Every time I watch one of these videos, I cross something that instantly opens up a new avenue to me and expands my toolset. Yours is the gift that keeps on giving.
I found it very helpful indeed! I'm gonna write and print out the table at the end and put it on the wall just as a reminder of the possibilities. Thanks man!
Just finished the first part and couldn't hold back the excitement to reach to this part. This is goldmine. Thank you so much. Have been searching for years to find such quality content on this topic. ❤
This motif series is saving me right now as I need to write melodies and motifs for characters. Cannot thank you enough! Please continue this series, it is amazingly helpful!
12:30 - Hmmm, maybe I just need another cup’o’joe, but it seems like your “exact” inversion would be C Bb Ab C F? FWIW, I recall your “exact inversion” being termed a “chromatic inversion” as opposed to a “diatonic inversion,” but maybe I’m just remembering wrong…
A great series of videos. I am finding them a great refresher and good deal more. I was curious about the absence of permutation (a change in the order of pitches from the original pattern) in the list of melodic options. I suppose that the included melodic retrograde option could be considered a specific type of permutation.
I'm glad you enjoyed them! I thought about including a few different types of permutation, but the focus of this series was to just focus on the strategies I find most useful. In my experience permutation is useful for coming up with new ideas that are distantly related to the original, but it isn't one of my go-to's so I didn't include it :)
this might be an armature question lol, but I was wondering if its possible to develop a motif into one emotional direction. like, i want to develop a motif from "sad" to even "sader", do I increase the number of minor intervals that i use? or its pretty much dependent on the Harmony/Chords?
This is a great question! Yes, you can definitely make a motif sound "Sadder" as you develop it, and both strategies you mention could definitely work! Every composer has a bag of tricks that they like to rely on for manipulating emotion in their music, and it all comes down to finding a couple strategies that work for you. However, one strategy that seems to work in a lot of film music is to focus on manipulating the "intensity" of the music. Emotions become stronger the more intensely they are experienced, and the same is true in music! A super simple, but effective, strategy for this is to introduce a new layer/sound to your music that hasn't been used in the piece yet. For example, hold out on using the brass until the climax, or introduce a new counter melody at a key moment! Introducing new material goes a long way in amping up the intensity of the music. one of my favorite examples of this is Historia's Theme from Attack on titan. The initial theme is stated, and then explodes in intensity by doubling across multiple octaves and adding both an organ and brass instruments. ua-cam.com/video/x4GSKdkZEus/v-deo.html For your second question, I'll have to say it depends on what I'm writing. Sometimes I spend a lot of time deciding on the individual intervals, others I don't care about so much. Regardless, it's not something you need to worry too much about unless you want to. There will definitely be a video on it later on in the melody series though!
Wow. As a composer and music educator myself, these videos are so clear and concise. There's no fluff! Fantastic work.
Thank you!
Straight to the point no bs intro to composition thank you brother
Every time I watch one of these videos, I cross something that instantly opens up a new avenue to me and expands my toolset. Yours is the gift that keeps on giving.
Thanks, this videos about melody are great !
I found it very helpful indeed! I'm gonna write and print out the table at the end and put it on the wall just as a reminder of the possibilities. Thanks man!
Just finished the first part and couldn't hold back the excitement to reach to this part. This is goldmine. Thank you so much. Have been searching for years to find such quality content on this topic. ❤
This motif series is saving me right now as I need to write melodies and motifs for characters. Cannot thank you enough! Please continue this series, it is amazingly helpful!
I'm so glad they're helpful! I'll definitely continue putting them out for as long as I can. The next one is scheduled for tomorrow :)
@@TableTopComposer Yay! I'll definitely be here to watch it tomorrow then :) Thanks so much!
I m enlightened
More detail than similar videos - good job, thankyou
I took notes when I was watching your video haha 😆 please keep going! C’est magnifique !
Thanks! Keep making these seriously helpful
I came through Arttur, very nice to know that he managed to learn only from you :D
Thank you! I'm glad to help. It's really cool to see so many of you coming here from that channel :)
So well taught. Thank you so much.
Fantastic Bro..U explain everything very clearly
First watching from Zimbabwe thanks 4 these videos
Awesome! Thanks for the video.
Great video. Thank you.
Awesome
12:30 - Hmmm, maybe I just need another cup’o’joe, but it seems like your “exact” inversion would be C Bb Ab C F?
FWIW, I recall your “exact inversion” being termed a “chromatic inversion” as opposed to a “diatonic inversion,” but maybe I’m just remembering wrong…
Bravo! Excellent video!
awesome
Brilliant content, thanks, liked & subscribed 😀
Thank you very much! I'm glad you've found my channel helpful :)
Great stuff Stephen. Will these slide be available via Patron along with the stript? As they are nicely condensed fort future reference.
good idea! I'll add them right now :)
A great series of videos. I am finding them a great refresher and good deal more. I was curious about the absence of permutation (a change in the order of pitches from the original pattern) in the list of melodic options. I suppose that the included melodic retrograde option could be considered a specific type of permutation.
I'm glad you enjoyed them! I thought about including a few different types of permutation, but the focus of this series was to just focus on the strategies I find most useful. In my experience permutation is useful for coming up with new ideas that are distantly related to the original, but it isn't one of my go-to's so I didn't include it :)
this might be an armature question lol, but I was wondering if its possible to develop a motif into one emotional direction. like, i want to develop a motif from "sad" to even "sader", do I increase the number of minor intervals that i use? or its pretty much dependent on the Harmony/Chords?
and you might be tackling this in a future video, but how mindful do you have to be about the specific intervals that you use when composing a motif?
This is a great question! Yes, you can definitely make a motif sound "Sadder" as you develop it, and both strategies you mention could definitely work! Every composer has a bag of tricks that they like to rely on for manipulating emotion in their music, and it all comes down to finding a couple strategies that work for you. However, one strategy that seems to work in a lot of film music is to focus on manipulating the "intensity" of the music. Emotions become stronger the more intensely they are experienced, and the same is true in music! A super simple, but effective, strategy for this is to introduce a new layer/sound to your music that hasn't been used in the piece yet. For example, hold out on using the brass until the climax, or introduce a new counter melody at a key moment! Introducing new material goes a long way in amping up the intensity of the music.
one of my favorite examples of this is Historia's Theme from Attack on titan. The initial theme is stated, and then explodes in intensity by doubling across multiple octaves and adding both an organ and brass instruments. ua-cam.com/video/x4GSKdkZEus/v-deo.html
For your second question, I'll have to say it depends on what I'm writing. Sometimes I spend a lot of time deciding on the individual intervals, others I don't care about so much. Regardless, it's not something you need to worry too much about unless you want to. There will definitely be a video on it later on in the melody series though!
This is a very good and difficult question. Thanks.
😊😊😊😊
18:23 theres a wrong note!!!!!!
The play E but wwritten D!!!
THIS RUINED MY COMPOSITION TASK TY FOR POINTING IT OUT!!!!!!! i nearly failed bc of this :(
what about harmonic variation? for example exact same melody in C but now in Am7?