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Hack Music Theory

Hack Music Theory

著者： Kate & Ray Harmony
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 Join over 250,000 YouTube subscribers learning the fast, easy & fun way to make good music without using AI, cos that's boring! Taught by multi award-winning college lecturer Ray Harmony, who works in all genres and has made music with multiplatinum Grammy-winning artists (see About page on website for details). Co-taught by Kate Harmony, Ray's wife and protégé. Download FREE Book at HackMusicTheory.com© 2025 Revolution Harmony 音楽
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  • How to Write a Catchy Melody • Music Theory from Glass Animals "Creatures in Heaven"

    How to Write a Catchy Melody • Music Theory from Glass Animals "Creatures in Heaven"
    2024/05/08
    How to Write aCatchy Melody. Free PDF Tutorialincludes multitrack MIDI file If the link above does not work, paste this into your browser:https://hackmusictheory.com/album/2877864/catchy-melody Intro. British band Glass Animals are absolutely massive! At the time of writing this, they’re ranked #257 in the world on Spotify. Most artists as famous as them have achieved their success as a result of an obsessive striving for celebrity. However, Glass Animals seem to be obsessed with making catchy music instead. And not only that, their music is surprisingly creative for a band as successful as them. If you’ve been doing our Hack Music Theory tutorials for a few years, you’ll know that we don’t usually cover “celebrity artists”. The reason for that is because (nowadays) there’s an inverse correlation between the success of an artist and the creativity of their music. For an artist to achieve a fanbase of tens of millions, their music needs to appeal to the masses. And most people (nowadays) want “sugary” ear-candy music that’s pleasantly predictable, i.e. boring, bland background music. So why are we doing a tutorial on such a huge band? Well, Glass Animals’ new single “Creatures in Heaven” is a masterclass in catchy melody writing. The lead melody in their chorus has a whole bunch of creative hacks, as well as a very clever twist in its tale. So, inspired by “Creatures in Heaven”, here’s our 6-step method for writing a great melody that’s catchy enough for the masses. But first… Tea! Step 1. The Chords Open your DAW, leave the time signature on 4|4, but change your tempo to 80 BPM. Next, create a four-bar loop on your melody track, with a 1/16 grid. Okay so you may be wondering why the first step in a melody tutorial is… the chords?! Well, all great melodies are written over chords, or implied chords (chords are “implied” when they’re not played separately but their notes are incorporated into the melody instead). The reason it’s best to write a melody over chords is because it gives the melody a harmonic progression. Without this progression, the melody will sound mind-numbingly boring, as it won’t go anywhere harmonically. The difference is night and day. It’s like walking through a beautiful forest along the ocean compared to walking on a treadmill in a stinky gym. There’s no comparison! So let’s get our chord progression written, that way we’ve set ourselves up to write a great melody. Glass Animals are in the key of D major for their chorus (so we’ll use it too), and they use four chords in their progression (so we’ll do that too). D Major (notes)1234567DEF♯GABC♯ D Major (chords)*1234567DmajEmF♯mGmajAmajBmC♯dim As you probably know (or as you’ll hear if you play it), the diminished chord is crazy dissonant. It’s safe to say that using C♯dim ain’t gonna appeal to the masses, so take that off your menu. But other than that, you can use whatever you want. Glass Animals use all three major chords, and only one minor. Playing three major chords in a major key gives their chorus a wonderfully uplifting vibe. So, think about your balance between major (happy) and minor (sad) chords. Also, think about the order of your chords. Glass Animals play the root chord (Dmaj) second. This detracts attention from it and creates a more fluid atmosphere. We played Dmaj last, though, which creates a more final ending. You can play Dmaj wherever you want, but consider where you want to draw people to the “home” chord. Here’s our progression: Gmaj → Bm → Amaj → Dmaj *If you need help working out the chords in a key, read Hack 10 in our Free Book. Once you’ve chosen your four chords, draw in the root note of each chord for a full bar (in a low octave). These roots will provide harmonic reference for your melody, which you’re gonna write above. This way you’ll be able to hear the relationship between each note in your melody and its accompanying chord. When you’ve finished writing your melody, mute these low roots. Then, create another track specifically for your progression, and draw in each full chord (i.e. 1, 3, 5). Root note of each chord in progression (key note, D, highlighted) Step 2. The Drama Great melodies contain drama, and there’s no better way to bring the drama than by using a big interval.* You see, larger intervals create intensity, while smaller intervals create continuity. You need both. In fact, you need a lot more smaller intervals than bigger intervals. However, if your melody contains only small intervals, it’ll be awfully boring. On the other hand, if your melody contains only big intervals, people will presume you were thoroughly drunk when you wrote it. *New to writing melodies? Use the Melody Checklist in our Songwriting & Producing PDF. Over your first chord, write a handful of notes that end with a big interval around beat 3. ...
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  • How to Write a Better Snare Rhythm • Music Theory from Matt Sassari & Tony Romera "Snare Thing"

    How to Write a Better Snare Rhythm • Music Theory from Matt Sassari & Tony Romera "Snare Thing"
    2024/03/18
    How to Write aBetter Snare Rhythm. Download PDF Tutorialincludes MIDI + WAV file examples If the link above does not work, paste this into your browser:https://hackmusictheory.com/album/2806684/snare-rhythms Intro. While it’s normal to hear at least a few different kick patterns and hi-hat patterns in music nowadays, it’s rare to hear an interesting snare pattern. The rhythm assigned to this neglected element of the drumkit is almost always an afterthought. In 4|4 (which most music is in), the snare is usually one of these three rhythms: Regular backbeat (beats 2 and 4): used in most songsHalf-time backbeat (beat 3): used for a slower vibeDouble-time backbeat (beats 1+, 2+, 3+, 4+): used for a faster vibe So, when listening through to the new releases on Spotify, it was rather shocking (pleasantly so) to hear something completely unusual. The collaborative single “Snare Thing” by French producers Matt Sassari and Tony Romera is a refreshing celebration of the drum that almost always plays the most boring rhythm! With these PDF tutorials, we usually have to make an educated guess as to what the creator’s intention and process was behind the song. But, based on the less-than-subtle title of their track, it’s safe to say that the duo were intentionally showcasing the snare drum’s creative potential. So, inspired by “Snare Thing”, here’s our 4-step method for writing creative snare patterns. But first… Tea! Step 1. Motif Set up two bars of 4|4 with your grid on 1/16 notes, and your tempo at 126 BPM. The first thing we need to do is write a motif, which is a short idea that’s repeated to give the music structure and make it more memorable. As we’re writing for the drums, our motif will obviously be a rhythmic motif (when using pitched instruments, you can also write melodic and harmonic motifs). The motif that Matt and Tony use is a couple of 1/16 notes followed by a 1/16 rest. They then repeat this motif to create their snare rhythm. Motif repeated to create snare rhythm As you can see, their motif is three 1/16 notes long. Having a motif that’s an odd duration (like three, five, seven, etc.) will make it far more interesting, because each time the motif is repeated it’ll start on a different 1/16 note beat (e.g. 1a, 2+, 3e). A motif lasting four (or eight) 1/16 notes will repeat on the same beat, so it’ll get repetitive and boring extremely quickly. Therefore, avoid using an even-number motif here. For the record, though, they can sound great when played on melodic instruments, because you can repeat the same rhythm while changing the pitches. Right, when you’re happy with your motif, copy and paste it into the first three 1/4 note beats of bar one. You wanna leave beat 4 open for now, as that’s where you’re gonna write a variation. Next, copy and paste your rhythm into bar two. Snare rhythm copied and pasted into bar two (highlighted) Now it’s time to write your variation in beat 4 of bar two. This variation will prevent the snare rhythm from getting boring, by turning it into a two-bar rhythm: Two-bar snare rhythm created by adding variation (highlighted) Step 2. Swing With such an unusual snare rhythm, it would be completely acceptable to move on and write the kick drum pattern now. But, Matt and Tony have one more brilliant snare trick up their sleeves. Instead of using the regular straight grid that you hear in almost every song, they use a swing grid. This is a game-changer! Download the PDF to read the rest of this tutorial… Download PDF Tutorial Lastly, are you new to music theory? Or are you experienced, but you want a refresher? Then download our FREE BOOK (link opens in new tab). It only takes 30 minutes to read, then you’ll have a solid theory foundation that you can instantly apply to your songwriting and producing. Enjoy! If the FREE BOOK link doesn't work, just visit our BOOKS page:https://hackmusictheory.com/books Ray HarmonyMulti award-winning college lecturer
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  • How to Write a Captivating Bass Line • Music Theory from The Smile (Thom Yorke) "The Smoke"

    How to Write a Captivating Bass Line • Music Theory from The Smile (Thom Yorke) "The Smoke"
    2023/11/24
    How to Write a Rhythmically Displaced Bass Line. Free PDF Tutorialincludes multitrack MIDI file If the link above does not work, paste this into your browser:https://hackmusictheory.com/album/2648019/displaced-bass Intro. Do you ever write a bass line (or synth/guitar riff) that you love, but after a few loops it gets boring? No problem, you think to yourself, being here in the Hack Music Theory community you know that you need to write a variation for it. So you get to work on that. Fast forward an hour, and everything you’ve tried resulted in the magic of your original version being lost. This is a common problem, and Thom Yorke (Radiohead) and his band The Smile have a brilliant solution for you! In their song “The Smoke”, they use a super creative method for turning a one-bar bass line (and guitar riff) into an epic ten-bar adventure. And most importantly, they do that without creating a conventional variation anywhere in their line/riff*. How? They take their one-bar riff and repeat it a few times, then just as it’s about to get boring, they displace it. What on earth does that mean? Well, this is how the dictionary defines the word “displace”: To move something from its usual place or position. So in musical terms, what displacement means is to play the exact same thing but in a different place/position in the bar (i.e. the riff starts on an earlier/later beat). However, they don’t just displace their riff, they also cut it up and displace those segments. The result is mesmerising, and we’re captivated by this displacement as our brains try to figure out what’s going on. They then repeat their ten-bar riff, and the second loop feels even more captivating, as it catches us off-guard because we weren’t expecting it to repeat after ten bars (but more on that in Step 1). So, inspired by “The Smoke”, here’s our 5-step method for writing a ten-bar riff that will totally captivate your listeners with its displacements. But first… Tea! *Thom Yorke (bass) and Jonny Greenwood (guitar) play the exact same thing in the main section of this song, so to keep things simple, we’ll just be referring to what they both play as a riff. Step 1. One-Bar Riff Change your tempo to 93 BPM, then create a ten-bar loop on your bass track (or guitar track, if you prefer). When you’re done writing your riff, you’ll duplicate the track and load up the other instrument (guitar/bass), so it doesn’t actually matter which one you use to write the riff. Now, open your MIDI editor, set the grid to 1/16 notes, and let’s get to it! You’re gonna start by writing a one-bar riff. You really want to take your time here, as this one bar is the source material for the whole ten bars, so make it good! The Smile uses E minor pentatonic scale for their riff, so we’ll use it too. If you’re new to this scale, it’s just the natural minor scale without its 2nd and 6th notes.* E natural minor scale12♭345♭6♭7EF♯GABCD E minor pentatonic scale1♭345♭7EGABD You can use any notes from the scale, but there are four rhythm rules to follow: use 1/16 notes exclusivelyuse a few restsaccent beat 1 by playing a note on itaccent beat 3 by playing a note on it *For help with writing in the minor pentatonic scale, as well as in the blues scale (a spicy variation of the minor pentatonic), use Hack 8 in our Songwriting & Producing PDF. Here’s our one-bar riff: One-bar riff, with the accented notes on beats 1 and 3 highlighted Step 2. Repeat & Displace The Smile repeats their one-bar riff four times, exactly as it is. Four bars is the absolute maximum you’d want to repeat such a short riff. Any more repetition than that, and it’ll not only be boring to your listeners, it’ll actually be annoying! But, they’re very intentionally pushing their repetition to the max. The reason for that is because they need their listeners to be 100% familiar with the riff before they start messing with it. If the listeners don’t have the original version 100% stuck in their heads, then all the upcoming displacements would be completely disorientating, and therefore completely unpleasant to the ears. But let’s not get ahead of ourselves. First things first, let’s get our riff stuck in the listeners’ heads! So, copy and paste your one-bar riff into bars two through four. One-bar riff copied and pasted (highlighted) into bars two through four Right, now the fun begins! Copy and paste your one-bar riff into bar seven, then… One-bar riff copied and pasted (highlighted) into bar seven Move that whole riff in bar seven to the right by two 1/4 note beats. In other words, in bar seven your riff should now begin on beat 3, instead of beat 1. Riff in bar seven displaced to beat 3 (highlighted) After those first four bars, their riff in bars seven/eight is the only time The Smile plays the full version again. But, instead of starting it on beat 1,...
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