HACK MUSIC THEORY
foퟆ songwritinퟃ an埝 producinퟃ How to Make Great Songs in Any Genre
RAY HARMONY
©2016 REVOLUTION HARMONY
seven feelings, one formula
Scales are modes, and modes are scales. Same thing, dierent name. A scale/mode is a family of notes that sound good together. Most western music over the last thousand years has been made using the same set of seven notes, which occur from the Pythagorean-based formula of semitones: 2 2 1 2 2 2 1 Start on any note, then follow this formula and you’ll have the mother of all scales, Ionian, the one that nature gave us from whole-number ratios in sound. Remember, when counting semitones, don’t include the note you’re on. Then, to get a dierent vibe, start somewhere else within the above formula, like from the rst 1 semitone: 1 2 2 2 1 2 2. If you use this mode to compose your chord progression and melody, they will convey a dark mood. Where you begin determines the musical home and creates the emotion, so be sure to select the correct mode for what you’re wanting to express, and then be sure to emphasize its root note and triad in order to orientate the ear. And yes, if you like, you can use a dierent mode in each section of your song.
(in semitones)
Ionian
Happy
2212221
CDEFGAB
Dorian
Sad but hopeful
2122212
DEFGABC
Phrygian
Dark
1222122
EFGABCD
Lydian
Quirkily uplifting
2221221
FGABCDE
Mixolydian
Happy but serious
2212212
GABCDEF
Aeolian
Sad
2122122
ABCDEFG
Evil
1221222
BCDEFGA
AKA “the major scale”
AKA “the minor scale”
Locrian
POWER HACK (BONUS): It's way easier and quicker to compose in the “white note” modes above, and besides, then you don't even need to remember any formulas at all. So, pick your mode based on the vibe you wanna create, then once you're done making your chord progression and melodies on the white notes, just select all the MIDI and drag it up or down to where ever you want/need it to be. HackMusicTheory.com
notes & chords that are dierent between modes
The modes are categorized into (happy) or (sad) . If a mode's 3rd note is four semitones above its root (interval of a major 3rd), then that mode is a major mode. If a mode's 3rd note is three semitones above its root (interval of a minor 3rd), then that mode is a minor mode. There are three major modes, and four minor modes.
−
(AKA “the major scale”, this is the parent major mode that our ears are used to hearing)
− −
− − − −
(this mode is “the major scale” with a
instead of a 4)
(this mode is “the major scale” with a
instead of a 7)
(AKA “the minor scale”, this is the parent minor mode that our ears are used to hearing) (this mode is “the minor scale” with a
instead of a ♭6)
(this mode is “the minor scale” with a (this mode is “the minor scale” with a
instead of a 2) instead of a 2, and a
1234567
CDEFGAB
1 2 ♭3 4 5 6 ♭7
C D E♭ F G A B ♭
instead of a 5)
-
(ma or mode) (minor mode)
F maj (ears are used to a Fm)
1 ♭2 ♭3 4 5 ♭6 ♭7
C D♭ E♭ F G A♭ B♭
(minor mode)
B ♭m (ears are used to a B ♭ma )
1 2 3 ♯4 5 6 7
C D E F♯ G A B
(ma or mode)
Dmaj (ears are used to a Dm)
1 2 3 4 5 6 ♭7
C D E F G A B♭
(ma or mode)
Gm (ears are used to a Gma )
1 2 ♭3 4 5 ♭6 ♭7
C D E♭ F G A♭ B♭
-
1 ♭2 ♭3 4 ♭5 ♭6 ♭7
C D♭ E♭ F G♭ A♭ B♭
E♭m
(minor mode) (minor mode)
(ears are used to a E ♭ma )
what makes each mode sound and feel unique
It is essential to in order to orientate your listeners' ears to the musical home that you have chosen. There are a few ways of doing this, like starting your chord progression on the root triad, or spending more time on the root triad than the other chords. This will establish the root note and the major/minor quality of the mode, however, it will not highlight the unique character of your chosen mode. After hundreds of years of music mostly being composed in Ionian (AKA “the major scale”) and Aeolian (AKA “the minor scale”), our western ears are so accustomed to these two scales, that it's actually really dicult to draw the ear away from them. This is why it's also essential to to its “parent” mode (i.e. Ionian for major modes, and Aeolian for minor modes). You can 韟nd the main chord that highlights a mode's vibe, by building a chord around that mode's unique note (i.e. 6 in Dorian), where that note becomes the 3rd in the chord (i.e. IV in Dorian). This unique note changes that chord to the opposite quality (major/minor) of what we're used to hearing, and therefore catches our ears. For example, a chord progression in Dorian can accidentally sound like Aeolian instead. How do you prevent this? You play the main chord that is not found in Aeolian, the IV major. In Aeolian, the IV chord is always a minor, so by playing this as a major chord, you are 韟rmly establishing the Dorian atmosphere through highlighting its di韁erence from Aeolian. Do you need to apply this method to Ionian and Aeolian? Nope, as our ears automatically default to these two modes already.
(unique notes underlined)
Happy
1234567
-
Sad but hopeful
1 2 ♭3 4 5 6 ♭7
IV maj
(major mode) (minor mode)
(ears are used to a IV m)
1 ♭2 ♭3 4 5 ♭6 ♭7
Dark (minor mode)
♭VII
m
(ears are used to a ♭VII maj)
Quirkily uplifting
1 2 3 ♯4 5 6 7
(major mode)
II maj (ears are used to a II m)
Happy but serious
1 2 3 4 5 6 ♭7
(major mode)
Vm (ears are used to a V maj)
Sad
1 2 ♭3 4 5 ♭6 ♭7
Evil
1 ♭2 ♭3 4 ♭5 ♭6 ♭7
-
(minor mode) (minor mode)
♭III
m
(ears are used to a ♭III maj)
HackMusicTheory.com
understanding all musical relationships & their emotions
An interval is the distance between two notes, measured in semitones, which has a unique emotion resulting from how the vibrations of those two notes interact. Intervals are therefore musical relationships, which makes intervals the most important thing to master in music. When you're composing a melody (horizontal music), you're working with occurring as one note moves to the next note . When you're composing harmony/chords (vertical music), you're working with occurring from all the notes vibrating together at the same time. We only have 12 notes total, and if you understand each note's purpose and hope for its life, you can use those to manipulate the emotions of your listeners. For example, 7 is one of those notes who really isn't satis⁈ed with his life, and desperately wants to keep up with The Joneses (i.e. the 1 or 8, AKA the root). So, every time you call on the 7, it's gonna try its best to pull you up to the 8. Please be aware that harmonic intervals like this, are heard in relation to whatever chord is playing at the time. In other words, a B over a Cmaj chord is a 7 and will desperately want to go up to the root C (as mentioned above), however, a B over a Bm is not a 7 anymore, it's the root, and will therefore sound totally solid, and won't want to go anywhere. are notes in the chord, and are notes not in the chord. A great melody has a balance of both! In the examples above, the B is solid over the Bm as it's already in the chord (harmonic note), but the B over the Cmaj is not in the chord (non-harmonic note), so it really really wants to move to the nearest harmonic note, the C. This is the musical gravity you can control and play around with when you understand musical relationships (i.e. intervals). You can choose to build anticipation but then thrill your listeners by going somewhere unexpected, whereas people making music by ear will tend to be guided by this musical gravity, resulting in predictable music. What emotion does each interval make you feel?
zero
Perfect Unison
1
C
one
Minor 2nd
♭2
D♭
two
Major 2nd
2
D
three
Minor 3rd
♭3
E♭
sad
four
Major 3rd
3
E
happy
⁈ve
Perfect 4th
4
F
six
Augmented 4th / Diminished 5th
seven
Perfect 5th
5
G
eight
Minor 6th
♭6
A♭
nine
Major 6th
6
A
ten
Minor 7th
♭7
B♭
eleven
Major 7th
7
B
twelve
Perfect 8th / Octave
8
C
♯4
/ ♭5
HackMusicTheory.com
F♯ / G♭
composing a chord progression in 4 steps
1. work out the
(using its semitone formula), and the spelling:
1
2
♭3
4
5
♭6
♭7
8
D
E
F
G
A
B♭
C
D
2. write out all the
in that key, using chord symbols:
I
II
♭III
IV
V
♭VI
♭VII
-
Dm
Edim
Fmaj
Gm
Am
B ♭maj
Cmaj
-
3. decide what you want to say through your musical (i.e. chord progression), then choose the appropriate chords (major=happy, minor=sad, diminished=WTF?!): Chord progression (example)
Notes in each chord
I - Dm
DFA
V - Am
ACE
IV - Gm
G B♭ D
♭VI ♭III
4.
- B♭maj
B♭ D F
- Fmaj
FAC
everything around the common notes (using inversions), and where there's no common notes between chords, make one (using a sus chord): Chord progression (example)
Re-arranged notes in each chord
I - Dm/A
A D F (common notes are A & F, from last chord: Fmaj/A)*
V - Am
A C E (common note is A, at bottom)
IV – Gsus4 (added in, as Am & Gm have no common note)
G C D (common note is C, in middle)
IV - Gm ♭VI
- B♭maj/F
♭VI ♭III
G B♭ D (common notes are G & D,
at bottom & on top)
F B♭ D (common notes are B♭ & D,
in middle & on top)
- B♭maj
B♭ D F (same chord, di鷊erent position = no chord change)
- Fmaj/A
A C F (common note is F, on top)
*Always check your last chord back to your 掿rst chord within each chord progression (for looping), and make sure there is at least one common note, and that it's in the same place (bottom, middle, or top) within those chords
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compose a bass/synth line in 2 steps
1. Work out the
(using the semitone formula) and its spelling:
1
2
♭3
4
5
♭6
♭7
8
D
E
F
G
A
B♭
C
D
2. Play around with these notes, perhaps beginning on the root to help establish your key, just for now. Be sure to inject life and energy into your bass lines by using di韁erent note lengths ( ) on the MIDI grid, and placing some of your notes on o韁-beats ( ). Also, when you're playing around and experimenting with the notes in your scale, always be on the look out for a short musical idea ( ) emerging, which you can repeat to give your bass line structure and familiarity. However, don't overuse these - usually two repetitions in a row of a motif is great, but three in a row can often be too much of a good thing. Lastly, use rests/silence to frame sections of your bass line ( ), which will break it up into memorable chunks and give the bass time to “breathe”. 3.
BONUS:
for maximum melodic strength, (i.e. 5 semitones, e.g. E to A) (i.e. 7 semitones, e.g. G to D), as those sound waves vibrate too similarly and are therefore rather weak/boring. If you jam out a bass line that you really dig, but then discover afterward that there's a perfect 5th between a couple notes, don't worry, this is an awesome opportunity to create something even more special. Break up this perfect interval by adding an extra note in between these two notes. This will actually make your bass line even more unique and unpredictable, as you would never have thought to put a note in there if it weren't for that moment of weakness from the perfect 5th. Finally, always check your last note back to your 韟rst note within each bass line (for looping), and if you 韟nd that it's a perfect 4th/5th, be sure to add in a note to break up that perfect interval too.
HackMusicTheory.com
compose a bass line for a chord progression in 2 steps
1. Write out the
you used for your chord progression (see Chords PDF)
1
2
♭3
4
5
♭6
♭7
8
D
E
F
G
A
B♭
C
D
2. Write out your chord progression, then begin playing around in the low end,
remembering to center your bass line around the root note in each chord. For an awesome bass line, balance the created from these root notes, with the created from the other six notes in the scale. Too much stability will make your bass line boring, but too much instability will make your musical foundation too weak to hold all the chords and melodies above it. Lastly, when composing any melody, always use the MELODY CHECKLIST (in Vocals PDF) for an ultimate list of hacks to compose a great melody!
, example
spelling is heard & written in relation to each chord's root note (highlighted in the green MIDI chords above)
I - m/A
D (1)
V- m
A (1)
IV - sus4 to m ♭VI
-
maj/F to
D (1)
→
G (1)
maj
G (1)
→
B♭ (1)
A (1)
→
G (1)
→
♭III
– maj/A
F (1)
HackMusicTheory.com
F (♭7)
→
B♭ (1)
→
only goes to B♭maj rst time, second time stays on B♭maj/F second time plays Fmaj (root position) leading into chorus
C (♭7)
→
D (3)
→
D (5)
→
compose a funky bass/synth line in 4 steps
1. work out a
(AKA “the minor scale” or Aeolian mode) and its spelling:
1
2
♭3
4
5
♭6
♭7
8
F♯
G♯
A
B
C♯
D
E
F♯
2. now turn this into a
by deleting the 2 and ♭6 notes:
1
-
♭3
4
5
-
♭7
8
F♯
-
A
B
C♯
-
E
F♯
3. nally, turn this into a
(i.e. the funky scale) by adding a ♭5 note:
1
-
♭3
4
♭5
5
-
♭7
8
F♯
-
A
B
C
C♯
-
E
F♯
4. start jamming and have fun with those o-beats ( ), and, be sure to include the funky trio of with some to avour. For an even funkier bass line, play around with octave jumps, and for ultra mega funkiness, try throw in the too! And remember, always be for that short musical idea you can repeat, to give your bass line structure and a catchy familiarity. Lastly, your bass line by using rests/silence to give it space to “breathe”.
5. BONUS: for maximum melodic strength, (i.e. 5 semitones, e.g. E to A) (i.e. 7 semitones, e.g. G to D), as those sound waves vibrate too similarly and are therefore rather weak/boring. If you jam out a bass line that you really dig, but then discover afterward that there's a perfect 5th between a couple notes, don't worry, this is an awesome opportunity to create something even more unique. Break up this perfect interval by adding an extra note in between. Finally, always check your last note back to your rst note within each bass line (for looping), and if you nd that it's a perfect 4th/5th, be sure to add in a note to break up that perfect interval too. Funky bass line (example): F♯ → A → C → E E → F♯ → E → F♯ → C → B → A → A → F♯ → E → C → E E → F♯ → F♯ → F♯ → A → C → E E → F♯ → A → F♯ → A → C♯ → A → B → C → B → C → A → F♯ → E → C → E → E
HackMusicTheory.com
compose a unique guitar/synth part in 4 steps
1. Write out the
you used for your chord progression (example below is in F Lydian)
1
2
3
♯4
5
6
7
8
F
G
A
B
C
D
E
F
2. Write out all the
in that key, using chord symbols
I
II
III
♯IV
V
VI
VII
-
Fmaj
Gmaj
Am
Bdim
Cmaj
Dm
Em
-
3. Decide what you want to say through your musical (i.e. chord progression), then choose the appropriate chords: major=happy, minor=sad, diminished=WTF?! 4. Guitars & higher-pitched synths thrive on melody and harmony, so break down your chords into their individual notes, and then approach them melodically. Lastly, always use the (in the Vocal PDF) for an ultimate list of hacks to compose a great melody!
example
(highlighted in MIDI), spelling is heard & written in relation to each chord's root note (dark notes at bottom of MIDI)
maj
F(1)
m
E(5)
C(♭3)
→
B(2)
→
maj
G(♭7)
→
E(3)
→
G(1)
→
→
D(2)
→
maj maj m
F(1) E(5)
C(♭3)
→
B(2)
→
G(♭7)
→
maj
E(7)
→
→
D(2)
→
B(7)
→
D(5) HackMusicTheory.com
C(♭3)
→
B(7)
G(2)
→
Please note: repeated parts are in black, variations are in grey
D(4)
→
→
G(♭7)
→
C(♭3)
A(2)
E(7)
A(6)
maj
E(5)
→
E(5)
G(2)
→
A(1)
→
C(♭3)
→
A(1)
→
G(♭7)
→
change keys successfully using these 3 methods is the fancy word for changing key. For example, if your song's verse is in D Aeolian and the chorus is in F Ionian, the music is said to modulate between these two sections. You wouldn't wanna spend four minutes saying exactly the same thing to someone, as that's not very interesting for them to listen to. It's the same with music. You can express a great deal in four minutes, and your listeners deserve that, so move through a minimum of two dierent keys in every song. This will express two sides to your story, and keep them captivated throughout the journey. And, what's better than two? Yep. Ideally, songs should have at least three dierent sections (verse, chorus, bridge), so why not treat your listeners to a dierent key for each section. They will thank you with their full attention! I like to think of notes as people, so imagine your music is a room with seven people in it (i.e. the current mode/key you're using). It doesn't take long for your listener to get to know all seven notes, and then the conversation gets stale. So, as the host, you kick some old notes out and replace them with new ones, and everything's fresh again! Then after a while, those new notes aren't new any more either, so you ditch 'em for the old ones again, who now sound fresh as they've been away. The amount of new notes you introduce when you modulate, determines how close or distant the new key sounds to the old one. Lastly, always try a direct/abrupt modulation rst, as sometimes going straight into a new key can create an incredibly interesting change. But, if your ear tells you that sucked, then try one of these three hacks: METHOD
FOR
EXAMPLE
Dierent notes, same root
F Lydian
Same notes, dierent root
D Aeolian
Dierent notes, dierent root
E Dorian
This method is Change instantly and especially useful in eortlessly to electronic music, when whatever mode you you want to maintain a want, by simply particular low frequency keeping the same throughout a whole root note. song.
F Ionian
When you want a Start your new seamless modulation, section on the root emphasize another note triad of the mode within the current mode you've modulated to. as your new root. Be Sometimes it helps to sure to emphasize it avoid the root chord suciently though, of the mode you just otherwise the ear will came from, not be pulled away from otherwise the ear can the old mode. be tempted back to it.
→
F Ionian
key w/ two ♯ → key w/ one ♭ chord progression example: Em (old key's root) Amaj (pivot on A, old key) → Am (pivot on A, new key) → Cmaj (new key's Vmaj) → Fmaj (new key's root)
→
HOW
F Ionian
→
→
WHY
There's something uniquely refreshing about changing notes and roots between sections in a song. However, this type of modulation is potent and perhaps not for every song. Approach with caution, but know that your boldness will be rewarded!
Use Vmaj of the new key you're going to, followed by the root chord of that new key. If possible, precede the Vmaj with a chord that's in both old & new keys, AKA a pivot chord. If that's not possible, try nd a note that's the same in both keys, AKA a pivot note, and play both versions of the chord from it (see example on left).
HackMusicTheory.com
work out any key signature for any mode in seconds
= scale/mode = sharps ( ) or ats ( ) in a key The Key Signature Killing Machine is one of the most powerful hacks. It’s based on the “circle of Cfths” but goes way beyond the circle’s limitations. In seconds, the Killing Machine will give you the key signature (and therefore all the notes) of any scale, while also showing you which scales don’t exist. Without further ado, here it is:
INSTRUCTIONS: 1. (the one with no ♯ or ♭) for your scale/mode - these are written below the Killing Machine 2. If the root of your scale/mode is a natural note (no ♯ or ♭): (going right means you’ll have ♯s in your key, and going left gives you ♭s) - don’t count the starting “white note” key, as it has zero ♯ and ♭ 3. If the root of your key is a ♯ or ♭ note: until you reach the end on either side, then loop around and continue, but now each note has an invisible ♯ (if you were going right) or ♭ (if you were going left) - stop counting once you reach the root of your key 4. When you arrive at the root of your key, in your scale/mode - remember, if you went right you’ll have ♯s and left you’ll have ♭s 5. Lastly, what are the actual ♯s or ♭s in your scale/mode? scales/modes have 7 notes, so if you count more than 7 ♯s or ♭s, that key does not exist and you need to use the enharmonic of its root instead (e.g. G ♯ Ionian would have 8 ♯s, which means it does not exist, the Ionian from that root note needs to be called A ♭ Ionian instead)
the ultimate checklist for composing a great melody
Write out the
1.
you used for your chord progression (see Chords PDF)
1
2
♭3
D
E
F
4
5
♭6
♭7
8
G
A
B♭
C
D
2. Write out your chord progression AKA harmonic story, then begin telling your melodic story over it. - use all these hacks to compose a great melody! (see example below) (in chord, wanna stay put) (not in chord, wanna move) (ve semitones) (seven semitones)
Why: Tension and resolution gives your melody momentum How: Use a combination of harmonic and non-harmonic notes Why: These intervals vibrate too similarly, so sound weak/boring How: Avoid 'em, but if you get one, break it up with another note
(short musical ideas, melodic or rhythmic) Why: Repeating them gives your melody structure and familiarity How: Look out for anything catchy emerging as you experiment (6ths & 7ths)
Why: Large intervals grab attention and create interest How: Use small intervals for ow, and large intervals for drama
(length/duration of each note)
Why: Di훞erent length notes give your melody life and energy How: Play around with di훞erent note durations on the MIDI grid
(accenting an o훞-beat)
Why: A few unpredictable o훞-beat notes create excitement How: Use on-beat notes for impact, and o훞-beat notes to thrill
(framing a segment with rests/silence)
(example)
(highlighted in MIDI above), spelling is heard & written in relation to each chord's root note (highlighted in MIDI chords above)
I - m/A
D (1) → B♭ (♭6) → A (5) → C (♭7) holds over to next chord...
V- m
…becoming a C (♭3) → A (1) → G (♭7) → B♭ (♭2)
IV ♭VI
-
Why: Breaking up melodies into chunks makes them catchier How: Sing your melody and use rests where you want to breathe
sus4 to maj/F to
♭III
- maj/A
m maj
A (2) → B♭ (♭3) C (2) → A (7) → F (5) briey holds over to n ext chord... …becoming a F (1)
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creating depth by adding musical layers of countering melodies
WTF is Counterpoint? Let's just say it's one of the best ways to make your music stand out from the crowd, as there's probably less than 0.01% of all popular music that has any counterpoint in it. is the method of adding musical layers by composing melodies with countering contours. A song could have ten dierent synths in it, but if they're all playing the same thing, it'll sound thin with only one musical layer. On the other hand, a song could have a mere two synths, but if they're playing totally dierent melodies at the same time, that creates two musical layers and therefore true musical depth. Yes, two synths using counterpoint will sound bigger than ten synths not using counterpoint. This is because counterpoint stimulates the brain to listen both melodically (horizontally) and harmonically (vertically). The hacks below exist to ensure your multitracks are actually perceived as musical layers. 1. if the lead melody moves up, the backing melody moves down ( holy grail! 2. if the lead melody moves up, the backing melody 3. if both melodies move in same direction, one moves by
) - the
, the other by
Using the above methods will always ensure your melodies are heard as independent layers, and not just copies of each other. These compositional techniques can be used for all your layers, from backing vocals to bass, from synths to guitars. Anything and everything benets from counterpoint composition.
, (dark long notes in MIDI above)
for Fmaj
spelling is heard & written in relation to each chord's root note
G (2) → A (3) → C (5) → E (7)
(highlighted in MIDI above) spelling is heard & written in relation to each chord's root note
_* → F (1) harmonizes A(3) → A (3) harmonizes C(5) → C (5) harmonizes E(7)
for Am
F (♭6) A (1)
A (1) harmonizes F(♭6) → F (♭6) harmonizes A(1)
for Dm
-
-
→
*The rst note of the lead vocal melody (G) is not harmonized, as I wanted to create a “springboard” note from which we can jump into the counterpoint, which also starts on a strong rhythmic beat for extra impact. : It's not always possible, but try to harmonize in 3rds (e.g. A & C), as this is the magic interval we use to build chords.
creating timeless lines & catchy hooks with depth are timeless. They convey thoughts that are deeply human, providing a mirror for each listener to reect on their own life. On the opposite extreme, are disposable. They rely on tired cliches and shallow hooks, often conveying absolutely no message/meaning whatsoever. Are lyrics really that important? In a word: Yes! In two words: Hells yes! We're all hardwired to connect with the human voice, and that fact makes vocals the most important instrument. On top of this, when the human voice and language are fused, this uni韟cation of melody and words is by far the most powerful part of all music . Nothing else comes even close to this ultimate musical combo! This is the take-home message for your song. Short and punchy! What's the one thing you want listeners to remember from your song? Write your chorus lyrics around that one theme. Also, a lyrical motif ( ) is vital in creating coherency as your song's story unfolds. This hook will be your song title, too. In Create/Generate, we wanted to open a discussion about the bene韟ts of humans and machines working harmoniously together to make art. The hook/title came from the contrasting approach of humans creating with feelings, and machines generating with algorithms. Starting the chorus with “We” establishes a strong and positive united front. “Arti韟cial art” makes use of alliteration, and the “art” in “arti韟cial” is also emphasized vocally with it being sung twice, in a stutter-style, 韟rst by Kate and then by Ray who 韟nishes the word. The 韟nal line looks to an optimistic future and concludes with “collaborate”, which also rhymes with the song title in the 韟rst line. We create/generate . Heartfelt algorithm . Arti韟cial art . Evolve, collaborate These are the sections of your song in which you can freely develop your narrative. Verses don't need hooks, and they don't need to be nearly as concise as choruses. It's common to have two or three di韁erent verses in a song, forming the bulk of the lyrics, and therefore the place in which the story progresses. A pre-chorus (AKA pre/build) raises anticipation to the conclusion that is the chorus. A bridge/breakdown takes a time-out to allow for a fresh perspective. An intro gives a little teaser preview, while an outro wraps up with a 韟nal thought. These extra sections provide opportunities for covering your story from di韁erent perspectives, keeping listeners captivated throughout your entire song.
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: a favourite interview question is always: “What's this song about?”, so start writing your lyrics by answering this question. Then zoom into the underlying theme, and write, write, write, and write some more! : got nothin' to say? No probs. Write down a bunch of random words that your song makes you feel. : the most vital stage of lyric writing, is editing. Once you've done #1 or #2 above andhave a bunch of pages 韟lled with scribbles, go through them and circle anything that stands out. Now, play around with combining those words into tighter ideas and lines, and get rid of any words that aren't really necessary within those lines. : avoid writing sentences. While lyrics should make sense, words like “and” can easily be replaced with a comma, resulting in a much tighter vocal part. It's also fun to stitch ideas together into a lyrical collage. : a rhetorical question can engage listeners, subconsciously demanding their attention. : a picture is worth a thousand words, so always try to write visually, by planting images in listeners minds. : using words/phrases that can be interpreted in di韁erent ways, allows for depth and space in which listeners can 韟nd their own relevant meanings. : use these pronouns sparingly, and only when you really need to. “I” can close o韁 your lyrics to listeners and inhibit their own interpretations, and “you” can come across as forceful and preachy. : they exist cos they're usually true, but no song bene韟ts from them. If you 韟nd yourself drawn to one, experiment with a di韁erent way of saying the same thing. For example, “every cloud has a silver lining” could rather be “silver surrounds our grey”. Same meaning, but a fresh angle that's much more interesting. : de韟nitely not necessary in lyrics, and can often sound cheesy and child-like. If in doubt, don't rhyme! : using the same letter/sound at the beginning of adjacent words can be used as a more subtle alternative to rhyming. : looking up a word's exact de韟nition, especially its etymology (origin/development), can spark creative ideas and give you a di韁erent angle to explore. : amazingly insightful and helpful tool, but use it mindfully, otherwise you could easily end up with lyrics that nobody (including yourself) can understand. : pretend you have this condition that muddles up the senses, and you'll tap into some truly unique expressions. For example, “minutes in mauve”, or “elude the taste of silence”. Meaningful, di韁erent, and super fun!
HackMusicTheory.com
Verse 1
Technology developing Identity, intelligence Authentic purpose The transcendence
Pre
What is progress? What is art? If not a future we design Sign of our time Man made machine Hybrid mind elevates
Chorus
We create/generate Heartfelt algorithm ArtiCcial art Evolve, collaborate
Verse 2
Systematic discovery Through circuitry Transformation by Hands behind the code The transmission
Lyrics © 2016 Ray Harmony & Kate Harmony
