How to write 80's Funk & Boogie music.
Summary
TLDRCette vidéo tutorielle couvre le style musical Hades Boogie, également appelé electro funk, en se concentrant sur la composition et l'écriture de chansons plutôt que sur les réglages d'instruments ou les techniques de mixage. L'auteur discute des éléments tels que les percussions, la ligne de basse, les accords et les mélodies, mettant l'accent sur la création d'un groove et de l'espace dans la musique pour permettre à d'autres éléments mélodiques de s'y ajouter.
Takeaways
- 🎵 L'artiste revient avec une vidéo sur la musique Hades Boogie, également connue sous le nom d'electro funk, un style qui lui est particulièrement cher et qui provient des années 80.
- 🎼 L'accent est mis sur la composition musicale plutôt que sur les réglages de synthétiseur et les mixages, avec l'objectif de parler de l'écriture musicale.
- 🥁 La batterie est très simple et directe, avec des petits ajouts qui donnent une touche unique, et utilise un swing pour une sensation plus détendue.
- 🎩 L'usage des钗hat est crucial pour donner une articulation humaine, en imitant la manière dont un batteur jouerait le motif.
- 🐥 Des détails comme l'ajout d'un léger groove et l'utilisation d'un hi-hat ouvert par moments sont utilisés pour accentuer et remplir l'espace.
- 🪘 La ligne de basse est simple, avec un équilibre entre les notes allongées et les notes courtes, ce qui est essentiel dans la musique funk.
- 🎶 L'espace entre les notes est un élément clé dans la musique funk, avec des notes souvent très courtes pour créer un groove funky.
- 📊 Les accords sont simples et utilisent souvent des harmonies de type jazz avec des extensions d'accord comme les 7ème, 9ème, 11ème et 13ème.
- 🌟 Les musiques boogie proviennent d'une multitude d'influences, notamment le gospel, le rhythm and blues, l'âme et le funk.
- 🎶 La mélodie principale est simple et jouée sur un loop pour permettre des improvisations, mettant l'accent sur le groove et la simplicité.
Q & A
Quel est le style musical abordé dans cette vidéo ?
-Le style musical abordé dans cette vidéo est le Hades boogie, également connu sous le nom de electro funk, un style musical qui a émergé dans les années 80.
Pourquoi l'auteur a-t-il choisi de commencer par les percussions dans sa discussion ?
-L'auteur a choisi de commencer par les percussions car elles sont au cœur de la musique funk et qu'il souhaitait aborder les aspects de composition plutôt que les réglages de synthétiseur ou les questions de mixage.
Quel est l'effet que l'auteur souhaite obtenir avec les percussions ?
-L'auteur souhaite obtenir un effet détendu et relaxé avec les percussions, en utilisant un swing pour donner une sensation plus naturelle et moins quantifiée.
Comment l'auteur aborde-t-il la question de l'articulation dans les percussions ?
-L'auteur parle de l'importance de l'articulation des notes, en essayant d'imiter comment un batteur pourrait jouer un motif, avec des notes longues et courtes pour éviter une hi-hat sans articulation qui pourrait être pénible à l'oreille.
Quels sont les éléments clés de la composition de la basse dans cette vidéo ?
-Les éléments clés de la composition de la basse incluent un équilibre entre les notes allongées et les notes courtes, avec une attention particulière aux silences entre les notes pour créer un groove funky.
Pourquoi l'auteur recommande-t-il d'éviter l'utilisation du curseur de swing des workstations ?
-L'auteur recommande d'éviter l'utilisation du curseur de swing des workstations pour obtenir un sentiment plus humain et pour bien comprendre comment les différents éléments musicaux s'entremêlent.
Quels sont les deux types d'échelles conseillés pour écrire de la musique funky ?
-Les deux types d'échelles conseillés pour écrire de la musique funky sont l'échelle pentatonique et l'échelle du blues.
Quelle est l'importance des accords dans la musique boogie abordée dans la vidéo ?
-Les accords sont importants dans la musique boogie car ils peuvent être simples avec des harmonies triadiques ou plus complexes avec des extensions d'accord comme les septièmes, neuvièmes, onzième et treizième.
Comment l'auteur aborde-t-il la mélodie principale dans la musique boogie ?
-L'auteur aborde la mélodie principale en la gardant simple et en se concentrant sur l'interaction avec les accords, en utilisant des ornements comme les notes de grâce, le vibrato et les modulations de portée.
Quels sont les conseils donnés par l'auteur pour apprendre à bien écrire de la musique boogie ?
-L'auteur conseille d'écouter de la musique, de transcrire ou de copier des parties qu'on aime et d'essayer de comprendre comment elles fonctionnent et s'assemblent, en prenant le temps de pratiquer et d'appliquer les concepts expliqués.
Outlines
🎵 Retour aux origines avec la musique Hades Boogie
Le présentateur revient avec enthousiasme pour discuter de la musique Hades Boogie, aussi connue sous le nom d'electro funk, un style qui émane des années 80 et qu'il apprécie particulièrement. Il annonce qu'il va présenter une chanson en cours de création et aborder la composition musicale plutôt que les détails techniques tels que les presets de synthétiseur et les mixages, cherchant à aborder une approche différente de celle des autres tutoriels. Il commence par la batterie, notant que les patterns sont simples et direct, soulignant l'importance des petits ajouts pour donner une touche unique. Il mentionne l'ajout de swing à la chanson pour un sentiment plus détendu, et compare cette approche à celle des productions des années 80 où les patterns de batterie étaient souvent quantifiés et verrouillés sur la grille.
🥁 Approfondissement sur les détails de la batterie
Le script se concentre sur les détails de la batterie, expliquant que les coups de pied sont simples mais avec des ajouts pour un sentiment unique. Il mentionne l'ajout d'un coup de pied légèrement décalé et le choix stylistique d'ajouter du swing. Il compare cette approche à celle des années 80 où les patterns de batterie étaient souvent verrouillés sur la grille. Il aborde également les cymbales, voulant obtenir un son plus humain et évoquant la manière dont un batteur pourrait jouer. Il critique l'approche mécanique de certains producteurs qui utilisent les cymbales sans articulation, soulignant l'importance de l'articulation des notes dans la musique funky. Il explique comment imiter la manière dont un batteur jouerait le pattern, avec des notes longues et courtes, et comment ajuster le volume et la découvre pour imiter le pédalier du cymbale.
🎶 Laissez les bonnes vibrations avec les basses et les cuivres
Le script passe aux basses, expliquant comment elles interagissent avec la batterie pour créer une bonne groove sans s'imposer l'une sur l'autre. Il souligne l'importance de l'espace entre les notes dans la musique funky. Il mentionne également l'utilisation de cuivres et de bongos pour enrichir la texture musicale sans pour autant s'imposer. Il explique comment ces éléments musicaux remplissent les espaces vides tout en restant discrets. Il y a également une discussion sur l'importance de l'articulation et de la swing dans la musique funky, et comment cela influence la manière dont les instruments interagissent.
🎼 Éléments de la basse et de la mélodie
Le script se penche sur les aspects de la basse, soulignant la simplicité de la ligne de basse et l'importance de l'espace entre les notes. Il explique comment les notes prolongées et les notes courtes contribuent au groove de la chanson. Il mentionne également l'utilisation de la swing et comment elle est appliquée manuellement pour un son plus humain. Il suggère de commencer les phrases sur une note forte pour guider l'auditeur, et de jouer avec les intervalles pour varier la sensation. Il conclut en soulignant à nouveau l'importance de l'espace entre les notes dans la musique funky.
🎹 Éléments harmoniques et accords dans la musique boogie
Le script explore les aspects harmoniques et les accords dans la musique boogie, en commençant par une écoute des accords en interaction avec les autres éléments de la chanson. Il souligne l'intention de garder les rythmes simples et de se concentrer sur la groove, la mélodie et les accords agréables. Il explique l'utilisation de la harmonie triadique simple et des progressions de chords plus avancées avec des extensions, comme les septièmes, neuvièmes, onzièmes et treizièmes. Il mentionne également l'influence de styles musicaux variés tels que le gospel, le R&B, l'âme et le funk.
🎶 Conclusion et conseils pour la composition de musique boogie
Le script conclut en revenant sur les éléments clés de la musique boogie, tels que les accords, les mélodies de tête et les techniques de swing. Il donne des conseils sur la manière de s'approcher de la composition de cette musique, en recommandant d'écouter d'autres chansons, de transcrire ou de copier des parties qu'on aime et de pratiquer ces concepts. Il souligne que la meilleure façon d'apprendre est de s'exercer à l'écoute et de se concentrer sur la pratique personnelle, en copiant des idées des autres et en les adaptant.
Mindmap
Keywords
💡Hades boogie
💡Synth presets
💡Drum patterns
💡Swing
💡Hi-hats
💡Bass line
💡Chords
💡Melody
💡Vibrato
💡Grace notes
💡Mixing
Highlights
Introduction to Hades boogie music, also known as electro funk, a favorite style from the 80s.
Emphasis on songwriting over technical aspects like synth presets and mixing.
Discussion on the simplicity and effectiveness of drum patterns with added swing.
Importance of humanizing hi-hat patterns to avoid a monotonous sound.
Techniques to emulate a drummer's articulation in hi-hat patterns.
Use of swing in hi-hat and groove within the sixteenth notes for a laid-back feel.
Inclusion of bongos for a layered drum sound without overpowering the mix.
Strategic use of drum fills and the absence of Toms to maintain interest.
Mixing techniques using sample layering for a punchy bass and kick.
Importance of sidechaining in the mix to create space and clarity.
Balancing elongated and short notes in the bass line for a funk groove.
Writing chords with simple rhythms and the use of jazz harmony.
Use of seventh chords and chord extensions in boogie music.
Creating space within the song by offsetting chords and using intervals.
Influences of gospel, R&B, soul, and funk in the creation of boogie music.
Lead melody's role in sitting nicely on top of the simple rhythm section.
Emphasis on melody and rhythm in the lead, using grace notes and vibrato.
Recommendation to practice by looping parts and improvising melodies.
Advice on learning by transcribing songs and understanding how parts fit together.
Encouragement to copy ideas from other musicians as a learning tool.
Closing thoughts on the video's intent to be a starting point for understanding music composition.
Transcripts
hi everyone I'm finally back and today
we're going to be doing a video
discussing Hades boogie music also known
as electro funk it's one of my favorite
styles ever to come out of it the 80s so
I figured it's really natural not only
the right in EP with that style but to
come back with a really fun video like
this so I'm going to play a little bit
of the song that I'm working on and then
we'll start discussing it
[Music]
we're going to discuss more the
composition and how the song is written
rather than obsessing over things like
synth presets and mixing because there's
so many videos out there that do that I
kind of want to do something different
and actually talk about the songwriting
part though we will discuss a little bit
about those topics in regards to like
mixing and synth presets and so on first
off let's start with the drums so as you
can hear what the drums they're very
simple and straightforward we're not
doing really anything crazy with the
patterns but it's about the little teeny
like my new touches that were giving it
that really give it a unique feel and as
you can see here by the pattern itself
it's really really basic it's mostly a
kick snare pattern with an occasional
kick thrown in between and you can see
here it's thrown in on one of the
sixteenth notes of the pattern and it's
slightly offset and that's because I
added swing to the entire song you can
choose to do this or not it's totally
stylistic I like to do it because I like
a more laid-back relaxed feel if you
want a more quantized feel you can just
lock it to the grid and when it comes to
the drums that was more common than not
back in the eighties because you know it
was the 80s technology not only wasn't
as good depending on the era was
produced MIDI was just brand-new so it
was pretty common just to hear you know
a quantized drum pattern locked right
down onto the grid and everything
surrounding it really helped develop the
groove because it was more for human
playing it so that's just something to
keep in mind so you can see here we have
the kick which is hitting very simply
and also the snare which is pretty much
on the you know 2 & 4 we're not really
deviating from that all that much except
for on the end of the phrase here okay
so with the high hats I wanted to go for
something that sounded more human and
how reveal drummer might play a lot of
people especially like newer producers
they kind of just like take their high
hats and if they have the little
paintbrush tool especially here in FL
Studio they just click and just like
across the entire song and it's just
this hi-hat with no articulation just
sitting like piercing your ears through
the entire song which is what especially
what we don't want and because we're
writing more funk oriented music it's
really important that we think about the
articulation of the notes and I'm trying
to emulate exactly how a drummer might
play this pattern and you'll notice
there's a context between like long
notes and short notes and this is a very
basic groove that you'll hear pretty
much everywhere essentially the first
hi-hat hit is you know the one two three
four was always pretty much going to be
the accented one and everyone that's
laying on the eighth note is the one
that is not accented so you can see it's
got a shorter decay and on top of that
the volume set a little bit lower so
it's kind of like they're hitting the
stick on that I have a little bit
heavier and lighter and with the
additional decay on the hi-hat you know
a drummer will how usually pretty much
have their foot always planted on the
pedal underneath it and they'll kind of
move it up and down depending on how you
know they want to articulate the hi-hat
you don't have to do this exact pattern
but it's just important to keep that in
mind and an additional little thing that
we do at the Hyatt is we have a little
bit of a groove thrown in there here and
there so you can just hear it with this
pattern here it's just kind of hitting
right in between and rack setting that
sixteenth note so as if you see my ad is
like synth funk tutorial when it comes
to the bass line you'll notice that this
is a concept I talked about in there and
you can see we also have swing on the
hi-hat and really that groove is lang
within the sixteenth notes you can have
an eighth notes sort of like groove feel
as well but so yeah essentially it's got
a little bit of a shuffle thrown in here
and there and then we all sound like an
open hi-hat at the very end which you'll
hear drummers do all the time where
they're just kind of open up the pedal
hit that higher and clamp it back down
again and this is just another way to
accent the hi-hat and also to fill on
more space and we also have some bongos
playing down on here but I don't really
want to get too much done to them
because it's more of just like something
layered underneath all the drums I just
want to get the core concept of how the
kick
is the snare and the hi-hat all interact
together but if you notice one thing
about the bongos its it's much more
spread out and it's essentially filling
in the gaps everywhere else within the
drums notice it's not really getting in
the way of anything so I just want to
talk about this little fill too if you
notice there's really no Tom's anywhere
within the song and it's mostly just
like very simple laid-back drums so to
keep it interesting we have to think
about another way we can do stuff and as
you can hear with this one great way to
add a little bit of surprise and
anticipation it's just like drop that
kick out in the very beginning of the
next bar if you like the two of you that
are watching that I listen to my music I
do that all the time and almost
everything alright so it's a really
common device that I love to do and
instead of doing that we sort of bring
in a couple different elements one which
this is fun little like scratch sound
effect super fun and playful and it
gives a little bit of flair and style
and we have that little yellow sample yo
which again got from trap sample packs
cuz like I said I liked rap music I know
that's like blast for me to say
especially in the eighties music's clean
cuz everyone hates it but I love trap
haters gonna hate
so we combined that together with having
you know a little bit of that Flair yeah
[Music]
okay so let's talk about the mixing of
the drums and we're gonna blow through
this part cuz I have an entire video on
how I do that
which is how I gain pretty much every
one of my subscribers so I don't want to
belabor you guys who've seen that video
almost certainly so does he hear much
like I've discussed previously we're
using a lot of sample layering well not
a lot but we're using a little bit of
sample layering to try to pull the best
of both worlds so you can see here I
have a nice low kick sample we're
feeding it ever so slightly into a
little bit of gated reverb and we're
also high passing it because we only
really want that low thump you feel the
way I like to write my music I come
from a background of like electronic
dance music and the first genre I
learned to produce back in 2005 was hip
hop so I really like to mix music with a
nice little heavy punchy bass and I want
a song that when you hear it on
subwoofers it's gonna like rattle the
car you know as much as I can
considering its eighties music and the
style but you know I kind of want those
kicks to really hit you and the best way
to do that for my style is layering and
a lower kick that is only for that
specific thing and if you want a little
secret on where to find good ones like I
said hip hop or trap samples like the
ones that they tend to layer in with 909
kick drums that's what I layer in here
but we want to keep it nice and 80s
right so we just have that linndrum
layered on top of it with the low pass
or with high pass cutting out a lot of
the lows and again we're feeding that
into a gated reverb that's cut off on
that's a little bit high-pass so there's
not too many low frequencies rolling
through because we need to add plenty of
room and space in the low end of the mix
and you'll also see that I have a
sidechain not only with the derp bass
drum but we also have it with the snare
as well both of these two are
sidechained pretty much to everything in
the mix to varying degrees and the
reason I'd love to do that which is
pretty much why everyone else does is
that's a very very easy and effective
way just to clear space that way you
don't have to worry about all these
annoying mixing techniques you just
layer in some of that sidechain BAM
plenty of space and it's very crucial in
the low frequencies so that the bass you
know frequencies are the kick drum and
the sine bass that's layered underneath
the bass that I have in this song aren't
matching together that's like the number
one thing how you keep a nice clear low
and you pretty much want a high pass
everything you can because believe it or
not you can high pass stuff more than
you might realize
and it still sounds fine and the
contacts of the mix and we have our
basic blend drum snare which is you know
nice and snappy this actually has a
little bit of compression on it but not
too much so we have also a nice little
clap sample
additionally underneath that we have one
other clap which is much much more
snappy has a lot more of like nice
strong transient to add plenty of punch
on the top end of that snare drum and if
we just lay our only two of these
together you can really hear that the
next let's move on to the other most
important part besides the drums and
that is the bass so I'm just going to
play the drums and bass together and
then we're going to really delve in and
explain it more in detail so as you can
hear by how everything is kind of
fitting together neither one is really
overpowering each other and they're
still trying to provide plenty of space
in between everything else so that all
the other melodic elements can sit on
top but also the drums in the bass give
just enough group to really make you
want to lay back or like tap your foot
or move your head to it and with this
bass line we just have a like a nice
simple balance between elongated notes
and short notes if there's really one
big take away from all of this this is
what you need to keep in mind when it
comes to writing funk music and it's a
really good rule of thumb for music in
general it's not about the notes you
play but this face and between those
notes especially in funk it's all about
those gaps in between the notes that's
where the funk really is and speaking of
that let's actually delve into it a
little bit more in detail we're pretty
much starting off all the phrases on a
really strong note and basically the
best way to think about it like the very
first note you start off on the bass
line within like each you know four
beats there's gonna be the one that
really grounds the the tonic of whatever
chord is playing underneath it we're
gonna get a little bit in a theory about
this is kind of important so if you want
to emphasize like a certain feel
depending on the chord playing it's
gonna change the context so if you have
like uhm say it's like an E major and
you just want to emphasize like this
standard voicing you can just BAM right
there in the beginning and that's gonna
prime the year to thinking okay this is
like the root note of the chord and then
you can kind of experiment playing out
other notes in between you could also do
another way where you're starting on
like a different interval of the chord
and then eventually later on landing on
to the root note of the chord completely
up to you but if you really want a nice
strong feel that's just gonna guide to
listen the listener you know if you have
that tonic note on the one
tried-and-true method and especially
with funk there's a certain way you can
write it we're like on the very one of
the beat is where it's gonna be
emphasized but that's kind of like a
whole another discussion and as you can
also see here with the overarching theme
of the song I have everything set to
having a little bit of Swing and you may
notice that I don't use like a lot of
workstations have like this little
slider to adjust how much Swing
something has I do not like using that I
recommend you avoid that at all cost and
really manually get in there and
actually write how offset the notes are
between everything because the number
one it's gonna make it feel more human
and number two you're really gonna start
over time getting a feel for how all
these elements fit together it's like a
very sort of advanced subject but you
can can think about about it is like a
swing ratio between different
instruments depending on what
instruments playing some might be some
offset more great than playing behind
the beat entirely a little bit to give a
different feel for this song and in jazz
music especially that's really common
the drums are kind of playing on their
own swing the bass is going to not be
quite as swung as something like the
lead element so those are things to sort
of keep in mind but that's a really more
advanced topic that
I really don't want to get into here and
like I said remember the space in
between the notes look how much space
there is between each of these notes
we're not really filling it out with all
kinds of stuff really there's that's
that's a hell of a lot of space and you
can hear it like your brains not
expecting the note to hit quite that
late and because we're doing having a
little bit of Swing with on that note
and it's on a sixteenth note subdivision
it really just feels more fun and
playful and we sort of do the same thing
than air here in the next part of the
phrasing and a gun feels really fun and
you can see there's a nice juxtaposition
between elongated notes and very short
staccato notes and that's another
important concept to think about how
long you sustain a note is gonna
completely entirely change the feel of
the groove of the song that's another
thing really really important keep this
on mind if you have a very long
sustained note it's not gonna have the
same groove is something very short in
staccato or even stuck ITC MO if you
wanted like impress your classical
friend with now your more traditional
music terminology so staccato is just
meaning something very short and punchy
and stuck at ECMO just means like even
shorter of a note and that's kind of the
overarching feeling of a lot of funk if
you want something very very funky
there's notes tend to be a lot shorter
and sometimes almost per so so short
that it feels more like a percussion
instrument then it does a bass
instrument and that's sort of like a
very key thing as well besides the space
in between but also the length of the
notes too and you can see here they're
very short very stuck at ECMO
[Music]
additionally if you want a good scale
are two scales that are great to write
funk music in that is a pentatonic scale
and the blues scale which is they're
both essentially the same except blues
scale has a nice chromatic note thrown
in there but just keep in mind if you're
writing you know that sort of boogie
funk music style you can have like a
very sparse bass line like this where
it's plenty of space riding in between
but there's a lot of styles where you
can hear like a very busy bassline but
you know that's really going to work in
the song you're gonna have to make
sacrifices elsewhere well you'll notice
like a lot of those songs kind of fall
either in-between something kind of
sparse like I wrote it or something very
busy okay so it looks like we're really
starting to get somewhere now and our
next destination is on to the chords all
right so let's do one quick list and of
sort of the chords in combination with
the song with all the other elements put
together and we'll sort of see how it
interacts together
[Music]
so as you can see where everything's
sitting it's actually like very like
plain and simple rhythms with the
exception of how we sort of um take you
a little bit by surprise by offsetting
this chord here but other than that it's
very very simple and I intentionally did
it this way because the song I wanted to
be just like all about having laying
down a groove with some simple melody on
top and some nice Pleasant chords
underneath so when it comes to writing
chords and boogie music you can either
use more simple triadic harmony which
definitely you know boogie songs would
use but overwhelmingly a lot of them
tend to use more rav sort of chord
progressions and furthermore like using
chord extensions so like sevenths 9th
11th 13th and depending on like the
songwriting you'll find some where they
do like even more advanced stuff like
you know altered dominance tritone
substitutions all those other more jazzy
sort of concepts okay so when it comes
to really breaking down some of these
chords because it's using jazz harmony
things can get you know kind of
complicated especially number one if
you're not really into like music theory
or if you are and you're still pretty
new like the concept of understanding
7th chords and like extensions can be a
bit difficult so I'm going to try to
keep this as simple as possible and one
of the first things I notice about in
terms of like the verticality
verticality of the chord all the
voicings are very simple and standard
straightforward like I'm not doing any
crazy sort of like corridor voicings are
like too many crazy inversions and
that's really a thing that I've noticed
about a lot of book music at least from
what I've heard is that like they don't
go too crazy with the voicings off and
in this we're just starting it off on an
E minor 9th
so even though we're using a major
seventh voicing here because the notes
underneath it the base is actually
playing an E so even though the cord
itself doesn't have that you being
played underneath it because the root
note of the bass is saying E it's
emphasizing that this court is actually
an E minor ninth and it's the same thing
here for this next chord because we're
playing a underneath it if you kind of
remember from earlier again we have a
minor ninth as well but with this one we
have the top two notes place down here
[Music]
so you can hear how there's a huge
difference in sort of how it sounds
this voicing is one of my favorites for
seventh chords I use it pretty much all
the time
built from me is so have our E major 9th
or you minor nice a minor ninth a minor
minor ninth a minor ninth and then here
we're going into a different course so
we have an inversion as well and this is
actually an F major nine but we're
taking this G which is used as the ninth
of the chord and rather than putting it
at top even though technically it would
have some pretty nice voice leading
I wanted to keep it down here because I
like the feel of having the note down
here so here's how it would sound in
root position and this is down here so
if you listen to this voicing you might
notice it sounds very 80s doesn't it
that's because in the 80s they used a
lot of suspended chords and we're not
going to really get into what those are
right now but sort of a suspended chord
or would I consider like a suspended
voicing I find to be pretty common and
it's like a really nice shortcut to get
those 80s chord sounds and voicings
especially when we're doing like seventh
chords and all sorts of extensions and
in this we're doing that too so so I
don't want to get too crazy into the
theory especially since this is meant to
be more of a crash course but we also
have this dominant chord resolving down
into our main chord of the song which is
our E minor 9th traditionally when you
have like a dominant chord it generally
tends to resolve into another major
chord in this case it doesn't resolve
quite as strongly as if we had it go
from like you know a standard five
resolving it to the one so it's just
kind of like it's a very smooth landing
into the next chord
so it still fits together and sounds
proper but it's just not as strong of a
resolution as you might normally hear if
you had a perfect cadence and then the
last little thing I want to talk about
in the chord progressions is this little
ditty here play it one more time so
remember how I talked about earlier
creating space within the song because
we add some space here I thought it
would be fun to throw in some little
like intervals just like and I'm not I
mean there's really no point in getting
into like the theory of this and Hades
boogie music wasn't meant to be like
crazy musically complex there's more
about the funk in the melody and you'll
find that when you're listening to it
they tend to like interject a bunch of
different instruments within you know
like the keyboard section might feel
also a little bit as a rhythmic section
too as you can see here and we just sort
of embellish the song a little bit by
adding this melody here and when you're
in the beginning the sort of stuff of
course you're not really going to think
about if you're a new producer
but as time goes on it's those little
elements so it adds a human touch right
like someone who might be a more
experienced like musician it's going on
there a little doggy this is the culprit
by the way from my first video play my
drums my little doggy with his little
allergies say hi little man so another
thing to keep in mind about boogie music
especially and we're thinking about the
chords is that it comes from a
background of a lot of different styles
so you'll hear there's a lot of
influences from gospel and a lot of
boogie music R&B soul funk of course and
I guess you could say other adjacent
John Rose but those are the most common
so when you're writing it that's
something to keep in mind as well so and
you'll notice like a lot of it tends to
be optimistic and uplifting even if the
lyrics underneath it are sad okay so now
let's take a quick listen to the final
part of this entire song that glues it
all together and that's the lead melody
as you heard earlier the drums the bass
and the chords are all very simple
and we're trying to make plenty of space
so that the main element that's going to
be the focus which is the lead has a
nice clean you know fun place to sit or
if you had a vocal same concept so we'll
just sort of play it and I'm gonna break
it down
[Music]
justice to do a brief explanation of
like this part because it's very melodic
we're kind of keeping its notes that are
extended and we're keeping the rhythm
pretty simple because we're focusing on
the melody and sort of how it interacts
with the chords we won't get too much
into detail on what sort of core tones
is highlighting and so on but just the
concept of if you notice here we're
keeping like a very fun playful phrasing
we're starting it off with like grace
notes into another notes so like kind of
boring and sarnax there's a little bit
of lag there's one of these plugins is
lagging the hell out of the project so
sorry if it's kind of sloppy but we can
take this and kind of spice it up and
that's like a big part of like funk
music especially with like certain
styles of boogie a lot of embellishment
on the melodies using vibrato grace
notes
and then also pitch band modulation as
well so that's another thing to keep in
mind with your lead melodies I'm just
thinking about sort of like how you can
embellish it with like something like
pitch bender vibrato and using brace
notes which is kind of essentially what
we're doing here essentially what ended
up happening as we landed on this very
simple
[Music]
I mean essentially what I really
recommend you to do is just like put
apart on loop and just try like playing
some simple melodies it doesn't have to
be crazy so this project kind of s
high-latency and also for some reason
one of the plugins is messing with my
inputs so sometimes it's not calculating
when I play a key but just like in this
example you could just sit around and
just be like
[Music]
but yeah I like just sitting around like
that and improvising and just sort of
trying to come up with something
interesting and why what I ended up
doing was just coming up with like
something really really simple but I
can't unfortunately I can't really play
it because this project has like a lot
of VST is lagging a behind I music in
here it's not really detecting some of
my inputs but you know you get the
general idea so as you can hear it's
very simple and rhythmic so in you know
a great way how a contrast this first
part is that instead of it being you
know very melodic and extended out this
parts very staccato and short and we're
just focusing on laying down a nice fun
groove I think that's pretty much
everything for this video I could go on
forever and really get into the to the
detail of stuff but that would just be
like several hours long and I want to
try to keep my videos short but concise
some of these concepts I discussed
depending on your skill level might be
kind of advanced and if you didn't
understand them that's totally okay just
start like working at it part by part
until you really start to understand it
if you've never written music like this
before and you're really wanting to
branched out into new styles it's going
to take a while for you really to get
the vocabulary of it down and sort of
how everything works you know the best
thing I recommend sitting down listening
to a bunch of songs and trying to
transcribe or copy parts that you like
and then maybe seeing how they function
and fit together that's going to be one
of the best ways you can learn like this
video is meant to kind of be like a
starting point for you to get sort of an
understanding how things work together
and then in conjunction with you know
watching this video sort of practicing
in your own time and trying to put some
of these concepts that I explained to
practice and like I said the best way to
do that is listen to other music and
sort of maybe copy some ideas you
and other people's music totally fine no
shame in it pretty much all of jazz
music like you see some of these records
back here everyone does it this shirt
literally the lick one of the most
common phrases within jazz music which
is kind of why I wore this shirt because
it was one of the things I wanted to
talk about today so I think that's
pretty much everything that I wanted to
discuss thank you all so much for taking
the time to watch this video and if you
have any questions post them in the
comments below if you really like this
video feel free to share it with someone
that you think it might help because I
try and really want to make tutorials
that are helpful to people I don't like
clickbait and I would rather get less
views if it means I can make something
more informative yeah thank you so much
for watching and I'll see you in the
next video and bye next video I don't
mean a year from now I promise
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