Understanding music theory is essential in music education as it forms the foundation for comprehending its principles. It provides a structured framework for unraveling the complexities of music, enabling artists to craft captivating compositions by merging theoretical understanding with their creative endeavors.
Here, we will spotlight ten practical tips rooted in theory to reignite your creative spark when inspiration feels scarce.
If your keyboard compositions lean towards a somewhat heavy-handed feel, you can enhance them by employing a technique called broken chords. This method involves dissecting chords into their individual notes and playing them as abbreviated arpeggios -successions of notes). Not only does this technique inject rhythmic intrigue, but it also serves as an effective means to generate ideas for compelling melodies that seamlessly align with the chord progression, as the notes selected are derived from the chords themselves.
Altering the arrangement of notes within a chord can lead a progression into fresh territories without altering the underlying chords themselves. This can be effortlessly achieved by selecting notes and shifting them up or down an octave—a task often facilitated by shortcut keys like Shift-Up/Down, commonly found in most DAWs.
The bass notes played can establish the foundational root for the chords layered above them. Introducing different bass notes beneath can dramatically transform the ambiance of a stagnant chord sequence.
Step 1: Lets visualize a scenario where a piano part repetitively plays a rhythmic sequence of C minor chords. While this repetition might sound monotonous since the chord remains constant, instead of concocting entirely new chords, let’s infuse vitality by enlivening the bass part.
Step 2: Initially, we maintain a C bass note for the first two bars, aligning with the chord’s root note. However, after two bars, we transition the bass note downward from C to A, consequently forming a distinct chord with the piano—a flavorful Am7b5 (A-Eb-G-C), to be precise.
Step 3: Despite preserving the piano chord, we proceed to shift the bass from A to Ab for the subsequent chord alteration, crafting an Abmaj7 (Ab-Eb-G-C) chord. Then, we journey downwards to F, ascend to G, and circle back to C once more. If uncertain about compatible bass notes, consider selecting notes already present within the accompanying chord(s).
Oversampling can significantly improve the quality of your audio output. By sampling the audio signal at a higher rate than the output rate, oversampling helps to minimize distortion caused by the limiter.
However, its important to note that oversampling can be resource-intensive and may cause a spike in CPU usage. Therefore, its advisable to enable oversampling only when necessary, such as during the final export of your track, especially if you are working with a less powerful computer. In essence, the key takeaway is this: if your mastering limiter offers oversampling, utilize it wisely for optimal results.
Experiment by performing C major in the customary manner, spanning from C to C on a MIDI keyboard. Then, allow your ears a brief respite to recalibrate, and revisit the same scale but without commencing on C. Consider traversing from D to D or from F to F. Notice the distinct essence they possess compared to the major scale’s cheerful, elementary resonance? What you are exploring are various modes of the C major scale, each exhibiting a unique character owing to the altered sequence of intervals between the notes that arises when the scale is initiated from a non root note. Reinforcing each newfound mode with a bass note identical to your chosen starting note will accentuate its impact.
Crafting melodies can pose a challenge, but occasionally, entrusting the rhythm with an infectious allure while steadfastly adhering to a single note can be remarkably effective.
Experiment with employing a monotone melody for a verse segment, gradually introducing subtle variations as you progress into the bridge section to culminate in a compelling chorus hook. This strategy not only allows you to concentrate on rhythm and sonic diversity but also infuses interest beyond the realm of melody alone.
The term diatonic signifies being in key, where diatonic chords are constructed solely using notes derived from a specific scale. For instance, a C major scale, encompassing the notes C D E F G A B the white keys on a keyboard, yields diatonic chords such as C, Dm, Em, F, G, Am, and Bdim, formed by stacking alternate notes onto each scale degree. These fundamental triads are likely familiar to you; however, relying solely on this palette of seven chords can be limiting.
Borrowed chords are frequently borrowed from parallel keys—keys sharing the same root note as the original key. In the context of C major, the parallel minor key is C minor, presenting an entirely new array of chords to explore, including Cm, Ddim, Eb, Fm, Gm, Ab, and Bb.
To infuse your compositions with an exotic flair, experiment with combining standard major or minor triads to create polychords. For a timeless polychord fusion, let’s start with C major as our initial chord C E G.
Next, seek out the major chord whose root is a perfect fifth above the root of the first chord. In this instance, that corresponds to G major (G-B-D). When played together, these two chords harmonize to produce a Cmaj9 chord C E G B D. If you’re uncertain about which chords to blend, opt for ones that already share a note or two in common.
Inject excitement into your melody construction by incorporating dramatic leaps up the keyboard. A particularly effective interval for this purpose is a minor or major sixth. Identifying these intervals involves employing the scale degree numbering system as outlined in Tip 10.
In major scales, the interval between the root note and the sixth degree of the scale constitutes a major sixth. For instance, in the key of C, a major sixth above C would be A. Introducing a leap from C to A within your melody will catapult you into an entirely new realm of the keyboard, adding dynamic depth to your composition.
Enhancing standard major or minor triads by incorporating additional notes can significantly alter the character of a composition. For instance, in C major, introducing a Cmaj7 chord involves appending the seventh degree of the C major scale B to a C major triad C E G.
Expanding the scale beyond the octave leads us into the realm of extended range, where a ninth corresponds essentially to the scale’s second degree played up an octave. Thus, crafting a ninth chord becomes straightforward—simply play a root-position triad e.g., C major – C-E-G) and introduce the second degree between the root and the third (C9 – C-D-E-G). This approach infuses depth and richness into your harmonies, elevating the overall sonic landscape of your track.
Restricting yourself to notes from a pentatonic scale may seem limiting, but it can spark the creation of remarkably memorable melodies.
Step 1: Unlike conventional major or minor scales comprising seven notes, pentatonic scales contain only five. Essentially, they are regular scales with a couple of notes removed. Consider a typical C major scale, which includes the notes C, D, E, F, G, A, and B.
Step 2: Assigning numbers to these degrees from 1 to 7, to form a pentatonic scale, we eliminate degrees 4 and 7—F and B in this case—leaving us with C, D, E, G, and A, thus constituting the C major pentatonic scale.
Step 3: To craft a minor pentatonic scale, exclude the second D and sixth (Ab) degrees. For instance, in the C minor scale, we retain C, Eb, F, G, and Bb. Pentatonic scales not only possess an appealing sound but are also enjoyable and straightforward to utilize in musical compositions.
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