Not to disrespect my previous professors but as someone who attended the conservatory, this video explained and articulated the subject much better than my 2 semesters of composition classes.
It's interesting how you can apply this even to dubstep basses, most of them use contrast in timbre and rythm. A lot of bass shots are basically motifs. Thanks, this helped me understand some stuff.
This is one of the best today video for me) i don't have one of keys for my musician mind and now get. I understand that, when my mind give me new ideas when i listen examples. Good development for creativity 😊😊😊😊
Dude... I just only watched only this video of yours. And subbed already. Really, it is so qualified video and havent seen any other of your video but just justicing by this one. You have to keep it up man. Great work.
Question: If I were to use a polyrhythm in my motif, would the fact that the motif's rhythm is different from the beat of the piece enough to create that internal contrast? Or not if I keep the note length the same?
I have been reading this book recently,yet I cannot really understand what internal contrast means,thanks for your explanation, very appreciate for your work !
Yes it is! You have to set up the maps yourself, but it isn't difficult. It makes things much simpler than having to remember key switches (in my opinion).
Cubase has something called "Expression Maps" Where I can tell it to use specific articulations, so long as the VST has them available (you have to make the maps yourself though). The basic premise is built on "key-switches" which are available already in most VST's. The basic idea is that by hitting a specific key outside of the instrument's usable range, you can switch the articulations used :)
Melody is the hardest thing for me. I can add drums but my chords and melody just dont match. I just want to learn to do catchy sumple melodies with with like 3 to 5 notes.
Hmmm… “they just have to be good enough.” It seems to me that a motif needs to be far more than that; it needs to be memorable. It seems to me that that’s a fundamental requirement of a motif, or at least a very strong preference. Then again, maybe we’re saying the same thing two ways: Maybe being memorable is what makes it “good enough” (or at least part of that)?
Not to disrespect my previous professors but as someone who attended the conservatory, this video explained and articulated the subject much better than my 2 semesters of composition classes.
@@ninkichan7209 Thank you so much! This made me very happy :)
@@TableTopComposer You're Welcome sir.
Watching from Zimbabwe I brought a couple of my friends with me subscribed
Thank you, Trash Beats!
Woah, was not expecting this. Really looking forward to part 2!
This is amazing. The internal contrast concept is game changing!
It's interesting how you can apply this even to dubstep basses, most of them use contrast in timbre and rythm. A lot of bass shots are basically motifs. Thanks, this helped me understand some stuff.
Man, you are hands down one of the greatest teachers that i Know! Thanks for being so helpful and improving my composing skills.
This is my favorite music “reference” channel. Thank you.
You simplify and explain so well. Thank you.
Very good video to
Create simple and effective melodies. Saved to screenshots.
Thx again
damn!! this is gold 🧡
One of the best videos about writing music awsome thank you for your helpful videos
Excellent presentation, well done sir!
This is one of the best today video for me) i don't have one of keys for my musician mind and now get. I understand that, when my mind give me new ideas when i listen examples. Good development for creativity
😊😊😊😊
This is Rad Man This is a gem right here🤟🏽🤟🏽
Dude... I just only watched only this video of yours. And subbed already. Really, it is so qualified video and havent seen any other of your video but just justicing by this one. You have to keep it up man. Great work.
Thanks, Lygian! Glad to have your support :)
Thank you very much for your great channel!
Excellent video! I look forward to this series :)
Thank you it was very well exemplifyed
Love it.
Can't thank you enough for your help. Really helped me a lot to know orchestration better.
I'm glad that I could help :)
Superb content
Brilliant
Gem right here
Question: If I were to use a polyrhythm in my motif, would the fact that the motif's rhythm is different from the beat of the piece enough to create that internal contrast? Or not if I keep the note length the same?
excellent question! I think it would work :)
Exactly what I’m looking for😍
Hey! I love your content!!!
Thank you :)
Letsss gooooooooo
Section
AAA
ABA
AABA
Motif Development
Presentation
Repeatation
Variations
Inversion
Rythm Change
Diminished
Augmentation
Motif
Pitch
Rythm
Dynamics
Articulation
Going Inside Inside Inside
Oh yeah
Alan Belkin just started a new series on his book
Awesome! Thanks for letting me know, I'm definitely going to check this out!
I have been reading this book recently,yet I cannot really understand what internal contrast means,thanks for your explanation, very appreciate for your work !
What software do you use??
I use Cubase :)
Is this layout of articulation mapping something that is native to CuBase? It's so nice...
Yes it is! You have to set up the maps yourself, but it isn't difficult. It makes things much simpler than having to remember key switches (in my opinion).
How did you get Cubase to allow each note to be a different articulation? Is that doable with any VST?
Cubase has something called "Expression Maps" Where I can tell it to use specific articulations, so long as the VST has them available (you have to make the maps yourself though). The basic premise is built on "key-switches" which are available already in most VST's. The basic idea is that by hitting a specific key outside of the instrument's usable range, you can switch the articulations used :)
Melody is the hardest thing for me. I can add drums but my chords and melody just dont match.
I just want to learn to do catchy sumple melodies with with like 3 to 5 notes.
This playlist should help. If you're looking for something shorter, I have a video I released last week that can help :)
6:07
Anybody else see a face?
quack
quack
Hmmm… “they just have to be good enough.” It seems to me that a motif needs to be far more than that; it needs to be memorable. It seems to me that that’s a fundamental requirement of a motif, or at least a very strong preference.
Then again, maybe we’re saying the same thing two ways: Maybe being memorable is what makes it “good enough” (or at least part of that)?
Credibility our the window when you talk about two notes from Hans Zimmer.