LA FÓRMULA para Crear MELODÍAS Pegadizas (funciona)

In this video, I'm going to show you how to create memorable melodies that stick in your head and that you end up humming all day long. To do this, we're going to study the formula behind these melodies and understand what parts they're made of so that by the end of this video, you'll have a practical step by step guide that you can apply to your creations to make it more fun. We're going to dissect three melodies from three legendary songs in the history of electronic music that I'm sure you're all familiar with. We're going to see what they have in common, including how they apply this formula and what we can learn to create our own melodies. Because by the end of this video, we're going to end up creating a melody from scratch and putting everything we've learned into practice. So relax, get ready, because today you're definitely going to learn how to create melodies. Let's get started. Step 1. Understand what a melody is. A melody is a sequence of notes that doesn't sound pleasant. Like this one here. What's not a melody? Well, a melody is not a few chords or a harmony. In this case, what's on top is a melody and what's on the bottom is the harmony that accompanies it, the melody that harmonizes with that. Clear? Let's now get to know the three main characteristics of a melody. On the one hand, we have the timbre. The timbre is basically going to determine the sound of our melody. I can play AC on a piano and it's going to sound like this, but I can play that same C on a guitar and it's going to sound like this. So this is going to be determined by the sound or the instrument with which I'm playing this melody. But this is the least important because what's really going to make a melody stick in our heads are going to be the two gentlemen that we're going to see. Now, on the one hand, the note or the tone, that is, what notes am I selecting to create my melody? This aspect is also known as pitch. In Spanish we also call it tono, but it can be confused with tone, but which in English means timbre. So on the one hand we have the timbre. On the other hand we have the note or pitch. And then, and super importantly, we have the rhythm. This is extremely important. The rhythm will determine the cadence in which these notes will sound. And it will be key to the composition of the melody. We are going to see it. Now, this formula can be applied to Any musical genre. In fact, it comes mainly from the composition of pop music, but it can be applied, and of course, it is applied to electronic music, which is what we mainly see on this channel. And as I was saying, the examples that we are going to see in this video are from this genre. The songs that we are going to see are the following. First of all, it will be Children by Robert Miles, then Dariot by Sam Strong, and finally Ecuador by Sash. So, first of all, we are going to listen to all these melodies and we are going to analyze them little by little. Pay attention there.

Okay?

Have you noticed something very clear that is happening here? If you haven't seen it yet, let's continue looking at the following examples and we'll see it little by little. Let's now go with Samstrom by Darien. Let's see. I have to say that this melody loses a lot without the synth. But, hey, we're focused on MIDI composition. Let's take a leap of faith.

Okay.

And the last one is Ecuador by Sash, and it sounds like this and also has a harmonic accompaniment.

Okay.

Have you noticed anything, anything that all these melodies have in common? If so, stop for a moment and let me know in the comments. If not, I suggest you look at these melodies in a different way. Let's lower all the notes to their root note, that is, to the same note from which they start. For example, Children starts in F. So let's put all its notes in F. I actually did my homework before recording the video, and I already have them prepared here. And this would sound like this. And here at the end, I would change it a little. In this way, we can better understand the rhythm of each of these melodies and see at all times the pattern that is being replicated, the pattern that is being repeated, because this is one of the keys to creating a memorable melody that has a pattern that is repeated all the time. Let's go with more examples. Let's go with Darren here. It is very clear. Literally the entire melody follows exactly the same pattern. The only thing that changes is the note, the pitch of the notes. But the rhythm is the same throughout. And if we go to Ecuador, it sounds like this. Let's go back to our complete melodies. And now we are going to break them down to analyze them into four different characteristics. Do you remember that at the beginning of the video I told you that the key to a memorable melody was to be simple and repeat? Be simple and repeat. Well, to do this, it is very important to add and create motifs. Motifs are short, recognizable phrases that we find within a melody and that are repeated, and that is what makes us identify it with a song. When we hear that motif, it's like, for example, a company logo. You see a logo from a distance, or sometimes you can simply identify the brand behind it by looking at its shape or colors. Well, this is something very similar, but orally speaking, the motif can be rhythmic, melodic, or both, and is usually made up of a few notes. For example, in children, the main motif would be these notes that we have here, which are repeated here, Although this would actually also have a second motif, which is this rise that. Notice how short it really is. It seems like we're missing one more note. Well, this is the art and magic of creating loops, which I'll show you later in this video. In the case of Samstrong by Dariot, the motif wouldn't be so much the melody, because if you notice, it doesn't do anything strange in terms of the melody. It could be an applicable progression that we could find in many different harmonies or melodies. But in this case, the motif is the rhythm. It's the cadence that these notes are carrying, which is what makes this melody so unique. Notice how before, when we heard the completely linear notes, it also reminds you of this song, and in this case, even more so knowing that it's this one, because you can't get it out of your head, you can't place it in another song. In the case of Ecuador, the motif would be these notes that we have here. So, so, so, so, okay. Notice how all this is repeated all the time, although here it varies a little, which is also the fun of this variation. And we're going to see it in this video. Ultimately, the motif is like the DNA of your melody and is basically formed by rhythm and tone, like the melody itself. But sometimes it's not enough to have a simple melody that is repeated and to have built an interesting motif. If this melody doesn't have a development, it can end up sounding repetitive. So with this, we're going to see the second characteristic, which is explaining the story of your melody. In general, catchy melodies tend to follow a pattern of melodic ascent and descent. With this, we manage to create a more natural and fluid feeling. And I've called this the story of your melody. Because in music, just like in movies or books, we're telling a story, and it really has a very similar structure to what we see in movies. Normally in movies, we have a first part where they introduce us to the character's story. Things happen, and it reaches the climax of the story. And then it's resolved and concluded. Well, with a melody, it's pretty much the same. We have an introduction, we have the climax, and then it concludes and concludes strategically so that we can start over. So that your body tells you to go back to the loop. I'll talk about this now. How we progress during this melody can be done in two ways. It can be done with a joint movement or a disjointed movement. Joint movement is when we make small jumps in the melody, usually of a semitone or a whole tone, which are two small jumps. But sometimes we can make bigger jumps. Disjointed movement. And this helps us to add more tension to our melody. In most cases, we are going to work with joint movements. Notice how in most melodies, we create joint movements, that is short jumps, even here in the resolution. But we reserve the disjointed movement, that is these larger jumps, for certain moments. In this case, precisely when the pattern repeats itself. In this case, when the second part of the melody begins and when it ends here at the end. And remember earlier when I was talking to you about the art of creating loops? This is another of the characteristics that we are going to analyze and that we are going to see in melodies. And for this, children, is a spectacular example, because we have associated this progression as if it were a sequence of notes that always go together. This one here. But the melody actually ends like this. If I don't repeat anymore, notice how it ends. Ah, I'm missing the tenor. I'm missing the last one. But that last note is not within the closing of this sequence. It is at the beginning of this phrase in such a way that everything together asks you to start the melody over. And the same thing happens here in the middle of the phrase of this melody. In Samstrong, something similar happens. Not as well done as in children. But notice how here at the end of this sequence, it goes BME E BMI and then goes back to B. And in Ecuador, something similar happens. The melody starts on a B note and starts a little lower on A. And notice how this sequence of A also happens here at the beginning. You see, the fourth characteristic is the octave range. What do I mean by this? I mean the range of notes that we are going to use for our melody. And normally it does not usually exceed. It does not usually extend much more than one occ. And I explained this. For example, if we analyze children, we see that the lowest note we have here in this case is an F, and that the highest note in this case is AB flat, which in this case is only 1, 2 or 3 semitones above F. Well, in this case we are going over the octave range, but not much more. If we analyze Samstrong, we see that here the range is actually much smaller. The lowest note is an A, but the highest is an E. The E of the next octave is up here. In other words, if we wanted to stay within the octave range, we could put notes or play notes up to here. Why is this octave thing important? Let's see. First of all, so that you have some limits and it's easier for you. You can make more alterations if you need to. But in the vast majority of cases, the margin that an octave gives you, which is 12 notes, is more than enough. What's more, if later on you want to add someone to sing in your song and you want them to follow the melody that you've composed, well, normally singers, even if they're an opera singer or someone very professional, also have a limited range and it's usually no more than an octave. For this reason, and also having some limits so that we don't get too carried away is more than enough. And the fifth characteristic or thing that these melodies have in common is that they use the notes of the chords themselves. If you notice. If you remember, at the beginning of this video I showed you the harmonic accompaniments. Well, this is Samstrong's harmonic accompaniment. Well, if I add the melody on top, notice how the notes of the melody are, let's say, overlapping with the notes that we have used for the chords. And in this case, exactly all the notes are in the chords. If we go to the children, we are going to select the notes. We are even going to try to lower some of them by an octave because we see how many of them, not all of them, but many of them are within the scale. Well, they are all within the scale, but some are part of the chords. For example, this A flat is part of the chord. The F is also part of the chord. This note, look, this E flat is not part of the chord, but it is also within the scale. So everything is perfect. And here we see more notes. For example, here we continue with the B flat, Here's a G that is not part of the chord but is part of the scale. The doc are same here. For example, this D flat is used. But for example, here this D flat is used that is part of the chord. If we go to Ecuador, well, notice how here it is not even necessary to transpose the melody. They are directly the same Notes that we have in the harmonic accompaniment. Notice that here we see them in different colors, ok? Because they are part of all these crypts that I have been changing depending on the part of the melody. And here below in lilac, we have the harmonic accompaniment. Well, notice how they all converge with each other, because practically the same notes are being used all the time. In fact, in this case, I see that they all adjoin. On the other hand, I suppose you have already noticed, but I have divided the different parts of a melody into colors, and I have named them with different letters. For example, Samstrong uses only two different parts, and this one is repeated all the time. So we could say that the phrase of this melody only occupies this part here, which is four bars. But if we go to the children, we see that the entire phrase of this melody occupies the 16 bars that we have here.

Okay?

So that you don't see it clearly right now, each bar is a bar. So here we have 16 bars. We have a first part. We're going to call the first part A. The next one we call B because it has a slight variation. C also changes and then resolves to D. In this case, it has four different parts, but as we saw in Samstrong's case, it only has two, and it repeats all the time. That's why we can say that the phrase of this melody only occupies this section while the children occupies all of this. Because to hear the melody in its entirety, I have to wait until I get to the end here. If I go to Ecuador, something a little different happens, and that is that we have two first parts that are exactly the same. That's why it's called A and A, because this part is directly duplicated. Then in third place, we would find part B because it's the next one that starts to be different, and then it concludes with a new part, which is C. As a general rule, there should be at least two different parts like we have in Darad, because with only one, it would start to be a bit boring, or it would seem more like an arpeggio than a melody. Well, okay, we've already covered all the theory, so let's take it. Let's see everything we've learned from these example melodies, and let's put it into practice by creating a completely new melody. So let's go there. I'm going to work in F minor. So the first thing I'm going to do is come here to the scale, and I'm going to select F minor. So, okay, let's Start with the root note, with the tonic, with an F. And let's do for example, F A flat. I'm going to go down to AC and an E flat note that in this one here. What I'm going to do is delay it a little bit so that it comes in a little earlier because this will give me some play later with the melody. You'll hear it later. And I'm going to do the same with the fourth. I'm going to come here and we're going to delay it a little bit. Okay, I've delayed it a space of 16th notes. 18. How do we create chords? Very simple. To create basic three note triads, we need their first degree, their third and their fifth. What does this mean? I'll explain it to you very quickly. The first degree in this chord that we're going to create is F. So its third is going to be the second third. This is going to be A flat, the third degree. Okay, the third note within the scale of those that are illuminated from the root note. Ok, it's third, it's fourth, it's fifth. Let's go for the B flat. We have its first here. Well, the second is going to be this. The third is going to be this perfect. The fourth is going to be this. The fifth one is going to be this one. Okay, I'm going to go faster with the rest that we're missing. Okay, now we have our chord progression that sounds like this. But I have a theory or a touch that makes chord progressions look nice not only to the ear, but to the eye as well. And if you notice this progression is a little unbalanced, at least visually. It sounds good to the ear. But when cases like this occur, I try to improve the aesthetics a little. How do we do it? Well, it's very simple to balance this chord progression a little more. What I'm going to do is inversions. Inversions are when I move a note up or down an octave within a chord. Like for example, this F which I'm going to move up an octave, for example, like this. And this too. I'm going to move up an octave, for example. But even so, there's a step here that I don't really like. So I'll take this, these two and I'll move them up an octave. But notice that I'm not entirely convinced. It all seems to sound quite straight. It looks quite linear. Well, let's create a layer below here. So what we're going to do is start with F as well. Okay, let's create a line below here that starts with F and then goes down to, for example, E flat.

Okay? Okay.

The notes that are colored always have quite a few points of sounding good. It doesn't always sound nice, but they're within the scale. But we can try it out. A, C. And then I'm going to go down here to B flat.

Okay.

Well, for now it works for me. Let's go with the melody. To keep things simple, we're also going to start with F. Let's go up an octave to do it within the same metaclip. That way we'll see it more visually as we've seen in the examples. We're going to start with the rhythm and then we'll change the pitch of the notes. Okay, let's put it in 16th notes and move it back one more point.

Okay.

And we're going to repeat this sequence all the way through. I'm going to duplicate everything. Another group of four more bars so that it lasts eight bars. And there we go. And now all that's left is to enjoy it. Just by starting to vary the pitch of the notes. This will start to sound like a melody. Let's do something like this. Come on. And now we're going to go down because the progression goes down a little bit. There we go. Let's end it a little more statically.

Okay.

And here we're going to repeat the same thing directly. I'm going to take it from here.

Okay.

And now remember the story of your melody. This is when we would reach the climax and then conclude the melody. So here we have to do a kind of seesaw. Okay, let's try and see what we can do. Let's continue up here. Let's see. Very good. Let's see how the loop looks. Well, pretty good. Okay, let's hear how it all comes together. And with what we've just seen in this video, I think you already have a step by step guide to start creating your first melodies. And why not to go quite a long way, because as you've seen, following this formula, the possibilities are practically endless. As are the possibilities that can also be given to you by being a student of production.com and accessing some of our training courses where we have a complete itinerary from scratch. Step by step focused on all those who are starting in the world of electronic music production. And also for those who are already making songs and who are looking to specialize and professionalize their sound. If you're interested, I'll leave you a link below in the description of this video, and I'll also leave you a link to the producer pack that you'll be able to download completely free of charge and that will include a ton of resources so that you can start sounding and doing things from your studio right now. You'll also find the link below in the description of this video, and if you're particularly interested in this world of melodies and harmonies video, then I'll leave you some other videos that I have here on the channel talking about this topic. Without further ado, I'll say goodbye greetings to everyone and go on, be happy. See you in the next video. But I'll also leave you a link to the producer pack that you'll be able to download completely free of charge and that will include a ton of resources so that you can start sounding and doing things from your studio right now. You'll also find the link below in the description of this video, and if you're particularly interested in this world of melodies and harmonies, then I'll leave you some other videos that I have here on the channel talking about this topic. Without further ado, I'll say goodbye greetings to everyone and go on, be happy. See you in the next video. Bye. How delicious.