How To Use STORIES To Write SONGS
Вставка
- Опубліковано 20 тра 2024
- Do you want your songs and solos to tell a story? It's something that most musicians want, but very few know how to do it effectively. Keep watching to learn how to write music that tells a story!
--
FREE eBook "How To Learn The Notes On Your Guitar Fretboard": www.musictheoryforguitar.com/...
FREE eBook "18 Tips To Make Your Pentatonic Solos Sound Professional": www.musictheoryforguitar.com/...
Complete Chord Mastery course: www.musictheoryforguitar.com/...
Master of the Modes course: www.musictheoryforguitar.com/...
---
If you like this video, share, like, comment & don't forget to subscribe for more content!
Need help with music theory for guitar? Check out these FREE resources: www.musictheoryforguitar.com/...
FOLLOW ME:
UA-cam: / musictheoryforguitar
Facebook: / musictheoryforguitar
Twitter: / theoryguitar
Website: musictheoryforguitar.com
0:40 Bingo.
8:37 Interaction of characters can be done by giving a motif to each character, and then developing the motifs, playing them against each other, etc.
Thank you for this video, Tommaso!
and listen to your inner ear. For me it plays in my head before I need it to happen, then my brain quickly decides if I have the skills to do what I hear. When you are there, you are trully naked, true to yourself, then cos of your honesty it touches people. Not only it is talking to me and healing me but it does the same to others. Be yourself, and beleive in what you are saying.
That's what I say to my student. 🙏✌️💜
Imma check out some film score music for the grammar. Also, Prokofiev's Peter and the Wolf for the characterisation approach.
Tommaso has done a video on chromatic medians, which are associated with certain moods in film. For instance, play Gm and then Ebm and go back and forth; that's the harmonic background for the Imperial March (Darth Vader's theme in Star Wars) and is used to represent antagonism and evil in general.
Scott Murphy has done several videos about imitating film music about other moods that are generated by alternating triads.
There are also hundreds of papers linking specific musical elements with emotions. An early one is "Factors Determining the Characterization of Musical Phrases" by Ralph Gundlach. Some authors that have done a lot in this field are Patrik N. Juslin, Roberto Bresin, and Anders Friberg, especially Friberg. (You can search academic papers at scholar.google.com.)
GREAT lesson!
Can you do a video on how to use the locrian mode
0:56 I'm very reminded of Carl Nielsen again, like "music is not a language" ... do you read Levende Musik in Danish or if not what translation?
I've no idea what you're talking about, but I'm interested. Did Nielsen had a similar opinion as mine?
Yes,@@MusicTheoryForGuitar, he considered music could express feelings, but not language.
In his time, some "programme music" was still fashionable (Moldau is the most famous example today) and he remarked about one of these things that without _reading_ the programme, it would be impossible to figure out that ... not sure he took Moldau as an example, but like to figure out Moldau was telling how a river was floating. Making a film featuring the river visually along the music would obviously equally be cheating.
Other example, he spoke of a very famous and very dramatic "no" or "si" in Opera and remarked that the music would have been equally appropriate to a similarily dramatic other of the two.
Hi Tomasso, question not about this subject, hope you don't mind😊😅. Do you use Tom Hess' direction picking or alternate picking? I have switched some time ago to directional picking and I am having some troubles (it would be too long to explain)🤷🏻♂️. I just want to know you personal preference please, and maybe brief explanation why:)
I use directional picking (I still can play in alternate if I want - it's just not as efficient, and my wrist is much happier with directional). Doing the switch may cause some trouble, but that's usually resolved by some selected exercises depending on the exact problem.
Thank you for taking time to answer my question Tomasso. My problems are feeling lost sometimes when "sliding/sweeping" over 2 or more strings with a combination of other strokes. Alternate picking even if less economical always felt to me like it had specific pattern/feel, because it was always up and down no matter how quickly and if jumping strings or not. Here i feel like I have to think too much, going through 2 strings with 1 motion creates additional tension because I have to "slow down" or stop at some point not to go thought a second string too quickly. I'm also lost with escaping from between the strings, and other stuff but it would be too much to explain. I'm thinking about going back because I have problems for a while now (like a year or something) and have been working directly on these issues, and there are still issues
The only thing I can tell you without going WAYYYY more in depth is that these issues can be solved, you just nee the right exercises - but you need somebody to look at your playing to figure out what are the right exercises. Self-diagnosis is usually not enough.
So the next question is: are you working at it alone, or you have a teacher who uses directional picking that is helping you?
Mind you, I teach primarily music theory (I teach technique in person). If you have no teacher, and you're not local to me (Alberta, Canada), I would direct you to either Tom Hess or Mike Philippov.
Harmony is the ocean that melody set sail on. 😂