almost certainly going to end up with something that sounds like someone else’s song.
THEORY
So, presuming you want to make music that isn’t gonna get you sued for copyright infringement, how on earth do you do that? Easy, you use wrong notes!
Well, technically it’s not a wrong note if you actually intended to play it. So that’s what we’re going to do: intentionally play a note that is not in the key. And by the way, notes that are not in the key are called non-diatonic (or chromatic) notes.
Once you dip your toe into the thrilling world of notes that are outside of the scale, you open a door of endless possibilities, and you can say goodbye to boring music!
EXAMPLE
Alright, so now that you know the hack for making better chord progressions, you’re gonna learn how to actually apply it. So, open your DAW and set the tempo to 95 BPM. Then create a track for your chords and make a two-bar loop. Set the grid to 1/16 notes (or just for fun, you can set it to a 1/16 swing, like we’ve used).
The first thing you want to do is write a chord progression using three or four chords that are all in your scale. We used A minor in our example, so that’s all the white notes from A to A. And our chord progression is: Am → Cmaj → Gmaj → Em → Cmaj → Asus4. That sounds like a lot of chords, but it’s only really four, as we just repeated the C and A chords. That’s actually another cool hack you can use to make your chord progressions more interesting in this first step.
After you’ve written your chord progression, use inversions to make it flow better, and use an interesting harmonic rhythm to make it more creative. And if you need help with inversions and harmonic rhythm, then simply use the chord progression hacks in our Songwriting & Producing Course. When you enrol, you’ll get all our essential hacks for melodies, chords, bass and drums in 12 step-by-step videos.
So, now you’ve got a chord progression that sounds good, even though it still sounds predictable because all the chords are in the key.
This is the stage when most producers would click “Save” and reach for their phone to catch up on Instagram, but not you! You’re a true artist. You want to challenge yourself and push your creativity to the next level. That’s why you’re here.
So, here’s the hack that’ll make your chord progressions stand out from the crowd: change one chord in your progression from major to minor, or vice versa.
Don’t change your root chord, though, as then you’re actually changing the key. And if you need help with knowing the difference between major and minor chords, and how to change one into the other, then that’s all in our free book (link below).
This “wrong note” hack is so ridiculously simple, but as you’ll hear, it totally transforms the chord progression! And as a bonus, when you have a standout chord progression, it will inspire you to write a standout melody over the top, and a standout bass line below.
And just a quick warning, but it’s actually really important. Remember that some of your chords are inverted, so their notes are in a different order. This means you need to be extra careful that you move the correct note when changing chords from major to minor, or vice versa.
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Gorillaz HACK for Better Bass Lines
Sep 07, 2022
How to Write a Bass Line like Gorillaz "New Gold"
In the new Gorillaz single “New Gold”, there’s a music theory secret that makes their song feel totally different to the other new releases out this week. That’s what you’ll learn in this lesson, as well as how to use it to write a Gorillaz-style bass line. But first... Tea!
INTRO
Hello revolutionary music makers, we are Kate and Ray Harmony (AKA Revolution Harmony), and welcome to Hack Music Theory, the fast, easy and fun way to make music. If you’re new to theory, or if you just want a refresher, then read our free book "12 Music Theory Hacks to Learn Scales & Chords". It’ll give you a super solid music theory foundation in just 30 minutes. The free download is below. Enjoy!
SECRET
Alright, so what’s the music theory secret behind this song? Well, it’s in 6|4. The time signature of 6|4 contains six 1/4 notes in a bar, instead of the usual four 1/4 notes in a bar that you get in 4|4.
The brilliance of 6|4 is that it doesn’t sound weird, because six is still an even number. Also, you can still nod along to the 1/4 notes, just like you do in 4|4. But, every bar is longer than you’re expecting. And this extended bar makes the music feel more laid back, as it takes longer to loop back around to beat 1.
So, you can think of 6|4 as the scenic route, whereas 4|4 is the direct route.
To balance out this relaxed vibe, though, Gorillaz use a dancey four-on-the-floor drum beat. Well, it’s actually a six-on-the-floor drum beat, because there are six 1/4 notes in a bar, and each one of those 1/4 notes has a kick drum on it.
So that’s their secret: it’s that contrasting combination of the dancey drum beat and the laid-back time signature of 6|4, which creates that unique vibe in this song.
BASS
Alright, so now that you know their music theory secret, you’re gonna learn how to use it to make a Gorillaz-style bass line. So, set your time signature to 6|4 and your tempo to 108 BPM, then create a one bar loop on your bass track. Gorillaz use the F♯ natural minor scale in this song, so we’ll use it too: F♯, G♯, A, B, C♯, D, E.
The music theory in this song is all about contrast, so that theme continues in their bass line, where they use a contrasting combination of legato and staccato notes. And if those terms are new to you: legato notes are connected to each other, and staccato notes are disconnected from each other.
So their bass line is divided into two sections, the first section is legato and the second section is staccato. This results in the first section sounding smooth and chill, and the second section sounding more energetic and funky.
For the legato section, use longer notes like 1/8 notes and dotted 1/8 notes. For the staccato section use 1/16 notes with rests in between. Also, their bass has a ton of syncopation (which is an off-beat accent), so be sure to use a bunch of that too.
NEXT
If there’s an artist you’d like us to hack in a future lesson, drop us a comment on our latest YouTube video. Also, if you wanna learn our essential hacks for making great melodies, chord progressions, bass lines, drum beats (and more), then watch the 12 step-by-step videos in our Songwriting & Producing course. If you’re feeling frustrated because your music isn’t as good as you want it to be, then this course is for you!
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Red Hot Chili Peppers HACK for Better Bass Lines
Sep 01, 2022
How to Write a Bass Line like Red Hot Chili Peppers "Tippa My Tongue"
In the new Red Hot Chili Peppers single “Tippa My Tongue”, there’s a ridiculously funky variation of the blues scale, which we’re calling the RHCP scale. And that’s what you’re about to learn, as well as how to write a bass line or guitar riff using it. But first... Tea!
INTRO
Hello revolutionary music makers, we are Kate and Ray Harmony (AKA Revolution Harmony), and welcome to Hack Music Theory, the fast, easy and fun way to make music. If you’re new to theory, or if you just want a refresher, then read our free book "12 Music Theory Hacks to Learn Scales & Chords". It’ll give you a super solid music theory foundation in just 30 minutes. The free download is below. Enjoy!
SCALE
Okay so first things first, what’s the blues scale? Well, the blues scale is actually a variation of the minor pentatonic scale. Okay, so what’s the minor pentatonic scale? Well, it’s the natural minor scale without its 2nd and 6th notes. So from the root of C, the minor pentatonic scale is: C, E♭, F, G, B♭. And its spelling is: 1, ♭3, 4, 5, ♭7. Now, to turn the minor pentatonic scale into the blues scale, all you have to do is add the ♭5, which in this example is G♭.
Alright, this is where it gets juicy! So the Chili Peppers use the blues scale in the chorus of this song, but to make it extra funky, they add two non-diatonic notes (i.e. notes that are not in the scale). The two extra notes they play are the major 3rd and the major 7th. And to be clear, they’re using these notes to spice up the blues scale, they’re not technically part of the scale. But, when you do make them part of it, you end up with a super funky 8-note scale, so why not add them in?!
So from the root of C, our RHCP scale is: C, E♭, E, F, G♭, G, B♭, B
And the spelling of the RHCP scale is: 1, ♭3, 3, 4, ♭5, 5, ♭7, 7
And just a quick FYI for the more advanced producers. As you know, theoretically a scale can’t have both the minor 3rd and major 3rd, so we have to spell the 3 (E) with its enharmonic equivalent, which is the ♭4 (F♭). Same note, different name. By the way, if that was confusing, then read our free book, as it’s all explained in there!
BASS
Okay, now that we’ve got the scale down, let’s use it to write a bass line! So, set your tempo to 88 BPM, then create two bars of 4|4. The first thing you need to do is play the root note (C) on beat 1 in both bars. This was James Brown’s funk rule. His band could do whatever they wanted for the rest of the bar, but they all had to lock in by playing beat 1 together. And the most solid note to play on beat 1 is obviously the root, so that’s your starting point.
What you do for the rest of the bass line is up to you, but here’s a few guidelines. Be sure to use all 8 notes of the scale in your bass line, otherwise you won’t get the full flavour. Also, use lots of rests. Funky music actually has a lot of space in it.
And related to that, you definitely wanna use a lot of syncopation, which is when you accent an off-beat. It ain’t funky without syncopation, so go crazy with that, as the root note on beat 1 in every bar will lock it all together. Lastly, use a variety of different note values, like 1/16 notes, 1/8 notes, and dotted 1/8 notes.
So to conclude, what we’re calling the RHCP scale is simply the blues scale plus the major 3rd and the major 7th.
NEXT
If there’s a song that you want us to hack in a future lesson, drop us a comment on our YouTube channel. Also, if you wanna learn our essential hacks for making great melodies, chord progressions, bass lines, drum beats (and more), then watch the 12 step-by-step videos in our Songwriting & Producing course. If you’re feeling frustrated because your music isn’t as good as you want it to be, then this is for you!
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Steven Wilson: See Sound, Hear Images
Aug 18, 2022
Steven Wilson: See Sound, Hear Images
"You imagine something as a guitar part, but then you transpose it to the bass, and it just seems somehow more exotic because of that." –Steven Wilson (Porcupine Tree songwriter-producer)
WELCOME
Hello revolutionary music makers, we are Kate and Ray Harmony (AKA Revolution Harmony), and welcome to Hack Music Theory, the fast, easy and fun way to make music! If you’re new to theory, or if you just want a refresher, then read our free book "12 Music Theory Hacks to Learn Scales & Chords". It’ll give you a super solid music theory foundation in just 30 minutes. The free download is below. Enjoy!
MORE
Subscribe for upcoming Steven Wilson videos on specific Porcupine Tree songwriting techniques. Also, the new Porcupine Tree album CLOSURE / CONTINUATION is out now, so be sure to check that out, cos it's awesome! Until next time, thanks for being here in the Hack Music Theory community, you are truly valued, and we're excited to hang out with you again soon.
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Steven Wilson: Change Your Workflow
Aug 11, 2022
Steven Wilson: Change Your Workflow
"I’m not thinking like a bass player would. It gives you all of these possibilities as a bass player to play melodies, riffs, chords." –Steven Wilson (Porcupine Tree songwriter-producer)
WELCOME
Hello revolutionary music makers, we are Kate and Ray Harmony (AKA Revolution Harmony), and welcome to Hack Music Theory, the fast, easy and fun way to make music! If you’re new to theory, or if you just want a refresher, then read our free book "12 Music Theory Hacks to Learn Scales & Chords". It’ll give you a super solid music theory foundation in just 30 minutes. The free download is below. Enjoy!
MORE
Subscribe for upcoming Steven Wilson videos on specific Porcupine Tree songwriting techniques. Also, the new Porcupine Tree album CLOSURE / CONTINUATION is out now, so be sure to check that out, cos it's awesome! Until next time, thanks for being here in the Hack Music Theory community, you are truly valued, and we're excited to hang out with you again soon.
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Steven Wilson: Biggest Metal Guitar Mistake
Aug 04, 2022
Steven Wilson: Biggest Metal Guitar Mistake
"It's all played on telecaster with an almost clean tone, and to me, it sounds heavier than if I'd played it with a whole bunch of overdrive." –Steven Wilson (Porcupine Tree)
WELCOME
Hello revolutionary music makers, we are Kate and Ray Harmony (AKA Revolution Harmony), and welcome to Hack Music Theory, the fast, easy and fun way to make music! If you’re new to theory, or if you just want a refresher, then read our free book "12 Music Theory Hacks to Learn Scales & Chords". It’ll give you a super solid music theory foundation in just 30 minutes. The free download is below. Enjoy!
MORE
Subscribe for upcoming Steven Wilson videos on specific Porcupine Tree songwriting techniques. Also, the new Porcupine Tree album CLOSURE / CONTINUATION is out now, so be sure to check that out, cos it's awesome! Until next time, thanks for being here in the Hack Music Theory community, you are truly valued, and we're excited to hang out with you again soon.
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Steven Wilson: How to Be Creative
Jul 28, 2022
Steven Wilson: How to Be Creative
"An amateur is someone who does something because they love to do it. So, professionalism is sometimes not a good thing." –Steven Wilson (Porcupine Tree)
WELCOME
Hello revolutionary music makers, we are Kate and Ray Harmony (AKA Revolution Harmony), and welcome to Hack Music Theory, the fast, easy and fun way to make music! If you’re new to theory, or if you just want a refresher, then read our free book "12 Music Theory Hacks to Learn Scales & Chords". It’ll give you a super solid music theory foundation in just 30 minutes. The free download is below. Enjoy!
MORE
Subscribe for upcoming Steven Wilson videos on specific Porcupine Tree songwriting techniques. Also, the new Porcupine Tree album CLOSURE / CONTINUATION is out now, so be sure to check that out, cos it's awesome! Until next time, thanks for being here in the Hack Music Theory community, you are truly valued, and we're excited to hang out with you again soon.
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Steven Wilson: Song Structure SECRET
Jul 21, 2022
Steven Wilson: Song Structure SECRET
"I love that idea of the callback to the intro. Making sense of the fact there is this intro, by using it as the basis not for the main song (not for the verse, not for the chorus), but going back to the intro in the bridge. You don't hear a lot of songs that do that!" –Steven Wilson (Porcupine Tree)
WELCOME
Hello revolutionary music makers, we are Kate and Ray Harmony (AKA Revolution Harmony), and welcome to Hack Music Theory, the fast, easy and fun way to make music! If you’re new to theory, or if you just want a refresher, then read our free book "12 Music Theory Hacks to Learn Scales & Chords". It’ll give you a super solid music theory foundation in just 30 minutes. The free download is below. Enjoy!
MORE
Subscribe for upcoming Steven Wilson videos on specific Porcupine Tree songwriting techniques. Also, the new Porcupine Tree album CLOSURE / CONTINUATION is out now, so be sure to check that out, cos it's awesome! Until next time, thanks for being here in the Hack Music Theory community, you are truly valued, and we're excited to hang out with you again soon.
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Steven Wilson: Common Songwriting Mistake
Jul 14, 2022
Steven Wilson: Common Songwriting Mistake
“Nowadays, with so much music being written on the computer, we’ve lost that natural push and pull that an ensemble and a band will have if they’re playing outside of a tempo map. A lot of modern music tends to get stuck in that single tempo across the duration of a piece of music.” –Steven Wilson (Porcupine Tree)
WELCOME
Hello revolutionary music makers, we are Kate and Ray Harmony (AKA Revolution Harmony), and welcome to Hack Music Theory, the fast, easy and fun way to make music! If you’re new to theory, or if you just want a refresher, then read our free book "12 Music Theory Hacks to Learn Scales & Chords". It’ll give you a super solid music theory foundation in just 30 minutes. The free download is below. Enjoy!
HACK
Steven Wilson’s tempo hack:
write song with tempo track
record without tempo track
analyze natural push & pull
create "natural" tempo map
re-record with "natural" map
MORE
Subscribe for upcoming Steven Wilson videos on specific Porcupine Tree songwriting techniques. Also, the new Porcupine Tree album CLOSURE / CONTINUATION is out now, so be sure to check that out, cos it's awesome! Until next time, thanks for being here in the Hack Music Theory community, you are truly valued, and we're excited to hang out with you again soon.
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Steven Wilson: The Songwriting Process
Jul 07, 2022
Steven Wilson: The Songwriting Process
"For me, writing music is like standing in front of a brick wall. You go to that brick wall, and you start to hit your head against the wall. And after about an hour, you stand back from the wall and you see if you've made any dent at all in the wall. And sometimes you haven't, and it's very frustrating!" –Steven Wilson (Porcupine Tree)
WELCOME
Hello revolutionary music makers, we are Kate and Ray Harmony (AKA Revolution Harmony), and welcome to Hack Music Theory, the fast, easy and fun way to make music! If you’re new to theory, or if you just want a refresher, then read our free book "12 Music Theory Hacks to Learn Scales & Chords". It’ll give you a super solid music theory foundation in just 30 minutes. The free download is below. Enjoy!
MORE
Subscribe for upcoming Steven Wilson videos on specific Porcupine Tree songwriting techniques. Also, the new Porcupine Tree album CLOSURE / CONTINUATION is out now, so be sure to check that out, cos it's awesome! Until next time, thanks for being here in the Hack Music Theory community, you are truly valued, and we're excited to hang out with you again soon.
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Steven Wilson on SHRED GUITAR: "That's Not Music."
Jul 05, 2022
Steven Wilson on SHRED GUITAR
"I'm not a fan of the whole 'guitar shredder' phenomenon. I love that people can play like that, but the fact is they feel the need to remind everyone they can play like that constantly. To me that's not music, that's sport. That's like an Olympic sport." –Steven Wilson (Porcupine Tree)
WELCOME
Hello revolutionary music makers, we are Kate and Ray Harmony (AKA Revolution Harmony), and welcome to Hack Music Theory, the fast, easy and fun way to make music! If you’re new to theory, or if you just want a refresher, then read our free book "12 Music Theory Hacks to Learn Scales & Chords". It’ll give you a super solid music theory foundation in just 30 minutes. The free download is below. Enjoy!
MORE
Subscribe for upcoming Steven Wilson videos on specific Porcupine Tree songwriting techniques. Also, the new Porcupine Tree album CLOSURE / CONTINUATION is out now, so be sure to check that out, cos it's awesome! Until next time, thanks for being here in the Hack Music Theory community, you are truly valued, and we're excited to hang out with you again soon.
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Steven Wilson: Don't Structure Songs Like This
Jun 30, 2022
Steven Wilson: Don't Structure Songs Like This
"One of the hallmarks of so-called progressive rock is that it doesn't conform to the conventional way that tracks normally would unfold. A piece of progressive rock can go in very unpredictable directions, in terms of song structure. It doesn't just have to be: verse, chorus, verse, chorus, bridge, chorus." –Steven Wilson (Porcupine Tree)
WELCOME
Hello revolutionary music makers, we are Kate and Ray Harmony (AKA Revolution Harmony), and welcome to Hack Music Theory, the fast, easy and fun way to make music! If you’re new to theory, or if you just want a refresher, then read our free book "12 Music Theory Hacks to Learn Scales & Chords". It’ll give you a super solid music theory foundation in just 30 minutes. The free download is below. Enjoy!
MORE
Subscribe for upcoming Steven Wilson videos on specific Porcupine Tree songwriting techniques. Also, the new Porcupine Tree album CLOSURE / CONTINUATION is out now, so be sure to check that out, cos it's awesome! Until next time, thanks for being here in the Hack Music Theory community, you are truly valued, and we're excited to hang out with you again soon.
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Steven Wilson: Make Music Like This
Jun 23, 2022
Steven Wilson: Make Music Like This
"Accentuate the things in what you do that are unusual, and that a big record company guy would probably tell you you shouldn’t be doing!" –Steven Wilson (Porcupine Tree)
WELCOME
Hello revolutionary music makers, we are Kate and Ray Harmony (AKA Revolution Harmony), and welcome to Hack Music Theory, the fast, easy and fun way to make music! If you’re new to theory, or if you just want a refresher, then read our free book "12 Music Theory Hacks to Learn Scales & Chords". It’ll give you a super solid music theory foundation in just 30 minutes. The free download is below. Enjoy!
MORE
Subscribe for upcoming Steven Wilson videos on specific Porcupine Tree songwriting techniques. Also, the new Porcupine Tree album CLOSURE / CONTINUATION is out 24 June 2022, so be sure to check that out, cos it's awesome! Until next time, thanks for being here in the Hack Music Theory community, you are truly valued, and we're excited to hang out with you again soon.
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Orchestrate Drum Patterns for Better Beats
Jun 16, 2022
Orchestrate Drum Patterns for Better Beats
Beginner beats usually use only three elements of the drum kit. So, in this lesson you'll learn how to make pro beats by voicing them over the whole kit. But first... Tea!
INTRO
Hello revolutionary music makers, we are Kate and Ray Harmony (AKA Revolution Harmony), and welcome to Hack Music Theory, the fast, easy and fun way to make music! If you’re new to theory, or if you just want a refresher, then read our free book "12 Music Theory Hacks to Learn Scales & Chords". It’ll give you a super solid music theory foundation in just 30 minutes. The free download is below. Enjoy!
OVERVIEW
If your beats sound something like this (click play above to listen), then you’re missing an essential ingredient! Could you hear the missing ingredient? If not, don’t worry, that’s because the drum beat is actually pretty good exactly the way it is. The kick rhythm is super lively, from all the syncopation (which is an off-beat accent). The hi-hat rhythm is creative, because it’s not just playing the usual 1/8 notes. And the backbeat snare locks it all together. It’s a good drum beat! So, what’s the missing ingredient that will transform this good beat into a great beat? Orchestration!
HACK
Orchestration is how you voice your pattern across the drum kit. In other words, what element of the drum kit you play each individual rhythm on. Drum beats are most commonly played on three elements: kick, snare, and cymbals. But, your drums will sound more creative if you orchestrate them over more of the kit. Drummers tend to do this naturally, because the kit is literally right in front of them, so they see the elements they’re not hitting. For producers, though, it’s not that easy to see if there are elements of the kit that you’re missing.
ELEMENTS
As you probably know, there are four elements in a drum kit: kick, snare, toms, and cymbals. Within two of those elements though, there are also sub-elements, because a drum kit usually has two or three toms, as well as two or three cymbals (and, the hi-hats can also be played open or closed). Each element of the drum kit has a different function. We don’t have time to cover any of that stuff in this lesson, but if you wanna learn how to use each of the four elements based on their specific functions, then download our Hack Drum Beats PDF. Everything you need to know for making creative beats is in this one PDF, and it also comes with MIDI file examples.
STEP 1. TOMS
Most drum beats these days consist of only three of the four elements: kick, snare and hats. The most commonly underused element is toms. So, by adding toms into your beats, they’ll instantly stand out from all the generic beats most producers use. And, they’ll actually sound like something a drummer would play. One of the best ways to incorporate toms into your drum beats, is to partially re-voice your kick rhythm. In other words, move a few of your kicks onto the toms. If there’s anywhere in your beat where you’ve got two of three kicks in a row, move one or two of those onto toms. And feel free to use two or three different toms as well. With those toms in your beat, it’ll have way more depth and texture.
STEP 2. CYMBALS
Next, you wanna partially re-voice your hat rhythm. The easiest way to do that is to move a few hits from closed hats to open hats (or vice versa). This will enliven your beat, as that swishy open hats sound is the perfect contrast to the tightness of those closed hats. Also, move one hit over to a crash cymbal for an accent. The standard place for this is beat 1, but don’t feel like you have to accent beat 1. In fact, in our drum beat we accented beat 2, which adds a little unexpected flavour.
Right, here’s the new and improved drum beat with its expanded orchestration (click play above to listen), which now covers the whole drum kit. In the end we only re-voiced seven hits, but that’s all it takes to totally transform a good beat into a great beat. And on top of that, it now sounds like something a drummer would play! Thanks for being here in the Hack Music Theory community, you are truly valued, and we're excited to hang out with you again soon.
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In this tutorial you’ll learn a 3-step hack for making polymetric drum beats. We invite you to work along with us through the following steps, so by the end of this lesson, you’ll also have a finished drum beat. But first... Tea!
INTRO
Hello revolutionary music makers, we are Kate and Ray Harmony (AKA Revolution Harmony), and welcome to Hack Music Theory, the fast, easy and fun way to make music! If you’re new to theory, or if you just want a refresher, then read our free book "12 Music Theory Hacks to Learn Scales & Chords". It’ll give you a super solid music theory foundation in just 30 minutes. The free download is below. Enjoy!
OVERVIEW
Firstly, if you’re new to polymeters. Please rest assured, polymeters are easy to use, they’re super fun, and they’re a total game-changer that will make your beats stand out from the crowd! So, what is a polymeter? It’s just the fancy term for playing in two or more time signatures simultaneously. In this lesson, you’ll learn how to make a polymeter on your drums by dividing up your kit so some elements play in 4|4, while the other elements play in an odd time signature of your choosing.
Playing some elements in 4|4 is essential if you want people to be able to move to your beat. If you’re into crazy experimental music, though, then both your time signatures can be odd. Here at Hack Music Theory, we’re all about making music that moves people emotionally, intellectually, and physically! So that’s why we prefer polymeters that include 4|4.
STEP 1. EVEN
The first thing you need to decide on is how long you want your drum loop to be. This decision will determine how simple or complex your polymeter sounds.
The longer your loop, the more difficult it will be for your listeners to follow your polymeter, so the more complex it will sound. The shorter your loop, the easier it will be to follow, so the simpler it will sound. In fact, if you have a very short loop (like two bars), your polymeter won’t really sound like a polymeter, it will sound more like syncopation, which is when off-beats are accented. For this reason, we recommend making a loop of at least four bars of 4|4. In our example we went with eight bars, which is on the long side, but you can still go longer if you want your polymeter to sound even more complex.
Next, set your grid to 1/16 notes and your tempo to 120 BPM, but you can adjust that after you’ve finished writing your beat and added your other instruments.
Right, now that you’ve got your loop set up, we’re gonna divide the drum kit into two. Half the kit will play in the even time signature of 4|4, and the other half will play in the odd time signature. We’ll start by programming the 4|4 part. So the first thing to know is that there are four elements to the drum kit: cymbals, snare, toms, and kick. The main function of the cymbals is to connect the drum beat with the pulse of the song (i.e. 1/4 notes in the 4|4 time signature). The snare creates the momentum of a drum beat, so where you play your snare will determine how energetic the section feels. Toms add variety to your drums. And lastly, the kick drum brings the groove to a beat.
We don’t have time to cover any of that stuff in this lesson, but if you wanna learn how to use each of the four elements based on their specific functions, then read our Hack Drum Beats (PDF). This PDF is your ultimate guide to making captivating drum beats, and it also comes with MIDI file examples.
Right, so to keep your drum beat nice and easy to nod along to, program in the 1/4 note pulse on a cymbal. We played this on a china cymbal, but if you want your drums to be less heavy, then play the 1/4 note pulse on your hi-hats. Next, to give your beat a steady momentum, program in the snare on all the regular backbeats, which are beats 2 and 4 in each bar. We also threw in a simple snare fill at the end of bar eight, to help the listeners realise the loop is about to start again. A fill like this makes your polymeter easier to follow, and therefore more listenable. And with that, your 4|4 foundation is laid!
STEP 2. ODD
Right, this is where the fun begins! Now that you’ve got your 4|4 foundation laid, you can build the polymeter. And you’re gonna do that using the kick drum. In other words, your 1/4 note pulse and backbeat snare will be playing in 4|4, while your kick drum will be playing in an odd time signature.
So, in this step, you can choose any other time signature to play on the kick, but here’s a general rule of thumb: for less technical music use an 1/8 note time signature (like 7|8), and for more technical music use a 1/16 note time signature, like 17|16, which is what we used in our example.
The most organic way to choose an odd time signature, though, is to play around with some different 1/8 note and 1/16 note rhythms on your kick and see what you like. Once you’ve decided between these two options, you can play around with how long you want each bar to be. In other words, do you like a short rhythm like 7|16, a medium-length rhythm like 17|16, or a longer rhythm like 27|16?
When you’ve settled on an odd time signature and a rhythm for your kick, then copy and paste that rhythm to fill your entire eight-bar loop. It most likely won’t fit exactly, but that actually makes your beat even more interesting, as your kick drum rhythm will get randomly cut off at the end of bar eight. Don’t worry, that’s good! And by the way, if you want your beat to be extra spicy, add some toms in your odd time signature. Our beat is plenty spicy already, though, so we didn’t add any toms.
STEP 3. BALANCE
This last step is actually optional. If you want your beat to sound even more creative, then do this step, otherwise skip it. Okay, so as a polymeter is two (or more) time signatures playing simultaneously, you can think of it in terms of mixing. In other words, you can turn up one time signature more than the other, or you can have them balanced. As you can hear, in our polymeter 4|4 is the louder (i.e. dominant) time signature. If you want an equal balance between your two time signatures, though, then accent beat 1 in each bar of your odd time signature. And what’s the best way to accent a beat? Hit a crash!
These accents will draw attention to your odd time signature, making your polymeter more noticeable, which in turn makes your beat even more creative.
If you’re working in commercial genres, though, then we recommend not doing this, as it’s better to disguise your polymeter by not accenting the odd time signature. Disguising your polymeter like this will make your drum beat sound more like 4|4 with a bunch of syncopation. Still creative, but much easier to follow.
But remember, drummers don’t have three arms, so if you want to accent a beat but there’s already a cymbal and a snare on that beat, then you can’t add anything more there. However, if you’re not bothered by your drums sounding unrealistic, then feel free to give your drummer a third arm. Honestly, there’s no right or wrong here, it’s totally up to you. I prefer making beats that are playable by a live drummer, as I’ve spent decades playing in bands, but seriously, either way is fine. And with that, your polymetric drum beat is done! Thanks for being here in the Hack Music Theory community, you are truly valued, and we're excited to hang out with you again soon.
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Odd-Time Hack for Better Beats
May 25, 2022
Odd-Time Hack for Better Beats
In this lesson you'll learn how to use odd time signatures, but without them sounding odd. But first… Tea!
Hello revolutionary music makers, we are Kate and Ray Harmony (AKA Revolution Harmony), and welcome to Hack Music Theory, the fast, easy and fun way to make music! If you’re new to theory, or if you just want a refresher, then read our free book "12 Music Theory Hacks to Learn Scales & Chords". It’ll give you a super solid music theory foundation in just 30 minutes. The free download is below. Enjoy!
INTRO
Odd time signatures are one of the best ways to make your beats stand out! And one of the easiest to use is 7|8, which you get by shortening 4|4 by an 1/8 note.
FAULT
But, as you can hear (click play above to listen), the problem most producers have when using odd time is that it sounds wrong. That’s because it’s usually made by shortening or lengthening the end of a 4|4 bar, so it either sounds too short (like 7|8) or too long (like 5|4).
HACK
The trick is to make your odd-time beat not sound odd. And you do that by disguising it as 4|4, cos that’s what everyone will subconsciously compare it to. So here’s the hack: Hide that bit you shorten or lengthen in the middle of your bar! That way by the end of the bar, where your loop repeats, it actually sounds normal.
NEXT
Hope you found this hack helpful, and if you did, then check out our DRUMS page for more!
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Bass Contour Rule
May 12, 2022
Bass Contour Rule
Learn how to write better bass lines by creating melodic contours with 3rds and non-harmonic notes. But first… Tea!
INTRO
Hello revolutionary music makers, we are Kate and Ray Harmony (AKA Revolution Harmony), and welcome to Hack Music Theory, the fast, easy and fun way to make music! If you’re new to theory, or if you just want a refresher, then read our free book "12 Music Theory Hacks to Learn Scales & Chords". It’ll give you a super solid music theory foundation in just 30 minutes. The free download is below. Enjoy!
FAULT #1
Firstly, just to clarify. A fault is not a mistake! A fault is a weakness. In other words, an area for improvement. So, what’s the fault in this bass line? Well, to expose its weakness, let’s first explore its strengths. So, this bass line has a great rhythm, with syncopation to deepen the groove. It’s phrased well, which refers to where the music breathes through rests. It has a big range, which is the distance between the lowest and highest notes. And there’s plenty of movement between pitches to keep it lively. That’s a lot of strengths, so where’s the weakness? Well, believe it or not, there’s actually two weaknesses. Firstly, this bass line does not have a melodic contour. You see, a good melody doesn’t jump all over the place, like this bass line does. It should have a beautiful shape to it with relatively smooth ascending and descending lines, and the occasional big jump for interest.
FAULT #2
And the second weakness in this bass line is that it does not contain any non-harmonic notes, which are notes that are not in the chord. When the bass only plays notes that are in the accompanying chord, it blends into those chords because there’s nothing that makes it stand out from them. But, when your bass plays non-harmonic notes, it separates itself from the chords. This ensures your bass is perceived as an instrument playing a melody, and not merely as a frequency.
FREQUENCY
Seriously, this is a massive problem in music these days. Bass lines tend to be nothing more than root notes, and when they do rarely move off the root, they tend to go to the 5. But, playing roots and a few 5s will not add a melodic layer to your song (which is how musical depth is created), all it will do is fatten up your mix by adding low-end frequencies. Your music deserves better, though. Your music deserves a bass that plays actual melodies with creative contours! And by the way, our example is in the key of D Dorian, which is all the white notes from D to D, and the tempo is 90 BPM.
FIX #1
Right, let’s fix this bass line now. And to do that, we’ve got an easy two-step method for you. Firstly, add at least one 3rd somewhere, because the 3rd of each chord is what creates its major or minor emotion. Over our Dm chord, we added the ♭3 (F). Over our Fmaj chord, we added the 3 (A). And over our Cmaj chord, we added the 3 (E). If all these numbers and flats are confusing, then download our free book below to learn all this stuff (and more!) through 12 simple hacks.
FIX #2
Right, step two is to add some non-harmonic notes, which are notes that are not in the chord. We’re using triads here, which are the most common type of chord, consisting of the 1, 3, and 5. So, the non-harmonic notes are the 2, 4, 6, and 7 over each chord. The non-harmonic notes we added are the ♭7 (C) over our Dm chord, the 7 (B) over our Cmaj chord, and the 2 (A) and the 7 (F♯) over our Gmaj chord. And if you’re wondering how we can have an F♯ in our bass line when the scale consists of only white notes. Well, that’s because F♯ is not in the scale, it’s what is known as a non-diatonic note. Unless you know how to play safely outside the scale, though, we definitely recommend staying in the scale for now.
RULE
Our Bass Contour Rule is that your bass line should have a big range with an interesting melodic contour that includes 3rds and non-harmonic notes. Because remember, if your bass is only playing the root of each chord and maybe a few 5s, it will only be adding low-end frequencies to your song, it will not be adding any musical depth!
NEXT
Lastly, please be aware that the characteristics of a great bass line are slightly different to those of a great lead melody. For example, it’s normal for the bass to jump an octave or more, but that’s too big for the lead. If you wanna learn the characteristics of great bass lines, check out our tutorial: 6 Hacks for Better Bass Lines. Thanks for being here in the Hack Music Theory community, you are truly valued, and we're excited to hang out with you again soon!
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Melody Interval Rule
Apr 29, 2022
Melody Interval Rule
In this lesson you’ll learn a common fault that many songwriters and producers make when writing melodies. More importantly, though, you’ll learn our theory hack for quickly and easily fixing this fault. But first… Tea!
Hello revolutionary music makers, we are Kate and Ray Harmony (AKA Revolution Harmony), and welcome to Hack Music Theory, the fast, easy and fun way to make music! If you’re new to theory, or if you just want a refresher, then read our free book "12 Music Theory Hacks to Learn Scales & Chords". It’ll give you a super solid music theory foundation in just 30 minutes. The free download is below. Enjoy!
FAULT
Firstly, just to clarify. A fault is not a mistake! Music is an art, so if you’re making music from your heart, then there cannot be any mistakes. But, when songwriters and producers don’t understand theory, which is the grammar of music, they’re not able to fully express themselves. Just like if someone was trying to write a poem in a language they didn’t speak. The resulting work of art will undoubtedly have weaknesses. And a fault is defined as a weakness. So, what’s the fault in this melody?
If you’re not sure, well that’s because the melody is actually pretty good: its rhythm is super lively with syncopation to keep things interesting, it has good phrasing (i.e. places where the melody breathes), and the range from its lowest to highest note is nice and big, too.
So what’s the problem? Intervals! All the intervals are small. Despite this melody having a big range of almost an octave, it climbs up to that high note using small intervals of a 2nd (like A to B), and a 3rd (like E to G). And by the way, an interval is just the fancy word used to refer to the distance between two notes.
You can learn all about intervals and the other theory essentials by reading our free book. While small intervals can be totally fine in some sections, if you want your melody to make more of an impact, your highest note needs to be a climax! But, in this melody our highest note sounds hugely disappointing as a climax. And the reason for that, is because we arrive at our highest note by taking small steps only.
INTERVALS
You can think of it like hiking up a mountain. When you finally get to the top, it’s not really any more dramatic than where you were a few minutes before, because you got to the peak by ascending gradually. On the other hand, if you jump in a helicopter on the ground and fly straight up to the top of that same mountain, the impact would be epic, because you got to the peak so suddenly!
Well, it’s the same with melodies. If you want an epic climax in your melody, then you need to get the listeners to your highest note suddenly. And the best way to do that is by using a big interval.
To be clear, you probably wanna save these dramatic climaxes for the more intense sections in your songs, like choruses, but it’s your music, so you can use this technique wherever you like. And obviously not every chorus needs a massive climax, either. So be sure to listen attentively to what your music tells you it wants, and then do that, because each song is different.
And by the way, our example is in the key of A minor, which is all the white notes from A to A.
FIX
Alright, let’s get back to our example so we can share our hack for adding impact to your melodies. Now, you already know that we need to add a big interval, but what counts as big? Well, we recommend using 6ths or 7ths for your big intervals.
We don’t have time in this lesson to get into why 6ths and 7ths are better than other big intervals, but if you wanna learn more about that, it’s all in our Songwriting & Producing PDF. And that PDF also includes our Melody Checklist, which thousands of producers follow when writing their melodies, as it’s literally a checklist of exactly what to do and what not to do in your melodies.
So, now that you know which big intervals to use, there’s a couple of important things to keep in mind as you work on your melody:
Firstly, you can use more than one big interval in a melody. In fact, in our example, we ended up using three. We actually start our melody with one of them, A up to F, which is a minor 6th. Then our next big interval, C up to A (which is a major 6th), is the interval that takes us to our climax. Then our last big interval is coming out of the climax, where we go from that high A down to B, which is a minor 7th. And remember to download our free book to learn about intervals.
Then the second thing to keep in mind about big intervals, is that the climax in your melody can be anywhere. You can end your melody on the highest note, or you can start it on the highest note. The climax can be in the middle of your melody, or somewhere on either side. Each melody is different, so each climax will be different too. Have fun exploring where the climax in your melody should go. In our example, the climax definitely wanted to be in the middle.
RULE
To conclude, if you want your melody to have more impact, then follow our Melody Interval Rule, which is to use at least one 6th or 7th interval in your melody. Thanks for being here in the Hack Music Theory community, you are truly valued, and we're excited to hang out with you again soon!
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Frustrated Music Producer? This Is For You!
Apr 22, 2022
Frustrated Music Producer? This Is For You!
Music is an art, so technically there can’t be any mistakes.
But, and it’s a big but, there can definitely be faults, as faults are weaknesses. And unfortunately, when songwriters and producers compose by ear, their music ends up with many faults!
For the record, though, it’s not their fault. It’s the fault of our current music education system that focuses on classical and jazz, which are irrelevant for most songwriters and producers. This means they struggle finding resources to learn relevant music theory, which often results in them composing music by ear instead.
This is a huge problem in the music world, and it was the inspiration for us launching Hack Music Theory back in 2016, so songwriters and producers could finally have a place to learn theory that’s actually relevant to the music they make!
So, get started now by downloading our free book below:
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Wrong Notes for Better Bass Lines
Apr 15, 2022
Wrong Notes for Better Bass Lines
In this lesson you'll learn how to spice up your bass using non-diatonic notes (AKA chromatic notes). But first… Tea!
Hello revolutionary music makers, we are Kate and Ray Harmony (AKA Revolution Harmony), and welcome to Hack Music Theory, the fast, easy and fun way to make music! If you’re new to theory, or if you just want a refresher, then read our free book "12 Music Theory Hacks to Learn Scales & Chords". It’ll give you a super solid music theory foundation in just 30 minutes. The free download is below. Enjoy!
INTRO
Is your bass line currently sounding something like this? (click play above)That’s heading in the right direction, but at the moment the bass is only playing each chord’s root note, which is boring. So here’s a hack to spice up your bass line with notes that are not in the key!
HACK
With this hack you’ll be taking your bass into dangerous territory: the notes outside your scale. We’re in D minor here, so by moving this C up to C♯, we’re going out of our key. We’re also gonna move this G up a semitone, and this G down a semitone. These three out-of-key notes should sound wrong, but they don’t. Why? Because they’re quick, and they’re not on the main beats.
NEXT
Hope you found this helpful, and if you did, then download our bestselling Songwriting & Producing PDF for all our essential music making hacks!
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Better Beats in 1 Second. Seriously!
Apr 08, 2022
Better Beats in 1 Second. Seriously!
In this lesson you'll learn how to improve your drum beats in one second. Seriously. But first… Tea!
Hello revolutionary music makers, we are Kate and Ray Harmony (AKA Revolution Harmony), and welcome to Hack Music Theory, the fast, easy and fun way to make music! If you’re new to theory, or if you just want a refresher, then read our free book "12 Music Theory Hacks to Learn Scales & Chords". It’ll give you a super solid music theory foundation in just 30 minutes. The free download is below. Enjoy!
INTRO
Does your beat currently sound something like this? (click play above) There’s nothing wrong with that beat, but it’s not very interesting either. So, if you want your drums to grab the listener’s attention, then here’s one of our fastest yet most powerful drum hacks!
HACK
The main role of drums is to provide a rhythmic foundation for the music. When that’s all they do though, it’s easy for them to blend into the background. But, if something in that foundation jumps out unexpectedly, the listener’s attention is instantly brought back to the music. And the fastest way to do that is to displace one snare hit. However, this is so powerful, you only need to do it every two or four bars.
NEXT
Hope you found this hack helpful, and if you did, then check out our DRUMS page for more!
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Meshuggah Hack for Better Djent Riffs
Mar 31, 2022
Meshuggah Hack for Better Djent Riffs
In this lesson you'll learn how to improve your Djent riffs using a hack from Meshuggah "I Am That Thirst", which is off their new album "Immutable". But first… Tea!
Hello revolutionary music makers, we are Kate and Ray Harmony (AKA Revolution Harmony), and welcome to Hack Music Theory, the fast, easy and fun way to make music! If you’re new to theory, or if you just want a refresher, then read our free book "12 Music Theory Hacks to Learn Scales & Chords". It’ll give you a super solid music theory foundation in just 30 minutes. The free download is below. Enjoy!
INTRO
Is your djent riff currently sounding something like this? (click play above)
FAULT
One of the most common faults in djent is that all the emphasis is placed on writing a crazy rhythm, but then that rhythm is often played on one note. How disappointing! So, here’s a hack from the new Meshuggah single to fix this fault.
HACK
Meshuggah use arguably the most djenty scale: the octatonic. This 8-note scale is made by repeating the pattern of one semitone followed by one whole tone. So, instead of djenting your riff away on only one note, add a melodic run into it using the octatonic scale. That way you’ll have a crazy rhythm and a crazy melody!
NEXT
Hope you found this hack helpful, and if you did, then check out our DJENT page for more!
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How to Add Energy to Bass Lines
Mar 25, 2022
How to Add Energy to Bass Lines
In this lesson you'll learn how to write better bass lines, by using 1/16 rests. But first… Tea!
Hello revolutionary music makers, we are Kate and Ray Harmony (AKA Revolution Harmony), and welcome to Hack Music Theory, the fast, easy and fun way to make music! If you’re new to theory, or if you just want a refresher, then read our free book "12 Music Theory Hacks to Learn Scales & Chords". It’ll give you a super solid music theory foundation in just 30 minutes. The free download is below. Enjoy!
Example
Is your bass line currently sounding something like this? (click play above)
Fault
That’s sounding pretty good, but it’s still kinda boring because it’s lacking energy. So, here’s an awesome hack that will instantly add energy to your bass lines!
Fixed
One of the best ways to energise your bass line is totally counterintuitive. You’d think we’d need to add something in order to add energy, but, arguably the best way to add energy is actually to subtract notes. Yep, a couple well-placed rests (especially 1/16 rests) will breathe new life into your bass. And, how easy is it to delete a couple notes!
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Harmonic Rhythm for Better Bass Lines
Mar 23, 2022
Harmonic Rhythm for Better Bass
Learn how to write better bass lines by improving your harmonic rhythm!
Hello revolutionary music makers, we are Kate and Ray Harmony (AKA Revolution Harmony), and welcome to Hack Music Theory, the fast, easy and fun way to make music! If you’re new to theory, or if you just want a refresher, then read our free book "12 Music Theory Hacks to Learn Scales & Chords". It’ll give you a super solid music theory foundation in just 30 minutes. The free download is below. Enjoy!
Intro
Alright, so we’re in the key of D minor, and here’s an example that represents a lot of bass lines these days. Maybe your bass is currently sounding something like this?
Boring
That’s a solid starting place for your bass line, but changing notes on the main beats only is gonna get boring real quick. So, here’s a hack that will spice up your bass lines, without losing that simplicity!
Better
This bass line is outlining a chord progression, by playing each chord’s root note. Where the chords change is known as the harmonic rhythm. By making a more interesting harmonic rhythm, you get a better bass line. So, instead of changing chords on the main beats only, move some changes to before or after the main beats. This will add an element of surprise, which will grab your listeners’ attention.
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How to Make Better Dance Beats
Mar 17, 2022
How to Make Better Dance Beats
In this lesson you'll learn how to improve your four-on-the-floor drum beats. But first… Tea!
Hello revolutionary music makers, we are Kate and Ray Harmony (AKA Revolution Harmony), and welcome to Hack Music Theory, the fast, easy and fun way to make music! If you’re new to theory, or if you just want a refresher, then read our free book "12 Music Theory Hacks to Learn Scales & Chords". It’ll give you a super solid music theory foundation in just 30 minutes. The free download is below. Enjoy!
Example
Alright, so our tempo is 120 BPM, and here’s an example of a basic four-on-the-floor beat. Maybe your drums are currently sounding something like this? (click play above)
Boring
That’s a solid foundation for your song, but it’s gonna get boring real quick. So, here’s a hack that will spice up your four-on-the-floor drums, without compromising that dancey feel we love about this beat!
Better
So, change your grid to 1/16 note triplets, and add a few hits on the toms. Toms are great, because they add groove but don’t interfere with that vital kick pattern. You can also add a 1/16 note triplet on the snare, but be super careful with adding extra snare hits, as they can mess up that dancey feel.
Hope you found this hack helpful, and if you did, then check out our Drum PDFs.
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In this lesson you’ll learn a common fault that many songwriters and producers make when writing chord progressions. More importantly, though, you’ll learn our theory hack for quickly and easily fixing this fault. But first… Tea!
Hello revolutionary music makers, we are Kate and Ray Harmony (AKA Revolution Harmony), and welcome to Hack Music Theory, the fast, easy and fun way to make music! If you’re new to theory, or if you just want a refresher, then read our free book "12 Music Theory Hacks to Learn Scales & Chords". It’ll give you a super solid music theory foundation in just 30 minutes. The free download is below. Enjoy!
FAULT
Firstly, just to clarify. A fault is not a mistake! Music is an art, so if you’re making music from your heart, then there cannot be any mistakes. But, when songwriters and producers don’t understand theory, which is the grammar of music, they’re not able to fully express themselves. Just like if someone was trying to write a poem in a language they didn’t speak. The resulting work of art will undoubtedly have weaknesses. And a fault is defined as a weakness.
So, what’s the fault in this chord progression?
Well, the chords are jumping all over the place (up and down!), and that makes the progression sound like a beginner made it. To be clear, there’s nothing wrong with the actual chords in this progression. But, the chord changes sound really abrupt and disjointed, i.e. the progression doesn’t flow at all. And of course, if for some reason you want your chord changes to sound abrupt, then leave them as they are.
By the way, our example is in the key of G Mixolydian, which is all the white notes from G to G, and the tempo is 105 BPM. If you’re not familiar with the happy-but-serious Mixolydian mode, you can use the Mode Hack in our Songwriting & Producing PDF.
FIX
Okay, so how do we fix this progression and make the chords flow smoothly into each other, instead of abruptly jumping up and down when they change? In a word: Inversions. An inversion is just the fancy word for when you rearrange the notes in a chord. You see, if you have three notes in a chord, you can play that chord in three different ways.
For example, let’s take our root chord Gmaj. You can play the notes in the original order of G B D. Or, you can rearrange the notes and play B D G, or D G B. Same notes. Same chord. Just inverted.
Root position: 1 3 5 (G B D)
1st inversion: 3 5 1 (B D G)
2nd inversion: 5 1 3 (D G B)
The different inversions have different names, but those aren’t important, what is important is learning how to rearrange the notes in a way that makes your chords flow smoothly into each other. This hack will instantly make your chord progressions sound super creative and professional! So, how do you do that?
LINK
Well, it’s all about emphasising the similarities between chords. In other words, we need to emphasise the notes that are the same from one chord to the next. These notes are called common notes, and they act as powerful links that connect chords.
Let’s take the first two chords in our progression as an example. Our first chord is Gmaj, which consists of the notes G B D, and our next chord is Em, which consists of the notes E G B.
Now, when we compare these two chords, we find that they actually have two common notes. So, these two chords are literally ⅔ identical, yet when we change from Gmaj to Em, it sounds abrupt and disjointed.
The reason for this is because we’re not making the most of their similarities. If we bring attention to their common notes, it will sound like the Gmaj chord is effortlessly melting into the Em chord, making that chord change flow beautifully.
FLOW
So, how do you bring attention to common notes in a chord change to make it flow smoothly? Easy, you simply rearrange the notes in one chord to make their common notes line up. In other words, the common note should be in the same place within the chords. That’s what creates the powerful link that connects chords!
In our example, G and B are common notes, but we can see that G is at the bottom of the Gmaj chord, and it’s in the middle of the Em chord. So, we need to rearrange the notes of one chord to get G in the same place within those chords.
In the Em chord, if we move the E up an octave, then the G is now also at the bottom of that chord, like it is in the Gmaj chord. And that also lines up our other common note as well, because B is now in the middle of both chords. So, thanks to an inversion of the Em chord, this previously abrupt chord change now sounds super smooth and professional!
ISSUES
Now that you know how to rearrange the notes in your chords to get their common notes in the same place (i.e. bottom, middle, or top), go through the rest of your progression and do the same for each chord change. Just a heads-up though, there are a couple of issues you’ll run into when doing this. Maybe not in your current chord progression, but these issues will definitely turn up regularly.
The first issue is that the last chord in your progression needs to flow back around into your first chord. That chord change often requires a hack to make it flow smoothly. That wasn’t a problem in this example, because our progression actually ends and begins on the same chord, Gmaj. But, usually the last chord and first chord will be different, so you’ll need a hack to make that change flow smoothly.
Then the second issue you’ll come across is trying to make a chord change flow smoothly when the two chords do not have a common note.
For example, at the end of our progression we have Am (A C E) changing to Gmaj (G B D). Those two chords do not have any common notes. So, what do you do in these situations? You make a common note! Of course that requires another hack.
And we don’t have time in this lesson to cover these two hacks as well, but if you wanna learn them, they’re in our Songwriting & Producing Course. And the course also includes our Songwriting & Producing PDF that we mentioned earlier, so you’ll get that too, along with permanent access to all the videos in the course.
RULE
So to conclude. Our Chord Flow Rule is that your chords should flow smoothly into each other, by ensuring that when you change chords there is at least one common note linking them, and that common note is in the same place within both chords. Thanks for being here in the Hack Music Theory community, you are truly valued, and we're excited to hang out with you again soon!
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Melody Range Rule
Jan 13, 2022
Melody Range Rule
In this lesson you’ll learn a common fault that many songwriters and producers make when writing melodies. More importantly, though, you’ll learn our theory hack for quickly and easily fixing this fault. But first… Tea!
Hello revolutionary music makers, we are Kate and Ray Harmony (AKA Revolution Harmony), and welcome to Hack Music Theory, the fast, easy and fun way to make music! If you’re new to theory, or if you just want a refresher, then read our free book "12 Music Theory Hacks to Learn Scales & Chords". It’ll give you a super solid music theory foundation in just 30 minutes. The free download is below. Enjoy!
THE FAULT
Firstly, just to clarify. A fault is not a mistake! Music is an art, so if you’re making music from your heart, then there cannot be any mistakes. But, when songwriters and producers don’t understand theory, which is the grammar of music, they’re not able to fully express themselves. Just like if someone was trying to write a poem in a language they didn’t speak. The resulting work of art will undoubtedly have weaknesses. And a fault is defined as a weakness. So, what’s the fault in this melody?
Well, the melody’s range is too small. The range of a melody is the interval from its lowest note (C) to its highest note (F). In this melody, that distance is only five semitones. That’s small! Listening to a melody with a small range is like listening to a person talking who doesn’t vary their pitch. It’s monotonous, which gets boring! So, just like in speech, a big range will bring interest and life into your melodies.
And by the way, our example is in the key of F Lydian, which is all the white notes from F to F, and the tempo is 90 BPM. And if you’re not familiar with the Lydian mode, you can use the Mode Hack in our Songwriting & Producing PDF.
THE FIX
Okay, so now that you can identify the fault, how do you fix it? Well, it’s shockingly easy to fix, as you simply need to move the MIDI notes up and down to extend your melody’s range. In practice, however, it’s a little more tricky than that. So, here’s our step-by-step method for creating a big range in your melodies:
STEP 1. CLIMAX
Start by deciding where the climax of your melody will happen (i.e. the highest note). Using the concept of counterpoint, we suggest playing your melody’s highest note over your bass line’s lowest note, or at least one of its lowest notes. We chose to play our highest note over the first chord, Fmaj.
STEP 2. HIGHEST
Once you know where your highest note is going, you need to decide on what that note will actually be. A good place to start is with the 3 of your chord below, because the 3 is the most powerful note*. For example, over an Fmaj chord, the 3 is the note A. And obviously you don’t have to use the 3 as your highest note, it’s just a good note to get your creative juices flowing. We actually used the 2 as our highest note. So over the Fmaj chord, that’s G.
*To learn why the 3 is the most powerful note, read Hack 9 in our free book (link below).
STEP 3. LOWEST
Next, do the opposite: Decide on where the lowest note of your melody is going, and what it will be. We suggest playing your melody’s lowest note over your bass line’s highest note, or at least one of its highest notes.
STEP 4. CONTOUR
Now that you’ve got your highest and lowest notes in place, you can create a flowing contour to join them up. If you want a big jump in your contour, that’s awesome, but use those large intervals very sparingly, as they can be overwhelming. For most of your melody, you’ll want to use smaller intervals.
IDEAL RANGE
Right, now you’re probably wondering: What’s the ideal range for a melody? Well, just like every person in the world is different, every melody is different too. So while there’s no one-size-fits-all range that’s ideal, you’ll know when your melody’s range is too small, because it will be boring and lifeless. And you’ll know when your melody’s range is too big, because it will be really difficult to sing. Somewhere between those two guidelines is where you’ll find the ideal range for each melody. And yes, your melody should be singable even if you’re writing it for synth, or guitar, or some other instrument. Great melodies are singable melodies! Always.
THE RULE
So to conclude. Our Melody Range Rule is that your melody must have a big enough range to keep it interesting and full of life, but not too big so that it’s hard to sing. Lastly, if you need more help writing melodies, then simply use our Melody Checklist, which tells you exactly what to do and what not to do in your melodies. The Melody Checklist can be found in our Songwriting & Producing PDF. Thanks for being here in the Hack Music Theory community, you are truly valued, and we're excited to hang out with you again soon!
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Why MIDI Packs Suck
Jan 05, 2022
Why MIDI Packs Suck!
You’ve probably seen those ads for MIDI packs, right? You know the ones, where they’re trying to sell you premade chord progressions and melodies. Well, you’re about to learn why you should never ever use a MIDI pack. But first…
Hello revolutionary music makers, we are Kate and Ray Harmony (AKA Revolution Harmony), and welcome to Hack Music Theory, the fast, easy and fun way to make music! If you’re new to theory, or if you just want a refresher, then read our free book "12 Music Theory Hacks to Learn Scales & Chords". It’ll give you a super solid music theory foundation in just 30 minutes. You can download the book below. Enjoy!
Just a heads-up. If you’re a subscriber, then this tutorial isn’t actually for you, it’s for your friend. Yeah, that friend who’s always starting their songs by dragging and dropping premade MIDI into their DAW. So, please share this post with that person, because friends don’t let friends use MIDI packs.
Whatever desperation drives a producer to start using MIDI packs, the result is always the same: They end up skipping most of the writing process. And shockingly, companies that sell MIDI packs actually try to convince producers that that’s a good thing. But, the reason we write music is because we love writing music!
If someone offers you a product that will help you stop doing something you love doing, would you buy it? Of course not! So, why are producers taking the bait? Because they’re not loving the writing process. Why? In a word: Frustration! But why are producers frustrated with the writing process? Because they don’t have the theory knowledge to express themselves eloquently through their music, and that’s extremely frustrating.
That problem is easily solvable, though, and that’s exactly why we started Hack Music Theory back in 2016. The way music theory is traditionally taught overcomplicates it, and makes learning it time-consuming and boring. That’s why when Ray started teaching music theory way back in 1995, he made a promise to music that he would teach her language in a way that was fast, easy and fun.
And speaking of fun. Writing music is fun! In fact, for us music makers, it’s by far the most fun part of the process. So, think of it like this: Writing a song is like a party. It’s fun! Now, from that perspective. If someone tried to sell you a product that would guarantee you missed the party, would you buy it? Of course not!
So, the moral of the story is this: If you find yourself tempted by a MIDI pack, that’s merely a sign that you’re frustrated with the writing process. But don’t skip the party just because you’re frustrated. It’s your party. Don’t ever let anyone trick you into missing your own party! Simply take some time to learn music theory and how to apply it creatively to your own songs, then you’ll totally fall in love with the writing process, and you’ll never again be tempted to skip the fun part.
So, how do you learn music theory in a way that’s fast, easy and fun? Well I’m glad you asked, because it so happens that we’ve written a music theory book for you, which you can download for free. Yep, no strings attached, it’s all yours for free. And, it’ll only take you 30 minutes to read, then you’ll have a super solid music theory foundation. You can download the book below. Thanks for being here with us, and we’re stoked to hang out with you again soon!
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Pro Drum Fills in 4 Steps
Dec 01, 2021
Drum Fills in 4 Steps
In this lesson you’ll learn our 4-step method for making better drum fills. We invite you to work along with us through these steps, so by the end of this lesson, you’ll also have a super tasty drum fill.
Hello revolutionary music makers, we are Kate and Ray Harmony (AKA Revolution Harmony), and welcome to Hack Music Theory, the fast, easy and fun way to make music! If you’re new to theory, or if you just want a refresher, then read our free book "12 Music Theory Hacks to Learn Scales & Chords". It’ll give you a super solid music theory foundation in just 30 minutes. The free download is below. Enjoy!
INTRO
In another lesson, we covered the 3 Types of Drum Fills: variation, tension, and notification. And, we also showed you where (and how) to use them in your music. Now in this lesson, we’ll share our 4-step method for actually writing those drum fills. And yes, this method works for all three types of fills!
STEP 1. ENDING
The first thing you need to do is the last thing! It sounds counterintuitive, but drum fills take your listeners through a percussive journey that has a beginning and an ending. Once you’ve decided on these two points in your music, then you write a drum fill that connects them. It’s sad how many producers don’t think about these beginning and ending points, and merely start and stop their fills at the predictable places. But that won’t be you!
So, how do you choose where to end your fill, and why do you have to choose the ending first? Well, the place where you end your fill will have an accent as a result, so you want to make sure that it’s a point in your music that you intentionally want to emphasize. Most producers end all their fills on beat 1, and while that’s a super strong place for an ending, when every fill ends on beat 1, it’s also super boring!
Listen to your music, it will tell you where it wants you to end each fill. And remember, you can end your fills before beat 1 or after beat 1. A drum fill should only end on beat 1 if that’s exactly what your music wants at that specific point.
In our example, we’re transitioning from the chorus to the bridge, so we need a notification fill to alert the listener to this upcoming change. The bridge has a natural accent on beat 2, so that’s definitely the best place to end our fill.
STEP 2. BEGINNING
Right, now that you know where your fill is ending, you can work backwards and figure out how long it needs to be and where it should begin. The way you choose a beginning point for your fill is different to how you just chose the ending. In this step, the first and most important thing to decide is how long your fill needs to be. There will be numerous naturally-occurring accents in your music where you could start a fill from, so trying to decide that way will only confuse you. Instead, loop up a few bars on either side of where your fill is going to be, then listen. The music will tell you how long the fill needs to be, which in turn tells you where to begin it.
And keep in mind, the length that your drum fill needs to be depends on which type of fill it is: variation, tension, or notification. Check out the 3 Types of Drum Fills lesson to learn all about that. Our fill is a notification fill, so it needs to be long enough to prepare the listener for the upcoming change, but not too long, otherwise it will build too much intensity. This led us to the perfect place to begin our fill: beat 2+ (in the last bar of our chorus). So, that makes our fill just less than one bar long.
STEP 3. SKETCH
Okay, so you know where your fill is ending, and where it’s beginning. Now it’s time to connect the dots! In this step, the first and most important thing to decide is the energy contour of your fill. Once again, this depends on which one of the three types of fills it is. But generally speaking, with your drum fills you’ll either want to increase the energy level, decrease it, or keep it more-or-less the same.
As we’re using a notification fill and going into a section with a higher intensity level, we need to increase the energy with our fill. To decide what your drum fill should do, loop up the same bars as you did before, close your eyes, and listen deeply. The energy contour will paint itself in your mind.
Once you know what the energy needs to do, you can start sketching the fill. Tasty fills tend to have a variety of note values, so have fun experimenting with that. But, because a drum kit has so many drums and cymbals, it’s easy to get distracted by all the possible combinations. So to stay focused, we recommend sketching out your fill using only the snare drum.
STEP 4 SPREAD
Right, so now that you’ve sketched out your fill on the snare drum, it’s time to finish things up by spreading out your fill over the whole drum kit. Remember though, a hit on the snare drum is far more intense than a tom or a kick, so be very very careful in this step not to mess up your energy contour.
We used the whole kit in our fill: snare, kick, toms, and cymbals. But, we kept coming back to the snare in order to sustain that momentum. As you can see, towards the end of our fill in the first bar of the bridge, we played the snare on beat 1. Without this vital snare hit, our fill would lose momentum over the bar line. If you feel that your fill is lacking momentum, it probably needs more snare hits. If, on the other hand, you feel it’s too intense, then it probably needs fewer snare hits.
After you’ve finished this step, double check that your final drum fill is still delivering the energy contour that you designed in step 3. If it is, then you’re done!
NEXT
If you need help making original beats, then check out our Hack Drum Beats PDF. It contains everything you need to know in one PDF. And, it's currently half price, as our biggest sale of the year is on right now (ends 12 December 2021). Enjoy! Thanks so much for being here in the Hack Music Theory community, you are truly valued, and we’re excited to hang out with you again soon!
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3 Types of Drum Fills
Oct 15, 2021
3 Types of Drum Fills
In this lesson you’ll learn the three types of drum fills, where to use them, and how to make them. But first... Tea!
Hello revolutionary music makers, we are Kate and Ray Harmony (AKA Revolution Harmony), and welcome to Hack Music Theory, the fast, easy and fun way to make music! If you’re new to theory, or if you just want a refresher, then read our free book "12 Music Theory Hacks to Learn Scales & Chords". It’ll give you a super solid music theory foundation in just 30 minutes. The free download is below. Enjoy!
Intro
You know how in some movies there’s a narrator who guides the audience through the story? Well, drum fills act as a percussive narrator for our musical stories. For example, when a song is about to transition into a new section, a drum fill will narrate this upcoming change to the audience, thereby creating anticipation for it. All drum fills can be grouped into three types: variation, tension, and notification. Each type of fill has a different function. In other words, they each narrate something different to the listener. Alright, now let’s jump into each type of drum fill by exploring its unique function, and how to use it in your music.
Type 1. Variation
The function of a variation drum fill is to spice up a section. An example of where you’d use this type of fill in your music, is halfway through a 16-bar verse. Whenever you have a longer section without many changes, there’s a chance of losing your listener’s attention. A fill of this type will gently bring their attention back. You can simply add a few extra notes to your drum beat, that’ll do it. Go for subtlety, and avoid big fills (those will disrupt the flow of your section). We just threw in a few snares and toms, while keeping our kick and snare pattern the same.
Type 2. Tension
The function of a tension drum fill is to build up to something big. An example of where you’d use this type of fill in your music, is leading up to a bass drop (or a breakdown, in the metal genre). Whenever you want to build up the intensity to an energetic climax in your song, the best way to get there is with a fill of this type.
For that reason, it needs to be big and loud! And the longer the fill lasts, the more tension it builds. These fills are often on the snare drum, but you can use anything (or everything) in your kit. Tension fills typically start with 1/4 or 1/8 notes, and build into 1/16, 1/32, or even 1/64 notes, depending on the tempo. You can use whatever note values you want, though, as long as you keep building the tension.
We went with the standard approach, but made it more interesting by using toms, as well as a few 1/16 and 1/32 note triplets on the snare, at the very end of the fill.
Type 3. Notification
The function of a notification drum fill is to introduce something. An example of where you’d use this type of fill in your music, is transitioning from the verse to the chorus. Whenever you want to alert the listener of an upcoming change, use this type of fill. The size and speed of your fill depends on what it’s going into. If you’re transitioning into a higher energy section, then go bigger and faster. If you’re transitioning into a lower energy section, then decrease the overall intensity with a subtler and slower fill. And if you’re transitioning into a section with a similar energy level, then find the middle path between too much intensity and too little.
Also, notification fills aren’t only for transitions, you can use them anytime you want to introduce something new, like a new melody, or a new instrument. You can even use a notification fill to start a song, which is what we did in our example.
Lastly, drum fills are all about setting up an expectation in the listener. Remember though, your songs are your musical stories. You decide the plot. So, feel free to set up an expectation, but then take your listener somewhere totally unexpected. For example, use a tension fill to build towards a climax, then stop in total silence. Or, use a variation fill, but then suddenly change into a completely different section.
Next
If you found this lesson helpful, be sure to subscribe, as next time we’ll be giving you our step-by-step method for making drum fills. In the meantime though, if you need help making original drum beats, then check out our Hack Drum Beats PDF. It contains everything you need to know in one PDF. Thanks for being here in the Hack Music Theory community, you are truly valued, and we’re excited to hang out with you again soon! Until then, we're sending you good vibes and gratitude :)
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4-Step Hack for Dark Bass Lines
Sep 01, 2021
4-Step Hack for Dark Bass Lines
In this lesson you’ll learn a simple 4-step hack for writing dark and dissonant bass lines. We invite you to work along with us through the following steps, so by the end of this lesson, you’ll also have a finished bass line. But first... Tea!
Hello revolutionary music makers, we are Kate and Ray Harmony (AKA Revolution Harmony), and welcome to Hack Music Theory, the fast, easy and fun way to make music! If you’re new to theory, or if you just want a refresher, then read our free book "12 Music Theory Hacks to Learn Scales & Chords". It’ll give you a super solid music theory foundation in just 30 minutes. The free download is below. Enjoy!
Step 1. Setup
Start by setting up two bars of 4|4 on your bass track, with your grid set to 1/16 notes, and your tempo set to 80 BPM. After you’ve finished writing your bass line though, play it at a few different tempos and find the BPM that works best.
Step 2. Rhythm
Now it’s time to write a rhythm that’s gonna get those heads boppin! So, using only 1/16 notes (and lots of rests), draw in a rhythm that gets you moving. We’ll be using C as our root note, so for now, draw in all your notes on C.
Once you’ve got something down, loop up your two bars and put it on repeat. Does your rhythm get you pumped? If not, then keep playing around, cos writing a great rhythm is an essential step in writing a great bass line!
Step 3. Mode
Next, it’s time to choose a scale or mode that will reflect the mood you wanna convey through your bass line. We chose the Phrygian mode, as we felt like writing a heavy bass line that’s dark and dissonant. You can choose any mode though, it all depends on what vibe you wanna create. The steps in this lesson are still applicable.
C Phrygian: C, D♭*, E♭, F, G, A♭, B♭
*Be sure to use the D♭ in your bass line, as that note is what gives Phrygian its dark sound!
And if you need help learning all the modes and their unique emotions, as well as how to use them, then check out the mode hacks in our Songwriting & Producing PDF / Course.
Step 4. Melody
Now that you’ve written your rhythm and you’ve chosen a mode, it’s finally time to get stuck into the melodic element of your bass line. So, have some fun and play around with moving the notes up/down on the MIDI grid. But, always double-check that every note you’ve moved off the root is in your chosen mode.
And be sure to keep at least a few notes on C, as playing the root note is vital in anchoring your bass line into the mode - that’s the only way you’re gonna tap into its emotion! Also, try to create a contour for your bass line that spans an octave (or more), as a big range like that will help prevent your bass line from getting boring.
Finally, when you’re happy with all the notes in your bass line, you can extend some of them, so they’re not all 1/16 notes anymore. And try to use a variety of note values, as that will make your bass line even more interesting!
And it's as easy as that! Now you've got a dark and dissonant bass line. A heartfelt thank-you for being here in the Hack Music Theory community, you are valued and appreciated. Hope you enjoyed this lesson, and we're excited to hang out with you again soon. Until then, we're sending you good vibes and gratitude :)
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#1 Melody Hack
Jul 01, 2021
#1 Melody Hack
Learn how to make better melodies with this game-changing hack!
Hello revolutionary music makers, we are Kate and Ray Harmony (AKA Revolution Harmony), and welcome to Hack Music Theory, the fast, easy and fun way to make music! If you’re new to theory, or if you just want a refresher, then read our free book "12 Music Theory Hacks to Learn Scales & Chords". It’ll give you a super solid music theory foundation in just 30 minutes. The free download is below. Enjoy!
The Hack
First, to clarify. A fault is not a mistake! Music is an art, so if you’re making music from your heart, then there cannot be any mistakes. But, when songwriters and producers don’t understand theory, which is the grammar of music, they’re not able to fully express themselves. Just like if someone was trying to write a poem in a language they didn’t speak. The resulting work of art will undoubtedly have weaknesses. And a fault is defined as a weakness. So, how do you know if your melody has faults?
The Test
Easy, you use our Melody Test, which is simply to play your melody on the piano. Yes, it really is that simple. Because, by stripping away all the fancy sound design, you’re left with just the bare notes. This exposes any and all faults in your melody. Then after fixing them, you change the instrument back to your fancy sound, and now you have a melody that doesn’t just sound good, it actually is good!
Alright, so let’s run our example through the Melody Test and see what faults are exposed. And please note, it’s absolutely essential that you hear the melody in its harmonic context, so always play the root note of each chord in your progression below your melody. Our example is in the key of A minor, which is all the white notes from A to A, and the chords in our progression are: Am, Cmaj, Gmaj, Fmaj.
As you can tell, stripping away the fancy sound design removes all distractions and forces our ears to focus exclusively on the notes. We can now hear that our melody has a lot of good qualities already, like its contour, motifs, and rhythm. And by the way, rhythm is usually the most overlooked element of a melody, so be sure to pay extra attention to that. And if you need help, just use our Melody Rhythm Rule.
The Fix
Okay that’s enough about the good qualities of our melody, let’s get to the fault. By using the Melody Test, we can now clearly hear (and feel) our melody’s fault. What is it? Our melody is lacking emotion!
So, how do you add emotion to a melody? Easy, you use the 3rd note of each chord. You see, the 3rd note is the magic note that actually creates the happy sound in a major chord and the sad sound in a minor chord, so by playing 3rds in your melody, you strengthen it by emphasizing that emotional power!
For example, in our first chord, Am, the 3rd note is C, which we’re not playing. So, by simply moving the D (4) down to C (♭3), we emphasize the sadness of that underlying minor chord. Next, we added 3rds into our melody over the Cmaj and Gmaj chords as well, which emphasizes the uplifting nature of those major chords.
In this melody, we felt that it would be “too much of a good thing” to emphasize the happiness of three major chords in a row, so we didn’t use the 3rd (A) in our melody over Fmaj. This neutral approach of not using the 3rd in our melody slightly dilutes the uplifting nature of that underlying major chord.
The Rule
And that is a really important lesson. So important, in fact, that it’s part of our crucial 3rds Melody Rule, which is: In your melodies, use a 3rd to emphasize a major chord’s happiness or a minor chord’s sadness, and avoid using a 3rd when you want to dilute the underlying chord’s emotion.
It goes without saying that every note has an emotion, not just the 3rd. But, not all notes have the same level of emotional power, and the note that pulls at our heartstrings the most, is the 3rd. Remember though, a good melody must have a wide variety of notes, because a melody consisting of only 3rds may be strong in terms of its emotional power, but it will be utterly mind-numbingly boring!
Just a heads up, we don’t have time here to get into why the 3rd is a magical note that brings the emotional strength, but if you’d like to know why, the answer is in Hack 9 of our free book.
Lastly, this test is super useful for all the other layers of your music too, which is why we also refer to it as the Piano Test. For example, if you want to know if your bass line has any faults, simply change the sound on your bass track to a piano, then solo it up and hit play. Once again, by stripping away the fancy sound design, you’re left with only the bare notes, which exposes any and all faults in your bass line. Then after you’ve fixed those faults, just change the sound back, and now you have a bass line that doesn’t just sound good, it actually is good!
There’s obviously many different factors that cause faults in music, so if you want to avoid them all, then use our essential music making hacks, which are available in our Songwriting & Producing PDF / Online Course (if you prefer watching videos to reading PDFs).
Thanks for being here in the Hack Music Theory community, we really appreciate you, and we'll see you next time. Until then, we're sending you good vibes and gratitude :)
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Counter Melody Rule
May 27, 2021
Counter Melody Rule
Learn how to avoid this common fault many songwriters & producers make in their backing melodies!
Hello revolutionary music makers, we are Kate and Ray Harmony (AKA Revolution Harmony), and welcome to Hack Music Theory, the fast, easy and fun way to make music! If you’re new to theory, or if you just want a refresher, then read our free book "12 Music Theory Hacks to Learn Scales & Chords". It’ll give you a super solid music theory foundation in just 30 minutes. The free download is below. Enjoy!
The Fault
To clarify. A fault is not a mistake! Music is an art, so if you’re making music from your heart, then there cannot be any mistakes. But, when songwriters and producers don’t understand theory, which is the grammar of music, they’re not able to fully express themselves. Just like if someone was trying to write a poem in a language they didn’t speak. The resulting work of art will undoubtedly have weaknesses. And a fault is defined as a weakness. So, what’s the fault in this backing melody?
Well, in order to answer that question, we first need to ask another question: What’s the purpose of a backing melody? You see, once we understand what a backing melody is supposed to be adding to the music, we’ll understand why this backing melody is weak. In other words, why it is not fulfilling its purpose.
So, backing melodies are most often used in hooks and choruses, when producers want to add depth to the music, which also thickens the sound. The idea is that this addition will make the section stand out. But, in order for a backing melody to add depth, it needs to be perceived by our ears as a new musical layer. Otherwise, it’ll merely be the lead melody’s shadow, which our ears will ignore. In the same way that when we’re walking down the street, our eyes ignore people’s shadows.
And that brings us to our backing melody’s fault: It’s shadowing our lead melody, which is just a polite way of saying that it’s copying our lead melody. And nobody likes a copycat, especially lead melodies! The result of our backing melody being nothing more than a shadow, is that it does not fulfill its purpose: to add depth.
The Fix
Right, so now you’re probably thinking: How can I write backing melodies that will be perceived as new musical layers, so they actually add depth? Easy! You write your backing melodies using counterpoint. What’s counterpoint? Well, counterpoint is the technique of adding musical layers by writing melodies with countering contours.
For example, if we take the first bar of our section, and instead of having our backing melody copy the contour of our lead melody, we change our backing melody so it counters the contour of our lead melody. Now, there’s numerous ways to counter a melody, but the best way is to literally go in the opposite direction. We do that here when our lead melody goes from B down to G, while our backing melody goes in the opposite direction, from A up to B. And we do it again when our lead goes from G up to A, while our backing goes from C down to B. And by the way, our example is in the key of A minor, which is all the white notes from A to A, and the tempo is 95 BPM.
When a lead melody and backing melody move in opposite directions, that’s called contrary motion, and it’s just one of the ways to write counterpoint. If you wanna learn all the ways and how to use them to write countering melodies, then check out the counterpoint hack in our Songwriting & Producing PDF, which also includes all our other essential music making hacks, as well as MIDI examples.
Finally, to add even more musical depth, play around with countering your lead melody’s rhythm, too. You’ll notice in our example, there’s a few times where our backing melody plays a different rhythm to our lead melody. The most obvious example of this is in the beginning of our second bar (see MIDI below), where the lead melody plays one long note, and the backing melody counters that with four short notes. And remember, you don’t have to always have both melodies playing at the same time. You’ll hear in our final example that there’s a couple of places where our backing melody has a rest, in order to give our lead melody some space.
Lastly, we love the life lesson that counterpoint teaches us. One melody can be completely and utterly opposite to another melody, yet they coexist in beautiful harmony. And not only do they coexist peacefully, but the music would be weaker without both melodies. In these extremely polarized times we’re living in, we find this lesson so helpful when encountering people with drastically different views to ours. They counter us to create communal counterpoint, and together our different ways make society stronger. The only caveat to this, though, is that both melodies need to be in key, otherwise they’ll create dissonance against the underlying harmony. So as long as both people’s ways are in key, in other words, they’re not creating dissonance against nature’s harmony (like racism does, and sexism does, and so on), then the world is a better place thanks to that societal counterpoint.
The Rule
Right, to conclude.Our Counter Melody Rule is that your backing melody should add depth to your music, by countering the contour of your lead melody. And the way you do that, is by using the magic technique known as counterpoint. Thanks for being here in the Hack Music Theory community, we really appreciate you, and we'll see you next time. Until then, we're sending you good vibes and gratitude :)
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Melody Rhythm Rule
May 13, 2021
Melody Rhythm Rule
Learn how to avoid this rhythmic fault that many songwriters and producers make in their melodies. But first... Tea!
Hello revolutionary music makers, we are Kate and Ray Harmony (AKA Revolution Harmony), and welcome to Hack Music Theory, the fast, easy and fun way to make music! If you’re new to theory, or if you just want a refresher, then read our free book "12 Music Theory Hacks to Learn Scales & Chords". It’ll give you a super solid music theory foundation in just 30 minutes. The free download is below. Enjoy!
The Fault
Firstly, just to clarify. A fault is not a mistake! Music is an art, so if you’re making music from your heart, then there cannot be any mistakes. But, when songwriters and producers don’t understand theory, which is the grammar of music, they’re not able to fully express themselves. Just like if someone was trying to write a poem in a language they didn’t speak. The resulting work of art will undoubtedly have weaknesses. And a fault is defined as a weakness. So, what’s the fault in this melody?
Well, it sounds completely lifeless, right? It’s totally lacking in vital energy. What’s causing that? Rhythm! Or rather, a lack thereof. Unfortunately for rhythm, it’s usually the overlooked element in a melody. Indeed, songwriters and producers often seem to forget that melody actually contains two elements: pitch and rhythm. To hear this in action, just listen to the New Music Friday playlist on Spotify every week. It’s clear that the rhythms of most melodies are an afterthought, at best.
I’ve worked with countless songwriters and producers who’ve ended up at the horribly frustrating point of wanting to delete a melody, cos they just can’t get it sounding right. Up until that point though, they’d spent all their time trying to fix the pitches, but they’d not once considered that maybe it’s the rhythm that needs fixing. So, after bringing their attention to the forgotten element of rhythm, a few small tweaks later, and they’ve fallen in love with the exact same melody they were about to delete. So next time you’re frustrated and tempted to delete a melody, try experimenting with its rhythm instead, and see if you can save it!
The Fix
Now you’re probably wondering what exactly makes a good rhythm. Well first, it’s important to remember that a rhythm is a pattern in time. And just like with all other patterns, our human brains get bored if there’s too much repetition, and they get overwhelmed if there’s too much variety. Therefore, good rhythms (like all good patterns), enjoy a pleasing yet interesting balance of repetition and variety.
Most melodies these days do not have any problem with repetition, it’s the lack of variety that causes their weakness. Variety in a melody is created by using many different note values, and most importantly, syncopation. Syncopation is when you accent an off-beat, and it puts a real spring in your melody’s step, bringing it to life.
For example, in the first three beats of our rhythm, we moved two on-beat notes to off-beats. The difference that this small tweak makes to our melody is truly unbelievable! You can hear it’s already being revived, and we’re only in the first bar.
And by the way, our example is in the key of A minor, which is all the white notes from A to A, and the tempo is 95 BPM.
Now, you’re probably wondering how to tell if your melody’s rhythm is boring. Easy, you give it the one-note test. You see, removing the pitch element of your melody will expose its rhythm. In other words, if your melody is captivating when played on one pitch, then it has a good rhythm. If it sounds boring on one pitch, then you need to work on its rhythm.
The Rule
So to conclude. Our Melody Rhythm Rule is that your melody should still sound good when played on only one pitch. And the best way to do that is to ensure that your melody’s rhythm balances repetition and variety, and includes some syncopation.
Lastly, if you need more help writing melodies, then simply use our "Melody Checklist", which tells you exactly what to do and what not to do in your melodies. The "Melody Checklist" can be found in our Songwriting & Producing PDF. Thanks for being here in the Hack Music Theory community, we really appreciate you, and we'll see you next time. Until then, we're sending you good vibes and gratitude :)
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Stepwise Melody Rule
Apr 28, 2021
Stepwise Melody Rule
Learn how to avoid this common fault many songwriters and producers make in their melodies. But first... Tea!
Hello revolutionary music makers, we are Kate and Ray Harmony (AKA Revolution Harmony), and welcome to Hack Music Theory, the fast, easy and fun way to make music! If you’re new to theory, or if you just want a refresher, then read our free book "12 Music Theory Hacks to Learn Scales & Chords". It’ll give you a super solid music theory foundation in just 30 minutes. The free download is below. Enjoy!
The Fault
Right, first things first. We intentionally use the word “fault” in this context, because music is an art, so technically there can’t be any mistakes. But, and it’s a big but, there can definitely be faults, as faults are weaknesses. And unfortunately, when songwriters and producers compose by ear, their music ends up with many faults!
For the record, though, it’s not their fault. It’s the fault of our current music education system that focuses on classical and jazz, which are irrelevant for most songwriters and producers. This means they struggle finding resources to learn relevant music theory, which often results in them composing music by ear instead. This is a huge problem in the music world, and it was the inspiration for us launching Hack Music Theory back in 2016, so songwriters and producers could finally have a place to learn theory that’s actually relevant to the music they make!
Now, let’s get back to that melody. So, what is the theory fault here? Well, it contains more than three stepwise notes from the scale. In the beginning of the melody, it goes: E, D, C, B. And in the middle of the melody, it goes: E, D, C, B, A.
We refer to this as the “practising scales” fault, because whenever a melody goes stepwise through the scale (up or down), it literally sounds like the producer accidentally hit the Record button while they were practising their scales.
This fault is extremely common, as songwriters and producers who compose by ear don’t have the confidence that theory gives you to experiment, so they tend to play it safe and stick with a lot of stepwise movements. You see, our ears will always be led by musical gravity to the predictable note, like resolving the 7 up to the 8. Boring! If we wanna make cool music that stands out, we need to use theory!
And by the way, if you were wondering, our example is in the key of A minor, which is all the white notes from A to A, and the tempo is 100 BPM.
The Fix
You know what’s interesting? Now that you’re aware of this fault, you’ll start noticing it everywhere. It really is sad how common it is! But, there’s a super easy hack to fix this fault. All you have to do is change a note (or two) in each scale segment, to break up that stepwise movement.
In our example, we only had to change one note in each segment to fix this fault. After this tweak, our melody now has no more than three stepwise notes, which is the maximum you want. It’s truly amazing how changing just one note can have such a massive impact on a melody!
The Rule
So to conclude, our Stepwise Melody Rule is to have no more than three stepwise notes in your melodies (unless for some good reason, you really really want that). Lastly, if you need more help writing melodies, then simply use our "Melody Checklist", which tells you exactly what to do and what not to do in your melodies. The "Melody Checklist" can be found in our Songwriting & Producing PDF. Thanks for being here in the Hack Music Theory community, we really appreciate you, and we'll see you next time. Until then, we're sending you good vibes and gratitude :)
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5-Second Intro Rule
Mar 02, 2021
5-Second Intro Rule
Learn how to use our 5-Second Intro Rule to instantly capture the attention of your listeners, so your songs don’t get skipped. But first... Tea!
Hello revolutionary music makers, we are Kate and Ray Harmony (AKA Revolution Harmony), and welcome to Hack Music Theory, the fast, easy and fun way to make music! If you’re new to theory, or if you just want a refresher, then read our free book 12 Music Theory Hacks to Learn Scales & Chords. It’ll give you a super solid music theory foundation in just 30 minutes. Enjoy!
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Which one of these song intros grabs your full attention? Listen to examples in video/podcast. Both intros are cool, but it’s definitely the second intro that captures our full attention! Why? Well, because it contains a totally surprising element: a reggae rhythm sung by a choir. What genre is that? Where’s this song going next? What other surprises are waiting for me if I keep listening? After only five seconds of music, our brains are already full of questions. And we’re an incredibly inquisitive species; we need answers to those questions, and the only way to get them is to keep listening.
Now, you may be wondering why it’s so important to catch people’s attention in the first five seconds of your song. Well, there’s about 40,000 new songs being uploaded to Spotify every day, and the result of this overwhelming and never-ending stream of new music, is that a quarter of all songs get skipped in their first five seconds. That is why it’s more important now than ever before to make your music stand out from the crowd. Seriously, this is literally the first era in human history where a piece of music has needed to grab the listener’s full attention in under five seconds. And while we could have endless discussions about the negative repercussions of this change, it is the way it is and we can’t change that, so our time is far better spent thinking creatively within this new limitation.
And by the way, if you’ve seen big artists releasing new singles that have long intros where nothing much happens, and you’re wondering why they don’t have to use the 5-Second Intro Rule. Well, it’s because those artists already have loyal fanbases who will happily listen through their long intros, because they trust them. It’s all about trust. If you’re an up-and-coming artist though, you don’t have that privilege yet, so you still need to earn your listener’s trust. Once you’ve done that though, and you’ve also built yourself a loyal fanbase, then you can throw the 5-Second Intro Rule out the window, too. But until then, this rule is your best friend!
Okay, so now you’re probably thinking to yourself: How on earth do I capture the listener’s full attention in under five seconds? Well, there is arguably no better way to do that, than to create your own original never-before-heard genre. And how on earth do you do that? Well stay tuned, as we’re about to reveal all.
STEP 1. PARENTS
The most important thing to remember when it comes to creating a new genre, is that all genres are born from parent genres. I guess now is as good a time as any to have a little chat about the birds and the bees. You see, when a genre loves another genre, they mingle and exchange features, which results in a baby genre being born. So, when it comes to creating a new genre, your first step is to select the parents.
As you know, we love all genres equally here at Hack Music Theory, so to help us choose our parents, we turned to Spotify. In December, Spotify gives you a summary of your year’s listening, and apparently Ray’s top genres were Reggae, Electronic, Djent, and... Choral. Hey, don’t judge! There’s no better way to start the day than a few slow nasal breaths, and a few Bach chorales. Seriously, try it. You’ll feel so much calmer throughout the day, and when you inevitably get stressed later, just take a few breaths and remember that peaceful feeling you got earlier from those beautiful Bach chorales. If you’re up for some morning counterpoint with your coffee (or tea), we recommend the album Bach 333: 4-Part Chorales (Vol. 1).
STEP 2. FEATURES
Right, so now that you’ve selected your parents (for us, they are: Reggae, Electronic, Djent, and Choral), step two is to choose what features from those parents you want to carry forwards into your offspring genre. And yes, your new baby genre can have more than two parents, this is the 21st century after all!
This step may require some research to uncover what truly makes the parent genres sound the way they do. But remember, musical features can be detached from the instruments they’re commonly played on. For example, we took the Reggae skank, which is that off-beat rhythm usually played on the guitar or keyboard, and we gave it to our choir (well, our choir plugin).
By detaching the Reggae skank from its usual instruments and moving it to a choir, we totally surprise our listeners, which instantly intrigues their brains and gets them asking all kinds of questions, and that ensures they will keep listening beyond our intro. And by the way, our example’s in A minor, so that’s just all the white notes from A to A.
Next, we added the most characteristic feature from Djent, which is a polymetric guitar riff. If you’re new to the term polymeter, it’s just the fancy way of saying that you’re playing in two or more time signatures simultaneously. In our example, that’s happening cos our guitar riff is playing in a cycle of 7|16 for four bars then 4|16 for one bar, while all the other instruments are playing in 4|4. To integrate this polymeter with the other instruments, we played our guitar pattern on the kick drum as well. This makes the whole section more punchy too!
Right, next up is our Electronic parent. And nothing says Electronic music better than a synth, so we added a super dancey line on a massive stereo synth. Then at the end of our section, we threw that synth melody up an octave and added a few variations, to keep it evolving.
STEP 3. SURPRISE!
In order to truly create a new genre, you need at least one feature to completely and utterly stand out in the most unexpected way. You see, some genre features fit in so well to other genres that they don’t actually sound new or unusual. For example, our Djent guitar riff sounds right at home in our new genre, so while that feature is certainly adding to the flavour, it’s not really creating a new genre. For a genre to be categorized as new, it needs to be different from all the genres that already exist, and that requires your new genre to have at least one totally surprising and unusual feature. And the best way to do that, is to look at which parent genres are the most opposite, or at least, the most different.
In our example, Djent and Choral look like opposites at first glance, cos Djent is a subgenre of Metal, which is all about ultra-heavy guitars, and Choral is all about beautiful voices. However, on closer inspection, it turns out that choir plugins are not that uncommon in Djent, as they’re sometimes used in the background of tracks to add atmosphere and fill them out sonically. Also, some Djent bands even have a bit of Classical influence, which is another reason why the Djent and Choral combination doesn’t sound unusual. But, when we go below the surface and into the essence of our parent genres, we realise that Choral and Reggae are actually the most opposing genres. The reason for that, is because Choral tends to be legato, which means the music is flowing and has lots of long notes without breaks between them, while Reggae is super syncopated and has lots of short notes with breaks between. And that is why we’ve got a choir singing the Reggae skank, cos that off-beat rhythm containing all those short notes with breaks, is completely and utterly opposite to how a choir would normally sing.
And just a quick caveat about selecting your parents. They need to be different genres, and not just different subgenres. For example, if you’re into Electronic music, don’t choose tropical house, glitch hop and dubstep as your parents. As cool as that will sound, the result will still be 100% Electronic, which is not a new genre. And there’s already countless subgenres in each genre, so while creating another new subgenre is great, it definitely won’t capture most people’s attention. On the other hand, if you select the parent genres: Electronic, Celtic, and Polka, now that is a new genre, which will definitely grab attention! And beyond that, it will also get people talking and sharing the music, which is how an artist grows their fanbase.
STEP 4. BPM
After combining your selected features to create your new genre, experiment with the BPM. You wanna use a tempo that could work in your parent genres, unless a shocking BPM is part of your new genre surprise! We went with 82 BPM for ours.
STEP 5. THE 5-SECOND RULE
Now, this is the vital step! If you don’t do this, you’ve wasted all your hard work creating a new genre. We call this step the 5-Second Rule, because as you know, a quarter of all songs get skipped in their first five seconds. So, as much as we love the idea of saving the best for last, when it comes to getting people to listen to your music, it is absolutely essential that you instantly reveal your genre surprise. And don’t just reveal it, throw it right into the spotlight of your opening bar. In other words, strip back your intro to just those features from opposing genres that will totally surprise your listeners. In our example, as we mentioned earlier, the most surprising feature is a choir singing that Reggae skank, so we stripped everything back to just choir and drums. The reason for the drums being there is to get people moving, cos if you can also get those feet tapping in the first five seconds, you’ve got an even better chance of people listening to your whole song.
And on that note, if you’re just using drum loops or basic patterns at the moment, we highly recommend you start making attention-grabbing beats instead. If you need help doing that, you can use our Hack Drum Beats PDF. Also, if you need help writing better melodies, chord progressions, bass lines, and everything else, then use our Songwriting & Producing PDF, cos all the essential music making hacks are in there, including our game-changing “Melody Checklist”.
STEP 6. NAME
New genres need new names. This is not only super fun and creative, but naming your new genre also gives fans a tangible and memorable way to tell their friends about your music. With our parents being Reggae, Djent, Electronic, and Choral, we decided to name our offspring: Djentronic Reggchor. And yeah, there’s very little chance of this new genre catching on, but that’s great, cos it means our genre will remain unique and continue grabbing listeners’ attention. Thanks for being here in the Hack Music Theory community, we really appreciate you, and remember to download your Free PDF.
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Kick Drum Rule
Oct 01, 2020
Kick Drum Rule
The "Kick Drum Rule" ensures your drum beats not only groove, but also stand out from the crowd. But first... Tea!
Hello revolutionary music makers, we are Kate and Ray Harmony (AKA Revolution Harmony), and welcome to Hack Music Theory, where we help you make great music that stands out! And if you’re new to theory, or if you just want a refresher, then read our free book “12 Music Theory Hacks to Learn Scales & Chords”. It’ll give you a super solid theory foundation in just 30 minutes.
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99% of producers in popular music these days program drum beats that sound like every other producer’s beats. This is mainly because they use the same handful of kick drum patterns. In fact, many producers even import one/two-bar drum loops as the foundation for new songs. But, when we try to write creative music on top of a generic one-size-fits-all foundation, we will never reach the artistic heights we can by writing our own original drum beats!
And original drum beats don’t just form a unique foundation for your music, they also weave themselves into your other layers and actually influence what you write for those other instruments.
To prove how a creative drum beat can bring your music to life, we’ll use a super boring chord progression for our example. In fact, this is one of the most overused progressions in popular music. But, after we apply our Kick Drum Rule to the drum beat, you’ll witness a total transformation as this predictable rubbish is turned into a vibrant and captivating section, all thanks to the drums!
But first, here’s what it sounds/looks like with a generic one-size-fits-all drum beat.
MIDI Screenshot: Generic drum beat, like you hear in most songs
So, what is our Kick Drum Rule? Well, before we get to that, we need to do a quick overview of the drum kit and each element’s function.
KIT
There are four elements to the drum kit: cymbals, snare, toms, and kick. The main function of the cymbals is to connect the drum beat with the pulse of the song (i.e. 1/4 notes in the 4|4 time signature). The snare is the main injection of energy for a drum beat, so where you play your snare will determine how energetic the section feels. Toms add variety to your drums. And lastly, the kick drum brings the groove to a drum beat. And by the way, drum beats are also known as drum grooves or drum patterns.
ELEMENT
FUNCTION
Cymbals
Pulse
Snare
Energy
Toms
Variety
Kick
Groove
We’re focusing on the kick in this lesson, but if you wanna go deep and learn how to use each of the four elements based on their specific functions, then read our new PDF: Hack Drum Beats. This PDF is your ultimate guide to writing captivating drum beats, and it also comes with MIDI file examples.
Alright, let’s jump in! So, for our example we’ve set up eight bars, and as almost all popular music is in the 4|4 time signature, we’ll use it too.
KICK
So as you know, the kick’s function is to bring the groove to a drum beat. But what exactly is groove? Well, there are many different definitions, but we define groove as being a rhythm that contains a magic balance of on-beat notes and off-beat notes (i.e. syncopation). Unless you’re specifically going for a rigid four-on-the-floor drum beat, too many on-beat notes will make your drums sound stiff. On the other hand, too many off-beat notes will make your drums sound like a mess, so you gotta find that magic sweet spot!
As you’ll have noticed by now, the cymbals and snare are fairly limited in their possibilities. They have very specific functions, and they need to stick to those. For example, if you switched their roles and played the pulse on the snare and a backbeat on the hats, your drum beat would sound backwards and completely wrong to most people.
MIDI Screenshot: If the hats and snare switch functions, the drum beat sounds wrong
This limitation is not good news for creative people like you. However, there is one element of a drum beat where we can get away with almost anything... Yep, the kick drum!
And with that, it’s finally time to reveal our Kick Drum Rule, which is to write an interesting kick drum pattern at least four bars long. As the kick is the only element in a drum beat where you can express whatever you want (without it sounding wrong), don’t waste this golden opportunity for total creative freedom!
Now, there are tons of different ways to get artistic and express what you want through your kick drum pattern, but remember that its job is to bring the groove, so play around with a combination of on-beat and off-beat notes. Most importantly though, is to break free from those extremely limiting one/two-bar drum loops, so be sure your kick pattern is at least four bars long.
MIDI Screenshot: Example of a four-bar creative kick pattern containing on-beats and off-beats
Arguably the best way to inject a massive dose of creativity into your kick pattern, though, is to use a polymeter. If you’re new to the term “polymeter”, it’s just the fancy word for playing in two or more time signatures at once. Okay so now you’re probably thinking: but that’s gonna sound really weird! And full disclosure here, it can sound weird, if that’s what you want. On the other hand, if you want it to sound accessible (like we did in our final example, which is below), then that’s easy to achieve! And if you want a step-by-step guide to creating a polymeter in your drums, then that’s also in our new Hack Drum Beats PDF.
Alright, let’s have a listen to a Before & After playthrough now (click Play above for the video, or below for the Podcast), where the Before version uses a generic kick pattern like most songs, and the After version uses our Kick Drum Rule with a polymeter. We hope you found this lesson helpful, and thanks for being here in the Hack Music Theory community, we appreciate you!
MIDI Screenshot: Final drum beat with fills
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246 Melody Rule
Jun 05, 2020
246 Melody Rule
With the 246 Rule you can say goodbye to mediocre melodies forever. But first… Tea!
Hello revolutionary music makers, we are Kate and Ray Harmony (AKA Revolution Harmony), and welcome to Hack Music Theory, where we help you make great music that stands out! And if you’re new to theory, or if you just want a refresher, then read our free book “12 Music Theory Hacks to Learn Scales & Chords”. It’ll give you a super solid theory foundation in just 30 minutes.
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Most melodies these days are predictable and boring! That’s because most songwriters and producers don’t know music theory, and as a result, they actually end up following the rules without even knowing it. But, when everyone follows the rules, that’s boring! So, we created the 246 Melody Rule as a way to actually break the rules that result in boring melodies. Right, let’s decipher those numbers and get into it. A quick heads up though, the 246 Melody Rule is for intermediate songwriters and producers who are already comfortable writing melodies. If you’re not there yet, no problem at all, simply use the Melody Checklist in our Songwriting & Producing PDF, and your melodies will be elevated to a whole new level!
Right, so as you probably know, a triad is the most basic type of chord, which means it’s also the most popular type of chord (by far!). And as you probably know as well, a triad consists of three notes. For example, the Cmaj triad is made up of the notes C, E and G, which are numbered 1, 3 and 5, respectively. These are known as harmonic notes, as they form the harmony (i.e. the chord). Now, the numbers in our 246 Rule refer to the 2nd note, the 4th note and the 6th note. In other words, the notes that are not in the triad, but are still in the scale. The fancy term for these notes is “non-harmonic”, as they are not part of the harmony (i.e. the chord). And if you’re wondering about the 7, yes it’s also a non-harmonic note here because it’s not in the triad. However, the 7 is a whole different beast, so it’s not part of the 246 Rule, but more on that later.
First, we need to understand why most songwriters and producers are using the 2, 4 and 6 all wrong, despite the fact that they’re not actually wrong notes (cos they’re obviously still in the scale). It seems like a riddle, doesn’t it? Don’t worry though, the 246 Rule solves this issue once and for all! How? Well, when you play the 2, 4 or 6 in your melody, they create tension against your triad below, cos they don’t fit in completely. To hear this, play a triad and then play the 1, 3 and 5 above it as a melody. Those three notes fit in perfectly with your triad below, as they’re merely doubling what’s already there. Now, play a 2 in your melody. This note sits in between the 1 and 3, rubbing up against them and causing tension. And that brings us to the 246 Rule. When most songwriters and producers use the 2, 4 and 6, they resolve them down to the 1, 3 and 5, respectively. But, moving down a note after the 2, 4 and 6 is embarrassingly predictable! And on top of that, creating tension only to resolve it to the predictable note, kinda defeats the purpose of creating that tension in the first place.
For the record, there is absolutely nothing wrong with doing that sometimes. However, most songwriters and producers do that every time they use the 2, 4 or 6. The reason for that, is because they don’t know what to do with the tension they’ve created, so they simply follow where their ear leads them. And therein lies one of the biggest problems with popular music: songwriters and producers are making music by ear, but our ears will always lead us to the most predictable option. That is precisely why we need music theory. You see, for most songwriters and producers, making music feels like a mysterious (and often frustrating) journey through the dark, but it doesn’t have to be like that. Music theory is our flashlight that illuminates the way, revealing musical paths we could not see in the dark. And on that note, if you’re tired of all the trial and error, guesswork, and frustration involved in making music, then you can learn our secret song-whispering method, which we teach in our online apprenticeship course. More on that later, though.
Every time you use a 2, 4 or 6 in your melody, you have three options:
Go down to the predictable harmonic note
Go up to the unpredictable harmonic note
Go somewhere completely different!
Option 1 is what the rules say you should do, and it’s also what your ears want you to do, and that’s why most songwriters and producers instinctively use option 1 every time, but that’s sooo boring! Great music is all about the other two options.
If you’re wondering why our ears always lead us to resolve the 2, 4 and 6 down to the 1, 3 and 5, respectively, it’s because non-harmonic notes have a gravitational pull to the nearest and strongest harmonic note. And the strongest harmonic note is obviously the root, which is why the 2 wants to resolve down to the 1. The next strongest harmonic note is the 3, as it’s the note responsible for creating the major/minor quality of a chord. And that’s why the 4 wants to resolve down to the 3. And finally, the 6 wants to resolve down to the 5, as there’s no harmonic note directly above it, so there’s no other option (or so it seems to our ears).
MIDI Screenshot: The boring and predictable way to resolve non-harmonic notes
Okay, so those are the resolutions that our ears will steer us towards. And because most songwriters and producers are making music by ear, we end up with most songs sounding the same. Seeing as you’re here, you’re obviously wanting more from your music. That’s what the 246 Rule gives you, cos when you use it, your melodies will contain non-harmonic notes, but in a way that’s not predictable and boring!
So now you know why the 246 Rule is a way to break the rules that cause boring melodies, but how does it actually work? Easy! The rule is to ensure that every melody you write includes the second and third options in that list (above). In other words, make sure that at least one non-harmonic note in your melody goes up to the unpredictable harmonic note, like we did over the Cmaj chord, by taking the 2 (D) up to the 3 (E). Also, make sure that at least one non-harmonic note goes somewhere completely different, like we did over the Dm chord, by taking the 2 (E) way up to a completely unexpected ♭7 (C).
It’s that simple! Doing these two things will ensure your melodies are not boring or predictable, so start applying the 246 Rule to your melodies today. One extra thing to consider though. If you want your music to appeal to a broader audience, you should probably use the first option in that list (above) somewhere in your melody as well. In other words, resolve at least one non-harmonic note to the predictable harmonic note.
Lastly, let’s talk about that unique non-harmonic note, the 7, also known as the leading note. And that’s not just a clever name. The gravitational pull on this note is far more than on any other non-harmonic note. The 7 is absolutely desperate to claw its way up to the root, and it’s willing to do anything to get there! Now, we love going against the stream and not resolving the 7, cos taking it somewhere other than the root note creates incredibly strong emotions in the listeners. A warning though, those emotions will include shock! And while we make music purely for art’s sake, we appreciate that you may actually want to build a career as a songwriter/producer, so that’s why we do not include the 7 in our 246 Melody Rule. If you use the 7 and don’t resolve it up to the root, you do so at your own peril, haha!
In our example, we wanted to inspire peace and calm in the listeners, so we did actually resolve the 7 to the root (and by the way, it’s a ♭7 here). However, we used two techniques to make this resolution fresh and unpredictable. Firstly, we didn’t resolve up to the root, instead, we played the root an octave lower. And secondly, we ended a phrase on the 7 and started a new phrase on the root, so there’s actually a rest in between those two notes, which the listener won’t be expecting either. You see, even when you choose to follow the rules, there’s still creative ways to break them!
By the way, if you like the chord progression in this example, you can learn how we wrote the specific piano part in our Chillout Chords video.
MIDI Screenshot: Final melody using the 246 Rule
Next
Regarding the current situation around the world. As music teachers, we can’t offer much help through this difficult time. However, as most people are now stuck at home, what we can offer, is a meaningful and productive timeout from the difficulties. It’s with that intention in our hearts that we offer you 50% OFF our online course Apprenticeship #1. It contains 17 hours of video that teach every step of the writing process, from blank screen to finished song. You will literally learn everything you need to know in order to write great songs, and finish them! We know that most people are sadly on unpaid leave right now, so we hope this half-price offer helps alleviate some suffering, and we truly hope you and your families are all safe and healthy. Lastly, please remember that music is magic, so keep pumping those uplifting tunes! Thanks for being here, and until next time, happy songwriting and producing.
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Chillout Chords
May 01, 2020
How to Write Chillout Chord Progressions
In this tutorial you'll learn how to write chord progressions for the Covid-19 era (and beyond), using our 6-step success formula. But first… Tea!
Hello revolutionary music makers, we are Kate and Ray Harmony (AKA Revolution Harmony), and welcome to Hack Music Theory, where we help you make great music that stands out! And if you’re new to theory, or if you just want a refresher, then read our free book “12 Music Theory Hacks to Learn Scales & Chords”. It’ll give you a super solid theory foundation in just 30 minutes.
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Right, let’s talk about success. First things first, though. We measure “success” in terms of how helpful your work is to the world. Measuring success in terms of fame and fortune is so last millenium! And seeing as you’re here, we know that you’re a forward-thinker, so here’s how you can succeed in this Covid-19 era, and beyond.
Listening to music is arguably the easiest and quickest way for someone to transform their psychological state, which in turn transforms their physiological state. So, in these stressful times we’re all living in, it’s vital that us songwriters and producers write and release music that can calm anxious minds and relax tense bodies. This is a very real way that we can all help, because when people calm down, they trigger their parasympathetic nervous system, which then upregulates their immune system. So, a calmer world is literally a healthier world! And in stressful times, people intuitively listen to music that calms them, which is like self-medicating, except there are no side-effects! And this explains why streams in the classical genre have gone up during the Covid-19 era, while streams in almost every other genre have gone down.
Now, in order to write calming music, you need to choose a calming scale. We chose D Dorian, which is all the white notes from D to D. We used the Dorian mode because it conveys a sad-but-hopeful emotion, and sharing hope in these sad times is life-changing. And by the way, if you wanna learn everything you need to know about the modes, their emotions, and how to use them, then download our Songwriting & Producing PDF. It also contains all our other essential music making hacks.
Alright, now that you’ve chosen your scale/mode, it’s time to choose your chords. There are no rules here, you can play any chords in your key, but remember this: When you’re writing music to help people chill out, you need to think differently. For once, you actually don’t wanna make music that stands out, as that would stimulate the listener’s mind, instead of relaxing it. Having said that though, if you write something that totally blends into the background, then you’ll lose the listener’s attention and their mind will wander back into a place of fear and anxiety. Also, you don’t wanna lose your artistic voice, just cos you’re making musical medicine. So, the magic happens on the middle path between “background music” and “art music”!
We created this balance by doing the following. On the “background” side of things, we started by choosing four chords, which is the most common number of chords in a progression. That familiarity is very calming for listeners. Our chords are: Dm→Cmaj→Fmaj→Gmaj. Next, we reinforced that familiarity by using a predictable harmonic rhythm. Harmonic rhythm is simply where each chord begins and ends. We play each chord for exactly two bars. And that brings us to the most important element of writing calming music: Pace. Most songwriters and producers think of a song’s pace as its tempo, but the BPM is only half the story. Lots of songwriters and producers use slow BPMs and think they’re making chillout music, but then they change chords every couple beats, and that faster-paced harmonic rhythm prevents their music (and their listeners) from relaxing. So remember, chillout music needs a slow BPM and a slow harmonic rhythm!
MIDI Screenshot: Calming chord progression written using our 6-step success formula (see below)
Okay, so now that you’ve ensured your song is gonna sound calming and comforting to your listeners, you need to prevent it from blending into the background. So, on the “art” side of things, we did the following. We started by using the odd time signature 3/4. This time signature is probably the most common of the odd times, so that makes it feel a little different but without being weird. Also, it’s worth noting here that our chord progression already sounded a bit different because it’s in the Dorian mode, not the usual major or minor scale.
Next, we created even more interest by playing our chords in a slightly unusual way. Instead of playing them as regular block chords (where the notes are played together), or arpeggios (where the notes are played one at a time), we used a combination of these two techniques. We play our root note first, then follow it with two higher notes that are played together. This allows for lots of space (i.e. rests), which makes the progression sound even more chill. We actually used this way of playing the chord as a motif, by playing the rest of the chords this way too. And if you’re new to motifs, they’re short ideas you repeat to give your music structure and make it more memorable.
Lastly, to make our progression extra calming, we started it with a dreamy add9 chord, which we then used as a motif as well. And if you’re new to add9 chords, you can make them by simply adding the 2 to a triad. For example, our first chord is Dm(add9), which is the Dm triad (D, F, A) plus the 2 (E). Now, add9 chords are obviously four-note chords, which create a thicker texture. And while that’s great in some songs, we wanted to keep our texture thin and spacious here, so we left out the 5 of our Dm(add9) chord. When you use chords with four or more notes, leaving out the 5 is a great way of keeping your texture thin. Because, and no disrespect to the 5 here, it doesn’t bring anything special to the chord, it merely fills it out.
So, to summarise everything, here’s our success formula for chord progressions in the Covid-19 era:
Choose a consonant scale (i.e. avoid Phrygian, Locrian, etc.)
Write a somewhat predictable chord progression
Use a slow and predictable harmonic rhythm
Incorporate at least two elements that are slightly unusual
Create a motif, and repeat it regularly
Optional extras: rests, add9 chords
Alright, now it’s your turn to step up! So, we’ve got a chillout challenge for you: Write a calming chord progression using this formula, then stay tuned for next time, when you’ll learn how to add a relaxing melody. For now though, let’s have a listen to our calming chords that upregulate the immune system. And that is true success! Just before the playthrough though, we’d love to share one more thing with you.
Next
Regarding the current situation around the world. As music teachers, we can’t offer much help through this difficult time. However, as most people are now stuck at home, what we can offer, is a meaningful and productive timeout from the difficulties. It’s with that intention in our hearts that we offer you 50% OFF our online course Apprenticeship #1. It contains 17 hours of video that teach every step of the writing process, from blank screen to finished song. You will literally learn everything you need to know in order to write great songs, and finish them! We know that most people are sadly on unpaid leave right now, so we hope this half-price offer helps alleviate some suffering, and we truly hope you and your families are all safe and healthy. Lastly, please remember that music is magic, so keep pumping those uplifting tunes! Thanks for being here, and until next time, happy songwriting and producing.
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80/20 Bass Rule
Apr 08, 2020
80/20 Rule for Better Bass Lines
In this tutorial, you'll learn the secret 80/20 bass rule that will forever change the way you write bass lines. But first… Tea!
Hello revolutionary music makers, we are Kate and Ray Harmony (AKA Revolution Harmony), and welcome to Hack Music Theory, where we help you make great music that stands out! And if you’re new to theory, or if you just want a refresher, then read our free book “12 Music Theory Hacks to Learn Scales & Chords”. It’ll give you a super solid theory foundation in just 30 minutes.
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Right, so here’s what a regular bass line sounds like, and this was written in the same way that most bass lines are written these days:
MIDI Screenshot: Bass exclusively playing root note of each chord – this is not a bass line!
It’s in the key of A minor, so that’s all the white notes from A to A, and the chords are: Am→Em→Cmaj→Dsus2. Now, because most songwriters and producers don’t know about the secret 80/20 bass rule, most bass lines nowadays simply copy the chord progression by playing the root note of each chord. So in the example you just heard, the bass copied the chords by playing: A→E→C→D. But, that is not a bass line, that is merely the root note of each chord. And that is not a musical approach to bass, it’s a sonic approach, because the bass is so boring that it actually blends into the background and is heard as a frequency, not an instrument!
When we approach bass from a musical perspective, we realise that it obviously wants (and deserves) its own melody. However, this is where we run into the bass paradox: To give the bass an independent melody, it needs to venture off the root note of each chord, but if it does that, then it takes away the music’s stability as it’s no longer providing a solid foundation for the other instruments. So, how can you write a bass line that’s both a solid foundation and also an independent melody? That’s where the 80/20 bass rule comes in. It’s so simple: it is the percentage of time spent on root notes versus the percentage of time spent on other notes.
Root notes in the bass build a solid foundation, but it’s the non-root notes that transform the bass into an independent melody. This is the magic bass balance. Get it right, and your bass lines are pure magic! Get it wrong, and it could literally ruin your whole song. If your bass spends too much time on root notes, it’ll be nothing more than a frequency. On the other hand, if your bass spends too much time on non-root notes, it’ll step forward into the spotlight like a diva and start stealing attention from your lead melody. Remember, the spotlight is only big enough for one!
So, what’s the perfect ratio? 80% roots, 20 % non-roots. And obviously every song is different, and every section within every song is different, but the 80/20 rule will ensure that every bass line you write starts out in the sweetspot, then you can adjust the percentage up or down, depending on what the other instruments are doing. For example, if there isn’t a lead melody in a section, then there’s space for your bass to step forward and take the spotlight, without any musical fights! However, if a section has a lead melody and a backing melody, then your bass should definitely spend a little more time on root notes, for extra stability. In our example, our bass line is 81% root notes and 19% non-root notes. And of course, you don’t actually have to calculate the exact percentage, just get it somewhere in the 80/20 sweetspot.
MIDI Screenshot: Bass line with about 80% roots and 20% non-roots (highlighted)
And by the way, if you want our step-by-step guide for writing great bass lines, then download our Songwriting & Producing PDF, which also contains all our other essential music making hacks.
Finally, let’s talk about those non-root notes. There are three possibilities for these: harmonic notes, non-harmonic notes, and non-diatonic notes. Harmonic notes are notes that are in the chord. For example, over the Am chord, the harmonic notes are A, C and E. And A is obviously the root, so the options are C and E. Next, non-harmonic notes are notes that are not in the chord, but are still in the scale. So over the Am chord, the non-harmonic notes are B, D, F and G. Then lastly, non-diatonic notes are not in the chord either, but they’re not even in the scale. These notes are super spicy, so in the same way that you don’t add chili peppers to every meal, you don’t wanna add non-diatonic notes to every bass line. In our example, we do actually play a non-diatonic note (C♯) under every other Dsus2 chord. But, it’s just a 1/16 note. That’s like throwing a tiny sliver of chili pepper into the pot for flavour, not for heat. Okay now I’m hungry, but before we head off to cook up a yummy vegan chili, let’s have a listen to the Before & After of our bass line, so you can hear what a game-changer this 80/20 bass rule is. Just before the playthrough though, we’d love to share one more thing with you.
Next
Regarding the current situation around the world. As music teachers, we can’t offer much help through this difficult time. However, as most people are now stuck at home, what we can offer, is a meaningful and productive timeout from the difficulties. It’s with that intention in our hearts that we offer you 50% OFF our online course Apprenticeship #1. It contains 17 hours of video that teach every step of the writing process, from blank screen to finished song. You will literally learn everything you need to know in order to write great songs, and finish them! We know that most people are sadly on unpaid leave right now, so we hope this half-price offer helps alleviate some suffering, and we truly hope you and your families are all safe and healthy. Lastly, please remember that music is magic, so keep pumping those uplifting tunes! Thanks for being here, and until next time, happy songwriting and producing.
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Changing Chords Rule
Mar 24, 2020
Changing Chords Rule
Are your chord progressions a bit boring? Well don’t worry, cos in this tutorial you’ll learn the one thing you need to change in order to bring your chord progressions to life. And, it only takes a few seconds to change! But first… Tea.
Hello revolutionary music makers, we are Kate and Ray Harmony (AKA Revolution Harmony), and welcome to Hack Music Theory, where we help you make great music that stands out! And if you’re new to theory, or if you just want a refresher, then read our free book “12 Music Theory Hacks to Learn Scales & Chords”. It’ll give you a super solid theory foundation in just 30 minutes.
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So here’s a chord progression that’s similar to a few songs we heard in the new releases this week. It’s in the key of A minor, so that’s all the white notes from A to A, and the chords are: Am→Em→Cmaj→Dsus2 (hear example in video/podcast). It sounds pretty good, cos we’ve re-arranged the notes around the common note E, which is on top of every chord. By the way, if you wanna learn about that, check out our Songwriting & Producing PDF. So yeah, these chords all flow smoothly into each other, and that’s the main reason why it sounds nice. But (and it’s a big but!), if you listen to this chord progression a few times, it gets boring real quick!
MIDI Screenshot: Solid but boring chord progression (Am→Em→Cmaj→Dsus2)
This example highlights how you can have a really solid chord progression, yet it still isn’t enough to catch the listener’s attention. So, what’s missing from this chord progression? Rhythm! Well, to be precise: harmonic rhythm. Harmonic rhythm is simply the rhythm of the chords in your progression. You can think of it as where each chord starts, and how long it lasts. Now, most songwriters and producers don’t know about harmonic rhythm, so they just do it by ear, which almost always results in a predictable harmonic rhythm. And a predictable harmonic rhythm is one of the best ways to bore your listeners. That’s why we’re sharing this hack with you, cos friends don’t let friends use boring harmonic rhythms!
Okay let’s get to it! Start by setting up a loop that contains at least two cycles of your chord progression. Why not one? Well, most songwriters and producers just loop their chord progression as it is, which means their harmonic rhythm is the same every time their chord progression repeats. Unless you have an incredibly interesting chord progression though, that’s also gonna get boring real quick! This hack essentially turns a two-bar progression into a four-bar progression, or a four-bar progression into an eight-bar progression. So, to take your chord progressions to the next level, use a different harmonic rhythm every second time.
Right, now it’s time to create your two interesting harmonic rhythms, one for each progression in your loop. Depending on your tempo, you’ll probably want the grid set to 1/8 notes, but if your BPM is really slow, then set your grid to 1/16 notes. Next, just play around with moving the starting point and ending point of each chord, and see where that takes you. There are no rules, but we recommend finding a balance between chords that start on the beat, and chords that start off the beat. This approach will keep your progression accessible, but also super fresh!
MIDI Screenshot: By simply changing the harmonic rhythm, that boring progression is now totally captivating!
And remember: Everything is connected! So the bonus of having an interesting harmonic rhythm, is that it will result in a far more creative lead melody on top of your chord progression, and a far more captivating bass line and drum beat underneath. This hack is about a lot more than just your chord progression! Alright, now let’s have a listen to the Before & After of our progression, so you can hear the massive difference that an interesting harmonic rhythm makes (hear example in video/podcast). Just before the playthrough though, we’d love to share one more thing with you.
Next
Regarding the current situation around the world. As music teachers, we can’t offer much help through this difficult time. However, as most people are now stuck at home, what we can offer, is a meaningful and productive timeout from the difficulties. It’s with that intention in our hearts that we offer you 50% OFF our online courseApprenticeship #1. It contains 17 hours of video that teach every step of the writing process, from blank screen to finished song. You will literally learn everything you need to know in order to write great songs, and finish them! We know that most people are sadly on unpaid leave right now, so we hope this half-price offer helps alleviate some suffering, and we truly hope you and your families are all safe and healthy. Lastly, please remember that music is magic, so keep pumping those uplifting tunes! Thanks for being here, and until next time, happy songwriting and producing.
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How to Spice Up Your Melodies with Non-Diatonic Notes (feat. Myrkur music theory hack)
Mar 12, 2020
How to Spice Up Your Melodies with Non-Diatonic Notes
In this tutorial, you’ll learn how to spice up your melodies with non-diatonic notes. But first… Tea!
Hello revolutionary music makers, we are Kate and Ray Harmony (AKA Revolution Harmony), and welcome to Hack Music Theory, where we help you make great music that stands out! And if you’re new to theory, or if you just want a refresher, then read our free book “12 Music Theory Hacks to Learn Scales & Chords”. It’ll give you a super solid theory foundation in just 30 minutes.
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This hack is from the new single “Gudernes Vilje” by Danish artist Myrkur. The song is off her upcoming album “Folkesange”, and based on the first three singles, it promises to be a magical journey. Right, first things first. What is a non-diatonic note? Well, it is simply a note that is not in the scale. And as a result of it being outside the scale, it stands out (a lot!). And by the way, non-diatonic notes are also known as chromatic notes, so sometimes you’ll hear that term instead.
Now, just a quick warning. When songwriters and producers make music, they use scales for a very good reason: when you stick to a scale, all the notes work well together. So, when you venture out of the scale, you are heading into a musical minefield. I know that sounds dangerous, but it’s not, as long as you know where the musical landmines are. And the main one that most songwriters and producers land on, is the horrible clash between their non-diatonic note and their other instruments (which are playing notes in the scale at the same time). Yep, this clash is actually the sole reason that most songwriters and producers completely avoid non-diatonic notes, which in turn is one of the reasons behind the total predictability of 99.9% of music these days!
But, seeing as you’re here, you’re obviously wanting to learn how to make better music. And using non-diatonic notes is a vital part of making music that captivates people. Think about it like this, if you watch a movie on Netflix and it’s totally predictable, are you disappointed afterwards? Of course! We humans love stories, and songs are musical stories, so take your listeners on an exciting journey. You don’t want people to be able to sing along to your melodies the first time they hear them, right? And the best way to keep your melodies fresh, is to give your listeners a twist in the tale with a non-diatonic note.
So, how do you use a non-diatonic note to spice up a melody? Honestly, that’s actually the easy part, you just use any note that’s not in the scale you’re currently in. What’s not easy though, is what you do with your other instruments, so you don’t end up with that horrible clashing we spoke about earlier. Right, now let’s look at the Myrkur example for a solution to this problem. So, at 2:02 into the song “Gudernes Vilje”, she uses a non-diatonic note in her vocal melody. And that note is a ♭5. This deliciously spicy note is one of the most dissonant notes you get, so when she sings it right after a predictable 5, it’s the ultimate twist in the tale!
MIDI Screenshot: Melody with a ♭5 twist in the tale (dark notes below melody show C♯m→Amaj chord progression)
That’s great, but, what are her other instruments doing at that moment in order to prevent a horrible clash? They’re playing a ♭VImaj chord. And as she’s in the key of C♯ minor, that chord is an Amaj. The exact chord isn’t important though, the essential lesson to learn from her chord choice here is that it does not contain the notes on either side of the ♭5, i.e. the 4 and 5 of the key. The reason this is essential, is because the notes in your scale on either side of your non-diatonic note are the notes that will clash with it the worst. So, be sure to avoid those two notes in your other instruments while your melody is on the non-diatonic note.
And a completely different approach to avoiding this musical landmine, would be to actually use the non-diatonic note in the chord below as well. In this example, that non-diatonic note is a G, so she could have used an Em chord below it. And that Em chord would also be non-diatonic, because in the key of C♯ minor, it’s supposed to be Emaj. However, by replacing the G♯ in the chord with G, the chord becomes Em. This option sounds great too, but just a heads up, this approach makes things even more spicy!
Melody Checklist
Now, this hack has been all about spicing up a good melody in order to transform it into a great melody. But, if you’re not at the stage where you’re happy with your melodies yet, then simply use the Melody Checklist in our Songwriting & Producing PDF. It’s the ultimate list of do’s and don’ts for writing great melodies, so just follow that checklist to instantly improve your melodies!
Lastly, as we’re celebrating International Women’s Day this week, we wanna give a very special shoutout to all the women songwriters and producers in the Hack Music Theory community. We see you, we believe in you, and we’re so stoked and grateful that you’re here! And on that note, thanks for reading, and until next time, happy music making!
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How to Improve Your Drum Beats (feat. Dele Sosimi music theory hack)
Mar 05, 2020
How to Improve Your Drum Beats
In this tutorial, you’ll learn how to make more creative drum beats. But first… Tea!
Hello revolutionary music makers, we are Kate and Ray Harmony (AKA Revolution Harmony), and welcome to Hack Music Theory, where we help you make great music that stands out! And if you’re new to theory, or if you just want a refresher, then read our free book “12 Music Theory Hacks to Learn Scales & Chords”. It’ll give you a super solid theory foundation in just 30 minutes.
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This hack is from the song “We Siddon We Dey Look” by the amazing Afrobeat artist Dele Sosimi. The track is off his album “You No Fit Touch Am”, which is an absolute masterclass in groove. And while every instrument is equally contributing to this groove masterclass, we’re gonna focus on the drums as they’re the foundation. Also, the drummer uses a simple but rare hack in this song that will transform your approach to drums, so we wanted to share it with you.
Okay, so there’s one element in a drum beat that’s hardly ever questioned. What is it? The kick drum on beat 1. Yep, if you listen through a playlist of 100 songs, you’ll be lucky if you hear one drum beat that doesn’t have a beat 1 kick. In fact, putting a kick on beat 1 is the first thing most producers do when starting a new beat. So, by simply not playing a kick on beat 1, you’re already standing out from the crowd.
MIDI screenshot: 2-bar drum loop, where bar 1 has a snare (E2) on beat 1, and bar 2 has a kick (C2) on beat 1
And to reap the rewards of this hack, you don’t even need to use it in every bar. For example, the drum beat in this song starts with a snare on beat 1. This beat 1 snare is repeated every other bar, but then the bars in between start with the usual kick on beat 1 instead. This creates a balance of predictable and unpredictable, which keeps the drums sounding fresh.
And for extra freshness, there’s also a motif. A motif is a short musical idea, and the motif here consists of two adjacent 1/16 notes. By repeating the motif, the drummer gives the beat structure and makes the rhythm more memorable.
So, if you wanna take your drums to the next level, then every now and then, play something other than a kick on beat 1. And if you’re feeling brave, play nothing at all on the occasional beat 1. Remember, it’s your drum beat, so just cos everyone else plays a kick on beat 1, that doesn’t mean you have to.
And that’s it! Hope you found this hack useful. And if you wanna get all our essential music making hacks in one place, then download our Songwriting & Producing PDF. Thanks for being here, and until next time, happy songwriting and producing!
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How to Stand Out in 2 Seconds (feat. Agnes Obel music theory hack)
Feb 28, 2020
How to Stand Out in 2 Seconds
In this tutorial, you’ll learn two ways to stand out in two seconds. But first… Tea!
Hello revolutionary music makers, we are Kate and Ray Harmony (AKA Revolution Harmony), and welcome to Hack Music Theory, where we help you make great music that stands out! And if you’re new to theory, or if you just want a refresher, then read our free book “12 Music Theory Hacks to Learn Scales & Chords”. It’ll give you a super solid theory foundation in just 30 minutes.
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This hack is from the new song “Drosera” by Danish artist Agnes Obel. The track is off her new album “Myopia”, which is stunningly beautiful, definitely one to add to your late-night playlist!
Right, so how on earth does Agnes Obel make this song stand out in its first two seconds (especially considering the intro simply consists of a piano)? Well, she very cleverly does this by surprising us with two totally unexpected things, one on the rhythmic side and one on the melodic side.
On the rhythmic side, she uses the odd time signature 5/8, which is five 1/8 notes in a bar. So, the 1/8 notes in 5/8 can be grouped in 2+3, or, 3+2, which is the version Agnes uses. In other words, her accents in each bar are on the first and fourth 1/8 notes. And the reason her 5/8 is such a surprise, is that the group of three 1/8 notes lulls us into assuming that each group will consist of three 1/8 notes, as most music is predictable like that, but when her second group unfolds, we’re shocked by it containing only two 1/8 notes, which makes the group feel like it’s been cut short. What a great way to wake up your listeners!
MIDI screenshot: Piano intro in 5/8 (grouped 3+2), accenting the root note (on beat 1) and the ♭2 (on beat 4)
Now, regarding her surprise on the melodic side. She uses a ♭2, which is the dissonant note found one semitone above the root. The ♭2 is a very unexpected note, as it’s not found in the major scale or the minor scale, and those two scales are used to make most of our music here in the west.
Lastly, Agnes Obel named this song after a big insect-eating plant haha, so she was clearly going for a menacing vibe here! But, if you want your song to stand out without sounding dangerous, then forget about the ♭2 and just use an odd time signature like 5/8 (or 7/8, which is another great one for surprising people).
Next
If you’re already familiar with these hacks, then we can help you take your music to an even higher level with more advanced theory like irrational time signatures, extreme polymeters, octatonic scales, the 12 tone method and much more, all of which you’ll find in our Apprenticeship #2 online course.
And if that all sounded like a foreign language, then Apprenticeship #1 is for you, as that course will teach you how to write new sections for existing sections, how to transition between sections, and how to structure and arrange your songs. Thanks so much for being here, and we hope you found this hack useful. Until next time, happy songwriting and producing!
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How to Add Impact to your Choruses (feat. Vukovi music theory hack)
Feb 21, 2020
How to Add Impact to your Choruses
In this tutorial, you’ll learn how to add impact to your choruses. But first… tea!
Hello revolutionary music makers, we are Kate and Ray Harmony (AKA Revolution Harmony), and welcome to Hack Music Theory, where we help you make great music that stands out! Also, welcome to the first of our new podcast exclusive episodes. Yep, you won’t find these on YouTube, they’re made just for you here. Hope you enjoy!
And by the way, if you’re new to theory, or if you just want a refresher, please read our free book “12 Music Theory Hacks to Learn Scales & Chords”. It takes about 30 minutes to read, then you’ll have a super solid theory foundation.
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Alright, it’s time to open your DAW to hack music theory. This hack is from the new song “Aura”, by Scottish band Vukovi. FYI, their new album “Fall Better” is super fun, and it’s overflowing with energy too, so we’ve made it our new workout soundtrack!
So, you’ll notice when the chorus of “Aura” starts, at 0:29 into the track, it has a huge impact! What causes that? Two things. First, the chorus melody actually starts a beat before the chorus. And second, to emphasise the chorus melody, all the other instruments stop when it starts. And by the way, this song is in 4/4.
MIDI screenshot: Chorus melody starts on beat 4 of preceding bar
Now, you may think you’d get more impact by starting your chorus melody on beat 1 along with everything else, and in some situations you will. But, by stopping all your instruments on beat 4 of the bar preceding your chorus, and starting your melody there, you move all the attention to your melody. This focus on the melody intensifies the transition from verse to chorus. It also thins out the sound, and then when everything comes back in on beat 1 there’s a way bigger impact than if all the instruments had kept playing through the transition.
And as a bonus, beginning your chorus melody on beat 4 of the bar preceding your chorus results in an overlapping phrase, which acts as reinforcement for the transition. Yeah it’s like when you’re building a brick wall, you want the bricks to overlap, so the layer above reinforces the layer below. Not that I’ve ever built a brick wall, but I have watched a lot of Grand Designs on the telly haha!
So the next time you’re wanting to add impact to a chorus, stop all your instruments on beat 4 of the preceding bar, and start your chorus melody there. And that’s it! Hope you found this hack useful, and if you wanna get all our essential music making hacks in one place, then download our Songwriting & Producing PDF. Thanks so much for being here, and until next time, happy songwriting and producing!
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Get Your Music Discovered
Dec 12, 2019
3 music theory hacks to make your music stand out, so you can get discovered!
Hello revolutionary music makers, we are Kate Harmony and Ray Harmony (AKA Revolution Harmony), and welcome to Hack Music Theory. We help you make great music that stands out, so you can move and grow your audience! If that sounds useful to you, then subscribe to our YouTube channel (or Podcast) and hit that bell to get notified every Friday, when we publish our new lesson.
FREE BOOK If it's your first time here, be sure to download our free book “12 Music Theory Hacks to Learn Scales & Chords” below. It only takes 30 minutes to read, and then you'll have a super solid music theory foundation!
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There’s about 40,000 songs being added to Spotify every day, so the only way you can get discovered, is if your music truly stands out. How do you do that? Well, in this lesson you’ll learn 3 hacks to make your music stand out from the crowd! But first… Tea!
INTRO So, to counter all the boring year-end lists of smash hits, we started a new Hack Music Theory tradition last year: The Most Artistic Music of the Year. We selected the winner by asking ourselves this question: What release this year contained the most interesting theory, used in the most creative way, resulting in an accessible work of art. And the vital criteria here is accessibility, cos it’s actually surprisingly easy to write creative music, but it’s surprisingly difficult to write creative music that makes people dance and sing along! Now, without further ado, the winner of 2019’s Most Artistic Music of the Year, is… Dan D’Lion.
Dan D’Lion is a British producer and singer, who came outta nowhere this year with two jaw-dropping EPs ("Perspective" EP & "Betterman" EP). The first time we heard Dan D’Lion was in Spotify’s New Music Friday playlist a few months back, when his song “Simmer Down” totally jumped out at us, and almost nothing on that playlist ever stands out, let alone jumps out! So, in this lesson, we’ll hack the pre-chorus of “Simmer Down”, where three musical elements make this song truly stand out from the crowd. To be honest though, we could easily make four lessons on this one section alone, it’s that good! So as soon as this lesson ends, go listen to Dan D’Lion and hit repeat, cos it’ll take many listens to explore the musical depths of his 10 songs.
GIVEAWAY Now, just before we jump into the lesson, we’ve got exciting news for you: We’re feeling festive, so one of you will win our bestselling online course: Apprenticeship #1 (worth $150). The course contains 17 hours of video that guides you through every step of the music making process, from blank screen to finish song. Details on how to enter coming up later, but now, it’s time to open your DAW to hack music theory.
SETUP Alright, now you’re gonna learn the three theory hacks from Dan D’Lion that will make your music stand out! And for the example in this lesson, we’ll be using our version that we made earlier, using these three hacks. So, start by setting up four bars of 4/4, with your tempo set to 108 BPM, and your grid set to 1/16 notes. Dan D’Lion uses A natural minor for this section, so we’ll use it too.
HACK 1. MODAL AMBIGUITY The first thing you’ll feel when listening to this section in “Simmer Down”, is that it’s not obvious what the key is. Dan D’Lion very cleverly does this by starting his bass line with a long note that makes us think it’s the root, but it’s not. Then after this long note, he drops down to the real root (A), which is when the ambiguity takes hold, as we thought the bass line started on the root, but now A feels like the root. Dan D’Lion does help us to hear A minor as the actual key though, by playing synth arpeggios in the background that reinforce A minor. Now, while this ambiguity around keys is a trendy hack these days, when most songwriters and producers use it, they just go back and forth between the relative major and minor keys. But that’s not interesting enough for Dan D’Lion, what he does is to go back and forth between A natural minor and its relative Dorian mode. In our example, we chose the relative Lydian mode, so we started our bass line on F. And whatever relative mode you choose, be sure to start your bass line on that mode’s root note. And if you need help understanding the modes, then simply use the mode hacks in our Songwriting & Producing PDF (click & scroll down).
HACK 2. USE THIS NOTE Now that you’ve blurred the line between A natural minor and the relative mode that you chose, it’s time to blur that blurred line! You see, Dan D’Lion isn’t satisfied with merely creating ambiguity around the key, he then goes on to break free from those two keys by using the note C♯, which is not in either key, so it’s what we call “non-diatonic”. This blurring of the blurred line not only enhances the ambiguity from Hack 1, but it also creates the ultimate standout moment in your song. In fact, it was this exact note that made Dan D’Lion’s song jump out at us in the first place.
HACK 3. COUNTERPOINT Dan D’Lion used the compositional technique known as counterpoint to write his backing vocals. And counterpoint is when the contour of your backing melody counters the contour of your lead melody. It’s extremely rare to hear counterpoint in popular music, as almost all backing melodies these days just harmonise the lead melody by following its contour, usually a 3rd above or below. But, by using counterpoint to write your backing melody, you inject one of the rarest elements into your song, which will make it truly stand out from the crowd. And by the way, if you need help with counterpoint, then simply use our counterpoint hack, which is also in our Songwriting & Producing PDF (click & scroll down). And, if you need help with writing melodies, then use our Melody Checklist, which is in that PDF as well. It’s the ultimate list of dos and don’ts for writing great melodies.
MORE So, now that you’ve got one section coming together, how do you write the other sections? Then, how do you transition between them (especially when they’re in different keys)? And then, how do you structure and arrange your song? These are issues many songwriters and producers struggle with, and that’s exactly why we made our online apprenticeship course, which guides you through every step of the music making process, from blank screen to finished song. So, if you wanna learn our secret method for writing (and finishing) great songs, which we don’t teach in these free lessons, then check out our Apprenticeship #1 online course.
NEXT Alright, now let’s have a listen to our standout section, but just before the playthrough, here’s how you can win our online course Apprenticeship #1: Write a comment below this video on YouTube, and tell us why you should win. It’s that simple! We’ll then pick our favourite answer, and announce the winner in our newsletter this Sunday (15 Dec 2019). So, be sure to post your comment by Saturday (14 Dec 2019), and also, make sure you’re on our mailing list(you can sign up on our home page).
Sadly, this is our last lesson of the year, but we’ve got EPIC news for you about 2020. When we come back in early January, we’re gonna be launching Apprenticeship #2. This course is the mother of all courses, it’s taken us over a year to make, and it contains over 30 hours of video! So, if your New Year’s resolution is to get serious and commit to your music, then make sure you’ve done Apprenticeship #1 before January, cos come 2020, it’s Apprenticeship #2 time! Thanks for watching (or listening, if you’re on the podcast), and we’ll see you in a few weeks. Until then, happy holidays, and thank you for another magical year, we really appreciate you being here.
Kate & Ray Harmony (AKA Revolution Harmony) Music Teachers & Producers in Vancouver BC, Canada
Take Your Music to the Next Level
LEVEL 1 – FREE BOOK "12 Music Theory Hacks to Learn Scales & Chords" will give you a super solid music theory foundation in 30 minutes!
LEVEL 2 – SONGWRITING & PRODUCING PDF (click & scroll down) This is our best-selling PDF, which includes MIDI file examples. Learn the essential hacks for songwriting & producing, like our Melody Checklist (the ultimate list of do's and don'ts for writing great melodies). You'll also learn how to write chord progressions, bass lines, riffs, counterpoint harmonies, and more!
LEVEL 3 – LESSON PACKS After learning our essential hacks, it's time to put them to practical use and start writing some new songs. Lesson packs include step-by-step PDF guides to making music for different instruments and in different genres (electronic, metal, soundtrack, etc.), as well as multitrack MIDI files of the examples.
LEVEL 4 – ONLINE APPRENTICESHIP Go from a blank screen to a finished song, in this 17-hour video course. Learn how to write new sections for an existing section, how to transition between sections in different keys, how to structure and arrange, and much more! This course has been called "life-changing" many times, so join 800+ music makers now (from all genres), who are learning Ray's secret hack: Song Whispering.
ABOUT Hack Music Theory is a pioneering DAW method for making great music that stands out, so you can move and grow your audience! Taught by multi-award-winning music lecturer Ray Harmony, and his protégé wife Kate Harmony, from their studio in Vancouver BC, Canada. Ray is the author of critically-acclaimed book series "Hack Music Theory", and has made music with Serj Tankian (System of a Down), Tom Morello (Rage Against the Machine), Steven Wilson (Porcupine Tree), Devin Townsend (Strapping Young Lad), Ihsahn (Emperor), Kool Keith (Ultramagnetic MCs), Madchild (Swollen Members), and many more! Kate has the highest grade distinction in Popular Music Theory from the London College of Music, and is the only person on the planet who's been trained by Ray to teach his method. On that note, Hack Music Theory teaches relevant and instantly-usable music theory for producers, songwriters, DAW users, and all other music makers (guitarists, bassists, singers, drummers, etc.) in all genres, from EDM to R&B, pop to hip-hop, reggae to rock, electronic to metal (and yes, we djefinitely djent!).
Learn how to make a groove inspired by the captivating rhythms of new UK Jazz, using a music theory hack from “Free My Skin” by London collective Steam Down.
Hello revolutionary music makers, we are Kate Harmony and Ray Harmony (AKA Revolution Harmony), and welcome to Hack Music Theory. We help you make great music that stands out, so you can move and grow your audience! If that sounds useful to you, then subscribe to our YouTube channel (or Podcast) and hit that bell to get notified every Friday, when we publish our new lesson.
FREE BOOK If it's your first time here, be sure to download our free book “12 Music Theory Hacks to Learn Scales & Chords” below. It only takes 30 minutes to read, and then you'll have a super solid music theory foundation!
Wooohooo!!! You’re a mere 30 minutes away from being even smarter than you already are. Just head on over to your inbox now for your free download.
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SETUP The theory hack in this lesson is from the new single “Free My Skin” by the inspirational London collective, Steam Down. But, the music in this lesson (which you’ll hear at the end), is actually our music that we wrote using their theory. On that note, we could definitely make lessons on their melodies, chords and bass as well, cos there’s so much interesting theory going on in those, but this lesson is all about rhythm, so we’ll focus on their drum groove. Right, so start by setting your tempo to 146 BPM, then make two bars of 4/4, with your grid set to 1/16 notes.
INTRO Now, the first standout feature you’ll notice is that tempo. That ain’t a tempo for sitting on your ass and listening, that’s a tempo for dancing! This is just one of the many refreshing aspects of this new UK Jazz movement. And this isn’t really Jazz, this is the sound of London. You see, London, which is my hometown, is a melting pot of cultures, so its music is a reflection of that. This is why you’ll hear elements from homegrown grime, Jamaican dancehall, West African afrobeat, and more, all coming together in this new sound. And this musical melting pot is perfectly captured by Steam Down. By the way, big shoutout to Gary Crosby and all the other heroes at the Tomorrow’s Warriors charity for their life-changing educational work behind this movement.
STEP 1. FOUR-ON-THE-FLOOR (ALMOST) The driving force behind this awesome groove is an almost four-on-the-floor pattern on the kick. The drummer plays beat 1, 3 and 4, but not beat 2. This creates a super dancey groove, but leaves space for something more interesting.
STEP 2. MORE SYNCOPATION! Next, in that space left open by not playing a kick on beat 2, the drummer plays a couple syncopated snare hits on beats 1a and 2+. Then in the second bar, there’s even more syncopation, as there are three syncopated snare hits on beats 1a, 2e and 2a.
STEP 3. IRREGULAR HATS Now, there’s only one rule when it comes to the hats in this groove: don’t play beat 2. By leaving that beat totally open, the drummer ensures that the super funky groove created from all those syncopated snares is not watered down, cos this is Steam Down, not water down! Also, by having some rests on the hats, it creates an irregular pattern, which keeps the groove unpredictable. And lastly, there’s a 1/32 note thrown in for extra spice.
SALE • 40% OFF Alright, now let’s have a listen to this melting pot of rhythms from around the world, but just before the playthrough, if there’s an artist you’d like us to hack, please let us know by commenting on the video in YouTube. And don’t forget, today is the last day of our epic sale, so get involved now for 40% off everything, including our bestsellers: the Songwriting & Producing PDF (click & scroll down) and the Apprenticeship #1 Online Course (SAVE $60). Thanks for reading/watching/listening, and we’ll see you next time!
Kate & Ray Harmony (AKA Revolution Harmony) Music Teachers & Producers in Vancouver BC, Canada
Take Your Music to the Next Level
LEVEL 1 – FREE BOOK "12 Music Theory Hacks to Learn Scales & Chords" will give you a super solid music theory foundation in 30 minutes!
LEVEL 2 – SONGWRITING & PRODUCING PDF (click & scroll down) This is our best-selling PDF, which includes MIDI file examples. Learn the essential hacks for songwriting & producing, like our Melody Checklist (the ultimate list of do's and don'ts for writing great melodies). You'll also learn how to write chord progressions, bass lines, riffs, counterpoint harmonies, and more!
LEVEL 3 – LESSON PACKS After learning our essential hacks, it's time to put them to practical use and start writing some new songs. Lesson packs include step-by-step PDF guides to making music for different instruments and in different genres (electronic, metal, soundtrack, etc.), as well as multitrack MIDI files of the examples.
LEVEL 4 – ONLINE APPRENTICESHIP Go from a blank screen to a finished song, in this 17-hour video course. Learn how to write new sections for an existing section, how to transition between sections in different keys, how to structure and arrange, and much more! This course has been called "life-changing" many times, so join 800+ music makers now (from all genres), who are learning Ray's secret hack: Song Whispering.
ABOUT Hack Music Theory is a pioneering DAW method for making great music that stands out, so you can move and grow your audience! Taught by multi-award-winning music lecturer Ray Harmony, and his protégé wife Kate Harmony, from their studio in Vancouver BC, Canada. Ray is the author of critically-acclaimed book series "Hack Music Theory", and has made music with Serj Tankian (System of a Down), Tom Morello (Rage Against the Machine), Steven Wilson (Porcupine Tree), Devin Townsend (Strapping Young Lad), Ihsahn (Emperor), Kool Keith (Ultramagnetic MCs), Madchild (Swollen Members), and many more! Kate has the highest grade distinction in Popular Music Theory from the London College of Music, and is the only person on the planet who's been trained by Ray to teach his method. On that note, Hack Music Theory teaches relevant and instantly-usable music theory for producers, songwriters, DAW users, and all other music makers (guitarists, bassists, singers, drummers, etc.) in all genres, from EDM to R&B, pop to hip-hop, reggae to rock, electronic to metal (and yes, we djefinitely djent!).
Learn how to write a bass line for an epic chorus, by using a music theory hack from Leprous “Alleviate” (off their new album “Pitfalls”).
Hello revolutionary music makers, we are Kate Harmony and Ray Harmony (AKA Revolution Harmony), and welcome to Hack Music Theory. We help you make great music that stands out, so you can move and grow your audience! If that sounds useful to you, then subscribe to our YouTube channel (or Podcast) and hit that bell to get notified every Friday, when we publish our new lesson.
FREE BOOK If it's your first time here, be sure to download our free book “12 Music Theory Hacks to Learn Scales & Chords” below. It only takes 30 minutes to read, and then you'll have a super solid music theory foundation!
Wooohooo!!! You’re a mere 30 minutes away from being even smarter than you already are. Just head on over to your inbox now for your free download.
There was an error submitting your subscription. Please try again.
“The most brilliant, fast, easy & fun music theory book I’ve ever seen!” DEREK SIVERS, CD Baby founder
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DOWNLOAD FREE BOOK
SETUP Over the last couple of lessons you’ve learned how to write an epic chord progression and melody (links below), so now you’re gonna learn how to write an epic bass line underneath. And this theory hack is inspired by the chorus of recent single “Alleviate” by the awesome Norwegian band Leprous. But, the example in this lesson is actually our music, which we wrote using their theory. Right, so start by setting up four bars of 4/4, with your grid set to 1/8 notes, and your tempo set to 116 BPM. Leprous use D natural minor for their chorus, and the natural minor scale is a common choice for epic music, so we’ll use it too.
STEP 1. THE PATH Your bass line needs to be the path upon which all your other instruments will walk, so it’s essential to build a solid path that can take the weight of everything above it. And the best way to do that is to play the root of every chord, as the root is by far the most stable note. Our chords are: Dm → Fmaj → B♭maj → Csus4, so we started writing our bass line by using D→F→B♭→C. And another thing to keep in mind is that as soon as you play a note on your bass guitar, it starts to fade, which weakens the path. So to counter that, simply play 1/8 notes, which has the added advantage of giving your bass line a driving momentum.
STEP 2. STRAY Now, there’s a huge difference between your bass being a path, and it being a doormat. If your bass only plays root notes, it’ll blend into the background and your other instruments will walk all over it. That’s not cool, so don’t let your bass be a doormat. The best way to avoid that fate (and to ensure your bass line becomes a path) is actually rather counterintuitive. To be the path, your bass needs to stray from the path. Think about it: Your listeners won’t notice your bass line when it’s only playing root notes, so as soon as it strays from those roots, it attracts attention to itself. Then, as soon as it has that attention, it can return to the path, but now that it’s been noticed, the next root note it plays won’t blend into the background. We strayed with one or two 1/8 notes at the end of each bar. And this straying also creates the opportunity to inject motifs, which are short musical ideas that are repeated to make your music memorable, like these ascending 1/8 notes at the end of bars 1 and 2, and these descending 1/8 notes at the end of bars 3 and 4.
MORE So, now that you’ve got one section down, how do you write the other sections? Then, how do you transition between them (especially when they’re in different keys)? And then, how do you structure and arrange your song? These are issues many songwriters and producers struggle with, and that’s exactly why we made our online apprenticeship course, which guides you through every step of the music making process, from blank screen to finished song. So, if you wanna learn our secret method for writing (and finishing) great songs, which we don’t teach in these free lessons, then check out our Apprenticeship #1 online course.
SALE • 40% OFF This bass line is not the only epic thing going down this week, our epic Black Friday sale starts today, so get involved now for 40% off everything, including our bestsellers: the Songwriting & Producing PDF (click & scroll down) and the Apprenticeship #1 Online Course - sale ends 2 Dec 2019. Thanks for reading/watching/listening, and we’ll see you next time!
Kate & Ray Harmony (AKA Revolution Harmony) Music Teachers & Producers in Vancouver BC, Canada
Take Your Music to the Next Level
LEVEL 1 – FREE BOOK "12 Music Theory Hacks to Learn Scales & Chords" will give you a super solid music theory foundation in 30 minutes!
LEVEL 2 – SONGWRITING & PRODUCING PDF (click & scroll down) This is our best-selling PDF, which includes MIDI file examples. Learn the essential hacks for songwriting & producing, like our Melody Checklist (the ultimate list of do's and don'ts for writing great melodies). You'll also learn how to write chord progressions, bass lines, riffs, counterpoint harmonies, and more!
LEVEL 3 – LESSON PACKS After learning our essential hacks, it's time to put them to practical use and start writing some new songs. Lesson packs include step-by-step PDF guides to making music for different instruments and in different genres (electronic, metal, soundtrack, etc.), as well as multitrack MIDI files of the examples.
LEVEL 4 – ONLINE APPRENTICESHIP Go from a blank screen to a finished song, in this online video course. Learn how to write new sections for an existing section, how to transition between sections in different keys, how to structure and arrange, and much more! This course has been called "life-changing" many times, so join 800+ music makers now (from all genres), who are learning Ray's secret hack: Song Whispering.
ABOUT Hack Music Theory is a pioneering DAW method for making great music that stands out, so you can move and grow your audience! Taught by multi-award-winning music lecturer Ray Harmony, and his protégé wife Kate Harmony, from their studio in Vancouver BC, Canada. Ray is the author of critically-acclaimed book series "Hack Music Theory", and has made music with Serj Tankian (System of a Down), Tom Morello (Rage Against the Machine), Steven Wilson (Porcupine Tree), Devin Townsend (Strapping Young Lad), Ihsahn (Emperor), Kool Keith (Ultramagnetic MCs), Madchild (Swollen Members), and many more! Kate has the highest grade distinction in Popular Music Theory from the London College of Music, and is the only person on the planet who's been trained by Ray to teach his method. On that note, Hack Music Theory teaches relevant and instantly-usable music theory for producers, songwriters, DAW users, and all other music makers (guitarists, bassists, singers, drummers, etc.) in all genres, from EDM to R&B, pop to hip-hop, reggae to rock, electronic to metal (and yes, we djefinitely djent!).
Leprous “Pitfalls” Melody (Music Theory)
Nov 15, 2019
Learn how to write a melody for an epic chorus, by using a music theory hack from Leprous “Alleviate” (off their new album “Pitfalls”).
Hello revolutionary music makers, we are Kate Harmony and Ray Harmony (AKA Revolution Harmony), and welcome to Hack Music Theory. We help you make great music that stands out, so you can move and grow your audience! If that sounds useful to you, then subscribe to our YouTube channel (or Podcast) and hit that bell to get notified every Friday, when we publish our new lesson.
FREE BOOK If it's your first time here, be sure to download our free book “12 Music Theory Hacks to Learn Scales & Chords” below. It only takes 30 minutes to read, and then you'll have a super solid music theory foundation!
Wooohooo!!! You’re a mere 30 minutes away from being even smarter than you already are. Just head on over to your inbox now for your free download.
There was an error submitting your subscription. Please try again.
“The most brilliant, fast, easy & fun music theory book I’ve ever seen!” DEREK SIVERS, CD Baby founder
We use this field to detect spam bots. If you fill this in, you will be marked as a spammer.
DOWNLOAD FREE BOOK
SETUP In last week’s lesson you learned how to write an epic chord progression, so now you’re gonna learn how to write an epic melody for it. And this theory hack is inspired by the chorus of recent single “Alleviate” by the awesome Norwegian band Leprous. But, the example in this lesson is actually our music, which we wrote using their theory. Right, so start by setting up eight bars of 4/4, with your grid set to 1/8 notes, and your tempo set to 116 BPM. Leprous use D natural minor for their chorus, and the natural minor scale is a common choice for epic music, so we’ll use it too.
STEP 1. ONCE UPON A TIME Epic music sounds epic, because it tells an epic musical story. And when it comes to telling a story, you don’t just jump right into the best part, you first have to set the scene. So, start your melody with a short “Once upon a time...” phrase. We started our melody with a motif centered around one semitone intervals. And whatever you do for your “Once upon a time...” phrase, just be sure to use small intervals, as this phrase is intended to set things up without grabbing any attention.
STEP 2. THE MOUNTAIN All great stories have a massive obstacle, which the main character needs to overcome in order to transform into the hero. Sometimes the obstacle is internal, sometimes external, but it always involves climbing a metaphorical mountain, or sometimes an actual mountain, quite literally. So, now that you’ve set the scene for your story, it’s time to introduce the mountain. And musically, there’s no better way to do this than a huge interval, as that instantly injects a ton of drama, while catapulting your listeners to the top of that musical mountain. Leprous use the very beautiful minor 6th interval here, but you can use a 6th or 7th. We actually used a major 6th here.
MELODY CHECKLIST If you want the ultimate list of dos and don’ts for writing great melodies, then use the Melody Checklist in our Songwriting & Producing PDF (click and scroll down). And that PDF also contains hacks on how to write great chord progressions, bass lines, counterpoint harmony, and all the other essential songwriting and producing hacks, as well as MIDI file examples.
STEP 3. TAKE IT HOME Alright, now that your listeners have summited that mountain and become heroes, it’s time to take them home, safely. This involves a slow and steady descent back home, but with a couple 1/8 notes, to avoid a possible anticlimax after that peak.
STEP 4. THE SEQUEL Right, now that you’ve written your epic melody over four bars, it’s time for the sequel. So, when you take your listeners through bars 5 to 8, you need a variation in order to create that magic balance of familiarity and freshness. And the best place to make your variation is when you’re taking it home the second time. So, on your slow and steady descent, simply change up a few pitches and their note values.
NEXT So, now that you’ve got one section coming together, how do you write the other sections? Then, how do you transition between them (especially when they’re in different keys)? And then, how do you structure and arrange your song? These are issues many songwriters and producers struggle with, and that’s exactly why we made our online apprenticeship course, which guides you through every step of the music making process, from blank screen to finished song. So, if you wanna learn our secret method for writing (and finishing) great songs, which we don’t teach in these free lessons, then sign up now for our one-of-a-kind online apprenticeship course.
Thanks for reading/watching/listening, and we’ll see you next week!
Kate & Ray Harmony (AKA Revolution Harmony) Music Teachers & Producers in Vancouver BC, Canada
Take Your Music to the Next Level
LEVEL 1 – FREE BOOK "12 Music Theory Hacks to Learn Scales & Chords" will give you a super solid music theory foundation in 30 minutes!
LEVEL 2 – SONGWRITING & PRODUCING PDF (click & scroll down) This is our best-selling PDF, which includes MIDI file examples. Learn the essential hacks for songwriting & producing, like our Melody Checklist (the ultimate list of do's and don'ts for writing great melodies). You'll also learn how to write chord progressions, bass lines, riffs, counterpoint harmonies, and more!
LEVEL 3 – LESSON PACKS After learning our essential hacks, it's time to put them to practical use and start writing some new songs. Lesson packs include step-by-step PDF guides to making music for different instruments and in different genres (electronic, metal, soundtrack, etc.), as well as multitrack MIDI files of the examples.
LEVEL 4 – ONLINE APPRENTICESHIP Go from a blank screen to a finished song, in this online video course. Learn how to write new sections for an existing section, how to transition between sections in different keys, how to structure and arrange, and much more! This course has been called "life-changing" many times, so join 800+ music makers now (from all genres), who are learning Ray's secret hack: Song Whispering.
ABOUT Hack Music Theory is a pioneering DAW method for making great music that stands out, so you can move and grow your audience! Taught by multi-award-winning music lecturer Ray Harmony, and his protégé wife Kate Harmony, from their studio in Vancouver BC, Canada. Ray is the author of critically-acclaimed book series "Hack Music Theory", and has made music with Serj Tankian (System of a Down), Tom Morello (Rage Against the Machine), Steven Wilson (Porcupine Tree), Devin Townsend (Strapping Young Lad), Ihsahn (Emperor), Kool Keith (Ultramagnetic MCs), Madchild (Swollen Members), and many more! Kate has the highest grade distinction in Popular Music Theory from the London College of Music, and is the only person on the planet who's been trained by Ray to teach his method. On that note, Hack Music Theory teaches relevant and instantly-usable music theory for producers, songwriters, DAW users, and all other music makers (guitarists, bassists, singers, drummers, etc.) in all genres, from EDM to R&B, pop to hip-hop, reggae to rock, electronic to metal (and yes, we djefinitely djent!).
Leprous “Pitfalls” Chords (Music Theory)
Nov 08, 2019
Learn how to write a chord progression for an epic chorus, by using a music theory hack from Leprous “Alleviate” (off new album “Pitfalls”).
Hello revolutionary music makers, we are Kate Harmony and Ray Harmony (AKA Revolution Harmony), and welcome to Hack Music Theory. We help you make great music that stands out, so you can move and grow your audience! If that sounds useful to you, then subscribe to our YouTube channel (or Podcast) and hit that bell to get notified every Friday, when we publish our new lesson.
FREE BOOK If it's your first time here, be sure to download our free book “12 Music Theory Hacks to Learn Scales & Chords” below. It only takes 30 minutes to read, and then you'll have a super solid music theory foundation!
Wooohooo!!! You’re a mere 30 minutes away from being even smarter than you already are. Just head on over to your inbox now for your free download.
There was an error submitting your subscription. Please try again.
“The most brilliant, fast, easy & fun music theory book I’ve ever seen!” DEREK SIVERS, CD Baby founder
We use this field to detect spam bots. If you fill this in, you will be marked as a spammer.
DOWNLOAD FREE BOOK
INTRO Norwegian band Leprous just released their new album “Pitfalls”, and it’s truly epic! One of the most epic moments is the chorus in their song “Alleviate”, which we’ll hack over the next two lessons: chords this week, then melody next week.
SETUP Alright, now you’re gonna learn how to make your own epic chord progression, like Leprous. And for the example in this lesson, we’ll be using our version that we made earlier. So, start by setting up eight bars of 4/4, with your grid set to 1/4 notes, and your tempo set to 116 BPM. Leprous use D natural minor for their chorus, and the natural minor scale is a common choice for epic music, so we’ll use it too.
STEP 1. COMMON NOTES A common note is a note that’s the same between two chords. For example, Dm and Fmaj both contain the notes F and A, so F and A are common notes between those two chords. And common notes are an essential part of epic music, cos having a note or two stay the same when your chord changes, creates a super strong link between those chords that adds power to your progression. So, when you’re choosing what chords to use from the key of D minor, be sure to choose chords with common notes. For our progression, we chose: Dm → Fmaj → B♭maj → Csus4. And the reason for Csus4, is because Cmaj doesn’t have a common note with the B♭maj before it or the Dm after it, so we changed the Cmaj to Csus4, which gives us the common note F.
STEP 2. INVERSIONS Now that you’ve chosen your chords, it’s time to use inversions to get the common notes in the same place within your chords as they change. And by the way, an inversion is simply when you change the order of the notes in a chord. For example, we inverted Fmaj to be CFA, instead of FAC. And we did that to get those common notes (F and A) in the same place as they are in Dm. So now F is in the middle of both chords, and A is on top of both chords, which makes this chord change super strong, and therefore epic!
STEP 3. RHYTHM When it comes to how long you spend on each chord (known as harmonic rhythm), keep it simple, as your chord progression is just the foundation upon which you’ll write an epic melody. So if get too fancy with your harmonic rhythm, your chords will actually draw attention away from your melody. And epic music is all about the melody, which we’ll cover next week. Now, Leprous plays each chord for one bar, so we’ve done the same.
STEP 4. VARIATION This is optional, but if you create a little variation in your progression, it’ll inject some freshness. We did this by resolving Csus4 to Cmaj every second time, but then we go straight back to Csus4, as that 4 (F) is the common note that links to the next chord, Dm.
NEXT So, now that you’ve got one section coming together, how do you write the other sections? Then, how do you transition between them (especially when they’re in different keys)? And then, how do you structure and arrange your song? These are issues many songwriters and producers struggle with, and that’s exactly why we made our online apprenticeship course, which guides you through every step of the music making process, from blank screen to finished song. So, if you wanna learn our secret method for writing (and finishing) great songs, which we don’t teach in these free lessons, then sign up now for this one-of-a-kind video course.
Thanks for reading/watching/listening, and we’ll see you next week!
Kate & Ray Harmony (AKA Revolution Harmony) Music Teachers & Producers in Vancouver BC, Canada
Take Your Music to the Next Level
LEVEL 1 – FREE BOOK "12 Music Theory Hacks to Learn Scales & Chords" will give you a super solid music theory foundation in 30 minutes!
LEVEL 2 – SONGWRITING & PRODUCING PDF (click & scroll down) This is our best-selling PDF, which includes MIDI file examples. Learn the essential hacks for songwriting & producing, like our Melody Checklist (the ultimate list of do's and don'ts for writing great melodies). You'll also learn how to write chord progressions, bass lines, riffs, counterpoint harmonies, and more!
LEVEL 3 – LESSON PACKS After learning our essential hacks, it's time to put them to practical use and start writing some new songs. Lesson packs include step-by-step PDF guides to making music for different instruments and in different genres (electronic, metal, soundtrack, etc.), as well as multitrack MIDI files of the examples.
LEVEL 4 – ONLINE APPRENTICESHIP Go from a blank screen to a finished song, in this online video course. Learn how to write new sections for an existing section, how to transition between sections in different keys, how to structure and arrange, and much more! This course has been called "life-changing" many times, so join 700+ music makers now (from all genres), who are learning Ray's secret hack: Song Whispering.
ABOUT Hack Music Theory is a pioneering DAW method for making great music that stands out, so you can move and grow your audience! Taught by multi-award-winning music lecturer Ray Harmony, and his protégé wife Kate Harmony, from their studio in Vancouver BC, Canada. Ray is the author of critically-acclaimed book series "Hack Music Theory", and has made music with Serj Tankian (System of a Down), Tom Morello (Rage Against the Machine), Steven Wilson (Porcupine Tree), Devin Townsend (Strapping Young Lad), Ihsahn (Emperor), Kool Keith (Ultramagnetic MCs), Madchild (Swollen Members), and many more! Kate has the highest grade distinction in Popular Music Theory from the London College of Music, and is the only person on the planet who's been trained by Ray to teach his method. On that note, the "Hack Music Theory" YouTube channel teaches relevant and instantly-usable music theory for producers, DAW users, and all other music makers (songwriters, singers, guitarists, bassists, drummers, etc.) in all genres, from EDM to R&B, pop to hip-hop, reggae to rock, electronic to metal (and yes, we djefinitely djent!).
So, now that 2020 is just a couple months away, we’re starting to make our new year plans. You see, 2020 will be Hack Music Theory’s fourth year, and we need your help to take this awesome community to an even awesomer level. To do that, we would love you to answer two questions that will determine the direction of Hack Music Theory next year (please write your answers in the YouTube comments). But first, as always... tea!
Hello revolutionary music makers, we are Kate Harmony and Ray Harmony (AKA Revolution Harmony), and welcome to Hack Music Theory. We help you make great music that stands out, so you can move and grow your audience! If that sounds useful to you, then subscribe to our YouTube channel (or Podcast) and hit that bell to get notified every Friday, when we publish our new lesson.
FREE BOOK If it's your first time here, be sure to download our free book “12 Music Theory Hacks to Learn Scales & Chords” below. It only takes 30 minutes to read, and then you'll have a super solid music theory foundation!
Wooohooo!!! You’re a mere 30 minutes away from being even smarter than you already are. Just head on over to your inbox now for your free download.
There was an error submitting your subscription. Please try again.
“The most brilliant, fast, easy & fun music theory book I’ve ever seen!” DEREK SIVERS, CD Baby founder
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DOWNLOAD FREE BOOK
QUESTION 1 - Predictable or Creative? The artists who become superstars, like Marshmello, reach that fame because their music appeals to the masses. But in order to appeal to millions of people, their songs must be predictable, because the general public likes music that sounds familiar. On the other hand, if you wanna push the boundaries of creativity and make art, you’ll end up with a relatively small audience, like the amazing artist Dan D’Lion. Now, Hack Music Theory is all about relevant music theory. But, is Marshmello relevant (because he’s got 36 million monthly listeners on Spotify), or is Dan D’Lion relevant (because he’s making the freshest electronic music out there)? This is your community, so you decide. Simply drop us a comment on YouTube and let us know if you’d like to learn the popular but predictable music theory of superstars, or if you’d prefer to learn the interesting music theory of creative but lesser-known artists.
QUESTION 2 - Which Genres? As you know, we teach all genres of popular music, from electronic to metal. But, would you prefer to learn theory from a specific genre, or do you like this variety? As we’ve mentioned before, the theory hacks in every lesson can be used to make music in any genre, but maybe that isn’t obvious enough. So, let us know if you like the genre variety or if you’d prefer more of one genre. And if so, which genre?
THANKS Thank you sincerely for your time and for being here in the Hack Music Theory community, we appreciate you, and we’re super stoked to make 2020 the best year yet, with your help. Thanks again, and we’ll be back next week with a new artist hack!
Kate & Ray Harmony (AKA Revolution Harmony) Music Teachers & Producers in Vancouver BC, Canada
Take Your Music to the Next Level
LEVEL 1 – FREE BOOK "12 Music Theory Hacks to Learn Scales & Chords" will give you a super solid music theory foundation in 30 minutes!
LEVEL 2 – SONGWRITING & PRODUCING PDF (click & scroll down) This is our best-selling PDF, which includes MIDI file examples. Learn the essential hacks for songwriting & producing, like our Melody Checklist (the ultimate list of do's and don'ts for writing great melodies). You'll also learn how to write chord progressions, bass lines, riffs, counterpoint harmonies, and more!
LEVEL 3 – LESSON PACKS After learning our essential hacks, it's time to put them to practical use and start writing some new songs. Lesson packs include step-by-step PDF guides to making music for different instruments and in different genres (electronic, metal, soundtrack, etc.), as well as multitrack MIDI files of the examples.
LEVEL 4 – ONLINE APPRENTICESHIP Go from a blank screen to a finished song, in this online video course. Learn how to write new sections for an existing section, how to transition between sections in different keys, how to structure and arrange, and much more! This course has been called "life-changing" many times, so join 700+ music makers now (from all genres), who are learning Ray's secret hack: Song Whispering.
ABOUT Hack Music Theory is a pioneering DAW method for making great music that stands out, so you can move and grow your audience! Taught by multi-award-winning music lecturer Ray Harmony, and his protégé wife Kate Harmony, from their studio in Vancouver BC, Canada. Ray is the author of critically-acclaimed book series "Hack Music Theory", and has made music with Serj Tankian (System of a Down), Tom Morello (Rage Against the Machine), Steven Wilson (Porcupine Tree), Devin Townsend (Strapping Young Lad), Ihsahn (Emperor), Kool Keith (Ultramagnetic MCs), Madchild (Swollen Members), and many more! Kate has the highest grade distinction in Popular Music Theory from the London College of Music, and is the only person on the planet who's been trained by Ray to teach his method. On that note, the "Hack Music Theory" YouTube channel teaches relevant and instantly-usable music theory for producers, DAW users, and all other music makers (songwriters, singers, guitarists, bassists, drummers, etc.) in all genres, from EDM to R&B, pop to hip-hop, reggae to rock, electronic to metal (and yes, we djefinitely djent!).
Stranger Theory: Making Music without Scales (Re-Upload)
Oct 25, 2019
Ray Harmony and the Hack Music Theory revolution are put to the ultimate test in this Halloween Special. Is it possible to make great music that's not in any scale or mode? Spoiler alert: Yes! By the way, please note that this is our Halloween Special that we've re-uploaded, partly cos the sound in the original was out of sync (which we've fixed), and partly cos this is our favourite HMT video. Happy Halloween :)
Hello revolutionary music makers, we are Kate Harmony and Ray Harmony (AKA Revolution Harmony), and welcome to Hack Music Theory. We help you make great music that stands out, so you can move and grow your audience! If that sounds useful to you, then subscribe to our YouTube channel (or Podcast) and hit that bell to get notified every Friday, when we publish our new lesson. Also, if you’re new to our channel, be sure to download our free book “12 Music Theory Hacks to Learn Scales & Chords” below. It only takes 30 minutes to read, and then you'll have a super solid music theory foundation! Alright, it’s time to open your DAW to hack music theory.
Wooohooo!!! You’re a mere 30 minutes away from being even smarter than you already are. Just head on over to your inbox now for your free download.
There was an error submitting your subscription. Please try again.
“The most brilliant, fast, easy & fun music theory book I’ve ever seen!” DEREK SIVERS, CD Baby founder
We use this field to detect spam bots. If you fill this in, you will be marked as a spammer.
DOWNLOAD FREE BOOK
CHALLENGE If Ray fails his challenge, this will be the last ever episode on this YouTube channel. In under five minutes, he needs to write a riff, but he cannot use any scales or any modes. Ray decides to use one of his favourite songwriting hacks, a note row. This method of composing was invented by Arnold Schoenberg in the 1920s and is known as serialism (AKA dodecaphony, twelve tone technique, 12 tone method) and results in 12 tone music (or 12 note music, if you're British like Ray), which he loves! Using MIDI programming in his Reaper DAW, as well as his trusty Godin xtSA electric guitar, he tackles this colossal challenge with a combination of electronic music theory and a djent guitar mindset (the lesson/tutorial is at 7:32). Ray throws down an epic metal riff while vocalist Garbageface doom raps the grooviest verse you'll ever hear! So, whether you're looking for a Halloween funny horror music video, Halloween movies, horror movies, horror comedy, Halloween music, or just a Halloween song to get your party pumping, this video is for you. Or, whether you're wanting to seriously learn about 12 tone guitar, djent metal riff writing, hardcore metal riff writing, or just how to write heavy guitar riffs, this video is for you. And, be sure to watch the guitar playthrough at 11:37 as well, it's unlike anything you've ever seen before! Thanks for watching, and we’ll see you next week!
Kate & Ray Harmony (AKA Revolution Harmony) Music Teachers & Producers in Vancouver BC, Canada
Take Your Music to the Next Level
LEVEL 1 – FREE BOOK "12 Music Theory Hacks to Learn Scales & Chords" will give you a super solid music theory foundation in 30 minutes!
LEVEL 2 – SONGWRITING & PRODUCING PDF (click & scroll down) This is our best-selling PDF, which includes MIDI file examples. Learn the essential hacks for songwriting & producing, like our Melody Checklist (the ultimate list of do's and don'ts for writing great melodies). You'll also learn how to write chord progressions, bass lines, riffs, counterpoint harmonies, and more!
LEVEL 3 – LESSON PACKS After learning our essential hacks, it's time to put them to practical use and start writing some new songs. Lesson packs include step-by-step PDF guides to making music for different instruments and in different genres (electronic, metal, soundtrack, etc.), as well as multitrack MIDI files of the examples.
LEVEL 4 – ONLINE APPRENTICESHIP Go from a blank screen to a finished song, in this online video course. Learn how to write new sections for an existing section, how to transition between sections in different keys, how to structure and arrange, and much more! This course has been called "life-changing" many times, so join 700+ music makers now (from all genres), who are learning Ray's secret hack: Song Whispering.
ABOUT Hack Music Theory is a pioneering DAW method for making great music that stands out, so you can move and grow your audience! Taught by multi-award-winning music lecturer Ray Harmony, and his protégé wife Kate Harmony, from their studio in Vancouver BC, Canada. Ray is the author of critically-acclaimed book series "Hack Music Theory", and has made music with Serj Tankian (System of a Down), Tom Morello (Rage Against the Machine), Steven Wilson (Porcupine Tree), Devin Townsend (Strapping Young Lad), Ihsahn (Emperor), Kool Keith (Ultramagnetic MCs), Madchild (Swollen Members), and many more! Kate has the highest grade distinction in Popular Music Theory from the London College of Music, and is the only person on the planet who's been trained by Ray to teach his method. On that note, the "Hack Music Theory" YouTube channel teaches relevant and instantly-usable music theory for producers, DAW users, and all other music makers (songwriters, singers, guitarists, bassists, drummers, etc.) in all genres, from EDM to R&B, pop to hip-hop, reggae to rock, electronic to metal (and yes, we djefinitely djent!).
American Horror Story "1984" Bass Line (Music Theory)
Oct 18, 2019
With Halloween around the corner, horror movies and TV shows are flooding Netflix. So, it’s the perfect time to learn how to write spooky and scary soundtrack music like the creepy new American Horror Story 1984 theme song.
Hello revolutionary music makers, we are Kate Harmony and Ray Harmony (AKA Revolution Harmony), and welcome to Hack Music Theory. We help you make great music that stands out, so you can move and grow your audience! If that sounds useful to you, then subscribe to our YouTube channel (or Podcast) and hit that bell to get notified every Friday, when we publish our new lesson. Also, if you’re new to our channel, be sure to download our free book “12 Music Theory Hacks to Learn Scales & Chords” below. Alright, it’s time to open your DAW to hack music theory.
Wooohooo!!! You’re a mere 30 minutes away from being even smarter than you already are. Just head on over to your inbox now for your free download.
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“The most brilliant, fast, easy & fun music theory book I’ve ever seen!” DEREK SIVERS, CD Baby founder
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Halloween is coming! So in this lesson, you’ll learn the music theory secrets behind American Horror Story’s theme song, and how you can use them to write your own dark sounding bass lines. But first… tea!
INTRO So, in this Halloween series we are revealing the music theory secrets that were used to make the new American Horror Story theme song sound so spooky! And by the way, if you missed last week’s lesson How to Write a Spooky Melody, check it out, cos we uncovered the mystery behind their creepy sounding lead melody. Right, now here are the two theory secrets that make the American Horror Story bass line so dark:
SECRET 1. IT’S NOT THE BASS The most shocking thing about their bass line is that it’s not shocking! I know this sounds totally counterintuitive, but it’s the truth. Seriously, if you mute everything else and listen to the bass on its own, it’s just a pretty normal bass line. So, what’s making it sound dark and creepy then? Well, it’s the harmony created by the bass line and the lead melody playing together. On that note, this melody above our bass line is the lead melody, which we covered last week. It’s on another track, so it’s muted here, we’re just using it for reference. Right, so as you learned in last week’s lesson, the ♭6 injects mystery into a melody, and the ♭5 brings the horror. So when the lead melody plays those notes, it’s essential the bass plays the root note below. Because remember, the emotion is in the harmony!
SECRET 2. ARPEGGIOS Okay, you’re probably still thinking: “Yeah but their bass line does sound a little creepy, there must be something in there?”. Well, there is one small element in the actual bass line that does make it sound a bit unsettled. What is it? Arpeggios. And by the way, an arpeggio is when you play a chord one note at a time. By moving through the notes of a chord like this, it creates movement in the melody, but not the harmony, as you’re still on the same chord. And when this is done descending (like they do in the American Horror Story bass line, by playing 5 ♭3 1 of the root chord), it gives us a sinking feeling that is unsettling in the context of all those creepy sound effects. And also, their opening arpeggio sounds kinda dark simply because it’s a minor chord.
NEXT So, now that you’ve got one section coming together, how do you write the other sections? Then, how do you transition between them (especially when they’re in different keys)? And then, how do you structure and arrange your song? These are issues many songwriters and producers struggle with, and that’s exactly why we made our online apprenticeship course, which guides you through every step of the music making process, from blank screen to finished song. So, if you wanna learn our secret method for writing (and finishing) great songs, which we don’t teach in these free lessons, then sign up now for this one-of-a-kind video course.
Thanks for reading/watching/listening, and we’ll see you next week!
Kate & Ray Harmony (AKA Revolution Harmony) Music Teachers & Producers in Vancouver BC, Canada
Take Your Music to the Next Level
LEVEL 1 – FREE BOOK "12 Music Theory Hacks to Learn Scales & Chords" will give you a super solid music theory foundation in 30 minutes!
LEVEL 2 – SONGWRITING & PRODUCING PDF (click & scroll down) This is our best-selling PDF, which includes MIDI file examples. Learn the essential hacks for songwriting & producing, like our Melody Checklist (the ultimate list of do's and don'ts for writing great melodies). You'll also learn how to write chord progressions, bass lines, riffs, counterpoint harmonies, and more!
LEVEL 3 – LESSON PACKS After learning our essential hacks, it's time to put them to practical use and start writing some new songs. Lesson packs include step-by-step PDF guides to making music for different instruments and in different genres (electronic, metal, soundtrack, etc.), as well as multitrack MIDI files of the examples.
LEVEL 4 – ONLINE APPRENTICESHIP Go from a blank screen to a finished song, in this online video course. Learn how to write new sections for an existing section, how to transition between sections in different keys, how to structure and arrange, and much more! This course has been called "life-changing" many times, so join 700+ music makers now (from all genres), who are learning Ray's secret hack: Song Whispering.
ABOUT Hack Music Theory is a pioneering DAW method for making great music that stands out, so you can move and grow your audience! Taught by multi-award-winning music lecturer Ray Harmony, and his protégé wife Kate Harmony, from their studio in Vancouver BC, Canada. Ray is the author of critically-acclaimed book series "Hack Music Theory", and has made music with Serj Tankian (System of a Down), Tom Morello (Rage Against the Machine), Steven Wilson (Porcupine Tree), Devin Townsend (Strapping Young Lad), Ihsahn (Emperor), Kool Keith (Ultramagnetic MCs), Madchild (Swollen Members), and many more! Kate has the highest grade distinction in Popular Music Theory from the London College of Music, and is the only person on the planet who's been trained by Ray to teach his method. On that note, the "Hack Music Theory" YouTube channel teaches relevant and instantly-usable music theory for producers, DAW users, and all other music makers (songwriters, singers, guitarists, bassists, drummers, etc.) in all genres, from EDM to R&B, pop to hip-hop, reggae to rock, electronic to metal (and yes, we djefinitely djent!).
American Horror Story "1984" Melody (Music Theory)
Oct 11, 2019
Halloween is coming! And with horror movies and TV shows flooding Netflix, it’s the perfect time to learn how to write spooky and scary soundtrack music like the creepy new American Horror Story 1984 theme song.
Hello revolutionary music makers, we are Kate Harmony and Ray Harmony (AKA Revolution Harmony), and welcome to Hack Music Theory. We help you make great music that stands out, so you can move and grow your audience! If that sounds useful to you, then subscribe to our YouTube channel (or Podcast) and hit that bell to get notified every Friday, when we publish our new lesson. Also, if you’re new to our channel, be sure to download our free book “12 Music Theory Hacks to Learn Scales & Chords” below. Alright, it’s time to open your DAW to hack music theory.
Wooohooo!!! You’re a mere 30 minutes away from being even smarter than you already are. Just head on over to your inbox now for your free download.
There was an error submitting your subscription. Please try again.
“The most brilliant, fast, easy & fun music theory book I’ve ever seen!” DEREK SIVERS, CD Baby founder
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Halloween is coming! So in this lesson, you’ll learn the music theory secret behind American Horror Story’s theme tune, and how you can use it to make your own spooky melody. But first… tea!
INTRO If you’re watching the new season of American Horror Story, then you’ll have noticed that their creepy theme song has had an update, or rather a backdate. Just like Stranger Things, American Horror Story has taken us back to 1984, and their theme song perfectly reflects that with its lush synthesizers and big drums, all swimming in an ocean of reverb. Now, if you haven’t been watching, then you’re probably wondering: How can ‘80s music sound scary? Well, it’s all in the music theory! So, here are the 2 theory secrets that make the American Horror Story melody spooky:
SECRET 1. THE ♭6 The ♭6 injects mystery into a melody, especially when it’s played over the top of your root note (which can be played in the bass). To hear this in action, simply play a high G over a low B root note. On that note, the American Horror Story theme song is in the key of B minor (B C♯ D E F♯ G A), so we’ll use it too. Now, unsurprisingly, the mysterious ♭6 also turns up in the X-Files theme song. So, the ♭6 is one semitone above the 5, and both X-Files and American Horror Story set up the ♭6 by playing the 5 before it, because the 5 sounds so normal that it makes the ♭6 even more mysterious.
SECRET 2. THE ♭5 The ♭5 injects the horror into a melody, especially when it’s played over the top of your root note (which can be played in the bass). To hear this in action, simply play a high F over a low B root note. Now, if you’re thinking: “Whoa, that sounds out-of-key!”, then you’re right. The ♭5 is a non-diatonic note in the key of B minor, which means it’s not in the B minor scale. And unsurprisingly, the scary ♭5 turns up in every other horror movie soundtrack as well. Now, just like the American Horror Story melody emphasises that one semitone ascend from 5 to ♭6, it does exactly the opposite at the end of the melody, where 5 descends one semitone to the creepy ♭5.
NEXT If you want the ultimate list of dos and don’ts for writing great melodies, then use the Melody Checklist, which is in our Songwriting & Producing PDF (click & scroll down). It also contains hacks on how to write chord progressions, bass lines, and all the other essential songwriting and producing hacks, as well as MIDI file examples.
Thanks for reading/watching/listening, and we’ll see you next week, when you’ll learn how to add a chord progression and bass line to your horror melody!
Kate & Ray Harmony (AKA Revolution Harmony) Music Teachers & Producers in Vancouver BC, Canada
Take Your Music to the Next Level
LEVEL 1 – FREE BOOK "12 Music Theory Hacks to Learn Scales & Chords" will give you a super solid music theory foundation in 30 minutes!
LEVEL 2 – SONGWRITING & PRODUCING PDF (click & scroll down) This is our best-selling PDF, which includes MIDI file examples. Learn the essential hacks for songwriting & producing, like our Melody Checklist (the ultimate list of do's and don'ts for writing great melodies). You'll also learn how to write chord progressions, bass lines, riffs, counterpoint harmonies, and more!
LEVEL 3 – LESSON PACKS After learning our essential hacks, it's time to put them to practical use and start writing some new songs. Lesson packs include step-by-step PDF guides to making music for different instruments and in different genres (electronic, metal, soundtrack, etc.), as well as multitrack MIDI files of the examples.
LEVEL 4 – ONLINE APPRENTICESHIP Go from a blank screen to a finished song, in this online video course. Learn how to write new sections for an existing section, how to transition between sections in different keys, how to structure and arrange, and much more! This course has been called "life-changing" many times, so join 700+ music makers now (from all genres), who are learning Ray's secret hack: Song Whispering.
ABOUT Hack Music Theory is a pioneering DAW method for making great music that stands out, so you can move and grow your audience! Taught by multi-award-winning music lecturer Ray Harmony, and his protégé wife Kate Harmony, from their studio in Vancouver BC, Canada. Ray is the author of critically-acclaimed book series "Hack Music Theory", and has made music with Serj Tankian (System of a Down), Tom Morello (Rage Against the Machine), Steven Wilson (Porcupine Tree), Devin Townsend (Strapping Young Lad), Ihsahn (Emperor), Kool Keith (Ultramagnetic MCs), Madchild (Swollen Members), and many more! Kate has the highest grade distinction in Popular Music Theory from the London College of Music, and is the only person on the planet who's been trained by Ray to teach his method. On that note, the "Hack Music Theory" YouTube channel teaches relevant and instantly-usable music theory for producers, DAW users, and all other music makers (songwriters, singers, guitarists, bassists, drummers, etc.) in all genres, from EDM to R&B, pop to hip-hop, reggae to rock, electronic to metal (and yes, we djefinitely djent!).
How to Transition between Sections of a Song
Oct 04, 2019
Do you struggle to write B sections? Do you struggle to transition between sections and finish your song? Then learn about the Frankenstein method and the Song-whispering method.
Hello revolutionary music makers, we are Kate Harmony and Ray Harmony (AKA Revolution Harmony), and welcome to Hack Music Theory. We help you make great music that stands out, so you can move and grow your audience! If that sounds useful to you, then subscribe to our YouTube channel (or Podcast) and hit that bell to get notified every Friday, when we publish our new lesson. Also, if you’re new to our channel, be sure to download our free book “12 Music Theory Hacks to Learn Scales & Chords” below. Alright, it’s time to open your DAW to hack music theory.
Wooohooo!!! You’re a mere 30 minutes away from being even smarter than you already are. Just head on over to your inbox now for your free download.
There was an error submitting your subscription. Please try again.
“The most brilliant, fast, easy & fun music theory book I’ve ever seen!” DEREK SIVERS, CD Baby founder
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DOWNLOAD FREE BOOK
Okay, so you’ve written two sections, but now, how do you transition from one section to the other? Well, there’s a couple different methods you can use, and we’ll introduce you to both of them in this lesson. But first… tea!
INTRO So, over the last few weeks, we’ve been asking you what part of the writing process you struggle with. Firstly, thank you sincerely to everyone who took the time to share, we read every single comment. Secondly, we have great news for all of you! We already have resources available to help with every problem that was shared, so let’s jump in! Now, almost all of these musical problems can be grouped into a handful of categories, which we’ll address over a couple of lessons. By far the most common issues you raised, were writing new sections for existing sections, and transitioning between sections. These issues are totally related, so we’ll cover both in this lesson.
LESSON Right, so there’s two completely different approaches to writing transitions. We like to call them the Frankenstein method, and the Song-whispering method. The Frankenstein method is when you have different sections that were not written with the intention of being joined, but later you decide you wanna stitch ‘em together. Then on the other hand, the Song-whispering method is when you write one section and allow it to whisper to you where it wants to go next, then from those whispers you write the transition and the next section. Both methods work, but the Frankenstein method forces sections together, whereas the Song-whispering method allows new sections to grow out of existing sections.
I used to use the Frankenstein method a lot when I was a young songwriter, but the more I matured, the less I used it, and nowadays I don’t use it at all. I believe that for a song to reach its full potential, it has to be given the opportunity to grow organically in whatever direction it wants. And that belief is the reason why I created the Song-whispering method, because when you master this method, it feels like your music is literally writing itself!
Now, on a very practical level, you’re probably wondering what to do if you have two sections that were not written with the intention of being joined. Well, instead of forcing them together, we recommend turning each of those sections into separate songs, which will allow them both to grow into their full potential. Having said that though, if you’re determined to Frankenstein them together, then you can, and it’s at least a great way to practice modulating (i.e. changing key). And if you need help with modulating, then check out the ultimate Modulation hack in our Songwriting & Producing PDF (click & scroll down). It will empower you with the three most effective ways to change between any two keys.
And if your two sections are in the same key already, then they’ll transition into each other relatively smoothly as is. So, a drum fill and perhaps a variation in the melody should be enough for a decent transition. However, the most powerful transitions will almost always involve modulating, as that freshness you get from a new key is vital in the overall longevity of a song. So on that note, if your two sections are in the same key, maybe they shouldn’t be joined after all.
Now, when you use the Song-whispering method, your song will guide you to the new key that it wants to move into, which will make the modulation sound natural and effortless. Okay, so now the big question is: How do you do this Song-whispering thing? Well, not only does it take many hours to teach Song-whispering, but it’s also our secret sauce that we sell, so we can eat, pay the rent and keep making these free lessons for you. So if you wanna learn how to become a Song-whisperer, then do our online Apprenticeship, which is a 17-hour video course that guides you through every step of the music making process, from blank screen to finished song. If that sounds useful to you, then sign up now!
THANKS Thank you once again for sharing your struggles with us. We really hope this lesson helped, and we’ll get to the rest of your music making problems next week. Thanks for reading, and we’ll see you next time!
Kate & Ray Harmony (AKA Revolution Harmony) Music Teachers & Producers in Vancouver BC, Canada
Take Your Music to the Next Level
LEVEL 1 – FREE BOOK "12 Music Theory Hacks to Learn Scales & Chords" will give you a super solid music theory foundation in 30 minutes!
LEVEL 2 – SONGWRITING & PRODUCING PDF (click & scroll down) This is our best-selling PDF, which includes MIDI file examples. Learn the essential hacks for songwriting & producing, like our Melody Checklist (the ultimate list of do's and don'ts for writing great melodies). You'll also learn how to write chord progressions, bass lines, riffs, counterpoint harmonies, and more!
LEVEL 3 – LESSON PACKS After learning our essential hacks, it's time to put them to practical use and start writing some new songs. Lesson packs include step-by-step PDF guides to making music for different instruments and in different genres (electronic, metal, soundtrack, etc.), as well as multitrack MIDI files of the examples.
LEVEL 4 – ONLINE APPRENTICESHIP Go from a blank screen to a finished song, in this online video course. Learn how to write new sections for an existing section, how to transition between sections in different keys, how to structure and arrange, and much more! This course has been called "life-changing" many times, so join 700+ music makers now (from all genres), who are learning Ray's secret hack: Song Whispering.
ABOUT Hack Music Theory is a pioneering DAW method for making great music that stands out, so you can move and grow your audience! Taught by multi-award-winning music lecturer Ray Harmony, and his protégé wife Kate Harmony, from their studio in Vancouver BC, Canada. Ray is the author of critically-acclaimed book series "Hack Music Theory", and has made music with Serj Tankian (System of a Down), Tom Morello (Rage Against the Machine), Steven Wilson (Porcupine Tree), Devin Townsend (Strapping Young Lad), Ihsahn (Emperor), Kool Keith (Ultramagnetic MCs), Madchild (Swollen Members), and many more! Kate has the highest grade distinction in Popular Music Theory from the London College of Music, and is the only person on the planet who's been trained by Ray to teach his method. On that note, the "Hack Music Theory" YouTube channel teaches relevant and instantly-usable music theory for producers, DAW users, and all other music makers (songwriters, singers, guitarists, bassists, drummers, etc.) in all genres, from EDM to R&B, pop to hip-hop, reggae to rock, electronic to metal (and yes, we djefinitely djent!).
Do you have a bass line, but now you wanna learn how to write a chord progression for it? Then simply use these 3 steps!
Hello revolutionary music makers, we are Kate Harmony and Ray Harmony (AKA Revolution Harmony), and welcome to Hack Music Theory. We help you make great music that stands out, so you can move and grow your audience! If that sounds useful to you, then subscribe to our YouTube channel (or Podcast) and hit that bell to get notified every Friday, when we publish our new lesson. Also, if you’re new to our channel, be sure to download our free book “12 Music Theory Hacks to Learn Scales & Chords” below. Alright, it’s time to open your DAW to hack music theory.
Wooohooo!!! You’re a mere 30 minutes away from being even smarter than you already are. Just head on over to your inbox now for your free download.
There was an error submitting your subscription. Please try again.
“The most brilliant, fast, easy & fun music theory book I’ve ever seen!” DEREK SIVERS, CD Baby founder
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DOWNLOAD FREE BOOK
Okay, so you’ve got a great bass line, but now, how do you write a great chord progression on top? That’s what you’ll learn in this lesson. But first… tea!
INTRO Over the last couple of lessons we’ve showed you the workflow needed to overcome that blank screen and get a new song started in minutes, so if you missed those, check ‘em out. Right, now you’re at the point where you have a solid section with bass and drums, but it’s not finished yet. You still need to add that vital musical ingredient: Chords. So, follow these 3 steps to add a chord progression:
STEP 1. ROOTS Just a quick heads up if you missed last week’s lesson, our bass line here is in the key of G minor, with a few chromatic notes. Right, so start by copying and pasting your bass line into your chords track, then muting it. That’s just there for reference. Now, the first thing you need to do is decide what chords you wanna build above what notes. And the obvious thing to do is to approach each note in your bass line (excluding chromatic notes) as the root note of a chord, for example, G would be the root note of Gm. And this approach is great for most notes, but try switch it up on at least one note, which is what we did here at the end, where we decided to build Dm above A in the bass. In other words, we approached that A as the 5 of the chord (D F A). For every longer note in your bass line, you usually wanna think of it as the 1 or 5 of a chord, cos those are the most stable notes. But then on the other hand, you usually wanna ignore all those quicker notes that you added to your bass line in step 3 of last week’s lesson. Those are what we call non-harmonic notes, they’re not part of the harmony, they’re just there to make it a better melody.
STEP 2. RHYTHM Right, so now you need to decide where your chords are going to change. This is known as harmonic rhythm, in other words, the rhythm of the chords. And we created an interesting harmonic rhythm by placing some of our chord changes on off-beats. This step is sadly left out by most songwriters and producers these days, and as a result, most chord progressions have a super boring harmonic rhythm, like changing on the predictable beat 1 or beat 3. Remember, no matter how great the chords are in a progression, it’ll end up getting boring if the harmonic rhythm is too predictable. And finally, once you’ve decided on your harmonic rhythm, simply fill in the triads.
STEP 3. FLOW Now, while that’s sounding good, it’s definitely not sounding great, yet! And that’s why this next step is such a game-changer, and that is to smooth out your chord changes, so you don’t get those disjointed jumps from one chord to the next, like we have now. There are two ways to do this, depending on whether you have a common note, like between Fmaj and Cm (as both chords have the note C), or, if you don’t have a common note, like between Gm and Fmaj. We’ve made two lessons specifically on how to use both of these methods, so check them out at the links below. And once you’ve done that, you’ll not only have chords that all flow beautifully into each other, but you’ll also have added a melodic element to your progression. Adding a melodic element to chord progressions is sadly another step that most songwriters and producers don’t do nowadays, so simply by applying this step to your chord progressions, your music will easily stand out!
NEXT So, now that you’ve got one section down, how do you write the other sections? Then, how do you transition between them (especially when they’re in different keys)? And then, how do you structure and arrange your song? These are issues many songwriters and producers struggle with, and that’s exactly why we made our online apprenticeship. This video course guides you through every step of the music making process, from blank screen to finished song. So, if you wanna learn our secret method for writing (and finishing) great songs, sign up now!
Kate & Ray Harmony (AKA Revolution Harmony) Music Teachers & Producers in Vancouver BC, Canada
Take Your Music to the Next Level
LEVEL 1 – FREE BOOK "12 Music Theory Hacks to Learn Scales & Chords" will give you a super solid music theory foundation in 30 minutes!
LEVEL 2 – SONGWRITING & PRODUCING PDF (click & scroll) This is our best-selling PDF, which includes MIDI file examples. Learn the essential hacks for songwriting & producing, like our Melody Checklist (the ultimate list of do's and don'ts for writing great melodies). You'll also learn how to write chord progressions, bass lines, riffs, counterpoint harmonies, and more!
LEVEL 3 – LESSON PACKS After learning our essential hacks, it's time to put them to practical use and start writing some new songs. Lesson packs include step-by-step PDF guides to making music for different instruments and in different genres (electronic, metal, soundtrack, etc.), as well as multitrack MIDI files of the examples.
LEVEL 4 – ONLINE APPRENTICESHIP Go from a blank screen to a finished song, in this online video course. Learn how to write new sections for an existing section, how to transition between sections in different keys, how to structure and arrange, and much more! This course has been called "life-changing" many times, so join 700+ music makers now (from all genres), who are learning Ray's secret hack: Song Whispering.
ABOUT Hack Music Theory is a pioneering DAW method for making great music that stands out, so you can move and grow your audience! Taught by multi-award-winning music lecturer Ray Harmony, and his protégé wife Kate Harmony, from their studio in Vancouver BC, Canada. Ray is the author of critically-acclaimed book series "Hack Music Theory", and has made music with Serj Tankian (System of a Down), Tom Morello (Rage Against the Machine), Steven Wilson (Porcupine Tree), Devin Townsend (Strapping Young Lad), Ihsahn (Emperor), Kool Keith (Ultramagnetic MCs), Madchild (Swollen Members), and many more! Kate has the highest grade distinction in Popular Music Theory from the London College of Music, and is the only person on the planet who's been trained by Ray to teach his method. On that note, the "Hack Music Theory" YouTube channel teaches relevant and instantly-usable music theory for producers, DAW users, and all other music makers (songwriters, singers, guitarists, bassists, drummers, etc.) in all genres, from EDM to R&B, pop to hip-hop, reggae to rock, electronic to metal (and yes, we djefinitely djent!).
Do you have an idea for a song, but you don’t know where to go next? Then learn how to write a song like a pro, with this new workflow series.
Hello revolutionary music makers, we are Kate Harmony and Ray Harmony (AKA Revolution Harmony), and welcome to Hack Music Theory. We help you make great music that stands out, so you can move and grow your audience! If that sounds useful to you, then subscribe to our YouTube channel (or Podcast) and hit that bell to get notified every Friday, when we publish our new video. Also, if you’re new to our channel, be sure to download our free book “12 Music Theory Hacks to Learn Scales & Chords” below. Alright, it’s time to open your DAW to hack music theory.
Wooohooo!!! You’re a mere 30 minutes away from being even smarter than you already are. Just head on over to your inbox now for your free download.
There was an error submitting your subscription. Please try again.
“The most brilliant, fast, easy & fun music theory book I’ve ever seen!” DEREK SIVERS, CD Baby founder
We use this field to detect spam bots. If you fill this in, you will be marked as a spammer.
DOWNLOAD FREE BOOK
Okay, so you’ve got an idea for a song, and you’ve got it programmed into your DAW, but what do you do next, and how do you turn that idea into a section? That’s what you’ll learn in this lesson. But first… tea!
INTRO In last week’s lesson How to Start Writing a Song we showed you the workflow for starting a new song and getting it up and running in minutes, so if you missed that, check it out. So now we’re at the point where we have an idea, and it’s programmed into our DAW, but how do we grow that idea into a whole section? Easy, just follow these 3 steps:
STEP 1. RHYTHM Right, so open your drum track that you wrote from last week’s lesson, then copy the rhythm of its most interesting bit. For ours, that’s definitely the irregular cymbal pattern, as our kick pattern is just a simple four-on-the-floor. However, if you went with a simpler cymbal pattern and a more interesting kick pattern, then copy the rhythm of your kicks instead. Next, paste that rhythm into your bass track, and move it to the note you want to make your root. And if you just hit play right now, you’ll notice it’s already sounding pretty damn cool.
STEP 2. CHORDS Now that you’ve got the rhythm for your bass line, it’s time to choose a mode, and assign pitches to this rhythm that outline a chord progression. I know, you’re probably thinking: Chords?! Yep, in order to write a great bass line, you need to be thinking about its harmony, which will in turn start writing your chord progression for you (and that’s actually next week’s lesson, where you’ll learn how to finish this section). Right, so we went with the Aeolian mode, and the chords we chose are: I → ♭VII → IV → ♭III. Also, be sure to change chords on interesting beats, instead of the predictable beat 1 and beat 3.
STEP 3. MELODY Alright, now that you have the harmony for your bass line, it’s time to turn that into a melody, cos a bass line that only plays the root note of each chord is a boring bass line. Now, there’s many ways to turn this into a melody, but they all involve adding some notes to create an interesting melodic contour. We actually chose the very conventional Aeolian mode in step 2, because we wanted to add chromaticism here, which is extra spicy, so there was no need for a spicy mode to start with. And by the way, chromaticism is just a fancy way of saying you’re playing one or more notes that are not in your mode. We added the ♭2, 7, ♭5, and 3. And this passing note at the end here looks like a chromatic note, but it’s not, it’s just the 2.
NEXT If you wanna learn everything you need to know about modes in three simple hacks, then check out our Songwriting & Producing PDF (click & scroll down). It also contains hacks on how to write bass lines, chord progressions, riffs, melodies, counterpoint harmonies, and more, and it comes with MIDI examples too!
Kate & Ray Harmony (AKA Revolution Harmony) Music Teachers & Producers in Vancouver BC, Canada
Take Your Music to the Next Level
LEVEL 1 – FREE BOOK "12 Music Theory Hacks to Learn Scales & Chords" will give you a super solid music theory foundation in 30 minutes!
LEVEL 2 – SONGWRITING & PRODUCING PDF (click & scroll) This is our best-selling PDF, which includes MIDI file examples. Learn the essential hacks for songwriting and producing, like our Melody Checklist (the ultimate list of do's and don'ts for writing great melodies). You'll also learn how to write chord progressions, bass lines, riffs, counterpoint harmonies, and more!
LEVEL 3 – LESSON PACKS After learning our essential hacks, it's time to put them to practical use and start writing some new songs. Lesson packs include step-by-step PDF guides to making music for different instruments and in different genres (electronic, metal, soundtrack, etc.), as well as multitrack MIDI files of the examples.
LEVEL 4 – ONLINE APPRENTICESHIP Go from a blank screen to a finished song, in this online video course. Learn how to write new sections for an existing section, how to transition between sections in different keys, how to structure and arrange, and much more! This course has been called "life-changing" many times, so join 700+ music makers now (from all genres), who are learning Ray's secret hack: Song Whispering.
ABOUT Hack Music Theory is a pioneering DAW method for making great music that stands out, so you can move and grow your audience! Taught by multi-award-winning music lecturer Ray Harmony, and his protégé wife Kate Harmony, from their studio in Vancouver BC, Canada. Ray is the author of critically-acclaimed book series "Hack Music Theory", and has made music with Serj Tankian (System of a Down), Tom Morello (Rage Against the Machine), Steven Wilson (Porcupine Tree), Devin Townsend (Strapping Young Lad), Ihsahn (Emperor), Kool Keith (Ultramagnetic MCs), Madchild (Swollen Members), and many more! Kate has the highest grade distinction in Popular Music Theory from the London College of Music, and is the only person on the planet who's been trained by Ray to teach his method. On that note, the "Hack Music Theory" YouTube channel teaches relevant and instantly-usable music theory for producers, DAW users, and all other music makers (songwriters, singers, guitarists, bassists, drummers, etc.) in all genres, from EDM to R&B, pop to hip-hop, reggae to rock, electronic to metal (and yes, we djefinitely djent!).
Are you suffering from Writer’s Block, or do you simply waste a lot of time when starting a new song? Then learn how to write a song like a pro, with this new series!
Hello revolutionary music makers, we are Kate Harmony and Ray Harmony (AKA Revolution Harmony), and welcome to Hack Music Theory. We help you make great music that stands out, so you can move and grow your audience! If that sounds useful to you, then subscribe to our YouTube channel and hit that bell to get notified every Friday, when we publish our new video. Also, if you’re new to our channel, be sure to download our free book “12 Music Theory Hacks to Learn Scales & Chords” below. Alright, it’s time to open your DAW to hack music theory. But first… tea!
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“The most brilliant, fast, easy & fun music theory book I’ve ever seen!” DEREK SIVERS, CD Baby founder
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When you sit down to start writing a new song, do you find yourself staring at a blank screen for a while, only to end up scrolling through your feed? If so, then this series will get your new song started now, by turbocharging your workflow!
INTRO One of the most common obstacles to overcome as a songwriter or producer, is where to start. This is a huge issue, cos most music makers waste a ton of time when starting new songs. Just imagine how many more songs you could write if you didn’t waste all that time! So, while there are obviously many ways to start, the following 3 steps can always be counted on to get you up and running in minutes.
STEP 1. TEMPO First things first. You need to decide on how fast or slow you want your new song to be. I encourage you to close your eyes and move to the heartbeat of your unborn song. This takes some practice, but you’ll eventually get to the point where you can even dance to your unwritten music. For now though, you could just pick a song you’ve been digging recently, then go to a song BPM website to find out its tempo, and then simply input that BPM into your DAW.
STEP 2. TIME Next, you wanna decide on your time signature. Most songs are in 4/4, so we’ll stick with that for now. If you want something odd though, then check out our lesson on odd time signatures (linked above). Now, just cos you’re in 4/4, doesn’t mean it has to be boring. There are many ways to spice up 4/4, and we’ve done a lesson on that too (which is also linked above), but here I’m using 1/16 note triplets.
STEP 3. DRUMS Finally, it’s time to get to the music making, and starting with a drum groove will give you instant inspiration, while also creating the feel that will underpin your song. So, start with your kick and snare, then add cymbals afterwards. Most kick and snare patterns these days are pretty simple, which isn’t necessarily a bad thing, cos that leaves space for the other instruments. But, be sure to do something interesting with your cymbals. And writing an irregular pattern, like I’ve done here on the hats, is a great way to make your drum groove really interesting, without being too busy.
PS The example in this lesson is actually from Ray's new song, which he wrote yesterday while taking notes on the process, so we can share the workflow with you in this new series. So stay tuned for next week, when you’ll learn how your drum groove will now start writing your bass line for you!
Kate & Ray Harmony (AKA Revolution Harmony) Music Teachers & Producers in Vancouver BC, Canada
LEVEL 1 – FREE BOOK "12 Music Theory Hacks to Learn Scales & Chords" will give you a super solid music theory foundation in 30 minutes!
LEVEL 2 – SONGWRITING & PRODUCING PDF (click & scroll) This is our best-selling PDF, which includes MIDI file examples. Learn the essential hacks for songwriting and producing, like our Melody Checklist (the ultimate list of do's and don'ts for writing great melodies). You'll also learn how to write chord progressions, bass lines, riffs, counterpoint harmonies, and more!
LEVEL 3 – LESSON PACKS After learning our essential hacks, it's time to put them to practical use and start writing some new songs. Lesson packs include step-by-step PDF guides to making music for different instruments and in different genres (electronic, metal, soundtrack, etc.), as well as multitrack MIDI files of the examples.
LEVEL 4 – ONLINE APPRENTICESHIP Go from a blank screen to a finished song, in this online video course. Learn how to write new sections for an existing section, how to transition between sections in different keys, how to structure and arrange, and much more! This course has been called "life-changing" many times, so join 700+ music makers now (from all genres), who are learning Ray's secret hack: Song Whispering.
ABOUT Hack Music Theory is a pioneering DAW method for making great music that stands out, so you can move and grow your audience! Taught by multi-award-winning music lecturer Ray Harmony, and his protégé wife Kate Harmony, from their studio in Vancouver BC, Canada. Ray is the author of critically-acclaimed book series "Hack Music Theory", and has made music with Serj Tankian (System of a Down), Tom Morello (Rage Against the Machine), Steven Wilson (Porcupine Tree), Devin Townsend (Strapping Young Lad), Ihsahn (Emperor), Kool Keith (Ultramagnetic MCs), Madchild (Swollen Members), and many more! Kate has the highest grade distinction in Popular Music Theory from the London College of Music, and is the only person on the planet who's been trained by Ray to teach his method. On that note, the "Hack Music Theory" YouTube channel teaches relevant and instantly-usable music theory for producers, DAW users, and all other music makers (songwriters, singers, guitarists, bassists, drummers, etc.) in all genres, from EDM to R&B, pop to hip-hop, reggae to rock, electronic to metal (and yes, we djefinitely djent!).
How to Write a Song Intro like a Legend
Sep 06, 2019
Learn how to use a music theory hack from Bob Marley “Could You Be Loved” to write a legendary song intro that won’t get skipped!
WELCOME Hello revolutionary music makers, we are Kate Harmony and Ray Harmony (AKA Revolution Harmony), and welcome to Hack Music Theory. We help you make great music that stands out, so you can move and grow your audience! If that sounds useful to you, then subscribe to our YouTube channel and hit that bell to get notified every Friday, when we publish our new video. Also, if you’re new to our channel, be sure to download our free book “12 Music Theory Hacks to Learn Scales & Chords” (link below). Alright, it’s time to open your DAW to hack music theory. But first… tea!
THEORY The opening riff in “Could You Be Loved” by Bob Marley & The Wailers creates a truly legendary intro! Despite being written 40 years ago, “Could You Be Loved” is more relevant than ever, because its intro hooks us in the first five seconds. And with a quarter of all songs on Spotify getting skipped in their first five seconds, it’s absolutely essential to have a great intro, and that’s exactly what we can learn from this legendary song. What makes this intro so remarkable? Four things: First, it’s simple. Second, it’s singable. Third, it’s interesting. And fourth, it teases. Now let’s explore these in more detail. The riff is simple, because it consists of only three notes: the 1, 2 and ♭3. And that makes this riff extremely easy to sing, which makes it extremely catchy. But, while the melodic side of the riff is simple, the rhythmic side is really interesting, which prevents it from getting annoying. And that is vital, because catchy music that gets annoying after a few listens will be nothing more than a trend. For music to become legendary, it needs to be simultaneously catchy and interesting, and “Could You Be Loved” is the perfect example of that! And lastly, this intro hooks us by confidently teasing, without giving everything away, like so many artists do these days in a desperate attempt to avoid that five second skip.
PRACTICAL Alright, now you’re gonna learn how to use the music theory from “Could You Be Loved” to make your own legendary intro. And remember, just like all our lessons, you can use this theory hack to make music in whatever genre you want. And to show this, in our playthrough at the end, we’ll switch from Reggae to EDM without changing the riff, chords, bass or drums. Okay, so for the example in this lesson, we’ll be using our version that we made earlier. So, start by setting up two bars of 4/4, with your grid set to 1/16 notes, and your tempo set to 103 BPM. “Could You Be Loved” is in the key of B minor, so we’ll use it too.
STEP 1. PITCH This is the element that you wanna keep simple, so choose only a handful of notes for your riff. We centred ours around the 1, ♭3, 2, and ♭7, then we threw in the 5 and ♭6 at the end for variation. And be sure you also change something in your second bar, just for a little variation. Lastly, you wanna play the root note a few times in each bar, in order to establish it as your home and anchor your riff into the key.
MORE And just a quick heads up before we get to Step 2. If you need help writing riffs, melodies, chord progressions, bass lines, counterpoint harmonies, and more, then check out our Songwriting & Producing PDF (click & scroll down). It also comes with MIDI file examples!
STEP 2. RHYTHM This is the element that you wanna make more interesting, to prevent your catchy riff from getting annoying. And the way we do that is by using syncopation, which is when you accent an off-beat. Now, in order to create that syncopation, you’ll want a few 1/8 note and 1/16 note rests in your riff, which also gives it space to breathe. Lastly, here’s a little bonus hack for you. Start your song with four bars of your riff on its own, which will hook and tease your listeners. Then, drop your bass and drums in bar five. And finally, bring your vocals in a couple bars after that.
NEXT Right, so now you’ve got a Bob-inspired intro. Congratulations! But, if you wanna make a legendary song like “Could You Be Loved”, then you’ll need many more minutes of music! So, if you wanna learn how to write other sections (verse/chorus/bridge) for an existing section, how to transition between sections (especially when they’re in different keys), and how to structure and arrange your song, then join our online apprenticeship course.
Kate & Ray Harmony (AKA Revolution Harmony) Music Teachers & Producers in Vancouver BC, Canada
Take Your Music to the Next Level
LEVEL 1 – FREE BOOK "12 Music Theory Hacks to Learn Scales & Chords" will give you a super solid music theory foundation in 30 minutes!
LEVEL 2 – SONGWRITING & PRODUCING PDF (click & scroll) This is our best-selling PDF, which includes MIDI file examples. Learn the essential hacks for songwriting and producing, like our Melody Checklist (the ultimate list of do's and don'ts for writing great melodies). You'll also learn how to write chord progressions, bass lines, riffs, counterpoint harmonies, and more!
LEVEL 3 – LESSON PACKS After learning our essential hacks, it's time to put them to practical use and start writing some new songs. Lesson packs include step-by-step PDF guides to making music for different instruments and in different genres (electronic, metal, soundtrack, etc.), as well as multitrack MIDI files of the examples.
LEVEL 4 – ONLINE APPRENTICESHIP Go from a blank screen to a finished song, in this online video course. Learn how to write new sections for an existing section, how to transition between sections in different keys, how to structure and arrange, and much more! This course has been called "life-changing" many times, so join 700+ music makers now (from all genres), who are learning Ray's secret hack: Song Whispering.
ABOUT Hack Music Theory is a pioneering DAW method for making great music that stands out, so you can move and grow your audience! Taught by multi-award-winning music lecturer Ray Harmony, and his protégé wife Kate Harmony, from their studio in Vancouver BC, Canada. Ray is the author of critically-acclaimed book series "Hack Music Theory", and has made music with Serj Tankian (System of a Down), Tom Morello (Rage Against the Machine), Steven Wilson (Porcupine Tree), Devin Townsend (Strapping Young Lad), Ihsahn (Emperor), Kool Keith (Ultramagnetic MCs), Madchild (Swollen Members), and many more! Kate has the highest grade distinction in Popular Music Theory from the London College of Music, and is the only person on the planet who's been trained by Ray to teach his method. On that note, the "Hack Music Theory" YouTube channel teaches relevant and instantly-usable music theory for producers, DAW users, and all other music makers (songwriters, singers, guitarists, bassists, drummers, etc.) in all genres, from EDM to R&B, pop to hip-hop, reggae to rock, electronic to metal (and yes, we djefinitely djent!).
Wooohooo!!! You’re a mere 30 minutes away from being even smarter than you already are. Just head on over to your inbox now for your free download.
There was an error submitting your subscription. Please try again.
“The most brilliant, fast, easy & fun music theory book I’ve ever seen!” DEREK SIVERS, CD Baby founder
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TOOL Polymeters • Fear Inoculum (Drums & Bass)
Aug 16, 2019
Instead of watching reaction videos, why not learn a music theory hack from the new TOOL song, and how to use it to write odd time signature bass lines and drum beats! Subtitles/CC available.
WELCOME Hello revolutionary music makers, we are Kate Harmony and Ray Harmony (AKA Revolution Harmony), and welcome to Hack Music Theory. We help you make great music that stands out, so you can move and grow your audience! If that sounds useful to you, then subscribe to our YouTube channel and hit that bell to get notified every Friday, when we publish our new video. Also, if you’re new to our channel, be sure to download our free book “12 Music Theory Hacks to Learn Scales & Chords” (link below). Alright, it’s time to open your DAW to hack music theory. But first… tea!
THEORY In Tool’s epic ten-minute title track “Fear Inoculum”, there’s a standout section that starts at 5:49. We covered the guitar riff in last week’s lesson, so if you missed that please check it out, because the polymeter is actually created from that riff (which alternates between 12|8 and 5|4), playing over the bass and drums (which are in 11|8). While the riff sounds like it’s slowing down and speeding up (due to the pulse changing), the time signature of the rhythm section is constant. So, in this polymeter, those two layers line up with each other every second bar. This results in a super tasty syncopation when the bass and drums accent beat 1 of every other bar of 11|8, because the guitar doesn’t even play that beat. In fact, the 11|8 rhythm section perfectly lines up with the riff’s 12|8 bar right up until that twelfth 1/8 note, which then becomes beat 1 for the bass and drums, but not for the guitar.
PRACTICAL Alright, now you’re gonna learn how to use this theory to make your own version. And for the example in this lesson, we’ll be using our version that we made earlier. So, start by setting up one bar of 12|8 and one bar of 5|4, with your grid set to 1|8 notes, and your tempo set to 150 BPM.
STEP 1. DRUMS First things first, you’re probably wondering why you just set your time signature to 12|8 and 5|4, instead of 11|8. Well, the reason for that is so you can actually see the polymeter. In other words, setting your grid like this will reveal that super tasty syncopation, which results from this polymeter. Because, as you’ll notice in the second bar, beat 1 of the rhythm section is an 1/8 note earlier than beat 1 of the guitar. Right, so start by playing closed hats on all the 1/8 notes, except for one of them, which will be an open hat. Then, between any two hats, add a 1/16 closed hat for some spice. Next, add snare hits on the fourth 1/8 note and the tenth 1/8 note in each bar. This will ensure your listeners hear the 3+3+3+2 grouping that Tool use in their rhythm section. And finally, add kicks wherever you want, except for where there’s already a snare.
MORE By the way, if you want help writing better drum grooves, then we’ve got two Drum PDFs (click & scroll down) for you, which both come with MIDI file examples as well!
STEP 2. BASS As we mentioned in last week’s lesson, Tool are in the A Phrygian mode here, which is: A B♭ C D E F G. So you can choose any of those notes for your bass line, but start each bar on A, and be sure to also include B♭ and C, to get that dark Phrygian vibe. Now, regarding rhythm. The grouping here is the same as your drums: 3+3+3+2. And you wanna play 1/8 notes exclusively to match the energy of your drums, but include a few 1/8 note rests as well, to keep the rhythm fresh.
NEXT Right, so now you’ve got a Tool-inspired rhythm section. Congratulations! But, if you wanna make a proper epic like “Fear Inoculum”, then you’ll need many more minutes of music! So, if you wanna learn how to write other sections (like a bridge) for an existing section, how to transition between sections (especially when they’re in different keys), and how to structure and arrange your song, then join our online apprenticeship course.
Kate & Ray Harmony (AKA Revolution Harmony) Music Teachers & Producers in Vancouver BC, Canada
Take Your Music to the Next Level
LEVEL 1 – FREE BOOK "12 Music Theory Hacks to Learn Scales & Chords" will give you a super solid music theory foundation in 30 minutes!
LEVEL 2 – SONGWRITING & PRODUCING PDF (click & scroll) This is our best-selling PDF, which includes MIDI file examples. Learn the essential hacks for songwriting and producing, like our Melody Checklist (the ultimate list of do's and don'ts for writing great melodies). You'll also learn how to write chord progressions, bass lines, riffs, counterpoint harmonies, and more!
LEVEL 3 – LESSON PACKS After learning our essential hacks, it's time to put them to practical use and start writing some new songs. Lesson packs include step-by-step PDF guides to making music for different instruments and in different genres (electronic, metal, soundtrack, etc.), as well as multitrack MIDI files of the examples.
LEVEL 4 – ONLINE APPRENTICESHIP Go from a blank screen to a finished song, in this online video course. Learn how to write new sections for an existing section, how to transition between sections in different keys, how to structure and arrange, and much more! This course has been called "life-changing" many times, so join 700+ music makers now (from all genres), who are learning Ray's secret hack: Song Whispering.
ABOUT Hack Music Theory is a pioneering DAW method for making great music that stands out, so you can move and grow your audience! Taught by multi-award-winning music lecturer Ray Harmony, and his protégé wife Kate Harmony, from their studio in Vancouver BC, Canada. Ray is the author of critically-acclaimed book series "Hack Music Theory", and has made music with Serj Tankian (System of a Down), Tom Morello (Rage Against the Machine), Steven Wilson (Porcupine Tree), Devin Townsend (Strapping Young Lad), Ihsahn (Emperor), Kool Keith (Ultramagnetic MCs), Madchild (Swollen Members), and many more! Kate has the highest grade distinction in Popular Music Theory from the London College of Music, and is the only person on the planet who's been trained by Ray to teach his method. On that note, the "Hack Music Theory" YouTube channel teaches relevant and instantly-usable music theory for producers, DAW users, and all other music makers (songwriters, singers, guitarists, bassists, drummers, etc.) in all genres, from EDM to R&B, pop to hip-hop, reggae to rock, electronic to metal (and yes, we djefinitely djent!).
Wooohooo!!! You’re a mere 30 minutes away from being even smarter than you already are. Just head on over to your inbox now for your free download.
There was an error submitting your subscription. Please try again.
“The most brilliant, fast, easy & fun music theory book I’ve ever seen!” DEREK SIVERS, CD Baby founder
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TOOL “Fear Inoculum” Music Theory (Guitar Riffs)
Aug 09, 2019
Can you believe it? After 13 years, there’s finally new music from Tool. So in this lesson you’ll learn a music theory hack from TOOL “Fear Inoculum”, and how to use it to write your own odd time signature riffs and polymeters! Subtitles/CC available.
WELCOME Hello revolutionary music makers, we are Kate Harmony and Ray Harmony (AKA Revolution Harmony), and welcome to Hack Music Theory. We help you make great music that stands out, so you can move and grow your audience! If that sounds useful to you, then subscribe to our YouTube channel and hit that bell to get notified every Friday, when we publish our new video. Also, if you’re new to our channel, be sure to download our free book “12 Music Theory Hacks to Learn Scales & Chords” below. Alright, it’s time to open your DAW to hack music theory. But first… tea!
THEORY In Tool’s epic ten-minute title track “Fear Inoculum”, there’s a standout section that starts at 5:49. Its foundation is a super tasty 11|8 drum groove (which we’ll hack next time, so stay tuned). The bass line in this section is also in 11|8 and locks in with the drums, creating a tight and energetic rhythm section. Above that, Adam Jones plays some classic Tool-style guitar, centred around the open A string. But the coolest thing about his riff, is that it’s not in 11|8, it alternates between 12|8 and 5|4. This makes the riff feel like it’s speeding up and slowing down, because 12|8 has a pulse of dotted 1/4 notes, while 5|4 has a faster pulse of 1/4 notes. And all this is happening in that polymeter of the guitar playing 12|8 and 5|4 against the rhythm section playing 11/8, which creates crazy syncopation!
PRACTICAL Alright, now you’re gonna learn how to use this theory to make your own version. And for the example in this lesson, we’ll be using our version that we made earlier. So, start by setting up four bars that alternate between 12|8 and 5|4, with your grid set to 1|8 notes, and your tempo set to 150 BPM. Tool uses A Phrygian for this section, so we’ll use it too.
STEP 1. THE 12|8 The magic of this riff is as much in the rhythm as it is in the pitches, so you’ll write the rhythm first, then add the pitches afterwards. We’ll start with the bar of 12|8, which consists of four dotted 1/4 notes. And if you’re new to dotted notes, a dotted 1/4 note equals three 1/8 notes. Now that you’ve got the rhythm for your 12|8, it’s time to assign pitches. Adam used the Phrygian mode here, cos it has a dark vibe. And if you’re new to modes, A Phrygian is: A B♭ C D E F G. So choose any of those notes, but be sure to start on the open A string, and include the ♭2.
MORE By the way, if you wanna learn everything you need to know about modes in three simple hacks, then check out our Songwriting & Producing PDF (click & scroll down). It also contains hacks on how to write guitar riffs, bass lines, chord progressions, melodies, counterpoint and more, and it comes with MIDI examples too!
STEP 2. THE 5|4 Now, here’s the bit where your riff is gonna sound like it’s speeding up, cos the pulse changes to 1/4 notes in this bar. So, for your rhythm, you can play a combination of 1/4 notes and 1/8 notes. And the more 1/8 notes you play, the more energy you’ll inject. Then after you’ve written your rhythm, it’s time to assign pitches, and once again, you can play any notes from A Phrygian, but be sure to include A and B♭. And here’s a couple bonus hacks. To get that classic Tool sound, you can create some harmonic dissonance by lengthening the low A in your 12|8 bars, so the other notes are played over the top of it. When you hit that high B♭ over that low A, it’s so Tool! But if you want even more Tool, then bend into that high B♭ from the high A.
NEXT Right, so now you’ve got a Tool-inspired riff. Congratulations! But, if you wanna make a proper epic like “Fear Inoculum”, then you’ll need many more minutes of music! So, if you wanna learn how to write other sections (like a bridge) for an existing section, how to transition between sections (especially when they’re in different keys), and how to structure and arrange your song, then join our online apprenticeship course.
Kate & Ray Harmony (AKA Revolution Harmony) Music Teachers & Producers in Vancouver BC, Canada
Take Your Music to the Next Level
LEVEL 1 – FREE BOOK "12 Music Theory Hacks to Learn Scales & Chords" will give you a super solid music theory foundation in 30 minutes!
LEVEL 2 – SONGWRITING & PRODUCING PDF (click & scroll) This is our best-selling PDF, which includes MIDI file examples. Learn the essential hacks for songwriting and producing, like our Melody Checklist (the ultimate list of do's and don'ts for writing great melodies). You'll also learn how to write chord progressions, bass lines, riffs, counterpoint harmonies, and more!
LEVEL 3 – LESSON PACKS After learning our essential hacks, it's time to put them to practical use and start writing some new songs. Lesson packs include step-by-step PDF guides to making music for different instruments and in different genres (electronic, metal, soundtrack, etc.), as well as multitrack MIDI files of the examples.
LEVEL 4 – ONLINE APPRENTICESHIP Go from a blank screen to a finished song, in this online video course. Learn how to write new sections for an existing section, how to transition between sections in different keys, how to structure and arrange, and much more! This course has been called "life-changing" many times, so join 700+ music makers now (from all genres), who are learning Ray's secret hack: Song Whispering.
ABOUT Hack Music Theory is a pioneering DAW method for making great music that stands out, so you can move and grow your audience! Taught by multi-award-winning music lecturer Ray Harmony, and his protégé wife Kate Harmony, from their studio in Vancouver BC, Canada. Ray is the author of critically-acclaimed book series "Hack Music Theory", and has made music with Serj Tankian (System of a Down), Tom Morello (Rage Against the Machine), Steven Wilson (Porcupine Tree), Devin Townsend (Strapping Young Lad), Ihsahn (Emperor), Kool Keith (Ultramagnetic MCs), Madchild (Swollen Members), and many more! Kate has the highest grade distinction in Popular Music Theory from the London College of Music, and is the only person on the planet who's been trained by Ray to teach his method. On that note, the "Hack Music Theory" YouTube channel teaches relevant and instantly-usable music theory for producers, DAW users, and all other music makers (songwriters, singers, guitarists, bassists, drummers, etc.) in all genres, from EDM to R&B, pop to hip-hop, reggae to rock, electronic to metal (and yes, we djefinitely djent!).
Wooohooo!!! You’re a mere 30 minutes away from being even smarter than you already are. Just head on over to your inbox now for your free download.
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Ed Sheeran Goes Djent
Aug 02, 2019
What does Ed Sheeran & Justin Bieber’s song “I Don’t Care” have in common with the metal subgenre Djent? The answer is shocking and eye-opening, so click play to find out now! Subtitles/CC available.
Just before we jump in though, we wanna say a heartfelt Thank You for your lovely comments on our genre lesson last week, we’re so grateful, and we’re so touched that you feel the same way about genres. You know, we truly are honoured to be a part of this positive and open-minded Hack Music Theory community with you all. And by the way, if you missed last week’s genre lesson, please check it out, because this one is based on that one.
WELCOME Hello revolutionary music makers, we are Kate Harmony and Ray Harmony (AKA Revolution Harmony), and welcome to Hack Music Theory. We help you make great music that stands out, so you can move and grow your audience! If that sounds useful to you, then subscribe to our YouTube channel and hit that bell to get notified every Friday, when we publish our new video. Also, if you’re new to our channel, be sure to download our free book “12 Music Theory Hacks to Learn Scales & Chords” below. Alright, it’s time to open your DAW to hack music theory. But first… tea!
THEORY So, apparently we mispronounced Ed’s last name in our lesson last week. Oops! I guess we let the cat out the bag with that: so yeah, we’re not really fans of Ed’s music. He seems like a really nice guy, but his songwriting is just a little too predictable for us. If you dig his music though, that’s awesome. And if you don’t, that’s great too, cos that’s actually the whole point of this lesson. So, what can a Djent fan find to appreciate in Ed Sheeran’s music? Well, in the song “I Don’t Care” that he did with Justin Bieber, the whole track is built on a super syncopated rhythm, which doesn’t even play beat 1 (and by the way, syncopation is when you accent an off-beat). And not only do Ed’s bass and drums lock in to play this rhythm together, but the bass line starts by playing the root note for two bars. Now, here’s the shocker: super syncopated grooves chugged out on the root note are literally what Djent was named after.
So the main feature in Ed’s song also happens to be the main feature in a metal subgenre that’s the antithesis of Ed’s music. How crazy is that?! But, because the instrumentation is different, people sadly don’t hear this connection. And that was one of the genre truths we revealed in last week’s lesson: genre is sonic packaging. Change the instruments, and you change the genre. So if you take the syncopated rhythm from Ed’s song and play it on an 8-string guitar with distortion (or a 9-string, if you’re feeling very Djenty!), then you’re no longer playing pop, you’re now playing metal. And this is only one of countless examples of how you can use the music theory from a song in one genre to write a song in literally the opposite genre, but only when you peel back that sonic packaging first, so you can see the actual notes inside. And that process is exactly what we’ll be exploring in this new genre series.
PRACTICAL Alright, now you’re gonna learn how to use the music theory from Ed’s song to make your own Djent version, but remember, you can use the theory hack in this lesson to make music in any genre you want. And that is true for every video and podcast we have ever made, and there’s about 160 of them already, so tuck in! Right, for the example in this lesson, we’ll be using our version that we made earlier. So, start by setting up four bars of 4/4, with your grid set to 1/16 notes, and your tempo set to 102 BPM. And that’s actually the original tempo of Ed’s song, so we didn’t even need to change the BPM to turn it into Djent. Also, Ed uses F♯ as his root, but we’re taking that way down to a low A.
STEP 1. CHUG & RUN Ed’s syncopated rhythm is centred around beats 1a, 2+, 3a, and 4+. So we used the exact same rhythm to start with, and we also chugged it out on the root note (just like Ed), to prove exactly how Djenty his song is in its original form. So, over your first bar and a half, come up with a simple but super syncopated rhythm, something like that. Then, as if that wasn’t Djenty enough, Ed uses another classic Djent trick: he throws in a 1/16 note run after the one-note chugs, to add interest. So over beats 3 and 4 in your second bar, add a 1/16 note run. Ed simply uses an octave of the root note for his run, but we’ve taken this opportunity to do something less predictable, and we encourage you to do the same.
STEP 2. VARIATION Now, you could just repeat these two bars and call it a day, but that would be too repetitive for our tastes, so we changed things up in our third and fourth bars to inject more variation and keep things fresh. They’re still based on the first couple bars, but we just added some extra chugs on the root note, and then we also added a 1/16 note triplet into our run at the end. And that’s it, we’ve now got Edjent!
MORE Lastly, we get loads of people asking how to transition between sections, and also, how to structure and arrange songs. And while these are essential skills to learn, please understand that we can’t teach them for free, because that is our secret sauce which we teach in our online apprenticeship course. So, if you wanna learn how to go from a blank screen to a finished song, then join over 700 other music makers also on the course. And, it helps us pay the rent too, so it’s a win-win!
Kate & Ray Harmony (AKA Revolution Harmony) Music Teachers & Producers in Vancouver BC, Canada
LEVELS Level 1 - Read our free book (below) & watch our YouTube videos Level 2 - Read our "Part 1" book & "Songwriting & Producing" PDF Level 3 - Practice making music using our lessons (PDF+MIDI+WAV) Level 4 - Learn our secret art of song-whispering & finish your music
ABOUT Hack Music Theory is a pioneering DAW method for making great music that stands out, so you can move and grow your audience! Taught by multi-award-winning music lecturer Ray Harmony, and his protégé wife Kate Harmony, from their studio in Vancouver BC, Canada. Ray is the author of critically-acclaimed book series "Hack Music Theory", and has made music with Serj Tankian (System of a Down), Tom Morello (Rage Against the Machine), Steven Wilson (Porcupine Tree), Devin Townsend (Strapping Young Lad), Ihsahn (Emperor), Kool Keith (Ultramagnetic MCs), Madchild (Swollen Members), and many more! Kate has the highest grade distinction in Popular Music Theory from the London College of Music, and is the only person on the planet who's been trained by Ray to teach his method. On that note, the "Hack Music Theory" YouTube channel teaches relevant and instantly-usable music theory for producers, DAW users, and all other music makers (songwriters, singers, guitarists, bassists, drummers, etc.) in all genres, from EDM to R&B, pop to hip-hop, reggae to rock, electronic to metal (and yes, we djefinitely djent!).
Wooohooo!!! You’re a mere 30 minutes away from being even smarter than you already are. Just head on over to your inbox now for your free download.
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“The most brilliant, fast, easy & fun music theory book I’ve ever seen!” DEREK SIVERS, CD Baby founder
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Genre Explained - The Truth About Genres
Jul 27, 2019
There’s a ton of genres, subgenres and even subsubgenres, but in this lesson you’ll learn the truth about why none of them are real, even though they are.
Hello revolutionary music makers, we are Kate Harmony and Ray Harmony (AKA Revolution Harmony), and welcome to Hack Music Theory. We help you make great music that stands out, so you can move and grow your audience! If that sounds useful to you, then subscribe to our YouTube channel and hit that bell to get notified every Friday, when we publish our new video. Also, if you’re new to our channel, be sure to download our free book “12 Music Theory Hacks to Learn Scales & Chords” below.
So, one of the most common questions we get is: Will your theory hacks work in my genre? As we get this question so often, we decided to dedicate a whole lesson to this genre issue. So, the answer to the question is… Yes, our hacks will work in your genre, because they work in all genres! And there you go, hope you enjoyed the lesson, and we’ll see you next week for another theory hack. Okay seriously though, the answer really is yes, but let’s explore why. So, in this lesson you’ll learn the truth about genres, then over the next few lessons we’ll analyze the music theory behind some examples that prove this truth. So if you wanna learn what Ed Sheeran’s music has in common with the metal subgenre Djent, and other such crazy but true genre facts, then be sure to subscribe and stay tuned.
Alright, first things first, why is genre so important to songwriters, producers, and music lovers in general? Well, it’s because our human brains have evolved to live in tribes, and genres create musical tribes, which in turn results in a divide between us (the insiders) and them (the outsiders). But, when you look at human history, anything that has ever created a divide between people is not good for anyone, and on the other hand, anything that brings people together is good for everyone. And it’s easy to see how music brings us together, but it’s just as easy to see how genres push us apart. Imagine two people walk past each other on the sidewalk, one’s wearing an Ed Sheeran shirt, the other’s in a Meshuggah shirt. You can guess very accurately what they’re thinking about each other, and it’s not “Hey we both love music so much we’re wearing shirts to show it, that’s awesome!”
Now, you may be thinking: Yeah but Ed Sheeran sux! That’s not the point here (and besides, there’s artists that suck in every genre), the point is: music connects us, while genres divide us. And accepting that truth will in no way diminish the enjoyment you get from your favourite genres, because when we dig deeper into the concept of genre, we find absolutely nothing wrong with it. The only problem is our attachment to, and identification with, specific genres. That’s the real issue.
Imagine how amazing the music industry would be if instead of only connecting with people in our genre, we extend our circle of compassion to include everyone. Also, genres are often born as a reaction (or an antithesis) to other genres. For example, you wouldn’t have metal if you didn’t have pop, and you wouldn’t have electronic music (played on virtual instruments) if you didn’t have organic music (played on real instruments). Just like night and day are opposites yet harmoniously coexist, so too do all genres and their opposites.
So now you know the first truth: Genre is far more about the tribe (i.e. the community and its culture), than it is about the actual music (i.e. the melodies, harmonies and rhythms). That’s why from a purely musical perspective, we can take a song in any genre and easily transform it into another genre, even its opposite. And that fact introduces the second truth: Genre also functions as music’s sonic packaging (i.e. its instrumentation and production).
Now, you may be thinking: Yeah, but genres do have musical characteristics that make them sound the way they do. And while there’s obviously an element of truth in that statement, it’s not enough to make the statement as a whole true. Here’s why: Those musical elements that people think are specific to a genre, can easily be found in other genres as well, except they’re not instantly recognizable due to a different context (i.e. a different sonic packaging). For example, that characteristic reggae rhythm (known as the skank) is often heard in EDM, but isn’t necessarily recognizable as a skank because it’s played on a synth instead of a guitar.
So, what’s the takeaway from all this? As a songwriter or producer, when you free yourself from the concept of genre, you free your music and the process by which you make it, because all songs at their core are just notes. And when you understand the relationships between all the notes and how they work together (in other words, music theory), you can apply that knowledge to making music in any genre, or a combination of genres, or no genre at all. And because genres come and go just like trends, it’s a waste of time focusing too much on something as fickle as genre. Instead, focus your time and energy on writing great melodies, harmonies and rhythms, cos great music is timeless!
And lastly, we have two questions for you (please answer in YouTube comments): What’s your favourite genre? And what do you love about it? Also, please help us spread the truth about genres by sharing this lesson with your music friends. Thanks for reading, we’ll see you next week! And remember: Music connects, genre divides.
Kate & Ray Harmony (AKA Revolution Harmony) Music Teachers & Producers in Vancouver BC, Canada
LEVELS Level 1 - Read our free book (below) & watch our YouTube videos Level 2 - Read our "Part 1" book & "Songwriting & Producing" PDF Level 3 - Practice making music using our lessons (PDF+MIDI+WAV) Level 4 - Learn our secret art of song-whispering & finish your music
ABOUT Hack Music Theory is a pioneering DAW method for making great music that stands out, so you can move and grow your audience! Taught by multi-award-winning music lecturer Ray Harmony, and his protégé wife Kate Harmony, from their studio in Vancouver BC, Canada. Ray is the author of critically-acclaimed book series "Hack Music Theory", and has made music with Serj Tankian (System of a Down), Tom Morello (Rage Against the Machine), Steven Wilson (Porcupine Tree), Devin Townsend (Strapping Young Lad), Ihsahn (Emperor), Kool Keith (Ultramagnetic MCs), Madchild (Swollen Members), and many more! Kate has the highest grade distinction in Popular Music Theory from the London College of Music, and is the only person on the planet who's been trained by Ray to teach his method. On that note, the "Hack Music Theory" YouTube channel teaches relevant and instantly-usable music theory for producers, DAW users, and all other music makers (songwriters, singers, guitarists, bassists, drummers, etc.) in all genres, from EDM to R&B, pop to hip-hop, reggae to rock, electronic to metal (and yes, we djefinitely djent!).
Wooohooo!!! You’re a mere 30 minutes away from being even smarter than you already are. Just head on over to your inbox now for your free download.
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“The most brilliant, fast, easy & fun music theory book I’ve ever seen!” DEREK SIVERS, CD Baby founder
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Opeth “Heart in Hand” Music Theory
Jul 19, 2019
Learn how to write a melody (or guitar riff) using modal mixture, as heard in Opeth “Heart in Hand” off upcoming album “In Cauda Venenum”. Subtitles/CC available.
Hello revolutionary music makers, we are Kate Harmony and Ray Harmony (AKA Revolution Harmony), and welcome to Hack Music Theory. We help you make great music that stands out, so you can move and grow your audience! If that sounds useful to you, then subscribe to our YouTube channel and hit that bell to get notified every Friday, when we publish our new video. Also, if you’re new to our channel, be sure to download our free book “12 Music Theory Hacks to Learn Scales & Chords” below. Alright, it’s time to open your DAW to hack music theory. But first… tea!
THEORY Legendary Swedish band Opeth (progressive metal) just dropped the lead single “Heart in Hand” from their upcoming thirteenth studio album. The song launches straight into a one-note groove that might seem disappointing to first-timers, but Opeth fans would know the band are merely laying a root-note foundation for something special to be built on. And we only have to wait until the fourth bar before that something special is introduced. What is it? A mind-blowing melody! What’s so great about it? Many things, but let’s start with the fact that Opeth play both the minor 3rd and major 3rd in their melody. And not only that, they play each 3rd for the exact same duration, giving their melody an equal amount of minor and major emotion. As if that wasn’t enough, the next thing you’ll notice is probably the dissonant ♯4 that suggests they’re in Lydian, which is a major mode as it has a major 3rd. However, the instantly-recognizable note combination of minor 7 and major 6 then suggests they’re in Dorian, which is a minor mode as it has a minor 3rd. And then, just to confuse things even more, they throw in a ♭2 that suggests Phrygian. So after all that, what mode is Opeth’s melody actually in? All of them! How? Well, Opeth are using a technique known as modal interchange (or modal mixture), which is just a fancy way of saying they wrote this melody by combining two or more modes that have the same root note, known as parallel modes. But, Opeth’s use of modal interchange only works because below their melody, they are exclusively playing the root note. For example, if they were playing a minor chord below, then the major 3rd in the melody would clash with the minor 3rd in the chord. But as it’s just the root note below, literally anything can go above!
MODES And just a quick note before we jump into the practical. If you’re new to modes, then this lesson will be a little advanced for you. But, you can learn everything you need to know about modes in three simple hacks, which are available in our Songwriting & Producing PDF (click & scroll down). It also contains hacks on how to write guitar riffs, bass lines, chord progressions and melodies, and it comes with MIDI file examples too!
PRACTICAL Alright, now you’re gonna learn how to use this theory to make your own version. And for the example in this lesson, we’ll be using our version that we made earlier. So, start by setting up five bars of 4/4, with your grid set to 1/16 notes, and your tempo set to 120 BPM. Opeth use E as their root note, so we’ll use it too. And by the way, the dark notes below are our root-note bass line (which is on another track). They’re all muted in this track though, they’re just there for reference.
STEP 1. THE 3rds Right, first things first, or rather, third things first. Arguably the best way to start mixing modes, is to play the major 3rd and the minor 3rd. People are not used to hearing music with both 3rds, so as soon as you play them both, your listeners will know that something special is happening. Also, try to play the 3rds for the same duration, like Opeth do, as that creates a potent 50/50 mix of major and minor.
STEP 2. THE OTHERS Now it’s time to use those characteristic modal notes. So, start by playing the ♯4 somewhere for that Lydian feel. Then, play the 6 and ♭7 somewhere to get that Dorian vibe. And then, play the 5 somewhere to stabilize the melody and provide your listeners with a brief moment of normality amongst the modal mixture madness.
STEP 3. 1/16 NOTES Lastly, for some extra spice, sprinkle in the ♭2 for that moody Phrygian sound, but be sure to play the 2 somewhere as well, for a little normality once again. And they go great before or after the root note, so throw in a couple roots as well.
REMEMBER When writing your modal mixture melodies, remember: What you play after each 3 will be affected by that 3's major/minor quality. For example, in our version we play the 3 followed by the ♭7, so that ♭7 feels Mixolydian. But in Opeth's version, they play the ♭3 followed by the 6, so that 6 feels Dorian (not Ionian or Mixolydian) all because of the ♭3 before it. Magic tricks are fun, right?!
MORE Right, so now you’ve got a modal mixture melody. Congratulations! But, if you wanna make a proper epic like Opeth’s song, then you’ll need many more minutes of music (there’s a lot of M’s in this lesson!). So, if you wanna learn how to write other sections (like a bridge) for an existing section, how to transition between sections (especially when they’re in different keys), and how to structure and arrange your song, then check out our online apprenticeship course.
Kate & Ray Harmony (AKA Revolution Harmony) Music Teachers & Producers in Vancouver BC, Canada
LEVELS Level 1 - Read our free book (below) & watch our YouTube videos Level 2 - Read our "Part 1" book & "Songwriting & Producing" PDF Level 3 - Practice making music using our lessons (PDF+MIDI+WAV) Level 4 - Learn our secret art of song-whispering & finish your music
ABOUT Hack Music Theory is a pioneering DAW method for making great music that stands out, so you can move and grow your audience! Taught by multi-award-winning music lecturer Ray Harmony, and his protégé wife Kate Harmony, from their studio in Vancouver BC, Canada. Ray is the author of critically-acclaimed book series "Hack Music Theory", and has made music with Serj Tankian (System of a Down), Tom Morello (Rage Against the Machine), Steven Wilson (Porcupine Tree), Devin Townsend (Strapping Young Lad), Ihsahn (Emperor), Kool Keith (Ultramagnetic MCs), Madchild (Swollen Members), and many more! Kate has the highest grade distinction in Popular Music Theory from the London College of Music, and is the only person on the planet who's been trained by Ray to teach his method. On that note, the "Hack Music Theory" YouTube channel teaches relevant and instantly-usable music theory for producers, DAW users, and all other music makers (songwriters, singers, guitarists, bassists, drummers, etc.) in all genres, from EDM to R&B, pop to hip-hop, reggae to rock, electronic to metal (and yes, we djefinitely djent!).
Wooohooo!!! You’re a mere 30 minutes away from being even smarter than you already are. Just head on over to your inbox now for your free download.
There was an error submitting your subscription. Please try again.
“The most brilliant, fast, easy & fun music theory book I’ve ever seen!” DEREK SIVERS, CD Baby founder
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Radiohead's Thom Yorke “ANIMA” Music Theory
Jul 08, 2019
Learn how to write a bass line, using a music theory hack from Thom Yorke (Radiohead) “Traffic” off his new album “ANIMA”. Subtitles/CC available.
Hello revolutionary music makers, we are Kate Harmony and Ray Harmony (AKA Revolution Harmony), and welcome to Hack Music Theory. We help you make great music that stands out, so you can move and grow your audience! If that sounds useful to you, then subscribe to our YouTube channel and hit that bell to get notified every Monday, when we publish our new video. Also, if you’re new to our channel, be sure to download our free book “12 Music Theory Hacks to Learn Scales & Chords” below. Alright, it’s time to open your DAW to hack music theory. But first… tea!
INTRO Radiohead frontman Thom Yorke has been rather prolific lately, and he’s back with another new album. “Anima” continues his journey into electronic exploration, and contains some mesmerising moments, like the hypnotic bass line in album opener “Traffic”, which we’ll be hacking in this video. What makes this bass line so hypnotic? Two things: depth, and syncopation (which is accenting an off-beat). Thom creates depth in his bass line by using a layering technique. And while most people think of layering as adding instruments, you can actually achieve the same effect in a bass line alone, without adding any tracks. You simply write two melodies that work together harmonically, then switch back and forth between them. And Thom assigns his top melody to beats 2+, 3+, and 4+, which results in a hypnotic pumping against his bottom melody that plays on the beats in between.
SETUP Alright, now you’re gonna learn how to use this theory to make your own version. And for the example in this lesson, we’ll be using our version that we made earlier. So, start by setting up two bars of 4/4, with your grid set to 1/16 notes, and your tempo set to 129 BPM. And Thom’s bass line is in G minor, so we’ll use it too.
STEP 1. CHORDS Musical depth is created from harmony, so when you wanna write a bass line with depth, write your chord progression first. And the chords in G minor that you can choose from, are: Gm, Adim, B♭maj, Cm, Dm, E♭maj, and Fmaj. In our progression, we play Gm for one bar, then Fmaj for half a bar, then Cm for one beat, and then we finish with B♭maj for one beat.
STEP 2. LAYERS Now it’s time to split your harmony into two layers: a top melody, and a bottom melody. Thom’s two layers are actually just the same melody played at different octaves, but we decided to kick it up a notch by writing two completely different melodies. We used the root note of each chord for our bottom melody, then we filled in the harmony with our top melody. For example, over the Fmaj chord, our bottom melody plays the root, then our top melody completes the harmony by playing 3, 5, and another 3 an octave higher.
STEP 3. RHYTHM Right, the last step is to assign rhythms to your two layers. Thom only plays his top melody on beats 2+, 3+, and 4+, which creates that hypnotic syncopation. So we used a similar rhythm for our top melody, but we added beat 2 as well. And in our second bar, to spice things up even more, we used a few 1/16 notes. The shortest note value Thom uses though, is an 1/8 note, so stick with that if you want something simpler.
MORE Lastly, we get loads of people asking how to transition between sections, and also, how to structure and arrange songs. And while these are essential skills to learn, please understand that we can’t teach them for free, because that is our secret sauce, which we teach in our online apprenticeship course. So, if you wanna learn how to go from a blank screen to a finished song, then join over 700 other music makers also on the course. And, it helps us pay the rent too, so it’s a win-win!
Kate & Ray Harmony (AKA Revolution Harmony) Music Teachers & Producers in Vancouver BC, Canada
LEVELS Level 1 - Read our free book (below) & watch our YouTube videos Level 2 - Read our "Part 1" book & "Songwriting & Producing" PDF Level 3 - Practice making music using our lessons (PDF+MIDI+WAV) Level 4 - Learn our secret art of song-whispering & finish your music
ABOUT Hack Music Theory is a pioneering DAW method for making great music that stands out, so you can move and grow your audience! Taught by award-winning music lecturer Ray Harmony, and his protégé wife Kate Harmony, from their studio in Vancouver BC, Canada. Ray is the author of critically-acclaimed book series "Hack Music Theory", and has made music with Serj Tankian (System of a Down), Tom Morello (Rage Against the Machine), Steven Wilson (Porcupine Tree), Devin Townsend (Strapping Young Lad), Ihsahn (Emperor), Kool Keith (Ultramagnetic MCs), Madchild (Swollen Members), and many more! Kate has the highest grade distinction in Popular Music Theory from the London College of Music, and is the only person on the planet who's been trained by Ray to teach his method. On that note, the "Hack Music Theory" YouTube channel teaches relevant and instantly-usable music theory for producers, DAW users, and all other music makers (songwriters, singers, guitarists, bassists, drummers, etc.) in all genres, from EDM to R&B, pop to hip-hop, reggae to rock, electronic to metal (and yes, we djefinitely djent!).
Wooohooo!!! You’re a mere 30 minutes away from being even smarter than you already are. Just head on over to your inbox now for your free download.
There was an error submitting your subscription. Please try again.
“The most brilliant, fast, easy & fun music theory book I’ve ever seen!” DEREK SIVERS, CD Baby founder
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Port Noir “Young Bloods” Music Theory
Jun 27, 2019
Learn how to write a drum beat, using a music theory hack from Port Noir “Young Bloods” (off their new album “The New Routine”). Subtitles/CC available.
Hello revolutionary music makers, we are Kate Harmony and Ray Harmony (AKA Revolution Harmony), and welcome to Hack Music Theory. We help you make great music that stands out, so you can move and grow your audience! If that sounds useful to you, then subscribe to our YouTube channel and hit that bell to get notified every Thursday, when we publish our new video. Also, if you’re new to our channel, be sure to download our free book “12 Music Theory Hacks to Learn Scales & Chords” below. Alright, it’s time to open your DAW to hack music theory. But first… tea!
INTRO Swedish band Port Noir recently released their new album “The New Routine”, which is one of the most underrated albums of the year, as this band has created a sound that’s totally up-to-date but also totally unique. They arrived at this super fresh sound by blending the melodies of pop, the synths of electronic, the guitars of rock, and the grooves of hip-hop. And as everything is built on this flawless foundation of epic grooves, that’s what we’ll be hacking in this lesson. So what makes this drummer so good? Well, he actually plays relatively simple grooves, but they’re so tasty that it’s physically impossible not to move to them. And the way he gets our bodies moving, is by offsetting his syncopated kicks with a solid backbeat snare, and then spicing everything up with incredibly creative cymbal patterns.
SETUP Alright, now you’re gonna learn how to use this theory to make your own version. So, start by setting up four bars of 4/4, with your grid set to 1/32 notes, and your tempo set to 72 BPM. And in this lesson we’ll be hacking the chorus groove of their song Young Bloods.
STEP 1. KICK & SNARE First things first, throw in the backbeat snare in every bar, which is on beat 2 and beat 4. This will give your groove momentum, and get those heads bobbing and feet tapping. Next, throw in the kick on beat 1 in every bar. This will provide a reference point for all your off-beat kicks, which you’re gonna get to next. Right, now it’s time to inject the syncopation (which is an accented off-beat), and that is what’s gonna get people seriously moving to your drums. And be sure to use a combination of off-beat 1/8 notes and off-beat 1/16 notes. This will add depth to your groove, and prevent your drums from getting boring. Also, change up a couple bars with a little variation on the kick. In this example, bars two and three have the same kick pattern, but bars one and four are different.
MORE And by the way, if you wanna get your hands on our best drum hacks, then download our two Drum PDFs (click & scroll down) - the downloads include step-by-step PDF guides and multitrack MIDI files.
STEP 2. CYMBALS Right, now that you’ve got a solid groove in place, it’s time to spice it up with hi-hats, and this is where things get really interesting. So start by deciding what syncopated kicks you wanna accent, and then add an open hat on those hits. And if you wanna add an open hat where there is no kick, that’s cool too. Now you’re gonna create a 1/16 note closed hat pattern around those open hats, which will lead into and out of them nice and smoothly. Next, you’re gonna add even more spice, by throwing in a few 1/32 notes on the closed hats. So between two 1/16 hits, add a 1/32 hit. This creates a little roll on the hats, and if you do them in a few different places, it’ll keep your groove totally fresh. Lastly, change your grid to 1/32 note triplets, and before one of your open hats, add a 1/32 note triplet roll that leads into that open hat. This is next level spice, and while your average listener won’t even notice it, your super fans will love it!
NEXT Okay, so now that you’ve got one section down, how do you write the other sections? How do you transition between them (especially when they’re in different keys)? And, how do you structure and arrange your song? These are issues that many songwriters and producers struggle with, and that’s exactly why we made our online course Apprenticeship #1. So, if you wanna overcome these obstacles once and for all, then sign up now!
Kate & Ray Harmony (AKA Revolution Harmony) Music Teachers & Producers in Vancouver BC, Canada
LEVELS Level 1 - Read our free book (below) & watch our YouTube videos Level 2 - Read our "Part 1" book & "Songwriting & Producing" PDF Level 3 - Practice making music using our lessons (PDF+MIDI+WAV) Level 4 - Learn our secret art of song-whispering & finish your music
ABOUT Hack Music Theory is a pioneering DAW method for making great music that stands out, so you can move and grow your audience! Taught by award-winning music lecturer Ray Harmony, and his protégé wife Kate Harmony, from their studio in Vancouver BC, Canada. Ray is the author of critically-acclaimed book series "Hack Music Theory", and has made music with Serj Tankian (System of a Down), Tom Morello (Rage Against the Machine), Steven Wilson (Porcupine Tree), Devin Townsend (Strapping Young Lad), Ihsahn (Emperor), Kool Keith (Ultramagnetic MCs), Madchild (Swollen Members), and many more! Kate has the highest grade distinction in Popular Music Theory from the London College of Music, and is the only person on the planet who's been trained by Ray to teach his method. On that note, the "Hack Music Theory" YouTube channel teaches relevant and instantly-usable music theory for producers, DAW users, and all other music makers (songwriters, singers, guitarists, bassists, drummers, etc.) in all genres, from EDM to R&B, pop to hip-hop, reggae to rock, electronic to metal (and yes, we djefinitely djent!).
Wooohooo!!! You’re a mere 30 minutes away from being even smarter than you already are. Just head on over to your inbox now for your free download.
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“The most brilliant, fast, easy & fun music theory book I’ve ever seen!” DEREK SIVERS, CD Baby founder
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Black Eyed Peas “Be Nice” (feat. Snoop Dogg) Music Theory
Jun 13, 2019
Learn how to write an uplifting bass line, using a music theory hack from Black Eyed Peas “Be Nice” ft. Snoop Dogg (written by Adam Friedman for Songland TV show). Subtitles/CC available.
Hello revolutionary music makers, we are Kate Harmony and Ray Harmony (AKA Revolution Harmony), and welcome to Hack Music Theory. We help you make great music that stands out, so you can move and grow your audience! If that sounds useful to you, then subscribe to our YouTube channel and hit that bell to get notified every Thursday, when we publish our new video. Also, if you’re new to our channel, be sure to download our free book “12 Music Theory Hacks to Learn Scales & Chords” below. Alright, it’s time to open your DAW to hack music theory. But first… tea!
INTRO The new single “Be Nice” from The Black Eyed Peas (which was written by Adam Friedman for the Songland TV show), has a super fun bass line that’s not only the central focus of the song, but it’s also perfect for conveying the super positive message behind the lyrics. So what makes this bass line feel so good? Well, there’s a few things, like the fact that it’s built around an ascending line, which is literally uplifting. But far more interesting than that, is the fact that the bass line is in a minor key. And as you probably know, major keys are usually used in feel good songs like this. So how do they make a minor key feel so uplifting? Easy, they made the song for dancing, and when we move to music, we feel good. So to get people dancing, they used lots of syncopation in their bass line, and that makes it really funky. And by the way, syncopation is when you accent an off-beat. Also, most funk bass lines are actually in minor keys, cos funk’s favourite notes are the 1, the ♭3 and the ♭7. And lastly, to emphasise all those off-beats in the bass line, the drums accent all the 1/4 note beats by playing the classic four-on-the-floor groove.
SETUP Alright, now you’re gonna learn how to use this theory to make your own version. And for the example in this lesson, we’ll be using our version that we made earlier. So, start by setting up two bars of 4/4, with your grid set to 1/16 notes, and your tempo set to 105 BPM. “Be Nice” is in the key of F minor, so we’ll use it too.
STEP 1. SYNCOPATION Funkiness is all about syncopation. So to get people moving to your bass line, you have to accent lots of off-beats. If you don’t, it’ll sound rigid and stiff, and that ain’t gonna get anybody dancing! And for that reason, the best place to start writing a funky bass line, is with the rhythm, and more importantly, syncopation. And remember, great bass lines have a balance of notes on the beat and notes off the beat. So don’t just play everything off the beat thinking it’ll make your bass line extra funky, you gotta spank some of those 1/4 note beats as well! In our example, we’re playing beat 1 and beat 3 in each bar, and then everything else is syncopated.
MORE And by the way, if you want our ultimate hack for funky bass lines, along with a MIDI file example, then check out our Songwriting & Producing PDF (click & scroll down). It also contains hacks on how to write great chord progressions, melodies, and more MIDI examples as well!
STEP 2. TWO LINES Right, now it’s time to turn your rhythm into a bass line. And what’s cool about the bass line in “Be Nice”, is that it’s a 2-in-1. What I mean by that, is there’s actually two clearly defined lines playing together (obviously playing one-at-a-time though). The upper line carries the melody, while the lower line holds things down with one note (in the original, that note is C, the 5). And writing two lines like this will make your bass even more funky, as it mirrors the slap bass technique often used in funk.
VALUE Now, as with many of the songs we hack, the vibe and the production are super cool, but when it comes to the actual music, the songwriters and producers often choose to sacrifice longevity for popularity. And for the record, there’s absolutely nothing wrong with that, because the value of music is different for everyone. If music has extrinsic value to you, then you’re making music as a way of achieving something, like a hit. On the other hand, if music has intrinsic value to you, then you’re making music purely for the joy of creating art. And this song is the perfect example of music that was made for extrinsic value, as it was written to be a hit.
BE NICE So, in their bass’ upper line, they simply ascend note-by-note through the scale. This makes it instantly appealing, cos the first time someone hears it they already know where it’s going, and the average person likes music that sounds familiar. The downside to writing predictable music though, is that people get tired of it quickly. But, if you’re aiming for a hit that doesn’t matter, because you only need it to be trending for a few weeks.
BE DIFFERENT If you’re like us though, and you’re happy to sacrifice popularity for longevity, then write an upper line that people won’t be able to guess where it’s going on their first listen, as that will keep them coming back again and again!
NEXT Okay, so now that you’ve got one section down, how do you write the other sections? How do you transition between them (especially when they’re in different keys)? And, how do you structure and arrange your song? These are issues that many songwriters and producers struggle with, and that’s exactly why we made our online course Apprenticeship #1. So, if you wanna overcome these obstacles once and for all, then sign up now!
Kate & Ray Harmony (AKA Revolution Harmony) Music Teachers & Producers in Vancouver BC, Canada
LEVELS Level 1 - Read our free book (below) & watch our YouTube videos Level 2 - Read our "Part 1" book & "Songwriting & Producing" PDF Level 3 - Practice making music using our lessons (PDF+MIDI+WAV) Level 4 - Learn our secret art of song-whispering & finish your music
ABOUT Hack Music Theory is a pioneering DAW method for making great music that stands out, so you can move and grow your audience! Taught by award-winning music lecturer Ray Harmony, and his protégé wife Kate Harmony, from their studio in Vancouver BC, Canada. Ray is the author of critically-acclaimed book series "Hack Music Theory", and has made music with Serj Tankian (System of a Down), Tom Morello (Rage Against the Machine), Steven Wilson (Porcupine Tree), Devin Townsend (Strapping Young Lad), Ihsahn (Emperor), Kool Keith (Ultramagnetic MCs), Madchild (Swollen Members), and many more! Kate has the highest grade distinction in Popular Music Theory from the London College of Music, and is the only person on the planet who's been trained by Ray to teach his method. On that note, the "Hack Music Theory" YouTube channel teaches relevant and instantly-usable music theory for producers, DAW users, and all other music makers (songwriters, singers, guitarists, bassists, drummers, etc.) in all genres, from EDM to R&B, pop to hip-hop, reggae to rock, electronic to metal (and yes, we djefinitely djent!).
Wooohooo!!! You’re a mere 30 minutes away from being even smarter than you already are. Just head on over to your inbox now for your free download.
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“The most brilliant, fast, easy & fun music theory book I’ve ever seen!” DEREK SIVERS, CD Baby founder
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Dog Blood (Skrillex & Boys Noize) “Turn Off The Lights” Music Theory
Jun 06, 2019
Learn how to write a melody, using a music theory hack from Dog Blood (Skrillex & Boys Noize) “Break Law”, from their new EP “Turn Off The Lights”.
Hello revolutionary music makers, we are Kate Harmony and Ray Harmony (AKA Revolution Harmony), and welcome to Hack Music Theory. We help you make great music that stands out, so you can move and grow your audience! If that sounds useful to you, then subscribe to our YouTube channel and hit that bell to get notified every Thursday, when we publish our new video. Also, if you’re new to our channel, be sure to download our free book “12 Music Theory Hacks to Learn Scales & Chords” below. Alright, it’s time to open your DAW to hack music theory. But first… tea!
INTRO BREAK LAW (off the new Dog Blood EP from Skrillex & Boys Noize) contains an awesome Indian vocal sample, which instantly hooks you! The original vocal is obviously not by Dog Blood, but they’ve credited the late Indian composer Aadesh Shrivastava as a co-writer, so we think it’s originally from his song “Sona Sona” (https://www.youtube.com/watch?v=wBo2-e8Dnsg). Now, Skrillex and Boys Noize did a great job of finding and re-using this melody, cos it’s super catchy but it’s also super interesting, and those two elements are usually mutually exclusive. In other words, if you want a catchy melody, it can’t be too interesting otherwise people won’t be able to sing it, and therefore it won’t be memorable. And if you want an interesting melody, it can’t be too catchy otherwise it’ll become too familiar, and then it won’t be interesting anymore. So, how can this melody be both interesting and catchy? Well, the composer very cleverly wrote it to be both simple and complex. It’s simple in terms of its pitches, which makes it easy to sing and remember, but it’s complex in terms of its rhythm, which keeps it interesting even after countless listens. Also, here’s a bonus hack for you. The original melody is actually five bars long, and that’s another great method for writing interesting melodies: use an odd number of bars!
SETUP Alright, now you’re gonna learn how to use this theory to make your own version. So, start by setting up four bars of 4/4, with your grid set to 1/32 notes, and your tempo set to 108 BPM. “Break Law” is in D Phrygian, so we’ll use it too.
STEP 1. PITCH Right, so the “pitch” element is the one you’re gonna keep simple, in order to make your melody catchy. So, choose only three notes from D Phrygian, which is: D E♭ F G A B♭ C. The original melody uses G, A and B♭, but you can use any three notes from the scale. And if you want, you can choose a fourth note that will be used exclusively as a 1/32 note to decorate your melody, and provide some variation. The original melody uses C as its decorative note, but once again, you can use any note from the scale.
MORE And by the way, if you need help writing melodies, then simply use the Melody Checklist in our Songwriting & Producing PDF (click & scroll down). It’s the ultimate list of dos and don’ts for writing great melodies. And on that note, just a quick reminder that our epic summer sale is finishing this Sunday (9 June 2019), so grab 33% OFF all our PDFs, lessons, and our online course.
STEP 2. RHYTHM Now, the “rhythm” element is the one you’re gonna make more complex, in order to make your melody interesting. Remember, if your pitches and your rhythm are both simple, then people will get tired of your melody after a few listens. A more complex rhythm will give your melody depth, which will in turn give it longevity. So, here’s how it’s done. You actually write four melodic segments (known as phrases), which then come together to form your melody. But, and this is a very important but, in order to make your whole melody unpredictable and therefore interesting, make each phrase different, and don’t stick to the bar lines. For example, you can see our first phrase actually ends in the second bar, and our third phrase actually begins before the third bar. And lastly, in the Dog Blood track, the melody is played over a droning bass line that just keeps pounding that root note, so we’ll do that too.
NEXT Okay, so now that you’ve got one section down, how do you write the other sections? How do you transition between them (especially when they’re in different keys)? And, how do you structure and arrange your song? These are issues that many songwriters and producers struggle with, and that’s exactly why we made our online course Apprenticeship #1. So, if you wanna overcome these obstacles once and for all, then sign up now!
Kate & Ray Harmony (AKA Revolution Harmony) Music Teachers & Producers in Vancouver BC, Canada
LEVELS Level 1 - Read our free book (below) & watch our YouTube videos Level 2 - Read our "Part 1" book & "Songwriting & Producing" PDF Level 3 - Practice making music using our lessons (PDF+MIDI+WAV) Level 4 - Learn our secret art of song-whispering & finish your music
ABOUT Hack Music Theory is a pioneering DAW method for making great music that stands out, so you can move and grow your audience! Taught by award-winning music lecturer Ray Harmony, and his protégé wife Kate Harmony, from their studio in Vancouver BC, Canada. Ray is the author of critically-acclaimed book series "Hack Music Theory", and has made music with Serj Tankian (System of a Down), Tom Morello (Rage Against the Machine), Steven Wilson (Porcupine Tree), Devin Townsend (Strapping Young Lad), Ihsahn (Emperor), Kool Keith (Ultramagnetic MCs), Madchild (Swollen Members), and many more! Kate has the highest grade distinction in Popular Music Theory from the London College of Music, and is the only person on the planet who's been trained by Ray to teach his method. On that note, the "Hack Music Theory" YouTube channel teaches relevant and instantly-usable music theory for producers, DAW users, and all other music makers (songwriters, singers, guitarists, bassists, drummers, etc.) in all genres, from EDM to R&B, pop to hip-hop, reggae to rock, electronic to metal (and yes, we djefinitely djent!).
Wooohooo!!! You’re a mere 30 minutes away from being even smarter than you already are. Just head on over to your inbox now for your free download.
There was an error submitting your subscription. Please try again.
“The most brilliant, fast, easy & fun music theory book I’ve ever seen!” DEREK SIVERS, CD Baby founder
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Wu-Tang Clan “Of Mics and Men” Music Theory
May 30, 2019
Learn how to write a bass line using a music theory hack from Wu-Tang Clan “Seen a Lot of Things” (from “Of Mics and Men” EP).
Hello revolutionary music makers, we are Kate Harmony and Ray Harmony (AKA Revolution Harmony), and welcome to Hack Music Theory. We help you make great music that stands out, so you can move and grow your audience! If that sounds useful to you, then subscribe to our YouTube channel and hit that bell to get notified every Thursday, when we publish our new video. Also, if you’re new to our channel, be sure to download our free book “12 Music Theory Hacks to Learn Scales & Chords” below. Alright, it’s time to open your DAW to hack music theory. But first… tea!
INTRO “Seen a Lot of Things” (off Wu-Tang’s new EP) contains a music theory gem that’s as effective as it is hidden. Seriously, most people listening to this track won’t even notice this gem, but they’ll feel it for sure! And the reason they’ll feel it, is because it has to do with the 3rd note of the root chord. Remember, the 3rd in a chord is the note that determines whether that chord is major or minor. When the 3rd note is three semitones above the root, it’s a minor chord, and when the 3rd note is four semitones above the root, it’s a major chord. Now, Wu’s track is in the key of D minor, so the root chord is obviously Dm, and that’s the chord they use first in their four-bar loop. But, here’s where things get interesting. They change some of the Dm chords into Dmaj chords. And that’s crazy cool on its own, but they don’t stop there. The chords in their progression are not actually full chords, they’re “power chords”, which consist of only the root and the 5th, so on their own, “power chords” are not major or minor, cos they’re missing the 3rd. So, the way they change the Dm to Dmaj is by changing the 3rd note in the bass line, from F (the minor 3rd) to F♯ (the major 3rd). This also means that the same chord progression works over both bass lines, the one with F, and the one with F♯. And even the vocal melody in the chorus avoids that 3rd note as well, which means the same melody works over both choruses, despite the first chorus using Dm and the second chorus using Dm and Dmaj. And that makes the second chorus feel way more uplifting than the first chorus. Super clever!
SETUP Alright, now you’re gonna learn how to use this theory to make your own version, and what you see on the screen right now is our version that we made earlier. So, start by setting up four bars of 4/4, with your grid set to 1/16 notes, and your tempo set to 86 BPM. And as you know, Wu’s track is in the key of D minor, so we’ll use it too.
STEP 1. MINOR Okay so you’re gonna start by writing a bass line using the D natural minor scale: D E F G A B♭ C. Now, be sure to play a long D in bars one and three, which will anchor your bass line into the root note, and therefore the key. And in bars two and four, make sure you play a relatively long F. Then you can fill out the rest of your bass line with other notes from the scale. But, in the first half, don’t play B♭, cos that’s the minor 6th so it will lock you into that minor vibe, which will then mess up step two.
MORE And by the way, if you need help writing bass lines, lead melodies, chord progressions and everything else, then download our Songwriting & Producing PDF (click & scroll down). It’s your one-stop-source for everything you need to make great music now! And just before we jump into step two, a quick heads up. The sun is shining here in Vancouver and it’s feeling a lot like summer, and you know what that means: it’s time for our epic summer sale! So, everything on our website is now 33% OFF. And yes, that includes our online apprenticeship course, which you will SAVE $50 on. Are you ready to invest in yourself, and take your music to the next level? Then get involved now, and use the discount code “summer” at the checkout. The sale ends on Sunday, 9 June 2019. Enjoy!
STEP 2. MAJOR Alright, here comes the clever bit. Take that relatively long F you played in bar two, and move it up to F♯. With that one simple tweak, you’ve now turned Dm into Dmaj. But remember, in the chord progression above this note, you need to be playing a D “power chord”, which is just the notes D and A. And now you have two versions of your bass line: the original version, and this new uplifting version. So, play around with using both versions throughout your track in order to change up the vibe.
NEXT Okay, so now that you’ve got one section down, how do you write the other sections? How do you transition between them (especially when they’re in different keys)? And, how do you structure and arrange your song? These are issues that many songwriters and producers struggle with, and that’s exactly why we made our online course Apprenticeship #1. So, if you wanna overcome these obstacles once and for all, then sign up now!
Kate & Ray Harmony (AKA Revolution Harmony) Music Teachers & Producers in Vancouver BC, Canada
LEVELS Level 1 - Read our free book (below) & watch our YouTube videos Level 2 - Read our "Part 1" book & "Songwriting & Producing" PDF Level 3 - Practice making music using our lessons (PDF+MIDI+WAV) Level 4 - Learn our secret art of song-whispering & finish your music
ABOUT Hack Music Theory is a pioneering DAW method for making great music that stands out, so you can move and grow your audience! Taught by award-winning music lecturer Ray Harmony, and his protégé wife Kate Harmony, from their studio in Vancouver BC, Canada. Ray is the author of critically-acclaimed book series "Hack Music Theory", and has made music with Serj Tankian (System of a Down), Tom Morello (Rage Against the Machine), Steven Wilson (Porcupine Tree), Devin Townsend (Strapping Young Lad), Ihsahn (Emperor), Kool Keith (Ultramagnetic MCs), Madchild (Swollen Members), and many more! Kate has the highest grade distinction in Popular Music Theory from the London College of Music, and is the only person on the planet who's been trained by Ray to teach his method. On that note, the "Hack Music Theory" YouTube channel teaches relevant and instantly-usable music theory for producers, DAW users, and all other music makers (songwriters, singers, guitarists, bassists, drummers, etc.) in all genres, from EDM to R&B, pop to hip-hop, reggae to rock, electronic to metal (and yes, we djefinitely djent!).
Wooohooo!!! You’re a mere 30 minutes away from being even smarter than you already are. Just head on over to your inbox now for your free download.
There was an error submitting your subscription. Please try again.
“The most brilliant, fast, easy & fun music theory book I’ve ever seen!” DEREK SIVERS, CD Baby founder
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Slipknot “Unsainted” Music Theory
May 23, 2019
Learn how to write melodies in counterpoint, using a music theory hack from Slipknot “Unsainted” (off their upcoming album “We Are Not Your Kind”).
Hello revolutionary music makers, we are Kate Harmony and Ray Harmony (AKA Revolution Harmony), and welcome to Hack Music Theory. We help you make great music that stands out, so you can move and grow your audience! If that sounds useful to you, then subscribe to our YouTube channel and hit that bell to get notified every Thursday, when we publish our new video. Also, if you’re new to our channel, be sure to download our free book “12 Music Theory Hacks to Learn Scales & Chords” below. Alright, it’s time to open your DAW to hack music theory. But first… tea!
INTRO Slipknot’s new single “Unsainted” begins with a totally unexpected women’s choir, which sings the chorus melody, but without the lyrics. These “aahs” cleverly deliver the melody before the vocalist even starts singing, so by the time he comes in, the chorus is already familiar. It’s essential that Slipknot hook listeners in the first few seconds, cos this song is the lead single from their upcoming album, and this intro does exactly that. But, as effective as it is, what actually makes this song special is their use of counterpoint, which is the technique of writing melodies that counter each other and result in distinctive musical layers.
SETUP Alright, now you’re gonna learn how to use this theory to make your own version, and what you see on the screen right now is our version that we made earlier. So, start by setting up four bars of 4/4, with your grid set to 1/8 notes, and your tempo set to around 100 BPM. The intro and chorus of “Unsainted” is in the key of B minor, so we’ll use it too.
STEP 1. CHORDS Now I know what you’re thinking: “Wait, what? Chords? I thought we were talking about melodies here?” We are, but, the best counterpoint always creates powerful harmony from the individual melodies playing simultaneously. So the easiest way to start writing a counterpoint section, is to choose your chords first. And the chords in B minor are: Bm, C♯dim, Dmaj, Em, F♯m, Gmaj, and Amaj. Also, you can use F♯maj (instead of F♯m), if you wanna use the harmonic minor like Slipknot do here.
STEP 2. COUNTERPOINT Alright, now that you’ve got your chord progression down, it’s time to turn it into counterpoint. And when writing counterpoint, you can have as few as two simultaneous melodies, or, as many as you want. In this lesson, we’ll just be doing two (which is known as two-part counterpoint, and that’s what you see here), but in the playthrough at the end of this video, if you listen carefully, you’ll hear a third melody coming in, which will demonstrate what three-part counterpoint sounds like. Now, when writing two-part counterpoint, a great place to start is to outline each chord by playing its root and 3rd. For example, we’re starting our chord progression on Bm, and you can see we’re playing the root of the chord (B) in the low voice, and the minor 3rd (D) in the high voice. But then over our last chord, F♯maj, we’re doing the opposite: we’re playing the root of the chord (F♯) in the high voice, and the major 3rd (A♯) in the low voice. Right, now that you’ve got your chords outlined, you can start adding in some other notes to create your final melodies. And remember, the high voice will be your lead melody, so that can have more notes than the low voice, which will be your bass melody, so keep that a little simpler.
And by the way, if you need help writing melodies, no problem, just use our Melody Checklist, which is the ultimate list of dos and don’ts for writing great melodies. It’s available in our Songwriting & Producing PDF (click & scroll down), which also includes the other essential hacks you need to write great music, like our ultimate counterpoint hack.
NEXT Okay, so now that you’ve got one section down, how do you write the other sections? How do you transition between them (especially when they’re in different keys)? And, how do you structure and arrange your song? These are issues that many songwriters and producers struggle with, and that’s exactly why we made our online course Apprenticeship #1. So, if you wanna overcome these obstacles once and for all, then sign up now!
Kate & Ray Harmony (AKA Revolution Harmony) Music Teachers & Producers in Vancouver BC, Canada
LEVELS Level 1 - Read our free book (below) & watch our YouTube videos Level 2 - Read our "Part 1" book & "Songwriting & Producing" PDF Level 3 - Practice making music using our lessons (PDF+MIDI+WAV) Level 4 - Learn our secret art of song-whispering & finish your music
ABOUT Hack Music Theory is a pioneering DAW method for making great music that stands out, so you can move and grow your audience! Taught by award-winning music lecturer Ray Harmony, and his protégé wife Kate Harmony, from their studio in Vancouver BC, Canada. Ray is the author of critically-acclaimed book series "Hack Music Theory", and has made music with Serj Tankian (System of a Down), Tom Morello (Rage Against the Machine), Steven Wilson (Porcupine Tree), Devin Townsend (Strapping Young Lad), Ihsahn (Emperor), Kool Keith (Ultramagnetic MCs), Madchild (Swollen Members), and many more! Kate has the highest grade distinction in Popular Music Theory from the London College of Music, and is the only person on the planet who's been trained by Ray to teach his method. On that note, the "Hack Music Theory" YouTube channel teaches relevant and instantly-usable music theory for producers, DAW users, and all other music makers (songwriters, singers, guitarists, bassists, drummers, etc.) in all genres, from EDM to R&B, pop to hip-hop, reggae to rock, electronic to metal (and yes, we djefinitely djent!).
Wooohooo!!! You’re a mere 30 minutes away from being even smarter than you already are. Just head on over to your inbox now for your free download.
There was an error submitting your subscription. Please try again.
“The most brilliant, fast, easy & fun music theory book I’ve ever seen!” DEREK SIVERS, CD Baby founder
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5 Time Signatures in 1
May 16, 2019
Over the last few weeks, we've been making music from scratch (while on camera), and sharing the unedited footage on YouTube. We did this to expose the best kept secret in music... when you understand theory, making music is not only easy, it's super fun too! In today's video, we reveal the final music, which is an epic polymeter containing 5 time signatures in 1. You gotta hear it to believe it. But first... Tea!
Hello revolutionary music makers, we are Kate Harmony and Ray Harmony (AKA Revolution Harmony), and welcome to Hack Music Theory. We help you make great music that stands out, so you can move and grow your audience! If that sounds useful to you, then subscribe to our YouTube channel and hit that bell to get notified every Thursday, when we publish our new video.
The music making process is shrouded in secrecy and always takes place behind closed doors, cos writing music in front of people (or while on camera) is a very vulnerable thing to do, so nobody does it. But, we are here to change that once and for all! Our passion is to reveal that there is nothing mysterious or elusive about making music, it’s merely a simple step-by-step process fuelled by theory and creativity, which we can teach you right now! To learn more, click here.
Okay, so after watching this video, you'll know how to write one section, but how do you write the other sections? And then, how do you transition between all the sections (especially when they’re in different keys)? And then, how do you structure and arrange your song? Well, these are issues that many songwriters and producers struggle with, and that’s exactly why we made our online apprenticeship course. So, if you wanna overcome these obstacles once and for all, then our course is definitely for you!
Kate & Ray Harmony (AKA Revolution Harmony) Music Teachers & Producers in Vancouver BC, Canada
LEVELS Level 1 - Read our free book (below) & watch our YouTube videos Level 2 - Read our "Part 1" book & "Songwriting & Producing" PDF Level 3 - Practice making music using our lessons (PDF+MIDI+WAV) Level 4 - Learn our secret art of song-whispering & finish your music
ABOUT Hack Music Theory is a pioneering DAW method for making great music that stands out, so you can move and grow your audience! Taught by award-winning music lecturer Ray Harmony, and his protégé wife Kate Harmony, from their studio in Vancouver BC, Canada. Ray is the author of critically-acclaimed book series "Hack Music Theory", and has made music with Serj Tankian (System of a Down), Tom Morello (Rage Against the Machine), Steven Wilson (Porcupine Tree), Devin Townsend (Strapping Young Lad), Ihsahn (Emperor), Kool Keith (Ultramagnetic MCs), Madchild (Swollen Members), and many more! Kate has the highest grade distinction in Popular Music Theory from the London College of Music, and is the only person on the planet who's been trained by Ray to teach his method. On that note, the "Hack Music Theory" YouTube channel teaches relevant and instantly-usable music theory for producers, DAW users, and all other music makers (songwriters, singers, guitarists, bassists, drummers, etc.) in all genres, from EDM to R&B, pop to hip-hop, reggae to rock, electronic to metal (and yes, we djefinitely djent!).
Wooohooo!!! You’re a mere 30 minutes away from being even smarter than you already are. Just head on over to your inbox now for your free download.
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“The most brilliant, fast, easy & fun music theory book I’ve ever seen!” DEREK SIVERS, CD Baby founder
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How to Write a Lead Melody - The Unedited Process
May 10, 2019
Learn how to write a melody over your bass (in this unedited video that reveals the music making process).
Hello revolutionary music makers, we are Kate Harmony and Ray Harmony (AKA Revolution Harmony), and welcome to Hack Music Theory. We help you make great music that stands out, so you can move and grow your audience! If that sounds useful to you, then subscribe to our YouTube channel and hit that bell to get notified every Thursday, when we publish our new video.
The music making process is shrouded in secrecy and always takes place behind closed doors, cos writing music in front of people (or while on camera) is a very vulnerable thing to do, so nobody does it. But, we are here to change that once and for all! Our passion is to reveal that there is nothing mysterious or elusive about making music, it’s merely a simple step-by-step process fuelled by theory and creativity, which we can teach you right now! To learn more, click here.
Okay, so after watching this video, you'll know how to write one section, but how do you write the other sections? And then, how do you transition between all the sections (especially when they’re in different keys)? And then, how do you structure and arrange your song? Well, these are issues that many songwriters and producers struggle with, and that’s exactly why we made our online apprenticeship course. So, if you wanna overcome these obstacles once and for all, then our course is definitely for you!
Kate & Ray Harmony (AKA Revolution Harmony) Music Teachers & Producers in Vancouver BC, Canada
LEVELS Level 1 - Read our free book (below) & watch our YouTube videos Level 2 - Read our "Part 1" book & "Songwriting & Producing" PDF Level 3 - Practice making music using our lessons (PDF+MIDI+WAV) Level 4 - Learn our secret art of song-whispering & finish your music
ABOUT Hack Music Theory is a pioneering DAW method for making great music that stands out, so you can move and grow your audience! Taught by award-winning music lecturer Ray Harmony, and his protégé wife Kate Harmony, from their studio in Vancouver BC, Canada. Ray is the author of critically-acclaimed book series "Hack Music Theory", and has made music with Serj Tankian (System of a Down), Tom Morello (Rage Against the Machine), Steven Wilson (Porcupine Tree), Devin Townsend (Strapping Young Lad), Ihsahn (Emperor), Kool Keith (Ultramagnetic MCs), Madchild (Swollen Members), and many more! Kate has the highest grade distinction in Popular Music Theory from the London College of Music, and is the only person on the planet who's been trained by Ray to teach his method. On that note, the "Hack Music Theory" YouTube channel teaches relevant and instantly-usable music theory for producers, DAW users, and all other music makers (songwriters, singers, guitarists, bassists, drummers, etc.) in all genres, from EDM to R&B, pop to hip-hop, reggae to rock, electronic to metal (and yes, we djefinitely djent!).
Wooohooo!!! You’re a mere 30 minutes away from being even smarter than you already are. Just head on over to your inbox now for your free download.
There was an error submitting your subscription. Please try again.
“The most brilliant, fast, easy & fun music theory book I’ve ever seen!” DEREK SIVERS, CD Baby founder
We use this field to detect spam bots. If you fill this in, you will be marked as a spammer.
DOWNLOAD FREE BOOK
Writing a Chord Progression for a Melody
May 02, 2019
Learn how to write chords for a bass line in this unedited video that reveals the process of making music.
Hello revolutionary music makers, we are Kate Harmony and Ray Harmony (AKA Revolution Harmony), and welcome to Hack Music Theory. We help you make great music that stands out, so you can move and grow your audience! If that sounds useful to you, then subscribe to our YouTube channel and hit that bell to get notified every Thursday, when we publish our new video.
The music making process is shrouded in secrecy and always takes place behind closed doors, cos writing music in front of people (or while on camera) is a very vulnerable thing to do, so nobody does it. But, we are here to change that once and for all! Our passion is to reveal that there is nothing mysterious or elusive about making music, it’s merely a simple step-by-step process fuelled by theory and creativity, which we can teach you right now! To learn more, click here.
Okay, so after watching this video, you'll know how to write one section, but how do you write the other sections? And then, how do you transition between all the sections (especially when they’re in different keys)? And then, how do you structure and arrange your song? Well, these are issues that many songwriters and producers struggle with, and that’s exactly why we made our online apprenticeship course. So, if you wanna overcome these obstacles once and for all, then our course is definitely for you!
Kate & Ray Harmony (AKA Revolution Harmony) Music Teachers & Producers in Vancouver BC, Canada
LEVELS Level 1 - Read our free book (below) & watch our YouTube videos Level 2 - Read our "Part 1" book & "Songwriting & Producing" PDF Level 3 - Practice making music using our lessons (PDF+MIDI+WAV) Level 4 - Learn our secret art of song-whispering & finish your music
ABOUT Hack Music Theory is a pioneering DAW method for making great music that stands out, so you can move and grow your audience! Taught by award-winning music lecturer Ray Harmony, and his protégé wife Kate Harmony, from their studio in Vancouver BC, Canada. Ray is the author of critically-acclaimed book series "Hack Music Theory", and has made music with Serj Tankian (System of a Down), Tom Morello (Rage Against the Machine), Steven Wilson (Porcupine Tree), Devin Townsend (Strapping Young Lad), Ihsahn (Emperor), Kool Keith (Ultramagnetic MCs), Madchild (Swollen Members), and many more! Kate has the highest grade distinction in Popular Music Theory from the London College of Music, and is the only person on the planet who's been trained by Ray to teach his method. On that note, the "Hack Music Theory" YouTube channel teaches relevant and instantly-usable music theory for producers, DAW users, and all other music makers (songwriters, singers, guitarists, bassists, drummers, etc.) in all genres, from EDM to R&B, pop to hip-hop, reggae to rock, electronic to metal (and yes, we djefinitely djent!).
Wooohooo!!! You’re a mere 30 minutes away from being even smarter than you already are. Just head on over to your inbox now for your free download.
There was an error submitting your subscription. Please try again.
“The most brilliant, fast, easy & fun music theory book I’ve ever seen!” DEREK SIVERS, CD Baby founder
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Take Your Bass Lines to Their Full Potential
Apr 25, 2019
Learn how to write a bass line and take it to its full potential, by perfectly balancing repetition and variation.
Hello revolutionary music makers, we are Kate Harmony and Ray Harmony (AKA Revolution Harmony), and welcome to Hack Music Theory. We help you make great music that stands out, so you can move and grow your audience! If that sounds useful to you, then subscribe to our YouTube channel and hit that bell to get notified every Thursday, when we publish our new video.
The music making process is shrouded in secrecy and always takes place behind closed doors, cos writing music in front of people (or while on camera) is a very vulnerable thing to do, so nobody does it. But, we are here to change that once and for all! Our passion is to reveal that there is nothing mysterious or elusive about making music, it’s merely a simple step-by-step process fuelled by theory and creativity, which we can teach you right now! To learn more, click here.
Okay, so after watching this video, you'll know how to write one section, but how do you write the other sections? And then, how do you transition between all the sections (especially when they’re in different keys)? And then, how do you structure and arrange your song? Well, these are issues that many songwriters and producers struggle with, and that’s exactly why we made our online apprenticeship course. So, if you wanna overcome these obstacles once and for all, then our course is definitely for you!
Kate & Ray Harmony (AKA Revolution Harmony) Music Teachers & Producers in Vancouver BC, Canada
LEVELS Level 1 - Read our free book (below) & watch our YouTube videos Level 2 - Read our "Part 1" book & "Songwriting & Producing" PDF Level 3 - Practice making music using our lessons (PDF+MIDI+WAV) Level 4 - Learn our secret art of song-whispering & finish your music
ABOUT Hack Music Theory is a pioneering DAW method for making great music that stands out, so you can move and grow your audience! Taught by award-winning music lecturer Ray Harmony, and his protégé wife Kate Harmony, from their studio in Vancouver BC, Canada. Ray is the author of critically-acclaimed book series "Hack Music Theory", and has made music with Serj Tankian (System of a Down), Tom Morello (Rage Against the Machine), Steven Wilson (Porcupine Tree), Devin Townsend (Strapping Young Lad), Ihsahn (Emperor), Kool Keith (Ultramagnetic MCs), Madchild (Swollen Members), and many more! Kate has the highest grade distinction in Popular Music Theory from the London College of Music, and is the only person on the planet who's been trained by Ray to teach his method. On that note, the "Hack Music Theory" YouTube channel teaches relevant and instantly-usable music theory for producers, DAW users, and all other music makers (songwriters, singers, guitarists, bassists, drummers, etc.) in all genres, from EDM to R&B, pop to hip-hop, reggae to rock, electronic to metal (and yes, we djefinitely djent!).
Wooohooo!!! You’re a mere 30 minutes away from being even smarter than you already are. Just head on over to your inbox now for your free download.
There was an error submitting your subscription. Please try again.
“The most brilliant, fast, easy & fun music theory book I’ve ever seen!” DEREK SIVERS, CD Baby founder
We use this field to detect spam bots. If you fill this in, you will be marked as a spammer.
DOWNLOAD FREE BOOK
Making Music with Polymeters - Unedited Studio Session
Apr 18, 2019
In this video, you'll learn how to use polymeters to overcome writer's block and start making music!
We get a lot of questions about our online apprenticeship course's unique format, so we made this video for you as a free taster. If you like this video, then you'll love our course! So click this link now to SAVE $50 on Apprenticeship #1.
Hello revolutionary music makers, we are Kate Harmony and Ray Harmony (AKA Revolution Harmony), and welcome to Hack Music Theory. We help you make great music that stands out, so you can move and grow your audience! If that sounds useful to you, then subscribe to our YouTube channel and hit that bell to get notified every Thursday, when we publish our new video.
Okay, so after watching this video, you'll know how to write one section, but how do you write the other sections? And then, how do you transition between all the sections (especially when they’re in different keys)? And then, how do you structure and arrange your song? Well, these are issues that many songwriters and producers struggle with, and that’s exactly why we made our online apprenticeship course. So, if you wanna overcome these obstacles once and for all, then our course is definitely for you!
Kate & Ray Harmony (AKA Revolution Harmony) Music Teachers & Producers in Vancouver BC, Canada
LEVELS Level 1 - Read our free book (below) & watch our YouTube videos Level 2 - Read our "Part 1" book & "Songwriting & Producing" PDF Level 3 - Practice making music using our lessons (PDF+MIDI+WAV) Level 4 - Learn our secret art of song-whispering & finish your music
ABOUT Hack Music Theory is a pioneering DAW method for making great music that stands out, so you can move and grow your audience! Taught by award-winning music lecturer Ray Harmony, and his protégé wife Kate Harmony, from their studio in Vancouver BC, Canada. Ray is the author of critically-acclaimed book series "Hack Music Theory", and has made music with Serj Tankian (System of a Down), Tom Morello (Rage Against the Machine), Steven Wilson (Porcupine Tree), Devin Townsend (Strapping Young Lad), Ihsahn (Emperor), Kool Keith (Ultramagnetic MCs), Madchild (Swollen Members), and many more! Kate has the highest grade distinction in Popular Music Theory from the London College of Music, and is the only person on the planet who's been trained by Ray to teach his method. On that note, the "Hack Music Theory" YouTube channel teaches relevant and instantly-usable music theory for producers, DAW users, and all other music makers (songwriters, singers, guitarists, bassists, drummers, etc.) in all genres, from EDM to R&B, pop to hip-hop, reggae to rock, electronic to metal (and yes, we djefinitely djent!).
Wooohooo!!! You’re a mere 30 minutes away from being even smarter than you already are. Just head on over to your inbox now for your free download.
There was an error submitting your subscription. Please try again.
“The most brilliant, fast, easy & fun music theory book I’ve ever seen!” DEREK SIVERS, CD Baby founder
We use this field to detect spam bots. If you fill this in, you will be marked as a spammer.
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How to Modify Modes & Make Rare Scales, like Dorian ♭2 ♯4
Apr 11, 2019
Hello revolutionary music makers, we are Kate Harmony and Ray Harmony (AKA Revolution Harmony), and welcome to Hack Music Theory. We help you make great music that stands out, so you can move and grow your audience! If that sounds useful to you, then subscribe to our YouTube channel and hit that bell to get notified every Thursday, when we publish our new video. Alright, let’s jump in...
INTRO So last week, totally out of the blue, I get an email from the legendary Kerrang! Magazine, saying they’ve selected my charity single “We Are” (feat. Serj Tankian, Ihsahn & Devin Townsend) for a story on metal musicians who’ve done good things for the world. Wow!! I am deeply humbled (and shocked) to be chosen as one of these eight musicians, so thank you Kerrang!, and a very special thank you to Courtney Iseman, who wrote the article. Now, there’s a ton of crazy cool theory in this song, so I thought I’d take this opportunity to share some with you. Alright, on that note, it’s time to open your DAW to hack music theory. But first… tea!
THEORY “We Are” opens with a verse that is dark and dissonant, which is normal for this genre, but the verse’s vibe is unfamiliar and unlike anything we’re used to hearing. Why? Well, the scale Ray used for this section is an extremely rare scale, which is only really found in Indian classical music. However, he didn’t use this scale because it’s rare, the method behind his madness is much more practical, and easy to use. So, Ray started by selecting the mode that would create the nearest vibe to what he wanted, and as he was after a sad but uplifting vibe, he chose Dorian. Next, he simply modified the Dorian mode by tweaking the notes that were preventing him from achieving his intended vibe. These notes were the 2, which he changed to the ♭2, and the 4, which he changed to the ♯4. These two tweaks resulted in the exact vibe Ray had heard in his head. And lastly, regarding a name. While this scale does have a name in India (Sadvidhamargini), in the West it doesn’t, so we just refer to it as Dorian ♭2 ♯4. And this naming method is another great hack for rare scales: simply name ‘em by using the nearest mode, then list the tweaked notes afterwards.
SETUP Alright, now you’re gonna learn how to use this theory to make your own version, and what you see in the video is the bass line from the verse of “We Are”. So, start by setting up one bar of 10/4, with your grid set to 1/16 notes, and your tempo set to 80 BPM. And in “We Are”, the key note of the verse is E.
STEP 1. CLOSEST MODE Start by thinking about what kinda vibe you want, then choose the mode that will get you closest to that vibe. For example, if you want a serious sound, you’ll shortlist the minor modes. Then, if you want a positive twist (like I did), you’ll choose Dorian. And by the way, if you’re new to modes, then you can learn everything you need to know about them in three simple hacks, which are in our Songwriting & Producing PDF. This PDF also contains the other essential music making hacks you’ll need, along with MIDI file examples (the link is below).
STEP 2. MODIFIED MODE Now that you’re in the ballpark of the vibe that you’re wanting to create, you can write a melody or chord progression so that you can hear exactly what notes are not right. So, here’s my bass line in Dorian, before I modified the mode. The 2 in Dorian was preventing the vibe from being as dark as I wanted, so I changed it to the ♭2. I then had a mix of Dorian and Phrygian, but it still wasn’t right. The 4 was sounding too predictable, and as I wanted to create an unfamiliar sounding vibe, I changed it to the ♯4. And with that, I had my custom vibe from my modified mode!
NEXT Okay, so now that you’ve got one section down, how do you write the other sections? And then, how do you transition between all the sections (especially when they’re in different keys)? And then, how do you structure and arrange your song? Well, these are issues that many songwriters and producers struggle with, and that’s exactly why we made our online apprenticeship course. So, if you wanna overcome these obstacles once and for all, then our course is definitely for you!
Kate & Ray Harmony (AKA Revolution Harmony) Music Teachers & Producers in Vancouver BC, Canada
LEVELS Level 1 - Read our free book (below) & watch our YouTube videos Level 2 - Read our "Part 1" book & "Songwriting & Producing" PDF Level 3 - Practice making music using our lessons (PDF+MIDI+WAV) Level 4 - Learn our secret art of song-whispering & finish your music
ABOUT Hack Music Theory is a pioneering DAW method for making great music that stands out, so you can move and grow your audience! Taught by award-winning music lecturer Ray Harmony, and his protégé wife Kate Harmony, from their studio in Vancouver BC, Canada. Ray is the author of critically-acclaimed book series "Hack Music Theory", and has made music with Serj Tankian (System of a Down), Tom Morello (Rage Against the Machine), Steven Wilson (Porcupine Tree), Devin Townsend (Strapping Young Lad), Ihsahn (Emperor), Kool Keith (Ultramagnetic MCs), Madchild (Swollen Members), and many more! Kate has the highest grade distinction in Popular Music Theory from the London College of Music, and is the only person on the planet who's been trained by Ray to teach his method. On that note, the "Hack Music Theory" YouTube channel teaches relevant and instantly-usable music theory for producers, DAW users, and all other music makers (songwriters, singers, guitarists, bassists, drummers, etc.) in all genres, from EDM to R&B, pop to hip-hop, reggae to rock, electronic to metal (and yes, we djefinitely djent!).
Wooohooo!!! You’re a mere 30 minutes away from being even smarter than you already are. Just head on over to your inbox now for your free download.
There was an error submitting your subscription. Please try again.
“The most brilliant, fast, easy & fun music theory book I’ve ever seen!” DEREK SIVERS, CD Baby founder
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How to Layer Melodies Using Rhythmic Displacement
Apr 04, 2019
Learn how to write melodies that are layered with rhythmic displacement, using a music theory hack from Mogwai “Hungry Face” (Les Revenants / The Returned soundtrack).
THEORY Scottish band Mogwai wrote the soundtrack for the TV show Les Revenants (The Returned) back in 2012. In the main theme “Hungry Face”, there’s an innovative approach to layering melodies by using rhythmic displacement, which has gone rather unnoticed and therefore unappreciated. So, what’s rhythmic displacement? And why did theirs go unnoticed? Well, rhythmic displacement is when you take a musical element (like a melody), and move it slightly earlier or later in the music. And Mogwai’s use of this technique goes unnoticed, intentionally, cos they displace the first melody (by moving it a 1/4 note later) when the second melody starts. This is a super clever sleight of hand, cos the second melody pulls your attention away from the first melody, which then gets rhythmically displaced to make the music sound unsettled, without anyone knowing why. And as if that’s not enough, Mogwai have one more ingenious trick up their sleeve. The first melody (which has a nursery rhyme feel), is made to sound like it’s in C major. But, when the second melody begins (which has a serious feel), it reveals the music is actually in D minor. Brilliant! And perfect for the soundtrack to a supernatural TV show.
SETUP Alright, now you’re gonna learn how to use this theory to make your own version, and what you see in the video is our version that we made earlier. So, start by setting up eight bars of 4/4, with your grid set to 1/8 notes, and your tempo set to 109 BPM. As you already know, “Hungry Face” is in the key of D minor, so we’ll use it too.
STEP 1. FIRST MELODY You’re gonna start by writing an innocent sounding four-bar melody, which will create the illusion that it’s in the nice happy key of C major. So, how do you write a melody that sounds like it’s in C major, but is actually in D minor? Well it’s pretty easy, because these two scales share six notes. The only note in D minor that’s not also in C major, is B♭, so just avoid that note. And don’t play B either, as that’ll make your melody properly in the key of C major. Lastly, centre your melody around C, to make it sound like that’s your root.
STEP 2. SECOND MELODY Right, it’s time to finally reveal the real key, D minor. So, you’re now gonna write a serious sounding four-bar melody in a lower register, starting in bar five, and centring it around D (the real root) and F (♭3). These two notes will pull your listeners’ ears into the key of D minor.
STEP 3. RHYTHMIC DISPLACEMENT As your listeners are orientating themselves to what sounds like a new key, you’re gonna rhythmically displace your first melody over the top of your second melody, which will create the unsettling feeling that everything is not what it seems. So, simply copy and paste your first melody above your second melody, then shorten its last note by a 1/4 note, and then move the melody a 1/4 note later. Voilà!
NEXT Okay, so now that you’ve got one section down, how do you write the other sections? How do you transition between them (especially when they’re in different keys)? And, how do you structure and arrange your song? These are issues that many songwriters and producers struggle with, and that’s exactly why we made our online course Apprenticeship #1. So, if you wanna overcome these obstacles once and for all, then sign up now!
Kate & Ray Harmony (AKA Revolution Harmony) Music Teachers & Producers in Vancouver BC, Canada
LEVELS Level 1 - Read our free book (below) & watch our YouTube videos Level 2 - Read our "Part 1" book & "Songwriting & Producing" PDF Level 3 - Practice making music using our lessons (PDF+MIDI+WAV) Level 4 - Learn our secret art of song-whispering & finish your music
ABOUT Hack Music Theory is a pioneering DAW method for making great music that stands out, so you can move and grow your audience! Taught by award-winning music lecturer Ray Harmony, and his protégé wife Kate Harmony, from their studio in Vancouver BC, Canada. Ray is the author of critically-acclaimed book series "Hack Music Theory", and has made music with Serj Tankian (System of a Down), Tom Morello (Rage Against the Machine), Steven Wilson (Porcupine Tree), Devin Townsend (Strapping Young Lad), Ihsahn (Emperor), Kool Keith (Ultramagnetic MCs), Madchild (Swollen Members), and many more! Kate has the highest grade distinction in Popular Music Theory from the London College of Music, and is the only person on the planet who's been trained by Ray to teach his method. On that note, the "Hack Music Theory" YouTube channel teaches relevant and instantly-usable music theory for producers, DAW users, and all other music makers (songwriters, singers, guitarists, bassists, drummers, etc.) in all genres, from EDM to R&B, pop to hip-hop, reggae to rock, electronic to metal (and yes, we djefinitely djent!).
Wooohooo!!! You’re a mere 30 minutes away from being even smarter than you already are. Just head on over to your inbox now for your free download.
There was an error submitting your subscription. Please try again.
“The most brilliant, fast, easy & fun music theory book I’ve ever seen!” DEREK SIVERS, CD Baby founder
We use this field to detect spam bots. If you fill this in, you will be marked as a spammer.
DOWNLOAD FREE BOOK
How to Write an Unpredictable Melody
Mar 28, 2019
Learn how to write a non-diatonic melody, using a music theory hack from TheFatRat “Chosen” (ft. Anna Yvette & Laura Brehm).
THEORY German producer TheFatRat dropped his new single “Chosen” this month, which definitely avoids Spotify’s infamous five-second skip rate, as a mere four seconds into the track there’s an extremely unexpected note in the melody that’s totally thrilling! At first it sounds like he’s changing the quality of the root chord from major to minor, cos after establishing E as the root, the melody moves from G♯ (3) to G♮ (♭3), making it sound like Emaj has become Em. But after that G♮ and another E, instead of going to B again, his melody hits C♮ (not C♯), revealing the chord has actually become Cmaj/E (♭VImaj), not Em. This is an ingenious illusion, as he emphasizes the melodic movement from G♯ to G♮ in order to trick our ears into thinking the root chord quality has changed!
SETUP Alright, now you’re gonna learn how to use this theory to make your own version, and what you see below is our version that we made earlier. So, start by setting up four bars of 4/4, with your grid set to 1/32 notes, and your tempo set to 95 BPM. As you already know, “Chosen” is in the key of E major (with a couple of non-diatonic notes), so we’ll use E major as well. And by the way, a non-diatonic note is just a note that is not in the scale. Also, those dark notes below our melody are the root notes of the chords in our progression (which are on another track). These root notes are all muted, they’re just there for reference. And no, this is not our bass line, that’s a different melody (see MIDI file).
STEP 1. THE CHORDS First things first, you need to write your chord progression. Choosing your chords before you write your melody will allow you to outline that harmony in your melody, which will make it more structured and therefore more memorable. So there’s only a few guidelines here: play Emaj in your first bar (to establish it as the root chord), and play Cmaj in your third bar. Also, after you’ve played the Cmaj, keep using those non-diatonic notes C♮ and G♮ until the end of your progression. For example, use Am (as it contains C♮) instead of Amaj (as it contains C♯). This will make your listeners get used to those non-diatonic notes, then when you loop around and hit that Emaj, they’ll be surprised to hear G♯ again, which will keep ‘em interested!
STEP 2. THE MELODY TheFatRat uses 1/32 notes (with a rest after each note), which makes his melody super perky, so we’ll do the same. So, start by outlining the Emaj triad, then to keep it fresh, throw in a note (or two) that is not in the triad but is in the scale (like D♯). Then use the same approach over your other chords. And be sure to emphasize the G♯ moving to G♮ when the Cmaj chord hits. Also, don’t play C♮ in your melody until you get to the Cmaj, otherwise that’ll ruin the surprise of that totally unexpected chord.
NEXT Okay, so now that you’ve got one section down, how do you write the other sections? How do you transition between them (especially when they’re in different keys)? And, how do you structure and arrange your song? These are issues that many songwriters and producers struggle with, and that’s exactly why we made our online course Apprenticeship #1. So, if you wanna overcome these obstacles once and for all, then sign up now!
Kate & Ray Harmony (AKA Revolution Harmony) Music Teachers & Producers in Vancouver BC, Canada
LEVELS Level 1 - Read our free book (below) & watch our YouTube videos Level 2 - Read our "Part 1" book & "Songwriting & Producing" PDF Level 3 - Practice making music using our lessons (PDF+MIDI+WAV) Level 4 - Learn our secret art of song-whispering & finish your music
ABOUT Hack Music Theory is a pioneering DAW method for making great music that stands out, so you can move and grow your audience! Taught by award-winning music lecturer Ray Harmony, and his protégé wife Kate Harmony, from their studio in Vancouver BC, Canada. Ray is the author of critically-acclaimed book series "Hack Music Theory", and has made music with Serj Tankian (System of a Down), Tom Morello (Rage Against the Machine), Steven Wilson (Porcupine Tree), Devin Townsend (Strapping Young Lad), Ihsahn (Emperor), Kool Keith (Ultramagnetic MCs), Madchild (Swollen Members), and many more! Kate has the highest grade distinction in Popular Music Theory from the London College of Music, and is the only person on the planet who's been trained by Ray to teach his method. On that note, the "Hack Music Theory" YouTube channel teaches relevant and instantly-usable music theory for producers, DAW users, and all other music makers (songwriters, singers, guitarists, bassists, drummers, etc.) in all genres, from EDM to R&B, pop to hip-hop, reggae to rock, electronic to metal (and yes, we djefinitely djent!).
Wooohooo!!! You’re a mere 30 minutes away from being even smarter than you already are. Just head on over to your inbox now for your free download.
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“The most brilliant, fast, easy & fun music theory book I’ve ever seen!” DEREK SIVERS, CD Baby founder
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How to Write a Bass Line (or Guitar Riff) like Rage Against the Machine “Bulls on Parade”
Mar 21, 2019
Hello revolutionary music makers, we are Kate Harmony and Ray Harmony (AKA Revolution Harmony), and welcome to Hack Music Theory. We help you make great music that stands out, so you can move and grow your audience! If that sounds useful to you, then subscribe to our YouTube channel and hit that bell to get notified every Thursday, when we publish our new video.
INTRO So, over the last few months we’ve been conceptualizing and planning a brand new series for you! And don’t worry, our New Music Theory series will continue like normal, we’ll just switch back and forth between the two. And if you’re wondering why we need a new series, well, there’s two reasons: Firstly, Hack Music Theory is all about relevant music theory, which is why we trawl through the new releases every week to bring you the best new theory. But, there are tons of great songs that were released years ago (like “Bulls on Parade”), which are still totally relevant today, so we’d love to be able to hack these kinds of songs for you as well, and with this new series, we can! And secondly, our other videos are longer, and while that step-by-step process is essential for learning how to write great music from scratch, it does require more of a time commitment from you. Whereas this new series will deliver short videos containing one power hack, which you can instantly apply to music you’re already working on in order to improve it. We respect your time, and we appreciate you giving it to us every week. So this new series is our way for us to continue serving you, but to take up less of your time while offering you more (in the way of insights into songs we wouldn’t otherwise hack). We’re super stoked to bring you a wider range of music theory hacks, and we hope you dig ‘em. Alright, without further ado, it’s time to open your DAW to hack music theory.
THEORY The “Bulls on Parade” verses contain one of the grooviest riffs, ever! This is partly due to it having lots of syncopation and being in the pentatonic minor scale, but, there’s a very unexpected note in this riff that takes it to a whole new level. And, it’s not just the addition of this unexpected note, it’s also where this note is placed. So, the note is the 7, and it’s placed between two ♭7s, before resolving to the root.
HACK Alright, now you’re gonna learn how to instantly apply this power hack to your own music, and what you see on the screen right now is our example that we made earlier. We’re using the F Blues scale. And this is our “before the hack” version, and this is our “after the hack” version. We’ll play through ‘em both at the end. So, playing the ♭7 up to the 7 and then up to the root isn’t anything special, but, playing the ♭7 up to the 7 and then going back down to the ♭7, that certainly is special! You see, when you play the ♭7 up to the 7 it creates some serious tension, and only a provocative (and brave!) artist wouldn’t then resolve that 7 up to the root. By the way, if you’re new to music theory and all these numbers are confusing you, then download our free book “12 Music Theory Hacks to Learn Scales & Chords” (link below). It only takes 30 minutes to read, and it’ll give you a super solid theory foundation! Now, the band do resolve to the root after that last ♭7, but that creates frustration as it wasn’t the big resolution the listener expected after the 7, and the resolution didn’t happen when the listener wanted it to. That’s a very cool hack! So, if you’re feeling brave like Rage Against the Machine, then throw this power hack into one of your bass lines or riffs!
NEXT Okay, so now that you’ve got one section down, how do you write the other sections? And then, how do you transition between all the sections (especially when they’re in different keys)? And then, how do you structure and arrange your song? Well, these are issues that many songwriters and producers struggle with, and that’s exactly why we made our online apprenticeship course. So, if you wanna overcome these obstacles once and for all, then our course is definitely for you!
Kate & Ray Harmony (AKA Revolution Harmony) Music Teachers & Producers in Vancouver BC, Canada
LEVELS Level 1 - Read our free book (below) & watch our YouTube videos Level 2 - Read our "Part 1" book & "Songwriting & Producing" PDF Level 3 - Practice making music using our lessons (PDF+MIDI+WAV) Level 4 - Learn our secret art of song-whispering & finish your music
ABOUT Hack Music Theory is a pioneering DAW method for making great music that stands out, so you can move and grow your audience! Taught by award-winning music lecturer Ray Harmony, and his protégé wife Kate Harmony, from their studio in Vancouver BC, Canada. Ray is the author of critically-acclaimed book series "Hack Music Theory", and has made music with Serj Tankian (System of a Down), Tom Morello (Rage Against the Machine), Steven Wilson (Porcupine Tree), Devin Townsend (Strapping Young Lad), Ihsahn (Emperor), Kool Keith (Ultramagnetic MCs), Madchild (Swollen Members), and many more! Kate has the highest grade distinction in Popular Music Theory from the London College of Music, and is the only person on the planet who's been trained by Ray to teach his method. On that note, the "Hack Music Theory" YouTube channel teaches relevant and instantly-usable music theory for producers, DAW users, and all other music makers (songwriters, singers, guitarists, bassists, drummers, etc.) in all genres, from EDM to R&B, pop to hip-hop, reggae to rock, electronic to metal (and yes, we djefinitely djent!).
Wooohooo!!! You’re a mere 30 minutes away from being even smarter than you already are. Just head on over to your inbox now for your free download.
There was an error submitting your subscription. Please try again.
“The most brilliant, fast, easy & fun music theory book I’ve ever seen!” DEREK SIVERS, CD Baby founder
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4 Essentials to Enliven Your Bass Lines
Mar 14, 2019
No matter what genre you make music in, you can easily funk up your bass lines, which will get people moving to your music. So in this video, you’ll learn how to apply four essential funk elements to your bass lines. But first… tea!
Hello revolutionary music makers, we are Kate Harmony and Ray Harmony (AKA Revolution Harmony), and welcome to Hack Music Theory. We help you make great music that stands out, so you can move and grow your audience! If that sounds useful to you, then subscribe to our YouTube channel and hit that bell to get notified every Thursday, when we publish our new video. Alright, let’s jump in...
THEORY Local Vancouver band FIVE ALARM FUNK just dropped their new single “Wake the Funk Up” feat. Leo P (Too Many Zooz), and it’s one helluva funky tune! All the funk essentials are here: Every beat 1 has a funk flashlight shining on it, there’s enough syncopation to make any dancefloor get on up, the ♭7 is tearing the roof off the sucker, and the song takes you on a chromatic rollercoaster. By the way, chromatic (AKA non-diatonic) refers to notes that are not in the scale. Now, always remember that funk is an attitude, not a genre, so any time you wanna get the party started with a bass line, use these four funk essentials:
Accent beat 1 in every bar
Syncopate almost everything else
Use the ♭7 everywhere you can
Seal the deal with chromatic notes
SETUP Alright, now you’re gonna learn how to use this theory to make your own version, and what you see on the screen right now is our version that we made earlier. So, start by setting up eight bars of 4/4, with your grid set to 1/16 notes, and your tempo set to 116 BPM. “Wake the Funk Up” is in E♭ Dorian with a bunch of chromatic notes, but we’ll be using E (instead of E♭), as it has a smaller key signature so it’s easier for learning.
STEP 1. THE ONE As James Brown famously requested from Bootsy Collins back in the day: If you gimme the one, son, then you can play whatever you want for the rest of the bar. So, make sure you play beat 1 of every bar. We alternated between playing the low root on beat 1, then switching it up with a higher note on beat 1 of every other bar.
STEP 2. THE SCALE The funkiest bass lines often use the blues scale, which is simply the pentatonic minor scale with the ♭5 added in. So, while the horns will be playing in E Dorian, the bass will be playing in E Blues. This scale combo is a funk favourite! And yes, these two scales work perfectly together as their notes overlap (other than the ♭5, but, we’ll throw the ♭5 in the Dorian horns as well). Right, so E Blues contains the notes: E G A B♭ B♮ D, so you can use any of those notes in your bass line. And by the way, if you want our blues scale hack for funky bass lines, along with a MIDI file example, then that’s all included in our Songwriting & Producing PDF (click & scroll down).
STEP 3. SYNCOPATED MOTIF Now, as you’ve given Mr Brown all the ones, you’re free to do whatever you want everywhere else. So, you’re gonna create a syncopated motif, which you can then repeat (and vary) to make your bass line. And if you’re new to those terms. Syncopation is when you accent an off-beat, and that injects energy into your groove. And a motif is a short musical idea, which you repeat to give your bass line structure and make it memorable. Our motif consists of a three-note descending line, where the last note is a syncopated 1/16 note. We then repeat our motif, starting on the note we ended on, to form a larger six-note motif. Right, now it’s time to create a motif in your second bar. And yes, you’re leaving the rest of your first bar open, cos space is essential in a funky bass line. And once you’ve created your motif, repeat it in your fourth bar with a variation. We varied our motif by playing it ascending. Next, repeat the original motif in your sixth bar, but add a couple notes. Also, throw in some extra notes at the end of your fourth bar and in your fifth bar. These extra notes start building the energy towards your big ending, which is coming up next.
STEP 4. CHROMATIC ENDING Many great funk bass lines have a wild sound to them, which is often a result of venturing out of the scale. And the classic place to do this, is at the end of your line. This not only builds tension, it also prevents your bass line from becoming boring and predictable. So, in your eighth bar, you’re gonna write a melodic run that uses our old friend Syncopation, as well as our new friend Chromaticism. In Dorian, some funky favourites when it comes to chromatic notes are the 7 (especially when played between the ♭7 and the root), and the ♭2 (especially when played between the root and the 2 leading to the ♭3). Also, remember the funky ♭5, which you should use liberally throughout your bass line.
NEXT Okay, so now that you’ve got one section down, how do you write the other sections? And then, how do you transition between all the sections (especially when they’re in different keys)? And then, how do you structure and arrange your song? Well, these are issues that many songwriters and producers struggle with, and that’s exactly why we made our online apprenticeship course. So, if you wanna overcome these obstacles once and for all, then our course is definitely for you!
Kate & Ray Harmony (AKA Revolution Harmony) Music Teachers & Producers in Vancouver BC, Canada
LEVELS Level 1 - Read our free book (below) & watch our YouTube videos Level 2 - Read our "Part 1" book & "Songwriting & Producing" PDF Level 3 - Practice making music using our lessons (PDF+MIDI+WAV) Level 4 - Learn our secret art of song-whispering & finish your music
ABOUT Hack Music Theory is a pioneering DAW method for making great music that stands out, so you can move and grow your audience! Taught by award-winning music lecturer Ray Harmony, and his protégé wife Kate Harmony, from their studio in Vancouver BC, Canada. Ray is the author of critically-acclaimed book series "Hack Music Theory", and has made music with Serj Tankian (System of a Down), Tom Morello (Rage Against the Machine), Steven Wilson (Porcupine Tree), Devin Townsend (Strapping Young Lad), Ihsahn (Emperor), Kool Keith (Ultramagnetic MCs), Madchild (Swollen Members), and many more! Kate has the highest grade distinction in Popular Music Theory from the London College of Music, and is the only person on the planet who's been trained by Ray to teach his method. On that note, the "Hack Music Theory" YouTube channel teaches relevant and instantly-usable music theory for producers, DAW users, and all other music makers (songwriters, singers, guitarists, bassists, drummers, etc.) in all genres, from EDM to R&B, pop to hip-hop, reggae to rock, electronic to metal (and yes, we djefinitely djent!).
Wooohooo!!! You’re a mere 30 minutes away from being even smarter than you already are. Just head on over to your inbox now for your free download.
There was an error submitting your subscription. Please try again.
“The most brilliant, fast, easy & fun music theory book I’ve ever seen!” DEREK SIVERS, CD Baby founder
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How to Write Better Djent Riffs
Mar 07, 2019
What makes a great djent riff? Two things: the right notes, with the right polymeter. So in this video you’ll learn all that, plus you’ll learn how to make your riffs stand out by adding a second melody into the same riff. But first… tea!
Hello revolutionary music makers, we are Kate Harmony and Ray Harmony (AKA Revolution Harmony), and welcome to Hack Music Theory. We help you make great music that stands out, so you can move and grow your audience! If that sounds useful to you, then subscribe to our YouTube channel and hit that bell to get notified every Thursday, when we publish our new video. Alright, let’s jump in...
THEORY Prog metal legends PERIPHERY just dropped their new single “Garden in the Bones”, and it’s brilliant! This song is overflowing with stunning melodies, mesmerizing riffs, captivating polymeters, epic grooves, and the most massive chorus! “Garden in the Bones” launches directly into the first verse, which contains a slower polymetric riff with lots of rests. But, instead of playing it on one note (like so many djent riffs), or using super dissonant intervals (like so many other djent riffs), Periphery play a refreshingly consonant group of notes, which would be right at home in any popular music genre. Then, as if that’s not enough, when the second verse comes around, it’s not just a copy and paste of the first verse. No, it’s a continuation; the next chapter of an unfolding story. They achieve this by adding notes to the original riff, in place of the rests. This creates a 2-in-1 riff consisting of the original riff as the bass voice, and the new notes as a melody on top.
SETUP Alright, now you’re gonna learn how to use this theory to make your own version. So, start by setting up one bar of 15/4, with your grid set to 1/8 notes, and your tempo set to 135 BPM. Periphery use F♯ Dorian for their verses, so we’ll use it too.
STEP 1. VERSE 1 First things first, F♯ Dorian consists of the notes: F♯ G♯ A B C♯ D♯ E, so you can use any of those notes in your riff. Now, start on the root note (F♯), then skip two 1/8 notes, and then play a note. Next, skip another two 1/8 notes, and then play two notes. Then do that again: skip two 1/8 notes, and then play two notes. And lastly, skip another two 1/8 notes, and then play one last note. When you’re choosing your notes, keep it simple (and keep it low), and think of them as an implied chord progression. Also, use a B somewhere, but more on that later. Right, now you have your 15/8 riff, so repeat it once to complete the bar of 15/4. Finally, add the root note (F♯) on beat 9. This is such a clever trick of Periphery’s, cos what that one extra note does, is ingeniously disguise the odd 15/8 time signature. You see, the root note is the home of your scale, so it’s the strongest note. And by playing the strongest note on beat 9, it pulls the ear back to that 1/4 note pulse (cos in 4/4, beat 9 is actually beat 1 of bar 3). Also, the drummer is playing 1/4 notes on his china cymbal, so that pulse is really powerful. And that pulse, along with the root note on beat 9, tricks the listener into feeling this as 4/4, right until the end of the riff where it’s finally revealed that there’s a 1/4 note missing (cos in four bars of 4/4 there are sixteen 1/4 notes, but here there are only fifteen). This polymeter makes the riff sound far simpler (and therefore more accessible) than it actually is. That’s very clever! So to sum up. The polymeter is occurring between the guitar and the drums. The guitar is playing two bars of 15/8 over the drums that are playing three bars of 4/4 and one bar of 3/4. This all adds up to one cycle of the polymeter, which is equal to one bar of 15/4.
STEP 2. VERSE 2 Right, this is where things get extra tasty. You’re now gonna use the first verse riff as a bass voice, and you’re gonna add a new voice on top of it in place of all the rests. This creates a riff that can still be played on one guitar, but now it sounds like there’s two guitars playing, cos there are two melodies (one low, and one high). Okay, so remember in Step 1 we mentioned that you should think of the notes in your bass voice as an implied chord progression? Well now it’s time to flesh out that harmony. For example, Periphery’s second verse riff implies some dreamy add9 harmonies, so if you want that vibe as well, then be sure to play a 2 over a couple chords (e.g. over the implied F♯m, the 2 is G♯). And as you’re writing the high melody in your riff, be sure to play a D♯ over the B in your bass voice. Playing D♯ over B creates the unique Dorian sound, so without that D♯, you won’t get the sad-but-hopeful Dorian mood that we all love. And that’s why in Step 1, we said play a B. And by the way, if you wanna know everything you need to know about Dorian and the other modes, then download our Songwriting & Producing PDF.
NEXT Okay, so now that you’ve got your first and second verses down, how do you write the other sections? And then, how do you transition between all the sections (especially when they’re in different keys)? And then, how do you structure and arrange your song? Well, these are issues that all songwriters and producers struggle with in the beginning, and that’s exactly why we made our online apprenticeship course. So, if you wanna overcome these obstacles once and for all, then our course is definitely for you!
Kate & Ray Harmony (AKA Revolution Harmony) Music Teachers & Producers in Vancouver BC, Canada
LEVELS Level 1 - Read our free book (below) & watch our YouTube videos Level 2 - Read our "Part 1" book & "Songwriting & Producing" PDF Level 3 - Practice making music using our lessons (PDF+MIDI+WAV) Level 4 - Learn our secret art of song-whispering & finish your music
ABOUT Hack Music Theory is a pioneering DAW method for making great music that stands out, so you can move and grow your audience! Taught by award-winning music lecturer Ray Harmony, and his protégé wife Kate Harmony, from their studio in Vancouver BC, Canada. Ray is the author of critically-acclaimed book series "Hack Music Theory", and has made music with Serj Tankian (System of a Down), Tom Morello (Rage Against the Machine), Steven Wilson (Porcupine Tree), Devin Townsend (Strapping Young Lad), Ihsahn (Emperor), Kool Keith (Ultramagnetic MCs), Madchild (Swollen Members), and many more! Kate has the highest grade distinction in Popular Music Theory from the London College of Music, and is the only person on the planet who's been trained by Ray to teach his method. On that note, the "Hack Music Theory" YouTube channel teaches relevant and instantly-usable music theory for producers, DAW users, and all other music makers (songwriters, singers, guitarists, bassists, drummers, etc.) in all genres, from EDM to R&B, pop to hip-hop, reggae to rock, electronic to metal (and yes, we djefinitely djent!).
Wooohooo!!! You’re a mere 30 minutes away from being even smarter than you already are. Just head on over to your inbox now for your free download.
There was an error submitting your subscription. Please try again.
“The most brilliant, fast, easy & fun music theory book I’ve ever seen!” DEREK SIVERS, CD Baby founder
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How to Write a Beautiful Piano Chord Progression & Melody
Feb 28, 2019
The piano is a universal instrument, so a great piano part will give your song a timeless feel. And in this lesson, you’ll learn how to write a beautiful piano chord progression and melody, which will stand the test of time. But first… tea!
Hello revolutionary music makers, we are Kate Harmony and Ray Harmony (AKA Revolution Harmony), and welcome to Hack Music Theory. We help you make great music that stands out, so you can move and grow your audience! If that sounds useful to you, then subscribe to our YouTube channel and hit that bell to get notified every Thursday, when we publish our new video. Alright, let’s jump in...
THEORY London rapper DAVE just dropped his new single “Black”, which is a goosebump-inducing song with one of the most sophisticated piano parts we’ve heard in the New Music Friday playlist in a very long time! What makes the piano part so good? Two things. First, the chord progression lasts for an epic 16 bars. This is extremely rare in today’s music, which usually consists of four-bar loops. Second, the chord progression switches back and forth between the natural minor (popular music’s favourite scale) and the harmonic minor, which creates a Classical flavour to the piano part as the harmonic minor is the quintessential Classical scale. And it’s this Classical vibe that adds a timeless feel and a musical weight to the song, which in turn makes Dave’s important lyrics even more powerful.
SETUP Alright, now you’re gonna learn how to use this theory to make your own version, and what you see below is our version that we made earlier. So, start by setting up 16 bars of 4/4, with your grid set to 1/8 notes, and your tempo set to 84 BPM. Dave’s song is in the key of D minor, so we’ll use it too.
STEP 1. LEFT HAND (chords) We’re gonna start with the left-hand part, which will simply play octaves of each chord’s root note. These octaves provide a minimal harmonic backdrop, which creates a more delicate sound than full chords. So, first things first, here’s the menu of chords in D minor that you can choose from: Dm, Edim, Fmaj, Gm, Am (or Amaj), B♭maj, Cmaj, C♯dim. Please note: the Amaj and C♯dim chords are from the harmonic minor. Choose whichever chords you like from the D minor menu, but approach your 16 bars as 4x four-bar chord progressions. And start each four-bar progression with the root chord (Dm), except for the last progression, which you wanna start with one of the major chords in the key, to provide an uplifting vibe to the end of your epic 16 bars. Lastly, the Cmaj to C♯dim movement has a magnetic pull to the Dm, so definitely use that progression somewhere.
STEP 2. RIGHT HAND (melody) Right, it’s right-hand time, and that means melody! So, using 1/8 notes, come up with a motif (which is a short musical idea) over the Dm chord. Base your motif around the 2nd note (cos it’s a beautiful interval), and the 3rd note (cos it’s a deeply emotional interval) - over Dm the 2nd note is E, and the 3rd note is F. Then once you’ve got your motif, you can re-use it over the other chords (basing it around each chord’s 2nd and 3rd notes). Next, tie ‘em all together with some other notes, and be sure to use some arpeggios too, which is when you play a chord one note at a time. Also, throw in a few melodic variations to keep things fresh.
BONUS HACK (intro) Lastly, if you want a beautiful intro (like in Dave’s song), then use this hack. Set up four bars for your intro. Now, start on the root chord (Dm) and play it for two bars, then go to another chord and play it for two bars as well. You see, by playing each chord for two bars, instead of one bar or less (like in your verse), the harmony in your intro will move at half the speed. This is so powerful, cos when your verse kicks in, the harmony starts moving at double the speed, which makes everything feel like it’s totally ramping up.
NEXT Okay, so now that you’ve got an intro and a verse, how do you write a chorus and a bridge? And then, how do you transition between all the sections, especially if they’re in different keys? And then, how do you structure and arrange your song? Well, all songwriters and producers struggle with these issues in the beginning, and that’s exactly why we made our online apprenticeship course. So, if you wanna overcome these obstacles once and for all, then our course is definitely for you!
Kate & Ray Harmony (AKA Revolution Harmony) Music Teachers & Producers in Vancouver BC, Canada
LEVELS Level 1 - Read our free book (below) & watch our YouTube videos Level 2 - Read our "Part 1" book & "Songwriting & Producing" PDF Level 3 - Practice making music using our lessons (PDF+MIDI+WAV) Level 4 - Learn our secret art of song-whispering & finish your music
ABOUT Hack Music Theory is a pioneering DAW method for making great music that stands out, so you can move and grow your audience! Taught by award-winning music lecturer Ray Harmony, and his protégé wife Kate Harmony, from their studio in Vancouver BC, Canada. Ray is the author of critically-acclaimed book series "Hack Music Theory", and has made music with Serj Tankian (System of a Down), Tom Morello (Rage Against the Machine), Steven Wilson (Porcupine Tree), Devin Townsend (Strapping Young Lad), Ihsahn (Emperor), Kool Keith (Ultramagnetic MCs), Madchild (Swollen Members), and many more! Kate has the highest grade distinction in Popular Music Theory from the London College of Music, and is the only person on the planet who's been trained by Ray to teach his method. On that note, the "Hack Music Theory" YouTube channel teaches relevant and instantly-usable music theory for producers, DAW users, and all other music makers (songwriters, singers, guitarists, bassists, drummers, etc.) in all genres, from EDM to R&B, pop to hip-hop, reggae to rock, electronic to metal (and yes, we djefinitely djent!).
Wooohooo!!! You’re a mere 30 minutes away from being even smarter than you already are. Just head on over to your inbox now for your free download.
There was an error submitting your subscription. Please try again.
“The most brilliant, fast, easy & fun music theory book I’ve ever seen!” DEREK SIVERS, CD Baby founder
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Want Exotic Melodies? Use These Notes...
Feb 21, 2019
Most popular music is made using the two most common western scales: the major, and the natural minor. So the best way to make your melodies stand out is to use a non-western scale (like the one we’ll reveal in this lesson). But first… tea!
Hello revolutionary music makers, we are Kate Harmony and Ray Harmony (AKA Revolution Harmony), and welcome to Hack Music Theory. We help you make great music that stands out, so you can move and grow your audience! If that sounds useful to you, then subscribe to our YouTube channel and hit that bell to get notified every Thursday, when we publish our new video. Alright, let’s jump in...
THEORY Italian-Iranian crossover group NAVA just dropped their new Persian-inspired electronic track “Ritual”. This song jumps out at you from the hundreds of new releases, because those were made using the major or minor scale, whereas this song was made using a non-western scale. This scale is common in the traditional music of many non-western countries, like Iran and India, but it’s exceptionally rare in the West. When we do use this scale though, we call it the Phrygian dominant (or Phrygian major), but it has many non-Western names that predate these. Now, there’s a couple characteristics that make this scale sound exotic (which we’ll get to in a minute), but the main characteristic is the combination of the ♭2 and the 3. For example, in C Phrygian dominant, to get that exotic sound, you need to play the ♭2 (D♭), the 3 (E), and obviously the root (C). On the other hand, if you want a melody that stands out but does not sound too exotic, then change the chord under the D♭ in your melody to a B♭m, for example. This results in your listeners not hearing the D♭ as a dissonant ♭2, but instead as a beautiful ♭3 in the context of that B♭m chord. This is actually the method we used in our Grime Bass lesson, so check out that PDF if you wanna learn how to use the Phrygian dominant in a Western style. You’ll love how versatile this scale is!
SETUP Alright, now you’re gonna learn how to use this theory to make your own version, and what you see below is our version that we made earlier. So, start by setting up two bars of 4/4, with your grid set to 1/16 notes, and your tempo set to 120 BPM. NAVA uses C Phrygian dominant, so we’ll use it too.
STEP 1. THE SCALE So, what notes are in this exotic scale? Well, in C Phrygian dominant, the notes are: C D♭ E F G A♭ B♭. Now as we mentioned earlier, there’s a couple reasons this scale sounds exotic to Western ears. Firstly, there’s a super rare three-semitone interval between adjacent degrees of the scale (D♭ and E), whereas in the standard Western scales and modes, there’s usually one or two semitones between the degrees. Having said that though, there is one relatively standard Western scale that does contain a three-semitone interval between adjacent degrees, but, you hardly ever hear it outside of classical music (and metal), so it’s super rare in popular music. The scale we’re talking about is the harmonic minor*, and we love it, cos it’s another great way to make your music stand out. In fact, we teach you how to make standout music using the harmonic minor scale (and its cousin, the melodic minor) in our online course Apprenticeship #1, where you’ll also learn how to write new sections for existing sections, how to transition between sections in different keys, and a bunch more! Now, the second reason Phrygian dominant sounds exotic to Western ears, is that it has a ♭2, which only occurs twice in the Western modes (in Phrygian and Locrian), so that’s already rare. But, that’s only half the story. Both Phrygian and Locrian are minor (i.e. they contain a ♭3), whereas Phrygian dominant is major (i.e. it contains a 3), and as you now know, that magic combination of ♭2 and 3 is exactly what makes this scale sound so exotic.
*The West actually came across the Phrygian dominant by starting on the 5th degree of the harmonic minor scale. Therefore, these two scales are related, which means they share the exact same notes, but have a different root. For more on relative scales, read Hack 5 in our free ebook.
STEP 2. THE MELODY Right, now that you’re familiar with this exotic scale, it’s time to use it to write your melody. So, start your first phrase by playing the root note (C) to establish the home, then play around with all those beautiful semitone steps that naturally occur in this scale, in other words: C to D♭, E to F, and G to A♭. And for your melody’s second phrase, start on the root note again, but an octave higher this time (for variation, and to extend your melody’s range). Then, cascade down through the scale, perhaps ending with that exotic combo of ♭2 and 3. And for the rhythm of your melody, use a wide variety of note values to keep it fresh, and don’t be scared to throw in a 1/32 note for some extra spice. And if you need more help writing melodies, then use the Melody Checklist in our Songwriting & Producing PDF (click & scroll down), it’s the ultimate list of dos and don’ts for writing great melodies! Lastly, for maximum exoticness, we’re playing our melody over a bass line that’s inspired by a drone, which is when you play one note continuously. However, we added some other notes to our bass line, for extra interest (see MIDI file).
WANT MORE? Right, now that you’ve got one section down, how do you write more sections for it, and then, how do you transition between those sections, and turn 'em into a song? Great questions, and if this is something you need help with, then check out our cutting-edge online apprenticeship course, where you’ll literally learn every step of the music making process, and most importantly, you’ll learn how to finish your songs! You’ll also gain access to our private network, which is a safe online space (i.e. social media platform) exclusively for our 600+ apprentices from 50+ countries. Our Network is a super supportive place for you to ask theory questions, share your music, get feedback, meet like-minded music makers, and collaborate! If all this sounds useful to you, then head on over to our Online Apprenticeship page now.
Kate & Ray Harmony (AKA Revolution Harmony) Music Teachers & Producers in Vancouver BC, Canada
LEVELS Level 1 - Read our free book (below) & watch our YouTube videos Level 2 - Read our "Part 1" book & "Songwriting & Producing" PDF Level 3 - Practice making music using our lessons (PDF+MIDI+WAV) Level 4 - Learn our secret art of song-whispering & finish your music
ABOUT Hack Music Theory is a pioneering DAW method for making great music that stands out, so you can move and grow your audience! Taught by award-winning music lecturer Ray Harmony, and his protégé wife Kate Harmony, from their studio in Vancouver BC, Canada. Ray is the author of critically-acclaimed book series "Hack Music Theory", and has made music with Serj Tankian (System of a Down), Tom Morello (Rage Against the Machine), Steven Wilson (Porcupine Tree), Devin Townsend (Strapping Young Lad), Ihsahn (Emperor), Kool Keith (Ultramagnetic MCs), Madchild (Swollen Members), and many more! Kate has the highest grade distinction in Popular Music Theory from the London College of Music, and is the only person on the planet who's been trained by Ray to teach his method. On that note, the "Hack Music Theory" YouTube channel teaches relevant and instantly-usable music theory for producers, DAW users, and all other music makers (songwriters, singers, guitarists, bassists, drummers, etc.) in all genres, from EDM to R&B, pop to hip-hop, reggae to rock, electronic to metal (and yes, we djefinitely djent!).
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Use These Notes to Make Grime Bass Lines
Feb 14, 2019
When you want a heavy bass line, do you find yourself clicking through your sounds trying to find something that makes your bass heavy? Well, sounds don’t make bass lines heavy, the notes do. So in this video, you’ll learn what notes to use to make your bass lines heavy, regardless of the sounds you’re using. But first… tea!
Hello revolutionary music makers, we are Kate Harmony and Ray Harmony (AKA Revolution Harmony), and welcome to Hack Music Theory. We help you make great music that stands out, so you can move and grow your audience! If that sounds useful to you, then subscribe to our YouTube channel and hit that bell to get notified every Thursday, when we publish our new video. Alright, let’s jump in...
THEORY The legendary London grime producer & MC, SKEPTA, just dropped his new single “Wish You Were Here”. This track is the epitome of London’s grime sound, with its string arpeggios, dissonant bass, and syncopated drums. However, Skepta has a secret scale up his sleeve, which takes this tune to the next level. Now, it’s no secret that Grime producers love the Phrygian mode for its ♭2 (for example, if you’re in A Phrygian, the ♭2 is B♭). And if you’re familiar with modes, you’ll know that Phrygian is minor. And if you’re not familiar with modes, just keep watching cos we’ll explain Phrygian in a minute. So, here’s where the grime veteran kicks things up: Instead of playing the ♭3, he plays the 3, thereby turning Phrygian into Phrygian dominant (AKA Phrygian major), which is a very rare scale! And please note, there are many different (and better!) names for this scale, but Phrygian dominant is probably the most common name for it in the West. And finally, as if a rare scale wasn’t enough, Skepta throws in another note that isn’t even in Phrygian or Phrygian dominant, the 7. And by the way, if you’re new to the concept of musical spelling, which is when we assign numbers to notes (like 7), then read the fourth hack in our free book “12 Music Theory Hacks to Learn Scales & Chords”. And if you’re new to the concept of flat numbers (like ♭3), then read the eighth hack in the book, which you can download below.
SETUP Alright, now you’re gonna learn how to use this theory to make your own version, and what you see on the screen right now is our version that we made earlier. So, start by setting up two bars of 4/4, with your grid set to 1/16 notes, and your tempo set to 135 BPM. Skepta uses B♭ Phrygian dominant, but we’re using A, cos there’s fewer flats, so it’s easier for learning.
STEP 1. “SKEPTA SCALE” First things first, let’s talk about what Phrygian is. And that story begins with the Aeolian mode (AKA the natural minor scale), which is what you get when you play all the white notes, with A as your root note (in other words, your scale’s home). Now, to turn the Aeolian mode into the Phrygian mode, all you do is move the second note (B) one semitone down (to B♭). Then, to turn Phrygian in to Phrygian dominant, all you do is move the third note (C) one semitone up (to C♯), which changes the scale from minor to major. And finally, throw in that naughty note that is not in Phrygian or Phrygian dominant, the G♯. So, here is the “Skepta scale”: A B♭ C♯ D E F G G♯. And if you wanna start it on B♭, like Skepta does in his track, then just select all the MIDI and move it one semitone up.
STEP 2. BASS LINE Right, now that you know the “Skepta scale”, it’s time to use those notes to write your bass line. So, start by playing the root (A) for a 1/4 note, then complete the rest of your first bar with the notes A, C♯ and G, which outlines an A7 chord. Then in your second bar, start by playing the ♭2 (B♭), which creates that classic grime sound. Next, complete the rest of that bar with the notes G and B♭, which outlines a Gm chord, and then throw in that naughty G♯ somewhere towards the end. And lastly, for maximum groove, use plenty of rests and off-beats.
NEXT Right, now that you’ve got one section down, how do you write more sections for it, and then, how do you transition between those sections, and turn 'em into a song? Great questions, and if this is something you need help with, then check out our cutting-edge online apprenticeship course, where you’ll literally learn every step of the music making process, and most importantly, you’ll learn how to finish your songs! You’ll also gain access to our private network, which is a safe online space (i.e. social media platform) exclusively for our 600+ apprentices from 50+ countries. Our Network is a super supportive place for you to ask theory questions, share your music, get feedback, meet like-minded music makers, and collaborate! If all this sounds useful to you, then head on over to our Online Apprenticeship page now.
Kate & Ray Harmony (AKA Revolution Harmony) Music Teachers & Producers in Vancouver BC, Canada
LEVELS Level 1 - Read our free book (below) & watch our YouTube videos Level 2 - Read our "Part 1" book & "Songwriting & Producing" PDF Level 3 - Practice making music using our lessons (PDF+MIDI+WAV) Level 4 - Learn our secret art of song-whispering & finish your music
ABOUT Hack Music Theory is a pioneering DAW method for making great music that stands out, so you can move and grow your audience! Taught by award-winning music lecturer Ray Harmony, and his protégé wife Kate Harmony, from their studio in Vancouver BC, Canada. Ray is the author of critically-acclaimed book series "Hack Music Theory", and has made music with Serj Tankian (System of a Down), Tom Morello (Rage Against the Machine), Steven Wilson (Porcupine Tree), Devin Townsend (Strapping Young Lad), Ihsahn (Emperor), Kool Keith (Ultramagnetic MCs), Madchild (Swollen Members), and many more! Kate has the highest grade distinction in Popular Music Theory from the London College of Music, and is the only person on the planet who's been trained by Ray to teach his method. On that note, the "Hack Music Theory" YouTube channel teaches relevant and instantly-usable music theory for producers, DAW users, and all other music makers (songwriters, singers, guitarists, bassists, drummers, etc.) in all genres, from EDM to R&B, pop to hip-hop, reggae to rock, electronic to metal (and yes, we djefinitely djent!).
Wooohooo!!! You’re a mere 30 minutes away from being even smarter than you already are. Just head on over to your inbox now for your free download.
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“The most brilliant, fast, easy & fun music theory book I’ve ever seen!” DEREK SIVERS, CD Baby founder
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Use This Chord to Transform Your Progressions
Feb 07, 2019
It’s easy to play a few chords that sound nice together. But those chord progressions are really bland, cos there’s no spice in them. So in this video, you’ll learn how to transform your progressions with one super spicy chord. But first… tea!
Hello revolutionary music makers, we are Kate Harmony and Ray Harmony (AKA Revolution Harmony), and welcome to Hack Music Theory. We help you make great music that stands out, so you can move and grow your audience! If that sounds useful to you, then subscribe to our YouTube channel and hit that bell to get notified every Thursday, when we publish our new video. Alright, let’s jump in...
Theory French group DIRTYPHONICS just dropped their new single “Rise from the Dead”, which boasts two powerful hacks that make the chord progression seriously stand out. Firstly, they play each chord one note at a time (known as an “arpeggio”), which makes their progression sound like a melody. Secondly (and this is the hack you’ve been waiting for), they make the third chord in their progression super spicy, which builds a ton of tension that totally captivates you. And then when that tension is resolved with the fourth chord, you feel so amazingly satisfied! So, what chord can create this level of spicy sorcery? A diminished chord. But, this ain’t no ordinary run-of-the-mill diminished chord. No, this is a non-diatonic diminished chord! What the hell is that? Well you see, both the major and minor keys contain a diminished chord. And yes, that diminished chord is somewhat spicy and will create some tension, but, as it’s in the key (known as “diatonic”), its tension is somewhat limited. So in order to create that next-level tension that Dirtyphonics are bringing, you need to not only use a diminished chord, but a diminished chord that’s not in your key (known as “non-diatonic” or “chromatic”).
Set-Up Alright, now you’re gonna learn how to use this theory to make your own version, and what you see on the screen right now is our version that we made earlier. So, start by setting up four bars of 4/4, with your grid set to 1/16 notes, and your tempo set to 75 BPM. The Dirtyphonics track is in the key of F minor, but we actually used A minor for our example, because A minor consists of only white notes, which means it’s easy to distinguish between the diatonic notes (i.e. in the key) which are white, and the non-diatonic notes (i.e. not in the key) which are black.
Step 1 - Chords Dirtyphonics’ chords are based on a classic (and therefore, overused) minor key chord progression, which starts on the I (Am), and then drops down to the ♭VI (Fmaj), and then goes up to the ♭VII (Gmaj). And with such a friendly and familiar starting point, Dirtyphonics are able to throw in a mega dissonant chord, without the progression ending up too spicy. Here’s how they do it. They insert a non-diatonic diminished chord in between the two friendly major chords, which softens the spiciness of that non-diatonic diminished chord. And the chord we’re gonna insert there, is F♯dim*. And that F♯dim also creates these awesome ascending semitone steps, which add even more tension. And, notice how the Fmaj and F♯dim chords only have one different note, which makes that chord change super smooth, even though it’s such a spicy chord!
*If you’re interested in where F♯dim comes from: It’s a borrowed chord (i.e. a chord borrowed from a parallel mode) from A Dorian.
Step 2 - Arpeggios Right, now that you’ve got your block chords, it’s time to break ‘em up into arpeggios, so let’s start with the first chord, Am. And Dirtyphonics break up the chords in their intro into 1/16 note arpeggios, in a very common grouping of 8+8. But, when they bring this chord progression back later in the song (at 2:08, if you wanna check it out), they do something very clever: they play their 1/16 note arpeggios in the unusual grouping of 6+6+4. And just for fun, we played ours in the unusual grouping of 7+4+4+1, but you can use whatever grouping you like for your arpeggios. And once you’ve worked out a grouping you like for your first chord, then apply that to the rest of your chords, like this. And lastly, for some extra melodic interest, and to add to the climbing feel of these arpeggios, we moved one of these high root notes of each chord up to the next note in the scale.
NEXT Right, now that you’ve got one section down, how do you write more sections for it, and then, how do you transition between those sections, and turn 'em into a song? Great questions, and if this is something you need help with, then check out our cutting-edge online apprenticeship course, where you’ll literally learn every step of the music making process, and most importantly, you’ll learn how to finish your songs! You’ll also gain access to our private network, which is a safe online space (i.e. social media platform) exclusively for our 600+ apprentices from 50+ countries. Our Network is a super supportive place for you to ask theory questions, share your music, get feedback, meet like-minded music makers, and collaborate! If all this sounds useful to you, then head on over to our Online Apprenticeship page now.
Kate & Ray Harmony (AKA Revolution Harmony) Music Teachers & Producers in Vancouver BC, Canada
LEVELS Level 1 - Read our free book (below) & watch our YouTube videos Level 2 - Read our "Part 1" book & "Songwriting & Producing" PDF Level 3 - Learn our secret art of songwhispering & finish your music
ABOUT Hack Music Theory is a pioneering DAW method for making great music that stands out, so you can move and grow your audience! Taught by award-winning music lecturer Ray Harmony, and his protégé wife Kate Harmony, from their studio in Vancouver BC, Canada. Ray is the author of critically-acclaimed book series "Hack Music Theory", and has made music with Serj Tankian (System of a Down), Tom Morello (Rage Against the Machine), Steven Wilson (Porcupine Tree), Devin Townsend (Strapping Young Lad), Ihsahn (Emperor), Kool Keith (Ultramagnetic MCs), Madchild (Swollen Members), and many more! Kate has the highest grade distinction in Popular Music Theory from the London College of Music, and is the only person on the planet who's been trained by Ray to teach his method. On that note, the "Hack Music Theory" YouTube channel teaches relevant and instantly-usable music theory for producers, DAW users, and all other music makers (songwriters, singers, guitarists, bassists, drummers, etc.) in all genres, from EDM to R&B, pop to hip-hop, reggae to rock, electronic to metal (and yes, we djefinitely djent!).
Wooohooo!!! You’re a mere 30 minutes away from being even smarter than you already are. Just head on over to your inbox now for your free download.
There was an error submitting your subscription. Please try again.
“The most brilliant, fast, easy & fun music theory book I’ve ever seen!” DEREK SIVERS, CD Baby founder
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Change This Note to Make Your Melodies Stand Out
Jan 31, 2019
There’s 20,000 tracks being uploaded to Spotify every day, so it’s essential that your melodies stand out in this never-ending stream of new tunes. So in this video, you’ll learn how changing one note can grab the listener’s attention. But first… tea!
Hello revolutionary music makers, we are Kate Harmony and Ray Harmony (AKA Revolution Harmony), and welcome to Hack Music Theory. We help you make great music that stands out, so you can move and grow your audience! If that sounds useful to you, then subscribe to our YouTube channel and hit that bell to get notified every Thursday, when we publish our new video. Alright, let’s jump in...
Oxford band FOALS just dropped their new single “Exits”, which instantly stood out on Spotify’s New Music Friday playlist. What made it stand out? One note! Wait, how can it be that easy? Well, almost all popular music these days is made using only two scales: the natural minor, and the major. And it goes without saying that there’s obviously nothing wrong with these scales, but, our brains have evolved to switch into autopilot when there’s nothing unexpected in our environment, and that includes music. If there’s nothing unexpected in a song, listeners’ minds will drift off and stop paying attention. So, the easiest way to create something unexpected, is to simply use a different scale, like Foals did in “Exits”.
Set-Up Alright, now you’re gonna learn how to use this theory to make your own version, and what you see on the screen right now is our version that we made earlier. So, start by setting up four bars of 4/4, with your grid set to 1/8 notes, and your tempo set to 94 BPM. And by the way, the dark notes below our melody are the root notes of the chords in our progression (which are on another track). These root notes are all muted, they’re just there for reference.
Step 1 - Mode Okay, so this is the natural minor scale: D E F G A B♭ C, which is by far the most overused scale in existence. But, with one tweak, you can turn it into the Dorian mode, which will make it instantly stand out. So, all you do, is move the 6th note, B♭, one semitone up to B♮. And with that, you now have the Dorian mode, which sounds like an upfliting version of the natural minor scale. Right, now we’re ready to write our chord progression. Just before we do that though, if you wanna learn about all the modes and how to use them, then everything you need to know is in our Songwriting & Producing PDF (click & scroll down).
Step 2 - Chords The Foals song is in D Dorian, so we’ll use it too. That means your chord choices are: Dm, Em, Fmaj, Gmaj, Am, Bdim, and Cmaj. This video is not about writing a Dorian chord progression though, so if you need help with that, then watch our playlist coming up at the end of this video. Right, so the chords we chose are: Dm, Fmaj, Cmaj, Gmaj, and then back to a quick Cmaj. And when you’re writing your chord progression, be sure to play the Gmaj chord, and, be sure to play it towards the end of your progression!
Step 3 - Melody Finally, it’s time to write your melody. So, for your rhythm, use a combination of 1/8 notes, 1/4 notes, and dotted 1/4 notes. And for your pitches, a good place to start writing your melody, is by using the third note of each chord. For a couple examples of this: the 3rd note in Dm is F, and the 3rd note in Gmaj is B. And that brings us to Foals’ magic trick! The 3rd note in a chord is what creates its emotion: a major chord is uplifting, and a minor chord is serious. And as you’ll remember, this B is the one unexpected note that makes this scale different. So, for the first three bars, the listeners will presume this is in the totally overused natural minor scale. And just as they’re switching into autopilot, we hit ‘em with that B, cos that B makes this chord a surprising Gmaj, instead of Gm (which is what they’ll be expecting). Boom! You now have their attention. Use it well. And by the way, if you want the ultimate list of dos and don’ts for writing great melodies, then use our Melody Checklist, which is also in the Songwriting & Producing PDF (click & scroll down).
NEXT Right, now that you’ve got one section down, how do you write more sections for it, and then, how do you transition between those sections, and turn 'em into a song? Great questions, and if this is something you need help with, then check out our cutting-edge online apprenticeship course, where you’ll literally learn every step of the music making process, and most importantly, you’ll learn how to finish your songs! You’ll also gain access to our private network, which is a safe online space (i.e. social media platform) exclusively for our 600+ apprentices from 50+ countries. Our Network is a super supportive place for you to ask theory questions, share your music, get feedback, meet like-minded music makers, and collaborate! If all this sounds useful to you, then head on over to our Online Apprenticeship page now.
Kate & Ray Harmony (AKA Revolution Harmony) Music Teachers & Producers in Vancouver BC, Canada
LEVELS Level 1 - Read our free book (below) & watch our YouTube videos Level 2 - Read our "Part 1" book & "Songwriting & Producing" PDF Level 3 - Learn our secret art of songwhispering & finish your music
ABOUT Hack Music Theory is a pioneering DAW method for making great music that stands out, so you can move and grow your audience! Taught by award-winning music lecturer Ray Harmony, and his protégé wife Kate Harmony, from their studio in Vancouver BC, Canada. Ray is the author of critically-acclaimed book series "Hack Music Theory", and has made music with Serj Tankian (System of a Down), Tom Morello (Rage Against the Machine), Steven Wilson (Porcupine Tree), Devin Townsend (Strapping Young Lad), Ihsahn (Emperor), Kool Keith (Ultramagnetic MCs), Madchild (Swollen Members), and many more! Kate has the highest grade distinction in Popular Music Theory from the London College of Music, and is the only person on the planet who's been trained by Ray to teach his method. On that note, the "Hack Music Theory" YouTube channel teaches relevant and instantly-usable music theory for producers, DAW users, and all other music makers (songwriters, singers, guitarists, bassists, drummers, etc.) in all genres, from EDM to R&B, pop to hip-hop, reggae to rock, electronic to metal (and yes, we djefinitely djent!).
Wooohooo!!! You’re a mere 30 minutes away from being even smarter than you already are. Just head on over to your inbox now for your free download.
There was an error submitting your subscription. Please try again.
“The most brilliant, fast, easy & fun music theory book I’ve ever seen!” DEREK SIVERS, CD Baby founder
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Are Your Drum Build-Ups Missing This?
Jan 24, 2019
Drum build-ups are vital in creating tension, but they’re almost always centred around the snare drum, which means they all sound the same, and that’s boring! So in this video, you’ll learn how to make your drum builds stand out. But first… tea!
Hello revolutionary music makers, we are Kate Harmony and Ray Harmony (AKA Revolution Harmony), and welcome to Hack Music Theory. We help you make great music that stands out, so you can move and grow your audience! If that sounds useful to you, then subscribe to our YouTube channel and hit that bell to get notified every Thursday, when we publish our new video. Alright, let’s jump in...
London duo MODESTEP just dropped their new single “Not IRL” (on Monstercat, which is actually a local label, so big up Vancouver!). In this song, Modestep takes the art of drum build-ups to a whole new level, for three reasons: First, they extend their build way longer than you’re expecting, which creates even more tension than usual. Second, their build is centred around the toms, instead of the snare. And third, there’s a super tasty drum fill that leads into the beginning of the build, which means they’re already creating tension before their build has even started.
Now, please excuse me here while I have a quick proud teacher moment, but the drummer in Modestep, Pat Lundy, is actually a former music theory student of mine. Big up Pat! He’s an ultra mega talented drummer, so do yourself a favour and check out his channel:
Set-Up Alright, now you’re gonna learn how to use this theory to make your own version, and what you see on the screen right now is our version that we made earlier. So, start by setting up five bars of 4/4, with your grid set to 1/32 notes, and your tempo set to 75 BPM. And please note that to keep this video short (because we respect your time), our build is half the length of Modestep’s, but if you want a longer build, just double each bit.
Step 1 - Fill So, this first bar is actually gonna end up being the last bar of your verse. In other words, this bar is the transition from verse to build. So to help create a more interesting transition, and to introduce some tension, you’re gonna throw in a fill here. Right, start with a snare on beat 4, then use a combination of all three toms to play all the 1/32 notes after that, except on beat 4+. Leaving that beat open makes the tom right afterwards syncopated, which means you’re accenting an off-beat, and that adds groove!
And while we’re on the topic of transitions. If you wanna learn how to write a new section for an existing section, and then how to transition between those sections, especially when they’re in different keys, then check out our online apprenticeship course. It contains 17 hours of video, in which I literally teach you every step of the music making process, from blank screen to finished song!
Step 2 - Toms Alright, now we’re into bar two, where the build starts. However, instead of blasting that snare, you’re gonna go all in on the toms. But first, get your kicks on all the 1/8 notes. Then, fill in the whole bar with 1/32 note toms, but don’t play any toms at the same time as a kick, cos you want space for your kick to stomp. Also, leave another 1/32 note open over each 1/4 note beat, for a more interesting pattern. And then when you’re done, repeat this bar so it plays through twice. Next, to crank up the tension even more, you’re gonna change the tom pattern halfway through your four-bar build. So, in bar four, keep the same kick pattern, but now you’re gonna play a very simple and repetitive pattern on only one tom.
Step 3 - Snare Finally, it’s snare drum time! And yes of course, the snare is indeed the ultimate tool in a build-up, but, we don’t wanna be lazy and rely on it exclusively, cos that’s boring. So, after you’ve used the toms to get the tension to this level, it’s time to max it out! And by saving the snare until this late in the game, your build is now gonna be able to reach a height that other builds can only dream of. Alright, so in bar five, get that machine gun snare in on all those 1/32 notes. But, be sure to stop before the end of the bar, to create space, so your drop sounds extra massive!
NEXT Right, now that you’ve got one section down, how do you write more sections for it, and then, how do you transition between those sections, and turn 'em into a song? Great questions, and if this is something you need help with, then check out our cutting-edge online apprenticeship course, where you’ll literally learn every step of the music making process, and most importantly, you’ll learn how to finish your songs! You’ll also gain access to our private network, which is a safe online space (i.e. social media platform) exclusively for our 600+ apprentices from 50+ countries. Our Network is a super supportive place for you to ask theory questions, share your music, get feedback, meet like-minded music makers, and collaborate! If all this sounds useful to you, then head on over to our Online Apprenticeship page now.
Kate & Ray Harmony (AKA Revolution Harmony) Music Teachers & Producers in Vancouver BC, Canada
LEVELS Level 1 - Read our free book (below) & watch our YouTube videos Level 2 - Read our "Part 1" book & "Songwriting & Producing" PDF Level 3 - Learn our secret art of songwhispering & finish your music
ABOUT Hack Music Theory is a pioneering DAW method for making great music that stands out, so you can move and grow your audience! Taught by award-winning music lecturer Ray Harmony, and his protégé wife Kate Harmony, from their studio in Vancouver BC, Canada. Ray is the author of critically-acclaimed book series "Hack Music Theory", and has made music with Serj Tankian (System of a Down), Tom Morello (Rage Against the Machine), Steven Wilson (Porcupine Tree), Devin Townsend (Strapping Young Lad), Ihsahn (Emperor), Kool Keith (Ultramagnetic MCs), Madchild (Swollen Members), and many more! Kate has the highest grade distinction in Popular Music Theory from the London College of Music, and is the only person on the planet who's been trained by Ray to teach his method. On that note, the "Hack Music Theory" YouTube channel teaches relevant and instantly-usable music theory for producers, DAW users, and all other music makers (songwriters, singers, guitarists, bassists, drummers, etc.) in all genres, from EDM to R&B, pop to hip-hop, reggae to rock, electronic to metal (and yes, we djefinitely djent!).
Wooohooo!!! You’re a mere 30 minutes away from being even smarter than you already are. Just head on over to your inbox now for your free download.
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“The most brilliant, fast, easy & fun music theory book I’ve ever seen!” DEREK SIVERS, CD Baby founder
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Wanna Bass with the Big Beat Boys?
Jan 17, 2019
There’s many genres that are all about bass and drums, and many of those genres often don’t even use chords. But, chords are essential in creating musical depth, so in this video you’ll learn a game-changing bass hack that solves this problem. But first… tea!
Hello revolutionaries, we are Kate Harmony and Ray Harmony (AKA Revolution Harmony), and welcome to Hack Music Theory. We help you make great music that stands out, so you can enchant and enlarge your audience! If that sounds useful to you, then subscribe to our YouTube channel and hit that bell to get notified every Thursday, when we publish our new video. Alright, let’s jump in...
The Chemical Brothers just dropped their new single “MAH”. And as the Mancunian duo are electronic OGs and big beat pioneers, “MAH” unsurprisingly features a classic electronic bass hack. The Chemical Brothers are fully aware of the importance of harmony, and as a result, they don’t just abandon chords (like many other producers), instead, they cleverly disguise the harmony in their bass line. How? Well, after choosing a chord that conveyed their desired emotion, they then outlined that chord using their bass. And as the vocal hook is: “I’m mad as hell, I ain’t gonna take it no more”, their choice of a diminished triad could not be more appropriate, as its extreme dissonance perfectly conveys the “mad as hell” lyrics.
Set-Up Alright, now you’re gonna learn how to use this theory to make your own version, and what you see on the screen right now is our version that we made earlier. So, start by setting up one bar of 4/4, with your grid set to 1/16 notes, and your tempo set to 130 BPM. In their bass line, The Chemical Brothers use the Cdim chord, so we’ll use it too.
Step 1 - Chord Now, ask yourself what emotion you wanna convey with your bass line? If you’re going for posi vibes and smiley faces, then use the Cmaj chord (which is C E and G). If you’re after a more serious mood though, then use the Cm chord (which is C E♭ and G). And finally, if you’re “mad as hell”, then use the Cdim chord (which is C E♭ and G♭). And by the way, if you need help understanding the different types of chords and scales, or if you just wanna brush up on your theory knowledge, then download our free music theory book below.
Step 2 - Bass Right, now that you’ve got your chord, it’s time to turn it into a bass line. So, start by playing the root note (C), to establish your home. Then, drop down and play through an arpeggio starting on beat 2e, and using 1/16 notes. And by the way, an arpeggio is when you play a chord one note at a time (so for Cdim, we play C, then E♭, then G♭). Next, throw in a couple 1/16 notes (from your chord) on beat 3e and beat 3a, which creates a super dancey syncopation. And syncopation is just when you accent an off-beat. Finally, we’re gonna wrap up with three 1/16 notes (all from your chord), starting on beat 4e. And on that note, well, off-beat note, remember to use some octaves of your three notes as well, which will extend the range of your bass line (for example, like we did with the high G♭). Also, this bass line is playing over a pumping four-on-the-floor drum beat, and we don’t wanna get in the way of those kicks now, do we? So, be sure to avoid playing any bass notes on beat 2, beat 3, and beat 4. This allows maximum space to show off your massive kick drum sample! You’re welcome ;)
NEXT Right, now that you’ve got one section down, how do you write more sections for it, and then, how do you transition between those sections, and turn 'em into a song? Great questions, and if this is something you need help with, then check out our cutting-edge online apprenticeship course, where you’ll literally learn every step of the music making process, and most importantly, you’ll learn how to finish your songs! You’ll also gain access to our private network, which is a safe online space (i.e. social media platform) exclusively for our 600+ apprentices from 50+ countries. Our Network is a super supportive place for you to ask theory questions, share your music, get feedback, meet like-minded music makers, and collaborate! If all this sounds useful to you, then head on over to our Online Apprenticeship page now.
Kate & Ray Harmony (AKA Revolution Harmony) Music Teachers & Producers in Vancouver BC, Canada
LEVELS Level 1 - Read our free book (below) & watch our YouTube videos Level 2 - Read our "Part 1" book & "Songwriting & Producing" PDF Level 3 - Learn our secret art of songwhispering & finish your music
ABOUT Hack Music Theory is the pioneering notation-free method for making great music that stands out, so you can enchant and enlarge your audience! Taught by award-winning music lecturer Ray Harmony, and his protégé wife Kate Harmony, from their studio in Vancouver BC, Canada. Ray is the author of critically-acclaimed book series "Hack Music Theory", and has made music with Serj Tankian (System of a Down), Tom Morello (Rage Against the Machine), Steven Wilson (Porcupine Tree), Devin Townsend (Strapping Young Lad), Ihsahn (Emperor), Kool Keith (Ultramagnetic MCs), Madchild (Swollen Members), and many more! Kate has the highest grade distinction in Popular Music Theory from the London College of Music, and is the only person on the planet who's been trained by Ray to teach his method. On that note, the "Hack Music Theory" YouTube channel teaches relevant and instantly-usable music theory for producers, DAW users, and all other music makers (songwriters, singers, guitarists, bassists, drummers, etc.) in all genres, from EDM to R&B, pop to hip-hop, reggae to rock, electronic to metal (and yes, we djefinitely djent!).
Wooohooo!!! You’re a mere 30 minutes away from being even smarter than you already are. Just head on over to your inbox now for your free download.
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“The most brilliant, fast, easy & fun music theory book I’ve ever seen!” DEREK SIVERS, CD Baby founder
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5 Hacks to Make Better Music
Jan 10, 2019
Happy New Year, and may this be your best year yet! On that note, did you make a New Year’s resolution to start making music, or make more music, or make better music? Well unfortunately, studies suggest that only about one in 10 people achieve their New Year’s resolutions, so this video is designed to help you become that one person. But first… tea!
Hello revolutionaries, we are Kate Harmony and Ray Harmony (AKA Revolution Harmony), and welcome to Hack Music Theory. We help you make great music that stands out, so you can enchant and enlarge your audience! If that sounds useful to you, then subscribe to our YouTube channel and hit that bell to get notified every Thursday, when we publish our new video. Alright, let’s jump in...
Hack 1: Permission to Play There’s an abundance of scientific research proving that a lack of play in our lives leads to depression, and for people like us, play is making music. If you’ve ever stopped music for a while and noticed how everything in your life suddenly gets a lot more serious and a lot less enjoyable, then you’ve already experienced this slippery slope. So, if you truly wanna show up 100% for your family and your work, then you need to play. But remember, play is all about intrinsic value, which means the process itself is enjoyable. If someone’s making music as a means to an end (for example, with the goal of one of their songs going viral), then they’re on an even worse slippery slope. We have no control over how the world reacts to our music, so they’d be far happier by refocusing their attention onto the joy of the music making process itself.
Hack 2: Schedule Sessions I remember when I started teaching music in 1995 (back before the internet stole our time, and instead, we spent it obsessively listening to that three-legged dog tape), my students would often turn up without having done their homework, cos they were “too busy”. And nowadays, with the internet in the palm of our hand, we’re “busier” than we’ve ever been in the whole of human history. And that is why everyone is “happy” on Instagram, but when we actually put our phones down and look around, everyone seems pretty miserable. The only way to overcome this “too busy to play” fallacy, is to schedule a weekly session. So pause this video right now, open your calendar, find one hour somewhere, and create a recurring weekly event. Then, when your session time arrives, turn off your phone, close your web browser, and open your DAW to hack music theory.
Hack 3: Use Music Theory Nothing ruins fun like frustration! So, the process of making music will only be enjoyable if you’re competent at it. And that’s where we come in. With Hack Music Theory, you can overcome the dreaded blank screen once and for all, cos while Writer’s Block may exist in our minds, in reality, it’s a lie. I remember when I was a kid, my dad told me over and over again “Creativity is a tap that you can turn on whenever you want.” That understanding, along with learning music theory, has resulted in hundreds of songs over my 28 years of making music, with a grand total of zero accounts of writer’s block. So, to get started today, just watch our Step-By-Step Starter Guide at the end of this video, and also, download our free music theory book below.
Hack 4: Practice Makes Play Now, in order for an activity to properly be play, it needs to pull you into the “flow” state, which is that zone you enter when you’re fully immersed in a task and totally lose track of time. This can only happen when the activity is challenging, but not too difficult. And yes, everything is difficult in the beginning, but, just like everything else, regular practice results in quick progress. Besides, music is only 12 notes. It’s easy! So, make your initial weekly sessions about practising the application of music theory. And to do this, simply follow along with the examples in our weekly videos. If you practice making music using the steps in those videos, you’ll be bustin’ out awesome tunes in no time! Remember, practice makes play.
Hack 5: Get Support Sitting in front of your DAW with headphones on can be an isolating experience, and as we’re a social species, it’s vital to join a like-minded music community. This will not only create new friendships, which is deeply valuable in itself, but sharing your works-in-progress and getting supportive feedback from your peers will totally turbocharge your progress, and your happiness. So, do some searching online and see if there’s a local meetup you can join. Or, if you wanna join our private network, which has hundreds of good people in it from over 50 countries, then sign up for our online apprenticeship, the link is below. Here’s how one of our top apprentices described it: “I really enjoy the interactions in the Network. Apprentices share their works-in-progress often, and have the right attitude: they’re open-minded, positive, helpful, and some are very funny too. It’s like a family, but without the drama!” –François Lalonde (Montréal, Canada)
So, write down these five hacks, stick ‘em somewhere you’ll see everyday, and you’ll become the one outta 10 people who achieve their New Year’s resolutions. We really hope you found this video helpful, and we’ll see you next week, when we get back to our regular lesson format.
Kate & Ray Harmony (AKA Revolution Harmony) Music Teachers & Producers in Vancouver BC, Canada
LEARN Level 1: Read our free book (below) & watch our YouTube videos Level 2: Read our "Part 1" book & "Songwriting & Producing" PDF Level 3: Learn our secret art of songwhispering & finish your music
ABOUT Hack Music Theory is the pioneering notation-free method for making great music that stands out, so you can enchant and enlarge your audience! Taught by award-winning music lecturer Ray Harmony, and his protégé wife Kate Harmony, from their studio in Vancouver BC, Canada. Ray is the author of critically-acclaimed book series "Hack Music Theory", and has made music with Serj Tankian (System of a Down), Tom Morello (Rage Against the Machine), Steven Wilson (Porcupine Tree), Devin Townsend (Strapping Young Lad), Ihsahn (Emperor), Kool Keith (Ultramagnetic MCs), Madchild (Swollen Members), and many more! Kate has the highest grade distinction in Popular Music Theory from the London College of Music, and is the only person on the planet who's been trained by Ray to teach his method. On that note, the "Hack Music Theory" YouTube channel teaches relevant and instantly-usable music theory for producers, DAW users, and all other music makers (songwriters, singers, guitarists, bassists, drummers, etc.) in all genres, from EDM to R&B, pop to hip-hop, reggae to rock, electronic to metal (and yes, we djefinitely djent!).
Wooohooo!!! You’re a mere 30 minutes away from being even smarter than you already are. Just head on over to your inbox now for your free download.
There was an error submitting your subscription. Please try again.
“The most brilliant, fast, easy & fun music theory book I’ve ever seen!” DEREK SIVERS, CD Baby founder
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The Best One-Note Bass Line of 2018
Dec 17, 2018
Sometimes a section in your song will want a simple bass line, in fact, sometimes it’ll want nothing more than one note. But, almost all one-note bass lines sound like they were made by a complete beginner. So, how on earth do you make a one-note bass line that is intelligent? Keep watching to find out. But first… tea!
Hello revolutionaries, we are Kate Harmony and Ray Harmony (AKA Revolution Harmony), and welcome to Hack Music Theory. We help you make great music that stands out, so you can get discovered! If that sounds useful to you, then subscribe to our YouTube channel and hit that bell to get notified every Saturday, when we publish our new video.
Right, so in this video we’ll be revealing the second (and final) release on our “Most Artistic Music of the Year” list. And if you missed last week’s video, then watch that to discover the other release, as well as the criteria for making our list. Also, we’ll be announcing the winner of our Apprenticeship giveaway at the end of this video, so stay tuned. Now, without further ado, the second artist on our very short list, is: THE ARUSHA ACCORD.
This band is seriously the most underrated band on the planet, and their “Juracán” EP is the most unbelievable (and underrated) release of 2018. Their new EP is overflowing with breathtaking vocal melodies, goosebump-inducing harmonies, mind-expanding riffs, a revitalizing rhythm section that awakens your body, and the most creative song structures you’ll ever hear in Popular Music. Just a warning though, The Arusha Accord makes music only for the most open-minded music lovers. But that’s you, innit? So as soon as this video ends, go listen to them and hit repeat, cos it’ll take many many listens to explore their musical depths. And start with “The Road (Amor Vincit Omnia - Part 1)”, which is the song we’ll be covering in this video. Alright, now it’s time to open your DAW to hack music theory.
THEORY A monumentally important element in intelligent bass lines, is obviously: melody. So when you remove the melodic element (by staying on one note), you have to compensate with your rhythm. And ideally, you want your one-note bass line to be thrillingly unpredictable, which will draw your listeners in with its intrigue. So, let’s talk about rhythm then. Most humans love symmetry. That’s why 99.9% of Popular Music uses time signatures that are symmetrical. This means the music has a regular and predictable pulse, like the continuous 1/4 notes in 4/4, or the continuous dotted 1/4 notes in 12/8. However, there are a few brave artists out there who are freethinking “black sheep”, going against the current, and The Arusha Accord is the black sheep’s black sheep. They celebrate the unorthodox beauty of asymmetry, by creating irregular and unpredictable pulses in their music. The results are mesmerizing, and help extend the longevity of their music into the timeless realm! And that is how you make an intelligent one-note bass line.
Set-Up Alright, now you’re gonna learn how to use this theory to make your own version, and what you see on the screen right now is our version that we made earlier. So, start by setting up four bars of alternating 10/8 and 12/8, with your grid set to 1/8 notes, and your tempo set to 115 BPM. In the intro of this song, The Arusha Accord chose D for their one note, so we’ll use it too. And before we jump into the steps, if you need help with the basics, or if you just wanna brush up on your scales and chords, then download our free music theory book below.
Step 1 - Long Cycle Now, one note ain’t much to play with, right? Well, it’s plenty for The Arusha Accord. The first thing they do, is create a long cycle for their bass line. In fact, the bassist plays through forty four 1/8 notes in one cycle of the rhythm. So, step one is to choose a root note, then draw in forty four 1/8 notes on that one pitch.
Step 2 - Assymetrical Time The Arusha Accord’s intro bass line hints at a dotted 1/4 note pulse, as all the bars start with a couple groups of three 1/8 notes. This gives the bass line a more laid-back vibe, as there’s more distance between the accents, creating a slower pulse. So, purely to demonstrate a different feel, we went with a bass line that hints at a 1/4 note pulse. And we created this by starting each bar with a couple groups of two 1/8 notes. This gives our bass line a more urgent vibe, as there’s less distance between the accents, creating a faster pulse. So, step two is to choose between either of these hinted at pulses, then to use the remainder of each bar to add the asymmetry. To do this, create an irregular pulse by grouping your remaining 1/8 notes into a mixture of twos and threes. But, at the end of your third bar (or at the end of your fourth bar), throw your listeners a curveball to keep ‘em on their toes, by using a single 1/8 note. So, here’s the grouping we went with: In our first bar, we grouped 10/8 into 2+2+3+3. In our second bar, we grouped 12/8 into 2+2+2+3+3. In our third bar, we grouped 10/8 into 2+2+2+3+1. And in our fourth bar, we grouped 12/8 into 2+2+2+3+3. And the way you’re gonna make your grouping stand out, which in turn creates that irregular pulse, is by keeping the first note of each group as an 1/8 note, and then shortening the other notes of each group to 1/32 notes. Like this. And here’s a little bonus hack. In the original song when the drums come in, the cycle of time signatures changes yet again, that’s so Arusha Accord!
NEXT Right, now that you’ve got one section down, how do you write more sections for it, and then, how do you transition between those sections, and turn 'em into a song? Great questions, and if this is something you need help with, then check out our cutting-edge online apprenticeship course, where you’ll literally learn every step of the music making process, and most importantly, you’ll learn how to finish your songs! You’ll also gain access to our Private Network, which is a safe online space (i.e. social media platform) exclusively for our 600+ apprentices from 50+ countries. Our Network is a super supportive place for you to ask theory questions, share your music, get feedback, meet like-minded music makers, and collaborate! If all this sounds useful to you, then head on over to our Online Apprenticeship page now.
Kate & Ray Harmony (AKA Revolution Harmony) Music Teachers & Producers in Vancouver BC, Canada
LEARN Level 1: Read our free book (below) & watch our YouTube videos Level 2: Read our "Part 1" book & "Songwriting & Producing" PDF Level 3: Learn our secret art of songwhispering & finish your music
ABOUT Hack Music Theory is the pioneering notation-free method for making great music that stands out, so you can get discovered! Taught by award-winning music lecturer Ray Harmony, and his protégé (and wife) Kate Harmony, from their studio in Vancouver BC, Canada. Ray is the author of critically-acclaimed book series "Hack Music Theory", and has made music with Serj Tankian (System of a Down), Tom Morello (Rage Against the Machine), Steven Wilson (Porcupine Tree), Devin Townsend (Strapping Young Lad), Ihsahn (Emperor), Kool Keith (Ultramagnetic MCs), Madchild (Swollen Members), and many more! Kate has the highest grade distinction in Popular Music Theory from the London College of Music, and is the only person on the planet who's been trained by Ray to teach his method. On that note, the "Hack Music Theory" YouTube channel teaches relevant and instantly-usable music theory for producers, DAW users, and all other music makers (songwriters, singers, guitarists, bassists, drummers, etc.) in all genres, from EDM to R&B, pop to hip-hop, reggae to rock, electronic to metal (and yes, we djefinitely djent!).
Wooohooo!!! You’re a mere 30 minutes away from being even smarter than you already are. Just head on over to your inbox now for your free download.
There was an error submitting your subscription. Please try again.
“The most brilliant, fast, easy & fun music theory book I’ve ever seen!” DEREK SIVERS, CD Baby founder
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Odd Time Signatures That Don’t Sound Odd
Dec 09, 2018
4/4 is the most overused time signature, ever! So if you want your music to stand out, the easiest way to do that is to use odd time signatures. Wait, but don’t odd time signatures sound odd? Not if you use the hack in this video. But first… tea!
Hello revolutionaries, we are Kate Harmony and Ray Harmony (AKA Revolution Harmony), and welcome to Hack Music Theory. We help you make great music that stands out, so you can get discovered! If that sounds useful to you, then subscribe to our YouTube channel and hit that bell to get notified every Saturday, when we publish our new video. Alright, it’s time to open your DAW to hack music theory.
So, Spotify just announced their most-streamed songs of 2018, but we all know, the most popular songs are never the best songs! Smash hits are products designed and manufactured for mass appeal, while great songs are works of art courageously and creatively composed for music’s sake.
To balance out all the boring year-end lists of smash hits, we’re starting a new Hack Music Theory tradition: the most artistic music of the year!
And we made our list by asking ourselves this question: What releases this year contained the most interesting theory used in the most creative way, resulting in accessible works of art? And it is vital that the songs are accessible, cos it’s actually super easy to write complex music, but it’s super difficult to write complex music that makes people dance and sing along! Also, our choices are obviously only from music we’ve heard, and as there’s about 20,000 songs being released on Spotify every day, it’s humanly impossible to listen to everything, but we did our best! So in this video and next week’s video, we’ll be covering our top two releases of 2018, and a game-changing theory hack from each release.
And before we jump in, we’ve got more exciting news for you: We’re feeling festive, so one of you will win our pioneering online Apprenticeship course (worth $150). Details on how to enter are in the video.
THEORY Right, without further ado, the first artist on our very short list, is: GOOD TIGER. In Good Tiger’s album “We Will All Be Gone”, they masterfully balance complex composition and technical musicianship, with accessible songwriting and the most beautiful melodies. Yeah, they truly are a great band! So this week when we got the Spotify Wrapped email that sums up your year’s listening, we were not at all surprised to discover that we’ve spent 43 hours listening to this album! For this video, we’ll focus on their song “The Devil Thinks I’m Sinking”. After the most epic (and catchy) chorus in 4/4, the song veers into an unaccompanied guitar riff in the odd time signature of 7/16. However, its oddness is cleverly disguised by the guitar’s 1/16 note arpeggios, making the riff sound like a refreshing rainfall of notes. The drummer then brings back his snare, but it’s on a regular backbeat, making the riff sound like it’s now in 7/8, and also making the section feel like it’s now in a kinda rushed 4/4 (as the last 1/8 note in every bar is cut off). And with that, Good Tiger has made a very odd time signature sound very accessible.
Set-Up Alright, now you’re gonna learn how to use this theory to make your own version, and what you see on the screen right now is our version that we made earlier. And by the way, these dark notes below are the root notes of the chords in our progression - these notes are all muted, they’re just there for reference. So, start by setting up four bars of 7/16, with your grid set to 1/16 notes, and your tempo set to 95 BPM. In the original song, this section is in the key of E minor, so we’ll use it too.
Step 1 - Arpeggios First things first, you need a chord progression, so choose four chords from the key of E minor. We went with Em, Dmaj, Cmaj, and Bmaj. And please note that at the end, we switched into E harmonic minor, which turned the Bm chord into a Bmaj. Now, play each chord for one bar of 7/16. Then, break up each chord into 1/16 note arpeggios. And be sure to play some non-harmonic notes as well, which are notes that are not in the chord (but still in the key), like this 2 over our Em chord. And by the way, if you need help with the basics, or if you just wanna brush up on your scales and chords, then download our free music theory book below.
Step 2 - Grouping Next, decide how you wanna group your 7/16. Good Tiger went with a 4 + 3 grouping, so we used it too. And to make your grouping stand out in this rainfall of 1/16 notes, accent the first note in each group, by turning its velocity up.
Step 3 - Backbeat Lastly, when you add your drums, remember to play them in 7/8 with a regular backbeat snare in most bars. And a regular backbeat snare in 7/8 is on the third and seventh 1/8 notes in the bar. This makes everything feel like it’s in that kinda rushed 4/4 vibe that we spoke about earlier.
NEXT Right, now that you’ve got one section down, how do you write more sections for it, and then, how do you transition between those sections, and turn 'em into a song? Great questions, and if this is something you need help with, then check out our cutting-edge online apprenticeship course, where you’ll literally learn every step of the music making process, and most importantly, you’ll learn how to finish your songs! You’ll also gain access to our Private Network, which is a safe online space (i.e. social media platform) exclusively for our 500+ apprentices from 50+ countries. Our Network is a super supportive place for you to ask theory questions, share your music, get feedback, meet like-minded music makers, and collaborate! If all this sounds useful to you, then head on over to our Online Apprenticeship page now.
Kate & Ray Harmony (AKA Revolution Harmony) Music Teachers & Producers in Vancouver BC, Canada
LEARN Level 1: Read our free book (below) & watch our YouTube videos Level 2: Read our "Part 1" book & "Songwriting & Producing" PDF Level 3: Learn our secret art of songwhispering & finish your music
ABOUT Hack Music Theory is the pioneering notation-free method for making great music that stands out, so you can get discovered! Taught by award-winning music lecturer Ray Harmony, and his protégé (and wife) Kate Harmony, from their studio in Vancouver BC, Canada. Ray is the author of critically-acclaimed book series "Hack Music Theory", and has made music with Serj Tankian (System of a Down), Tom Morello (Rage Against the Machine), Steven Wilson (Porcupine Tree), Devin Townsend (Strapping Young Lad), Ihsahn (Emperor), Kool Keith (Ultramagnetic MCs), Madchild (Swollen Members), and many more! Kate has the highest grade distinction in Popular Music Theory from the London College of Music, and is the only person on the planet who's been trained by Ray to teach his method. On that note, the "Hack Music Theory" YouTube channel teaches relevant and instantly-usable music theory for producers, DAW users, and all other music makers (songwriters, singers, guitarists, bassists, drummers, etc.) in all genres, from EDM to R&B, pop to hip-hop, reggae to rock, electronic to metal (and yes, we djefinitely djent!).
Wooohooo!!! You’re a mere 30 minutes away from being even smarter than you already are. Just head on over to your inbox now for your free download.
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“The most brilliant, fast, easy & fun music theory book I’ve ever seen!” DEREK SIVERS, CD Baby founder
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Most Producers Make This Mistake...
Dec 01, 2018
When we trawl through the new releases every Friday, it’s always shocking to hear that almost all producers make the same mistake with their drums. So this video is designed to put an end to that, once and for all. But first…
A quick announcement. A huge Thank You to everyone for slamming our website during our sale last weekend. This actually broke our online store, but it’s all fixed and upgraded now, and to apologise for the inconvenience, we’ve extended our sale till the end of this weekend. So if you want 40% off everything on our website, then head on over to Online Course and Books + PDFs. But first… tea!
Hello revolutionaries, we are Kate Harmony and Ray Harmony (AKA Revolution Harmony), and welcome to Hack Music Theory. We help you make great music that stands out, so you can get discovered! If that sounds useful to you, then subscribe to our YouTube channel and hit that bell to get notified every Saturday, when we publish our new video. Alright, it’s time to open your DAW to hack music theory.
THEORY In Tatran’s new album “Foresee” that just dropped yesterday, Dan Mayo (who’s one of our favourite drummers!) brings the groove BIG time, reminding us that humans do it best! Now, while it’s impossible to replace a great drummer with a computer, it is possible to learn their hacks and use them in our MIDI drums. And that brings us to the No.1 mistake almost all producers make with their drums: They learn how to program them from other producers (and their MIDI drums), instead of learning from the only true source, real live drummers. So if you wanna program better drums, learn from great drummers! How? We’ll reveal that next...
Set-Up We’re using Tatran’s new track “Arba” as the inspiration for this video, and what you see on the screen right now is a summarised version of Dan’s opening drum groove. So, start by setting up two bars of 4/4, with your grid set to 1/16 notes, and your tempo set to 86 BPM.
Step 1 - What to Play Now, there’s a lot we can learn from a great drummer like Dan Mayo, so for this video, let’s just focus on one thing: Depth. So, Dan is playing a regular backbeat snare on beat 2 and beat 4. And that is actually about as deep as many producers would go with their snare pattern, but Dan adds another layer to his groove by playing three more snare accents in each bar. Then he adds a third layer to his snares, by playing ghost notes. Ghost notes are super soft snare hits, which add depth and texture to a groove. And finally, he plays a tom on beat 4 of each bar, which boosts the snare on that beat, making it sound bigger than the snare on beat 2. And with that, Dan has created four layers on his snare drum alone. That’s a lot of depth!
Step 2 - How to Play Right, now that you’ve programmed what you wanna play, it’s time to program how you wanna play it. This involves changing each note’s velocity (which is how hard it’s hit), as that creates even more depth. Also, depending on what genre you’re working in, you could move the notes slightly off the grid for a more human feel. If you want an urgent feel, then move them a fraction before the beat. And if you want a chill vibe, move them a fraction after the beat (like we did with ours). Now, back to velocity. As an example of this, when a drummer plays two 1/16 note kicks in a row, their foot can’t kick the second note as hard as the first note*, so pull the velocity down on that second note. And another cool velocity hack is to change every single note individually, as that way each note has a slightly different velocity, which is how a drummer would play it.
*Good drummers can obviously do this, it’s just an example!
Step 3 - Watch & Learn Conveniently, Dan Mayo actually has a YouTube channel, so head on over there to watch and learn! And if you wanna check out another one of our favourite drummers, watch Adam Deitch, who’s the drummer in Lettuce and Break Science. We’ll link to both of these drummers in the description below, so go and watch them play. And once you’ve found a couple favourite videos, slow them down, and program the MIDI for what they’re playing. Then, use those drum hacks creatively in your own music. Doing this will make your drums better than 99% of other producers’ beats. Guaranteed!
NEXT Right, now that you’ve got one section down, how do you write more sections for it, and then, how do you transition between those sections, and turn 'em into a song? Great questions, and if this is something you need help with, then check out our cutting-edge online apprenticeship course, where you’ll literally learn every step of the music making process, and most importantly, you’ll learn how to finish your songs! You’ll also gain access to our Private Network, which is a safe online space (i.e. social media platform) exclusively for our 500+ apprentices from 50+ countries. Our Network is a super supportive place for you to ask theory questions, share your music, get feedback, meet like-minded music makers, and collaborate! If all this sounds useful to you, then head on over to our Online Apprenticeship page now.
Kate & Ray Harmony (AKA Revolution Harmony) Music Teachers & Producers in Vancouver BC, Canada
LEARN Level 1: Read our free book (below) & watch our YouTube videos Level 2: Read our "Part 1" book & "Songwriting & Producing" PDF Level 3: Learn our secret art of songwhispering & finish your music
ABOUT Hack Music Theory is the pioneering notation-free method for making great music that stands out, so you can get discovered! Taught by award-winning music lecturer Ray Harmony, and his protégé (and wife) Kate Harmony, from their studio in Vancouver BC, Canada. Ray is the author of critically-acclaimed book series "Hack Music Theory", and has made music with Serj Tankian (System of a Down), Tom Morello (Rage Against the Machine), Steven Wilson (Porcupine Tree), Devin Townsend (Strapping Young Lad), Ihsahn (Emperor), Kool Keith (Ultramagnetic MCs), Madchild (Swollen Members), and many more! Kate has the highest grade distinction in Popular Music Theory from the London College of Music, and is the only person on the planet who's been trained by Ray to teach his method. On that note, the "Hack Music Theory" YouTube channel teaches relevant and instantly-usable music theory for producers, DAW users, and all other music makers (songwriters, singers, guitarists, bassists, drummers, etc.) in all genres, from EDM to R&B, pop to hip-hop, reggae to rock, electronic to metal (and yes, we djefinitely djent!).
Wooohooo!!! You’re a mere 30 minutes away from being even smarter than you already are. Just head on over to your inbox now for your free download.
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Magic Hack for Better Bass Lines
Nov 24, 2018
A great bass line is not only the music’s foundation, it’s also what gets the party started! But, it takes a very repetitive rhythm to get people moving. So in this video, you’ll learn a magic hack for writing bass lines that move people, without boring them. But first…
A quick announcement. Our Black Friday sale is pumping all weekend long (23-26 November 2018), so head on over to our Online Course page and our Books + PDFs page to grab 40% off everything - yes, all our PDFs, our book “Hack Music Theory, Part 1”, and our bestseller, the online Apprenticeship course, which has been called “life-changing” numerous times! So, are you ready to take your music to new heights? Then get involved now. But first… tea!
Hello revolutionaries, we are Kate Harmony and Ray Harmony (AKA Revolution Harmony), and welcome to Hack Music Theory. We help you make great music that stands out, so you can get discovered! If that sounds useful to you, then subscribe to our YouTube channel and hit that bell to get notified every Saturday, when we publish our new video. Alright, it’s time to open your DAW to hack music theory.
THEORY In Karma Fields’ new track “An Underground System of Forgotten Machines” that just dropped yesterday, the bass line gets your head bobbing before the end of bar one, literally. How? Well, he uses a very clever hack that allows him to deliver the maximum dose of repetition, because the variation is disguised as repetition. Wait, what? Let me explain. He uses the shortest possible rhythmic segment (two notes), which he then repeats over two bars. Next, he assigns three pitches to this rhythm. Now, here’s where the magic happens. Most other producers would simply loop this two-bar bass line and call it a day, but not Karma Fields! He loops only the rhythm, then re-assigns the same pitches, but in a different order. Boom!
Step 1 - Repetition Set up four bars of 4/4, with your grid set to 1/16 notes, and your tempo set to 97 BPM. Karma Fields uses the notes D♯, E and F for his main bass line. So we’re gonna do something similar, but a little different: we’ll use F as our root note, and Phrygian as our mode. And on that note (or mode), if you need help understanding the modes, then check out the modes hack in our Songwriting & Producing PDF(click & scroll down), which contains all our top music making hacks as well! But if you need help with the basics first, then read our free book on scales and chords (free download below). Alright, so start by creating a short rhythmic segment, using one 1/8 note and one 1/16 note, in whichever order you want. Next, loop those two notes over bar one. You’ll be left with a 1/16 note open at the end, and that’s where you throw in a couple 1/8 notes to change things up a bit as you head into bar two. This also creates an awesome syncopation, as you don’t play the 1st beat of bar two. Then, continue looping your original two-note rhythmic segment over bar two. And once again you’ll be left with a 1/16 note open at the end, but this time, draw in a 1/16 note there. And that concludes your two-bar rhythm, so you can now loop it over bars three and four.
Step 2 - Magic Right, now you’re gonna assign three pitches to your rhythm. Let’s use the root note (F), the ♭2 (G♭), and the ♭7 (E♭). And here’s how you’re gonna create your contour: start on the root, then go up, then go back to the root, and then go down. And to make it even more interesting, play the highest and lowest notes twice every time you get to them. So in other words, you’re gonna start with one F, then go up to two G♭s, then back down to one F, and then down to two E♭s. Keep this pattern going for the whole two-bar rhythm. And that is your first bass line. Now, here’s where the magic drops. In bars three and four, you’re gonna turn that contour upside down. So, you’re gonna start with one F, then go down to two E♭s, then back up to one F, and then up to two G♭s. Keep this pattern going for the whole two-bar rhythm. And that is your second bass line. Now, let’s keep this between the three of us, but here’s how this magic trick works. Your listeners will perceive these two bass lines as being the same, because of their shared rhythm and pitches. However, their different contours will prevent them from getting boring. Boom!
NEXT Right, now that you’ve got one section down, how do you write more sections for it, and then, how do you transition between those sections, and turn 'em into a song? Great questions, and if this is something you need help with, then check out our cutting-edge online apprenticeship course, where you’ll literally learn every step of the music making process, and most importantly, you’ll learn how to finish your songs! You’ll also gain access to our Private Network, which is a safe online space (i.e. social media platform) exclusively for our 400+ apprentices from 40+ countries. Our Network is a super supportive place for you to ask theory questions, share your music, get feedback, meet like-minded music makers, and collaborate! If all this sounds useful to you, then head on over to our Online Apprenticeship page now.
Kate & Ray Harmony (AKA Revolution Harmony) Music Teachers & Producers in Vancouver BC, Canada
LEARN Level 1: Read our free book (below) & watch our YouTube videos Level 2: Read our "Part 1" book & "Songwriting & Producing" PDF Level 3: Learn our secret art of songwhispering & finish your music
ABOUT Hack Music Theory is the pioneering notation-free method for making great music that stands out, so you can get discovered! Taught by award-winning music lecturer Ray Harmony, and his protégé (and wife) Kate Harmony, from their studio in Vancouver BC, Canada. Ray is the author of critically-acclaimed book series "Hack Music Theory", and has made music with Serj Tankian (System of a Down), Tom Morello (Rage Against the Machine), Steven Wilson (Porcupine Tree), Devin Townsend (Strapping Young Lad), Ihsahn (Emperor), Kool Keith (Ultramagnetic MCs), Madchild (Swollen Members), and many more! Kate has the highest grade distinction in Popular Music Theory from the London College of Music, and is the only person on the planet who's been trained by Ray to teach his method. On that note, the "Hack Music Theory" YouTube channel teaches relevant and instantly-usable music theory for producers, DAW users, and all other music makers (songwriters, singers, guitarists, bassists, drummers, etc.) in all genres, from EDM to R&B, pop to hip-hop, reggae to rock, electronic to metal (and yes, we djefinitely djent!).
Wooohooo!!! You’re a mere 30 minutes away from being even smarter than you already are. Just head on over to your inbox now for your free download.
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“The most brilliant, fast, easy & fun music theory book I’ve ever seen!” DEREK SIVERS, CD Baby founder
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How to Write Lush Strings - Music Theory from deadmau5 “Drama Free” feat. Lights (mau5ville level 2)
Nov 17, 2018
Strings are amazing, right? They can literally be added to any song in any genre, and they instantly inject an atmosphere that no other instrument can create. So, how do you write a lush string section. Easy, you just watch this video. But first… tea!
Hello revolutionaries, we are Kate Harmony and Ray Harmony (AKA Revolution Harmony), and welcome to Hack Music Theory. We help you make great music that stands out, so you can get discovered! If that sounds useful to you, then subscribe to our YouTube channel and hit that bell to get notified every Saturday, when we publish our new video. Alright, it’s time to open your DAW to hack music theory.
THEORY In deadmau5’s new track “Drama Free” (feat. Lights) that just dropped yesterday, the party pumps for just over a minute, before you’re suddenly whisked away to a beautiful land of strings. This lush detour lasts about 40 seconds, then you’re safely returned to the beat, perfectly highlighting how strings are totally at home in any genre. So, to create lush strings like deadmau5, you need to write a minor key chord progression (which includes the relative major key’s root chord), then add extensions for depth, anticipations for tension, and motifs for memorability. We’ll show you how, next.
Step 1 - Chords Set up eight bars of 4/4, with your grid set to 1/4 notes, and your tempo set to 92 BPM. “Drama Free” is in the key of C♯ minor, so we’ll use it too. Right, first things first, you need a chord progression. So, choose a few chords from C♯ minor that you like the sound of, and play each chord for one bar. And if you wanna repeat chords, or play one chord over two bars, that’s all good, just be sure to play the root chord (C♯m) in your first bar, and the relative major key’s root chord (Emaj) in your fifth bar. Now, once you’ve chosen your chords, draw in their root notes at the bottom. This will form the bass melody for your string section. And while we’re on this topic, lush strings tend to be written in four parts, which create four melodic layers. So, as you’re writing your string section, pay attention to what each layer sounds like as a melody on its own. For example, this layer is the cello part, and you wanna make sure your cellists have a beautiful melody to play, so they’re just as happy as your violinists are up top!
Step 2 - Extensions While you’re building up the remaining three parts on top of your bass melody, be sure to extend your chords beyond triads, like here, where we added a 2 to the Bmaj triad, creating the extended chord: Bmaj(add9).
Step 3 - Anticipations An anticipation is when you anticipate a note from the next chord, by playing that note before the chord actually comes in. We’ve used a bunch of anticipations in this string section. For example, here we anticipate F♯ from the upcoming Bmaj(add9) chord. Anticipations are so easy yet so effective in creating a brief and beautiful tension, which resolves as soon as the chord changes. Speaking of tension. deadmau5 switches from natural minor to harmonic minor to create even more tension. So, if you wanna do the same, use B♯ somewhere (like we did here). And yes, it’s B♯ not C. If you wanna know why sometimes we use a different name for the same note, then read Hack 7 in our free book, which you can download below. It only takes about 30 minutes to read, and you’ll gain a super solid foundation in scales, triads, relative keys, and much more!
Step 4 - Motifs A motif is a short musical idea, which you can reuse to give your music structure and make it more memorable. And by now, your string section will already have a few motifs, you just need to go hunting for ‘em! We found a good few motifs. For example, this descending line with anticipations (which we reused here), and this kinda quick semitone movement (which we reused right afterwards).
NEXT Right, now that you’ve got one section down, how do you write a new section for it, and then, how do you transition between those two sections? Great questions, and if this is something you need help with, then check out our cutting-edge online apprenticeship course, where you’ll literally learn every step of the music making process, and most importantly, you’ll learn how to finish your songs! You’ll also gain access to our Private Network, which is a safe online space (i.e. social media platform) exclusively for our 400+ apprentices from 40+ countries. Our Network is a super supportive place for you to ask theory questions, share your music, get feedback, meet like-minded music makers, and collaborate! If all this sounds useful to you, then head on over to our Online Apprenticeship page now.
Kate & Ray Harmony (AKA Revolution Harmony) Music Teachers & Producers in Vancouver BC, Canada
LEARN Level 1: Read our free book (below) & watch our YouTube videos Level 2: Read our "Part 1" book & "Songwriting & Producing" PDF Level 3: Learn our secret art of songwhispering & finish your music
ABOUT Hack Music Theory is the pioneering notation-free method for making great music that stands out, so you can get discovered! Taught by award-winning music lecturer Ray Harmony, and his protégé (and wife) Kate Harmony, from their studio in Vancouver BC, Canada. Ray is the author of critically-acclaimed book series "Hack Music Theory", and has made music with Serj Tankian (System of a Down), Tom Morello (Rage Against the Machine), Steven Wilson (Porcupine Tree), Devin Townsend (Strapping Young Lad), Ihsahn (Emperor), Kool Keith (Ultramagnetic MCs), Madchild (Swollen Members), and many more! Kate has the highest grade distinction in Popular Music Theory from the London College of Music, and is the only person on the planet who's been trained by Ray to teach his method. On that note, the "Hack Music Theory" YouTube channel teaches relevant and instantly-usable music theory for producers, DAW users, and all other music makers (songwriters, singers, guitarists, bassists, drummers, etc.) in all genres, from EDM to R&B, pop to hip-hop, reggae to rock, electronic to metal (and yes, we djefinitely djent!).
(c) 2018 Revolution Harmony All words and music in video by Revolution Harmony Revolution Harmony is Ray Harmony & Kate Harmony
Photo of deadmau5 courtesy of MasterClass.com
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“The most brilliant, fast, easy & fun music theory book I’ve ever seen!” DEREK SIVERS, CD Baby founder
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That West Coast Sound - Music Theory from Ice Cube "Arrest the President" (Everythangs Corrupt)
Nov 10, 2018
That classic West Coast sound is all about musical attitude. But how do you give your music attitude? Easy, you can do it, just put your back into it! Well that, and use the hack in this video. But first… tea!
Hello revolutionaries, we are Kate Harmony and Ray Harmony (AKA Revolution Harmony), and welcome to Hack Music Theory. This website helps you make great music that stands out, so you can get discovered! If that sounds useful to you, then subscribe to our YouTube channel and hit that bell to get notified every Saturday, when we publish our new video. Alright, it’s time to open your DAW to hack music theory.
THEORY Ice Cube’s new single “Arrest the President” (from upcoming album "Everythangs Corrupt") that just dropped yesterday, is the epitome of that classic West Coast sound, which oozes attitude. It’s impossible not to move to this song, yet a simple melody carries the whole thang! What gives this melody so much attitude? Two elements. First, it uses the natural minor scale, which embeds toughness in the melody’s DNA. And second, it’s played staccato, which means the notes are short and sharp. These staccato hits give the music a hard edge, while all the space in between the notes gives the music a chill vibe. And it’s this juxtaposed tough-but-relaxed feel that creates the West Coast sound. This staccato technique is a G-funk favourite, and can be heard in many West Coast classics, like Dr Dre’s “Still D.R.E.” and 2Pac’s “California Love”. These songs, along with “Arrest the President”, can all be boiled down to their essence, which is a simple staccato piano part. And it’s interesting to compare these songs to an East Coast classic like Wu-Tang Clan’s “C.R.E.A.M.”, which also has a piano melody, but it’s legato, which means the notes are connected to each other and played without breaks in between them. I wonder if the more spacious West Coast sound is reflective of Los Angeles having more space, and perhaps the more dense East Coast sound is reflective of New York City being more built-up. What do you think? Is this a just coincidence, or is there something real here? Let us know by commenting (on YouTube) with “coincidence” or “real talk”.
Step 1 - Home Set up two bars of 4/4, with your grid set to 1/16 notes, and your tempo set to 95 BPM. “Arrest the President” is in the key of E♭ minor, so we’ll use it too. And the original melody actually only uses the 1, ♭3, 4, and ♭7, so we can also say that the melody is in the pentatonic minor scale, which is just the natural minor scale without the 2 and the ♭6. Now, there’s two sections to this melody. The first section locks in the root note, making it feel solid, while the second section moves away, giving it tension. You’ll also notice that the melody is doubled an octave lower, for a thicker texture. Right, so start by playing a 1/16 root note on beat 1 and beat 3 in your first bar, and on beat 1 in your second bar. And if you wanna throw in a little tease of what’s coming up, play a 1/16 that’s not your root note on beat 4a in your first bar, like we did with the ♭7. And by the way, if you need help with the basics, like scales, chords and spelling (which is when you use numbers for notes, like we’ve been doing), then download our free book below.
Step 2 - Away Alright, now it’s time to create some tension, by moving away from the root. So, at the end of your second bar, play five notes from the scale. Start them on beat 2+, and make sure they’re all 1/16 notes, with 1/16 note rests in between. Lastly, if you want more tension, throw in the ♭5, like we did. And if you want even more groove, then grab one of the notes at the end of your second bar, and move it a 1/16 note to the left.
NEXT Right, now that you’ve got one section down, how do you write a new section for it, and then, how do you transition between those two sections? Great questions, and if this is something you need help with, then check out our cutting-edge online apprenticeship course, where you’ll literally learn every step of the music making process, and most importantly, you’ll learn how to finish your songs! You’ll also gain access to our Private Network, which is a safe online space (i.e. social media platform) exclusively for our 400+ apprentices from 40+ countries. Our Network is a super supportive place for you to ask theory questions, share your music, get feedback, meet like-minded music makers, and collaborate! If all this sounds useful to you, then head on over to our Online Apprenticeship page now.
Kate & Ray Harmony (AKA Revolution Harmony) Music Teachers & Producers in Vancouver BC, Canada
LEARN Level 1: Read our free book (below) & watch our YouTube videos Level 2: Read our "Part 1" book & "Songwriting & Producing" PDF Level 3: Learn our secret art of songwhispering & finish your music
ABOUT Hack Music Theory is the pioneering notation-free method for making great music that stands out, so you can get discovered! Taught by award-winning music lecturer Ray Harmony, and his protégé (and wife) Kate Harmony, from their studio in Vancouver BC, Canada. Ray is the author of critically-acclaimed book series "Hack Music Theory", and has made music with Serj Tankian (System of a Down), Tom Morello (Rage Against the Machine), Steven Wilson (Porcupine Tree), Devin Townsend (Strapping Young Lad), Ihsahn (Emperor), Kool Keith (Ultramagnetic MCs), Madchild (Swollen Members), and many more! Kate has the highest grade distinction in Popular Music Theory from the London College of Music, and is the only person on the planet who's been trained by Ray to teach his method. On that note, the "Hack Music Theory" YouTube channel teaches relevant and instantly-usable music theory for producers, DAW users, and all other music makers (songwriters, singers, guitarists, bassists, drummers, etc.) in all genres, from EDM to R&B, pop to hip-hop, reggae to rock, electronic to metal (and yes, we djefinitely djent!).
(c) 2018 Revolution Harmony All words and music in video by Revolution Harmony Revolution Harmony is Ray Harmony & Kate Harmony
Wooohooo!!! You’re a mere 30 minutes away from being even smarter than you already are. Just head on over to your inbox now for your free download.
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“The most brilliant, fast, easy & fun music theory book I’ve ever seen!” DEREK SIVERS, CD Baby founder
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How to Write a Catchy Melody - Music Theory from Fuse ODG "Bra Fie" (feat. Damian Marley)
Nov 03, 2018
Do your melodies get stuck in the heads of everyone who hears them? If not, don’t worry, just watch this video and learn the instantly-usable hack that will ensure you write contagiously catchy melodies. But first… tea!
Hello revolutionaries, we are Kate Harmony and Ray Harmony (AKA Revolution Harmony), and welcome to Hack Music Theory. This website helps you make great music that stands out, so you can get discovered! If that sounds useful to you, then subscribe to our YouTube channel and hit that bell to get notified every Saturday, when we publish our new video. Alright, it’s time to open your DAW to hack music theory.
THEORY In his new single “Bra Fie” (ft. Damian Marley) that just dropped this weekend, Fuse ODG breaks up his verses with the funkiest horns! This brass melody is so catchy that it takes over from the vocals, and functions as a secondary hook. What makes it so catchy? Three things. First, it’s in the pentatonic minor scale, which only has five notes. This makes the melody simpler, and therefore easier to remember. Second, it uses a motif, which is a short musical idea. Repeating a motif creates a pattern in the melody, making it even more memorable. And third, it uses rests. Unlike our DAWs, brass players need to breathe, and these rests create phrases that divide the melody into easily digestible chunks.
Step 1 - Pentatonic Set up two bars of 4/4, with your grid set to 1/16 notes, and your tempo set to 99 BPM. “Bra Fie” is in the key of A minor, and the chord progression goes back and forth between Am and Dm, so we’ll do the same. And the dark notes at the bottom (below the melody) are the root notes of those chords, but they’re muted, they’re just there for reference. The pentatonic minor scale excludes the second and sixth notes of the natural minor scale, so in A minor, we omit the notes B and F. And it’s important to remember that we’re only using the pentatonic minor scale for our lead melody. Under our pentatonic lead melody, we’re still using the full seven-note natural minor scale for our chords, bass, and even our brass counterpoint harmony, which you’ll hear in the background.
Step 2 - Motif Now, using mainly 1/16 notes, write a motif in your first bar. And the reason you wanna mainly use 1/16 notes, is that short notes inject energy into your motif, resulting in a vibrant melody. However, a motif with only 1/16 notes will get boring real quick, so be sure to use at least one longer note somewhere as well. Our motif consists of three 1/16 notes, followed by a dotted 1/8 note, and then finished off with four 1/16 notes. And regarding their pitches, we’re going 1 → ♭7 → 1 → ♭3 → 4 → ♭3 → 5 → 4.
Step 3 - Repeat & Rest Next, copy and paste your motif into your second bar, then change the pitches of the second half of it, for variation. We kept the first three notes the same, but changed everything from our long note on. This creates the ultimate combination of familiarity and freshness, as the rhythm in your second bar will be familiar to your listeners, but the pitches will be fresh. And finally, throw in a few notes at the end of both bars to link everything up, but remember to leave some space for the melody to breathe.
NEXT Right, now that you’ve got one section down, how do you write a new section for it, and then, how do you transition between those two sections? Great questions, and if this is something you need help with, then check out our cutting-edge online apprenticeship course, where you’ll literally learn every step of the music making process, and most importantly, you’ll learn how to finish your songs! You’ll also gain access to our Private Network, which is a safe social media platform exclusively for our apprentices (and we already have over 400 apprentices, from over 40 countries). Our Network is a super supportive place for you to ask theory questions, share your music, get feedback, meet like-minded music makers, collaborate, and more! So if all that sounds useful to you, then head on over to our Online Apprenticeship page now.
Kate & Ray Harmony (AKA Revolution Harmony) Music Teachers & Producers in Vancouver BC, Canada
LEARN Level 1: Read our free book (below) & watch our YouTube videos Level 2: Read our "Part 1" book & "Songwriting & Producing" PDF Level 3: Learn our secret art of songwhispering & finish your music!
ABOUT Hack Music Theory is the pioneering notation-free method for making great music that stands out, so you can get discovered! Taught by award-winning music lecturer Ray Harmony, and his protégé (and wife) Kate Harmony, from their studio in Vancouver BC, Canada. Ray is the author of critically-acclaimed book series "Hack Music Theory", and has made music with Serj Tankian (System of a Down), Tom Morello (Rage Against the Machine), Steven Wilson (Porcupine Tree), Devin Townsend (Strapping Young Lad), Ihsahn (Emperor), Kool Keith (Ultramagnetic MCs), Madchild (Swollen Members), and many more! Kate has the highest grade distinction in Popular Music Theory from the London College of Music, and is the only person on the planet who's been trained by Ray to teach his method. On that note, the "Hack Music Theory" YouTube channel teaches relevant and instantly-usable music theory for producers, DAW users, and all other music makers (songwriters, singers, guitarists, bassists, drummers, etc.) in all genres, from EDM to R&B, pop to hip-hop, reggae to rock, electronic to metal (and yes, we djefinitely djent!).
(c) 2018 Revolution Harmony All words and music in video by Revolution Harmony Revolution Harmony is Ray Harmony & Kate Harmony
Photo of Fuse ODG & Damian Marley courtesy of Off Da Ground Records
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Scariest Music Theory Video on YouTube
Oct 30, 2018
You've been warned, so click at your own risk, and good luck ;)
Ray & Kate
How to Make Your Music Bounce - Music Theory from Bring Me The Horizon “wonderful life” (Amo album)
Oct 27, 2018
Does your music get bodies movin’, and the party started? If not, don’t worry, you just need to add some bounce. So in this video, you’ll learn a super easy yet super effective hack to bring da bounce to your music. But first… tea!
Hello revolutionaries, I’m Kate Harmony, this is Ray Harmony, and welcome to Hack Music Theory. This channel helps you make great music that stands out, so you can get discovered! If that sounds useful to you, then subscribe and hit that bell to get notified every Saturday, when we publish our new video. Alright, it’s time to open your DAW to hack music theory.
THEORY In their new single “wonderful life” (from upcoming album "Amo") that just dropped this week, Bring Me The Horizon deliver a masterclass in how to make your music (and therefore your audience) bounce! They even manage to get “bounce” in their lyrics, with the line: “everybody knows I got bounce”. But first... what is “bounce”, and how’s it gonna get the party started? Quite simply, when a song has bounce, it makes you wanna bounce. In other words, it makes you wanna jump up and down. How? Well, there are numerous ways, but in this song, Bring Me The Horizon lock in their riff and kick drum, which both play dotted 1/8 notes that bounce over the 1/4 note pulse.
Step 1 - Bounce Notes Set up four bars of 4/4, with your grid set to 1/16 notes, and your tempo set to 86.5 BPM. The main riff in “wonderful life” is based around a low F and the F an octave higher, so we’ll do something kinda similar. Start by playing three dotted 1/8 notes on that low F. A dotted 1/8 note is equal to three 1/16 notes. Also, if you want, you can extend that last note by a 1/16 (like it is in the original). Right, now these three notes are your bounce notes, so copy and paste them into the other bars, so every bar bounces! Next, it’s time to bring in some higher notes to add depth to your riff, so add a few 1/16 notes at the end of each bar. We chose the ♭2, 7, 4, and ♭5 as the basis for ours. And if you want, you can add a little variation to these high notes in your third bar, and maybe even extend that 1/16 note run over the bar line and into your fourth bar, like we did. Lastly, if you’re playing this on a real guitar, throw in a little bend on the bounce notes. And by the way, if you need help with the basics - like scales, chords, and spelling (which is when you use numbers for notes, like we just did) - then download our free book below.
Step 2 - Surprise Party This step is so cool! Let me explain. Bring Me The Horizon know that this bounce will get boring if they keep repeating it, so they throw in one totally unexpected bounce, which is like a surprise party! So, in your second bar, move all (or some, we like did) of those higher notes to the left, by one 1/16 note. Then, extend the first note in your third bar to the left, by one 1/16 note. This creates the most exhilarating surprise bounce on beat 4a, which nobody will be expecting, so it keeps your party super fresh!
NEXT Right, now that you’ve got one section down, how do you write a new section for it, and then, how do you transition between those two sections? Great questions, and if this is something you need help with, then check out our cutting-edge online apprenticeship course, where you’ll literally learn every step of the music making process, and most importantly, you’ll learn how to finish your songs! You’ll also gain access to our Private Network, which is a safe social media platform exclusively for our apprentices (and we already have over 400 apprentices, from over 40 countries). Our Network is a super supportive place for you to ask theory questions, share your music, get feedback, meet like-minded music makers, collaborate, and more! So if all that sounds useful to you, then head on over to our Online Apprenticeship page now.
Kate & Ray Harmony (AKA Revolution Harmony) Music Teachers & Producers in Vancouver BC, Canada
LEARN Level 1: Read our free book (below) & watch our YouTube videos Level 2: Read our "Part 1" book & "Songwriting & Producing" PDF Level 3: Learn our secret art of songwhispering & finish your music!
ABOUT Hack Music Theory is the pioneering notation-free method for making great music that stands out, so you can get discovered! Taught by award-winning music lecturer Ray Harmony, and his protégé (and wife) Kate Harmony, from their studio in Vancouver BC, Canada. Ray is the author of critically-acclaimed book series "Hack Music Theory", and has made music with Serj Tankian (System of a Down), Tom Morello (Rage Against the Machine), Steven Wilson (Porcupine Tree), Devin Townsend (Strapping Young Lad), Ihsahn (Emperor), Kool Keith (Ultramagnetic MCs), Madchild (Swollen Members), and many more! Kate has the highest grade distinction in Popular Music Theory from the London College of Music, and is the only person on the planet who's been trained by Ray to teach his method. On that note, the "Hack Music Theory" YouTube channel teaches relevant and instantly-usable music theory for producers, DAW users, and all other music makers (songwriters, singers, guitarists, bassists, drummers, etc.) in all genres, from EDM to R&B, pop to hip-hop, reggae to rock, electronic to metal (and yes, we djefinitely djent!). (c) 2018 Revolution Harmony All words and music in video by Revolution Harmony Revolution Harmony is Ray Harmony & Kate Harmony
Photo of Oli Sykes (Bring Me The Horizon) courtesy of Emma Viola Lilja
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Uplifting Piano Chord Progression: Music Theory from Trent Reznor & Atticus Ross (Mid90s Soundtrack)
Oct 20, 2018
When you try to write a "happy" chord progression, does it end up sounding cheesy, like the theme song for a kid’s TV show? Then we’ve got a hack for you that’ll turn your kid’s chords into mature and sincere progressions. But first… tea!
Hello revolutionaries, I’m Kate Harmony, this is Ray Harmony, and welcome to Hack Music Theory. This channel helps you make great music that stands out, so you can get discovered! Alright, it’s time to open your DAW to hack music theory.
THEORY In their new song “The Start of Things” (from the “mid90s” soundtrack, which just dropped this weekend), Trent Reznor & Atticus Ross lift you up into the clouds with their ethereal piano part. How do they make their chord progression sound so uplifting, yet so sincere? Well, they play back and forth between the root chords of the two most uplifting major modes: Lydian and Ionian. They use D Lydian and A Ionian (which are relatives), and that creates the illusion of their progression being in both modes (which is double happy!). However, Lydian’s dissonant ♯4 counters that with its incredible tension, adding maturity and sincerity.
And by the way, if you need help understanding the modes, then check out the modes hack in our Songwriting & Producing PDF (click and then scroll down), which also contains all our top music making hacks! And if you need help with the basics first, then read our free book on scales and chords, which you can download below.
STEP 1: LEFT-HAND (BASS) Set up eight bars of 4/4, with your grid set to 1/8 notes, and your tempo set to 87 BPM. “The Start of Things” only uses two chords, Dmaj and Amaj, so we’ll use them as the basis for our version as well. Start by ping-ponging between a low D and the D an octave higher. Do this for two bars, and then do the same on A for two bars. Next, copy and paste those four bars into the second half. You’ll notice at the end of every second bar, we’ve moved a few notes. This is just to make the chord changes a little more interesting, so feel free to do that too. Now, Trent Reznor has a favourite technique (which we like to call “four-on-the-chords”), where he plays the 1/4 note pulse on the chords. This creates a pumping momentum over which he then plays (or sings) a beautiful melody. Trent’s four-on-the-chords technique aptly stretches back to his mid-90’s masterpiece “Hurt”. And you can definitely see that technique in action here, with those low 1/4 notes in the left hand.
STEP 2: RIGHT-HAND (MELODY) First things first, it is absolutely essential that over the Dmaj chord you play the ♯4 (which is G♯), as this is the magical Lydian note, and it’s super dissonant, so it will single-handedly prevent your melody from sounding like the theme tune for a kid’s TV show*. Other than that, be sure to play the 3 (which is F♯) for that happy vibe, and the 2 (which is E) for that dreamy vibe, then the rest is up to you. Next, over the Amaj chord, keep it simple and just play a couple notes, like we did with the 3 (which is C♯), and the 2 (which is B). Then finally, in the second half, build up your melody to a climax, perhaps a high 3 (which is C♯) over that last Amaj chord. And if you wanna kick up your build even more, throw in a few 1/16 notes, and maybe even some 1/32 notes (but don’t tell Trent about the 1/32 notes, that’ll be our little secret haha!).
*Yes kids, it’s true... The Simpsons theme tune uses the ♯4, but that’s a show for mummy and daddy!
NEXT Right, now that you’ve got one section down, how do you write a new section for it, and then, how do you transition between those two sections? Great questions, and if this is something you need help with, then check out our cutting-edge online apprenticeship course, where you’ll literally learn every step of the music making process, and most importantly, you’ll learn how to finish your songs! You’ll also gain access to our Private Network, which is a safe social media platform exclusively for our apprentices (and we already have over 400 apprentices, from over 40 countries). Our Network is a super supportive place for you to ask theory questions, share your music, get feedback, meet like-minded music makers, and more! So if all that sounds useful to you, then head on over to our Online Apprenticeship page now.
Kate & Ray Harmony (AKA Revolution Harmony) Music Teachers & Producers in Vancouver BC, Canada
LEARN Level 1: Read our free book (below) & watch our YouTube videos Level 2: Read our "Part 1" book & "Songwriting & Producing" PDF Level 3: Learn our secret art of songwhispering & finish your music!
ABOUT Learn how to make great music that stands out, so you can get discovered! Taught by award-winning music lecturer Ray Harmony, and his protégé (and wife) Kate Harmony. Ray is the author of critically-acclaimed book series "Hack Music Theory" and has been teaching music theory for 24 years, and along the way he's made music with Serj Tankian (System Of A Down), Tom Morello (Rage Against The Machine), Steven Wilson (Porcupine Tree), Devin Townsend (Strapping Young Lad), Ihsahn (Emperor), Kool Keith (Ultramagnetic MCs), Madchild (Swollen Members) and many more! Kate has the highest grade distinction in Popular Music Theory from the London College of Music, and is the only person on the planet who's been trained by Ray to teach his Hack Music Theory method! While our YouTube lessons teach music theory for producers and DAW users, they are designed to accommodate all music makers (songwriters, guitarists, etc.) and all genres, from Electronic Music to R&B, Pop to Hip-Hop, Reggae to Rock, EDM/Dance to Metal (and yes, we djefinitely Djent!).
Photo of Trent Reznor & Atticus Ross by Michael Buckner/Deadline/REX/Shutterstock
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Better 4/4 Bass Lines - Music Theory from Run the Jewels “Let’s Go (The Royal We)” Venom Soundtrack
Oct 13, 2018
4/4 is the most common time signature for a good reason: it gets people moving! But that same reason means everyone uses it, which makes it kinda boring. So how can you make a 4/4 bass line that’s exciting? The hack comin’ up. But first… tea!
Hello music makers, we are Kate and Ray Harmony, and welcome to Hack Music Theory. This channel helps you make great music that stands out, so you can get discovered! Alright, it’s time to open your DAW to hack music theory.
THEORY In their new single “Let’s Go (The Royal We)”, Run the Jewels use a standard 4/4 drum beat, with a kick on beat 1 and a snare on beat 3. But, when it comes to their bass line, that’s a whole different story! Let me explain. 4/4 contains four 1/4 notes, which are grouped in twos. This results in the expected (and therefore kinda boring) accents on beat 1 and beat 3. Now as you know, four 1/4 notes divide into eight 1/8 notes. So, instead of grouping the 1/8 notes in their bass line into the usual 4+4, Run the Jewels group them into 3+3+2, which creates unexpected (and therefore exciting) accents on beat 2+ and beat 4.
Please note: For the sake of this lesson, our example is very similar to the original song. Instead of copying the song though, explore how you can use this hack creatively with your own musical personality!
3+3+2 (Step 1) Set up one bar of 4/4, with your grid set to 1/8 notes, and your tempo set to 128 BPM. “Let’s Go” is in the key of E♭ minor, so we’ll use it too. Right, so start by playing a low 1/8 note on beat 1, beat 2+ and beat 4. These low notes are the first note of each group, and this “melodic accenting” will ensure your listeners hear that 3+3+2 grouping. We need to do this, because that common grouping in 4/4 is so pervasive, that your listeners will need help hearing this unusual 3+3+2, especially if your drums are still playing that 4+4 grouping (like they are in this song).
Arpeggios (Step 2) The bass line in “Let’s Go” is an ascending E♭m arpeggio that’s repeated, and once again, the reason this works so well is because it not only outlines the root chord, but it also outlines that 3+3+2 grouping. Right, now it’s time to fill in the missing notes. So for this example, let’s also start with an arpeggio on the root chord, to establish the key. We chose the 1, the ♭3 and an octave of the 1. And then in the second half, reuse a couple of those notes. We reused the 1, and an octave of the ♭3. Next, if you want some extra spice, switch it up by using a couple notes that are not in the root triad. We chose the ♭7 and the 2. Then lastly, to keep things fresh, you’ll probably wanna throw in a little variation at some point, too.
NEXT Right, now that you’ve got one section down, how do you write a new section for it, and then, how do you transition between those two sections? Great questions, and if this is something you need help with, then check out our cutting-edge online apprenticeship course, where you’ll literally learn every step of the music making process, and most importantly, you’ll learn how to finish your songs! You’ll also gain access to our Private Network, which is a safe social media platform exclusively for our apprentices (and we already have over 400 apprentices, from over 40 countries). Our Network is a super supportive place for you to ask theory questions, share your music, get feedback, meet like-minded music makers, and more! So if all that sounds useful to you, then head on over to our Online Apprenticeship page now.
Kate & Ray Harmony (AKA Revolution Harmony) Music Teachers & Producers in Vancouver BC, Canada
LEARN Level 1: Read our free book (below) & watch our YouTube videos Level 2: Read our "Part 1" book & "Songwriting & Producing" PDF Level 3: Learn our secret art of songwhispering & finish your music!
ABOUT Learn how to make great music that stands out, so you can get discovered! Taught by award-winning music lecturer Ray Harmony, and his protégé (and wife) Kate Harmony. Ray is the author of critically-acclaimed book series "Hack Music Theory" and has been teaching music theory for 24 years, and along the way he's made music with Serj Tankian (System Of A Down), Tom Morello (Rage Against The Machine), Steven Wilson (Porcupine Tree), Devin Townsend (Strapping Young Lad), Ihsahn (Emperor), Kool Keith (Ultramagnetic MCs), Madchild (Swollen Members) and many more! Kate has the highest grade distinction in Popular Music Theory from the London College of Music, and is the only person on the planet who's been trained by Ray to teach his Hack Music Theory method! While our YouTube lessons teach music theory for producers and DAW users, they are designed to accommodate all music makers (songwriters, guitarists, etc.) and all genres, from Electronic Music to R&B, Pop to Hip-Hop, Reggae to Rock, EDM/Dance to Metal (and yes, we djefinitely Djent!).
Wooohooo!!! You’re a mere 30 minutes away from being even smarter than you already are. Just head on over to your inbox now for your free download.
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“The most brilliant, fast, easy & fun music theory book I’ve ever seen!” DEREK SIVERS, CD Baby founder
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Ultimate Groove Hack - Music Theory from Twenty One Pilots “Trench”
Oct 06, 2018
Do you listen to your favourite artists and wonder why their music grooves more than yours? Well that ends now, cos the hack in this video is gonna make your music groove big time. But first… tea!
Hello music makers, I’m Kate Harmony, this is Ray Harmony, and welcome to Hack Music Theory. This channel helps you make great music that stands out, so you can get discovered! The theory hack in today’s video is from the new album “Trench” by Twenty One Pilots. Alright, it’s time to open your DAW to hack music theory.
THEORY In their song “Morph”, Twenty One Pilots create a hugely deep groove between the bass and drums, which you can’t help but move to. Now, some may argue it’s because they’re playing real instruments and not virtual instruments, but you can easily create this groove with a computer as well. How? Well, program skeleton bass and drum parts using 1/8 notes, then flesh them out with 1/16 note triplets. Then, move all your MIDI a tiny bit off the grid to the right, which makes everything a split second late.
Please note, for the sake of this lesson, our example is very similar to the original song. Instead of copying the song though, have fun exploring how you can use this theory hack creatively with your own musical personality, so it sounds like you!
1/16 Triplets (Step 1) Set up four bars of 4/4, with your grid set to 1/8 notes, and your tempo set to 90 BPM. “Morph” is in the key of C♯ minor, and the bass line is centred around the root note, played at different octaves. So, start by writing a repeating octave pattern on your root. Now, change your grid to 1/16 note triplets. Then, add a few 1/16 note triplets, but be sparing, as you want your bass line to have lots of space to breathe. And in our version, we put a couple of these 1/16 note triplets on the ♭7 to spice things up. Finally, towards the end of your bass line, add a non-diatonic note (which is a note that is not in the scale). Twenty One Pilots used the major 7, but we’re using the ♭2. And the reason for using a non-diatonic note is because it breaks the “rules”, and that adds to the cool factor of your bass line.
Play It Cool (Step 2) So you know how cool people arrive at the party a little late, right? Well, cool music arrives at the beat a little late, too. Seriously, it’s true! If you wanna instantly make your music cooler, just move everything a split second off the grid, to the right. This loosens up that rigid feel we always get from making music on the grid. If you want a rough guide when moving your music off grid, change your grid to 1/128 note triplets, select all your MIDI, then zoom in and move everything to the right by about half of a 1/128 note triplet. Now I know what you’re thinking: If this hack is that cool, then why doesn’t everyone use it. Well, some genres (e.g. house music) are built on perfectly in-time drum beats, and therefore this hack isn’t appropriate. Okay, now last but not least, when you’ve totally finished your bass line, then use the same hack on your drums.
NEXT Right, now that you’ve got one section down, how do you write a new section for it, and then, how do you transition between those two sections? Great questions, and if this is something you need help with, then check out our cutting-edge online apprenticeship course, where you’ll literally learn every step of the music making process, and most importantly, you’ll learn how to finish your songs! You’ll also gain access to our Private Network, which is a safe social media platform exclusively for our apprentices (and we already have over 400 apprentices, from over 40 countries). Our Network is a super supportive place for you to ask theory questions, share your music, get feedback, meet like-minded music makers, and more! So if all that sounds useful to you, then head on over to our Online Apprenticeship page now.
Kate & Ray Harmony (AKA Revolution Harmony) Music Teachers & Producers in Vancouver BC, Canada
LEARN 1: Read our free book (below) & watch our YouTube videos 2: Read our "Part 1" book & "Songwriting & Producing" PDF 3: Learn our secret art of songwhispering & finish your music!
ABOUT Learn how to make great music that stands out, so you can get discovered! Taught by award-winning music lecturer Ray Harmony, and his protégé (and wife) Kate Harmony. Ray is the author of critically-acclaimed book series "Hack Music Theory" and has been teaching music theory for 24 years, and along the way he's made music with Serj Tankian (System Of A Down), Tom Morello (Rage Against The Machine), Steven Wilson (Porcupine Tree), Devin Townsend (Strapping Young Lad), Ihsahn (Emperor), Kool Keith (Ultramagnetic MCs), Madchild (Swollen Members) and many more! Kate has the highest grade distinction in Popular Music Theory from the London College of Music, and is the only person on the planet who's been trained by Ray to teach his Hack Music Theory method! While our YouTube lessons teach music theory for producers and DAW users, they are designed to accommodate all music makers (songwriters, guitarists, etc.) and all genres, from Electronic Music to R&B, Pop to Hip-Hop, Reggae to Rock, EDM/Dance to Metal (and yes, we djefinitely Djent!).
Wooohooo!!! You’re a mere 30 minutes away from being even smarter than you already are. Just head on over to your inbox now for your free download.
There was an error submitting your subscription. Please try again.
“The most brilliant, fast, easy & fun music theory book I’ve ever seen!” DEREK SIVERS, CD Baby founder
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How to Write a 2-in-1 Bass Line - Music Theory from Rationale “One By One”
Sep 29, 2018
Bass lines need to be low, cos that’s the whole point of them, but this restriction can very easily result in boring bass lines. So how can you break out of that limiting range, while still keeping your bass low? The answer comin’ up. But first… tea!
Hello music makers, we are Kate and Ray Harmony, and welcome to Hack Music Theory. This channel helps you make great music that stands out, so you can get discovered!
The music theory hack in today’s video is from the new single “One By One”, by the artist, Rationale. Quick but crazy story for you: When we were swiping through the New Music Friday playlist on Spotify this morning, to decide what song to hack for this video, we swiped and the Rationale single came on, and I was like “Wait! What the…?!”, that’s my old student from London haha, so I’m totally buzzing right now! #ProudTeacher. And you won’t believe it, but the exact same thing happened last week with another one of Ray’s former students. They all seem to keep turning up on the New Music Friday playlist, how amazing is that?! Anyway, it’s time to open your DAW to hack music theory.
THEORY A bass line is the foundation upon which all other melodies and chords are built. Therefore, a bass line has the dual purpose of functioning as your song’s musical ground, as well as its lowest melody. However, so many bass lines these days only fulfill the former purpose, resulting in a solid foundation, but with no melodic interest. To achieve both of these roles simultaneously, use the theory hack from “One By One”, where Rationale grounds his bass line into the root note of each chord, before launching it into the melodic air for a few high notes. This creates an awesome 2-in-1 bass line that carries out both its foundation and melodic duties. And please note, for the sake of this lesson, our example is very similar to the original song. Instead of copying the song though, have fun exploring how you can use this theory hack creatively with your own musical personality, so it sounds like you!
Step 1 - Ground Set up two bars of 4/4, with your grid set to 1/16 notes, and your tempo set to 94 BPM. Next, you need to choose four chords from a minor key. The original song is in E minor, so we’ll stick with that. The chords we chose are: Em, Gmaj, Dmaj, Am. Now, each chord is played over two 1/4 note beats. The first beat will be used to ground into the root note, and the second beat will be used to fly away, but more on that in Step 2. Next, delete the second 1/4 note beat of each chord. Then, over that first 1/4 note beat of each chord, play the root note a couple times, with a rest in between. And be sure to play one root note of each chord on an off-beat 1/16 note, which is called syncopation, and that adds groove!
Step 2 - Air Right, now that you’ve grounded your bass line, it’s time to launch it into the melodic air. So, over the second 1/4 note beat of each chord, you’re gonna allow your bass line to break free of its low-notes-only restriction, and elevate its range and melodic interest with some high notes. So, choose three ascending/descending notes from your scale, and play them in a higher octave over your first chord. Then do something similar over your third chord. And these are all 1/16 notes. Also, be sure to start on the off-beat, for even more syncopation. Then over your second chord, you’re actually not gonna go higher,cos that’ll be too much of a good thing. So, just add in a couple low notes there. And then finally, over your last chord, use the same three notes that you used over your third chord, but reverse their order.
NEXT Right, now that you’ve got one section down, how do you write a new section for it, and then, how do you transition between those two sections? Great questions, and if this is something you need help with, then check out our cutting-edge online apprenticeship course, where you’ll literally learn every step of the music making process, and most importantly, you’ll learn how to finish your songs! You’ll also gain access to our Private Network, which is a safe social media platform exclusively for our apprentices (and we already have over 400 apprentices, from over 40 countries). Our Network is a super supportive place for you to ask theory questions, share your music, get feedback, meet like-minded music makers, and more! So if all that sounds useful to you, then head on over to our Apprenticeship page now.
Kate & Ray Harmony (AKA Revolution Harmony) Music Teachers & Producers in Vancouver BC, Canada
LEARN 1: Read our free book (below) & watch our YouTube videos 2: Read our "Part 1" book & "Songwriting & Producing" PDF 3: Learn our Secret Art of Song-Whispering & finish your music!
ABOUT Learn how to make great music that stands out, so you can get discovered! Taught by award-winning music lecturer Ray Harmony, and his protégé (and wife) Kate Harmony. Ray is the author of critically-acclaimed book series "Hack Music Theory" and has been teaching music theory for 24 years, and along the way he's made music with Serj Tankian (System Of A Down), Tom Morello (Rage Against The Machine), Steven Wilson (Porcupine Tree), Devin Townsend (Strapping Young Lad), Ihsahn (Emperor), Kool Keith (Ultramagnetic MCs), Madchild (Swollen Members) and many more! Kate has the highest grade distinction in Popular Music Theory from the London College of Music, and is the only person on the planet who's been trained by Ray to teach his Hack Music Theory method! While our YouTube lessons teach music theory for producers and DAW users, they are designed to accommodate all music makers (songwriters, guitarists, etc.) and all genres, from Electronic Music to R&B, Pop to Hip-Hop, Reggae to Rock, EDM/Dance to Metal (and yes, we djefinitely Djent!).
Photo of Rationale from the cover of "One by One" Courtesy of Best Laid Plans Records
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African Rhythm & Chords - Music Theory from NAO “Drive and Disconnect”
Sep 22, 2018
You want people moving to your music, right? But, are you bored of using the same old four-on-the-floor drum beat to achieve that. Well, then you need to add an African flava to your rhythm (and your chords!), as heard in the new single “Drive and Disconnect” (from upcoming album "Saturn"), by the unique and inspiring artist NAO. And full disclosure here: Yes, I am British, but, I’m an immigrant. I was actually born and raised in Africa, so African music is in my blood, so I’m super stoked to share a little taste of it with you. But first… iti!
Hello revolutionaries, and welcome to the Hack Music Theory channel. This is our New Music Friday show, where we trawl through the new releases every week to find the hottest theory hacks for your weekend studio session! So, if that sounds useful to you, then please subscribe to our YouTube channel and hit the bell to get notifications. Alright, it’s time to open your DAW to hack music theory.
THEORY Africa is the motherland of dance music. So while electronic dance music has had booties shakin’ for decades, music from the motherland has been moving people (physically and emotionally) for millennia. Now, there are countless types of traditional music in Africa, but the two main elements that connect them, are syncopated rhythms and strong melodies. Remember, chords (like you hear in most songs these days) are actually a relatively new addition to music that originated in Europe. So, traditional African music is all about that rhythm and melody. To add this African flavour to your music, create a syncopated rhythm on top of your four-on-the-floor drums, and turn your chords into arpeggios (that are also syncopated).
Step 1 - Rhythm (African Drums) Set up two bars of 4/4, with your grid set to 1/16 notes, and your tempo set to 116 BPM. Then, start by throwing a kick on every 1/4 note beat, and that’s your four-on-the-floor. Next, it’s time for the syncopation, which is when you accent the offbeat. So, add syncopated snare drums on beat 1a and beat 2+ (we used two different snare drums for those, to add depth). Then do the same snare pattern in bar 2. And lastly, sprinkle in a few more syncopated notes on the toms and hats, and your drums are done!
Step 2 - Chords (African Guitar) NAO’s song is in G minor, but to keep things simple, we’re in A minor here, cos A minor is just all white notes. Now, choose two chords for your progression (we chose Am and Gmaj), then instead of playing them as block chords, play them one note at a time (which is an arpeggio), and lock those notes into that syncopated rhythm you just made, especially accenting beat 1a and beat 2+. Also, remember to let your arpeggios breathe, by adding some rests. And lastly, to spice things up even more, add in some extra notes that are not in the chords. For example, the D and B over our first Am chord, and the Gs over our second Am chord. And with that, you’re done!
NEXT Right, now that you’ve got one section down, how do you write a new section for it, and then, how do you transition between those two sections? Great questions, and if this is something you need help with, then check out our cutting-edge online apprenticeship course, where you’ll literally learn every step of the music making process, and most importantly, you’ll learn how to finish your songs!
You’ll also gain access to the Hack Music Theory Network, which is a private social media platform exclusively for our apprentices (and we already have over 400 apprentices, from over 40 countries). The Network is a super supportive place for you to ask theory questions, share your music, get feedback, and more. So if all that sounds useful to you, then head on over to our Apprenticeship page now.
Also, please note that we intentionally wrote our example to be very similar to the original version, but we did that for the sake of this lesson. So, instead of copying the artist, please explore how you can use this hack creatively with your own musical personality, so it sounds like you! Alright, that’s it! We really hope this video inspired and empowered you, and if it did, please drop us a comment on YouTube. We love hearing from you! Thanks for joining the Hack Music Theory revolution, and we’ll see you next week!
Enkosi kakhulu :)
Kate & Ray Harmony (AKA Revolution Harmony) Music Teachers & Producers in Vancouver BC, Canada
LEARN 1: Read our free book (below) & watch our YouTube videos 2: Read our "Part 1" book & "Songwriting & Producing" PDF 3: Learn our Secret Art of Song-Whispering, and effortlessly finish your music!
ABOUT Hack Music Theory is the pioneering notation-free method for making great music. Taught by award-winning music lecturer Ray Harmony, and his protégé (and wife) Kate Harmony, from their studio in Vancouver BC, Canada. Ray is the author of critically-acclaimed book series "Hack Music Theory", and has made music with Serj Tankian (System of a Down), Tom Morello (Rage Against the Machine), Steven Wilson (Porcupine Tree), Ihsahn (Emperor), Kool Keith (Ultramagnetic MCs), and many more. Kate has the highest grade distinction in Popular Music Theory from the London College of Music, and is the only person on the planet who's been trained by Ray to teach his Hack Music Theory method! While these Hack Music Theory YouTube lessons teach music theory for producers and DAW users, they are designed to accommodate all music makers (songwriters, guitarists, etc.) and all genres, from Electronic Music to R&B, Pop to Hip-Hop, Reggae to Rock, EDM/Dance to Metal (and yes, we djefinitely Djent!).
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WTF is a Melodic Rhythm? - Music Theory from Architects “Hereafter”
Sep 15, 2018
Learn what "melodic rhythms" are, and how you can use them to inject primal energy into your music, like Architects does in their new single “Hereafter” (from upcoming album "Holy Hell").
Hello revolutionaries, and welcome to the Hack Music Theory channel. This is our New Music Friday show, where we trawl through the new releases every week to find the hottest theory hacks for your weekend studio session! So, if that sounds useful to you, then please subscribe to our YouTube channel and hit the bell to get notifications. Alright, it’s time to open your DAW to hack music theory.
GIVEAWAY We’ve got a super special show for you today, as we’ve partnered with the mighty GetGood Drums for an exciting giveaway of their brand new drum library: Modern & Massive! And just for the record, this is not a sponsored video (we don’t do any sponsored content on our channel), we bought our copy of Modern & Massive, but because it’s literally the best drum kit sounds we’ve ever heard, we just had to share ‘em with you! And there’s an interesting story behind why we chose this video for the giveaway. Yes indeed, Dan Searle (the amazing Architects drummer) actually recorded his drums for the new album in the same studio that the Modern & Massive drum library was recorded in. And on top of that, the genius behind GetGood Drums, Adam “Nolly” Getgood, also engineered and mixed the new Architects album. So if you love Dan’s drum sound, you need this library! And if you don’t win in our giveaway, just buy a copy like we did, it’s so worth it. You can enter our giveaway by subscribing to our channel and to the GetGood Drums channel (over at YouTube.com/GetGoodDrums). Then, drop us a comment on the above video and tell us why you should win the Modern & Massive drum library. We’ve got two copies to give away, which means our favourite two comments will both win. So, make those answers really sincere, or really funny! We’ll announce the winners in next week’s video.
THEORY Rhythm is ancient and primal, as our ancestors were almost certainly banging on things long before they were blowing into bone flutes. Now, fast forward over 40,000 years, and the colossal opening riff of the new Architects single “Hereafter” has this same primal energy to it, because it would function just as well if it was played on one pitch. This makes it a "melodic rhythm", which is a musical concept whereby a memorable rhythm is usually composed first, then pitches are assigned to the notes afterwards. Examples of "melodic rhythms" range from Beethoven’s 5th symphony to Architects new single. The difference between a "melodic rhythm" and a melody, is that a "melodic rhythm" is still recognizable when its melody is removed, or when the pitches are all changed. And that’s exactly why our example in this video still sounds like the “Hereafter” riff, even though we’ve changed all the pitches.
Step 1 - Pulse & Backbeat Set your grid to 4 bars of 4/4, at a tempo of 121 BPM. Now, we’re gonna start by giving your creation a heartbeat. So, hit a cymbal (we chose the china) on every 1/4 note beat. This is your beast’s pulse! Next, it’s snare time. And Architects drummer, Dan Searle, went with a super groovy halftime backbeat here, which is when you spank the snare on beat 3, instead of the regular beat 2 and beat 4.
Step 2 - 16ths & Variation Ah yeah, it’s kick time! So, we’re gonna get this party started with a bunch of 1/16 notes on the kick, for momentum, and throw a few on the snare too. And you only need to program 2 bars, cos then you just copy and paste ‘em into bars 3 and 4. Also, be sure to use syncopation, for maximum groove! Syncopation is when you play an off-beat, but not the on-beat just before it. And on one of your syncopated 1/8 note kicks, hit a crash as well, to really accent that off-beat. And for the ultimate syncopation, don’t play a kick on beat 1 of bar 2 and bar 4. Yeah this is such a sick trick from Dan, and it takes this groove to a whole new level! Then the final bit of Step 2 is to simply add one 1/16 note to bar 4, to give it some variation, so it rolls around to the beginning.
Step 3 - Triplets So many rhythms these days consist of straight notes only, which is fine, but sprinkling a few triplets into a rhythm that’s mainly straight notes, is just so tasty, as they’re totally unexpected! So, change your grid to 1/16 triplets, and get sprinkling. Don’t overdo it though, once per bar is plenty!
Step 4 - Melody Lastly, now that your rhythm is pumping, it’s time to turn it into a "melodic rhythm". So copy and paste your kick and snare rhythm into a guitar, bass or synth track, and then extend all the notes to the right, so there’s no rests in between the notes. Next, move the notes up and down to create your melody. And if you’re going for something heavy like Architects, then use dissonant intervals, which are the intervals of 1 semitone, 3 semitones, 6 semitones, 8 semitones, 10 semitones, and 11 semitones. And with that, you’re done!
THANKS Lastly, thanks big time to everyone who made this video possible: Nolly, Matt, Misha, and our good chum Dez (who’s not only part of GetGood Drums, he’s also in one of our favourite bands: Good Tiger), and big thanks to our studio wizard Meyrick de la Fuente (from the band Exist Immortal) for mixing and mastering the example in this video, and last but definitely not least, thanks to the mighty Malcolm Shoolbraid (who’s the drummer from Thigma) for doing the playthrough. And by the way, Thigma’s debut album (which was produced by Ray), is coming out soon, so check out their link below, cos if you dig Architects, you’ll dig Thigma. Finally, please note that despite the live drummer in the playthrough video, all the drums you’re hearing are the programmed MIDI drums with 100% of the sounds coming from the Modern & Massive library, we just wanted a drummer in the playthrough, so all the non-drummers watching can see the pattern being played.
NEXT So, now that you’ve got one section down, how do you write a new section for it, and then, how do you transition between those two sections? Great questions, and if this is something you need help with, then check out our cutting-edge online apprenticeship course, where you’ll literally learn every step of the music making process, and most importantly, you’ll learn how to finish your songs! Also, please note that we intentionally wrote our example to be very similar to Architects, but we did that for the sake of this lesson. So, instead of copying Architects, please explore how you can use this hack creatively with your own musical personality, so it sounds like you! Alright, that’s it! We really hope this video has inspired and empowered you, and if it has, please drop us a comment on YouTube. We love hearing from you! Thanks for joining the Hack Music Theory revolution, and we’ll see you next week!
Kate & Ray Harmony (AKA Revolution Harmony) Music Teachers & Producers in Vancouver BC, Canada
LEARN 1: Read our free book (below) & watch our YouTube videos 2: Read our "Part 1" book & "Songwriting & Producing" PDF 3: Learn our Secret Art of Song-Whispering, and effortlessly finish your music!
ABOUT Hack Music Theory is the pioneering notation-free method for making great music. Taught by award-winning music lecturer Ray Harmony, and his protégé (and wife) Kate Harmony, from their studio in Vancouver BC, Canada. Ray is the author of critically-acclaimed book series "Hack Music Theory", and has made music with Serj Tankian (System of a Down), Tom Morello (Rage Against the Machine), Steven Wilson (Porcupine Tree), Ihsahn (Emperor), Kool Keith (Ultramagnetic MCs), and many more. Kate has the highest grade distinction in Popular Music Theory from the London College of Music, and is the only person on the planet who's been trained by Ray to teach his Hack Music Theory method! While these Hack Music Theory YouTube lessons teach music theory for producers and DAW users, they are designed to accommodate all music makers (songwriters, guitarists, etc.) and all genres, from Electronic Music to R&B, Pop to Hip-Hop, Reggae to Rock, EDM/Dance to Metal (and yes, we djefinitely Djent!).
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Haunting Piano Chord Progression - Music Theory from Radiohead's Thom Yorke "Suspirium" (Film Score)
Sep 08, 2018
Learn how Thom Yorke (Radiohead) writes a chord progression by mixing the Dorian mode with the Aeolian mode, then giving it a twist - as heard in "Suspirium" from the Suspiria film soundtrack.
Hello revolutionaries, and welcome to the Hack Music Theory channel. This is our New Music Friday show, where we trawl through the new releases every week to find the hottest theory hacks for your weekend studio session! So, if that sounds useful to you, then please subscribe to our YouTube channel and hit the bell to get notifications. Alright, it’s time to open your DAW to hack music theory.
THE THEORY
The two main elements that make “Suspirium” stand out, are its haunting chords and hypnotic rhythm. The haunting chord progression is created by mixing the Dorian mode with the Aeolian mode, and then using all major chords other than the root chord, which is obviously a minor (but even that minor root chord is eventually turned into a major). And all these major chords appearing from two minor modes create a suspiciously uplifting atmosphere, which you know cannot be trusted! Then, as if that wasn’t enough, the hypnotic repetition of the rhythm gently but persistently opens up your subconscious (like ghostly rhythmic water drops).
THE HACK
Step 1: Time Thom’s opening words in this song are “This is a waltz”, so it goes without saying that he’s using triple time here. So set your time signature to 3/4, and your tempo to 151 BPM.
Step 2: Mode As you now know, Thom is mainly using the Dorian mode in this song, and his root is C♯. So, your chord options are: C♯m, D♯m, Emaj, F♯maj, G♯m, A♯dim, Bmaj. And by the way, if you need help writing a chord progression in the Dorian mode, check out our Songwriting & Producing Course.
Step 3: Chords Start on the root chord, C♯m, which anchors you into that minor atmosphere, but then, chose only major chords for the rest of your chord progression. But, somewhere in the middle, return to the root chord, just so your listeners don’t get lost. Then lastly, change all your block chords into arpeggios, by simply playing them one note at a time.
Step 4: Haunt The most noticeable way Thom haunts his chord progression, is by changing the root chord, C♯m, to a C♯maj at the end (this hack is a Radiohead favourite). And then to make it even more haunty, he plays the C♯maj for twice as long as any other chord. And the repercussion of this is a very unusual 18-bar chord progression, instead of a predictable 16 bars. Right, next up, you wanna borrow the ♭VImaj from the C♯ Aeolian mode, which is an Amaj chord. Then lastly, be sure to use an add9 somewhere as well, to add that dreamlike quality. We did that in a few places, one of them being the root chord in the middle of our progression. And remember, you make an add9 chord by simply adding a 2 to your triad.
Step 5: Bass Finally, copy and paste your piano arpeggios into another track, which is gonna be your left-hand part. Then, move the low 3s in all the chords down to roots, which will create a beautiful harmony. And if you want, you can do the same for a few of the high notes, too. Then when you’re done with your left-hand part, just move it down an octave. And with that, you’re done!
NEXT So, now that you’ve got one section down, how do you write a new section for it, and then, how do you transition between those two sections? Great questions, and if this is something you need help with, then check out our cutting-edge online course Apprenticeship #1, where you’ll literally learn every step of the music making process, and most importantly, you’ll learn how to finish your songs! Also, please note that we intentionally wrote our example to be very similar to Thom Yorke, but we did that for the sake of this lesson. So, instead of copying Thom, please explore how you can use this hack creatively with your own musical personality, so it sounds like you! Alright, that’s it! We really hope this video has inspired and empowered you, and if it has, please drop us a comment on YouTube. We love hearing from you! Thanks for joining the Hack Music Theory revolution, and we’ll see you next week!
Kate & Ray Harmony (AKA Revolution Harmony) Music Teachers & Producers in Vancouver BC, Canada
LEARN 1: Read our free book (below) & watch our YouTube videos 2: Read our "Part 1" book & "Songwriting & Producing" PDF 3: Learn our Secret Art of Song-Whispering, and effortlessly finish your music!
ABOUT Hack Music Theory is the pioneering notation-free method for making great music. Taught by award-winning music lecturer Ray Harmony, and his protégé (and wife) Kate Harmony, from their studio in Vancouver BC, Canada. Ray is the author of critically-acclaimed book series "Hack Music Theory", and has made music with Serj Tankian (System of a Down), Tom Morello (Rage Against the Machine), Steven Wilson (Porcupine Tree), Ihsahn (Emperor), Kool Keith (Ultramagnetic MCs), and many more. Kate has the highest grade distinction in Popular Music Theory from the London College of Music, and is the only person on the planet who's been trained by Ray to teach his Hack Music Theory method! While these Hack Music Theory YouTube lessons teach music theory for producers and DAW users, they are designed to accommodate all music makers (songwriters, guitarists, etc.) and all genres, from Electronic Music to R&B, Pop to Hip-Hop, Reggae to Rock, EDM/Dance to Metal (and yes, we djefinitely Djent!).
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The 9-Note Minor Scale - Music Theory from Muse “The Dark Side”
Sep 01, 2018
Learn how Matt Bellamy (Muse) writes arpeggios by fusing the natural minor, harmonic minor and melodic minor scales (as heard in "The Dark Side" from upcoming album "Simulation Theory") to create a 9-note minor scale.
Hello revolutionaries, and welcome to the Hack Music Theory show's New Music Friday series, where we trawl through the new releases every week to find the hottest theory hacks for your weekend studio session! Alright, it’s time to open your DAW to hack music theory.
THE THEORY Matt Bellamy is famous for his classical-influenced riffs, and his arpeggios in “The Dark Side” verses are a perfect example. What makes these arpeggios sound classical instead of pop? Well, Matt doesn’t limit himself to only using the natural minor scale (like in most pop music). He opts for a combination of the natural minor, the harmonic minor, and the melodic minor. This fusion of scales gives him two extra notes to play with, essentially creating a nine-note scale: E → F♯ → G → A → B → C/C♯ → D/D♯
THE HACK The verses are in the key of E minor, and the E natural minor scale has the notes: E → F♯ → G → A → B → C → D, but the E harmonic minor scale has a D♯ instead of a D, and then the E melodic minor scale throws in a C♯ as well, so when you combine all three scales, you end up with nine notes. And why write music with seven notes when you can use nine, right? Now, are you ready to write some arpeggios using the “Muse minor”? Alright, we’ve got 4 simple steps for you!
Step 1: Start by writing a 1/16 note arpeggio on the root chord (Em), as this will establish the key. And then, just loop that arpeggio over two bars.
Step 2: Go to another chord that’s still in the natural minor scale (we chose Cmaj), and write another 1/16 note arpeggio, then loop that over two bars as well. This will really anchor your riff into the key of E minor, cos next up, we’re going off-road!
Step 3: Alright, now it’s time to switch into the harmonic minor, so choose a chord that contains the note D (we chose Bm), and then change that D to a D♯ (which turned our Bm into a Bmaj). And if you wanna sweeten the surprise of that D♯ even more, make your listeners wait a bar for it. Matt does this by using a Bsus4 chord for one bar, which then resolves in the next bar to a Bmaj, instead of the Bm that everyone’s expecting!
Step 4: Okay, so up to this point, you’ve used the natural minor and harmonic minor scales. And now that your listeners are adjusting to those, it’s time to surprise them yet again. Introducing... the melodic minor! Choose a chord that contains the note C (we chose F♯m7♭5), and then change that C to a C♯ (which turned our F♯m7♭5 into a F♯m7). And a quick bonus step. If you wanna properly blow your listeners’ minds, like Muse, then throw in a note here that’s not in any of the three minor scales. This means you’re now using an unbelievable 10 different notes in your riff! Okay, so Matt uses an A♯ here instead of an A, which turns the F♯m7 into a F♯7. Then lastly, feel free to sprinkle some other chords into your progression, like we did with the Em, Cmaj, and Am. And with that, you’re done!
NEXT So, now that you’ve got one section down, how do you write a new section for it, and then, how do you transition between those two sections? Great questions, and if this is something you need help with, then check out our cutting-edge online apprenticeship course, where you’ll literally learn every step of the music making process, and most importantly, you’ll learn how to finish your songs! Also, please note that we intentionally wrote our example to be very similar to Muse, but we did that for the sake of this lesson. So, instead of copying Muse, please explore how you can use this hack creatively with your own musical personality, so it sounds like you! Alright, that’s it! We really hope you found this video helpful, and if you did, subscribe on YouTube and hit the bell to get notifications. Also, we love hearing from you, so come say hello in the YouTube comments. Thanks for joining the Hack Music Theory revolution, and we’ll see you next week!
Kate & Ray Harmony (AKA Revolution Harmony) Music Teachers & Producers in Vancouver BC, Canada
LEARN 1: Read our free book (below) & watch our YouTube videos 2: Read our "Part 1" book & "Songwriting & Producing" PDF 3: Learn our Secret Art of Song-Whispering, and effortlessly finish your music!
ABOUT Hack Music Theory is the pioneering notation-free method for making great music. Taught by award-winning music lecturer Ray Harmony, and his protégé (and wife) Kate Harmony, from their studio in Vancouver BC, Canada. Ray is the author of critically-acclaimed book series "Hack Music Theory", and has made music with Serj Tankian (System of a Down), Tom Morello (Rage Against the Machine), Steven Wilson (Porcupine Tree), Ihsahn (Emperor), Kool Keith (Ultramagnetic MCs), and many more. Kate has the highest grade distinction in Popular Music Theory from the London College of Music, and is the only person on the planet who's been trained by Ray to teach his Hack Music Theory method! While these Hack Music Theory YouTube lessons teach music theory for producers and DAW users, they are designed to accommodate all music makers (songwriters, guitarists, etc.) and all genres, from Electronic Music to R&B, Pop to Hip-Hop, Reggae to Rock, EDM/Dance to Metal (and yes, we djefinitely Djent!).
Wooohooo!!! You’re a mere 30 minutes away from being even smarter than you already are. Just head on over to your inbox now for your free download.
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“The most brilliant, fast, easy & fun music theory book I’ve ever seen!” DEREK SIVERS, CD Baby founder
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How to Write a Guitar Riff & Vocal Melody like Alice in Chains “Rainier Fog”
Aug 24, 2018
Happy New Music Friday, and welcome to the Hack Music Theory show! So, Alice in Chains, new album out today, woohoo!!! I’ve been a fan since their debut album dropped way back in 1990, so I’m super stoked to reveal the secret formula behind this band’s unique fusion of dissonant riffs and catchy vocals. But first… Tea!
GUITAR Jerry Cantrell’s riffs are legendary! For three decades, he’s been walking the line between metal and rock. By taking the dissonance of metal and combining it with the accessibility of rock, Jerry created an instantly-recognizable style. And if you wanna dam the river of Cantrell and syphon off a little for yourself, you’ll need those two elements. So firstly, create that dissonance by using the Phrygian or Locrian mode. Then secondly, create that accessibility by using a slower tempo and fewer notes. Alright, so what you see on your screen is the riff that we wrote using the music theory from Jerry’s riffs. We’re in the Locrian mode here (our root is D♯), and we’re at 67.5 BPM, which is the tempo of their song “So Far Under”. Right, so we’ve got four loops of the riff here, and the first thing you’ll notice is that the riff consists of two sections: the first section is made up of 1/16 notes, and the second section is just one long note. And this is another clever hack of Jerry’s, where the guitar and vocals take turns for your attention, which prevents things from ever getting overwhelming (like they do in metal). So we kick things off with a few 1/16 notes that really emphasize the dissonant Locrian vibe (♭2 and ♭5), then we restrain ourselves by just hitting one long root note while the vocals have their turn in the spotlight. And lastly, depending on how full you want your riff to sound, you can play it as single notes, or “power chords”, or a combination of the two.
VOCALS Vocals are catchy when they’re easy to remember and sing. And while singing in the Phrygian or Locrian mode is easy for William DuVall, it sure ain’t easy for most people, and that is exactly why he often uses the pentatonic minor scale as the basis for his vocal melodies. And yes, when done right, pentatonic minor melodies work great over the top of Phrygian or Locrian riffs. However, limiting your vocal melodies to only five notes (pentatonic) will get boring quick, so that’s why every now and then William throws in a spicy non-diatonic note, which is a note that is not in the key. Alright, so what you see on your screen is the vocal melody that we wrote using the music theory from William’s melodies. And underneath that is the guitar riff, but that’s muted (it’s just there for reference). So you can see we’ve got this descending vocal line coming down through the pentatonic minor scale, starting up at the ♭3, then hitting the 1, ♭7, 5, 4, and landing on the ♭3 an octave lower. Then the second time through, for variation, we throw in a spicy William note, which is actually that happy major 3rd note. And that gives us a little glimmer of hope, but only a 1/16 of hope, cos this is Alice in Chains after all haha! Also, you’ll notice there’s a little controlled clashing where we have a ♭5 in the guitar at the same time as a 5 in the vocals, but the ♭5 in the guitar is just a quick 1/16 note, so it sounds super tasty and not too clashy!
MORE Okay, so now that you’ve got one section down, how do you write a new section for it, and then, how do you transition between those two sections? Great questions, and if this is something you need help with, then check out our cutting-edge online apprenticeship course, where you’ll literally learn every step of the music making process, and most importantly, you’ll learn how to finish your songs!
NEXT And just before the playthrough. Please note, we intentionally wrote the music and lyrics of our example to be very similar to Alice in Chains, but we did that for the sake of this lesson. So, instead of copying Jerry and the boys, please explore how you can use this hack creatively with your own musical personality, so it sounds like you! Also, if you truly wanna get that Alice in Chains sound, you’re gonna need an ultra mega powerful world-class male vocal, like Layne and William, so we called up the best singer we know: Meyrick de la Fuente. And big up respect to Meyrick for jumping in on such short notice. If you wanna hear more of this dude’s phenomenal singing, then check out his awesome band Exist Immortal, who, by the way, also happens to contain a couple of my former students - wassup Kurt and David (#ProudTeacher). Alright, that’s it! We really hope you found this video helpful, and if you did, subscribe and hit the bell to get notifications. Also, we believe in sharing our knowledge for free. So please pay it forwards by teaching this hack to a friend, so they can benefit from this lesson as well. Yeah I’ve been teaching music theory for 24 years, so I can safely say that the best way to learn something, is to teach it to someone else. So, go forth and teach! On that note, thanks for joining the Hack Music Theory revolution, and we’ll see you next New Music Friday.
Kate & Ray Harmony (AKA Revolution Harmony) Music Teachers & Producers in Vancouver BC, Canada
LEARN 1: Read our free book (below) & watch our YouTube videos 2: Read our "Part 1" book & "Songwriting & Producing" PDF 3: Learn our Secret Art of Song-Whispering, and effortlessly finish your music!
ABOUT Hack Music Theory is the pioneering notation-free method for making great music. Taught by award-winning music lecturer Ray Harmony, and his protégé (and wife) Kate Harmony, from their studio in Vancouver BC, Canada. Ray is the author of critically-acclaimed book series "Hack Music Theory", and has made music with Serj Tankian (System of a Down), Tom Morello (Rage Against the Machine), Steven Wilson (Porcupine Tree), Ihsahn (Emperor), Kool Keith (Ultramagnetic MCs), Madchild (Swollen Members), and many more. Kate has the highest grade distinction in Popular Music Theory from the London College of Music, and is the only person on the planet who's been trained by Ray to teach his Hack Music Theory method! While these Hack Music Theory YouTube lessons teach music theory for producers and DAW users, they are designed to accommodate all music makers (songwriters, guitarists, etc.) and all genres, from Electronic Music to R&B, Pop to Hip-Hop, Reggae to Rock, EDM/Dance to Metal (and yes, we djefinitely Djent!).
Wooohooo!!! You’re a mere 30 minutes away from being even smarter than you already are. Just head on over to your inbox now for your free download.
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“The most brilliant, fast, easy & fun music theory book I’ve ever seen!” DEREK SIVERS, CD Baby founder
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How to Write a Bass Line & Lead Melody like Marshmello “Happier” (ft. Bastille)
Aug 17, 2018
Happy New Music Friday, and welcome to the Hack Music Theory show! So, today Marshmello dropped his new single “Happier” (ft. Bastille), and there’s a theory hack in this song that pretty much guarantees it’s gonna appeal to a huge audience. What’s the hack? And how can you use it in your own music? The answers comin’ up. But first… Tea!
THE THEORY When isolated, the lead synth melody in the “Happier” chorus/drop definitely sounds like it’s in F major. However, when you add the bass line under the first bar of this melody, something strange happens: it now sounds like it’s in D minor. Why? And how? Well, F major and D minor have the exact same notes. They’re what we call: relative keys. So, what determines whether this melody is in F major or D minor? The bass. Yep, the bass line is the musical foundation upon which everything else is built. So if the bass emphasizes D (like Marshmello does in the first bar of his drop), then the lead melody sounds like it’s in D minor. But if the bass emphasizes F (like he does in his second bar), then the lead melody sounds like it’s in F major. Emphasizing both root chords in relative major and minor keys (like Dm and Fmaj in “Happier”), is super popular with EDM/Pop crossover producers, like The Chainsmokers and David Guetta. Using this relative major/minor crossover hack allows your song to appeal to people with a preference for music in major keys and people with a preference for music in minor keys, which covers pretty much everyone (other than the mavericks, of course!). And by the way, if you need help understanding scales and relatives keys and all that good stuff, no problem we got you covered, just read our free book “12 Music Theory Hacks to Learn Scales & Chords”, which you can download below.
THE HACK Okay, so you can write this kinda chorus/drop in two simple steps. Step 1: Write a lead melody, using a major scale. Step 2: Write a bass line that emphasizes the root note of that major scale, and the root note of its relative minor scale. And for this example, we’ll use D minor and F major, like Marshmello. Alright, now let’s work through these two steps in more detail. So, start by setting your grid to 1/16 notes, then to get that “Happier” rhythm, play every third 1/16 note in each bar. And by the way, if you need help writing melodies, just use the Melody Checklist in our Songwriting & Producing PDF. Alright, now it’s time to get stuck into the low end! So, for Step 2 (the bass line), start by playing the root note of the relative minor key, which in this example is D. And that’s gonna make your first bar sound like it’s in D minor. Then, work your way up to the root note of the relative major key for the second bar, which in this example is F. And that’s gonna make your second bar sound like it’s in F major. Also, remember to use plenty of rests in your bass line, if you want that EDM drop vibe. And lastly, we used counterpoint to write this lead melody and bass line, which creates an awesome musical depth from the two totally independent layers. And if you’re interested in learning how to use counterpoint, that’s also in our Songwriting & Producing PDF (click and scroll down).
THE END Remember, we intentionally wrote our example to be very similar to the original song, but we did that for the sake of this lesson. So, instead of copying Marshmello, please explore how you can use these hacks creatively with your own musical personality, so it sounds like you! Also, quick question. Do you struggle to finish your music? If you answered yes, then we can help you. Yes indeed we can, just check out our cutting-edge online apprenticeship course, where you’ll learn how to make new sections for existing sections, how to transition between sections (even when they’re in different keys), and most importantly, how to finish your songs. If that sounds useful to you, the head on over to: HackMusicTheory.com/Apprenticeship. Alright, that’s it! We really hope you found this video helpful, and if you did, subscribe and hit the bell to get notifications. Also, we believe in sharing our knowledge for free. Please pay it forwards by teaching these hacks to a friend, so they can benefit from this lesson as well. I’ve been teaching music theory for 24 years, so I can safely say that the best way to learn something, is to teach it to someone else. So, go forth and teach! And on that note, thanks for joining the Hack Music Theory revolution. We’ll see you next New Music Friday!
Kate & Ray Harmony (AKA Revolution Harmony) Music Teachers & Producers in Vancouver BC, Canada
LEARN 1: Read our free book (below) & watch our YouTube videos 2: Read our "Part 1" book & "Songwriting & Producing" PDF 3: Learn our Secret Art of Song-Whispering, and effortlessly finish your music!
ABOUT Hack Music Theory is the pioneering notation-free method for making great music. Taught by award-winning music lecturer Ray Harmony, and his protégé (and wife) Kate Harmony, from their studio in Vancouver BC, Canada. Ray is the author of critically-acclaimed book series "Hack Music Theory", and has made music with Serj Tankian (System of a Down), Tom Morello (Rage Against the Machine), Steven Wilson (Porcupine Tree), Ihsahn (Emperor), Kool Keith (Ultramagnetic MCs), Madchild (Swollen Members), and many more. Kate has the highest grade distinction in Popular Music Theory from the London College of Music, and is the only person on the planet who's been trained by Ray to teach his Hack Music Theory method! While these Hack Music Theory YouTube lessons teach music theory for producers and DAW users, they are designed to accommodate all music makers (songwriters, guitarists, etc.) and all genres, from Electronic Music to R&B, Pop to Hip-Hop, Reggae to Rock, EDM/Dance to Metal (and yes, we djefinitely Djent!).
Wooohooo!!! You’re a mere 30 minutes away from being even smarter than you already are. Just head on over to your inbox now for your free download.
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“The most brilliant, fast, easy & fun music theory book I’ve ever seen!” DEREK SIVERS, CD Baby founder
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How to Write Guitar like Tom Morello & Drums like Bassnectar in “Rabbit’s Revenge”
Aug 11, 2018
Happy New Music Friday, and welcome to the Hack Music Theory show! So, today Tom Morello dropped his new single “Rabbit’s Revenge” (from upcoming album "The Atlas Underground"), which I’m super stoked about, as I’ve been a massive Tom Morello fan ever since I first heard Rage Against the Machine back in 1992. And also, I’ve actually had the monumental honour of working with Tom Morello on a song of mine. Alright, back to Tom’s new single. It’s a really cool crossover of electronic, hip-hop and rock, as it’s a collaboration with producer Bassnectar, and rappers Big Boi and Killer Mike. Now, this song sounds both slow and fast at the same time, and Tom’s riff sounds super gangsta! So, how did they do that? The answers comin’ up. But first… Tea! Alright, now it's time to open your DAW to hack music theory!
1:17 - DRUMS - Bassnectar There are two main characteristics that give “Rabbit’s Revenge” its unique flavour. The first is that the song feels simultaneously slow and fast. How did they pull off this sorcery? Well, the song’s tempo is 88 BPM (which is relatively slow), and Bassnectar has a huge hip-hop beat going, with a backbeat snare. However, Tom is playing a 16th-note riff on his guitar over the top, which sounds relatively fast. And what connects these two elements, is the 16th-note pattern on the hi-hats. This hack results in the song feeling slow and fast at the same time, and it’s used to connect slow drums with fast melodies in many genres, from nu skool hip-hop to old school death metal. Right, so to make this kinda beat, start by setting your grid to 16th notes. Then, throw in closed hats on all the 16th notes. Then next, slap a snare on beat 2 and beat 4. And then finally, we’re gonna kick beat 1, beat 2+ and beat 3+. And it sounds like this!
2:26 - GUITAR - Tom Morello The second distinctive characteristic in “Rabbit’s Revenge”, is Tom’s guitar riff (man sound gangsta!). How does Tom create this super edgy sound? Well, he’s using two non-diatonic notes, which are notes that are not in the scale, and therefore sound rather dissonant. This song is in the key of D minor, which contains the notes: D E F G A B♭ C, but in the main riff, Tom also plays an E♭ (which is the ♭2) and a C♯ (which is the 7). These “anti-scale” notes give the song its anti-establishment feel. Alright, so the first thing you’ll notice about this riff, is the two layers. Tom’s in drop-D tuning, so this main riff is centred around a ping-ponging between that low D and the D an octave higher. So, start writing your riff by simply coming up with an interesting rhythm between the low D and the high D. Then, move some of your high Ds up to E♭ and E, and move some down to C♯ and C. Then lastly, we moved a few of our low Ds up a semitone to E♭, for extra gangsta dissonance. And we’re done!
THE END Remember, we intentionally wrote our example to be very similar to the original song, but we did that for the sake of this lesson. So, instead of copying Tom, please explore how you can use these hacks creatively with your own musical personality, so it sounds like you! Also, quick question. Do you struggle to finish your music? If you answered yes, then we can help you. Yes indeed we can, just check out our cutting-edge online apprenticeship course, where you’ll learn how to make new sections for existing sections, how to transition between sections (even when they’re in different keys), and most importantly, how to finish your songs. If that sounds useful to you, the head on over to: HackMusicTheory.com/Apprenticeship. Alright, that’s it! We really hope you found this video helpful, and if you did, subscribe and hit the bell to get notifications. Also, we believe in sharing our knowledge for free. Please pay it forwards by teaching these hacks to a friend, so they can benefit from this lesson as well. I’ve been teaching music theory for 24 years, so I can safely say that the best way to learn something, is to teach it to someone else. So, go forth and teach! And on that note, thanks for joining the Hack Music Theory revolution. We’ll see you next New Music Friday!
Kate & Ray Harmony (AKA Revolution Harmony) Music Teachers & Producers in Vancouver BC, Canada
LEARN 1: Read our free book (below) & watch our YouTube videos 2: Read our "Part 1" book & "Songwriting & Producing" PDF 3: Learn our Secret Art of Song-Whispering, and effortlessly finish your music!
ABOUT Hack Music Theory is the pioneering notation-free method for making great music. Taught by award-winning music lecturer Ray Harmony, and his protégé (and wife) Kate Harmony, from their studio in Vancouver BC, Canada. Ray is the author of critically-acclaimed book series "Hack Music Theory", and has made music with Serj Tankian (System of a Down), Tom Morello (Rage Against the Machine), Steven Wilson (Porcupine Tree), Ihsahn (Emperor), Kool Keith (Ultramagnetic MCs), Madchild (Swollen Members), and many more. Kate has the highest grade distinction in Popular Music Theory from the London College of Music, and is the only person on the planet who's been trained by Ray to teach his Hack Music Theory method! While these Hack Music Theory YouTube lessons teach music theory for producers and DAW users, they are designed to accommodate all music makers (songwriters, guitarists, etc.) and all genres, from Electronic Music to R&B, Pop to Hip-Hop, Reggae to Rock, EDM/Dance to Metal (and yes, we djefinitely Djent!).
Wooohooo!!! You’re a mere 30 minutes away from being even smarter than you already are. Just head on over to your inbox now for your free download.
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“The most brilliant, fast, easy & fun music theory book I’ve ever seen!” DEREK SIVERS, CD Baby founder
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How to Write a Guitar Riff like San Holo “worthy”
Aug 03, 2018
In this Hack Music Theory lesson, you’ll learn how to write a BIG guitar riff (even if you don’t play guitar) like San Holo in “worthy”. But first... Tea!
Hello! I’m Kate Harmony, this is Ray Harmony, and welcome to the new Hack Music Theory show, where every Friday we hack the theory of a big new release, and you learn how to use that theory creatively in your own music.
THE THEORY String instruments (like the guitar) have the amazing ability to play the same pitch on different strings, each of which has a slightly different sound. The most common use of this technique is to play a specific pitch as an open string first, and then as a fretted note afterwards (or vice versa). Using this technique in your riffs will give them sonic depth, as the same pitch will have two slightly different sounds. And by the way, if you’re not a guitarist, a fretted note is when you press down on a string somewhere on the fretboard to play a note, and an open string is when you play a string without pressing it down anywhere. In the “worthy” drop, San Holo uses a combination of fretted notes and the two highest-pitched open strings: E and B. By playing the notes E and B as both open strings and fretted notes, he gives his riff a big wide-open resonance that simply cannot be achieved by using only fretted notes.
THE HACK Writing a guitar riff like this is super easy, and you can literally do it in three simple steps. Step 1: Choose a scale. San Holo chose E major for his riff, so we used that for ours as well. Step 2: Create an interesting pattern between the open E string and the open B string. This is gonna form the backbone of your guitar riff. It doesn’t sound like much yet, but that’ll all change with Step 3: Connect your open string notes with fretted notes. And you’re done!
THE BONUS And just a few other things to consider when writing a guitar riff like this. Firstly, remember that open strings keep on ringing, so extend the MIDI of each open string note right until it reaches the next open string note on that same pitch. Secondly, throw in a few rhythmic variations to keep your listeners’ attention, like we did by sprinkling a 16th note motif throughout the riff. And lastly, remember that using open strings in your guitar riffs will almost certainly result in perfect 4th and perfect 5th intervals in your melody. These intervals are rather bland, so be sure to break ‘em up to keep your riff colourful. For example, from E down to B is the melodic movement of a perfect 4th, so we broke it up by sticking a D♯ in between. And now we’ve got two interesting intervals instead of one boring interval.
THE END Remember, we intentionally wrote our example to be very similar to the original song, but we did that for the sake of this lesson. So, instead of copying San Holo, please explore how you can use this hack creatively with your own musical personality, so it sounds like you! Also, if you wanna learn how to write great songs (and finish them!), then check out our cutting-edge online apprenticeship course, where you’ll join over 400 of our apprentices (from over 40 countries), who are all learning our secret art of song-whispering! Alright, that’s it! We really hope you found this video helpful, and if you did, subscribe and hit the bell to get notifications. Thanks for joining the Hack Music Theory revolution. We’ll see you next New Music Friday!
Kate & Ray Harmony (AKA Revolution Harmony) Music Teachers & Producers in Vancouver BC, Canada
LEARN 1: Read our free book (below) & watch our YouTube videos 2: Read our "Part 1" book & "Songwriting & Producing" PDF 3: Learn our Secret Art of Song-Whispering, and effortlessly finish your music!
ABOUT Hack Music Theory is the pioneering notation-free method for making great music. Taught by award-winning music lecturer Ray Harmony, and his protégé (and wife) Kate Harmony, from their studio in Vancouver BC, Canada. Ray is the author of critically-acclaimed book series "Hack Music Theory", and has made music with Serj Tankian (System of a Down), Tom Morello (Rage Against the Machine), Steven Wilson (Porcupine Tree), Ihsahn (Emperor), Kool Keith (Ultramagnetic MCs), Madchild (Swollen Members), and many more. Kate has the highest grade distinction in Popular Music Theory from the London College of Music, and is the only person on the planet who's been trained by Ray to teach his Hack Music Theory method! While these Hack Music Theory YouTube lessons teach music theory for producers and DAW users, they are designed to accommodate all music makers (songwriters, guitarists, etc.) and all genres, from Electronic Music to R&B, Pop to Hip-Hop, Reggae to Rock, EDM/Dance to Metal (and yes, we djefinitely Djent!).
Wooohooo!!! You’re a mere 30 minutes away from being even smarter than you already are. Just head on over to your inbox now for your free download.
There was an error submitting your subscription. Please try again.
“The most brilliant, fast, easy & fun music theory book I’ve ever seen!” DEREK SIVERS, CD Baby founder
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Down with the Drama
Jul 30, 2018
Over the last few months, you've been learning the music theory hacks we used to write our new single "Down with the Drama". Well, we're super stoked to finally reveal the finished song. Enjoy!
Hello, we are Kate Harmony & Ray Harmony (AKA Revolution Harmony), and welcome to the Hack Music Theory show, where you are empowered with notation-free theory for making great music in DAWs.
CREDITS Sarah Serene - vocals Grey - vocals Ray Harmony - guitar Music by Ray Harmony Lyrics by Ray Harmony, Kate Harmony, Sarah Serene & Grey Produced by Ray Harmony & Kate Harmony Mixed & mastered by Meyrick de la Fuente
LYRICS
Always hatin’ Always complainin’ Switch attitude Get down with the beat Not the drama
Always wanting more followers By showing more skin A slave to desire
Down with the Drama
Always giving respect Loops around We learn when we listen Spiral to the edge One groove
Finding peace within myself In the days of demise Stay far away from negative vibes Once I took my close circle down to a fraction And cut out all the distractions I really started to makin’ my strides
It was time to groove different To truly improve how I’m livin’ Had to really get in tune wit decisions Manifest my greatness, stars aligned with the moon and da ribbons Now it’s time for me to move in position
Life is way too short just guard dat energy baby Keep an open eye man the closest been the enemies lately They see your light and try to dim at it daily And when its out they bring the Sun and the praise, the world we live in is crazy
Just try to keep it leveled to the ground With your spirit clean, keep the devils out Focus on your wild dreams, let ‘em level out And if you got that peace, we can settle now
Kate & Ray Harmony (AKA Revolution Harmony) Music Teachers & Producers in Vancouver BC, Canada
LEARN 1: Read our free book (below) & watch our YouTube videos 2: Read our "Part 1" book & "Songwriting & Producing" PDF 3: Learn our Secret Art of Song-Whispering & effortlessly finish music!
ABOUT Hack Music Theory is the pioneering notation-free method for making great music. Taught by award-winning music lecturer Ray Harmony, and his protégé (and wife) Kate Harmony, from their studio in Vancouver BC, Canada. Ray is the author of critically-acclaimed book series "Hack Music Theory", and has made music with Serj Tankian (System of a Down), Tom Morello (Rage Against the Machine), Steven Wilson (Porcupine Tree), Ihsahn (Emperor), Kool Keith (Ultramagnetic MCs), Madchild (Swollen Members), and many more. Kate has the highest grade distinction in Popular Music Theory from the London College of Music, and is the only person on the planet who's been trained by Ray to teach his Hack Music Theory method! While these Hack Music Theory YouTube lessons teach music theory for producers and DAW users, they are designed to accommodate all music makers (songwriters, guitarists, etc.) and all genres, from Electronic Music to R&B, Pop to Hip-Hop, Reggae to Rock, EDM/Dance to Metal (and yes, we djefinitely Djent!).
Wooohooo!!! You’re a mere 30 minutes away from being even smarter than you already are. Just head on over to your inbox now for your free download.
There was an error submitting your subscription. Please try again.
“The most brilliant, fast, easy & fun music theory book I’ve ever seen!” DEREK SIVERS, CD Baby founder
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How to Write an Arpeggio Chord Progression like David Guetta "Don't Leave Me Alone"
Jul 27, 2018
Happy New Music Friday! David Guetta’s new single “Don’t Leave Me Alone” (feat. Anne-Marie) dropped today, so in this music theory lesson, you'll learn how to write arpeggios like David Guetta. But first… Tea!
Hello! I’m Kate Harmony, this is Ray Harmony, and welcome to the new Hack Music Theory show (yeah it’s like Hack Music Theory v2.0). Every Friday, we’ll hack the theory of a big new release, and you’ll learn how to use that theory creatively in your own music. You can think of it as hot-off-the-press” music theory news, you can actually use!
And if you’re new to our channel, just a heads up, we cover all genres here, from Hip-Hop to EDM to Metal, and everything in between. But please note, this is a strictly classical and jazz free zone! Also, the hack that you’re about to witness is at an intermediate level, so this video will make more sense if you’ve got a solid theory foundation, which you can get in a mere 30 minutes, if you read our free book “12 Music Theory Hacks to Learn Scales & Chords” (free download below). Alright, it’s time to open your DAW to hack music theory.
THE THEORY
An arpeggio is created by simply playing a chord, one note at a time. This technique contrasts the usual "block chords" we hear in most songs, where the notes of each chord are played simultaneously. While block chords work great in some sections, their thick texture can be too much for other sections. “Don’t Leave Me Alone” is the perfect example of this, as David Guetta uses arpeggios for the verses, but block chords for the rest of the song. This contrast makes the verses sound super chill, and the drop sound super massive!
THE HACK
Right, to make arpeggios, you need chords first, so start by choosing a key and writing a chord progression. David chose a minor key for his chord progression, but then he starts the progression on the relative major key’s root chord. This creates an uplifting beginning to the chord progression, as it sounds like it’s in a major key, but then things start getting sad when we reach the real key’s root chord, which is minor. Let me show you what I mean. So to keep things simple, we’re in the key of A minor here. And using our white-note hack, you get A minor by playing all the white notes from A to A. Then, to find the relative major key, you simply count up to the third note of your minor scale. So, the relative major key of A minor, is C major. What that means, is that A minor and C major have the exact same notes. If that seems like sorcery to you, then you definitely need to read our free book (download below)!
So, by starting our progression on the Cmaj chord, listeners will think we’re in the key of C major, but then when we hit the Am chord, they’re gonna start getting drawn into the key of A minor, and they’re not getting out! And if you’re interested in why this is in the key of A minor, and not C major, it’s because of all the time spent on the Am chord, which anchors this progression into the key of A minor. And by the way, if you need help writing chord progressions, check out the simple step-by-step guide in our Songwriting & Producing PDF (click & scroll down).
Finally, here’s a couple other things to consider when writing arpeggios. Be sure to use different note values for variation. David actually only uses 1/8 notes in his arpeggios, so we’ve thrown in a few 1/16 notes to spice things up. Also, change some chords in your progression on unexpected beats. Every time David changes chords, it’s on beat 1 or beat 3, so we’ve added some variation by changing chords on beat 2 (here) and beat 4+.
Just a couple quick things before the final playthrough. Firstly, we intentionally wrote these arpeggios to be very similar to David Guetta’s, but we did that for the sake of this lesson. So, now that you know the theory hack, we want you to explore how you can use it creatively with your own musical personality, so it sounds like you! Secondly, if you wanna learn how to write great songs (and finish them!), then check out our cutting-edge online apprenticeship course, where you’ll join over 400 apprentices from over 40 countries, who’re all learning our secret art of song-whispering!
Alright, that’s it. We really hope you found this video helpful, and if you did, subscribe and hit the bell to get notifications. Also, what do you think of this new David Guetta single? We’d love to know, so drop us a comment on YouTube. Thanks for joining the Hack Music Theory revolution, enjoy the video/podcast, and we’ll see you next week!
Kate & Ray Harmony (AKA Revolution Harmony) Music Teachers & Producers in Vancouver BC, Canada
LEARN 1: Read our free book (below) & watch our YouTube videos 2: Read our "Part 1" book & "Songwriting & Producing" PDF 3: Learn our Secret Art of Song-Whispering, and effortlessly finish your music!
ABOUT Hack Music Theory is the pioneering notation-free method for making great music. Taught by award-winning music lecturer Ray Harmony, and his protégé (and wife) Kate Harmony, from their studio in Vancouver BC, Canada. Ray is the author of critically-acclaimed book series "Hack Music Theory", and has made music with Serj Tankian (System of a Down), Tom Morello (Rage Against the Machine), Steven Wilson (Porcupine Tree), Ihsahn (Emperor), Kool Keith (Ultramagnetic MCs), Madchild (Swollen Members), and many more. Kate has the highest grade distinction in Popular Music Theory from the London College of Music, and is the only person on the planet who's been trained by Ray to teach his Hack Music Theory method! While these Hack Music Theory YouTube lessons teach music theory for producers and DAW users, they are designed to accommodate all music makers (songwriters, guitarists, etc.) and all genres, from Electronic Music to R&B, Pop to Hip-Hop, Reggae to Rock, EDM/Dance to Metal (and yes, we djefinitely Djent!).
Wooohooo!!! You’re a mere 30 minutes away from being even smarter than you already are. Just head on over to your inbox now for your free download.
There was an error submitting your subscription. Please try again.
“The most brilliant, fast, easy & fun music theory book I’ve ever seen!” DEREK SIVERS, CD Baby founder
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How to Write a Bass Line like DJ Khaled "No Brainer"
Jul 27, 2018
In this 60-second music theory lesson, you'll learn how to write a bass line like DJ Khaled.
Hello, we are Kate Harmony & Ray Harmony (AKA Revolution Harmony), and welcome to the Hack Music Theory show. This is a 60-second special on DJ Khaled's new single "No Brainer" (ft. Justin Bieber, Chance the Rapper, Quavo).
We really hope you find this music theory lesson helpful, and if you do, be sure to subscribe to our YouTube channel, and hit the bell to get notifications. Thanks for joining the Hack Music Theory revolution, and we'll see you next time!
Kate & Ray Harmony (AKA Revolution Harmony) Music Teachers & Producers in Vancouver BC, Canada
LEARN 1: Read our free book (below) & watch our YouTube videos 2: Read our "Part 1" book & "Songwriting & Producing" PDF 3: Learn our Secret Art of Song-Whispering, and effortlessly finish music!
ABOUT Hack Music Theory is the pioneering notation-free method for making great music. Taught by award-winning music lecturer Ray Harmony, and his protégé (and wife) Kate Harmony, from their studio in Vancouver BC, Canada. Ray is the author of critically-acclaimed book series "Hack Music Theory", and has made music with Serj Tankian (System of a Down), Tom Morello (Rage Against the Machine), Steven Wilson (Porcupine Tree), Ihsahn (Emperor), Kool Keith (Ultramagnetic MCs), Madchild (Swollen Members), and many more. Kate has the highest grade distinction in Popular Music Theory from the London College of Music, and is the only person on the planet who's been trained by Ray to teach his Hack Music Theory method! While these Hack Music Theory YouTube lessons teach music theory for producers and DAW users, they are designed to accommodate all music makers (songwriters, guitarists, etc.) and all genres, from Electronic Music to R&B, Pop to Hip-Hop, Reggae to Rock, EDM/Dance to Metal (and yes, we djefinitely Djent!).
Wooohooo!!! You’re a mere 30 minutes away from being even smarter than you already are. Just head on over to your inbox now for your free download.
There was an error submitting your subscription. Please try again.
“The most brilliant, fast, easy & fun music theory book I’ve ever seen!” DEREK SIVERS, CD Baby founder
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DOWNLOAD FREE BOOK
How to Write a Drum Beat - The 1 That Got Away (Music Theory Hack)
Jul 23, 2018
In this video, you’ll discover why your kick drum on beat 1 just isn’t kicking, and you’ll learn how you can overcome this obstacle. But first... Tea!
Hello, we are Kate Harmony & Ray Harmony (AKA Revolution Harmony), and welcome to the Hack Music Theory show, where you are empowered with notation-free theory for making great music in DAWs.
HACK 1 - The 1 That Got Away Playing a kick drum on beat 1 of your bar, gives your music, well... a kick. However, a kick drum on beat 1 of every bar will quickly result in your listeners acclimating to this. It’s like when your fridge turns on. You notice it at first, but then the hum blends into the background and you don’t hear it any more. So, in order to stop your beat 1 kicks from blending into the background, you need to prevent your listeners from getting used to them. And, as absence makes the heart grow fonder, the best way to keep your beat 1 kick kicking, is to leave it out of every other bar. This “missing” kick on beat 1, is what we call: The 1 That Got Away!
Yeah so these are our kicks down here on C2, and you can see we’re kicking beat 1 in bar one, but then in bar two, no kick on beat 1. And then same again for bars three and four: we’ve got a kick on beat 1 in bar three, but then in bar four, no kick on beat 1. This drum hack is so simple, but so powerful, and you can instantly apply it to any of your drum beats (by simply deleting the kick on beat 1 in every other bar), which will ensure that when you do play the kick on beat 1, it really kicks!
HACK 2 - Wear Different Hats While open hi-hats on all the offbeat 1/8 notes will get heads bobbing, it’s definitely not enough to keep those heads coming back for more. So, to make a more advanced drum beat (which doesn’t just groove, but also offers your listeners a creative pattern to explore), you need to wear different hats. In other words, after you’ve programmed your offbeat 1/8 notes, take off your “open hats” hat, and put on your “closed hats” hat. Closed hats are great for quick notes (as the sound is short and tight), so have fun experimenting with some 1/16 note patterns on your closed hats. Also, if your tempo is slow enough (like ours here, which is 95 bpm), throw in a few 1/32 notes as well, but be sparing with these, as they’re intense!
So, we started by anchoring our closed hats into the drum beat, by playing a closed hat on beats 1 and 3 of every bar (which is conventionally where the kick would be). This adds weight to those beats, and allows the closed hats to act as a counterbalance to the offbeat open hats. Next, wherever you have the most space between kicks (for us, that’s between beat 2+ and beat 4 in bars two and four), that’s where you can really do something creative with your closed hats, as they won’t interfere with your kicks. Then lastly, sprinkle in a few 1/32 notes for extra spice (like we did here), and you’re done!
EXAMPLE The example in this video is the bridge section from of our upcoming single “Down with the Drama”, which features the amazing Sarah Serene on vocals. If you missed any of our previous videos on this song, check out our YouTube playlist.
MORE If you want a more in-depth lesson on how to write a drum beat, we suggest our video: 3 Hacks for Better Drum Beats.
Lastly, do you struggle to finish your music? If you do, then check out our online apprenticeship course, where you’ll learn how to effortlessly write new sections for existing sections, how to transition between them, and most importantly, how to finish your songs! For more info, just head on over to our Apprenticeship Course. Alright, enjoy the video/podcast.
Kate & Ray Harmony (AKA Revolution Harmony) Music Teachers & Producers in Vancouver BC, Canada
LEARN 1: Read our free book (below) & watch our YouTube videos 2: Read our "Part 1" book & "Songwriting & Producing" PDF 3: Learn how to become a song-whisperer, and effortlessly finish music!
ABOUT Hack Music Theory is the pioneering notation-free method for making great music. Taught by award-winning music lecturer Ray Harmony, and his protégé (and wife) Kate Harmony, from their studio in Vancouver BC, Canada. Ray is the author of critically-acclaimed book series "Hack Music Theory", and has made music with Serj Tankian (System of a Down), Tom Morello (Rage Against the Machine), Steven Wilson (Porcupine Tree), Ihsahn (Emperor), Kool Keith (Ultramagnetic MCs), Madchild (Swollen Members), and many more. Kate has the highest grade distinction in Popular Music Theory from the London College of Music, and is the only person on the planet who's been trained by Ray to teach his Hack Music Theory method! While these Hack Music Theory YouTube lessons teach music theory for producers and DAW users, they are designed to accommodate all music makers (songwriters, guitarists, etc.) and all genres, from Electronic Music to R&B, Pop to Hip-Hop, Reggae to Rock, EDM/Dance to Metal (and yes, we djefinitely Djent!).
Wooohooo!!! You’re a mere 30 minutes away from being even smarter than you already are. Just head on over to your inbox now for your free download.
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“The most brilliant, fast, easy & fun music theory book I’ve ever seen!” DEREK SIVERS, CD Baby founder
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How to Write a Synth Bass Line like The Prodigy "Need Some1"
Jul 20, 2018
In this video, you'll learn how The Prodigy use (and abuse!) the Phrygian mode to write a killer bass synth melody in their new single "Need Some1". But first... Tea!
Hello, we are Kate Harmony & Ray Harmony (AKA Revolution Harmony), and welcome to the Hack Music Theory show, where you are empowered with notation-free theory for making great music in DAWs.
So… today The Prodigy just dropped the lead single “Need Some1” from their upcoming album “No Tourists”. And, considering I’ve been a Prodigy fan since 1994, and considering they’re using a really interesting scale in the main synth line of this new single, I’ve hacked the music theory behind it and I’m gonna show you how you can use this theory in your own music.
One of the main reasons why The Prodigy stands out from most other electronic music, is their super edgy sound! This allows them to crossover and reach fans in other genres, which not many other artists can pull off. For example, they could be headlining an electronic festival one weekend, and a rock festival the next weekend. The Prodigy’s edgy sound is actually not due to the synths they’re using (yeah of course that helps), but the main thing behind their sound, is musical dissonance. And this new single “Need Some1” is the perfect example!
They’re using the Phrygian mode, which is the dark mode, and that is what’s causing the awesome dissonance (i.e. that edgy sound!). Using our white-note hack, you can get Phrygian mode when you play all the white notes from E to E. Remember, once you’ve finished writing your synth line, you can simply select all the MIDI and move it up or down to start wherever you want (The Prodigy song starts on F♯). But, The Prodigy have given Phrygian a little twist. They’re playing the major 6 instead of the minor 6. So if you’re starting from E, like we are here, then this means your notes are: E F G A B C♯ D. Click play above to get stuck into the rest of this lesson!
Lastly, do you struggle to finish your music? If you do, then check out our online apprenticeship course, where you’ll learn how to effortlessly write new sections for existing sections, how to transition between them, and most importantly, how to finish your songs! For more info, just head on over to our Apprenticeship Course. Alright, enjoy the video/podcast.
Kate & Ray Harmony (AKA Revolution Harmony) Music Teachers & Producers in Vancouver BC, Canada
LEARN 1: Read our free book (below) & watch our YouTube videos 2: Read our "Part 1" book & "Songwriting & Producing" PDF 3: Learn how to become a song-whisperer, and effortlessly finish music!
ABOUT Hack Music Theory is the pioneering notation-free method for making great music. Taught by award-winning music lecturer Ray Harmony, and his protégé (and wife) Kate Harmony, from their studio in Vancouver BC, Canada. Ray is the author of critically-acclaimed book series "Hack Music Theory", and has made music with Serj Tankian (System of a Down), Tom Morello (Rage Against the Machine), Steven Wilson (Porcupine Tree), Ihsahn (Emperor), Kool Keith (Ultramagnetic MCs), Madchild (Swollen Members), and many more. Kate has the highest grade distinction in Popular Music Theory from the London College of Music, and is the only person on the planet who's been trained by Ray to teach his Hack Music Theory method! While these Hack Music Theory YouTube lessons teach music theory for producers and DAW users, they are designed to accommodate all music makers (songwriters, guitarists, etc.) and all genres, from Electronic Music to R&B, Pop to Hip-Hop, Reggae to Rock, EDM/Dance to Metal (and yes, we djefinitely Djent!).
Wooohooo!!! You’re a mere 30 minutes away from being even smarter than you already are. Just head on over to your inbox now for your free download.
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“The most brilliant, fast, easy & fun music theory book I’ve ever seen!” DEREK SIVERS, CD Baby founder
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Resting for Energy - Music Theory Hack for Better Bass Lines
Jul 16, 2018
In this Hack Music Theory lesson, you'll discover why your bass lines lack energy, and we'll give you two hacks to fix it. But first... Tea!
Hello, we are Kate Harmony & Ray Harmony (AKA Revolution Harmony), and welcome to the Hack Music Theory show, where you are empowered with notation-free theory for making great music in DAWs.
HACK 1 - Resting for Energy Counterintuitively, adding lots of well-placed rests to your bass line, actually adds energy to it. And there’s two ways you can do this to pump up your low-end. Firstly, adding a rest before a note that’s on the beat, gives that note extra punch. And secondly, adding a rest before a note that’s off the beat, gives that note extra groove. And yes, this bass hack works in all situations, but it’s even more effective when the chords above are smoothly connected (which is known as “legato”), as that contrast provides space for your pumping bass line to do its thang!
Alright so let’s have a look at some examples of those two types of rests. You can see that the first note of our bass line has been shortened, to create a rest on beat 2, which adds extra groove to the note coming in on beat 2+. We then use this same type of rest again on beat 4, to also add extra groove to the note coming in on beat 4+. But then in our second bar, we totally change things up, by using the other type of rest on beat 3, which gives the note on beat 4 an extra punch. Then that’s immediately followed by the other type of rest again at the beginning of our third bar, which brings back that extra groove on beat 1+.
HACK 2 - Phat ♭5 If you’re already using the “funky trio of notes” in your bass line, as we are in the first three beats, then you can kick things up to a whole new level, by borrowing the ♭5 from the Blues scale. And by the way, if you don’t know about the “funky trio of notes”, or the Blues scale, you can learn about all that (and a bunch more) in our Songwriting & Producing PDF. So, using the ♭5 creates a delightfully dirty dissonance, which ramps up the phatness of your bass line big time. You can find the ♭5 by moving one semitone down from the 5 in your key. For example, in our key of F♯ minor, the 5 is C♯, so the ♭5 is C♮. Beware though, this note is non-diatonic (AKA not in the key), so it’s gonna clash with your chords above, and that’s why the ♭5 usually works best as a quick note.
Yeah exactly, and you can see we have two ♭5s in our bass line, one high C and one low C, and both of them are 16th notes. What’s even more interesting though, is that while our first C is over the F♯m chord, our second C is over the E chord, so that second C is actually perceived as a ♭6, not a ♭5. And the context of this E chord makes the C a little less dissonant than it was over the F♯m chord, and that’s a powerful hack in itself. So, use the phat ♭5 over your key’s root chord for maximum dirty dissonance, and try it over another chord in your key for a slightly diluted dissonance, like we did here over the E, which is our ♭VII chord.
EXAMPLE The example in this video is the bridge section from of our upcoming single “Down with the Drama”, which features the amazing Sarah Serene on vocals. If you missed any of our previous videos on this song, check out our YouTube playlist.
Lastly, do you struggle to finish your music? If you do, then check out our online apprenticeship course, where you’ll learn how to effortlessly write new sections for existing sections, how to transition between them, and most importantly, how to finish your songs! For more info, just head on over to our Apprenticeship Course. Alright, enjoy the video/podcast.
Kate & Ray Harmony (AKA Revolution Harmony) Music Teachers & Producers in Vancouver BC, Canada
LEARN 1: Read our free book (below) & watch our YouTube videos 2: Read our "Part 1" book & "Songwriting & Producing" PDF 3: Learn how to become a song-whisperer, and effortlessly finish music!
ABOUT Hack Music Theory is the pioneering notation-free method for making great music. Taught by award-winning music lecturer Ray Harmony, and his protégé (and wife) Kate Harmony, from their studio in Vancouver BC, Canada. Ray is the author of critically-acclaimed book series "Hack Music Theory", and has made music with Serj Tankian (System of a Down), Tom Morello (Rage Against the Machine), Steven Wilson (Porcupine Tree), Ihsahn (Emperor), Kool Keith (Ultramagnetic MCs), Madchild (Swollen Members), and many more. Kate has the highest grade distinction in Popular Music Theory from the London College of Music, and is the only person on the planet who's been trained by Ray to teach his Hack Music Theory method! While these Hack Music Theory YouTube lessons teach music theory for producers and DAW users, they are designed to accommodate all music makers (songwriters, guitarists, etc.) and all genres, from Electronic Music to R&B, Pop to Hip-Hop, Reggae to Rock, EDM/Dance to Metal (and yes, we djefinitely Djent!).
Wooohooo!!! You’re a mere 30 minutes away from being even smarter than you already are. Just head on over to your inbox now for your free download.
There was an error submitting your subscription. Please try again.
“The most brilliant, fast, easy & fun music theory book I’ve ever seen!” DEREK SIVERS, CD Baby founder
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Why People Don't Sing Your Chord Progressions
Jul 09, 2018
In this Hack Music Theory video, you’ll learn why people aren't singing along to your chord progressions, and we’ll give you two hacks to solve this problem once and for all. But first... Tea!
Hello, we are Kate Harmony & Ray Harmony (AKA Revolution Harmony), and welcome to the Hack Music Theory show, where you are empowered with notation-free theory for making great music in DAWs.
HACK 1 - Chords Can Sing Have you ever noticed how people don’t really sing along to chord progressions? Instead, they’ll wait for the vocals to come in, then sing along to the vocal melody. The reason behind this phenomenon, is that even the simplest type of chord (known as a triad), offers the listener a choice of three different notes to sing. And this choice happens with every chord in a progression. So for example, if someone is listening to a chord progression containing four triads, the amount of note choices is 3x3x3x3, resulting in a whopping 81 potential melodies to sing.
But wait, doesn’t that give them 81 reasons to sing? Nope, because this is the paradox of choice. It’s like when you’re in the grocery store trying to buy a box of organic green tea, but there’s shelves and shelves of different types of organic green tea (welcome to our world haha!), and as a result of the vast amount of choices, you’re totally overwhelmed and can’t decide, so you just walk away. And that is exactly what happens to listeners when they hear chord progressions; the vast amount of note choices totally overwhelms them, so they don’t sing any. Don’t worry though, our Chords Can Sing hack solves this issue once and for all, and will definitely get your listeners singing along to your chord progressions!
Right, so if you’ve used the chord hacks in our Songwriting & Producing PDF, you’ll be starting this hack with a well-written chord progression, which includes inversions and sus chords. Now, you need to pull out a melody from your chord progression (by choosing one note from each chord), for your listeners to sing along to. And once you’ve decided on your melody, copy and paste it an octave higher, so it’s now above your chords. This hack makes it sound like your chords are singing, which will in turn make your listeners sing. It works for two reasons: Firstly, it gives your listeners a defined melody to sing along to, and secondly, our ears are drawn to melodies in higher octaves, cos they’re in the vocal range, so doubling this melody above the chords (instead of below), pushes it to the front of the stage and into the spotlight!
HACK 2 - Motifation Now that you’ve given your listeners something to sing, you need to give them the motifation to sing it! Listeners will only feel motivated to sing a catchy melody. And what makes a melody catchy? Yep. Motifs! A motif is a short musical idea, and by repeating it, you make your melody memorable. So now it’s time for what we call “motif hunting”. Motif hunting is when you search through your musical content, hunting for an idea that stands out. When you find that idea, you can then creatively repeat it, thereby turning it into a motif. Using our Chords Can Sing hack together with our Motifation hack, will ensure your chords not only sing, but their melody gets stuck in your listeners’ heads!
When we were motif hunting, we found something in our second bar: a beautiful descending melody, which really stands out due to its contour and rhythm. And by repeating that idea in our last bar, we’ll make our melody super catchy. So, let’s move down to the E on beat two, and add in a C♯ on beat 4, so the contour and rhythm match our second bar. And with that, we’re done!
EXAMPLE The example in this video is the bridge section from of our upcoming single “Down with the Drama”, which features the amazing Sarah Serene on vocals. If you missed any of our previous videos on this song, check out our YouTube playlist.
Lastly, do you struggle to finish your music? If you do, then check out our online apprenticeship course, where you’ll learn how to effortlessly write new sections for existing sections, how to transition between them, and most importantly, how to finish your songs! For more info, just head on over to our Apprenticeship Course. Alright, enjoy the video/podcast.
Kate & Ray Harmony (AKA Revolution Harmony) Music Teachers & Producers in Vancouver BC, Canada
LEARN 1: Read our free book (below) & watch our YouTube videos 2: Read our "Part 1" book & "Songwriting & Producing" PDF 3: Learn how to become a song-whisperer, and effortlessly finish music!
ABOUT Hack Music Theory is the pioneering notation-free method for making great music. Taught by award-winning music lecturer Ray Harmony, and his protégé (and wife) Kate Harmony, from their studio in Vancouver BC, Canada. Ray is the author of critically-acclaimed book series "Hack Music Theory", and has made music with Serj Tankian (System of a Down), Tom Morello (Rage Against the Machine), Steven Wilson (Porcupine Tree), Ihsahn (Emperor), Kool Keith (Ultramagnetic MCs), Madchild (Swollen Members), and many more. Kate has the highest grade distinction in Popular Music Theory from the London College of Music, and is the only person on the planet who's been trained by Ray to teach his Hack Music Theory method! While these Hack Music Theory YouTube lessons teach music theory for producers and DAW users, they are designed to accommodate all music makers (songwriters, guitarists, etc.) and all genres, from Electronic Music to R&B, Pop to Hip-Hop, Reggae to Rock, EDM/Dance to Metal (and yes, we djefinitely Djent!).
Wooohooo!!! You’re a mere 30 minutes away from being even smarter than you already are. Just head on over to your inbox now for your free download.
There was an error submitting your subscription. Please try again.
“The most brilliant, fast, easy & fun music theory book I’ve ever seen!” DEREK SIVERS, CD Baby founder
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The #1 Way to Hook People
Jul 02, 2018
Learn the No.1 way to hook people with your intros, so your songs don’t end up in the one-quarter of all songs played on Spotify that are skipped within their first five seconds. But first... Tea!
Hello, we are Kate Harmony & Ray Harmony (AKA Revolution Harmony), and welcome to the Hack Music Theory show, where you are empowered with notation-free theory for making great music in DAWs.
HACK 1 - Save The Chorus As we spoke about in our last video, a great intro gives away just enough hooky musical content (to pull your listeners in), but no more than that. This allows you to hold back the vast majority of content, which you can then drip out through the rest of your song, to ensure your listeners are hooked till the very last note. It’s worth noting here, that this approach is actually relatively new. In the old music industry (where people bought music), there was no need to make a hooky intro, as listeners would usually wait until the chorus before deciding whether to buy the song. This allowed us to be way more creative with our intros. However, in the new music industry (where people stream music, and literally have tens of millions of songs in the palm of their hand), listeners are arriving at their verdict within seconds, instead of waiting to hear the chorus. This puts us under enormous pressure to make our intros ultra mega hooky, in order to avoid that dreaded skip button (or the swipe). Sadly though, this leads far too many songwriters and producers to give away their choruses in their intros. But as a result of this colossal compromise, listeners get bored halfway through these songs, as not enough content was held back to maintain their attention till the end. It’s important to remember here, that every song is different, and therefore requires a different structure. So, while using a stripped-down version of your chorus for an intro may work for some of your songs, it will definitely not be the right structure for most of your songs. And yes, there is a way to have your chorus and eat it! All you need to do is write a new section (specifically for your intro), which is super hooky, too. This gives your streaming listeners what they demand, while also allowing you to save the chorus for later in your song.
HACK 2 - Harmonize the Shadow Millions of years of evolution has hardwired us to instantly connect with the human voice, so the No.1 way to hook your listeners with your intro, is vocals! So, start by writing a short melodic phrase, using just a few notes (we’re using the 2, the 1, and the ♭3). Also, be sure to use syncopation, which is the accenting of an off-beat (we start our melodic phrase on a 1/16 note syncopation, then we follow that with an 1/8 note syncopation - super groovy!). Now, copy and paste your phrase into bar two, and for variation, move it left or right to start on a different beat. Then, copy and paste those two phrases into bars three and four, and mute them. The first two phrases are your lead melody, and the second two phrases are its shadow. This “shadow melody” is gonna be sung in your backing vocals, and your lead melody is gonna harmonize it. But remember, shadows are slightly distorted, so be sure to make a little change to your shadow, for variation. Our little change was adding more syncopation to our shadow, by singing the last note (in both phrases) a 1/16 early. Far too many intros use far too much repetition (in a desperate attempt to hook people), so this hack allows you to use the repetition needed to hook people, but, by passing that repetition over to your backing vocals, it also allows your lead vocals to sing something new, so your listeners don’t get bored. Finally, connect the two halves of your lead melody, by adding a few notes in between, and you’re done!
EXAMPLE The example in this video is the intro section from of our upcoming single “Down with the Drama”, which features the amazing Sarah Serene on vocals. If you missed any of our previous videos on this song, check out our YouTube playlist.
Lastly, do you struggle to finish your music? If you do, then check out our online apprenticeship course, where you’ll learn how to effortlessly write new sections for existing sections, how to transition between them, and most importantly, how to finish your songs! For more info, just head on over to our Apprenticeship Course. Alright, enjoy the video/podcast.
Kate & Ray Harmony (AKA Revolution Harmony) Music Teachers & Producers in Vancouver BC, Canada
LEARN 1: Read our free book (below) & watch our YouTube videos 2: Read our "Part 1" book & "Songwriting & Producing" PDF 3: Learn how to become a song-whisperer, and effortlessly finish music!
ABOUT Hack Music Theory is the pioneering notation-free method for making great music. Taught by award-winning music lecturer Ray Harmony, and his protégé (and wife) Kate Harmony, from their studio in Vancouver BC, Canada. Ray is the author of critically-acclaimed book series "Hack Music Theory", and has made music with Serj Tankian (System of a Down), Tom Morello (Rage Against the Machine), Steven Wilson (Porcupine Tree), Ihsahn (Emperor), Kool Keith (Ultramagnetic MCs), Madchild (Swollen Members), and many more. Kate has the highest grade distinction in Popular Music Theory from the London College of Music, and is the only person on the planet who's been trained by Ray to teach his Hack Music Theory method! While these Hack Music Theory YouTube lessons teach music theory for producers and DAW users, they are designed to accommodate all music makers (songwriters, guitarists, etc.) and all genres, from Electronic Music to R&B, Pop to Hip-Hop, Reggae to Rock, EDM/Dance to Metal (and yes, we djefinitely Djent!).
Wooohooo!!! You’re a mere 30 minutes away from being even smarter than you already are. Just head on over to your inbox now for your free download.
There was an error submitting your subscription. Please try again.
“The most brilliant, fast, easy & fun music theory book I’ve ever seen!” DEREK SIVERS, CD Baby founder
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How to Write a Song Intro - Music Theory Hacks for Catchy Bass Lines
Jun 25, 2018
In this Hack Music Theory lesson, you’ll learn how to write a bass line that hooks your listeners into your song within seconds. But first... Tea!
Hello, we are Kate Harmony & Ray Harmony (AKA Revolution Harmony), and welcome to the Hack Music Theory show, where you are empowered with notation-free theory for making great music in DAWs.
A great intro is a musical tease! It reveals very little of the song, while totally hooking us in to ensure we keep listening. Think of an intro like a trailer for a song, and just like movie trailers, there’s three types: 1) the trailer that’s so desperate for you to watch the movie, it gives everything away, but now you don’t need to watch the movie. 2) the trailer that’s attempting to lure you in with a mysteriously abstract taste, but you have absolutely no idea what the movie is actually about, so you don’t watch it. And finally, 3) the “goldilocks” trailer that acts as a window through which you glimpse the movie, but now you have questions, and if you wanna know the full story, you’ll need to watch the full movie!
HACK 1 - One. Two. Boo! The ultimate goal for every intro is to give away enough to keep people listening, while also holding back enough to maintain their interest till the end of your song. And the way to achieve this is through our easy psychological hack: One. Two. Boo! Here’s how it works. Create a simple pattern that your listeners can instantly follow, and then repeat it once - this will trigger their brains’ reward system, as they’ll correctly predict the recurrence of your pattern. But then, at the end of your second loop, vary the pattern unexpectedly. And boo! Thanks to a good dose of dopamine, your listeners are now mentally and physiologically hooked into your song! And as you can see, our simple pattern consists of a couple long F♯s (our root note), played on beat 1 and beat 2+, which is a classic hip-hop rhythm. And then on beat 4 we’ve got a 1/4 note rest, which sets up the expectation of that rest recurring at the end of our second loop, but that’s exactly where the unexpected variation hits! Instead of a 1/4 note rest, we give ‘em a couple quick 1/16 notes and a couple 1/16 note syncopations, which is an accenting of the off-beat that pumps up the energy of your rhythm.
HACK 2 - Vary the Variation The great irony of variation, is that if you repeat it, it’s no longer variation. This is how an unexpected and thrilling variation can quickly turn into a predictable disappointment the second time round. So, in order to deliver another dopamine hit to your listeners, which will keep them listening beyond your intro, you need to vary the variation! Start by looping your “One. Two. Boo!” pattern, and then, on the second “Boo!”, change it up to totally surprise your listeners yet again. And with that, they settle in and take their fingers off that dreaded Skip button! Yeah so you can see our second “Boo!” is completely different to our first “Boo!”. Instead of starting on beat 4, it starts on beat 3e, and instead of going down, it goes up, and instead of going to a diatonic note (a note that’s in the scale), it goes to a very unexpected ♭2, which is a non-diatonic note (a note that’s not in the scale). And finally, for one last massive dopamine hit, we’re gonna bring back this intro after our second chorus (just before the bridge), which will beautifully tie the song together, while also creating a comforting familiarity right before we change things up in the bridge!
EXAMPLE The example in this video is the intro section from of our upcoming single “Down with the Drama”, which features the amazing Sarah Serene on vocals. If you missed any of our previous videos on this song, check out our YouTube playlist.
MORE If you want a more in-depth lesson, we suggest our 15-minute video: How to Write a Bass Line
Lastly, do you struggle to finish your music? If you do, then check out our online apprenticeship course, where you’ll learn how to effortlessly write new sections for existing sections, how to transition between them, and most importantly, how to finish your songs! For more info, just head on over to our Apprenticeship Course. Alright, enjoy the video/podcast.
Kate & Ray Harmony (AKA Revolution Harmony) Music Teachers & Producers in Vancouver BC, Canada
LEARN 1: Read our free book (below) & watch our YouTube videos 2: Read our "Part 1" book & "Songwriting & Producing" PDF 3: Learn how to become a song-whisperer, and effortlessly finish music!
ABOUT Hack Music Theory is the pioneering notation-free method for making great music. Taught by award-winning music lecturer Ray Harmony, and his protégé (and wife) Kate Harmony, from their studio in Vancouver BC, Canada. Ray is the author of critically-acclaimed book series "Hack Music Theory", and has made music with Serj Tankian (System of a Down), Tom Morello (Rage Against the Machine), Steven Wilson (Porcupine Tree), Ihsahn (Emperor), Kool Keith (Ultramagnetic MCs), Madchild (Swollen Members), and many more. Kate has the highest grade distinction in Popular Music Theory from the London College of Music, and is the only person on the planet who's been trained by Ray to teach his Hack Music Theory method! While these Hack Music Theory YouTube lessons teach music theory for producers and DAW users, they are designed to accommodate all music makers (songwriters, guitarists, etc.) and all genres, from Electronic Music to R&B, Pop to Hip-Hop, Reggae to Rock, EDM/Dance to Metal (and yes, we djefinitely Djent!).
Wooohooo!!! You’re a mere 30 minutes away from being even smarter than you already are. Just head on over to your inbox now for your free download.
There was an error submitting your subscription. Please try again.
“The most brilliant, fast, easy & fun music theory book I’ve ever seen!” DEREK SIVERS, CD Baby founder
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How to Write a Lead Melody - 2 Music Theory Hacks for Better Melodies
Jun 18, 2018
In this Hack Music Theory lesson, you’ll learn two hacks that will make your lead melodies grab the attention of your listeners. But first... Tea!
Hello, we are Kate Harmony & Ray Harmony (AKA Revolution Harmony), and welcome to the Hack Music Theory show, where you are empowered with notation-free theory for making great music in DAWs.
HACK 1 - 7 Up Lead melodies need to grab your listeners’ ears and demand their minds’ attention, otherwise your song will just blur into background music. So, in this world of ever-increasing distraction, how can your lead melody get someone’s attention? Easy, you just use our 7 Up hack! Evolution has programmed our minds to ignore everyday things (like the trees on a road you walk down every day), and instead pay attention to extraordinary things (like the first tree on that road to eventually blossom). So if you want your song to be the first to blossom, then write your lead melody with a huge interval in it, like a 7th. This hack works because small intervals are considered everyday things (they’re even heard in speech all the time), but large intervals are super rare and therefore super exciting! And lastly, for extra attention, go a 7th up (instead of down). You can see we actually start our lead melody with a 7 Up, so we’re wasting no time at all in grabbing our listeners attention! No time like the present, right? And just in case you’re not sure how to get the interval of a 7th, it’s super easy, you just start by going an octave up from whatever note you’re on, and then you just move one note down in your scale, and that’s your 7 Up. And depending on your scale or mode, you’ll either get a major 7th (which is 11 semitones), or a minor 7th (which is 10 semitones). We’ve got a minor 7th here, cos if you count all the semitones from C♯ up to B, you’ll see there’s 10. And remember, counting semitones is like counting stairs in a staircase, you don’t count the ground. So in other words, the note you start on is not counted (the first step up is one semitone).
HACK 2 - Endings Are for Quitters! The end of a bar, is just that, the end of a bar. It does not need to be the end of your melody. Most songwriters and producers don’t consider this, and automatically finish their melodies on (or before) the end of a bar. But endings are for quitters! One of the best hacks for writing a flowing yet unpredictable lead melody, is to hold your last note in the bar over the bar line, and into the next bar! This hack loosens up that rigid structure so many melodies adhere to, and it even creates the illusion that your lead melody is floating above the music, making it even more attention-grabbing! You can see we’re holding this E over the bar line and into the next bar. And that brings us onto an awesome side effect of this hack. Because you’re holding one note over two chords, that note’s feeling changes. Check this out: the E is a 5 over the Amaj, which sounds totally resolved, but then when the chord changes to F♯m, the E becomes a very tense ♭7, which injects a sudden momentum into the melody, cos it now desperately wants to move on and resolve. And finally, for even more melodic fluidity, end your held note on a 1/4 note beat, then give your melody an 1/8 note rest, and then start your melody again on the off-beat 1/8 note. So tasty! Think of it like this: if that unexpected held note over the bar line is your rainbow, then this surprising syncopation is your pot of gold. And with that, your listeners are now your fans!
EXAMPLE The example in this video is the verse section from of our upcoming single “Down with the Drama”, which features the amazing Sarah Serene on vocals. If you missed any of our previous videos on this song, check out our YouTube playlist.
Lastly, do you struggle to finish your music? If you do, then check out our online apprenticeship course, where you’ll learn how to effortlessly write new sections for existing sections, how to transition between them, and most importantly, how to finish your songs! For more info, just head on over to our Apprenticeship Course. Alright, enjoy the video/podcast.
Kate & Ray Harmony (AKA Revolution Harmony) Music Teachers & Producers in Vancouver BC, Canada
LEARN 1: Read our free book (below) & watch our YouTube videos 2: Read our "Part 1" book & "Songwriting & Producing" PDF 3: Learn how to become a song-whisperer, and effortlessly finish music!
ABOUT Hack Music Theory is the pioneering notation-free method for making great music. Taught by award-winning music lecturer Ray Harmony, and his protégé (and wife) Kate Harmony, from their studio in Vancouver BC, Canada. Ray is the author of critically-acclaimed book series "Hack Music Theory", and has made music with Serj Tankian (System of a Down), Tom Morello (Rage Against the Machine), Steven Wilson (Porcupine Tree), Ihsahn (Emperor), Kool Keith (Ultramagnetic MCs), Madchild (Swollen Members), and many more. Kate has the highest grade distinction in Popular Music Theory from the London College of Music, and is the only person on the planet who's been trained by Ray to teach his Hack Music Theory method! While these Hack Music Theory YouTube lessons teach music theory for producers and DAW users, they are designed to accommodate all music makers (songwriters, guitarists, etc.) and all genres, from Electronic Music to R&B, Pop to Hip-Hop, Reggae to Rock, EDM/Dance to Metal (and yes, we djefinitely Djent!).
Wooohooo!!! You’re a mere 30 minutes away from being even smarter than you already are. Just head on over to your inbox now for your free download.
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How to Write a Melody for Synth Pads - Add Layers to Chord Progressions or Bass Lines (Counterpoint)
Jun 11, 2018
In this Hack Music Theory lesson, you’ll learn how to use synth pads in a way that won’t just fill out your sound, but will actually add a vital musical layer to your songs. But first... Tea!
Hello, we are Kate Harmony & Ray Harmony (AKA Revolution Harmony), and welcome to the Hack Music Theory show, where you are empowered with notation-free theory for making great music in DAWs.
Synth pads are miracle workers for filling out your sound. However, as a result of their sonic superpowers, most producers totally undervalue their potential to contribute musically to their songs. This means that pads are all too often an afterthought; thrown in a section that isn’t sounding full enough. And these "afterthought pads" are super boring, as they’re usually just doubling the chords, or even worse, just playing the root note of each chord. So, if you envision a section of your song being pad-friendly, then try write the pads before you write your lead melody. Because, when pads are written into the core of a section, they can inspire great lead melodies to grow out of them, creating a magical interwoven and layered musical experience (as you’ll see in next week’s video, when we cover the lead melody for this section!).
Melodies (or chords) played on synth pads are usually simple and move rather slowly, as pads have a rounder sound with less attack, perfect for those long notes! But, when that’s all they play, things can get pretty boring. So, how do you keep your pads simple and slow, without them getting boring? Easy, you just use musical decorations, as they add interest, but don’t interfere with your melodies (or chords), and these little unexpected decorations will definitely trill, sorry, thrill your listeners!
There’s many different types of musical decorations you can use to embellish a simple melody like this, but one of our favourites, and the one we used in this example, is what we call a “slow motion trill”. A trill, also known as a shake, is what you get when you ping-pong super quick back and forth between the note you’re on, and the next note up in your scale. But while a normal trill would probably use 1/32 notes at this tempo, we’re using 1/8 notes, which gives us that same decorative effect, but without the notes turning into a blur. Cos synth pads just can’t handle 1/32 notes - speed is not one of their strong points! So, listen to your pad melody, and wherever you feel it starts to get a bit boring, stop on that note, cut it up, and turn it into a slow motion trill, as that surprisingly fast movement of 1/8 notes will totally invigorate your pads!
EXAMPLE The example in this video is the verse section from of our upcoming single “Down with the Drama”, which features the amazing Sarah Serene on vocals. If you missed any of our previous videos on this song, check out our YouTube playlist.
Lastly, do you struggle to finish your music? If you do, then check out our online apprenticeship course, where you’ll learn how to effortlessly write new sections for existing sections, how to transition between them, and most importantly, how to finish your songs! For more info, just head on over to our Apprenticeship Course. Alright, enjoy the video/podcast.
Kate & Ray Harmony (AKA Revolution Harmony) Music Teachers & Producers in Vancouver BC, Canada
LEARN 1: Read our free book (below) & watch our YouTube videos 2: Read our "Part 1" book & "Songwriting & Producing" PDF 3: Learn how to become a song-whisperer, and effortlessly finish music!
ABOUT Hack Music Theory is the pioneering notation-free method for making great music. Taught by award-winning music lecturer Ray Harmony, and his protégé (and wife) Kate Harmony, from their studio in Vancouver BC, Canada. Ray is the author of critically-acclaimed book series "Hack Music Theory", and has made music with Serj Tankian (System of a Down), Tom Morello (Rage Against the Machine), Steven Wilson (Porcupine Tree), Ihsahn (Emperor), Kool Keith (Ultramagnetic MCs), Madchild (Swollen Members), and many more. Kate has the highest grade distinction in Popular Music Theory from the London College of Music, and is the only person on the planet who's been trained by Ray to teach his Hack Music Theory method! While these Hack Music Theory YouTube lessons teach music theory for producers and DAW users, they are designed to accommodate all music makers (songwriters, guitarists, etc.) and all genres, from Electronic Music to R&B, Pop to Hip-Hop, Reggae to Rock, EDM/Dance to Metal (and yes, we djefinitely Djent!).
Wooohooo!!! You’re a mere 30 minutes away from being even smarter than you already are. Just head on over to your inbox now for your free download.
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“The most brilliant, fast, easy & fun music theory book I’ve ever seen!” DEREK SIVERS, CD Baby founder
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How to Make Arpeggios - Turn Chord Progressions into Melodies
Jun 04, 2018
In this Hack Music Theory lesson, you’ll learn how to break up your simple chord progressions and turn ‘em into stunning melodies. But first... Tea!
Hello, we are Kate Harmony & Ray Harmony (AKA Revolution Harmony), and welcome to the Hack Music Theory show, where you are empowered with notation-free theory for making great music in DAWs.
INTRO When you break up a chord and play it one note at a time (instead of all the notes together), you turn harmony into melody. This magic trick is known as an arpeggio, which is just a fancy way of saying “broken chord”. And, when you play a chord one note at a time, you also end up with a far more interesting rhythm. It’s a win-win! Now I know what you’re thinking: If arpeggios are that amazing, then why aren’t all chord progressions played one note at a time? What’s the catch? Well, the melodic nature of arpeggios can easily interfere with (and even take attention away from) your lead melody, so they often work best under simple lead melodies, or in a section where there is no lead melody.
Most arpeggios you hear these days, walk unimaginatively up or down the notes of the chord. But a chord is not a staircase that needs to be ascended or descended! Yeah you can start in the middle of the chord, then go up, and then come down. You can do anything! So, every time you turn a block chord into an arpeggio, challenge yourself to come up with an imaginative order for the notes, and only use the ascending or descending options if it’s really what your song wants from that chord at that moment.
EXAMPLE The example in this video is the verse section from of our upcoming single “Down with the Drama”, which features the amazing Sarah Serene on vocals. If you missed any of our previous videos on this song, check out our YouTube playlist.
MORE If you want a more in-depth lesson on writing chord progressions and arpeggios and all that good stuff, we suggest our video 5 Hacks for Better Chord Progressions.
Lastly, do you struggle to finish your music? If you do, then check out our online apprenticeship course, where you’ll learn how to effortlessly write new sections for existing sections, how to transition between them, and most importantly, how to finish your songs! For more info, just head on over to our Apprenticeship Course. Alright, enjoy the video/podcast.
Kate & Ray Harmony (AKA Revolution Harmony) Music Teachers & Producers in Vancouver BC, Canada
LEARN 1: Read our free book (below) & watch our YouTube videos 2: Read our "Part 1" book & "Songwriting & Producing" PDF 3: Learn how to become a song-whisperer, and effortlessly finish music!
ABOUT Hack Music Theory is the pioneering notation-free method for making great music. Taught by award-winning music lecturer Ray Harmony, and his protégé (and wife) Kate Harmony, from their studio in Vancouver BC, Canada. Ray is the author of critically-acclaimed book series "Hack Music Theory", and has made music with Serj Tankian (System of a Down), Tom Morello (Rage Against the Machine), Steven Wilson (Porcupine Tree), Ihsahn (Emperor), Kool Keith (Ultramagnetic MCs), Madchild (Swollen Members), and many more. Kate has the highest grade distinction in Popular Music Theory from the London College of Music, and is the only person on the planet who's been trained by Ray to teach his Hack Music Theory method! While these Hack Music Theory YouTube lessons teach music theory for producers and DAW users, they are designed to accommodate all music makers (songwriters, guitarists, etc.) and all genres, from Electronic Music to R&B, Pop to Hip-Hop, Reggae to Rock, EDM/Dance to Metal (and yes, we djefinitely Djent!).
Wooohooo!!! You’re a mere 30 minutes away from being even smarter than you already are. Just head on over to your inbox now for your free download.
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“most brilliant, fast, easy & fun music theory book I’ve ever seen” –DEREK SIVERS, CD Baby founder
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How to Make Drum Fills - Music Theory Hacks for Programming MIDI Drums
May 28, 2018
Drum fills create vital rhythmic variation and excitement, which kicks up the energy of your music like nothing else! But even more important than that, drum fills build anticipation for what’s coming up next.
Hello, we are Kate Harmony & Ray Harmony (AKA Revolution Harmony), and welcome to the Hack Music Theory show, where you are empowered with notation-free theory for making great music in DAWs. So, in this music theory lesson, you’ll learn how to spice up your songs’ transitions by using tasty drum fills. But first... Tea!
1:13 - HACK 1 - The End 2:46 - HACK 2 - The Beginning
Almost as important as where your drum fill ends, is where it begins! If you start your fill too early, it will run out of steam and lose the hype. And if you start your fill too late, it won’t have enough time to build enough anticipation.
Lastly, do you struggle to finish your music? If you do, then check out our online apprenticeship course, where you’ll learn how to effortlessly write new sections for existing sections, how to transition between them, and most importantly, how to finish your songs! For more info, just head on over to our Apprenticeship Course. Alright, enjoy the video/podcast.
Kate & Ray Harmony (AKA Revolution Harmony) Music Teachers & Producers in Vancouver BC, Canada
LEARN 1: Read our free book (below) & watch our YouTube videos 2: Read our "Part 1" book & "Songwriting & Producing" PDF 3: Learn how to become a song-whisperer, and effortlessly finish music!
ABOUT Hack Music Theory is the pioneering notation-free method for making great music. Taught by award-winning music lecturer Ray Harmony, and his protégé (and wife) Kate Harmony, from their studio in Vancouver BC, Canada. Ray is the author of critically-acclaimed book series "Hack Music Theory", and has made music with Serj Tankian (System of a Down), Tom Morello (Rage Against the Machine), Steven Wilson (Porcupine Tree), Ihsahn (Emperor), Kool Keith (Ultramagnetic MCs), Madchild (Swollen Members), and many more. Kate has the highest grade distinction in Popular Music Theory from the London College of Music, and is the only person on the planet who's been trained by Ray to teach his Hack Music Theory method! While these Hack Music Theory YouTube lessons teach music theory for producers and DAW users, they are designed to accommodate all music makers (songwriters, guitarists, etc.) and all genres, from Electronic Music to R&B, Pop to Hip-Hop, Reggae to Rock, EDM/Dance to Metal (and yes, we djefinitely Djent!).
Wooohooo!!! You’re a mere 30 minutes away from being even smarter than you already are. Just head on over to your inbox now for your free download.
There was an error submitting your subscription. Please try again.
“most brilliant, fast, easy & fun music theory book I’ve ever seen” –DEREK SIVERS, CD Baby founder
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TesseracT - Time Signatures (Part 2) - Music Theory Hacks from "Sonder" (Metric Modulation, etc.)
May 21, 2018
TesseracT has a liberating approach to time signatures, so in this music theory lesson, you’ll learn their hack to magically change your song's tempo without changing its BPM. But first... Tea!
Hello, we are Kate Harmony & Ray Harmony (AKA Revolution Harmony), and welcome to the Hack Music Theory show, where you are empowered with notation-free theory for making great music in DAWs.
HACK 2 - Dot the Pulse & Cross the Bar
This hack is what TesseracT brilliantly use in the collosal opening and closing riff of Luminary, which is in D Phrygian (the dark mode). With this hack, TesseracT pull off one of the most powerful illusions in music: they slow down, without changing the BPM. This is known as metric modulation, which is just a fancy way of saying that the pulse of the music has changed. Shortening the pulse speeds things up, while lengthening the pulse slows things down. Yeah and the rest of Luminary has an eighth-note pulse at 78 bpm, but in this riff, they lengthen the pulse to a dotted eighth-note, which slows down the riff and makes it extra sludgey and heavy! Also, as you may know, a dotted eighth-note equals three sixteenth-notes, so what they’ve masterfully done here, is go from a 12/8 feel to a 12/16 feel. Amazing!!! Just a quick heads up, if you’re working in a fast tempo, you’ll be doing this hack with quarter notes and dotted quarter notes. Finally, yes this works in all genres, so whether you write prog metal chords, djent guitar riffs, EDM bass lines, or pop vocals, this hack will help! Now, here’s how you can use this hack in your own music in 3 simple steps:
STEP 1: Dot the Pulse First things first, you need to cement in the new pulse, so your listeners truly experience a slowing down of the music, and the best way to do that is to start with a basic drum beat. So, let’s get some hats on that new dotted eighth-note pulse, a kick on the 1st beat, and a snare on the 3rd hat. Then, we need a common thread to tie together the new pulse and the old pulse, so they’re different but still rhythmically connected, and we’re gonna copy the TesseracT drummer’s very clever hack here of playing sixteenth ghost notes on the snare (ghosts notes are notes played really quietly). And remember, metric modulation is not changing tempo randomly, your new pulse should come from a note value in your previous section. Right, now just copy and paste this bar three times, and we’re ready to riff!
STEP 2: Write the Riff Go wild and have fun here, but just remember to emphasise the root note enough, so your listeners will perceive it as the home. Also, don’t be shy with the ♭2, cos that’s what makes Phrygian different to just the regular old minor scale (AKA the Aeolian mode). And be sure to use a variety of note values in your riff, too. And by the way, if you need help writing riffs, you’ll also find that in our Songwriting & Producing PDF (scroll down).
STEP 3: Cross the Bar Finally, now that we’ve dotted the pulse, it’s time to reveal the last part of this hack. It’s super simple but unbelievably effective! Here’s how it works: For extra intrigue, don’t accent the 1st beat of your third bar (just like in the Luminary riff). By hiding this 1st beat, you disguise your time signature, and add even more mystery to your riff. Such a tasty technique! The easiest way to do this, is to just extend your sixteenth-note run at the end of bar 2, by adding a couple notes to it. Tada, your riff just got the TesseracT “Dot the Pulse & Cross the Bar” makeover!
Lastly, do you struggle to finish your music? If you do, then check out our online apprenticeship course, where you’ll learn how to effortlessly write new sections for existing sections, how to transition between them, and most importantly, how to finish your songs! For more info, just head on over to our Apprenticeship Course. Alright, enjoy the video/podcast.
Kate & Ray Harmony (AKA Revolution Harmony) Music Teachers & Producers in Vancouver BC, Canada
LEARN 1: Read our free book (below) & watch our YouTube videos 2: Read our "Part 1" book & "Songwriting & Producing" PDF 3: Learn how to become a song-whisperer, and effortlessly finish music!
ABOUT Hack Music Theory is the pioneering notation-free method for making great music. Taught by award-winning music lecturer Ray Harmony, and his protégé (and wife) Kate Harmony, from their studio in Vancouver BC, Canada. Ray is the author of critically-acclaimed book series "Hack Music Theory", and has made music with Serj Tankian (System of a Down), Tom Morello (Rage Against the Machine), Steven Wilson (Porcupine Tree), Ihsahn (Emperor), Kool Keith (Ultramagnetic MCs), Madchild (Swollen Members), and many more. Kate has the highest grade distinction in Popular Music Theory from the London College of Music, and is the only person on the planet who's been trained by Ray to teach his Hack Music Theory method! While these Hack Music Theory YouTube lessons teach music theory for producers and DAW users, they are designed to accommodate all music makers (songwriters, guitarists, etc.) and all genres, from Electronic Music to R&B, Pop to Hip-Hop, Reggae to Rock, EDM/Dance to Metal (and yes, we djefinitely Djent!).
Wooohooo!!! You’re a mere 30 minutes away from being even smarter than you already are. Just head over to your inbox now for your free download.
There was an error submitting your subscription. Please try again.
“most brilliant, fast, easy & fun music theory book I’ve ever seen” –DEREK SIVERS, CD Baby founder
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TesseracT - Odd Time Signatures (Part 1) - Music Theory Hacks from "Sonder" for Chord Progressions
May 14, 2018
TesseracT has a refreshing approach to time signatures, so in this music theory lesson, you’ll learn their hacks to liberate your chord progressions from 4/4. But first... Tea!
Hello, we are Kate Harmony & Ray Harmony (AKA Revolution Harmony), and welcome to the Hack Music Theory show, where you are empowered with notation-free theory for making great music in DAWs.
We’re gonna focus on the theory behind their lead single Luminary from their new masterpiece of an album, Sonder. TesseracT are renowned for perfectly balancing the artistic with the accessible, resulting in incredibly intelligent and creative songs, that are also super catchy! And this is why they appeal to music lovers of all genres, and why the theory in this series can also be used in all genres, and all instruments (so whether you write prog metal / djent guitar riffs or EDM bass lines, this'll help!). This hack is what TesseracT geniusely use in their Luminary chorus, which is in the key of D minor (AKA D Aeolian). So if you want an EPIC chorus, like Luminary, start by writing a chord progression in a minor key.
But, here’s the problem, there’s already a zillion other songs with minor key choruses, so how do you make yours unique? Easy, you just use this hack. Right, here’s how it works. There’s only seven triads in a minor key. So, obviously your chord options are extremely limited. However, there are literally an infinite amount of harmonic rhythms and time signatures you can use for your chord progression. So, the “right place” part of this hack is all about choosing the right chords (in other words, any of these seven), and the “wrong time” part is this hack is all about playing those chords in an unpredictable harmonic rhythm within an unpredictable time signature, or two, like in the Luminary chorus. Here’s how you can use this hack in your own music:
STEP 1: For that powerful Luminary feel, set your tempo to 78 BPM, and your grid to two bars of 12/8. 12/8 is in the family of time signatures known as “compound time”, and they divide music into groups of three 1/8-notes, which is more drawn out so it feels more dramatic than time signatures in the “simple time” family, like 4/4, which use groups of two 1/8 notes.
STEP 2: Decide what chords you want to use from the key of D minor, and draw each chord's root note in your piano roll (you can fill the rest of the notes in later). Here’s the chords we chose: Dm → B♭maj → Cmaj → Am (1st bar) / B♭maj → Gm → Am → Cmaj → Am → B♭maj (2nd bar)
STEP 3: Apply the “wrong time” part of this hack to your chord progression. TesseracT masterfully twists two bars of 12/8 into one bar of 11/8 and one bar of 13/8, resulting in two odd time signatures replacing one even time signature, it doesn’t get better than that! To pull off this magic trick, all you need to do is steal one 1/8 note from bar 2, and donate it to bar 1. The easiest way to do this, is to choose a chord in bar 1 that you wanna shorten, and a chord in bar 2 that you wanna lengthen. So in bar 1 we decided to shorten the B♭maj, and in bar 2 we decided to lengthen the Am. Now, select all the chords in between those two chords you just changed, and move all that MIDI an 1/8 note earlier. Tada, your chorus just got the TesseracT “wrong time, right place” makeover! And you’ll notice we now have an unpredictable pattern of groups of three 1/8 notes and groups of two 1/8 notes, and that’s exactly what transforms this chord progression from ordinary, to extraordinary!
BONUS STEP: To make the most of your new and improved harmonic rhythm, be sure to accent the chord changes with your drums.
Lastly, do you struggle to finish your music? If you do, then check out our online apprenticeship course, where you’ll learn how to effortlessly write new sections for existing sections, how to transition between them, and most importantly, how to finish your songs! For more info, just head on over to our Apprenticeship Course. Alright, enjoy the video/podcast.
Kate & Ray Harmony (AKA Revolution Harmony) Music Teachers & Producers in Vancouver BC, Canada
LEARN 1: Read our free book (below) & watch our YouTube videos 2: Read our "Part 1" book & "Songwriting & Producing" PDF 3: Learn how to become a song-whisperer, and effortlessly finish music!
ABOUT Hack Music Theory is the pioneering notation-free method for making great music. Taught by award-winning music lecturer Ray Harmony, and his protégé (and wife) Kate Harmony, from their studio in Vancouver BC, Canada. Ray is the author of critically-acclaimed book series "Hack Music Theory", and has made music with Serj Tankian (System of a Down), Tom Morello (Rage Against the Machine), Steven Wilson (Porcupine Tree), Ihsahn (Emperor), Kool Keith (Ultramagnetic MCs), Madchild (Swollen Members), and many more. Kate has the highest grade distinction in Popular Music Theory from the London College of Music, and is the only person on the planet who's been trained by Ray to teach his Hack Music Theory method! While these Hack Music Theory YouTube lessons teach music theory for producers and DAW users, they are designed to accommodate all music makers (songwriters, guitarists, etc.) and all genres, from Electronic Music to R&B, Pop to Hip-Hop, Reggae to Rock, EDM/Dance to Metal (and yes, we djefinitely Djent!).
Wooohooo!!! You’re a mere 30 minutes away from being even smarter than you already are. Just head over to your inbox now for your free download.
There was an error submitting your subscription. Please try again.
“most brilliant, fast, easy & fun music theory book I’ve ever seen” –DEREK SIVERS, CD Baby founder
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How to Harmonize a Melody - 2 Music Theory Hacks for Better Choruses
May 07, 2018
Hello, we are Kate Harmony & Ray Harmony (AKA Revolution Harmony), and welcome to the Hack Music Theory show, where you are empowered with notation-free theory for making great music in DAWs.
In this Hack Music Theory lesson, you’ll learn how to add a captivating harmony to your lead melody, which is gonna take your music to a whole new level.
1:26 - HACK 1 - Paint a Backdrop A backing melody can either harmonise each note of your lead melody individually, or it can function more as a backdrop, against which your lead melody can shine even brighter. We chose the latter option, as our lead melody has a lot of movement and energy, so we didn’t want to take any attention away from that.
2:57 - HACK 2 - Opposites Attract In those moments when your lead melody has less movement, ramp up the energy of your backing melody, because opposites attract! By giving your backing melody more notes than your lead melody, your lead can get away with some long notes without losing your listeners’ attention.
EXAMPLE The example in this video is the chorus from of our upcoming single “Down with the Drama”, which features the amazing Sarah Serene on vocals. We’re in the key of F♯ minor (AKA F♯ Aeolian), and our chords are: F♯m, Amaj, Emaj, Bm, Dmaj, Amaj.
MORE If you want a more in-depth lesson on how to write backing melodies, watch our recommended video that’s gonna pop up on your screen right after the final playthrough in this video. And if you like our hacks, then be sure to subscribe and hit the bell to get notifications. Thanks for watching!
Lastly, do you struggle to finish your music? If you do, then check out our online apprenticeship course, where you’ll learn how to effortlessly write new sections for existing sections, how to transition between them, and most importantly, how to finish your songs! For more info, just head on over to our Apprenticeship Course. Alright, enjoy the video/podcast. But first… tea!
Kate & Ray Harmony (AKA Revolution Harmony) Music Teachers & Producers in Vancouver BC, Canada
LEARN 1: Read our free book (below) & watch our YouTube videos 2: Read our "Part 1" book & "Songwriting & Producing" PDF 3: Learn how to become a song-whisperer, and effortlessly finish music!
ABOUT Hack Music Theory is the pioneering notation-free method for making great music. Taught by award-winning music lecturer Ray Harmony, and his protégé (and wife) Kate Harmony, from their studio in Vancouver BC, Canada. Ray is the author of critically-acclaimed book series "Hack Music Theory", and has made music with Serj Tankian (System of a Down), Tom Morello (Rage Against the Machine), Steven Wilson (Porcupine Tree), Ihsahn (Emperor), Kool Keith (Ultramagnetic MCs), Madchild (Swollen Members), and many more. Kate has the highest grade distinction in Popular Music Theory from the London College of Music, and is the only person on the planet who's been trained by Ray to teach his Hack Music Theory method! While these Hack Music Theory YouTube lessons teach music theory for producers and DAW users, they are designed to accommodate all music makers (songwriters, guitarists, etc.) and all genres, from Electronic Music to R&B, Pop to Hip-Hop, Reggae to Rock, EDM/Dance to Metal (and yes, we djefinitely Djent!).
Wooohooo!!! You’re a mere 30 minutes away from being even smarter than you already are. Just head over to your inbox now for your free download.
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“most brilliant, fast, easy & fun music theory book I’ve ever seen” –DEREK SIVERS, CD Baby founder
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2 Hacks to Write a Bass Line Using Non-Diatonic Notes, and More!
Apr 30, 2018
Hello, we are Kate Harmony & Ray Harmony (AKA Revolution Harmony), and welcome to the Hack Music Theory show, where you are empowered with notation-free theory for making great music in DAWs.
Playing only the root note of each chord in your bass does not make a bass line, so in this video you’ll learn how to write a bass line using non-diatonic notes, and more!
1:35 - HACK 1: Go The Wrong Way To make your bass lines more melodic (and therefore more memorable!), simply start by adding a short note in between some root notes. This creates a flowing contour to your bass line, while also adding excitement to the rhythm department.
3:13 - HACK 2: Go Outside Now that your bass line is flowing, it’s time to get dangerous! So, try moving one of your short notes to a note that is not in the scale. Yep, we’re going offroading! Notes that are outside the scale are called non-diatonic notes, and used in the right place, they’re a game-changer!
The example in this video is the chorus from of our upcoming single “Down with the Drama”, which features the amazing Sarah Serene on vocals. We’re in the key of F♯ minor (AKA F♯ Aeolian), and our chords are: F♯m, Amaj, Emaj, Bm, Dmaj, Amaj.
Lastly, do you struggle to finish your music? If you do, then check out our online apprenticeship course, where you’ll learn how to effortlessly write new sections for existing sections, how to transition between them, and most importantly, how to finish your songs! For more info, just head on over to our Apprenticeship Course. Alright, enjoy the video/podcast. But first… tea!
Kate & Ray Harmony (AKA Revolution Harmony) Music Teachers & Producers in Vancouver BC, Canada
LEARN 1: Read our free book (below) & watch our YouTube videos 2: Read our "Part 1" book & "Songwriting & Producing" PDF 3: Learn how to become a song-whisperer, and effortlessly finish music!
ABOUT Hack Music Theory is the pioneering notation-free method for making great music. Taught by award-winning music lecturer Ray Harmony, and his protégé (and wife) Kate Harmony, from their studio in Vancouver BC, Canada. Ray is the author of critically-acclaimed book series "Hack Music Theory", and has made music with Serj Tankian (System of a Down), Tom Morello (Rage Against the Machine), Steven Wilson (Porcupine Tree), Ihsahn (Emperor), Kool Keith (Ultramagnetic MCs), Madchild (Swollen Members), and many more. Kate has the highest grade distinction in Popular Music Theory from the London College of Music, and is the only person on the planet who's been trained by Ray to teach his Hack Music Theory method! While these Hack Music Theory YouTube lessons teach music theory for producers and DAW users, they are designed to accommodate all music makers (songwriters, guitarists, etc.) and all genres, from Electronic Music to R&B, Pop to Hip-Hop, Reggae to Rock, EDM/Dance to Metal (and yes, we djefinitely Djent!).
Wooohooo!!! You’re a mere 30 minutes away from being even smarter than you already are. Just head over to your inbox now for your free download.
There was an error submitting your subscription. Please try again.
“most brilliant, fast, easy & fun music theory book I’ve ever seen” –DEREK SIVERS, CD Baby founder
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Chord Progression Theory Hacks to Make Your Chorus Stand Out (feat. "Down with the Drama")
Apr 23, 2018
Hello, we are Kate Harmony & Ray Harmony (AKA Revolution Harmony), and welcome to the Hack Music Theory show, where you are empowered with notation-free theory for making great music in DAWs.
In this video you’ll learn how to make your chorus chord progressions stand out from all those boring template-style progressions.
Hack 1: Change the Changes If there’s just one thing you do to make your chord progressions better, let it be this hack. It’s arguably the most effective yet easiest way to make your chorus chords stand out from all those overused chord-progression templates. This hack involves syncopating the harmonic rhythm, which is basically a fancy way of saying that you change chords in between the 1/4 notes (i.e. on the off-beat)
Hack 2: Extend By Melody As you probably know, triads (like F♯m) are the simplest type of chord as they only contain three notes, and extended chords (like F♯m7) are more complex chords as they contain four notes, or even more (like F♯m9). Now, most songwriters and producers approach extended chords as block chords, which means they think of each chord as one thing. With this hack, you’ll approach extended chords as two things, the triads below, with a melody above.
Lastly, do you struggle to finish your music? If you do, then check out our online apprenticeship course, where you’ll learn how to effortlessly write new sections for existing sections, how to transition between them, and most importantly, how to finish your songs! For more info, just head on over to our Apprenticeship Course. Alright, enjoy the video/podcast. But first… tea!
Kate & Ray Harmony (AKA Revolution Harmony) Music Teachers & Producers in Vancouver BC, Canada
LEARN 1: Read our free book (below) & watch our YouTube videos 2: Read our "Part 1" book & "Songwriting & Producing" PDF 3: Learn how to become a song-whisperer, and effortlessly finish music!
ABOUT Hack Music Theory is the pioneering notation-free method for making great music. Taught by award-winning music lecturer Ray Harmony, and his protégé (and wife) Kate Harmony, from their studio in Vancouver BC, Canada. Ray is the author of critically-acclaimed book series "Hack Music Theory", and has made music with Serj Tankian (System of a Down), Tom Morello (Rage Against the Machine), Steven Wilson (Porcupine Tree), Ihsahn (Emperor), Kool Keith (Ultramagnetic MCs), Madchild (Swollen Members), and many more. Kate has the highest grade distinction in Popular Music Theory from the London College of Music, and is the only person on the planet who's been trained by Ray to teach his Hack Music Theory method! While these Hack Music Theory YouTube lessons teach music theory for producers and DAW users, they are designed to accommodate all music makers (songwriters, guitarists, etc.) and all genres, from Electronic Music to R&B, Pop to Hip-Hop, Reggae to Rock, EDM/Dance to Metal (and yes, we djefinitely Djent!).
Wooohooo!!! You’re a mere 30 minutes away from being even smarter than you already are. Just head over to your inbox now for your free download.
There was an error submitting your subscription. Please try again.
“most brilliant, fast, easy & fun music theory book I’ve ever seen” –DEREK SIVERS, CD Baby founder
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How to Write a Hook - Vocal Melody Theory Hacks (for Your Song's Chorus)
Apr 16, 2018
Hello, we are Kate Harmony & Ray Harmony (AKA Revolution Harmony), and welcome to the Hack Music Theory show, where you are empowered with notation-free theory for making great music in DAWs.
Do you wanna write a super catchy chorus (for your pop song, EDM banger, or even your rock stadium anthem), which is sure to get stuck in everyone's heads? Then start by taking just a few words that have meaning to you, then say them through a few times on one pitch (like a little rap), to find their natural rhythm. While working out the rhythm, play around with repeating the most important word two or three times to emphasise it. Once you've got the rhythm written, it's time to choose a scale or mode based on the emotion behind your words (we chose the Aeolian mode AKA the natural minor scale). Then, you move the notes up and down through your chosen scale/mode, to write your melody. This is where you turn your little rap into a memorable vocal hook! Remember, great melodies contain both small intervals (which makes the melody singable and catchy) and large intervals (which makes the melody dramatic and captivating).
To summarise, this music theory lesson covers:
How to write a rhythm for your vocal hook
How to write a melody for your words (i.e. lyrics)
Choosing a scale or mode for your hook
Elements that make a great melody (intervals, etc.)
And more! So why you still reading? Click Play now!
Lastly, do you struggle to finish your music? If you do, then check out our online apprenticeship course, where you’ll learn how to effortlessly write new sections for existing sections, how to transition between them, and most importantly, how to finish your songs! For more info, just head on over to our Apprenticeship Course. Alright, enjoy the video/podcast. But first… tea!
Kate & Ray Harmony (AKA Revolution Harmony) Music Teachers & Producers in Vancouver BC, Canada
LEARN 1: Read our free book (below) & watch our YouTube videos 2: Read our "Part 1" book & "Songwriting & Producing" PDF 3: Learn how to become a song-whisperer, and effortlessly finish music!
ABOUT Hack Music Theory is the pioneering notation-free method for making great music. Taught by award-winning music lecturer Ray Harmony, and his protégé (and wife) Kate Harmony, from their studio in Vancouver BC, Canada. Ray is the author of critically-acclaimed book series "Hack Music Theory", and has made music with Serj Tankian (System of a Down), Tom Morello (Rage Against the Machine), Steven Wilson (Porcupine Tree), Ihsahn (Emperor), Kool Keith (Ultramagnetic MCs), Madchild (Swollen Members), and many more. Kate has the highest grade distinction in Popular Music Theory from the London College of Music, and is the only person on the planet who's been trained by Ray to teach his Hack Music Theory method! While these Hack Music Theory YouTube lessons teach music theory for producers and DAW users, they are designed to accommodate all music makers (songwriters, guitarists, etc.) and all genres, from Electronic Music to R&B, Pop to Hip-Hop, Reggae to Rock, EDM/Dance to Metal (and yes, we djefinitely Djent!).
Wooohooo!!! You’re a mere 30 minutes away from being even smarter than you already are. Just head over to your inbox now for your free download.
There was an error submitting your subscription. Please try again.
“most brilliant, fast, easy & fun music theory book I’ve ever seen” –DEREK SIVERS, CD Baby founder
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2 Hacks to Instantly Improve Your Music - Finished Song (feat. "Throwing Words")
Apr 09, 2018
Hello, we are Kate Harmony & Ray Harmony (AKA Revolution Harmony), and welcome to the Hack Music Theory show, where you are empowered with notation-free theory for making great music in DAWs.
Over the last few videos we’ve been sharing the music theory hacks we used to write our upcoming single, Throwing Words, which we made with our good chums Triple L and Jesse Junk. So in this video/podcast, we’ll finally be revealing the finished song.
And speaking of finished songs. Do you struggle to finish your music? If you do, then check out our online apprenticeship course, where you’ll learn how to effortlessly write new sections for existing sections, how to transition between them, and most importantly, how to finish your songs! For more info, just head on over to RevolutionHarmony.com/Apprenticeship. Alright, enjoy the final playthrough. But first… tea!
Kate & Ray Harmony (AKA Revolution Harmony) Music Teachers & Producers in Vancouver BC, Canada
Learn how to use Hack Music Theory in 3 levels: 1: Read our free book (below) & watch our YouTube videos 2: Read our "Part 1" book & "Songwriting & Producing" PDF 3: Learn how to become a song-whisperer, and effortlessly finish music!
Wooohooo!!! You’re a mere 30 minutes away from being even smarter than you already are. Just head over to your inbox now for your free download.
There was an error submitting your subscription. Please try again.
“most brilliant, fast, easy & fun music theory book I’ve ever seen” –DEREK SIVERS, CD Baby founder
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2 Hacks to Instantly Improve Your Riffs (feat. Throwing Words)
Apr 02, 2018
Hello, we are Kate Harmony & Ray Harmony (AKA Revolution Harmony), and welcome to the Hack Music Theory show, where you are empowered with notation-free theory for making great music in DAWs. In today's video/podcast, you'll learn 2 hacks you can apply to your riffs that will instantly improve them, by creatively adding depth and interest! Enjoy, and thank you for being brave and committing to make the world a better place through better music. Until next week, happy songwriting & producing!
Kate & Ray Harmony (AKA Revolution Harmony) Music Teachers & Producers in Vancouver BC, Canada
Learn how to use Hack Music Theory in 3 levels: 1: Read our free book (below) & watch our YouTube videos 2: Read our "Part 1" book & "Songwriting & Producing" PDF 3: Learn how to become a song-whisperer, and effortlessly finish music!
Wooohooo!!! You’re a mere 30 minutes away from being even smarter than you already are. Just head over to your inbox now for your free download.
There was an error submitting your subscription. Please try again.
“most brilliant, fast, easy & fun music theory book I’ve ever seen” –DEREK SIVERS, CD Baby founder
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2 Hacks to Instantly Improve Your Melodies (feat. "Throwing Words")
Mar 26, 2018
Hello, we are Kate Harmony & Ray Harmony (AKA Revolution Harmony), and welcome to the Hack Music Theory show, where you are empowered with notation-free theory for making great music in DAWs. In today's video/podcast, you'll learn learn 2 hacks that you can instantly apply to your melodies to make 'em better! Enjoy, and thank you for being brave and committing to make the world a better place through better music. Until next week, happy songwriting & producing!
Kate & Ray Harmony (AKA Revolution Harmony) Music Teachers & Producers in Vancouver BC, Canada
Learn how to use Hack Music Theory in 3 levels: 1: Read our free book (below) & watch our YouTube videos 2: Read our "Part 1" book & "Songwriting & Producing" PDF 3: Learn how to become a song-whisperer, and effortlessly finish music!
Wooohooo!!! You’re a mere 30 minutes away from being even smarter than you already are. Just head over to your inbox now for your free download.
There was an error submitting your subscription. Please try again.
“most brilliant, fast, easy & fun music theory book I’ve ever seen” –DEREK SIVERS, CD Baby founder
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2 Hacks to Instantly Improve Your Bass Lines (feat. "Throwing Words")
Mar 19, 2018
Hello, we are Kate Harmony & Ray Harmony (AKA Revolution Harmony), and welcome to the Hack Music Theory show, where you are empowered with notation-free theory for making great music in DAWs. In today's video/podcast, you'll learn learn 2 hacks that you can instantly apply to your bass lines to give them more energy and bring 'em to life! Enjoy, and thank you for being brave and committing to make the world a better place through better music. Until next week, happy songwriting & producing!
Kate & Ray Harmony (AKA Revolution Harmony) Music Teachers & Producers in Vancouver BC, Canada
Learn how to use Hack Music Theory in 3 levels: 1: Read our free book (below) & watch our YouTube videos 2: Read our "Part 1" book & "Songwriting & Producing" PDF 3: Learn how to become a song-whisperer, and effortlessly finish music!
Wooohooo!!! You’re a mere 30 minutes away from being even smarter than you already are. Just head over to your inbox now for your free download.
There was an error submitting your subscription. Please try again.
“most brilliant, fast, easy & fun music theory book I’ve ever seen” –DEREK SIVERS, CD Baby founder
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2 Hacks to Instantly Improve Your Chord Progressions (feat. "Throwing Words")
Mar 12, 2018
Hello, we are Kate Harmony & Ray Harmony (AKA Revolution Harmony), and welcome to the Hack Music Theory show, where you are empowered with notation-free theory for making great music in DAWs. In today's video/podcast, you'll learn learn 2 hacks that you can instantly apply to your chord progressions to make 'em better! Enjoy, and thank you for being brave and committing to make the world a better place through better music. Until next week, happy songwriting & producing!
Kate & Ray Harmony (AKA Revolution Harmony) Music Teachers & Producers in Vancouver BC, Canada
Learn how to use Hack Music Theory in 3 levels: 1: Read our free book (below) & watch our YouTube videos 2: Read our "Part 1" book & "Songwriting & Producing" PDF 3: Learn how to become a song-whisperer, and effortlessly finish music!
Wooohooo!!! You’re a mere 30 minutes away from being even smarter than you already are. Just head over to your inbox now for your free download.
There was an error submitting your subscription. Please try again.
“most brilliant, fast, easy & fun music theory book I’ve ever seen” –DEREK SIVERS, CD Baby founder
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How to Write a Riff or Bass Line - Finished Song from the Series (feat. "Reclaim the Hours")
Mar 05, 2018
Hello, we are Kate Harmony & Ray Harmony (AKA Revolution Harmony), and welcome to the Hack Music Theory show, where you are empowered with notation-free theory for making great music in DAWs. In today's video/podcast, we reveal the finished song from our "How to Write a Riff or Bass Line" series. Enjoy, and thank you for being brave and committing to make the world a better place through better music. Until next week, happy songwriting & producing!
Kate & Ray Harmony (AKA Revolution Harmony) Music Teachers & Producers in Vancouver BC, Canada
Learn how to use Hack Music Theory in 3 levels: 1: Read our free book (below) & watch our YouTube videos 2: Read our "Part 1" book & "Songwriting & Producing" PDF 3: Do our Apprenticeship #1 course (learn how to write great songs, and finish them!)
Wooohooo!!! You’re a mere 30 minutes away from being even smarter than you already are. Just head over to your inbox now for your free download.
There was an error submitting your subscription. Please try again.
“most brilliant, fast, easy & fun music theory book I’ve ever seen” –DEREK SIVERS, CD Baby founder
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How to Keep Your Fans' Attention | REPETITION vs VARIATION (feat. "Reclaim The Hours")
Feb 26, 2018
Hello, we are Kate Harmony & Ray Harmony (AKA Revolution Harmony), and welcome to the Hack Music Theory show, where you are empowered with notation-free theory for making great music in DAWs. In today's video/podcast, you'll learn how to keep your fans' attention by balancing repetition & variation in your music. Enjoy, and thank you for being brave and committing to make the world a better place through better music. Until next week, happy songwriting & producing!
Kate & Ray Harmony (AKA Revolution Harmony) Music Teachers & Producers in Vancouver BC, Canada
Learn how to use Hack Music Theory in 3 levels: 1: Read our free book (below) & watch our YouTube videos 2: Read our "Part 1" book & "Songwriting & Producing" PDF 3: Do our Apprenticeship #1 course (learn how to write great songs, and finish them!)
Wooohooo!!! You’re a mere 30 minutes away from being even smarter than you already are. Just head over to your inbox now for your free download.
There was an error submitting your subscription. Please try again.
“most brilliant, fast, easy & fun music theory book I’ve ever seen” –DEREK SIVERS, CD Baby founder
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How to Choose a Mode for Your Riff or Bass Line | AEOLIAN vs LOCRIAN (feat. "Reclaim The Hours")
Feb 19, 2018
Hello, we are Kate Harmony & Ray Harmony (AKA Revolution Harmony), and welcome to the Hack Music Theory show, where you are empowered with notation-free theory for making great music in DAWs. In today's video/podcast, you'll learn how to choose a mode for your riff or bass line, and then you'll learn how to choose the notes. Enjoy, and thank you for being brave and committing to make the world a better place through better music. Until next week, happy songwriting & producing!
Kate & Ray Harmony (AKA Revolution Harmony) Music Teachers & Producers in Vancouver BC, Canada
Learn how to use Hack Music Theory in 3 levels: 1: Read our free book (below) & watch our YouTube videos 2: Read our "Part 1" book & "Songwriting & Producing" PDF 3: Do our Apprenticeship #1 course (learn how to write great songs, and finish them!)
Wooohooo!!! You’re a mere 30 minutes away from being even smarter than you already are. Just head over to your inbox now for your free download.
There was an error submitting your subscription. Please try again.
“most brilliant, fast, easy & fun music theory book I’ve ever seen” –DEREK SIVERS, CD Baby founder
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EDM vs METAL. Who Will Win? | How to Write a Riff (feat. "Reclaim The Hours")
Feb 12, 2018
Hello, we are Kate Harmony & Ray Harmony (AKA Revolution Harmony), and welcome to the Hack Music Theory show, where you are empowered with notation-free theory for making great music in DAWs. In today's video/podcast, you'll learn how to start writing a riff (on any instrument, in any genre). Enjoy, and thank you for being brave and committing to make the world a better place through better music. Until next week, happy songwriting & producing!
Kate & Ray Harmony (AKA Revolution Harmony) Music Producers in Vancouver BC, Canada
Learn how to use Hack Music Theory in 3 levels: #1: Read our free book (below) & watch our YouTube videos #2: Read our "Part 1" book & "Songwriting & Producing" PDF #3: Do our cutting-edge online Apprenticeship #1 course
Wooohooo!!! You’re a mere 30 minutes away from being even smarter than you already are. Just head over to your inbox now for your free download.
There was an error submitting your subscription. Please try again.
“most brilliant, fast, easy & fun music theory book I’ve ever seen” –DEREK SIVERS, CD Baby founder
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How to Write a Song, from Start to Finish (feat. "Mile Zero")
Feb 05, 2018
Hello, we are Kate Harmony & Ray Harmony (AKA Revolution Harmony), and welcome to the Hack Music Theory show, where you are empowered with notation-free theory for making great music in DAWs. In today's video/podcast, we finally reveal the full song ("Mile Zero") from our Apprenticeship #1 course. Enjoy, and thank you for being brave and committing to make the world a better place through better music. Until next week, happy songwriting & producing!
Kate & Ray Harmony (AKA Revolution Harmony) Music Producers in Vancouver BC, Canada
Wooohooo!!! You’re a mere 30 minutes away from being even smarter than you already are. Just head over to your inbox now for your free download.
There was an error submitting your subscription. Please try again.
“most brilliant, fast, easy & fun music theory book I’ve ever seen” –DEREK SIVERS, CD Baby founder
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5 Hacks for Better Vocal Melodies: Catchy & Uplifting, etc. | MILE ZERO 4/4
Jan 29, 2018
Watch this Hack Music Theory video if you wanna learn how to write vocal melodies that are super catchy and uplifting (even in a minor scale!). But first... tea!
VIDEO / PODCAST TIME STAMPS:
1:49 Hack 1: How Happy? 3:57 Hack 2: Start Off 4:36 Hack 3: Split & Move 5:16 Hack 4: Repeat Motif 6:11 Hack 5: Rest & Breathe 6:56 Playthrough of Final Vocal Melody
Hello, we are Kate Harmony & Ray Harmony (AKA Revolution Harmony), and welcome to the Hack Music Theory show, where you are empowered with notation-free theory for making great music in DAWs.
Most months, we’ll be writing a song from start to finish, but this month is very special, so we’ll be doing things slightly different. Yeah, you’ll be learning our top secret music theory hacks that we used to write the bridge section in our upcoming single, Mile Zero, which is actually the song we made and taught in our new pioneering online apprenticeship program.
Yep, over the last five months on Patreon, which is a monthly subscription website, we’ve been filming our debut apprenticeship series, which literally captures every second of the songwriting process, from blank screen to finished song, while also teaching every single step and theory hack along the way.
Due to tons people asking us to please make this apprenticeship available as a course on our website (which is a great idea by the way, so thanks to everyone who requested that), we’re over the moon happy to announce that it will finally be available to you at the end of this month.
And the cherry on top, if you pre-order before 31 January 2018, you get a 50% discount! So, if you wanna learn how to write great songs from start to finish, then do our one-of-a-kind cutting-edge online apprenticeship at: RevolutionHarmony.com/Apprenticeship
Thank you for being brave and committing to make the world a better place through better music. Until next week, happy songwriting & producing!
Kate & Ray Harmony (AKA Revolution Harmony) Music Producers in Vancouver BC, Canada
Wooohooo!!! You’re a mere 30 minutes away from being even smarter than you already are. Just head over to your inbox now for your free download.
There was an error submitting your subscription. Please try again.
“most brilliant, fast, easy & fun music theory book I’ve ever seen” –DEREK SIVERS, CD Baby founder
We use this field to detect spam bots. If you fill this in, you will be marked as a spammer.
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5 Hacks for Better Chord Progressions: Melodic Motifs, Pedal Root, etc. | MILE ZERO 3/4
Jan 20, 2018
Watch this Hack Music Theory video to learn how to write better chord progressions, by using melodic motifs, a pedal root, anticipations, sus chords, inversions, and more. These music theory hacks will take your songwriting and music production to the next level. But first... tea!
Hello, we are Revolution Harmony. I’m Kate Harmony, this is Ray Harmony, and welcome to the Hack Music Theory show, where you are empowered with notation-free theory for making great music in DAWs.
Most months, we’ll be writing a song from start to finish, but this month is very special, so we’ll be doing things slightly different. Yeah, you’ll be learning our top secret music theory hacks that we used to write the bridge section in our upcoming single, Mile Zero, which is actually the song we made and taught in our new pioneering online apprenticeship program.
Yep, over the last four months on Patreon, which is a monthly subscription website, we’ve been filming our debut apprenticeship series, which literally captures every second of the songwriting process, from blank screen to finished song, while also teaching every single step and theory hack along the way.
Due to tons people asking us to please make this apprenticeship available as a course on our website, which is a great idea by the way, so thanks to everyone who requested that, we’re over the moon happy to announce that it will finally be available to you at the end of this month.
And the cherry on top, if you pre-order before 31 January 2018, you get a 50% discount! So, if you wanna learn how to write great songs from start to finish, then do our one-of-a-kind cutting-edge online apprenticeship at: RevolutionHarmony.com/Apprenticeship
Thank you for being brave and committing to make the world a better place through better music. Until next week, happy songwriting & producing!
Kate & Ray Harmony (AKA Revolution Harmony) Music Producers in Vancouver BC, Canada
Learn how to use Hack Music Theory in 3 steps: #1: Read our free book (below), and watch our YouTube videos #2: Read our "Part 1" book, and our "Songwriting & Producing" PDF #3: Do our cutting-edge online apprenticeship to learn how to write great songs from start to finish!
Wooohooo!!! You’re a mere 30 minutes away from being even smarter than you already are. Just head over to your inbox now for your free download.
There was an error submitting your subscription. Please try again.
“most brilliant, fast, easy & fun music theory book I’ve ever seen” –DEREK SIVERS, CD Baby founder
We use this field to detect spam bots. If you fill this in, you will be marked as a spammer.
DOWNLOAD FREE BOOK
3 Hacks for Better Drum Beats: "Drunk Drummer" Hack, etc. | MILE ZERO 2/4
Jan 15, 2018
Learn how to program/play better drum beats, by using our "drunk drummer" hack, unexpected accents, and more. These music theory hacks will take your music production and drum programming to the next level. So, whether you want to program MIDI drums or make live drum parts, just follow these 3 drum hacks, and your drum beats won't just be unique, they'll be super groovy, too. But first... tea!
Hello, we are Revolution Harmony. I’m Kate Harmony, this is Ray Harmony, and welcome to the Hack Music Theory show, where you are empowered with notation-free theory for making great music in DAWs.
Most months, we’ll be writing a song from start to finish, but this month is very special, so we’ll be doing things slightly different. Yeah, you’ll be learning our top secret music theory hacks that we used to write the bridge section in our upcoming single, Mile Zero, which is actually the song we made and taught in our new pioneering online apprenticeship program.
Yep, over the last four months on Patreon, which is a monthly subscription website, we’ve been filming our debut apprenticeship series, which literally captures every second of the songwriting process, from blank screen to finished song, while also teaching every single step and theory hack along the way.
Due to tons people asking us to please make this apprenticeship available as a course on our website, which is a great idea by the way, so thanks to everyone who requested that, we’re over the moon happy to announce that it will finally be available to you at the end of this month.
And the cherry on top, if you pre-order before 31 January 2018, you get a 50% discount! So, if you wanna learn how to write great songs from start to finish, then do our one-of-a-kind cutting-edge online apprenticeship at: RevolutionHarmony.com/Apprenticeship
Thank you for being brave and committing to make the world a better place through better music. Until next week, happy songwriting & producing!
Kate & Ray Harmony (AKA Revolution Harmony) Music Producers in Vancouver BC, Canada
Learn how to use Hack Music Theory in 3 steps: #1: Read our free book (below), and watch our YouTube videos #2: Read our "Part 1" book, and our "Songwriting & Producing" PDF #3: Do our cutting-edge online apprenticeship to learn how to write great songs from start to finish!
Wooohooo!!! You’re a mere 30 minutes away from being even smarter than you already are. Just head over to your inbox now for your free download.
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“most brilliant, fast, easy & fun music theory book I’ve ever seen” –DEREK SIVERS, CD Baby founder
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8 Hacks for Better Bass Lines: Polymeters, Non-Diatonic Notes, etc. | MILE ZERO 1/4
Jan 08, 2018
Learn how to write bass lines that are guaranteed to stand out on those Spotify playlists, by applying our easy-to-use music theory hacks to your midi bass melodies. In this video, you’ll learn how to make better bass lines using polymeters, non-diatonics notes, and more. But first… tea!
VIDEO TIME STAMPS:
1:43 Scale/Mode & Tempo of Song 2:22 Hack 1: Set Up Odd Number of 4/4 Bars 2:48 Hack 2: Create an 8th-note Polymeter 3:27 Hack 3: Make a 16th-note Rhythm 4:03 Hack 4: Loop Part of the Rhythm 5:16 Hack 5: Choose Rote Notes for Chords 6:15 Hack 6: Move Some Roots to 3s & 7s 8:04 Hack 7: More Syncopation 8:55 Hack 8: Add Non-Diatonic Notes 10:49 Playthrough of Final Bass Line
Hello, we are Revolution Harmony. I’m Kate Harmony, this is Ray Harmony, and welcome to the Hack Music Theory show, where you are empowered with notation-free theory for making great music.
Most months, we’ll be writing a song from start to finish, but this month is very special, so we’ll be doing things slightly different. Yeah, you’ll be learning our top secret music theory hacks that we used to write the bridge section in our upcoming single, Mile Zero, which is actually the song we made and taught in our new pioneering online apprenticeship program.
Yep, over the last four months on Patreon, which is a monthly subscription website, we’ve been filming our debut apprenticeship series, which literally captures every second of the songwriting process, from blank screen to finished song, while also teaching every single step and theory hack along the way.
Due to tons people asking us to please make this apprenticeship available as a course on our website, which is a great idea by the way, so thanks to everyone who requested that, we’re over the moon happy to announce that it will finally be available to you at the end of this month.
And the cherry on top, if you pre-order before 31 January 2018, you get a 50% discount! So, if you wanna learn how to write great songs from start to finish, then do our one-of-a-kind cutting-edge online apprenticeship at: RevolutionHarmony.com/Apprenticeship
Thank you for being brave and committing to make the world a better place through better music. Until next week, happy songwriting & producing!
Kate & Ray Harmony (AKA Revolution Harmony) Music Producers in Vancouver BC, Canada
Learn how to use Hack Music Theory in 3 steps: #1: Read our free book (below), and watch our YouTube videos #2: Read our "Part 1" book, and our "Songwriting & Producing" PDF #3: Do our cutting-edge online apprenticeship to learn how to write great songs from start to finish!
Wooohooo!!! You’re a mere 30 minutes away from being even smarter than you already are. Just head over to your inbox now for your free download.
There was an error submitting your subscription. Please try again.
“most brilliant, fast, easy & fun music theory book I’ve ever seen” –DEREK SIVERS, CD Baby founder
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How to Write Christmas Songs (Day 21: THE REVEAL of "Christmas Counterpoint")
Dec 22, 2017
Are you ready for some crazy Christmas fun? Good, cos December has been a wild ride here at the Revolution Harmony studio, as we've been doing daily Hack Music Theory videos. Yeah!!!
So, this was our Christmas challenge to ourselves: It was kinda like a music theory advent calendar, where we wrote a Christmas song over three weeks, and taught you the music theory and songwriting hacks we used along the way!
Okay, now click play above and get stuck into Day 21's video, where we finally reveal our finished "Christmas Counterpoint" single, so click play now to hear it. But first... tea!
Remember to subscribe and click the bell to get notifications, so you don't miss out on any of our future videos, teaching you how to write great songs using notation-free music theory.
Lastly, if you'd like us to teach you how to write great songs from start to finish, then join our online apprenticeship program at Patreon.com/RevolutionHarmony (select ARTIST tier).
We really hope you dig our new music theory lesson, and if you wanna get your hands on all the vital theory hacks you need to write great songs, then please download our Hack Music Theory for Songwriting & Producing PDF (click & scroll down).
Thank you for being brave and committing to make the world a better place through better music. Until next week, happy songwriting & producing!
Kate & Ray Harmony Vancouver BC, Canada Music Teachers, Songwriters & Producers
Wooohooo!!! You’re a mere 30 minutes away from being even smarter than you already are. Just head over to your inbox now for your free download.
There was an error submitting your subscription. Please try again.
“most brilliant, fast, easy & fun music theory book I’ve ever seen” –DEREK SIVERS, CD Baby founder
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How to Write Christmas Songs (Day 20: Write an EDM Synth Melody for a Chord Progression)
Dec 20, 2017
Are you ready for some crazy Christmas fun? Good, cos December is shaping up to be a wild ride here at the Revolution Harmony studio, as we're doing daily Hack Music Theory videos. Yeah!!!
So, here's our Christmas challenge to ourselves: It's kinda like a music theory advent calendar, where we'll be writing a Christmas song over the next few weeks, and teaching you the music theory and songwriting hacks we use along the way!
Okay, now click play above and get stuck into Day 20's video, where we teach you how to write an EDM synth melody (lead) for your bass line and chord progression. But first... tea!
Remember to subscribe and click the bell to get notifications, so you don't miss out on any of our daily videos, teaching you how to write a Christmas song.
Lastly, if you'd like us to teach you how to write great songs from start to finish, then join our online apprenticeship program at Patreon.com/RevolutionHarmony (select ARTIST tier).
We really hope you dig our new music theory lesson, and if you wanna get your hands on all the vital theory hacks you need to write great songs, then please download our Hack Music Theory for Songwriting & Producing PDF (click & scroll down).
Thank you for being brave and committing to make the world a better place through better music. Until next week, happy songwriting & producing!
Kate & Ray Harmony Vancouver BC, Canada Music Teachers, Songwriters & Producers
Wooohooo!!! You’re a mere 30 minutes away from being even smarter than you already are. Just head over to your inbox now for your free download.
There was an error submitting your subscription. Please try again.
“most brilliant, fast, easy & fun music theory book I’ve ever seen” –DEREK SIVERS, CD Baby founder
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How to Write Christmas Songs (Day 19: How to Write an Original EDM Drum Beat)
Dec 19, 2017
Are you ready for some crazy Christmas fun? Good, cos December is shaping up to be a wild ride here at the Revolution Harmony studio, as we're doing daily Hack Music Theory videos. Yeah!!!
So, here's our Christmas challenge to ourselves: It's kinda like a music theory advent calendar, where we'll be writing a Christmas song over the next few weeks, and teaching you the music theory and songwriting hacks we use along the way!
Okay, now click play above and get stuck into Day 19's video, where we teach you how to write an EDM drum beat for your bass line and chord progression. But first... tea!
Remember to subscribe and click the bell to get notifications, so you don't miss out on any of our daily videos, teaching you how to write a Christmas song.
Lastly, if you'd like us to teach you how to write great songs from start to finish, then join our online apprenticeship program at Patreon.com/RevolutionHarmony (select ARTIST tier).
We really hope you dig our new music theory lesson, and if you wanna get your hands on all the vital theory hacks you need to write great songs, then please download our Hack Music Theory for Songwriting & Producing PDF (click & scroll down).
Thank you for being brave and committing to make the world a better place through better music. Until next week, happy songwriting & producing!
Kate & Ray Harmony Vancouver BC, Canada Music Teachers, Songwriters & Producers
Wooohooo!!! You’re a mere 30 minutes away from being even smarter than you already are. Just head over to your inbox now for your free download.
There was an error submitting your subscription. Please try again.
“most brilliant, fast, easy & fun music theory book I’ve ever seen” –DEREK SIVERS, CD Baby founder
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How to Write Christmas Songs (Day 18: Write EDM Bass Line for Chord Progression)
Dec 19, 2017
Are you ready for some crazy Christmas fun? Good, cos December is shaping up to be a wild ride here at the Revolution Harmony studio, as we're doing daily Hack Music Theory videos. Yeah!!!
So, here's our Christmas challenge to ourselves: It's kinda like a music theory advent calendar, where we'll be writing a Christmas song over the next few weeks, and teaching you the music theory and songwriting hacks we use along the way!
Okay, now click play above and get stuck into Day 18's video, where we teach you how to write an EDM bass line for your chord progression. But first... tea!
Time stamps for video: 1:59 Don't Start at the Start (Hack 1A) 2:22 Anticipations (Hack 1B) 3:17 Rhythmic Motif (Hack 2) 5:25 Variations (Hack 3) 8:06 Funky Trio (Hack 4) 9:16 Final Playthrough (Music)
Remember to subscribe and click the bell to get notifications, so you don't miss out on any of our daily videos, teaching you how to write a Christmas song.
Lastly, if you'd like us to teach you how to write great songs from start to finish, then join our online apprenticeship program at Patreon.com/RevolutionHarmony (select ARTIST tier).
We really hope you dig our new music theory lesson, and if you wanna get your hands on all the vital theory hacks you need to write great songs, then please download our Hack Music Theory for Songwriting & Producing PDF (click & scroll down).
Thank you for being brave and committing to make the world a better place through better music. Until next week, happy songwriting & producing!
Kate & Ray Harmony Vancouver BC, Canada Music Teachers, Songwriters & Producers
Wooohooo!!! You’re a mere 30 minutes away from being even smarter than you already are. Just head over to your inbox now for your free download.
There was an error submitting your subscription. Please try again.
“most brilliant, fast, easy & fun music theory book I’ve ever seen” –DEREK SIVERS, CD Baby founder
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How to Write Christmas Songs (Day 17: Make Chord Progression Better - Add9, etc)
Dec 17, 2017
Are you ready for some crazy Christmas fun? Good, cos December is shaping up to be a wild ride here at the Revolution Harmony studio, as we're doing daily Hack Music Theory videos. Yeah!!!
So, here's our Christmas challenge to ourselves: It's kinda like a music theory advent calendar, where we'll be writing a Christmas song over the next few weeks, and teaching you the music theory and songwriting hacks we use along the way!
Okay, now click play above and get stuck into Day 17, where we teach you our four most powerful hacks for making your 3-note chords more interesting, so your chord progressions can stand out while still fitting in. But first... tea!
Time stamps for video: 1:14 Concept 1:37 Hack 1: Spread Notes 2:03 Hack 2: Position 3rds 3:47 Hack 3: Add9 & 7th 6:56 Hack 4: Motifs 7:53 Playthrough
Remember to subscribe and click the bell to get notifications, so you don't miss out on any of our daily videos, teaching you how to write a Christmas song.
Lastly, if you'd like us to teach you how to write great songs from start to finish, then join our online apprenticeship program at Patreon.com/RevolutionHarmony (select ARTIST tier).
We really hope you dig our new music theory lesson, and if you wanna get your hands on all the vital theory hacks you need to write great songs, then please download our Hack Music Theory for Songwriting & Producing PDF (click & scroll down).
Thank you for being brave and committing to make the world a better place through better music. Until next week, happy songwriting & producing!
Kate & Ray Harmony Vancouver BC, Canada Music Teachers, Songwriters & Producers
Wooohooo!!! You’re a mere 30 minutes away from being even smarter than you already are. Just head over to your inbox now for your free download.
There was an error submitting your subscription. Please try again.
“most brilliant, fast, easy & fun music theory book I’ve ever seen” –DEREK SIVERS, CD Baby founder
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How to Write Christmas Songs (Day 16: Write a Non-Diatonic Chord Progression)
Dec 17, 2017
Are you ready for some crazy Christmas fun? Good, cos December is shaping up to be a wild ride here at the Revolution Harmony studio, as we're doing daily Hack Music Theory videos. Yeah!!!
So, here's our Christmas challenge to ourselves: It's kinda like a music theory advent calendar, where we'll be writing a Christmas song over the next few weeks, and teaching you the music theory and songwriting hacks we use along the way!
Okay, now click play above and get stuck into Day 16, where we teach you how to use a non-diatonic chord / chromatic chord (i.e. a chord that is not in the key) to make your chord progression more interesting.. But first... tea!
Remember to subscribe and click the bell to get notifications, so you don't miss out on any of our daily videos, teaching you how to write a Christmas song.
Lastly, if you'd like us to teach you how to write great songs from start to finish, then join our online apprenticeship program at Patreon.com/RevolutionHarmony (select ARTIST tier).
We really hope you dig our new music theory lesson, and if you wanna get your hands on all the vital theory hacks you need to write great songs, then please download our Hack Music Theory for Songwriting & Producing PDF (click & scroll down).
Thank you for being brave and committing to make the world a better place through better music. Until next week, happy songwriting & producing!
Kate & Ray Harmony Vancouver BC, Canada Music Teachers, Songwriters & Producers
Wooohooo!!! You’re a mere 30 minutes away from being even smarter than you already are. Just head over to your inbox now for your free download.
There was an error submitting your subscription. Please try again.
“most brilliant, fast, easy & fun music theory book I’ve ever seen” –DEREK SIVERS, CD Baby founder
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How to Write Christmas Songs (Day 15: Staccato Synth Chord Progression)
Dec 15, 2017
Are you ready for some crazy Christmas fun? Good, cos December is shaping up to be a wild ride here at the Revolution Harmony studio, as we're doing daily Hack Music Theory videos. Yeah!!!
So, here's our Christmas challenge to ourselves: It's kinda like a music theory advent calendar, where we'll be writing a Christmas song over the next few weeks, and teaching you the music theory and songwriting hacks we use along the way!
Okay, now click play above and get stuck into Day 15, where we teach you how to add energy to your chord progression, without changing your chords. So, get ready for an awesome staccato synth chord progression hack. But first... tea!
Remember to subscribe and click the bell to get notifications, so you don't miss out on any of our daily videos, teaching you how to write a Christmas song.
Lastly, if you'd like us to teach you how to write great songs from start to finish, then join our online apprenticeship program at Patreon.com/RevolutionHarmony (select ARTIST tier).
We really hope you dig our new music theory lesson, and if you wanna get your hands on all the vital theory hacks you need to write great songs, then please download our Hack Music Theory for Songwriting & Producing PDF (click & scroll down).
Thank you for being brave and committing to make the world a better place through better music. Until next week, happy songwriting & producing!
Kate & Ray Harmony Vancouver BC, Canada Music Teachers, Songwriters & Producers
Wooohooo!!! You’re a mere 30 minutes away from being even smarter than you already are. Just head over to your inbox now for your free download.
There was an error submitting your subscription. Please try again.
“most brilliant, fast, easy & fun music theory book I’ve ever seen” –DEREK SIVERS, CD Baby founder
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How to Write Christmas Songs (Day 14: Rhythmic Variation for Bass Line & Drums)
Dec 14, 2017
Are you ready for some crazy Christmas fun? Good, cos December is shaping up to be a wild ride here at the Revolution Harmony studio, as we're doing daily Hack Music Theory videos. Yeah!!!
So, here's our Christmas challenge to ourselves: It's kinda like a music theory advent calendar, where we'll be writing a Christmas song over the next few weeks, and teaching you the music theory and songwriting hacks we use along the way!
Okay, now click play above and get stuck into Day 14, where we teach you how to add rhythmic variation to your bass line, chord progression and drum beat, in order to keep your chorus fresh all the way through. But first... tea!
Remember to subscribe and click the bell to get notifications, so you don't miss out on any of our daily videos, teaching you how to write a Christmas song.
Lastly, if you'd like us to teach you how to write great songs from start to finish, then join our online apprenticeship program at Patreon.com/RevolutionHarmony (select ARTIST tier).
We really hope you dig our new music theory lesson, and if you wanna get your hands on all the vital theory hacks you need to write great songs, then please download our Hack Music Theory for Songwriting & Producing PDF (click & scroll down).
Thank you for being brave and committing to make the world a better place through better music. Until next week, happy songwriting & producing!
Kate & Ray Harmony Vancouver BC, Canada Music Teachers, Songwriters & Producers
Wooohooo!!! You’re a mere 30 minutes away from being even smarter than you already are. Just head over to your inbox now for your free download.
There was an error submitting your subscription. Please try again.
“most brilliant, fast, easy & fun music theory book I’ve ever seen” –DEREK SIVERS, CD Baby founder
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How to Write Christmas Songs (Day 13: Add Hook Variation to Keep Melody Fresh)
Dec 13, 2017
Are you ready for some crazy Christmas fun? Good, cos December is shaping up to be a wild ride here at the Revolution Harmony studio, as we're doing daily Hack Music Theory videos. Yeah!!!
So, here's our Christmas challenge to ourselves: It's kinda like a music theory advent calendar, where we'll be writing a Christmas song over the next few weeks, and teaching you the music theory and songwriting hacks we use along the way!
Okay, now click play above and get stuck into Day 13's video, where we teach you how to add variation to your hook so your melody stays fresh. But first... tea!
Remember to subscribe and click the bell to get notifications, so you don't miss out on any of our daily videos, teaching you how to write a Christmas song.
Lastly, if you'd like us to teach you how to write great songs from start to finish, then join our online apprenticeship program at Patreon.com/RevolutionHarmony (select ARTIST tier).
We really hope you dig our new music theory lesson, and if you wanna get your hands on all the vital theory hacks you need to write great songs, then please download our Hack Music Theory for Songwriting & Producing PDF (click & scroll down).
Thank you for being brave and committing to make the world a better place through better music. Until next week, happy songwriting & producing!
Kate & Ray Harmony Vancouver BC, Canada Music Teachers, Songwriters & Producers
Wooohooo!!! You’re a mere 30 minutes away from being even smarter than you already are. Just head over to your inbox now for your free download.
There was an error submitting your subscription. Please try again.
“most brilliant, fast, easy & fun music theory book I’ve ever seen” –DEREK SIVERS, CD Baby founder
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How to Write Christmas Songs (Day 12: Write More Counterpoint Vocal Harmony)
Dec 12, 2017
Are you ready for some crazy Christmas fun? Good, cos December is shaping up to be a wild ride here at the Revolution Harmony studio, as we're doing daily Hack Music Theory videos. Yeah!!!
So, here's our Christmas challenge to ourselves: It's kinda like a music theory advent calendar, where we'll be writing a Christmas song over the next few weeks, and teaching you the music theory and songwriting hacks we use along the way!
Okay, now click play above and get stuck into Day 12's video, where we teach you how to write another counterpoint vocal melody, in order to create 3-part vocal harmony for your hook.. But first... tea!
Remember to subscribe and click the bell to get notifications, so you don't miss out on any of our daily videos, teaching you how to write a Christmas song.
Lastly, if you'd like us to teach you how to write great songs from start to finish, then join our online apprenticeship program at Patreon.com/RevolutionHarmony (select ARTIST tier).
We really hope you dig our new music theory lesson, and if you wanna get your hands on all the vital theory hacks you need to write great songs, then please download our Hack Music Theory for Songwriting & Producing PDF (click & scroll down).
Thank you for being brave and committing to make the world a better place through better music. Until next week, happy songwriting & producing!
Kate & Ray Harmony Vancouver BC, Canada Music Teachers, Songwriters & Producers
Wooohooo!!! You’re a mere 30 minutes away from being even smarter than you already are. Just head over to your inbox now for your free download.
There was an error submitting your subscription. Please try again.
“most brilliant, fast, easy & fun music theory book I’ve ever seen” –DEREK SIVERS, CD Baby founder
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How to Write Christmas Songs (Day 11: Write Counterpoint Vocal Harmony)
Dec 11, 2017
Are you ready for some crazy Christmas fun? Good, cos December is shaping up to be a wild ride here at the Revolution Harmony studio, as we're doing daily Hack Music Theory videos. Yeah!!!
So, here's our Christmas challenge to ourselves: It's kinda like a music theory advent calendar, where we'll be writing a Christmas song over the next few weeks, and teaching you the music theory and songwriting hacks we use along the way!
Okay, now click play above and get stuck into Day 11's video, where we teach you how to write strong vocal harmonies, using a counterpoint melody. This will create truly unique sounding vocal harmonies, as hardly anyone uses counterpoint in popular music these days. But first... tea!
Remember to subscribe and click the bell to get notifications, so you don't miss out on any of our daily videos, teaching you how to write a Christmas song.
Lastly, if you'd like us to teach you how to write great songs from start to finish, then join our online apprenticeship program at Patreon.com/RevolutionHarmony (select ARTIST tier).
We really hope you dig our new music theory lesson, and if you wanna get your hands on all the vital theory hacks you need to write great songs, then please download our Hack Music Theory for Songwriting & Producing PDF (click & scroll down).
Thank you for being brave and committing to make the world a better place through better music. Until next week, happy songwriting & producing!
Kate & Ray Harmony Vancouver BC, Canada Music Teachers, Songwriters & Producers
Wooohooo!!! You’re a mere 30 minutes away from being even smarter than you already are. Just head over to your inbox now for your free download.
There was an error submitting your subscription. Please try again.
“most brilliant, fast, easy & fun music theory book I’ve ever seen” –DEREK SIVERS, CD Baby founder
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How to Write Christmas Songs (Day 10: Write a Drum Beat in Odd Time Signature)
Dec 10, 2017
Are you ready for some crazy Christmas fun? Good, cos December is shaping up to be a wild ride here at the Revolution Harmony studio, as we're doing daily Hack Music Theory videos. Yeah!!!
So, here's our Christmas challenge to ourselves: It's kinda like a music theory advent calendar, where we'll be writing a Christmas song over the next few weeks, and teaching you the music theory and songwriting hacks we use along the way!
Okay, now click play above and get stuck into Day 10's video, where we teach you how to write a unique drum beat (in the odd time signature of 5/4) that stands out from the crowd. But first... tea!
Remember to subscribe and click the bell to get notifications, so you don't miss out on any of our daily videos, teaching you how to write a Christmas song.
Lastly, if you'd like us to teach you how to write great songs from start to finish, then join our online apprenticeship program at Patreon.com/RevolutionHarmony (select ARTIST tier).
We really hope you dig our new music theory lesson, and if you wanna get your hands on all the vital theory hacks you need to write great songs, then please download our Hack Music Theory for Songwriting & Producing PDF (click & scroll down).
Thank you for being brave and committing to make the world a better place through better music. Until next week, happy songwriting & producing!
Kate & Ray Harmony Vancouver BC, Canada Music Teachers, Songwriters & Producers
Wooohooo!!! You’re a mere 30 minutes away from being even smarter than you already are. Just head over to your inbox now for your free download.
There was an error submitting your subscription. Please try again.
“most brilliant, fast, easy & fun music theory book I’ve ever seen” –DEREK SIVERS, CD Baby founder
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How to Write Christmas Songs (Day 9: Write a Bass Line)
Dec 09, 2017
Are you ready for some crazy Christmas fun? Good, cos December is shaping up to be a wild ride here at the Revolution Harmony studio, as we're doing daily Hack Music Theory videos. Yeah!!!
So, here's our Christmas challenge to ourselves: It's kinda like a music theory advent calendar, where we'll be writing a Christmas song over the next few weeks, and teaching you the music theory and songwriting hacks we use along the way!
Okay, now click play above and get stuck into Day 9's video, where we teach you how to write a bass line (i.e. bass melody) for your chord progression. But first... tea!
Remember to subscribe and click the bell to get notifications, so you don't miss out on any of our daily videos, teaching you how to write a Christmas song.
Lastly, if you'd like us to teach you how to write great songs from start to finish, then join our online apprenticeship program at Patreon.com/RevolutionHarmony (select ARTIST tier).
We really hope you dig our new music theory lesson, and if you wanna get your hands on all the vital theory hacks you need to write great songs, then please download our Hack Music Theory for Songwriting & Producing PDF (click & scroll down).
Thank you for being brave and committing to make the world a better place through better music. Until next week, happy songwriting & producing!
Kate & Ray Harmony Vancouver BC, Canada Music Teachers, Songwriters & Producers
Wooohooo!!! You’re a mere 30 minutes away from being even smarter than you already are. Just head over to your inbox now for your free download.
There was an error submitting your subscription. Please try again.
“most brilliant, fast, easy & fun music theory book I’ve ever seen” –DEREK SIVERS, CD Baby founder
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How to Write Christmas Songs (Day 8: Add Rhythm to Chord Progression)
Dec 08, 2017
Are you ready for some crazy Christmas fun? Good, cos December is shaping up to be a wild ride here at the Revolution Harmony studio, as we're doing daily Hack Music Theory videos. Yeah!!!
So, here's our Christmas challenge to ourselves: It's kinda like a music theory advent calendar, where we'll be writing a Christmas song over the next few weeks, and teaching you the music theory and songwriting hacks we use along the way!
Okay, now click play above and get stuck into Day 8's video, where we teach you how to add an interesting rhythm to your chord progression, to take it to the next level. But first... tea!
Remember to subscribe and click the bell to get notifications, so you don't miss out on any of our daily videos, teaching you how to write a Christmas song.
Lastly, if you'd like us to teach you how to write great songs from start to finish, then join our online apprenticeship program at Patreon.com/RevolutionHarmony (select ARTIST tier).
We really hope you dig our new music theory lesson, and if you wanna get your hands on all the vital theory hacks you need to write great songs, then please download our Hack Music Theory for Songwriting & Producing PDF (click & scroll down).
Thank you for being brave and committing to make the world a better place through better music. Until next week, happy songwriting & producing!
Kate & Ray Harmony Vancouver BC, Canada Music Teachers, Songwriters & Producers
Wooohooo!!! You’re a mere 30 minutes away from being even smarter than you already are. Just head over to your inbox now for your free download.
There was an error submitting your subscription. Please try again.
“most brilliant, fast, easy & fun music theory book I’ve ever seen” –DEREK SIVERS, CD Baby founder
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How to Write Christmas Songs (Day 7: Inversions & Sus Chords in Progression)
Dec 07, 2017
Are you ready for some crazy Christmas fun? Good, cos December is gonna be a wild ride here at the Revolution Harmony studio, as we'll be doing daily Hack Music Theory videos. Yeah!!!
So, here's our Christmas challenge to ourselves: It's kinda like a music theory advent calendar, where we'll be writing a Christmas song over the next few weeks, and teaching you the music theory and songwriting hacks we use along the way!
Okay, now click play above and get stuck into Day 7's video, where we teach you how to use inversions, sus chords and more, to make all your chord changes in your chord progression flow smoothly, so it sounds super professional. But first... tea!
Remember to subscribe and click the bell to get notifications, so you don't miss out on any of our daily videos, teaching you how to write a Christmas song.
Lastly, if you'd like us to teach you how to write great songs from start to finish, then join our online apprenticeship program at Patreon.com/RevolutionHarmony (select ARTIST tier).
We really hope you dig our new music theory lesson, and if you wanna get your hands on all the vital theory hacks you need to write great songs, then please download our Hack Music Theory for Songwriting & Producing PDF (click & scroll down).
Thank you for being brave and committing to make the world a better place through better music. Until next week, happy songwriting & producing!
Kate & Ray Harmony Vancouver BC, Canada Music Teachers, Songwriters & Producers
Wooohooo!!! You’re a mere 30 minutes away from being even smarter than you already are. Just head over to your inbox now for your free download.
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“most brilliant, fast, easy & fun music theory book I’ve ever seen” –DEREK SIVERS, CD Baby founder
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How to Write Christmas Songs (Day 6: Write Chord Progression / Harmonize Melody)
Dec 06, 2017
Are you ready for some crazy Christmas fun? Good, cos December is gonna be a wild ride here at the Revolution Harmony studio, as we'll be doing daily Hack Music Theory videos. Yeah!!!
So, here's our Christmas challenge to ourselves: It's kinda like a music theory advent calendar, where we'll be writing a Christmas song over the next few weeks, and teaching you the music theory and songwriting hacks we use along the way!
Okay, now click play above and get stuck into Day 6's video, where we teach you how to write a chord progression for your melody (AKA harmonizing a melody). But first... tea!
Remember to subscribe and click the bell to get notifications, so you don't miss out on any of our daily videos, teaching you how to write a Christmas song.
Lastly, if you'd like us to teach you how to write great songs from start to finish, then join our online apprenticeship program at Patreon.com/RevolutionHarmony (select ARTIST tier).
We really hope you dig our new music theory lesson, and if you wanna get your hands on all the vital theory hacks you need to write great songs, then please download our Hack Music Theory for Songwriting & Producing PDF (click & scroll down).
Thank you for being brave and committing to make the world a better place through better music. Until next week, happy songwriting & producing!
Kate & Ray Harmony Vancouver BC, Canada Music Teachers, Songwriters & Producers
Wooohooo!!! You’re a mere 30 minutes away from being even smarter than you already are. Just head over to your inbox now for your free download.
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“most brilliant, fast, easy & fun music theory book I’ve ever seen” –DEREK SIVERS, CD Baby founder
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How to Write Christmas Songs (Day 5: Write a Melody)
Dec 05, 2017
Are you ready for some crazy Christmas fun? Good, cos December is gonna be a wild ride here at the Revolution Harmony studio, as we'll be doing daily Hack Music Theory videos. Yeah!!!
So, here's our Christmas challenge to ourselves: It's kinda like a music theory advent calendar, where we'll be writing a Christmas song over the next few weeks, and teaching you the music theory and songwriting hacks we use along the way!
Okay, now click play above and get stuck into Day 5's video, where we teach you how to write a melody for your lyric hook. But first... tea!
Remember to subscribe and click the bell to get notifications, so you don't miss out on any of our daily videos, teaching you how to write a Christmas song.
Lastly, if you'd like us to teach you how to write great songs from start to finish, then join our online apprenticeship program at Patreon.com/RevolutionHarmony (select ARTIST tier).
We really hope you dig our new music theory lesson, and if you wanna get your hands on all the vital theory hacks you need to write great songs, then please download our Hack Music Theory for Songwriting & Producing PDF (click & scroll down).
Thank you for being brave and committing to make the world a better place through better music. Until next week, happy songwriting & producing!
Kate & Ray Harmony Vancouver BC, Canada Music Teachers, Songwriters & Producers
Wooohooo!!! You’re a mere 30 minutes away from being even smarter than you already are. Just head over to your inbox now for your free download.
There was an error submitting your subscription. Please try again.
“most brilliant, fast, easy & fun music theory book I’ve ever seen” –DEREK SIVERS, CD Baby founder
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How to Write Christmas Songs (Day 4: Pick a Mode)
Dec 04, 2017
Are you ready for some crazy Christmas fun? Good, cos December is gonna be a wild ride here at the Revolution Harmony studio, as we'll be doing daily Hack Music Theory videos. Yeah!!!
So, here's our Christmas challenge to ourselves: It's kinda like a music theory advent calendar, where we'll be writing a Christmas song over the next few weeks, and teaching you the music theory and songwriting hacks we use along the way!
Okay, now click play above and get stuck into Day 4's video, where we teach you how to pick a mode for your song. But first... tea!
Remember to subscribe and click the bell to get notifications, so you don't miss out on any of our daily videos, teaching you how to write a Christmas song.
Lastly, if you'd like us to teach you how to write great songs from start to finish, then join our online apprenticeship program at Patreon.com/RevolutionHarmony (select ARTIST tier).
We really hope you dig our new music theory lesson, and if you wanna get your hands on all the vital theory hacks you need to write great songs, then please download our Hack Music Theory for Songwriting & Producing PDF (click & scroll down).
Thank you for being brave and committing to make the world a better place through better music. Until next week, happy songwriting & producing!
Kate & Ray Harmony Vancouver BC, Canada Music Teachers, Songwriters & Producers
Wooohooo!!! You’re a mere 30 minutes away from being even smarter than you already are. Just head over to your inbox now for your free download.
There was an error submitting your subscription. Please try again.
“most brilliant, fast, easy & fun music theory book I’ve ever seen” –DEREK SIVERS, CD Baby founder
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How to Write Christmas Songs (Day 3: Rhythm & Time Signature)
Dec 03, 2017
Are you ready for some crazy Christmas fun? Good, cos December is gonna be a wild ride here at the Revolution Harmony studio, as we'll be doing daily Hack Music Theory videos. Yeah!!!
So, here's our Christmas challenge to ourselves: It's kinda like a music theory advent calendar, where we'll be writing a Christmas song over the next few weeks, and teaching you the music theory and songwriting hacks we use along the way!
Okay, now click play above and get stuck into Day 3's video, where we teach you how to give your lyric hook a rhythm and time signature, then put it into MIDI in your DAW's piano roll. But first... tea!
Remember to subscribe and click the bell to get notifications, so you don't miss out on any of our daily videos, teaching you how to write a Christmas song.
Lastly, if you'd like us to teach you how to write great songs from start to finish, then join our online apprenticeship program at Patreon.com/RevolutionHarmony (select ARTIST tier).
We really hope you dig our new music theory lesson, and if you wanna get your hands on all the vital theory hacks you need to write great songs, then please download our Hack Music Theory for Songwriting & Producing PDF (click & scroll down).
Thank you for being brave and committing to make the world a better place through better music. Until next week, happy songwriting & producing!
Kate & Ray Harmony Vancouver BC, Canada Music Teachers, Songwriters & Producers
Wooohooo!!! You’re a mere 30 minutes away from being even smarter than you already are. Just head over to your inbox now for your free download.
There was an error submitting your subscription. Please try again.
“most brilliant, fast, easy & fun music theory book I’ve ever seen” –DEREK SIVERS, CD Baby founder
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How to Write Christmas Songs (Day 2: Lyric Hook)
Dec 02, 2017
Are you ready for some crazy Christmas fun? Good, cos December is gonna be a wild ride here at the Revolution Harmony studio, as we'll be doing daily Hack Music Theory videos. Yeah!!!
So, here's our Christmas challenge to ourselves: It's kinda like a music theory advent calendar, where we'll be writing a Christmas song over the next few weeks, and teaching you the music theory and songwriting hacks we use along the way!
Okay, now click play above and get stuck into Day 2's video, where we teach you how to create a lyric hook. But first... tea!
Remember to subscribe and click the bell to get notifications, so you don't miss out on any of our daily videos, teaching you how to write a Christmas song.
Lastly, if you'd like us to teach you how to write great songs from start to finish, then join our online apprenticeship program at Patreon.com/RevolutionHarmony (select ARTIST tier).
We really hope you dig our new music theory lesson, and if you wanna get your hands on all the vital theory hacks you need to write great songs, then please download our Hack Music Theory for Songwriting & Producing PDF (click & scroll down).
Thank you for being brave and committing to make the world a better place through better music. Until next week, happy songwriting & producing!
Kate & Ray Harmony Vancouver BC, Canada Music Teachers, Songwriters & Producers
Wooohooo!!! You’re a mere 30 minutes away from being even smarter than you already are. Just head over to your inbox now for your free download.
There was an error submitting your subscription. Please try again.
“most brilliant, fast, easy & fun music theory book I’ve ever seen” –DEREK SIVERS, CD Baby founder
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How to Write Christmas Songs (Day 1: Conceptualize)
Dec 01, 2017
Are you ready for some crazy Christmas fun? Good, cos December is gonna be a wild ride here at the Revolution Harmony studio, as we'll be doing daily Hack Music Theory videos. Yeah!!!
So, here's our Christmas challenge to ourselves: It's kinda like a music theory advent calendar, where we'll be writing a Christmas song over the next few weeks, and teaching you the music theory and songwriting hacks we use along the way!
Okay, now click play above and get stuck into Day 1's video, where we teach you how to conceptualize. But first... tea!
Remember to subscribe and click the bell to get notifications, so you don't miss out on any of our daily videos, teaching you how to write a Christmas song.
Lastly, if you'd like us to teach you how to write great songs from start to finish, then join our online apprenticeship program at Patreon.com/RevolutionHarmony (select ARTIST tier).
We really hope you dig our new music theory lesson, and if you wanna get your hands on all the vital theory hacks you need to write great songs, then please download our Hack Music Theory for Songwriting & Producing PDF (click & scroll down).
Thank you for being brave and committing to make the world a better place through better music. Until next week, happy songwriting & producing!
Kate & Ray Harmony Vancouver BC, Canada Music Teachers, Songwriters & Producers
Wooohooo!!! You’re a mere 30 minutes away from being even smarter than you already are. Just head over to your inbox now for your free download.
There was an error submitting your subscription. Please try again.
“most brilliant, fast, easy & fun music theory book I’ve ever seen” –DEREK SIVERS, CD Baby founder
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How to Write Christmas Songs: The Challenge
Nov 30, 2017
Are you ready for some crazy Christmas fun? Good, cos December is gonna be a wild ride here at the Revolution Harmony studio, as we'll be doing daily Hack Music Theory videos. Yeah!!!
So, here's our Christmas challenge to ourselves: It's kinda like a music theory advent calendar, where we'll be writing a Christmas song over the next few weeks, and teaching you the music theory and songwriting hacks we use along the way!
Remember to subscribe and click the bell to get notifications, so you don't miss out on any of our daily videos, teaching you how to write a Christmas song. But first... tea!
Lastly, if you'd like us to teach you how to write great songs from start to finish, then join our online apprenticeship program at Patreon.com/RevolutionHarmony (select ARTIST tier).
We really hope you dig our new music theory lesson, and if you wanna get your hands on all the vital theory hacks you need to write great songs, then please download our Hack Music Theory for Songwriting & Producing PDF (click & scroll down).
Thank you for being brave and committing to make the world a better place through better music. Until next week, happy songwriting & producing!
Kate & Ray Harmony Vancouver BC, Canada Music Teachers, Songwriters & Producers
Wooohooo!!! You’re a mere 30 minutes away from being even smarter than you already are. Just head over to your inbox now for your free download.
There was an error submitting your subscription. Please try again.
“most brilliant, fast, easy & fun music theory book I’ve ever seen” –DEREK SIVERS, CD Baby founder
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How to Write a Melody for a Catchy Chorus in 4 Steps (AKA How to Write a Hook)
Nov 23, 2017
Do you wish your chorus melodies were catchier? If so, then this video is perfect for you, cos we are finally revealing our top-secret and most powerful 4 hacks for turning your chorus melodies into unforgettable ear worms!
►Free Download / Stream of Age of Rising (the song in this video)
When it comes to songwriting and producing, a great melody is by far the most important element, and if you wanna raise your melody writing game up to earworm status, then you're definitely gonna need to know how to hook your listeners. So, watch this Hack Music Theory lesson to learn how to write a hook melody, in order to create the ultimate catchy pop song chorus!
With modes and catchy melodies (consisting of 3rds, links, motifs & variations), your hooks will result in mega memorable choruses for your songs. This example is in the Dorian mode, but these melody hacks can be used in any mode, and in any genre (yes, including hip-hop, rock, R&B, EDM, metal, djent, etc.). So, if you wanna learn how to write a melody for a catchy chorus, then use these 4 music theory hacks and songwriting hacks to produce and write a hit song that's contagiously catchy. But first... tea!
Lastly, if you'd like us to teach you how to write great songs from start to finish, then join our online apprenticeship program at Patreon.com/RevolutionHarmony (select ARTIST tier).
We really hope you dig our new music theory lesson, and if you wanna get your hands on all the vital theory hacks you need to write great songs, then please download our Hack Music Theory for Songwriting & Producing PDF (click & scroll down).
Thank you for being brave and committing to make the world a better place through better music. Until next week, happy songwriting & producing!
Wooohooo!!! You’re a mere 30 minutes away from being even smarter than you already are. Just head over to your inbox now for your free download.
There was an error submitting your subscription. Please try again.
“most brilliant, fast, easy & fun music theory book I’ve ever seen” –DEREK SIVERS, CD Baby founder
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How to Program Drum Beats from Bass Lines (Lesson for MIDI Drums & Real Drums)
Nov 16, 2017
Watch this Hack Music Theory lesson to learn how to program drum beats from bass lines and take your music production and drum programming to the next level. But first... tea!
We're so pumped to share Tony Holroyd's second "Hack Drums" video with y'all. In this lesson, he teaches you how to program drum beats from bass lines or guitar riffs. He breaks down this creative process into four easy hacks. So whether you want to program MIDI drums or write live drum parts, just follow these drum hacks, and your drum beats won't just be unique, they'll be super groovy, too!
►Free Download / Stream of They Live to Kill (the song in this video)
Lastly, if you'd like us to teach you how to write great songs from start to finish, then join our online apprenticeship program at Patreon.com/RevolutionHarmony (select ARTIST tier). Over the last month, we've covered how to write a new section for an existing section, how to transition between a verse and a chorus, as well as how to write the vocal melody that your chord progression wants. Get instant access to all these exclusive videos by joining now!
We really hope you dig our new music theory lesson, and if you wanna get your hands on all the vital theory hacks you need to write great songs, then please download our Hack Music Theory for Songwriting & Producing PDF (click & scroll down).
Thank you for being brave and committing to make the world a better place through better music. Until next week, happy songwriting & producing!
Wooohooo!!! You’re a mere 30 minutes away from being even smarter than you already are. Just head over to your inbox now for your free download.
There was an error submitting your subscription. Please try again.
“most brilliant, fast, easy & fun music theory book I’ve ever seen” –DEREK SIVERS, CD Baby founder
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Polyrhythm vs. Polymeter (feat. Stranger Things soundtrack inspired examples)
Nov 09, 2017
Would you miss our Hack Music Theory videos, if we stopped making them? If you answered yes, then please support us at Patreon.com/RevolutionHarmony
Polyrhythms, polymeters, pollywogs... these are Strange Things, right? Wrong! They're our friends, well, only when you take the time to get to know them.
After our "Polymeter Bass" video last week, our inbox filled up with questions about the difference between polyrhythms and polymeters, so we decided to make a lesson on this oft-misunderstood topic!
In this Hack Music Theory video, Ray uses a Stranger Things soundtrack inspired synth chord progression and bass line as the foundation to write two versions of the same melody: one is polyrhythmic, and one is polymetric. He teaches the theory along the way, and finishes with an epic A/B comparison of a polyrhythm and a polymeter, so you can finally hear and know the difference. Click play now and say goodbye to all your poly-confusion. But first... tea!
Lastly, if you'd like us to teach you how to write great songs from start to finish, then join our online apprenticeship program at Patreon.com/RevolutionHarmony (select ARTIST tier). Over the last couple weeks, we've covered how to write a new section for an existing section, how to transition between a verse and a chorus, as well as how to write the vocal melody that your chord progression wants!
We really hope you dig our new music theory lesson, and if you wanna get your hands on all the vital theory hacks you need to write great songs, then please download our Hack Music Theory for Songwriting & Producing PDF (click & scroll down).
Thank you for being brave and committing to make the world a better place through better music. Until next week, happy songwriting & producing!
Wooohooo!!! You’re a mere 30 minutes away from being even smarter than you already are. Just head over to your inbox now for your free download.
There was an error submitting your subscription. Please try again.
“most brilliant, fast, easy & fun music theory book I’ve ever seen” –DEREK SIVERS, CD Baby founder
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Polymeter - How to Write a Bass Line (Polymetric Bass Guitar Example)
Nov 02, 2017
How do you turn a three-note or four-note chord into a thrillingly unpredictable melody (i.e. bassline, guitar riff, etc.)? Easy, you just use a polymeter, and then misalign the melody with both time signatures. So, click play now to learn the Hack Music Theory method for how to write a polymetric melody. But first... tea!
►Free Download / Stream of They Live to Kill (the song in this video)
Lastly, if you'd like us to teach you how to write great songs from start to finish, then join our online apprenticeship program at Patreon.com/RevolutionHarmony (select ARTIST tier). Over the last couple weeks, we've covered how to write a new section for an existing section, how to transition between a verse and a chorus, as well as how to write the vocal melody that your chord progression wants!
We really hope you dig our new music theory lesson, and if you wanna get your hands on all the vital theory hacks you need to write great songs, then please download our Hack Music Theory for Songwriting & Producing PDF (click & scroll down).
Thank you for being brave and committing to make the world a better place through better music. Until next week, happy songwriting & producing!
Wooohooo!!! You're a mere 30 minutes away from being even smarter than you already are. Just head over to your inbox now for your free download.
There was an error submitting your subscription. Please try again.
“most brilliant, fast, easy & fun music theory book I’ve ever seen” –DEREK SIVERS, CD Baby founder
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The End of Hack Music Theory (Halloween Special)
Oct 26, 2017
Ray Harmony and the Hack Music Theory revolution are put to the ultimate test in this Halloween Special.
►Free Download / Stream of They Live to Kill(the song in this video)
If Ray fails his challenge, this will be the last ever episode on this YouTube channel. In under five minutes, he needs to write a riff, but he cannot use any scales or any modes.
Ray decides to use one of his favourite songwriting hacks, a note row. This method of composing was invented by Arnold Schoenberg in the 1920s and is known as serialism (AKA dodecaphony, twelve tone technique, 12 tone method) and results in 12 tone music (or 12 note music, if you're British like Ray), which he loves!
Using MIDI programming in his Reaper DAW, as well as his trusty electric guitar, he tackles this colossal challenge with a combination of electronic music theory and a djent guitar mindset (the lesson / tutorial is at 7:32). Ray throws down an epic metal riff while vocalist Garbageface doom raps the grooviest verse you'll ever hear!
So, whether you're looking for a Halloween funny horror music video, Halloween movies, horror movies, horror comedy, Halloween music, or just a Halloween song to get your party pumping, this video is for you. Or, whether you're wanting to seriously learn about 12 tone guitar, djent metal riff writing, hardcore metal riff writing, or just how to write heavy guitar riffs, this video is for you.
And, be sure to watch the guitar playthrough at 11:37 as well, it's unlike anything you've ever seen before!
Lastly, if you'd like us to teach you how to write great songs from start to finish, then join our online apprenticeship program at Patreon.com/RevolutionHarmony (select ARTIST tier). Last week we covered how to write a new section for an existing section, as well as how to transition between a verse and a chorus.
We really hope you dig our new music theory lesson, and if you wanna get your hands on all the vital theory hacks you need to write great songs, then please download our Hack Music Theory for Songwriting & Producing PDF (click & scroll down).
Thank you for being brave and committing to make the world a better place through better music. Until next week, happy songwriting & producing!
Wooohooo!!! You're a mere 30 minutes away from being even smarter than you already are. Just head over to your inbox now for your free download.
There was an error submitting your subscription. Please try again.
“most brilliant, fast, easy & fun music theory book I’ve ever seen” –DEREK SIVERS, CD Baby founder
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How to Write Bass Lines - Bass Guitar & MIDI Synth (Cool Chorus Bassline Melody)
Oct 20, 2017
How do you write a bass line that's super catchy, but doesn't take attention away from the vocals and other instruments? Watch today's Hack Music Theory show to find out:
Lastly, if you'd like us to teach you how to write great songs from start to finish, then join our online apprenticeship program at Patreon.com/RevolutionHarmony (select ARTIST tier). This week we're covering How to Transition Between a Verse and a Chorus.
We really hope you dig our new music theory lesson, and if you wanna get your hands on all the vital theory hacks you need to write great songs, then please download our Hack Music Theory for Songwriting & Producing PDF (click & scroll down).
Thank you for being brave and committing to make the world a better place through better music. Until next week, happy songwriting & producing!
Wooohooo!!! You're a mere 30 minutes away from being even smarter than you already are. Just head over to your inbox now for your free download.
There was an error submitting your subscription. Please try again.
“most brilliant, fast, easy & fun music theory book I’ve ever seen” –DEREK SIVERS, CD Baby founder
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How to Compose a Song - Write a Guitar Riff or Melody over a Chord Progression
Oct 12, 2017
Whether you're an electronic music producer or a guitarist in a band, you're gonna want contagiously catchy riffs in your songs! So, today on the Hack Music Theory show, we reveal our 6 hacks to write catchy riffs for guitar and synth:
Lastly, we'll be doing our first Live Q&A tomorrow on Patreon, for our Revolutionary Artists (the peeps who've signed up for our new online apprenticeship program), so if you're interested in joining, please pop on over to: Patreon.com/RevolutionHarmony.
We really hope you dig our new music theory lesson, and if you wanna get your hands on all the vital theory hacks you need to write great songs, then please download our Hack Music Theory for Songwriting & Producing PDF (click & scroll down).
Thank you for being brave and committing to make the world a better place through better music. Until next week, happy songwriting & producing!
Wooohooo!!! You're a mere 30 minutes away from being even smarter than you already are. Just head over to your inbox now for your free download.
There was an error submitting your subscription. Please try again.
“most brilliant, fast, easy & fun music theory book I’ve ever seen” –DEREK SIVERS, CD Baby founder
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How to Write a Hook - Chord Progression Theory for a Catchy Pop Song Chorus
Oct 05, 2017
So you wanna write a smash hit? Well, you're gonna need a mega memorable chorus then, starting with your chords.
Watch this Hack Music Theory lesson to learn how to use modes and chords to write a mega memorable harmonic progression for your songs' choruses. This example is in the Dorian mode, but the theory can be used in any mode, for any pop song (yes, including hip-hop, rock, R&B, EDM, etc.).
Use these 5 hacks to write and produce a hook that's contagiously catchy, and you might just find your song in the charts. But first (before you compose your smash hit)... tea!
Lastly, we'll be doing our first Live Q&A next week on Patreon for our Revolutionary Artists (the peeps who've signed up for our new online apprenticeship program), so if you're interested in joining, please pop on over to: Patreon.com/RevolutionHarmony.
We really hope you dig our new lesson, and if you wanna get your hands on all the vital theory hacks you need to write great songs, then please download our Hack Music Theory for Songwriting & Producing PDF (click & scroll down).
Thank you for being brave and committing to make the world a better place through better music. Until next week, happy songwriting & producing!
Wooohooo!!! You're a mere 30 minutes away from being even smarter than you already are. Just head over to your inbox now for your free download.
There was an error submitting your subscription. Please try again.
“most brilliant, fast, easy & fun music theory book I’ve ever seen” –DEREK SIVERS, CD Baby founder
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How to Make Basic Drum Beats More Advanced (Lesson for MIDI Drums & Real Drums)
Sep 29, 2017
We’ve got an extra special episode of the Hack Music Theory show for you today, cos we’re introducing a new face... Ray's brother, Tony Holroyd. He's a professional drummer based in Japan, and literally the best drummer we know!
So, whether you play real drums or program MIDI drums, these 5 hacks will spice up your drum beats, and have them sounding like a pro in no time at all.
Lastly, if you enjoy this video lesson, you can download our 5 Hacks for Spicier Drums PDF (click and scroll down). This PDF is a step-by-step guide for applying these drum hacks, and includes MIDI and easy-to-follow screenshots.
Wooohooo!!! You're a mere 30 minutes away from being even smarter than you already are. Just head over to your inbox now for your free download.
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“most brilliant, fast, easy & fun music theory book I’ve ever seen” –DEREK SIVERS, CD Baby founder
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Up Your Verse Game (Tweak Your Modes)
Sep 21, 2017
Most verses in most songs these days are merely filler, something to stick in between the choruses. Verses can be captivating, though, and here's a hack for achieving this: Up Your Verse Game (Tweak Your Modes) – 8 min YouTube video.
The example song in this video is our new single, which is only out September 29th, but you can stream or download it for free right now: I is Love for You.
Lastly, we launched our new "Reality TV" show last week on Patreon, and we had an absolute blast! Thank you to all our patrons for your super positive feedback about this cutting-edge online apprenticeship project. And if you'd like to join our Patreon party, sign up here: Patreon.com/RevolutionHarmony.
We really hope you dig our new lesson, and if you wanna get your hands on all the vital theory hacks you need to write great songs, then please download our Hack Music Theory for Songwriting & Producing PDF.
Thank you for being brave and committing to make the world a better place through better music. Until next week, happy songwriting & producing!
Today on the Hack Music Theory show, we're super excited to reveal the conclusion video for our "Lines Through Lands" example song, which we've been teaching in our 3-Minute Theory series.
In this video, you'll learn how to Hack Counterpoint & Write Unique Harmonies (6-minute YouTube video), which is arguably the No.1 game-changer for all songwriters and producers, cos pretty much nobody uses counterpoint outside of classical music these days!
We really hope you dig our new lesson, and if you wanna learn more about counterpoint as well as get your hands on all the vital theory hacks you need to write great songs, then please download our Hack Music Theory for Songwriting & Producing PDF.
Thank you for being brave and committing to make the world a better place through better music. Until next week, happy songwriting & producing!
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Be sure to hold on to your seat for today's Hack Music Theory show, cos it's an intense ride! In four wild minutes you'll learn our six hacks for better vocals, which Kate then beautifully demonstrates in our song "Lines Through Lands".
If you're a songwriter/producer, then these hacks are vital in order to get great vocals on your songs. And if you're not a musician, then you'll enjoy a behind-the-scenes look at how lyrics and melodies come together. So, buckle up and click Play.
Also, we're super pumped to share with you that we've just uploaded our brand new PDF: How to Write Chord Progressions using Chords Not in the Key (click & scroll down). So, if you wanna know how to use non-diatonic chords to spice up your progressions, then this one's for you!
We really hope you dig our new lesson, and if you wanna get your hands on all the vital theory hacks you need to write great songs, then please download our Hack Music Theory for Songwriting & Producing PDF.
Thank you for being brave and committing to make the world a better place through better music. Until next week, happy songwriting & producing!
Ray Harmony - Victoria BC, Canada Songwriter | Producer | Teacher | Author
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Dial A Bass Line (Give Writer's Block the Finger)
Aug 31, 2017
Last week we launched our new YouTube series Give Writer's Block the Finger, and since then we’ve been receiving the most heartwarming messages from people all over the world who’ve had Writer’s Block for months, even years, and after watching our video are now making music again! There are literally no words to describe how happy and humbled we are to hear this.
Today on the Hack Music Theory show, we're continuing our promise to you of curing Writer's Block once and for all, with a new hack that reveals how you can turn people/places/etc. into modes, and then into bass lines (or any other melodies). So, don't ever waste another minute staring at a blank screen again, just click Play and learn how to Dial A Bass Line.
We really hope you dig our new lesson, and if you wanna get your hands on all the vital theory hacks you need to write great songs, then please download our Hack Music Theory for Songwriting & Producing PDF.
Thank you for being brave and committing to make the world a better place through better music. Until next week, happy songwriting & producing!
Ray Harmony - Victoria BC, Canada Musician | Songwriter | Producer | Teacher
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“most brilliant, fast, easy & fun music theory book I’ve ever seen” –DEREK SIVERS, CD Baby founder
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Give Writer's Block the Finger! (Modes & Chord Progressions)
Aug 25, 2017
It's been a MASSIVE week for our Hack Music Theory show on YouTube, and we now have over 27,000 subscribers. WHOA!!! To celebrate, we want to make ourselves even more helpful.
Considering one of the biggest problems that songwriters/producers have, is writer’s block, we decided to launch what's arguably our most helpful video series yet. So, if you're a songwriter/producer and want to eliminate the debilitating problem of writer's block forever, this video is for you. But first... tea!
We really hope you dig our new lesson, and if you wanna get your hands on all the vital theory hacks you need to write great songs, then please download our Hack Music Theory for Songwriting & Producing PDF.
Lastly, after numerous requests to turn our most popular videos into step-by-step PDF guides, for easy referencing, we're slowly starting to roll 'em out. So, here's our "6 Hacks for Better Bass Lines" PDF & MIDI (scroll to bottom of page). By the way, this video has now clocked up an unbelievable 120,000 views!
Thank you to infinity and beyond for your support, we are deeply grateful and humbled. Until next time, happy musicing!
Ray Harmony - Victoria BC, Canada Musician | Songwriter | Producer | Teacher
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Pitch (melody/harmony) & Rhythm
Aug 17, 2017
It’s another super special episode today, as we’re celebrating the one-year anniversary of my first book Hack Music Theory, Part 1 being published. Yay!!! Well actually, we’ve been working so hard lately, we kinda forgot the anniversary. Oops!
Here we are though, about a month late, but ready to celebrate. And what better way to do that than with a little author reading, and what better place to start than the beginning. So, click play to hear me reading chapter one: Pitch (melody/harmony) & Rhythm. But first... tea!
By the way, if you wanna get yer hands on Hack Music Theory, Part 1, you can grab the ebook or paperback from the links below:
Thank you for being brave and committing to make the world a better place through better music. Until next week, happy songwriting & producing!
Ray Harmony - Victoria BC, Canada Musician | Songwriter | Producer | Teacher
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How to Write a Great Melody: Development & Variation
Aug 10, 2017
In every melody, there's another melody hiding, just waiting to be found and freed! So, today on the Hack Music Theory show, you'll learn Ray's songwriting hack for developing and varying melodies. Whether you're writing a vocal melody or a bass line, this hack will ensure it fulfills its potential. But first... tea!
Just a heads up to our wonderful patrons. We're launching a super exciting new patron-only project over on Patreon in September, so stay tuned for details. And if you wanna join our Patreon party, get on over to Patreon.com/RevolutionHarmony
We really hope you dig our new lesson, and if you wanna get your hands on all the vital theory hacks you need to write great songs, then please download my Hack Music Theory for Songwriting & Producing PDF.
Thank you for being brave and committing to make the world a better place through better music. Until next week, happy songwriting & producing!
Ray Harmony - Victoria BC, Canada Musician | Songwriter | Producer | Teacher
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“most brilliant, fast, easy & fun music theory book I’ve ever seen” –DEREK SIVERS, CD Baby founder
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Funk up Your Songs with Slap Bass
Aug 03, 2017
There ain't nothin' funkier than a bit of slap bass, so this week on the Hack Music Theory show, Ray reveals how to hack this technique and turn your songs into dancefloor fillers. But first... tea!
Just a heads up to our wonderful patrons. We're launching a super exciting new patron-only project over on Patreon in September, so stay tuned for details. And if you wanna join our Patreon party, get on over to Patreon.com/RevolutionHarmony
We really hope you dig our new lesson, and if you wanna get your hands on all the vital theory hacks you need to write great songs, then please download my Hack Music Theory for Songwriting & Producing PDF.
Thank you for being brave and committing to make the world a better place through better music. Until next week, happy songwriting & producing!
Ray Harmony - Victoria BC, Canada Musician | Songwriter | Producer | Teacher
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Walking Bass Lines (feat. our new single "Nostalgic for Nashville")
Jul 27, 2017
You won't believe what we did... We made a country song! Wait, before you click the unsubscribe button, this is not mainstream country, this is seriously alternative country! In fact, it's not really country music at all, but we did take some of the main elements of country and we made a song that's our take on the genre.
This idea came from the enigmatic and prolific songwriter LLL, and resulted in another unique collaboration with her, titled Nostalgic for Nashville. The single features Kate on lead vocals, LLL on backing vocals, Ray on guitar, and Tony Holroyd (Ray's brother) on drums, with artwork by the phenomenal Maria Picassó. Listen to our new single on Spotify
Nostalgic for Nashville has a super fun walking bass line with a shuffle rhythm, which will get your foot tapping for sure, so Ray decided to dive into the music theory behind that section in today's Hack Music Theory show.
In this episode, you'll learn how to melodically liberate your bass lines to walk around below your chords, without sounding like you're practising scales! Also, discover how to rhythmically free up your bass to shuffle wildly, instead of marching orderly. But first... tea!
By the way, we spent over 20 hours creating this video lesson for you. So if you find it helpful, please consider supporting our work. We want to continue making free weekly music theory videos, and if you become a patron for just a couple bucks a month, you help make this workload sustainable for us. If you're interested, please visit Patreon.com/RevolutionHarmony
We really hope you dig our new lesson, and if you wanna get your hands on all the vital theory hacks you need to write great songs, then please download my Hack Music Theory for Songwriting & Producing PDF.
Thank you for being brave and committing to make the world a better place through better music. Until next week, happy songwriting & producing!
Kate & Ray Harmony – Victoria BC, Canada Musicians | Songwriters | Producers | Teachers
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“most brilliant, fast, easy & fun music theory book I’ve ever seen” –DEREK SIVERS, CD Baby founder
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Non-Diatonic Chords (songwriting mini-course & interview with Neil Cowley)
Jul 21, 2017
We're over the moon happy to bring you today's super special episode of the Hack Music Theory show.
What's so special about it? Well, two things actually: Firstly, we recently had the great pleasure and honour of discussing songwriting with the legendary British composer/pianist, Neil Cowley (and yes, our interview is in this video). Secondly, this episode is another free songwriting mini-course, which builds a four-part lesson off our interview, where Ray teaches the "Neil Cowley Technique" (as heard in the piano part of this genius' hugely successful single "Grace")of writing diatonic melodies & non-diatonic chord progressions.
So, check out this Hack Music Theory lesson and learn how to make your own songs stand out from the crowd! In this fickle industry where everyone is timidly copying everyone else (resulting in the dumbing down of music), just one or two clever chromatic notes in your chord progressions can ensure they're truly original, while not detracting from your singable melodies. Click the play button and discover how to simultaneously please the masses, and your inner artist! But first... tea!
"Ray, the brilliant tattooed man, knows his onions!" —Neil Cowley
"It’s a tutorial... and it’s entertaining. Who could ask for more?" —Neil Cowley
Also, be sure to check out the Neil Cowley Trio website, here: NeilCowleyTrio.com
By the way, we spent about 40 hours creating this free mini-course for you. So if you find it helpful, please consider supporting our work. We want to continue making free weekly music theory videos, and if you become a patron for just a couple bucks a month, you help make this workload sustainable for us. If you're interested, please visit Patreon.com/RevolutionHarmony
We really hope you dig our new lesson, and if you wanna get your hands on all the vital theory hacks you need to write great songs, then please download my Hack Music Theory for Songwriting & Producing PDF.
Thank you for being brave and committing to make the world a better place through better music. Until next week, happy songwriting & producing!
Ray Harmony - Victoria BC, Canada Musician | Songwriter | Producer | Teacher
Wooohooo!!! You're a mere 30 minutes away from being even smarter than you already are. Just head over to your inbox now for your free download.
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“most brilliant, fast, easy & fun music theory book I’ve ever seen” –DEREK SIVERS, CD Baby founder
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Changing Speed without Changing Tempo
Jul 14, 2017
The last couple weeks have been rather surreal for us here in the Revolution Harmony studio. After our Jacob Collier, Negative Harmony & How to Write a Negative Melody video kinda blew up, we've been working around the clock to keep up with the momentum. That video now has around 20,000 plays, and our YouTube channel now has over 2,000 subscribers. Whoa!!! Can you believe that?
So, a wonderfully warm welcome to you if you're a new subscriber, and if you've been with us for a while, thank you sincerely for your ongoing support. We are beyond happy and grateful that so many people are interested in our unorthodox approach to music theory.
And on that note, this week on the Hack Music Theory show we reveal one of our most useful magic songwriting and producing tricks yet: Changing Speed without Changing Tempo (19-minute YouTube video). Check out this Hack Music Theory episode to learn how to speed up and slow down your songs without changing the BPM (i.e. tempo). Here's a clue: it involves time signatures! The real world example in this video uses 3/4 and 6/8 to reveal this trick. Seeing (or rather hearing) is believing though, so click the play button and enjoy the video/podcast. But first... tea!
We really hope you dig our new lesson, and if you wanna get your hands on all the vital theory hacks you need to write great songs, then please download my Hack Music Theory for Songwriting & Producing PDF.
Lastly, thanks big time to our patrons over on Patreon for supporting our work. And if you wanna join our Hack Music Theory revolution and get exclusive content too (including the multi-track MIDI file from the example in this video), then please sign up at Patreon.com/RevolutionHarmony
Thank you for being brave and committing to make the world a better place through better music. Until next week, happy songwriting & producing!
Ray Harmony - Victoria BC, Canada Musician | Songwriter | Producer | Teacher
Wooohooo!!! You're a mere 30 minutes away from being even smarter than you already are. Just head over to your inbox now for your free download.
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“most brilliant, fast, easy & fun music theory book I’ve ever seen” –DEREK SIVERS, CD Baby founder
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It's taken us five months of non-stop work (literally!) to build a YouTube community of 500 people. But then, something unbelievable happened this week...
After uploading our video Jacob Collier, Negative Harmony & How to Write a Negative Melody last Thursday (which has now reached an astonishing 14,000 views), we’ve had the great pleasure and honour of welcoming 1,000 new subscribers to our Hack Music Theory community on YouTube. Wow!!!
To celebrate, and to thank each and every single one of you for your interest in our unorthodox approach to music theory, we've worked around the clock the last few days to make you a free songwriting mini-course (36-minute video on YouTube). It covers how to write and arrange a chord progression, bass melody, drums, and much more (including our magic 16/8 hack). But first... tea!
We hope you enjoy the video/podcast, and please share it with your musician friends, as we're trying to start a music theory revolution! Also, if you wanna get your hands on all the vital theory hacks you need to write great songs, then please download my Hack Music Theory for Songwriting & Producing PDF.
Lastly, thanks big time to our patrons over on Patreon for supporting our work. And if you wanna join our Hack Music Theory revolution and get exclusive content too (including the multi-track MIDI file from the example in our mini-course), then please sign up at Patreon.com/RevolutionHarmony
Thank you for being brave and committing to make the world a better place through better music. Until next week, happy songwriting & producing!
Ray Harmony - Victoria BC, Canada Musician | Songwriter | Producer | Teacher
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“most brilliant, fast, easy & fun music theory book I’ve ever seen” –DEREK SIVERS, CD Baby founder
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Jacob Collier, Negative Harmony & How to Write a Negative Melody
Jun 30, 2017
Hello, Ray Harmony and Kate Harmony here. Welcome to the Hack Music Theory show. It’s an extra special one today, as it’s our first show as a married couple. Yep, on the weekend we officially became Mr and Mrs Harmony. But, instead of going on a honeymoon this week, we returned to our studio to make more music theory videos for you.
And, it seems the universe rewarded us for our dedication, as last night the genius Jacob Collier came to town, and we would’ve missed him if we were on a honeymoon. If you don’t know who Jacob Collier is, let me sum him up in a nutshell. Whenever the world is lucky beyond lucky, we get gifted with a human who somehow manages to work their compositional and performance skills to an equally genius level. My hero, JS Bach, is the obvious example of these extraordinary musicians. Now in our time though, we have Jacob Collier, who is a mere 22 years young, and has already proved himself worthy of that comparison.
Jacob’s show last night was truly mind-blowing and heart-blowing, and left us speechless. But, we did manage to get our tongues back after the show to have an inspiring chat with this humble genius. He mentioned that the incredible June Lee, who is a fellow music theory nerd like us, had just uploaded a new music theory interview with him yesterday. So naturally, we went home and watched the whole 38-minute video after midnight, twice. If you missed part one of this interview series, which June uploaded a couple months ago. It ended up going viral, and now every musician and their cat is obsessed with this negative harmony thing Jacob talked about.
So, in Jacob’s latest video, he talks more about negative harmony, and we know that’s going to spark even more interest in the topic. Seeing as we’ve already had tons of people asking us to do a video on negative harmony, that’s what we’re going to do today. In this new video, Jacob excellently explains this theory as both a harmonic concept and a melodic concept. And in the context of popular music these days, melody is far more important than harmony. This can been heard in most of today’s big hits, which focus all the attention on the vocal melodies and bass lines. Sometimes these hits don’t even contain any chords, and when they do, they’re often in the background acting as sonic filler.
For this reason, I can see an awesome application for the negative melody concept in popular music, in the way of vocal or bass lines, and that’s what I’m gonna share in this video. By the way, Jacob explains the melodic use of negative harmony at 4:21 in his new video, and we’re gonna zoom into the C negative major example he gives.
Before we jump in though, here’s a little disclaimer. Firstly, the example I’ll be teaching in this video is just one of a myriad of possibilities for using negative harmony, so please use this as inspiration to experiment with your own ideas. And secondly, negative harmony is just a theory, conceptualized by one person, so while many musicians are getting caught up in arguments about whether it exists or not, and if it does, how to correctly apply it, none of this is relevant. Exactly, negative harmony is just another creative hack that we can put in our songwriting toolboxes.
I’ve been teaching music theory for over two decades, and throughout that time I’ve had countless musicians argue with me that music theory hinders creativity, and unsurprisingly, not once has this argument ever come from someone who actually understands music theory, because those who learn theory, experience the exact opposite. Music theory ignites creativity, as it connects things that were previously disconnected; music theory expands our musical vocabulary, allowing us to easily express things we could never previously express.
Now, without further ado, here is our brand new video lesson that we spent 17 hours each working on today (34 hours total), which shows you what "negative melody" is, and how to use it in popular/electronic music. So, if you wanna flip the script on your songwriting and try something completely different, check out today's episode of the Hack Music Theory show: Jacob Collier, Negative Harmony, and How to Write a Negative Melody (15-minute YouTube video), and be sure to catch Jacob's personal message to you at 0:20 in our video/podcast. But first... tea!
We really hope you dig our new video lesson, and if you wanna get your hands on all the vital theory hacks you need to write great songs, then please download my Hack Music Theory for Songwriting & Producing PDF.
Lastly, thanks big time to our patrons over on Patreon for supporting our work. And if you wanna join our Hack Music Theory revolution and get exclusive content too, then please sign up at Patreon.com/RevolutionHarmony
Thank you for being brave and committing to make the world a better place through better music. Until next week, happy songwriting & producing! Kate & Ray Harmony - Victoria BC, Canada Musicians | Songwriters | Producers | Teachers
Wooohooo!!! You're a mere 30 minutes away from being even smarter than you already are. Just head over to your inbox now for your free download.
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“most brilliant, fast, easy & fun music theory book I’ve ever seen” –DEREK SIVERS, CD Baby founder
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How to Program Interesting 4/4 Drums
Jun 22, 2017
Today on 3-Minute Theory: How to program interesting 4/4 drums.
Watch this Hack Music Theory lesson to learn why 4/4 is the most common time signature, why it is predictable, and how you can hack it to program more interesting drums. And, if you don't know what a time signature is, that's explained too!
Hope you dig, and if you wanna get your hands on all the vital theory hacks you need to write great songs, then please download my Hack Music Theory for Songwriting & Producing PDF. Until next time, happy songwriting!
Ray Harmony – Victoria BC, Canada Songwriter | Producer | Teacher | Author
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“most brilliant, fast, easy & fun music theory book I’ve ever seen” –DEREK SIVERS, CD Baby founder
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Vlog – ISMMS Metal Music Conference 2017
Jun 21, 2017
We went to the ISMMS (International Society for Metal Music Studies) 2017 conference last weekend at UVic (University of Victoria BC, Canada), and we took the opportunity to film our first vlog.
The conference was a deeply inspiring experience, so we're pumped to share a little behind-the-scenes action with you!
Also, if you dig the music we used in this vlog, you can stream or download the free mp3s, here:
Kate & Ray Harmony – Victoria BC, Canada Musicians | Songwriters | Producers | Teachers
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How to Write Great Lyrics That Match Your Vocal Melodies
Jun 15, 2017
Today on the Hack Music Theory show: How to Write Great Lyrics That Match Your Vocal Melodies.
Melodies are musical stories, and so many songs these days end up with their lyrics and vocal melodies telling two totally different stories. For example, the lyrics might be joyful, but its melody is melancholic. This mismatch between the lyrics and their melodies is an amateur mistake, which you won't be making, as we're revealing our 5-step lyric hack in this video/podcast.
Hope you dig, and if you wanna get your hands on the ultimate lyric hack, along with all the other vital hacks you need for writing great songs, then please download my Hack Music Theory for Songwriting & Producing PDF. Until next time, happy songwriting!
Ray Harmony – Victoria BC, Canada Songwriter | Producer | Teacher | Author
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“most brilliant, fast, easy & fun music theory book I’ve ever seen” –DEREK SIVERS, CD Baby founder
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8 Steps for Writing Better Vocal Melodies
Jun 08, 2017
Today on 3-Minute Theory: How to write vocal melodies that are catchy and creative!
Check out this Hack Music Theory video/podcast if you want to learn how to write vocal melodies that stand out from the crowd, by using our simple 8-step guide to catchy and creative vocal lines (AKA top lines).
Ray Harmony – Victoria BC, Canada Songwriter | Producer | Teacher | Author
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5-Step Hack for Programming Creative Drums
Jun 01, 2017
Today on 3-Minute Theory: How to write unique drum patterns using the rhythm of the bass.
Check out this Hack Music Theory video/podcast if you want to learn how to program unique drums that stand out from the crowd, by using creative rhythms taken from the bass line. I'll guide you through 5 easy steps for achieving this, and you can also download the multitrack MIDI file from the example in this video/podcast (if you want to access all the notes and have a play around).
Ray Harmony – Victoria BC, Canada Composer | Performer | Producer | Teacher
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5 Steps for Writing Amazing Bass Lines
May 25, 2017
Today on 3-Minute Theory: How to write an amazing bass line (that's way better than all those boring bass lines we hear in the charts all the time) for your chord progression. Check out this Hack Music Theory video/podcast if you want to learn how to write powerful, captivating and memorable bass lines under your chord progressions. I'll guide you through 5 easy steps for achieving this, and you can also download the multitrack MIDI file from the example in this video/podcast (if you want to access all the notes and have a play around). Hope you dig, and if you want more theory hacks, please download my Hack Music Theory for Songwriting & Producing PDF. Until next time, happy songwriting! Ray Harmony Music Teacher Victoria BC, Canada
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“most brilliant, fast, easy & fun music theory book I’ve ever seen” –DEREK SIVERS, CD Baby founder
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Write HEAVY Bass Lines Using the Harmonic Minor Scale
May 19, 2017
Today on 3-Minute Theory: How to write HEAVY bass lines using the harmonic minor scale. Check out this Hack Music Theory video/podcast if you're wanting to go heavier with your bass lines, and the natural minor scale (AKA Aeolian mode) just isn't giving you enough. The harmonic minor scale is incredibly special (and ideal for heavy music!), because it has a rare three semitone interval between its sixth and seventh notes, which creates a huge amount of dissonance and tension, and therefore heaviness! Lastly, you can download the multitrack MIDI file from the example in this video/podcast, if you want to access all the notes and have a play around. Hope you dig, and if you want more theory hacks, please download my Hack Music Theory for Songwriting & Producing PDF. Until next time, happy songwriting! Ray Harmony Music Teacher Victoria BC, Canada
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“most brilliant, fast, easy & fun music theory book I’ve ever seen” –DEREK SIVERS, CD Baby founder
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Programming Unique Drums Using a Polymeter (5/16 over 4/4)
May 11, 2017
Today on 3-Minute Theory: How to make unique drum patterns that stand out from the crowd. Check out this Hack Music Theory video/podcast if you're tired of boring drums and want to learn how to program interesting patterns instead, using polymeters (two or more time signatures playing simultaneously). In this lesson we do a pumping 5/16 over 4/4 groove! Hope you dig, and if you want more theory hacks, please download my Hack Music Theory for Songwriting & Producing PDF. Until next time, happy songwriting! Ray Harmony Music Teacher Victoria BC, Canada
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How to Write Epic EDM Bass Drops in 7 Steps
May 04, 2017
Today on 3-Minute Theory: How to write an epic EDM bass drop in 7 steps! If you’re an EDM producer, there’s nothing worse than giving your audience an epic build on the snare drum, then following that with a bass drop that consist of one note. No! Your audience deserves better, so let’s do this... But first, click the cube pic below if you want to download the PDF bundle for this lesson, which includes:
7-page neatly structured step-by-step PDF guide, with MIDI screenshots
Multitrack MIDI file, allowing you to access all the notes in the example
Mixed WAV file (listen at 3:36 in Video/Podcast) to showcase the example's final version
Alright, so we’re at 90 bpm, which is a mega groovy tempo and one of my favourites. Bass drops are all about bass and drums, so we’ve got those tracks set up and ready to go. We’re gonna do a two-bar (AKA two-measure) bass drop, so it doesn’t get boring. STEP 1: DRUMS We’re gonna start with the drums, so let’s get the snare in on the back beats, which are beats 2 and 4 of each bar. Then we’re gonna get the kick in on beat 1 of both bars. This is James Brown’s “the one” technique, where the rhythm section (i.e. bass & drums) locks in on the 1st beat of every bar, but then they can do whatever they want for the rest of each bar. This method keeps the groove going and makes it danceable, too. Next, we put in the hi-hats on every quarter note, except in the beginning of the 2nd bar, where we spice it up by adding a hi-hat on the 1+ (pronounced “one and”), which gives the pattern some movement. On that note (excuse the pun), eighth notes are counted as: 1 + 2 + 3 + 4 +. Now, this is the important bit, we’re gonna do some syncopation on the kick. We’re gonna add in a kick drum on the 2+, which gives it a funky syncopated groove. Then in the second bar we’ll do the same thing, i.e. a kick on the 2+, but this time with an extra syncopated kick just before it, on the 2e (pronounced “two ee”, and represents the very next sixteenth note after beat 2). Also, let’s add a kick on the 3+, which will give extra momentum into the very last snare drum. By the way, sixteenth notes are counted as: 1 e + a 2 e + a 3 e + a 4 e + a. Drums are done! Figure 1: Drum pattern for our bass drop, where C2 is the kick, E2 is the snare, and G♯2 is the hi-hat STEP 2: SCALE Oooh yeah, you know what time it is now? It’s bass o’clock! So let’s get to it. We’re going to use the blues scale, but you can use any scale for a bass drop. I like the blues scale because it’s super funky. To get the blues scale, just start on any note (this will be your root note), then go three semitones up, then go two semitones up, then go one semitone up, then go another one semitone up, then go three semitones up and you’re done. If you wanna learn more about writing bass lines using the blues scale, please download my Hack Music Theory for Songwriting & Producing PDF, the link is below. RevolutionHarmony.com/Books Figure 2: F♯ Blues scale (F♯, A, B, C, C♯, E), which we’re going to use to write our bass drop STEP 3: KICKS Talking about low, we’re using F♯ as our root note because it’s nice and low, good for EDM, and here’s the F♯ Blues scale: F♯, A, B, C, C♯, E (the spelling is 1 ♭3 4 ♭5 5 ♭7). So, now we just map out the kick drum pattern in our bass track, using our root note, F♯. Figure 3: Kick drum pattern programmed in the bass track, using the root note (i.e. F♯) This is the starting point for our bass line. After this, we just move these “kick notes” to other notes in the scale. I’m hearing the last three notes being that funky trio of notes I’m always talking about (i.e. 1, ♭3, ♭7), which is a characteristic element of funk and many other genre’s groovy bass lines. We should keep those notes on “the one” in both bars on F♯ (the root note) for extra punch. Then let’s move the other bass note in bar one (on beat 2+) up to A, i.e. the ♭3. Figure 4: “Kick notes” moved to other notes in the blues scale (i.e. the funky trio of notes: 1, ♭3, ♭7) STEP 4: MOTIFS Now we literally just fill in the gaps, so let’s start from the beginning. We can go up from the root to the ♭5, then up to the 5, down to the 4, back up to the ♭5 again, and end this little run on the ♭3. This is a great little motif that makes the most of the blues scale, and its “blue note” (i.e. the ♭5). When writing for bass, before we get to the fancy synth sounds, we want to be totally focused on writing a great melody, and part of this is hunting for great motifs to repeat. Reusing a great motif will create both familiarity and structure to your melody, while also making it catchy. So, let’s repeat that exact motif (♭5→5→4→♭5→♭3), starting on beat 3+ this time. But, you see those last three notes of that motif that are now over beat 4, let’s do some magic on ‘em! STEP 5: TRIPLETS Change the MIDI grid to eighth notes triplets, because every good bass drop needs some “wub wub wub” triplets, right? So, we’re gonna adjust their timing to fit the triplet grid, and now we have that same 4→♭5→♭3 (i.e. B→C→A) motif repeated, but in triplets the second time around, which gives the illusion of the bass line slowing down. Wub wub wub!!! Figure 5: The 4→♭5→♭3 motif repeated as triplets the second time around (please note, this grid is in triplets) STEP 6: VARIATION Put the MIDI grid back to ‘sixteenth’ and ‘straight’, and we’re ready for the second half of our bass drop. From the root on “the one” of our second bar, let’s go up to the ♭5 again, like we did in the beginning, but a sixteenth note later this time, for variation (too much repetition gets boring real quick, so use your second bar to write a melody that flows from the first bar, but is completely fresh and alive with variation). Also, this gives us a really cool descending line ♭5→♭3→1, then we can do a little sequence of that starting on the ♭3, so we get ♭3→1→♭7. We’re now at the lowest part of the melody (i.e. E), so let’s climb our way up again, by reversing the ♭5→♭3→1 motif, which gives us 1→♭3→♭5. Finally, I’m just going to return to the first bar, and add a ♭3 in between those two repeated motifs for variation and extra flow, and we’re done! Figure 6: Final bass line, before separating it out onto different tracks with different synths STEP 7: SPREAD Now that we have a great melody, it’s time to add some sonic sugar in the way of tasty synths. So have some fun chopping this bass line up into segments, and spreading ‘em out over a bunch of different tracks with a bunch of different synth sounds, and you get this (listen at 3:36 in Video/Podcast): Figure 7: Final bass line chopped up and separated out over five different synth, to add sonic texture NEED MORE HELP? If you need more help writing bass lines, read the Melody Checklist in my Hack Music Theory for Songwriting & Producing PDF, it’s the ultimate hack for writing great melodies. Ray Harmony Music Teacher Victoria BC, Canada
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Michael from Germany asked us the following question on YouTube: “As I build more interesting bass lines for my EDM track, I run into the problem that some bass notes run parallel with the kick. Sure I can just duck them with a compressor or LFOtool, but I have a feeling that’s not the best option. Or, am I just producing in a genre that has boring bass lines?” Thank you Michael, and no, no genre deserves boring bass lines! This is actually a common problem in EDM that gets very little attention, so we’re excited to shed some light on it, starting with our one-sentence answer: Using a combination of syncopation, phrasing, and octaves, you can write melodically and rhythmically captivating EDM bass lines, which do not interfere with the kick drum. Before we get into our MIDI example, let’s first define those terms. Syncopation is accenting an off-beat, phrasing is where the music breathes, and an octave is the same note just a higher or lower pitched version. Also, please note that the problem of bass notes and kick drums being played together is only a problem in some EDM subgenres. This is due to their massive synthesized bass and kick sounds, which need their own individual space in the mix. Most other genres, especially the ones that use live instruments, approach bass and drums in an opposite way. The bassist and drummer are referred to as the rhythm section, and the ultimate rhythm section plays so tightly together that they become one, with many bass notes landing on kicks. The godfather of groove, James Brown, knew the importance of “the one”, i.e. the first beat of a bar. He demanded that every bar has a bass note and kick played together on the one. The rhythm section could do whatever they wanted for the rest of each bar, but on the one, they had to lock in. This balance between locking in on the one and then using syncopation for the rest of the bar, is what gives funk its groove. So, if James Brown was an EDM producer, he would definitely play the kick and bass together on the one. And, as it’s impossible to argue with James Brown’s superior ability to make people dance, we should probably borrow his technique for Electronic Dance Music, too. This means you’ll need to use LFOtool on the one, so you can play both the bass and the kick together, but then you can put your LFOtool away for the rest of the bar. For our MIDI example, we’ve just used the most common drum pattern, the four on the floor. However, the following bass hacks will work for any drum pattern you have. Also, we wrote the funky bass line of this example in the F♯ Blues scale, so the notes of our scale are: F♯, A, B, C, C♯, E. And the scale spelling is: 1 ♭3 4 ♭5 5 ♭7. To learn our hacks for writing bass lines in the Blues scale, please download our Hack Music Theory for Songwriting & Producing PDF. Here’s our starting bass line: Figure 1: Our original EDM bass line (in F♯ Blues scale), which is currently interfering with the kick drum Now let’s get started. Copy and paste your kick pattern into your bass track, then mute those kick notes. This will show you what beats you need to avoid in your bass line. There are three bass hacks you can use to avoid kicks, and they often work best when used together, so don’t be shy. Figure 2: Kick drum pattern copied into bass track and muted (dark notes on C3 in above MIDI) Hack 1: Syncopation Move the beginnings of all your bass notes that are currently landing on kicks. You can start these notes earlier or later, whichever sounds best for each bass note. If you start a note earlier, though, you’ll obviously need to shorten the note before it. This creates a syncopated rhythm, which adds unpredictable excitement to your groove. Here’s what we did: Figure 3: Notes that have been shortened and lengthened to avoid kicks (highlighted in above MIDI) Hack 2: Phrasing For all your bass notes that start before a kick drum but then continue sounding over it, you can shorten them to stop on the kick instead. You can also do this anywhere else you feel a musical breath would enliven your bass line. This hack creates phrases, which inject life into your bass line, as the melody is now breathing. Figure 4: Notes that have been shortened to create phrasing (highlighted in above MIDI) Hack 3: Octaves Lastly, there will almost certainly be some notes that you don’t want to shorten in order to avoid kicks. For these notes, move them an octave or two higher, so they’re out of the frequency range of the kick. Feel free to move any other notes an octave higher too, to even out the amount of low and high notes, resulting in a more balanced bass line. Also, if any of these high notes are long, you can split them and move the extra one an octave down. This last hack creates a huge range to your bass line, which thrills your listeners with its wildness. And with that, we’re done. James Brown is happy, and we’ve got a kick-ass EDM bass line that does not interfere with the kick! Figure 5: Notes that have been moved an octave higher* to avoid kick frequency (highlighted in above MIDI) *The highlighted C♯ and C that are an octave lower, were cut and moved back down from the high C♯ and C So that’s our answer! Thanks for watching, and if you’d like more EDM music theory hacks like this, please download our Hack Music Theory for Songwriting & Producing PDF. Do you feel a little bit smarter now than you did a few minutes ago? Then “like” and subscribe so we can do it all again next week! And if you have a question you’d like us to answer here on Hack Music Theory Q&A, then please join our community at Patreon.com/RevolutionHarmony Kate Harmony Music Teacher Victoria BC, Canada
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How to Program Realistic MIDI Chord Progressions
Apr 20, 2017
Today on 3-Minute Theory: How to make your programmed MIDI chord progressions sound like a real live human played them on a real live instrument. The first thing we need to do is understand what makes something sound programmed, and what makes something sound realistic and live. The main difference is fluidity. Computers and robots do things mechanically; humans do things fluidly. We have a much more fluid result from an instrument when there’s a human playing it. So, I’m going to show you how to hack fluidity, and make your programmed MIDI chord progressions sound like a human played them. Here’s our chord progression that we previously wrote using the white-note hack in D Dorian: Dm → Am → Em → Gmaj. By the way, if you didn’t watch the videos before this one in the series, please check ‘em out so you can learn the hacks we used to make this chord progression look and sound like this: Figure 1: A well-composed chord progression in every way, but it could certainly sound more realistic than it does When producers program MIDI chords they often draw them in with their mouse straight into their DAW’s piano roll, resulting in block chords, where all the notes of the chord are played together at the same time. This is exactly what makes their chord progressions sound programmed and robotic. We’re going to inject some fluidity now, with this arpeggio hack. Arpeggios are broken chords, so instead of playing all the notes of the chord at the same time, you play them one at a time. For example, you can hit the chord’s bottom note first, then the middle note, and then finish the arpeggio with the top note. You still get the same chord, just one note at a time, so it sounds melodic. Arpeggios give us a melodic approach to harmony, which is awesome, but the one downside is that when you play a chord one note at a time, you lose the impact of a block chord where all the notes hit together. So what you want to do, is find a balance between block chords and arpeggios. For this chord progression, I’m definitely hearing a strong start, so we’ll begin with a block chord but then we can break it up into an arpeggio afterwards. I’m going to split the Dm, so the first part of the chord can be the block, and the second part can be the arpeggio. For the arpeggio, we can start on the low note, then move to the middle note, and finish on the high note. As you’ll notice, that’s already given us a little motif: a block chord followed by an arpeggio, is something we can do again on the other chords. Figure 2: Dm block chord followed by Dm arpeggio, creating a motif that we can reuse over the other chords So, we can go ahead and split each chord up, as we know that they’ll all be starting with a block chord followed by an arpeggio. Figure 3: Highlighted chords will remain as block chords, the notes afterwards will become arpeggios Let’s get stuck into the Am chord now. After the block chord, we’ll start the arpeggio on the low note again, but this time we’re going straight up to the high note, because I want to start lifting the ear up towards that peak, the high C. To help the ear up there, I’m going to add a passing note, B (not in the chord), between the A and the C. To emphasize this movement, I’m going to pull back the chord under the passing note to create space for it. Then lastly, I’m going to glue the two E notes back together, to smooth the change from the block chord to the arpeggio. Figure 4: Am block chord followed by Am arpeggio, with a passing note (i.e. B) leading up to the high C Moving onto the Em now. This time we’ll start the arpeggio on the middle note, then we’ll go to the high note, then finish the arpeggio down on the low note. Figure 5: Em block chord followed by Em arpeggio Then for the Gmaj arpeggio, we’re going to use the same pattern and passing-note motif that we used for Am. So, we’re going to play the low note first, then we’re going straight up to the high note. Then, we can glue the next part together as the notes are all the same, which will smooth it out. Next, we pull the chord back again and add an exposed passing note, A (not in the chord), in that space, which leads up to the high B. Finally, we glue the two D notes together for extra flow, and we’re done! Have a listen at 3:42 in the video/podcast. Figure 6: Gmaj block chord followed by Gmaj arpeggio, with a passing note (i.e. A) leading up to the high B If you want to go deeper into writing more advanced chord progressions using the modes, please check out my Hack Music Theory for Songwriting & Producing PDF. Until next time, happy songwriting! Ray Harmony Music Teacher Victoria BC, Canada
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4 Hacks for Better Chord Progressions
Apr 18, 2017
Today on 3-Minute Theory: How to bring your chord progressions to life! We’re still in D Dorian, and using the white-note hack, we previously wrote this chord progression: Dm → Am → Em → Gmaj. As you can see, we’ve also previously re-arranged some notes to make the chord changes nice and smooth (for more on these hacks, please watch/read How to Make a Chord Progression Flow Like a Pro). So, we’ve got our common notes in the same place within the chords as they change; everything is looking and sounding good. But, why does this chord progression still feel a bit lifeless? No problem, I’ve got four amazing hacks for you, which are going to bring all your chord progressions to life! Figure 1: Well-written progression with rearranged notes to make chords flow, but still feels a bit lifeless Hack 1: Change where the chords change The first thing I want you to do, is put your MIDI grid into eighth notes (1/8). Now, play around with where the chords come in, because when chords change right on the beat exactly where you expect, it’s dull and boring. So, we’re going to move the Am to make it start earlier, and we’re going to do the same again in the second bar with the Gmaj. This results in the Dm being a bit shorter, the Am a bit longer, the Em a bit shorter, and the Gmaj a bit longer. Listen to how cool this already sounds, at 1:26 in the video/podcast. Figure 2: The Am and Gmaj chords start earlier Hack 2: Split some chords Wherever you have a longer chord, like we do with Am, split it up, just chop that MIDI! This is the virtual equivalent of playing a real piano and hitting the same chord again. In this example, we’re gonna hit that Am three times: one long then two short. This gives us a rhythmic propulsion through those longer chords, which could otherwise be boring. We’ve got another long chord at the end, the Gmaj, so we’re gonna slice that one up too, giving us an extra hit on it. Listen to the huge difference this makes, at 2:07 in the video/podcast. Figure 3: Longer chords (i.e. Am and Gmaj) split up to give rhythmic propulsion Hack 3: Create movement where there is none Now, wherever you have three or more hits on the same chord, rearrange the notes in the middle hit/hits. You can see our Am has three hits, so we can rearrange the notes of that middle hit. Let’s throw the bottom C up an octave. This hack will never affect the change into the chord, or the change out of the chord. All the common notes are still in the same place when the chords change, we’re just having a bit of fun within the longer chord itself. This creates movement where there is no movement, and that’s a really cool hack for injecting life into a longer chord. Listen to how that potentially boring longer chord (i.e. Am) has now been transformed into an awesome feature, at 3:02 in the video/podcast. Figure 4: Rearranged notes of middle hit in longer chord (i.e. Am) Hack 4: Add phrasing The last hack is super quick and easy, we’re just going to add some phrasing. Phrasing is where the music breathes. The obvious place to add a phrase in this example is at the end, so I’m just going to pull in that Gmaj to leave a little space before we loop around to the beginning. The other great trick with phrasing is to put your MIDI grid into sixteenth notes (1/16), which gives you even more interesting options. I’m hearing those two short Am hits being even shorter and super punchy, so I’m going to shorten them both to sixteenth notes. This leaves a couple of rests (AKA musical breaths) in between them, and totally brings that little bit to life. And with that, we’re done, check out the final version at 3:37 in the video/podcast. It’s alive! Figure 5: Short hits on Am are further shortened, and Gmaj is also shortened to create a rest before looping If you want to go deeper into writing more advanced chord progressions using the modes, please check out my Hack Music Theory for Songwriting & Producing PDF. Until next time, happy songwriting! Ray Harmony Music Teacher Victoria BC, Canada
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How to Make a Chord Change Flow When There Is No Common Note
Apr 13, 2017
Today on 3-Minute Theory: How to make a chord change flow smoothly when you don’t have a common note. We’re in D Dorian, and using the white-note hack we previously wrote this chord progression: Dm → Am → Em → Gmaj. Last time we learnt that a common note (i.e. the same note in two different chords) is what gives you a strong and flowing chord change. But, the common note needs to be in the same place within both those chords. So for example, from Dm to Am, we can see that the common note is A, now we just need it in the same place, so we grab the two notes above A in Am (i.e. C and E) and move them down an octave. Now we’ve got the common note, A, at the top of both of these chords, and this chord change will now sound nice and smooth! However, if we go back in time to when we were writing this chord progression, and say we didn’t like the Em chord (our third chord in this progression), and we wanted to go directly to the last chord, Gmaj. This gives us an Am to Gmaj chord change, and as you can see, these chords do not share a common note. This issue happens all the time, and it occurs for a couple of reasons. First, we’re using triads, which are three-note chords (the most basic type of chord, and therefore the most popular chord in popular music due to its simplicity), and whenever you’re using triads and you move to the next triad up or down, you won’t have a common note. All the notes of the triad you’re on will go into the gaps in between the notes of the adjacent triad. So while adjacent triads will never give you a common note, there’s a really cool hack to not only solve this issue, but to turn it into an interesting feature and often a motif too, which you can then use elsewhere. Here’s the hack: We need to literally hack up the middle note of either of these chords, in order to connect them. The first option is to hack up the chord we’re coming from, by shortening the end of its middle note, and then going to the middle note of the next chord early, before the chord change (e.g. in Am, we shorten C and go down to B early). Not only does this give you a common note, but it actually makes something awesome out of that otherwise abrupt chord change. Figure 1: The middle note of Am (i.e. C) moves down to the middle note of Gmaj (i.e. B) before the chord change, creating a common note The second option is to hack up the chord we’re going to, by starting its middle note later, and extending the middle note of the chord we’re coming from into the new chord, before resolving it to the usual middle note (e.g. in Gmaj, we shorten B and start on C instead, before resolving to B). And once again, we not only get a common note and a strong chord change, but a nice motif too. Figure 2: The middle note of Am (i.e. C) extends into Gmaj, creating a common note, and then resolves to the usual middle note (i.e. B) One caveat for this hack, though. Always tweak the adjacent triads in your chord progressions first, before you start moving around the notes of the other chords. This is because you want to tweak the middle notes of your adjacent triads, but it’s difficult to know what the middle notes are, after you’ve started moving all the notes around. If you want to go deeper into writing chord progressions using the modes, please check out my Hack Music Theory for Songwriting & Producing PDF. Until next time, happy songwriting! Ray Harmony Music Teacher Victoria BC, Canada
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How to Make a Chord Progression Flow Like a Pro
Apr 06, 2017
Today on 3-Minute Theory: How to make your chord progressions flow like a pro! What we’re really talking about here are chord changes. So, let’s have a look at the chord progression we made in the previous lesson, using the white-note hack in D Dorian, we’ve got: Dm → Am → Em → Gmaj. While these chords are all in the same key and work well together, and sound great too, the actual chord changes sound disjointed and abrupt. Kinda sounds like a cat jumping around on a piano. A very talented cat, granted, but a cat nonetheless. Figure 1: Original chord progression in D Dorian: Dm → Am → Em → Gmaj Instead, we want our chords to flow really smoothly into each other, we want them to melt into each other as the chord progression unfolds. The way we achieve this is by finding common notes between chords, and using those as a common thread to tie those chords together. Let me show you what I mean. In our first chord (Dm) to our second chord (Am), we can see that both those chords have an A in them, that’s a common note! Now, you’re probably wondering why that chord change still sounds abrupt, even though they have a common note. The reason is that the common note is in a different place within those chords, and we need the common note to be in the same place within the chords as they change. You can see that the common note, A, is at the top of the Dm and at the bottom of the Am. So it’s actually a quick and easy fix, we just grab the notes above that A in the Am chord, and move them down an octave. And voilà, we now have the common note (i.e. A) at the top in both of those chords. Listen to how smooth that chord change now sounds after this one small tweak. Amazing! Figure 2: Re-arranged notes of Am, with the common note, A (highlighted), at the top of both Dm and Am Now, let’s fix the rest of ‘em too. We can also see there’s a common note, E, in both Am and Em. But, it’s in the middle of the Am chord, and at the bottom of the Em chord. Quick fix again, just grab that top note (i.e. B) in Em and move it down an octave, and now the E is in the middle of both Am and Em. Then into the last chord, we can see that common note, G, in Em and Gmaj. But, it’s currently at the top of Em, and at the bottom of Gmaj, so quick fix yet again, we just grab the notes above that G (i.e. B & D) in the Gmaj chord and move them down an octave, and now we’ve got the common note, G, at the top of both Em and Gmaj. Lastly, please don’t forget that chord progressions loop, which means your last chord needs to always work smoothly back around to your first chord. As you can see, we have the common note D in both Gmaj and Dm, but once again in different places (middle of Gmaj, and bottom of Dm). So here’s a really cool hack for the turnaround in a chord progression, which will also give you some momentum as it heads back around to the first chord. Cut our last chord in half, cos we’re gonna play two different versions of that chord. In the second half of that Gmaj, let’s move the bottom note (i.e. B) up an octave, which leaves that D at the bottom, and exactly where it is in the first chord, Dm. That last chord is still all Gmaj, just two different versions of it, as we re-arranged the notes over the second half. Now, all the chords in our progression have their common notes in the same place as they move into each other, and this is gonna sound incredible cos it’s gonna flow like a pro! Have a listen at 3:16 in the video/podcast. Figure 3: Final chord progression with all common notes in the same place between chords Next time I’ll teach you how to do this hack when there’s no common note between two chords, so stay tuned for that. Also, if you want to go deeper into writing chord progressions using the modes, please check out my Hack Music Theory for Songwriting & Producing PDF. Until next time, happy songwriting! Ray Harmony Music Teacher Victoria BC, Canada
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How to Write a Chord Progression Using Chords Not in the Key
Apr 04, 2017
How to Write a Chord Progression Using Chords Not in the Key
Knut from the electronic music hub of Tromsø in Norway, emailed us with this question: “I’ve spent some time analyzing an old track from The Prodigy called ‘Out of Space’. The first part of this track mainly consists of a chord progression and a synth riff. I’ve determined the chords used to be Fmaj/A → Dmaj/A → Emaj/B → Dm → Emaj. I think that the song is written in F major (Ionian). Now onto my question: The Dmaj and Emaj chords are outside of the scale, while the rest of the chords conform to it. I’m wondering if you have any tips for how you would approach breaking the ‘rules’ in this way?” Thank you Knut, this is an advanced and awesome question, and you’ve already made some wise observations, so we’re excited to connect these dots for you, starting with our one-sentence answer: Your chord progression can safely venture out of its scale by adding a non-diatonic chord, which is a chord that contains one or more notes from outside that scale, as long as that non-diatonic chord still contains at least one note from that scale. First, let’s just solidify the terms “diatonic” and “non-diatonic”. Simply put, diatonic refers to notes that are in the scale, and non-diatonic refers to notes that are not in the scale. So, all the notes of a diatonic chord are in the scale, but one or more notes of a non-diatonic chord are out of the scale. By the way, non-diatonic notes are also referred to as chromatic notes, because the chromatic scale contains all 12 notes. Okay let’s get to the chord progression in your question now. We haven’t had time to listen to the song and double check your analysis, so we’ll just work with the information you’ve given us. Besides, using the exact chords in this example isn’t important, as the lesson here is about non-diatonic chords, which you can then apply to any chord progression. So, you said the chord progression is in the key of F major (AKA Ionian), which means the diatonic chords we can use are as follows: Fmaj, Gm, Am, B♭maj, Cmaj, Dm, Edim. Now, here’s the chord progression you gave us. We’ve just added the root note of each chord below as reference (these root notes are muted, and dark in the midi screenshot below), but these are not part of the chords.
Figure 1: Chord progression in F major (Ionian) from Knut's question In this chord progression, Fmaj is the I, AKA the root triad, so that’s a diatonic chord. Dmaj is the VI, but it’s major instead of minor, so that’s a non-diatonic chord. It creates tension as the 3rd note in Dmaj is F♯, a non-diatonic note that clashes with our memory of F from the first chord, which is also the root note of the key. Emaj is the VII, but it’s major instead of diminished, so that’s also a non-diatonic chord. Whereas Dmaj only contained one non-diatonic note, Emaj contains two: G♯ instead of G, and B instead of B♭. So all in all, this chord progression makes use of three non-diatonic notes, which definitely blurs the lines of a secure home. It makes the chord progression sound a bit wild, which is thrilling when it’s done well.
By the way, if you need help with scales and chords (or if you just need a refresher), then download our FREE BOOK. It only takes 30 minutes to read, and then you'll have a super solid music theory foundation!
So, is this example done well? The short answer is: yes, and no. The best way to add non-diatonic chords to a chord progression is by using a common note from the diatonic chord into the non-diatonic chord, which smoothes an otherwise abrupt change. That’s what happens in the Fmaj → Dmaj, where the common note is A. Remember to always re-arrange the notes so your common note is in the same place within both chords, which is exactly what happened here to get the Fmaj/A → Dmaj/A, where A is the bass note in both chords. Unfortunately though, this is the only chord change in this progression that actually flows well, and you can hear how the rest of it doesn’t sound nearly as smooth as the first two chords. Remember, when you don’t have a common note, you can make one using a sus chord. For more on this, please watch our Chords video from song 1. To conclude, we’ll simplify this into two different types of non-diatonic chords. Thefirst type is built from a root note that’s in the scale, but one or more of the other notes in the chord are not in the scale. These non-diatonic chords tend to be sneakier to uncover, as at first glance they look like they’re in the key. An example of this type would be the Dmaj in this chord progression, as its root note D is in the scale, but its 3rd note, F♯, is not. The second type is built from a non-diatonic root note, and these chords are more obvious to see and hear, as they immediately stick out from the scale. In F Ionian, a non-diatonic chord of this type would be A♭maj, which is instantly recognisable as a non-diatonic chord because its root note A♭ should be an A. Even with an obvious non-diatonic chord like this, we can still make it fit smoothly into a chord progression using a common note, like C between Fmaj and A♭maj.
Figure 2: Chord change from Fmaj to A♭maj/E♭ with a common note (C) to smooth the transition into a non-diatonic chord Finally, here’s a little chord progression we made, inspired by this example, but where each chord shares a common note with the next chord. The chords are: Fmaj/A → Dmaj/A → Esus2/B resolving to Em/B → Csus2 resolving to Cmaj then Cmaj/G. The root notes are muted below each chord for reference. This chord progression is definitely in the key of F major, even though half the chords are non-diatonic, i.e. the Dmaj, Esus2 and Em. As always, we added a little synth, bass and drums for fun. You can listen at 8:01 in the video/podcast. Hope you enjoy!
Figure 3: Our chord progression in F major (Ionian), with the chords Fmaj/A → Dmaj/A → Esus2/B resolving to Em/B → Csus2 resolving to Cmaj then Cmaj/G So that’s our answer! Thanks for reading, and if you’d like more advanced hacks like this, then please read our Songwriting & Producing PDF (click & scroll down). It contains all of Ray Harmony's best top-secret songwriting and producing hacks, and includes MIDI file examples. These 14 hacks make everything simple, even the oft-misunderstood modes. Other hacks include: how to write chord progressions, how to write bass lines, how to write synth/guitar riffs, how to write lead melodies, how to write counterpoint harmonies, how to modulate (i.e. change key), and even how to write lyrics!
Kate Harmony Music Teacher Victoria BC, Canada
How to Write Great Songs: Vocal Melody (Song 1)
Mar 30, 2017
As with most things in life, writing a great vocal melody is all about balance: Balancing harmonic and non-harmonic notes, balancing small and large melodic intervals, balancing short and long note values, and so on. It’s also about great motifs (i.e. short musical ideas); allowing them to “randomly” happen (often by fixing perfect 4ths & 5ths), and then recognising them when they do appear, so you can use them again. A great motif will make your melody memorable, but only if you don’t overuse it. This is my rule of “too much chocolate!” (AKA too much of a good thing). Even if you have the most delicious and expensive organic vegan chocolate, if you have too much, you’re gonna get sick of it. Just enough chocolate in your melodies will keep your listeners coming back for more! Please check out the Hack Music Theory for Songwriting & Producing PDF for my full Melody Checklist, which also gives you the “why” and “how” for each element of writing a great melody. Below is the exact chord progression (including inversions and sus chords) that we’re writing a vocal melody over. It’s in the key of E Dorian:
Spelling
Chords
I
Em
V
Bm/D
♭III
Gmaj/D
IV
Asus2/E → Amaj/E → Amaj
♭VII
Dsus2/A → Dmaj/A →Dmaj/F♯ → Dsus2/E
And here is our vocal melody:
Chord progression
(root note of each chord is muted and dark in MIDI above)
Vocal melody (first half), with spelling
(spelling is heard and written in relation to each chord's root note)
Em
F♯ (2) → G (♭3) → F♯ (2) → D (♭7) holds over to next chord...
Bm
…becoming a D (♭3) → C♯ (2) → D (♭3) → F♯ (5)
Gmaj
A (2)
Amaj
C♯ (3) → D (4) → C♯ (3) → A (1) → F♯ (6) → G (♭7) briefly holds over to next chord...
Dmaj
…becoming a G (4) → F♯ (3)
Chord Progression loops...
Vocal melody (second half, i.e. the variation)
Em
F♯ (2) → G (♭3) → F♯ (2) → F♯ (2) holds over to next chord...
Bm
…becoming a F♯ (5) → D (♭3) → C♯ (2) → A (♭7)
Gmaj
A (2)
Amaj
C♯ (3) → D (4) → B (2) → A (1) → F♯ (6) → G (♭7) briefly holds over to next chord...
Dmaj
…becoming a G (4) → A (5)
Lastly, always keep my Melody Checklist on hand when writing melodies, as you literally can’t go wrong with that next to you. My Melody Checklist is in the Hack Music Theory for Songwriting & Producing PDF. Until next time, thanks for reading and happy songwriting! Ray Harmony Music Teacher Victoria BC, Canada
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6 Hacks for Better Bass Lines
Mar 28, 2017
Jennifer from Vancouver emailed us with this question: “I’m new to producing, and I’m trying to learn more about bass and how it works, cuz the way I’m doing it now is sounding really boring. You know when you hear a bass line and it just makes you move, how do they do that? I want to be able to do that!” Thank you Jennifer, this is a super fun topic! So, we’ve made a MIDI example that demonstrates our top six hacks for turning boring bass lines into party starters, but first, here’s our one-sentence answer: Boring bass is a symptom of six musical deficiencies: strong melodic intervals, motifs, syncopation, non-root notes, octaves, and rests – add these, and you’ll have super spicy bass lines! Okay, so we’ve intentionally made a boring chord progression here with boring drums, so it’s totally up to the bass to bring all the excitement. We’re in A minor, so that’s all the white notes starting from A, and the chords are: Am → Fmaj/A → Am → Cmaj/G → Gmaj → Gsus4. Let’s have a listen. The spelling of this chord progression is: I → ♭VI → I → ♭III → ♭VII, and the notes below the chords are their root notes (see MIDI screenshot). Also, we’ve inverted some chords and added a sus chord to make everything flow. For more on this hack, please watch our chords video from song 1. As always, we start writing our melody by copying the chords over into the bass track, then muting/deleting everything other than the root notes of each chord. This gives us a boring bass line, which is our starting point. Now, let’s spice things up! HACK 1: Fix Perfect 4ths & 5ths Perfect 4th intervals (which are five semitones) and perfect 5th intervals (which are seven semitones) are the most boring intervals by far, scientifically speaking, as the notes vibrate too similarly to each other. So, adding a note in between all perfect 4th and perfect 5th intervals to break them up, will instantly make your bass line stronger. From A down to F is four semitones, so that’s strong, and then obviously from F back up to A is also strong as it’s four semitones again. From A up to C is three semitones, which is strong, but from C down to G is five semitones, a perfect 4th, so that’s weak and boring and we need to fix it. We do this by adding a note in between, to break up that perfect interval. Let’s add an E, which is that happy 3rd note in the Cmaj chord. Now the new intervals we’ve created by doing that are C up to E, which is four semitones and strong, and E down to G, which is nine semitones and strong. Also, always remember to check the last note back around to the first note, so here that’s G up to A, which is two semitones and strong. No more weak perfect 4ths and 5ths. Yay! Now let’s listen to those updates. HACK 2: Make Motifs A motif is a short musical idea, and using them will make your melodies memorable. Breaking up perfect 4ths and 5ths will often give you a great first motif. Where we broke up that perfect 4th between the C and G, we got an interesting motif: the bass goes up on the off-beat, then falls to a lower note on the beat. We can use that motif again over the Gmaj. The bass can go up to E again on the off-beat, which is a 6 over Gmaj, then it can fall to C on the beat as the chord changes to Gsus4. The C that we’re landing on here, is the 4 in that Gsus4 chord. We can then use this motif one more time at the very end, by going up to an A on the off-beat, which is a 2 over the Gsus4 chord, and that high A will then fall to the low A that kicks off our bass line. Let’s listen to those updates. HACK 3: Add Syncopation Syncopation is accenting the off-beat, and these accented off-beats are what give bass lines their groove. Without syncopation, bass lines sound stiff and boring, but with syncopation they sound exciting and alive. By breaking up that perfect 4th, we ended up with a motif that was syncopated, so we’ve actually already got some syncopation, but we want more! So, let’s add some syncopation to the A, and then use that exact same syncopation on the C. This not only adds life to our melody, it also creates another motif. Yay! Remember, accenting off-beat eighth notes is pretty safe, whereas accenting off-beat sixteenth notes is thrilling. Let’s listen to those updates. HACK 4: Uproot Some Roots For the most part, our bass line is still mainly consisting of the root note from each chord, which is boring. While root notes are the most solid foundation for every chord, bass lines that spend too much time on root notes are predictable, and therefore boring. By uprooting some roots and moving them to other notes in the scale, we temporarily destabilize the foundation, which is dangerous but exhilarating. A great place to add a non-root note would be over the Fmaj, as there’s not much else going on there, so let’s add that happy major 3rd note again, A, then go back down to the root, F. Remember to be careful when moving notes that you don’t end up with a perfect 4th or perfect 5th. Now, if we do the same thing over the following A, we have another motif. Yay! So over the A, let’s add that 3rd as well, C, but this time it’s a sad minor 3rd. Let’s listen to those updates. HACK 5: Add Octaves This octave hack is exclusively awesome for bass lines and synth lines, but not for vocals and most other melodies. By moving some notes up an octave, we create a sense of movement without actually moving. By the way, the reason this hack isn’t good for vocals and most other melodies, is that an octave is actually also a perfect interval, so it sounds boring when used in melodies that are in the spotlight, like vocals. Not to mention that an octave is really difficult to sing as it’s a huge interval, but that’s not a problem for bass. Okay, the obvious place to add octaves in our bass line are these syncopated root notes over the Am and Cmaj chords, so let’s move them both up an octave. Then, one last sneaky little octave at the end of the Fmaj will make that section flow more, and we’re ready to move on. Let’s listen to those updates. HACK 6: Add Rests Rests are little moments of silence, which obviously stop the continuity of sound. As a result, they need to be used sparingly, but one well-placed rest can elevate a bass line to new heights. Rests create phrases, which you can think of as the sections that a vocalist would sing with one breath. And that’s why rests can truly bring melodies to life. So, one little sixteenth rest at the end of the second Am chord, will not only give a little breather, but it will also emphasize the chord coming afterwards, which is that happy Cmaj. And with that one little rest, we’re done! Let’s have a listen to our final bass line, which is now six times spicier than the original version. Lastly, we doubled this melody on a bass synth to give it some bite, then added the piano chords back in. Here’s the full version. Enjoy! So that’s my answer! Thanks for reading, and if you’d like to learn more about how to write great bass lines, please download 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 like and 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 Harmony Music Teacher Victoria BC, Canada
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Before we jump in though, here’s a little disclaimer. Firstly, the example I’ll be teaching in this video is just one of a myriad of possibilities for using negative harmony, so please use this as inspiration to experiment with your own ideas. And secondly, negative harmony is just a theory, conceptualized by one person, so while many musicians are getting caught up in arguments about whether it exists or not, and if it does, how to correctly apply it, none of this is relevant. Exactly, negative harmony is just another creative hack that we can put in our songwriting toolboxes.
Figure 1: Drum pattern for our bass drop, where C2 is the kick, E2 is the snare, and G♯2 is the hi-hat
Figure 2: F♯ Blues scale (F♯, A, B, C, C♯, E), which we’re going to use to write our bass drop
Figure 3: Kick drum pattern programmed in the bass track, using the root note (i.e. F♯)
Figure 4: “Kick notes” moved to other notes in the blues scale (i.e. the funky trio of notes: 1, ♭3, ♭7)
Figure 5: The 4→♭5→♭3 motif repeated as triplets the second time around (please note, this grid is in triplets)
Figure 6: Final bass line, before separating it out onto different tracks with different synths
Figure 7: Final bass line chopped up and separated out over five different synth, to add sonic texture
Figure 1: Our original EDM bass line (in F♯ Blues scale), which is currently interfering with the kick drum
Figure 2: Kick drum pattern copied into bass track and muted (dark notes on C3 in above MIDI)
Figure 3: Notes that have been shortened and lengthened to avoid kicks (highlighted in above MIDI)
Figure 4: Notes that have been shortened to create phrasing (highlighted in above MIDI)
Figure 5: Notes that have been moved an octave higher* to avoid kick frequency (highlighted in above MIDI)
Figure 1: A well-composed chord progression in every way, but it could certainly sound more realistic than it does
Figure 2: Dm block chord followed by Dm arpeggio, creating a motif that we can reuse over the other chords
Figure 3: Highlighted chords will remain as block chords, the notes afterwards will become arpeggios
Figure 4: Am block chord followed by Am arpeggio, with a passing note (i.e. B) leading up to the high C
Figure 5: Em block chord followed by Em arpeggio
Figure 6: Gmaj block chord followed by Gmaj arpeggio, with a passing note (i.e. A) leading up to the high B
Figure 1: Well-written progression with rearranged notes to make chords flow, but still feels a bit lifeless
Figure 2: The Am and Gmaj chords start earlier
Figure 3: Longer chords (i.e. Am and Gmaj) split up to give rhythmic propulsion
Figure 4: Rearranged notes of middle hit in longer chord (i.e. Am)
Figure 5: Short hits on Am are further shortened, and Gmaj is also shortened to create a rest before looping
Figure 1: The middle note of Am (i.e. C) moves down to the middle note of Gmaj (i.e. B) before the chord change, creating a common note
Figure 2: The middle note of Am (i.e. C) extends into Gmaj, creating a common note, and then resolves to the usual middle note (i.e. B)
Figure 1: Original chord progression in D Dorian: Dm → Am → Em → Gmaj
Figure 2: Re-arranged notes of Am, with the common note, A (highlighted), at the top of both Dm and Am
Figure 3: Final chord progression with all common notes in the same place between chords
