Ray Harmony

The Uglification of Music.

THE UGLIFICATION OF MUSIC.   Can a return to beauty save music?     Okay I know you’ve just started reading this, but please stop (temporarily), then go and listen to the second movement of J.S. Bach’s Orchestral Suite No. 3 in D major. Its nickname is “Air on a G String”, so just search for that. Even if you know this piece, please go and listen to it again. Then come back. I’ll wait…   So how do you feel now? Calm and cleansed, right? It’s like a warm, relaxing, musical bath. That, my friend, is the power of beauty!   It’s only about five minutes of music, but it literally changes our body’s chemistry, which in turn improves our mental and physical health. In five minutes! And all we have to do is close our eyes and listen.   If you’re like me, you’ll now have two questions on your mind. Firstly, if five minutes of beautiful music can make us feel that good, then why don’t we listen to more beautiful music? And secondly, why is almost all music nowadays so ugly?   The answer to the first question of why we don’t listen to more beautiful music is that we live in a culture of non-stop stimulation, so the peace that emanates from beautiful things feels boring to us. That’s why most people prefer looking at screens rather than trees, and listening to podcasts rather than birds. This need for constant stimulation is why the world is overrun with phone zombies, or phombies, as I like to call them.   When I was growing up in the ‘80s, people were told to stop and smell the roses because the pace of life was getting faster and faster. Nobody seemed to have time for the simple pleasures anymore, like enjoying the beautiful scent of a flower.   In those days people at least saw the roses, even if they didn’t stop to smell them. However, these days the only roses most people see are in their social media feeds. The non-stop stimulation from phones is addictive. Beauty doesn’t stand a chance!   Subscribe to get the latest posts in your inbox [https://rayharmony.substack.com/subscribe].   Now, the answer to the second question is that most music is ugly nowadays because it’s way easier to grab and hold people’s attention with shocking things. So, it’s inevitable that in this age of never-ending content for people to consume, songwriters and producers will use shock tactics to get noticed. That’s why new songs are filled with jarring sounds, abrupt rhythms, and extremely crude lyrics that are programmed into the listeners’ minds via hypnotically repetitive melodies.   So while beautiful music may be able to momentarily catch some people’s attention, the magic of that fleeting moment quickly fades, and their scrolling resumes. And even if they keep listening to the music, it’s relegated to a background soundtrack.   And for the record, I’m not saying that all music should be beautiful. I started my first metal band way back in 1991, so I’ve been making ugly music for decades. Having said that, though, ugly music can (and should) be creative and well written. Also, not all classical music is beautiful. Try listening to the first movement of Schoenberg’s Pierrot Lunaire. It’s less than two minutes, but you need endurance to get through it. I love Schoenberg, and that piece is genius. But beautiful? Definitely not!   So while I do acknowledge that there’s a time and a place for ugly music, it’s obvious from listening to the new releases on Spotify every Friday that modern music has a big ugly problem. The same way it’s obvious from looking at most cities in the world that we’ve got an ugly architecture problem, too. As the world continues to get uglier, we need to listen to more beautiful music as an antidote.   Subscribe to get the latest posts in your inbox [https://rayharmony.substack.com/subscribe].   Here’s where things get nuanced, though. I’m making the case that we need to save music from uglification by restoring its beauty. But, before civilizations developed and made the world ugly, music was not created to be beautiful, it was created to dance to. I don’t mean dancing like we think of it today, I mean dancing as a means to enter a trance. Once the shamans entered this state, they’d communicate with the spirits, heal their tribe members, and do other spiritual work. It’s interesting to note that most hunter-gatherer cultures don’t even have separate words for music and dance. They’re inseparable. They’re one activity.   Therefore, the music of hunter-gatherers is mainly focused on rhythm. The melodies are usually simple, and harmony is usually non-existent. This fascinates me, as these are humans living naturally, the way we’re all supposed to be living. So why is their music not focused on beauty? Here’s my current hypothesis: They’re living in nature, permanently immersed in natural beauty made by the Creator, therefore they don’t need any more beauty, especially not inferior man-made beauty.   Hunter-gatherers are humans in the wild. City dwellers are humans in a zoo. We’ve imprisoned ourselves in an artificial environment, and we can feel it. It’s an unconscious awareness for most people, but we all know it. Hence why so many of us living in zoos, sorry, I mean… cities, tend to be anxious, stressed, lonely, and depressed. Just like zoo animals will never be as happy and healthy as wild animals, we will never be as happy and healthy as hunter-gatherers.   Because they’re living naturally, they don’t need to relieve stress and anxiety by closing their eyes and listening to Bach’s Air on a G String. Unless they’re being chased by a hungry animal, they’re always calm and relaxed. By the way, if you’re interested in learning more about this topic, I highly recommend reading Civilized to Death: The Price of Progress by the psychologist Dr. Christopher Ryan [https://substack.com/@dudeinhammock]. As with all books, I don’t agree with everything in it, but this is one of my top 5 all-time favourite books, and I’ve read mountains of books! If I was rich, I’d buy thousands of copies of this book to give to everyone I meet.   Subscribe to get the latest posts in your inbox [https://rayharmony.substack.com/subscribe].   Anyway, while it’s far more fun talking about hunter-gatherers than talking about ugly modern music, it is to this regrettable topic that we must now return. So, in order for civilized humans to be happy and healthy, we need to make our human zoos (i.e. cities) as beautiful as possible. Attractive architecture, tree-lined streets, and green parks in every neighbourhood are ways to visually improve a city’s beauty. But even with all those improvements, they’re still noisy. And city noise is ugly. Very ugly!   Psychologists tell us that all humans are born with only two fears: the fear of falling, and the fear of loud noises. We forget this, though. And as a result, noise is probably the most underrated cause of stress and anxiety for us zoo humans, sorry, I mean… city dwellers. Also, it’s not just outside noise that causes stress and anxiety, it’s all the inside noise, too. The humming fridges, furnaces, boilers, heaters, air conditioners, computers, and all the other buzzing appliances that all come together to make a constant noise that unconsciously distresses us.   I know this is the second time I’m asking you to stop reading (which can’t be good for business), but nonetheless, please stop for a moment and listen to the noise wherever you are. It’s shocking how noisy our inside environments are, right? Then on top of all that inside noise, we also hear all the outside noise from vehicles and aeroplanes. It’s no wonder we’re stressed and anxious all the time!   And that’s why I’m inviting you to start listening to more beautiful music. We can’t control most of the noise in our environment, but if we fill the air with beautiful music, it transcends the noise and transforms the energy in our space. And remember, music changes our actual bodies. The physiological enhancements we experience are as real as those we get from exercising or eating healthy foods.   Filling an environment with beautiful music works outside, too. I remember when I was living in London, there were experiments being done where they played classical music in and around a few train stations that had high crime rates. It ended up being so effective at lowering crime that they rolled it out to 64 stations. And this technique went on to be copied around the country by other rail networks.   Subscribe to get the latest posts in your inbox [https://rayharmony.substack.com/subscribe].   All of this makes me wonder if there’s a correlation between the world’s ugliness and music’s beauty. In other words, as the world became more industrialized, did people start making music (and art) that was more beautiful as a way to counter the uglification of the world?   If we look at the music being made through the first industrial revolution, which began roughly in the mid-18th century and lasted until roughly the mid-19th century, I would argue that it’s by far the most beautiful music ever made! For example, Mozart’s entire life fits neatly into this period. This was the time when our ancestors went from living and farming in the beautiful countryside, to working in ugly factories in ugly cities. They gave up their peace and fresh air for stress and smog. And this total transformation happened within a few decades.   Eventually city-living became the new normal, though, and that’s probably why music became less beautiful. You see, our ancestors who lived through that destruction knew that beautiful music was the antidote to industrialization and its resulting uglification. But after a few generations, the old way of life was forgotten. And when we don’t see the ugliness anymore, we don’t seek out an antidote to it.   Now more than ever, it’s essential that we bring as much beauty as possible into our daily life. And the only thing better than listening to beautiful music, is writing beautiful music. The feeling we get from making something beautiful is second to none! So it goes without saying, but in these mad times it’s worth saying again and again: getting AI to regurgitate a song for you (that it’s Frankensteined together from existing music) will not nourish your soul. Create your own beauty!   So, I offer you a free PDF that will teach you how to write a beautiful (and relaxing) piano piece. It’s like a musical recipe. You simply follow my 7-step method, and by the end of the PDF, you’ll have your very own piano piece.   FREE PDF DOWNLOAD. [https://hackmusictheory.com/album/2909338/relaxing-piano]   Also, you don’t need to play the piano, you just need a digital audio workstation. If you’re new to making music and you don’t have one yet, you can get started now by downloading a free version.   Lastly, I don’t paywall any of these posts, as I don’t want to exclude anyone. So if you can spare a few bucks, please consider becoming a paid subscriber. It’s only the cost of one coffee per month for you, but if enough people join, I can pay the rent and keep helping you. If you’d prefer to make a one-off donation, though, that’s awesome too. I’m deeply grateful either way!   To get involved, head on over to HackMusicTheory.com/Join [https://hackmusictheory.com/join]. A heartfelt thank-you for your support, and welcome aboard the Songwriter’s Ark, where all the music making skills are being preserved through this global AI flood. The flood shall pass. The skills will last.   Ray Harmony :)     ----------------------------------------     DONATE. Help keep the Songwriter's Ark afloat [https://hackmusictheory.com/join].     [https://lh7-rt.googleusercontent.com/docsz/AD_4nXcfJLf-E08kl2XRn5nHpb-Nc_iPEffyLR7Yt6bV9gHxE4C8wKhFCPYgXk1ciyN7nutOdhug3obTbw9e5x2v1evIgw5nnTBgp6U9S1lQmoYZkWuM0qGo6Cj4dlGe3kU9vW_4fHP3?key=xaUIfXiL9neOSZAizVCeXA]https://hackmusictheory.com/join Photo by Mart Production     ----------------------------------------     ABOUT.     Ray Harmony is a multi award-winning music lecturer, who’s made music with Serj Tankian (System Of A Down), Tom Morello (Rage Against The Machine), Steven Wilson (Porcupine Tree), Devin Townsend (Strapping Young Lad), Ihsahn (Emperor), Kool Keith (Ultramagnetic MCs), Madchild (Swollen Members), and more.   Ray is also the founder of Hack Music Theory, a YouTube channel with over 10 million views and over 250,000 subscribers learning the fast, easy and fun way to make music without using AI, cos it ain’t no fun getting a robot to write “your” songs!     [//d10j3mvrs1suex.cloudfront.net/s:bzglfiles/u/64207/8929dc81a6d63460643dd1c10878213975cf824a/original/image.jpeg] Photo by Pixabay     Outro music by Ray Harmony, based on the music theory from GoGo Penguin "Everything Is Going to Be OK" [https://hackmusictheory.com/blogs/theory/posts/7208821/how-to-write-a-bass-line-with-harmony-music-theory-from-gogo-penguin-everything-is-going-to-be-ok].     ----------------------------------------     PODCAST. Listen below, or on any podcast app.

Don’t Trust Me, I’m an Expert.

DON’T TRUST ME, I’M AN EXPERT. Confessions of an INFJ.   I’m a multi award-winning music lecturer with over 30 years of teaching experience, 10 of those years being at one of the UK’s largest colleges. I studied classical guitar, piano, and music theory (all to the highest grade) at the world-renowned Royal Schools of Music. Then I moved to Los Angeles to study contemporary guitar and vocals at the world-renowned Musicians Institute [https://www.mi.edu/artist-career-services/success-stories/ray-holroyd].   On top of that, I’ve made music with Grammy winners and multiplatinum artists, including Serj Tankian (System Of A Down) [https://hackmusictheory.com/album/256066/we-are] and Tom Morello (Rage Against The Machine) [https://hackmusictheory.com/album/256058/hello]. So with regards to making music and teaching music, it’s safe to say that I’m an expert. But if you want to learn how to make music, don’t trust me! Wait… What?! Let me explain. But first, we need to take a little detour.   On average, people can be divided into 16 personality types. This is known as the Myers-Briggs (or MBTI) system, and it’s based on Carl Jung’s model of the eight cognitive functions. It’s an utterly brilliant system that will change your life, if you take the time to learn it. You can start by simply discovering what your personality type is. To do this, I recommend Dr. Dario Nardi’s free online test, which you can take at: keys2cognition.com [https://keys2cognition.com]. Invite your friends and family to do it, too. Then, if you want to learn about the 16 personality types, I recommend going to the source and reading the book “Gifts Differing” by Isabel Briggs Myers and Peter B. Myers.   Okay, the detour’s over. So now, what’s personality type got to do with not trusting me? Everything! That’s the short answer. The slightly longer answer is this: Personality type has everything to do with everything! And that’s not hyperbole.   Subscribe to get the latest posts in your inbox [https://rayharmony.substack.com/subscribe].   If you’re like me, then you’re also constantly looking around wondering why we can’t all just get along by respecting each other’s differences and beliefs. In fact, one of the countless reasons I deleted all my social media accounts 10 years ago, was that I couldn’t take any more angry arguments. Just look at any social media thread, and you’ll see how obvious it is that those people are talking (or shouting) past each other. That’s because they have very different personality types, and therefore, very different perspectives. They’re never going to agree. They can’t.   And arguing over which perspective is correct is in actual fact arguing over which personality type is correct. But that’s a meaningless pursuit, because no one personality type is better than any other. Each type has its unique gifts. And each type has its unique perspectives. The only discussion worth having is which perspective is best suited for each personality type. A healthy society needs all the personality types and their differing perspectives, otherwise it loses its balance and harmony. And then descends into intolerance.   Now, here’s the life-changing conclusion you reach when you learn about personality types. Are you ready? You might want to sit down for this. Okay, here it is: Every perspective will always be wrong for 15 out of the 16 personality types. In other words, every perspective you have on every topic will be 94% wrong according to all the personality types.   If there’s only one thing you take away from this post, please let it be that. Every perspective you have is 94% wrong. And every perspective I have is 94% wrong.   Subscribe to get the latest posts in your inbox [https://rayharmony.substack.com/subscribe].   With this realization comes a whole truckload of humility! Because, how could I possibly think that my perspective is right for you? Especially considering that my personality type, INFJ, is the rarest of all the types.   Okay, here’s a broader way of looking at it. Half the personality types have the cognitive function of intuition in their top two preferences, while the other half have sensing. But, intuition is far more rare than sensing. It’s estimated that only 30% of the population are intuitive personality types, while 70% are sensing personality types.   So if you’re wanting to learn how to make music, my unique Song-Whispering method will deeply resonate with you if you’re an intuitive type, but if you’re a sensing type, then it probably won’t. And let me be clear, the method will work for everyone, but it will seem very strange to the 70% of people who are sensing types.   And this is true for everything. There’s literally no topic that you can’t find equally qualified experts with diametrically opposed perspectives. Even when they agree on the same data points, their interpretations lead them to polar opposite conclusions. And I’m not exaggerating. Even topics we think are settled, are not.   For example, did you know that there are medical doctors who say DNA does not exist? Or, did you know that there are physicists who say atoms and subatomic particles don’t exist. These things are supposed to be the building blocks of life and the universe, but doctors and scientists can’t even agree if they exist! So, when it comes to music, good luck trying to find a consensus as to how it should be made and taught!   Subscribe to get the latest posts in your inbox [https://rayharmony.substack.com/subscribe].   Having said all that, it’s absolutely vital to understand that this is not a problem. This is the beauty of diversity. Whatever experts say who have the same personality type as you (or a compatible type), will probably resonate with you. And whatever experts say who have incompatible personality types, will probably not resonate with you, no matter how much evidence they can present to support their claims.   On that note, I invite you to visit HackMusicTheory.com and see if my approach to music resonates with you. If it does, then you can help yourself to a free download of my book [https://rayharmony.substack.com/about] 12 Music Theory Hacks to Learn Scales & Chords. It only takes about half an hour to read, then you’ll have a solid foundation of the basics.   If you’re ready to go deeper, though, then I invite you to enroll in my online apprenticeship course [https://hackmusictheory.com/courses], where you’ll learn one method to write unlimited songs in any genre. And yes, that’s the intuitive Song-Whispering I mentioned earlier. This method guides you through every step of the music making process, from blank screen to finished song. It’s truly life-changing – if you’re an intuitive type, like me!   Lastly, I don’t paywall any of these posts, as I don’t want to exclude anyone. So if you can spare a few bucks, please consider becoming a paid subscriber. It’s only the cost of one coffee per month for you, but if enough people join, I can pay the rent and keep helping you. If you’d prefer to make a one-off donation, though, that’s awesome too. I’m deeply grateful either way! To get involved, head on over to HackMusicTheory.com/Join [https://hackmusictheory.com/join]. A heartfelt thank-you for your support. Happy learning, and welcome aboard the Songwriter’s Ark*.   Ray Harmony :)   *I visualize Hack Music Theory as a Songwriter’s Ark, where all the music making skills are being preserved through this global AI flood. The flood shall pass. The skills will last.     ----------------------------------------     DONATE. Help keep the Songwriter's Ark afloat [https://hackmusictheory.com/join].         [https://lh7-rt.googleusercontent.com/docsz/AD_4nXcfJLf-E08kl2XRn5nHpb-Nc_iPEffyLR7Yt6bV9gHxE4C8wKhFCPYgXk1ciyN7nutOdhug3obTbw9e5x2v1evIgw5nnTBgp6U9S1lQmoYZkWuM0qGo6Cj4dlGe3kU9vW_4fHP3?key=xaUIfXiL9neOSZAizVCeXA]https://hackmusictheory.com/join Photo by Mart Production     ----------------------------------------     ABOUT.     Ray Harmony is a multi award-winning music lecturer, who’s made music with Serj Tankian (System Of A Down), Tom Morello (Rage Against The Machine), Steven Wilson (Porcupine Tree), Devin Townsend (Strapping Young Lad), Ihsahn (Emperor), Kool Keith (Ultramagnetic MCs), Madchild (Swollen Members), and more.   Ray is also the founder of Hack Music Theory, a YouTube channel with over 10 million views and over 250,000 subscribers learning the fast, easy and fun way to make music without using AI, cos it ain’t no fun getting a robot to write “your” songs!     [//d10j3mvrs1suex.cloudfront.net/s:bzglfiles/u/64207/1de8c7dd4a6a7eaf286702114568d2f642971d2c/original/image.jpeg] Photo by Marek Kupiec     Outro music by Ray Harmony, based on the music theory from GoGo Penguin "Everything Is Going to Be OK" [https://hackmusictheory.com/blogs/theory/posts/7208821/how-to-write-a-bass-line-with-harmony-music-theory-from-gogo-penguin-everything-is-going-to-be-ok].     ----------------------------------------     PODCAST. Listen below, or on any podcast app.

How to Write Suspenseful Soundtrack Music • Music Theory from Mike Oldfield "Tubular Bells" The Exorcist (1973) theme

HOW TO WRITE SUSPENSEFUL SOUNDTRACK MUSIC.     FREE PDF TUTORIAL [https://hackmusictheory.com/album/2591466/suspenseful-melody] INCLUDES MULTITRACK MIDI FILE   If the link above does not work, paste this into your browser: https://hackmusictheory.com/album/2591466/suspenseful-melody               INTRO.   The dictionary definition of suspenseful is “causing a feeling of excitement or nervousness because you are waiting for something to happen”.   That perfectly describes the intro of “Tubular Bells - Pt. I” by Mike Oldfield.   It’s easy to hear why The Exorcist (1973) director William Friedkin chose this music for his film. Recall that classic scene where Chris starts walking home alone as the “Tubular Bells” intro begins. Eeek! Talk about “waiting for something to happen”.   If you wanna make music that keeps people listening because they need to know what happens next, then knowing how to create suspense is essential. Mike Oldfield has given us a masterclass with this music. So, inspired by “Tubular Bells”, here’s our 4-step method for writing a suspenseful melody. But first… Tea!         STEP 1. ODD   One of the first things we notice about the intro of “Tubular Bells - Pt. I” is that it’s in an odd time signature. If you count along with that piano part in the intro, you’ll count 15 beats. So, change your DAW’s time signature to 15|4 and set the tempo to 150 BPM.   On closer analyses of the piano part (i.e. where its melody repeats), it becomes apparent that the time signature is actually one bar of 7|4 followed by two bars of 4|4. But as that adds up to 15|4, we’ll just go with that to keep things simpler.   Next, create a one-bar loop of 15|4 on your piano track, with the grid on 1/8 notes. We’re gonna start by writing a rhythm on E (the root), using only 1/8 notes and 1/8 rests. You can do whatever you want, but don’t play more than two notes in a row. Also, only make your rhythm seven 1/4 notes long, i.e. one bar of 7|4.   [https://lh7-rt.googleusercontent.com/docsz/AD_4nXej7yhCiDaTeX6RmJhB9CPAJT8RUn1skKuRRGVGGQVIHF8q91WHlyZ9R3b-Y1PjoOgUfV6pSX0n-lZLKfPkJDJjLWKHZ0s-Rh7hFsGhvqUiBGhintpNBg1kbryAMOx_3RvRvtAGmghzz9Y-r8Vk_bxJVgtC?key=Zc9g64rtmppPJr_2malQyw] 7|4 rhythm (on E)         STEP 2. PITCH   Now it’s time to turn this rhythm into a melody! Mike Oldfield uses the E natural minor scale for this piano part, so we’ll use it too.   E natural minor scale 1 2 ♭3 4 5 ♭6 ♭7 E F♯ G A B C D     You may be wondering why F♯ (2) is in red. That’s because it’s out-of-bounds! Yep, you can’t use that note in your melody. Why? Well, we’re gonna create some suspense all of our own here, as we’re not revealing the reason for this until Step 4. One more tiny guideline here. If you wanna use E, use the high octave (i.e. the 8).   Without the F♯ (2) you still have six notes, which is plenty, so write your melody by using all the usual elements, like a big range and a smooth contour. Need help with this? Use the Melody Checklist in our Songwriting & Producing PDF [https://hackmusictheory.com/product/210150].   [https://lh7-rt.googleusercontent.com/docsz/AD_4nXdxmpju-Mc0YTV4zOJ3zO7eclLhSNkm4cnr2dJTxUX8oEPs08erGKUYdMpG640MAh7qBiFV0p1NTEjLBqHonduuj6tRLrd_hQpSraxCVfURlOmycP0Ls765yErdQUslC5AONZTjGh01HGiBJAWk3ujSATFb?key=Zc9g64rtmppPJr_2malQyw] 7|4 rhythm turned into melody, by moving notes to different pitches of E minor       When you’re happy with your melody, then copy and paste it (starting at beat 8).   [https://lh7-rt.googleusercontent.com/docsz/AD_4nXdN2bDnig2uDIV_VQlsG2hYZuN3Pq55TmDYge4uyI3Gm0vU5qFiBv9FRmEx--Wr_jDWAHRUJtoD_9qJ4uWWJMSmHsovG2UiwkMvrlizszEz7dBPYpLJtq-mrB2QTBv-OKA6ZALLcDwu6Eo9yDGvZUnkxAFv?key=Zc9g64rtmppPJr_2malQyw] 7|4 melody copied and pasted (highlighted)       That gives us 14|4, so extend your melody by one note to complete the 15|4 bar.   [https://lh7-rt.googleusercontent.com/docsz/AD_4nXeku7uZaIdwaOaSjiYB8IaeqTifzj-cUgcZWmBThizwLV1HxvLPs5PPMTxoqxp6Xd7vAV8_uu72KbAsHvDyUN8Y-_5SI9CeCcIbsThhU4XK5KyQoQAKD9_jYN9CpR5KR44zr4N5gLLHZvwLBtv_TZ1Mfq5h?key=Zc9g64rtmppPJr_2malQyw] Note added (highlighted) to end of melody, completing bar of 15|4       Now that you have the full melody, you can hear that it’s a 7|4 melody looping, except the loop has an extra beat that makes it eight 1/4 notes long (i.e. two bars of 4|4). That odd-time element from Step 1 has now become very noticeable!   [https://lh7-rt.googleusercontent.com/docsz/AD_4nXfWqIguBTCiAm5AexFLLpD0UUBthmlIDKle-p-zC6k8JRao_XpigCrLFLbsyWNSVDgWxBlmzsjlJKtNHD5C9WYlU13j7n1JYy6VGcP4dGt_GEMYQ_0u4d-B652J70cplvuNEks4p7HBqsHtFjW2oQ7COues?key=Zc9g64rtmppPJr_2malQyw] 7|4 melody looped, with looped version (highlighted) transformed into two bars of 4|4       The interesting takeaway here is that alternating between an odd time signature (7|4) and an even time signature (two bars of 4|4) makes the melody sound more odd. It seems counterintuitive, but the melody would actually sound more normal if it was exclusively in 7|4. The reason for that is because our pattern-loving brains will figure out an odd time signature after a few loops, and then get used to it. Therefore, alternating back and forth prevents us from adjusting to the odd time. So thanks to those 4|4 bars, the 7|4 continues to sound odd every time we hear it.         STEP 3. DRONE   This is the final piece of the piano part, and it’s the easiest. Simply draw in the root note (E) in all the rests. This drone on E creates two layers in your piano part, which not only adds depth, it also adds tension between the melody and its root.   [https://lh7-rt.googleusercontent.com/docsz/AD_4nXdOYsBEMe-htSh9MHbXLyyqER8vgijytdStBoViZkVJRY5shwFmowP0kbTplfQr6KDdIDGbuYaVpJKsPLBt0EoNGABV5qqHJTGpby-mFxwTu0lZovBF2bSS8tufEd-BsrFAl1AVy2WOyFXMtIjBkGwWBZcM?key=Zc9g64rtmppPJr_2malQyw] Final piano part, with drone on root note (E) highlighted       Now that you’ve finished your piano part, you can have some fun with the orchestration by duplicating the track, then changing its sound (and octave). As this piano part is at a super high register, you can lower it by an octave on the duplicated track, then change the sound to a glockenspiel or anything suspenseful.         STEP 4. BASS   That’s enough suspense! It’s finally time to reveal why you couldn’t play F♯ in your piano part, back in Step 2. This is gonna be pretty shocking! So, are you ready for a massive twist in the tale of this tutorial? Okay, here it is…   You’re actually not in the key of E minor, you’re in A minor.   WTF?! I know, right? That shocked us, too! This magic trick of Mike Oldfield’s is probably our favourite element of “Tubular Bells - Pt. I”. Let’s explore it in depth.   After the piano part has been playing for 50 seconds and the key of E minor has been well and truly established by the piano’s drone on E, Mike Oldfield brings in the bass guitar. But, the bass plays a drone on A for almost five 1/4 notes. WTF?!   [https://lh7-rt.googleusercontent.com/docsz/AD_4nXdgVXYNS5zC0d4jqEa8UsYviBzofMBIJm_m6u0BOz0F_AJEB2A7t8no6_ZukbyCk4sN1zMy0AarlFbdxETo3aq7_Lt1zXcWZ05XjY0iPRDYu1scIOmrAiezzqP8wpNcl7ncStangh-Dxq_wOoUJe_3FAfF4?key=Zc9g64rtmppPJr_2malQyw] Bass drone on A (highlighted) below piano part, which is muted and just there for reference       In building architecture, the lowest floor is the foundation. Same with music. The lowest instrument is the musical foundation. All the other instruments are like the floors built above. So, that A drone in the bass reframes the music around that keynote, which results in the listeners perception shifting as soon as the bass starts.   However, Mr Oldfield has one more magic trick up his sleeve…   A natural minor scale 1 2 ♭3 4 5 ♭6 ♭7 A B C D E F G     But first, you’re probably wondering why the F (♭6) is in red. And don’t worry, we won’t make you wait for the answer this time. The F is out-of-bounds, too. Why? Well, as you can see if you compare the A minor and E minor scales, they only have one note difference between them. A minor has F, and E minor has F♯. The two keys are very “close” to each other, because they have six notes in common.   So by avoiding F♯ in the piano and F in the bass guitar, all the music consists of the six common notes. And as the piano part drones on E while the bass line drones on A, it actually sounds like the music is in both keys at the same time!   You see, if the bass played F, it would make everything sound like it’s in the key of A minor, because the bass guitar is our foundation. So, as long as the piano avoids F♯ and the bass avoids F, the music sounds like it’s in both keys simultaneously. This causes a lot of tension, and therefore, suspense. What a brilliant magic trick!   By the way, playing in two keys at the same time is called bitonality. Theoretically, it could be argued that “Tubular Bells - Pt. I” is not bitonal, because neither the piano nor the bass solidifies what key they’re in. But, the effect is certainly bitonal.   Right, let’s finish up the bass line now. So, in your bass guitar track, draw another longer note under the beginning of your looped 4|4 melody (i.e. from beat 8 onwards). These longer notes function as root notes of the implied chords in your progression. In other words, while you don’t have an actual chord progression here, these longer notes in your bass line create the equivalent harmonic effect. To learn all about implied chords, read our Melodic Bass Drop PDF [https://hackmusictheory.com/album/2546081/melodic-bass-drop].   Mike Oldfield’s implied progression consists of two chords, so feel free to keep it simple like that. We added a little more harmony, cos, well… we love harmony!   [https://lh7-rt.googleusercontent.com/docsz/AD_4nXc0BNFIu6PYuTD5s3lhIxaTPNehuGwiiaA__jeJYpx4cM-woGWwELPiUawUn-X_igspif4IMhjJbxoZh0A1XpN6-UckWwGyIZ5BmSvyAlzsrFzi59hmUcuj7MIzRFL30Y452ilV_YyNd5VztSBk97pmVdT1?key=Zc9g64rtmppPJr_2malQyw] Longer notes added to bass line (highlighted) to create implied chord progression       When you’re happy with your implied chord progression, simply link up the longer notes with a variety of shorter notes. But remember, avoid playing that F, and also, be sure to give your bass line a big range and a smooth melodic contour. And with that, you’re done. So click play, sit on the edge of your seat, and feel the suspense!   [https://lh7-rt.googleusercontent.com/docsz/AD_4nXcQ8LbpcLDsaX0cW6reVDB5F7CDh671SgK98SgrhUkI9myOGIMVJNClPFvbXF0n5lEJ2ghM2YoDGK5TNfk10E0Wmq4cWRC90kSwv1N7raDo-aIcrDVIz1gSPoUPyT2ukEoKE8TqrBzffuLR-56ow6Gxpzo?key=Zc9g64rtmppPJr_2malQyw] Final bass line, with shorter “linking” notes highlighted         MAKE MUSIC YOU LOVE.   I know you want to be a confident producer who finishes songs, and loves the results. In order to become a confident producer, though, you need decades of knowledge and experience. To gain that knowledge, you need a good teacher. To gain that experience, you need decades of practice. That’s overwhelming!   I understand that searching for a good teacher is frustrating. Most courses are taught by YouTubers who are not qualified in music, and are not qualified teachers either. The few who are qualified in both, have no industry experience. I feel your pain. Truly. Most of my music teachers were bad. That’s why I studied music and education in order to become a lecturer, and why I created Hack Music Theory.   Also, over my 30+ years of composing, I developed a unique method called Song-Whispering, which I’ve used to make music with multiplatinum Grammy winners. In my one-of-a-kind online apprenticeship, you’ll learn my method and turbocharge your music with my decades of knowledge and experience.   Enroll Now [https://hackmusictheory.com/courses] and stop wasting years of your life learning from bad teachers and trying to get better through trial-and-error. Transform into the confident producer you would be in 10+ years now, and start loving your music!   Ray Harmony Multi award-winning college lecturer, teaching since 1995   “Song-Whispering may be the single greatest concept ever!” –Glynne Owen (Japan)   “I followed their YouTube for a while before taking their course. I wish I'd taken it sooner!” –Sagar Saluja (India)   “I wrote the first song in my life that I actually like!” –Anastasia Lucas (USA)           FREE PDF DOWNLOAD [https://hackmusictheory.com/album/2591466/suspenseful-melody]       Lastly, are you new to music theory? Or are you experienced, but you want a refresher? Then download our FREE BOOK [https://revolution-harmony.kit.com/78233d8b74] (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!     [https://d10j3mvrs1suex.cloudfront.net/s:bzglfiles/u/64207/65e79fdcaf4a077d055edf5fedb28d506a02a358/original/book.png/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==]https://revolution-harmony.kit.com/78233d8b74         If the FREE BOOK link doesn't work, just visit our BOOKS page: https://hackmusictheory.com/books

You Can’t Make Music without Using Theory.

YOU CAN’T MAKE MUSIC WITHOUT USING THEORY.   “I don’t use music theory, because rules limit my creativity.” If I had a dollar for every time I heard someone say that in my 30 years of teaching music theory, I wouldn’t be living in a rented one-bedroom apartment, that’s for sure!   The Oxford dictionary defines language as a “system of communication.” We can’t communicate through speech without using words, and we can’t communicate through music without using notes. The system of communicating with words is called grammar. The system of communicating with notes is called music theory.   If you’re using notes, you’re using music theory. Therefore, it’s impossible to make music without using theory. The only choice songwriters have is whether to use it consciously or unconsciously. In other words, do we want to express ourselves consciously and therefore eloquently, or do we want to express ourselves unconsciously and therefore like two-year-olds?   When I listen to a song made by someone who claims to not use music theory, I hear the equivalent of a musical two-year-old expressing themselves. There’s nothing wrong with that, if that’s your thing. After all, two-year-olds certainly have a unique way of conveying their emotions. Nobody would argue with that! However, if you prefer a maturer form of expression, then you’ll want to listen to someone with a deeper and more nuanced understanding of language.   Subscribe to get the latest posts in your inbox [https://rayharmony.substack.com/subscribe].   When it comes to speaking in our first language, we don’t have to consciously think about the system underlying our communication. That’s because we learned the language from such a young age. It’s second nature. Most babies say their first word around the age of 12 months. Imagine if we started music around that age, too. It would also be second nature by the time we’re five, which is when Mozart composed his first piece.   For the rest of us, though, we have to learn music theory like we learn vocabulary and grammar of a second language. If someone thinks they can eloquently express themselves in a language they don’t know by simply using their ear, good luck to them, but even with luck on their side they’re still going to sound like a two-year-old. It’s the same when it comes to expressing oneself musically. If we want to make good music, we need to learn music theory. In other words, we need to learn the rules.   That’s a dirty word nowadays, but rules can be good. For example, I live close to an elementary school, so the speed limit on the roads here is slow enough that grannies on bicycles overtake me. Is that rule bad? Of course not! If a kid runs out into the road, which they tend to do, they’re far more likely to get hit by a cycling granny than by my car. Rules can be good.   And when it comes to music, the rules make our songs sound good. So if you’re still relatively inexperienced at making music, why wouldn’t you want to follow them? In the future, you can (and should) break the rules. But not yet.   Subscribe to get the latest posts in your inbox [https://rayharmony.substack.com/subscribe].   Also, it’s worth remembering that when we first start driving, learning all the rules and remembering to follow them demands much of our energy and attention. After a few years of driving, though, it becomes rather natural. And after a few decades of driving, it becomes instinctual. Same with music theory. I can’t remember the last time I felt limited by the rules. Maybe about 32 or 33 years ago.   It’s also worth mentioning a common and excruciatingly embarrassing situation many songwriters find themselves in, which is claiming that their music breaks the rules, when in actual fact it obeys them. I’ve come across countless examples of this, and it makes me cringe every time! Think about how obvious this problem is. How can anyone say they’re breaking the rules, unless they know the rules?   Don’t be that songwriter who tries to act cool by saying they don’t use music theory. That’s not a choice anyone has. The only choice is whether to use it consciously or unconsciously. You decide.   And on that note, if you’re new to making music (or if you want a refresher), I offer you a free download of my book [https://rayharmony.substack.com/about] 12 Music Theory Hacks to Learn Scales & Chords. It only takes about half an hour to read, then you’ll have a solid foundation of the basics.   If you’re ready to go deeper, though, then I invite you to enroll in my online apprentice course [https://hackmusictheory.com/courses], where you’ll learn one method to write unlimited songs in any genre. This method guides you through every step of the music making process, from blank screen to finished song.   Happy learning, and welcome aboard the Songwriter’s Ark*.   Ray Harmony :)   *I visualize Hack Music Theory as a Songwriter’s Ark, where all the music making skills are being preserved through this global AI flood. The flood shall pass. The skills will last.     ----------------------------------------     DONATE. Help keep the Songwriter's Ark afloat [https://hackmusictheory.com/tip-jars/34465].       [https://lh7-rt.googleusercontent.com/docsz/AD_4nXcfJLf-E08kl2XRn5nHpb-Nc_iPEffyLR7Yt6bV9gHxE4C8wKhFCPYgXk1ciyN7nutOdhug3obTbw9e5x2v1evIgw5nnTBgp6U9S1lQmoYZkWuM0qGo6Cj4dlGe3kU9vW_4fHP3?key=xaUIfXiL9neOSZAizVCeXA]https://hackmusictheory.com/tip-jars/34465 Photo by Mart Production     ----------------------------------------     ABOUT.   Ray Harmony is a multi award-winning music lecturer, who’s made music with Serj Tankian (System Of A Down), Tom Morello (Rage Against The Machine), Steven Wilson (Porcupine Tree), Devin Townsend (Strapping Young Lad), Ihsahn (Emperor), Kool Keith (Ultramagnetic MCs), Madchild (Swollen Members), and more.   Ray is also the founder of Hack Music Theory, a YouTube channel with over 250,000 subscribers learning the fast, easy and fun way to make music without using AI, cos it ain’t no fun getting a robot to write “your” songs!     [//d10j3mvrs1suex.cloudfront.net/s:bzglfiles/u/64207/b04722dca9b01f4612c60303d6a33125dc07077a/original/image.png] Photo by Arzella BEKTAŞ     Outro music by Ray Harmony, based on the music theory from GoGo Penguin "Everything Is Going to Be OK" [https://hackmusictheory.com/blogs/theory/posts/7208821/how-to-write-a-bass-line-with-harmony-music-theory-from-gogo-penguin-everything-is-going-to-be-ok].     ----------------------------------------     PODCAST. Listen below, or on any podcast app.

Hearing Music from the Future.

HEARING MUSIC FROM THE FUTURE.   Materialist science tells us that we hear with our ears, and see with our eyes. But if that’s true, then how do we explain extra-ocular vision? If you haven’t come across this jaw-dropping phenomenon where blind (or blind-folded) people can see, look it up, and be prepared to have your worldview flipped. If you don’t know where to start, I recommend the work of theoretical physicist Dr. Àlex Gómez-Marín.   Clearly the mainstream scientific explanation of how we see is sorely in need of an update. I suggest the same is true for hearing. And I appreciate that this topic is challenging for my materialist friends, but I invite you to research the scientific community’s dirty little secret, known as the replication crisis. This will open your eyes to the possibility that there’s more going on than we’ve been led to believe.   My current working hypothesis for how we hear is something like this. When music is created, it’s stored in what I call God’s great library in the sky. You might call this the quantum field, if you’re scientifically-minded. Or the collective unconscious, if you’re psychologically-minded. Or the Akashic records, if you’re spiritually-minded. Whatever you call it, though, I believe it’s where human creations are eternally stored.   When we hear music, its true source is the great sky library. And yes, most of the time this hearing is done through our ears. They sense vibrations in the air and transfer that information to our brain, where it’s transformed into music. But, that physical process can’t explain how it’s possible to hear music that isn’t there. For example, when people hear music during near-death experiences. Or when artists hear music in their dreams, which doesn’t exist in this world (yet), and then they wake up and record it. This brings the song into existence, which is how it ended up in God’s library in the first place.   Subscribe to get the latest posts in your inbox [https://rayharmony.substack.com/subscribe].   There’s many examples of songs that came to artists in this way. The most famous is probably “Yesterday” by The Beatles. Paul McCartney tells the story of how he woke up with that tune in his head, and couldn’t stop singing it throughout the day. He assumed it was a song he’d heard somewhere, so he kept singing it to people and asking them what song it was. But nobody recognized it. Eventually he realised that it wasn’t anyone else’s song, and excitedly got to work recording it. If my hypothesis is correct, what happened here is that Paul McCartney entered God’s sky library in his dreams and heard his own song from the future.   The reason that’s possible is because this great library in the sky (aka the quantum field, or whatever you want to call it) is fundamental reality. Space and time emerge out of this foundational field. Therefore, all human creations from the past and the future already exist there. If we can enter God’s library, we can hear our unwritten songs from the future. We can then record them here and now, which in turn secures their place in the future. It’s a magical loophole. So, how do we enter God’s great sky library? Shhh... That’s how we enter. Silence. We enter by listening.   Even if this whole hypothesis is completely and utterly false, it’s life-changingly useful. Seriously. As artists, we have big imaginations. So let’s imagine that our unwritten songs already exist in the quantum field. Our role is simply to attract them into our consciousness, and record them so other people can hear them, too.   This removes all stress and anxiety from songwriting. Making music is no longer a painful birthing process, it’s now an exciting journey of discovery. It’s like going on vacation to a beautiful place you’ve never visited. You’re not worried about finding it. You’re not worried about travelling for ages only to realise the destination doesn’t exist. That’s because there’s no such thing as “destination block”. If you’re driving, you just follow the map. Or if you’re taking a bus, train or plane, you just get onboard and relax, or even go to sleep. Your destination will find you!   Subscribe to get the latest posts in your inbox [https://rayharmony.substack.com/subscribe].   Same with music. We can learn how to let our unwritten songs from the future find us. I call this song-whispering. I teach my method for doing this in my online apprenticeship course [https://hackmusictheory.com/courses], but you can come up with your own way of doing it, too. It’s paradigm-shifting, and will forever change your relationship with songwriting. When you surrender to the knowledge that all your unwritten songs already exist in the field, you instantly feel a deep sense of calm and confidence. Also, you’ll begin to thoroughly enjoy the process of fishing for your future music in the quantum field!   Lastly, if you’re new to making music (or if you want a refresher), I offer you a free download of my book [https://rayharmony.substack.com/about] 12 Music Theory Hacks to Learn Scales & Chords. It only takes about half an hour to read, then you’ll have a solid foundation of the basics. Understanding the language of music (aka music theory) is vital in becoming a fisher of future music. In order to write down and record the songs you’ll receive from the field, you need to speak the language of music.   Happy learning, and welcome aboard the Songwriter’s Ark*.   Ray Harmony :)   *I visualize Hack Music Theory as a Songwriter’s Ark, where all the music making skills are being preserved through this global AI flood. The flood shall pass. The skills will last.     ----------------------------------------     DONATE. Help keep the Songwriter's Ark afloat [https://hackmusictheory.com/tip-jars/34465].     [https://lh7-rt.googleusercontent.com/docsz/AD_4nXcfJLf-E08kl2XRn5nHpb-Nc_iPEffyLR7Yt6bV9gHxE4C8wKhFCPYgXk1ciyN7nutOdhug3obTbw9e5x2v1evIgw5nnTBgp6U9S1lQmoYZkWuM0qGo6Cj4dlGe3kU9vW_4fHP3?key=xaUIfXiL9neOSZAizVCeXA]https://hackmusictheory.com/tip-jars/34465 Photo by Mart Production     ----------------------------------------     ABOUT. Ray Harmony is a multi award-winning music lecturer, who’s made music with Serj Tankian (System Of A Down), Tom Morello (Rage Against The Machine), Steven Wilson (Porcupine Tree), Devin Townsend (Strapping Young Lad), Ihsahn (Emperor), Kool Keith (Ultramagnetic MCs), Madchild (Swollen Members), and more. Ray is also the co-founder of Hack Music Theory, a YouTube channel with over 250,000 subscribers learning the fast, easy and fun way to make music without using AI, cos it ain’t no fun getting a robot to write “your” songs!     [//d10j3mvrs1suex.cloudfront.net/s:bzglfiles/u/64207/63d4c26e44874f53fc8601617faee324bd9aef67/original/image.png] Photo by Michael D Beckwith     Outro music by Ray Harmony, based on the music theory from GoGo Penguin "Everything Is Going to Be OK" [https://hackmusictheory.com/blogs/theory/posts/7208821/how-to-write-a-bass-line-with-harmony-music-theory-from-gogo-penguin-everything-is-going-to-be-ok].     ----------------------------------------     PODCAST. Listen below, or on any podcast app.