How to write 80's Funk & Boogie music.

Summary

Cette 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

00:00

🎵 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.

05:00

🥁 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.

10:08

🎶 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.

15:10

🎼 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.

20:13

🎹 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.

25:14

🎶 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.

Keywords

💡Hades boogie

Hades boogie est un style de musique également connu sous le nom de electro funk, qui a émergé dans les années 80. Dans la vidéo, il s'agit du style musical préféré de l'animateur et il souhaite en discuter en détail. Ce style est caractérisé par des rythmes simples et des nuances qui donnent une sensation unique, comme illustré par la manière dont les instruments sont cliqués et les battements de batterie.

💡Synth presets

Les 'synth presets' se réfèrent aux réglages prédéfinis des synthétiseurs qui déterminent le son produit par l'instrument. Dans le script, l'animateur mentionne qu'il prévoit de discuter de ces réglages, mais veut se concentrer davantage sur la composition musicale plutôt que sur les détails techniques comme les presets de synthétiseur.

💡Drum patterns

Les 'drum patterns' sont des motifs rythmiques créés par la batterie. Dans la vidéo, l'animateur explique que les patterns utilisés sont simples et direct, mais ce sont les petites touches qui donnent à la musique son sentiment unique, comme le swing ajouté à la chanson qui apporte une sensation détendue.

💡Swing

Le 'swing' est un terme utilisé pour décrire un style de musique où les notes sont jouées de manière légèrement décalée pour créer un groove plus laid-back. L'animateur mentionne qu'il a ajouté du swing à la chanson pour obtenir un sentiment plus relax et détendu.

💡Hi-hats

Les 'hi-hats' sont un élément clé de la batterie, utilisé pour créer des motifs rythmiques. Dans la vidéo, l'animateur parle de la manière dont les hi-hats sont utilisés pour donner une articulation humaine au son, en imitant la manière dont un batteur pourrait jouer un pattern.

💡Bass line

La 'bass line' fait référence à la ligne mélodique jouée par le bassist. L'animateur discute de la manière dont la basse interagit avec la batterie pour créer un groove solide, en mettant l'accent sur le balancement entre les notes allongées et les notes courtes pour créer un sentiment funky.

💡Chords

Les 'chords' sont des groupes de notes jouées simultanément pour créer une harmonie. Dans le script, l'animateur explique comment les accords simples sont utilisés pour ne pas surcharger la mélodie principale, tout en ajoutant des extensions d'accords pour enrichir la texture musicale.

💡Melody

La 'melodie' est la ligne musicale principale d'une chanson. L'animateur mentionne que la mélodie principale de la chanson est simple et rythmique, créant un contraste avec les parties plus mélodiques et étendues de la chanson.

💡Vibrato

Le 'vibrato' est un effet musical où le pitch d'une note vibre légèrement pour ajouter de l'expression. L'animateur suggère d'utiliser le vibrato et d'autres techniques d'ornementation pour embellir les mélodies et les rendre plus intéressantes.

💡Grace notes

Les 'grace notes' sont des notes jouées avant une note principale, souvent pour ajouter une décoration ou une transition. L'animateur explique comment les grace notes sont utilisées dans la mélodie principale pour créer une phrasologie plus jouée et amusante.

💡Mixing

Le 'mixage' est le processus d'ajuster les volumes et les均衡 de différentes parties d'une chanson pour qu'elles sonnent bien ensemble. L'animateur mentionne qu'il a une vidéo entière sur son mixage des drums, indiquant l'importance de cette étape dans la production musicale.

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