My pro theory + songwriting course https://bit.ly/2J2Nctn Enroll in my Rhythm Training Course at ANY price! https://bit.ly/3wDacU4 Get the ULTIMATE MODAL POSTER and support this channel!: https://bit.ly/2zhk9JV My Patreon: https://bit.ly/2zFwzOO This is a lesson on how to write music. There is, of course, no ONE way to write, but this technique is simple, effective, and versatile. At the very worst, you’ll come up with a good starting point off of which to build a piece or song. The stuff you’ll pretty much need to know is linked below: Writing Chords in Major https://youtu.be/M8eItITv8QA Writing Chords in Minor https://youtu.be/j-j4g0ktPGw Additionally, you’ll want to know a bit about borrowed chords to keep up with my rant at the end Borrowed Chords: https://youtu.be/7IdttvJSedg If you’d like to hear my song Generations that I discuss, you can watch the video here: https://youtu.be/5Z5Ljhbp3A0 Or listen here: https://signalsmusicstudio.bandcamp.com/track/generations If this video was too simple for you, I suggest expanding on it by studying reharmonization techniques. It’s a fun and productive way to expand past the redundancy of repeating motifs. I don’t have any videos on the topic (yet) but there is plenty of great info out there from Adam Neely and Aimee Nolte. Additional Rants: I didn’t expand on it, but that Bb Augmented chord is basically formed/implied when that melody (E-F#-D) is played on top of a Bb, since Bb-D-F# forms an Aug triad. In the recorded version, the electric guitars play a Bb and an F#, so like an Augmented Powerchord if such a thing exists. The bVI+ itself could be thought of as being borrowed from D Mixolydian b6. It could also easily be assumed as an inverted D Augmented: the voice leading within the chords goes from A to A#/Bb to B, and playing an Aug on the tonic is a good way to move to any chord In the key that has a natural 6th note in it, since the movement from the fifth to the aug fifth will naturally pull the listener to the 6th. At 06:09 I mention the distance between B and C as a minor 2nd. In this arrangement though, the C occurs an octave higher, meaning we’d call it a minor 9th instead. But in my mind, there is not a giant difference between a 9th and a 2nd. A minor 2nd and a minor 9th “feel”, not sound, the same to me and create the same effect. They have a LOT of the same qualities and characteristics and it’s helpful to think of the intervals as “somewhat the same” even across octaves. The main difference between a m9 and a m2 though is the vast distance between the two clashing notes. When they’re close together (m2) the dissonance is overwhelming, but spacing them apart (m9) an octave makes them more digestable. But in my mind, they are still cut from the same cloth thing- the b2, just different aspects of it. Also worth meditating on the general awkwardness yet diatonic versatility of a low 7th (B) paired with the a high (C) and what that COULD be. It COULD be part of an inverted C major 7 chord (unlikely), it could be part of an inverted G with an added 4th/11th, or an inverted Emb6… Take away the key and it could imply much more- B7b9, CmMaj7, Ab7#9… Thanks to my Patreon supporters for making this video possible. I had fun making it and I really am happy with how it turned out, hopefully it gets you writing and shows you a bit more of how easy it can be to get something going. Special thanks to these fine folks for supporting videos like this one: Linas Orentas Joe Buote Nick White Patrick Ryan Christopher Swanson John Arnold Jon Reddish Brandon Combs Sebastian Morgan M. Lord of the Chords Billyshes Phillip Sharp Don Watters Bradley Bower Marek Pawlowski Table of Contents: 00:00 Intro 00:47 Motifs 01:45 Writing With Motifs 05:13 Modifying The Motif 07:25 Reharmonizing The Motif 09:05 Writing an Ostinato 12:13 Advanced Applications 14:23 Wrapping Up

• published: 09 Sep 2019
• views: 357372