Mar 23

Learn from a band that’s changed the face of music since the 70s.

by in Melodics

Kraftwerk’s journey to becoming one of the most influential pop groups of all time began in the late 60s and early 70s. In the pop-cultural vacuum of post-world-war Germany, Kraftwerk struggled to find a new artistic voice. But few would have predicted that these reclusive European experimentalists would form a foundation for electronic music that would help build music as we know it today. Here are 7 reasons why:


1. Who Sampled Ya?

Kraftwerk who sampled

One of the most sampled acts in history with over 1000 samples used and counting…

As one of the most sampled acts in history, it’s unlikely you’ve never heard a Kraftwerk Song before. They’re often hiding in plain sight on tracks by artists as diverse as Chemical Brothers, Busta Rhymes, LCD Soundsystem, Panda Bear, DJ Shadow, New Order & Jay-Z.

Hip-Hop DJs used Kraftwerk albums religiously during the B-Boy era and Pioneering DJ Afrikaa Bambataa was the first to press a remix to vinyl – sampling Trans-Europe Express on the blistering electro track Planet Rock in 1982. The song catapulted itself into the charts and paved the way for Hip-Hop to start dominating the airwaves.

Check out the full list here.


2. Godfathers of electronic music

Kraftwerk inspired early Techno, Electro & Trance producers from the get go.

As one of the earliest groups to explore the use of synthesisers and electronic instruments, 
Kraftwerk were painting on a refreshingly blank canvas. They both defined and foreshadowed what the world would sound like in the digital age, leaving a fingerprint on all electronic music in their wake.

Sequenced drums and driving minimal beats informed Electro, Techno & House. Hypnotic hymns and ambient explorations can be found in Trance and Downtempo styles. The sheer amount of Kraftwerk samples used by EDM greats across decades, which still find their way back into modern dance tracks, prove that Kraftwerks influence is still as strong as ever.


Kraftwerk revolutionised the music industry with their use of drum machines. These devices enabled them to craft precise and rhythmic beats that couldn’t be replicated by conventional drum kits, thus making a lasting impression on the evolution of music. 



3. Minimal influence

They influenced David Bowie’s highly acclaimed Berlin Trilogy which made a ripple effect of influence for bands alike and thereafter.

While Kraftwork found a home on dance floors in the UK & America, their minimal, ambient aesthetic influence also helped shape the sound of the burgeoning New Wave scene and other avant-garde music. David Bowie and Brian Eno travelled to Berlin to meet their new heroes. This encounter and Bowie’s subsequent stay in Germany heavily influenced his ‘Berlin Trilogy’. This series of 3 albums are now regarded as the strongest and most innovative period of his career – influencing a legion of rock, goth, industrial and post-punk acts in its wake.


4. Computer Love

Kraftwerk computer love

Modern pop artists and bands have used Kraftwerk melodies to create emotional, anthemic music.

Kraftwerk is well-known for minimal ambience or cold robotic soundscapes, but they also know how to write catchy, heart-stirring melodies. Miley Cyrus, Ciara and many more have injected Kraftwerk into popular music to create depth and emotion. Coldplay famously used ‘Computer Love’s’ lilting heartsick keyboard line on their 2005 single ‘Talk’, turning the melody into a stadium anthem.


5. Digital Soul

Kraftwerk vocal processing influenced aaalllll of that autotune stuff!

While vocal effects were already enjoying a heyday in the 70s (Peter Frampton and his Talk Box guitar solos are just one example) – Kraftwerk were the first music act to really infuse robotic-sounding vocals with humanity and emotion. Florian Schneider’s patented ‘robovox’ technology (1990) still remains a mystery but gives a clue into the group’s vocal synthesis methods. It’s no exaggeration to say that Daft Punk, T-Pain & Kanye’s 808’s & Heartbreaks and all of that auto-tune we hear today, owe so much to Kraftwerks early vocoded experiments.


6. Man Machines

Kraftwerk drums

Reimagined the human voice in music through the use of vocoders and autotune

Kraftwerks early development saw a move from mere flirtation with electronic instrumentation to embracing it completely. With 2 drummers in the band, this evolution necessitated the move to drum machines, and their creation of DIY electronic drum kits – some of the first ever made.

This enabled them to craft precise, rhythmic beats that meshed perfectly with synthesised sounds, and couldn’t be replicated by conventional drum kits. In a time before the mass production of such instruments, Kraftwerks percussive sound was radical and revolutionary – inspiring the next wave of electronic music and the popularisation of electronic drum kits in the 80s.


7. Mannequin Act

Their high-concept live act showed bands how to go beyond a cliche rock show

Kraftwerk was notoriously uncomfortable with the fame and popularity that came with their music. They developed an innovative live show which rejected typical rock tropes, preferring to simply line the band up in a row in front of their instruments and present the music.

As they rejected the spotlight more and more, their presence on stage was replaced by mannequins that moved robotically to the music, fully realising the concepts inherent in their music – humanity replaced by technology.

From the 80s until their reunion shows in the 2000s, their live show held this theme while developing new costumes, choreography and visuals. Kraftwerk’s unique & artful approach to stagecraft set a new standard for how bands could present themselves in concert, inspiring countless other acts to follow with high-concept performances.


Learn it in Melodics!

Kraftwerk The Model MelodicsKraftwerk The Model MelodicsKraftwerk The Model Melodics

We’ve broken down their iconic track, The Model, into separate Melody, Baseline, and Drums lessons. Get into the kick and snare rhythm on pads or cruise the autobahn on keys with their signature bassline and mechanical melody.

Let’s play!


Mar 16

Learn ‘Ride’ by Twenty One Pilots

by in Drums

Buckle in for the ultimate ‘ride’ with our latest drums lesson by Twenty One Pilots.

Twenty One Pilots Ride

The unconventional duo comprises singer and guitarist, Tyler Joseph and drummer, Josh Dun, who have taken the world by storm since their self-titled debut album release in 2009.

‘Ride’ was released in 2015 and featured as a single from their award-winning album, ‘Blurryface’. The track follows an emotional journey that explores perseverance through life’s challenges when all seems overwhelming – a message that really appeals and represents their fleet of fiercely loyal and passionate fans known as the “Skeleton Clique”.

In true TØP style, the upbeat production and cheerful instrumental arrangement work perfectly with the ominous message. The pair are masters of working with contrasting themes and musical concepts. Drawing from a rich and upbeat reggae influence, the track features shimmery synths and brooding baselines which are all tied together in a groove that emphasises the upbeat – a track worth adding to your drumming repertoire.

 

Twenty One Pilots (TØP)
Twenty One Pilots Grammy

Whether it’s their riveting and energetic live shows or their urgent and profound lyrics, TØP have succeeded in unapologetically owning their ‘sense of self’ while connecting with a world of listeners who seek the same solace from their music.

Their impressive set of accolades consists of Grammy wins to MTV and Billboard awards including: Best Alternative Album of the year for “Trenches” (2019) and Favourite Pop/Rock Duo (2019).


It’s time to place your 16th-note hi-hat rhythm on autopilot. Cruising to a groove that effortlessly combines elements of rock, hip-hop, reggae, punk, electro and pop.

Get on your kit and hitch a ride with Melodics to level up your skills with this iconic Twenty One Pilots lesson.

 

Mar 09

Could Kate Bush be one of music’s most underrated Pop artists?

by in Music

Kate Bush Stranger Things

So, who is Kate Bush? And why isn’t she widely recognised as a musical icon? You may know her track ‘Running Up That Hill’ in the Netflix hit, Stranger Things. But beyond that, we’ve unknowingly grown accustomed to the sounds she evolved and just how much her influence has broken boundaries for women in music.


Where it began.

Kate Bush is a singer, songwriter, and musician who has been captivating audiences with her unique style and cutting-edge sound since the 70s. By 17, Kate released a demo that landed the attention of EMI who took the plunge to sign Kate at a time when the British music industry was generally stagnant. Genres like progressive rock and experimental acts were being considered as a means of revitalising the industry — and it worked.


Kate’s influence.

By ‘78, Kate was topping charts with her hit single “Wuthering Heights,” crowning her as the first female artist in the UK to reach number one with a self-written song. Her 4th studio album also broke records as she became the first female artist to reach number 1 in the album charts while achieving artistic independence in the process – an uncommon phenomenon in the 80s.

Kate Bush Fairlight synthesiser

Powerful storytelling and the exploration of contentious themes over experimental sounds are only some of the traits embedded into Kate’s artistic identity. Her revolutionary use of the first digital keyboard sampling station, the Fairlight synthesiser, and the headset microphone onstage (a brand new invention at the time) show just how much Kate’s music was inspiring a fleet of kindred artists along the way.

Billie Eilish, FKA Twigs, Stevie Nicks, Grimes and Sia are just a few artists who evoke the unconventional spirit of Kate Bush in their work. Whether it’s her avant-garde and experimental production, distinguished stage presence or dramatic vocals, Kate’s influence in music extends beyond genre and decade.


37 years after its release, ‘Running Up That Hill’ has now been streamed almost 500 million times and featured in 2.7 million TikTok videos introducing a new legion of young devotees who have discovered the seminal artist for the first time. Despite never winning a grammy, you won’t find Kate begging for the limelight. Her influence speaks volumes about why she should be recognised as a force in the music industry. Her authenticity has proved how running up that hill isn’t too bad once you’re at the top.

We highly recommend checking out her work and exploring elements of her sound in your own music. You can learn ‘Running Up That Hill’ on keys, pads, and drums with Melodics. From VI VII i pop chord progressions, to unequivocally 80s drum rhythms and synths.

Play it today and experience the unique and magical world of Kate Bush for yourself.


Happy International Women’s Day!


Oct 28

We’re on the Halloween hunt for spooky rhythms

by in Drums, Music Theory, Pads

You’ve probably heard about minor scales in music, and how they’re used to portray feelings of darkness and apprehension. (If not, read this!)

But melodies only make up half the story in music. What about the rhythm? Is it possible to evoke dark and scary emotions with patterns, phrasing, and time signatures alone? With Halloween just around the corner, there’s no better time to answer the all-important question: what makes a rhythm spooky?


Answering this question is a bit like hunting a ghost. You’re not too sure it exists, but you’re in it for the thrill of discovery. Let’s uncover some truths by looking at famous examples of spooky music:

Jaws (John Williams)

Exemplified by a simple alternating pattern of just two notes, the theme for Jaws instantly sends shivers down your spine. What makes the rhythm of this music so fear-inducing?

It begins with a sparse pattern of two notes per bar, with long rests adding to the suspense. Then the tempo starts to build. The rhythm becomes more regular but is accompanied by sharp off-beat bites to keep you on your toes.

It’s the space between the notes that builds anticipation. Just like how you don’t know when the shark will attack, you don’t know when the next notes are coming.


The Exorcist (Mike Oldfield)

Featuring a seemingly simple eighth-note pattern, what is it about this rhythm makes it so spooky? Let’s break down the complex arrangement of notes.

Instead of using different length notes and rests to create rhythm, The Exorcist Main Theme gains its rhythm through the arpeggiating pattern of notes. It’s actually the melody that gives this song its irregular rhythm.

The Exorcist Sheet Music

Let’s look at the note E in this pattern, (the lowest note highlighted in green). Notice how it’s on the off-beat of the first bar, on beats 1-& and 2-&. Then it switches to an on-beat rhythm on beat 4, continuing into the second bar on beats 1 and 2. Then back to off-beats in bar three, etc.

Throw in some time signature changes for good measure, and this constant switching of rhythms generates ever-changing tension. You’re never quite sure what’s coming next, just like you’re never quite sure when the next jump scare is coming.


Halloween (John Carpenter)

We’ve seen how irregular rhythms can generate suspense and tension. Equally, regular rhythms can evoke similar feelings. The main theme for Halloween is backed by a straight quarter note pattern on each beat of the bar. So what makes it so spooky?

The unusual 5/4 time signature brings suspense. 4/4 time signatures feel natural and pleasing. 5/4 has one extra beat to every bar, giving it a strange and slightly uncomfortable feeling. The regularity of the rhythm is also akin to a heartbeat, giving the song a chilling sense of mortality.


So, what makes a rhythm spooky?

It’s complicated. There are elements of rhythm that can evoke dark and moody emotions. For example, irregular rhythms can build anticipation. Unusual time signatures and off-beats can generate tension.

The effect that rhythm has on your music is often overlooked, but there’s no doubt that rhythm is a powerful compositional tool. Having these tricks up your sleeve will help you invent new and interesting ways to portray emotions in your music.


Put it into practice.

Get inspired with these Melodics lessons. For the drummers out there, discover how to use unconventional phrase lengths in the context of a Spooky Surf Rock course.

Or learn about shifting off-beat kick patterns with these Scary Psychedelic Rock lessons.


Oct 27

Ghostbuster: The Genius of Ray Parker Jr.

by in Drums, Gear, Guided Listening, Instruments, Keys, Pads, Product Updates & Releases


 
The Ghostbusters theme is at its core an exercise in Rhythm & Blues comping — but it’s been dressed up in the…. costume of 80s synth pop 👻

The iconic theme from Ghostbusters defined a point in Ray Parker Jr’s career. For those less familiar, it seemed he came out of nowhere as an artist. But for those in the know, it’s far from a one hit wonder. Rather, it is a culmination of all his talents as a multi-instrumentalist, vocalist, studio engineer, composer and producer.

Given 2 days by a (somewhat desperate) Columbia Pictures to produce a title track, Ray Parker Jr was ready for the job.


But how is Ghostbusters Rhythm & Blues?

Ghostbuster’s chord harmony is ultimate Rhythm & Blues, but it’s not immediately obvious because it leans heavily on the lush synthesizer sounds of the decade, instead of using more familiar, analog instrumentation of the genre, like keys or guitars.

But the Rhythm & Blues influence makes sense, given Ray Parker Jr’s background as a session guitarist for Motown records before starting his own studio, Ameraycan.

Starting when he was only 15 years old, Parker’s musical career spans decades — having played guitar, bass, synth and lent vocals to some of the greats such as Stevie Wonder, Marvin Gaye, Bill Withers and Bobby Womack, as well as prolific engineering credits, and composer for Barrie White, Earl Sweatshirt and Cheryl Lynn to name a few.


Learn to play Ghostbusters by Ray Parker Jr on synth, drums or finger drumming

It was one of those days when everything came together — bang, bang, bang — and it didn’t seem like I could do anything wrong. The bass part sounded great, the drums were big. Everything sounded fat.
 
The main synth was a Korg Poly 61 — and a cheap Jupiter 6 on the bass line! Nothing is doubled — it’s just single lines that really fit together well.
 
— Ray Parker Jr, on making the ‘Ghostbusters’ Theme.


Learn to play the Ghostbusters theme song

Play it. Learn it.

If you ain’t afraid of no ghost, then today is your day to shine: Melodics has released Ghostbusters as the latest song to play and learn for premium subscribers.

That main Korg synth line, the Roland Jupiter 6 bassline, and Linn Drums are exactly the sounds you’ll be playing in Melodics’ lesson for the Ghostbusters theme.

Ghostbusters is available to play for premium subscribers on Keys, Drums or Pads, just in time for an extra spooky musical Halloween.

 

Get the skills you need to succeed first.

If you don’t have a premium Melodics subscription, or you want to build up your abilities before playing Ghostbusters on keys, pads or drums — we’ve got you sorted, with this handpicked selection of skill-building courses for each instrument.

Keys

Level up your left hand technique with this course, featuring a series of lo-fi synthy bassline lessonsLeft-hand synth basslines that use techniques like walking, octave stretches and complex rhythms.

Level up your left hand technique with the Cassette Basslines course, featuring a series of lo-fi synthy bassline lessons designed to target strength, coordination and agility in the left hand. Then take it to funk town with Mark de Clive-Lowe’s Bassline Bootcamp. Here you’ll come to grips with left-handed basslines and exercises across different styles, and use techniques like walking, octave stretches and complex rhythms. You’ll walk away understanding how bassline melodies can be built with pentatonic scales, intervals and syncopated patterns.

Drums

Learn fills to help transitions, break up patterns and draw listeners' attention to changes in the music.play basic linear beats, added toms and 1/16 variations, and incorporated fills -- incorporating section and groove changes

Ba-da-da-da-Ba-da-da-da-Pssh! Let’s learn fills in this course to help transitions, break up patterns and draw listeners’ attention to changes in the music — you’ll need this for some of the iconic Linn Drum fills in Ghostbusters! Then, take it to the next level with Linear Drumming, play basic linear beats, added toms and 1/16 variations, and incorporated fills over section and groove changes.

Pads

play 1/8 & 1/16 note syncopated drum grooves. You have improved your coordination skills by playing hand independent rhythms over bouncy hip hop grooves for finger drumming on padsperform a fundamental funk drum groove in the style of Clyde Stubblefield.

To get ready for Ghostbusters, you need to go back to the future! Explore these two courses get those skills up. First, in Kicks, Claps, Snares you’ll play 1/8 & 1/16 note syncopated drum grooves and work on your coordination skills by playing hand independent rhythms over bouncy hip hop drum grooves.

Then, expand on a basic Funk beat with a series of variations in the style of the legendary Clyde Stubblefield in Ain’t it Funky. Here, you’ll perform a fundamental funk drum groove, create variations of a drum groove by shifting beats on the kick, snare and open hi-hat, and learn how to perform a swung hi-hat rhythm.


Away from your instrument? Get in the Ray-zone.

If you’re not by your instrument, then get in the halloween spirit and feast your ears on the genius of Ray Parker Jr with this playlist.

Far from a 1-hit-wonder, this playlist showcases a trophy cabinet of his musical credits, from the ’70s right up to present day; spanning genres like Motown, Rhythm & Blues, Disco, 80s Synth, Electronica, and Hip Hop.

 

Oct 25

How to increase your speed and endurance on the drums.

by in Drums, Pro Tips

Moeller Method speed endurance Whiplash
Moeller Method speed endurance Whiplash

All drummers have experienced this: there’s a complex 16th note fill you want to play, but it’s just too fast. Or maybe it’s a simple groove but the band wants to play it at 200 BPM and you can’t keep up. You start to tense up. Your timing and accuracy is slipping. Your bandmates are glaring at you, urging you to stick to the tempo.

There’s a physical limit to how fast you can play. How do you overcome this limit and increase your speed and endurance on the drums?

Speed and endurance comes from working efficiently. And efficiency comes from technique. Let’s uncover one of the most influential techniques in modern drumming that makes fast drumming effortless: the Moeller Method.


The Moeller Method

The Moeller Method is a technique that uses a ‘whipping motion’ to increase speed and efficiency. This technique combines multiple drum strokes into a single arm motion, letting gravity do all the hard work. Now that’s efficiency.

Moeller Method sheet music

Here’s how it works for a straight eighth-note pattern.

The down-stroke: Lift the stick up high above your drum using your whole arm, loosening your wrist on the way up in a whipping motion. Use gravity to bring it back down to strike the drum. This is the “down-stroke”.

Use your fingers to control how far your stick rebounds off the drum. The stick should just hover above the drum after the down stroke. This will set you up for the next part of this technique.

The up-stroke: With your stick hovering above your drum ready for you to lift up again, why not tap the drum while you’re there? With a flick of the wrist, tap the drum on your way back up. This is the “up-stroke”.

Try repeating the down and up strokes in a single, fluid, “whipping” motion. Remember to stay loose and relaxed.


Watch this video for visual guidance on how to play this this technique.

Remember: you’re getting two strokes for the price of one arm movement, which takes less physical effort and you’ll be able to play faster for longer. This is the secret to increasing your speed and endurance.


Take on the challenge.

Take On Me - AdvancedQuarter & Eighth Notes

‘Take On Me’, by A-ha, is backed by an eighth note hi-hat pattern at 169 BPM. The groove is simple but it’s fast. At 3 minutes 49 seconds long, you’re going to need to build your endurance to keep up the tempo till the end. The simplicity of the beat in ‘Take on Me’ means that you can really hone in on this life-saving technique, and not worry about any unexpected notes or complex fills.

Don’t go too hard too fast. Like all good things, it takes time and practice. When learning the Moeller Method, remember to slow it down and break it down into its parts: the down-stroke and up-stroke. Melodics Daily Warmups are the perfect space to practice the Moeller Method. Use the Quarter and Eighth Notes lesson to build up your speed and endurance slowly.

Oct 25

The underworld of minor scales: How to play and use harmonic and melodic minor scales.

by in Fundamentals, Guided Listening, Keys, Music Theory

 

What do you call a zombie who writes music? … A decomposer!

Ok ok, but what about a zombie who is just trying to write a satisfying chord progression while playing in a minor key? (Because zombies don’t play in Major keys).

For maximum satisfaction, this zombie might consider reaching for something called the “harmonic minor scale.”

Dominant cadence - V-I resolution in key of C Major
V-I dominant cadence in the key of C Major means the V chord is a G Major, and the I chord is the C Major.

When you think of the most satisfying chord progressions in a major key, they often end with something called a 5-1 cadence (also known as “dominant” or “perfect” cadence).

This is where you play the 5 chord (the dominant or V chord) which sets you up for a strong resolution on the 1 chord (or “tonic” or I chord). In the key of C Major, a 5-1 cadence is G Major to C Major. Listen to an example of that sweet dominant cadence in this ii-V-I chord progression.

We’re going to show you how to give your music maximum thrill-factor by getting all the benefits of a major-sounding “dominant” V-I cadence, whilst still keeping things spooky by playing in a minor key scale.


C Major Scale

The c major scale and diatonic chords on piano

Here’s how the pattern of chords on each scale degree in a Major key goes:

1. Major 2. minor 3. minor 4. Major 5. Major 6. minor 7. diminished


C Natural Minor Scale

C minor natural minor scale and diatonic chords on piano

But when you’re in a minor key, the chords are going to be a little different.

In natural minor this pattern is:

1. minor 2. diminished 3. Major 4. minor 5. minor 6. Major 7. Major

As you can see the 5 chord in the minor scale is a minor chord, so the satisfying 5-1 cadence is not so satisfying anymore. There is not the same tension and release, and it can feel a little lack-lustre. For more oompf, the 5 chord needs to be Major.


C Harmonic Minor Scale

C minor harmonic minor scale and diatonic chords on piano

The way we can get around this is with the harmonic minor scale.

The harmonic minor scale is almost identical to the natural minor scale — there’s only one note different, but it makes a big difference in how the scale sounds.

To change a natural minor to a harmonic minor scale, you raise the 7th degree by a half step. So in C minor, the Bb is changed to a B. This is the same in any other key — just remember that the only difference between the natural and harmonic minor scale is that the 7th degree is raised one half-step (to the next closest note).

Now instead of the 5 chord being G minor (as you find with the natural minor scale), with the harmonic minor scale it’s G Major which brings the life back to the 5-1 party. You could say it’s re-animated 😱

In most popular songs, this is how the harmonic minor scale gets used. While the song is basically written normally in the minor key, to make the chord progression work “better” the minor 5 chord gets changed to Major. A simple trick!

That’s cool for chords and the undead. But what about the melodies to play over them?

The raised 7th degree in the harmonic minor scale is pretty cool (that’s the difference between the minor and major third when you’re playing the G major 5 chord). Instead of a whole-step between the 6th and the 7th, it’s now 3 half-steps (also known as an augmented 2nd — or minor 3rd). Having such a wide interval between these two notes is unusual in western music, which is what gives the harmonic minor a pretty exotic sound (some might say Spanish or Arabic) which can also sound mysterious or spooky to some ears. Give it a try!


C Melodic Minor Scale

C minor melodic minor scale and diatonic chords on piano

This is great if we want to use that creatively, but if we’re wanting something smoother without all the baggage and expectations which can come with something sounding exotic, we can turn to the equally-evil minor twin: the melodic minor scale.

This scale is similar to the harmonic minor, but gets rid of that minor third sound. To achieve this, we also raise the 6th degree of the scale by a half-step. Now the interval between the 6th and the 7th is a whole step again so it sounds much smoother. In fact, when you compare a melodic minor to the major scale side by – the only difference now is the minor 3rd note.


Reviewing all the scales

Comparing scales: C major vs C natural minor vs C harmonic minor vs C melodic minor

Here’s the weird bit. Given how close the scale is to the major, you play the melodic minor scale differently going up vs going down, but we won’t go into that here…

The best way to learn it is by doing –  hear how odd an melodic minor sounds if you play it descending (too close for comfort to a major scale really…)

But this is the best thing about the minor key! With all three of these minor scales at your disposal, you can blend or combine elements from each at any time you like to lend what you’re playing different flavours.


Learn to play all the minor scales

Learn to play the harmonic and melodic minors on piano or keys

So here’s something to learn for Halloween! The Harmonic & Melodic Minors course is in Melodics to teach you:

  • To perform melodies using both scales, and recognize their structure and sound.
  • The difference between the ascending and descending forms of the melodic minor scale and how it’s used.
  • To become proficient at playing in minor keys by mixing tonalities and recognising their distinct qualities.

 

If you’re not at your instrument right now, here’s a playlist of music to start prepping your brains ears to the sounds of the minor scale family. Remember to keep your ears peeled for whether or not a dominant V-i cadence is being used instead of the natural v-i minor cadence.

Oct 20

What do Muse, Silk Sonic, Lenny Kravitz, and Marvin Gaye have in common?

by in Keys, Keys, Uncategorized

So what do Muse – StarlightSilk Sonic – Leave the Door OpenLenny Kravitz – Are you Gonna Go My Way, and Marvin Gaye & Tammi Terrell – Ain’t No Mountain High Enough have in common? (Well, besides the fact that they are all available to learn in Melodics?)

The answer is that they all feature the ‘Straight Four Snare Rhythm’, a drum beat characterized by having a snare hit on EACH quarter note of a 4/4 bar.


Comparing ‘Straight 4′, ‘4 to the floor’, and ‘half time’ rhythms

 

Comparing a "Straight 4", "4 to the floor", and a "Half time" beat on a basic kick, snare, hi-hat set-up
The number of snare hits in each bar is a good way of gauging how much “energy” a drum rhythm might have.

The snare’s sharp, attacking sound (aka “staccato”) along with the punch of the kick drum, are often one of the core defining features of a given rhythm. Snare hits can be considered rhythmic anchors that a groove can be built around.

A typical 4/4 drum beat, such as your classic rock beat, or a disco style ‘4 to the floor’ will typically feature two snare hits — usually on the 2 and 4. ‘Half time‘ rhythms will often contain only a single snare on the 3. The snare’s prominent role within the rhythm means that with only half as many snare hits within the bar, it feels as if it’s playing in half time, even if the tempo is technically the same.

The ‘straight four‘ snare rhythm, on the other hand, mimics what the kick drum does in a disco ‘four to the floor beat’, and emphasizes every single down beat of the bar, with snare hits occuring on 1, 2, 3, AND 4.


How to give your music more (or less) energy when you need it.

Now, given this, what is the purpose of having a snare hit on every beat? In what ways does this rhythm feel different from the more typical rhythms you find in modern 4/4 music?

In the same way that decreasing the amount of snare hits in a bar makes a groove feel ‘slower’ and more relaxed with half time beats — increasing the amount of snare hits using straight 4’s increases the energy of the rhythm, giving it a driving momentum that adds tension and excitement to the music.

Straight 4 Snare rhythms are often used as a way to add tension and energy in the moments before a section change in a piece of music. Alternatively, the rhythm might be used to add a sense of contrast, creating a difference between the sections that occur before or after it — listen to our straight 4’s playlist to hear it in action and train your ears.

The straight 4 snare rhythm’s presence as a rhythm played on a drum kit has been around for ages, but in the way that we are talking about today as a musical device in modern songwriting is now closely associated with soul and motown music.

Take ‘Ain’t No Mountain High Enough‘, for example. At about 1:22 in, the Straight Four rhythm makes an appearance for four bars just before a change of section. It’s a lovely moment that adds a little bit of tension immediately before launching into the next verse

This tendency for the rhythm to appear in soul and motown music isn’t just relegated to music from the 60s – more modern interpretations of the style retain the usage of this rhythm as well – as can be seen in Silk Sonic’s ‘Leave the Door Open.’

This time the rhythm appears in the final iteration of the chorus of the song, occurring about 2:40. Up until this point of the song, the chorus has a more typical rhythm accompanying it, with a snare on the 2 and 4, but for the final chorus, the straight four snare rhythm is played instead, which provides a vitality and energy that wasn’t present before – elevating it to a fitting climax near the conclusion of the song.

But MoTown and soul are not by any means the only places where this rhythm finds a home either – Muse’s ‘Starlight‘ is a great example of the Straight Four rhythm being incorporated into a modern rock context. In Starlight, the rhythm appears during the pre-chorus where it helps creates an evocative build-up towards the Chorus itself. The chorus features a more stripped back instrumentation, with no drums at all, so having a high intensity snare rhythm leading into this section creates an effective contrast, adding to the drama of the piece.

Lenny Kravitz’s ‘Are You Gonna My Way’ is another hit that uses this rhythmic device. This time, a variation of the rhythm that features flams instead of singular snare hits is a key component of the intro of the song. It’s a boisterous and attention grabbing technique that draws focus right out of the gate. It’s a bold and in-your-face moment that provides a perfect jumping off point for a high-energy rock hit.


Learn to play Straight 4 in popular music

Learn to play these popular songs -- all containing an iconic straight 4 drum rhythm

The straight four rhythm is a flexible drum technique that can be used over many genres and in many different contexts.

If you want to get a handle on how to actually play these drum rhythms – all of these songs are available to learn in Melodics as a premium subscriber:


Or keen to explore the fundamental beat? Try Melodics’ essential ‘Motown Rhythms’ course for drums, which covers the must-know Motown grooves from the 60s, 70s & 80s — of course including the iconic straight 4.

learn iconic Motown drum grooves from the 60s, 70s, and 80s with melodics essential drum course

Oct 17

Climbing chords – “Running Up That Hill” by Kate Bush.

by in Guided Listening, Keys

Do you have a certain mood or theme you are wanting to establish in your song? Just like the sounds of the instruments themselves or the lyrics, the chord progression plays a large role in defining the overall feeling of a piece of music.

The chord progression is the series of chords that form the overall harmonic structure of the song. Within each key, there’s a series of different chords that all work within that key – you can choose the order that you play them in and which chords you choose.

There’s plenty of chord progressions to choose from when you’re writing a tune, and plenty to learn about but let’s take a closer look at one in particular, the VI, VII, i progression in the context of ‘Running Up That Hill‘ by Kate Bush.

Learn to play a VI VII i progression (as seen in "Running Up That Hill" by Kate Bush). The 7 modal chords of the c minor key on piano
Running Up That Hill plays 3 of the 7 chords in Cm key. It’s a well-known example of a VI – VII – i progression.

This chord progression is in the key of C minor. As well as defining the movement and tone of a song, the chord progression also helps to really cement the song within its key.

This progression begins all the way up on the key’s VI (6th) chord (aka. Ab Major). By not starting the progression on the root chord (i), starting on the VI gives it a sense that it’s already been rising — as one of the last chords available in the 7 note chord scale, the VI chord has a strong upwards direction to it as if the progression is already nearly finished.

This is because it naturally wants to resolve up to the “tonic” or the home base of the key (the i chord). If you this chord progression to climbing Mt Everest, we’re starting our climb already in the death zone and the only way from here is to the summit.

The VII chord (Bb Major) which is the second chord played in the progression, reinforces the fact we’re still climbing. At this point, we can see the summit — but we’ve still got one last push to get there. No going back now.

Finally, the progression resolves at the top with the i chord or the “tonic” (C minor). Time to plant the flag and take in the views, before doing it all over again.

This progression is in a minor key which gives it a darker melancholy edge, but at the same time because it moves so strongly upwards from the beginning, it gives it a sense of optimism as we head towards something brighter and more hopeful.

You can see why it fits so perfectly with a song named ‘Running Up That Hill’ — and how the rising tension and sense of optimism worked so well during one of the most climactic scenes of Stranger Things season 4.


The progression through VI VII i occurs in parts of many songs, such as ‘Lean On‘ by Major Lazer. But it’s also just as common to vary the order of the 3 chords in this progression — such as the close-cousins i VII VI VII, or VII VI i i, or i VI VII progressions

It’s also popular as a bridge, pre-chorus or chorus such as you can hear in the chorus in the theme song to ‘Duck Tales‘, ‘Big Love‘ by Fleetwood Mac, Jimi Hendrix’s version of ‘All Along the Watchtower‘, the outro to Led Zeppelin’s “Stairway to Heaven“, the pre-chorus to Oasis’ ‘Wonderwall‘ and ‘Rolling In The Deep‘ by Adele.

Can you think of any other songs which have this optimistic and uplifting chord progression? If you’re not at your instrument right now, start training your ears and listen out for examples in our Climbing Chords playlist.


Climb upwards through popular chord progressions for keys

Learn Common Chord Progressions in popular music on keys or piano

If you’re interested in getting to know the basics of chord progressions, try out Melodics’ course on common chord progressions. Learn to read chord progressions written as Roman numerals, practice moving between chords and shift hand positions and practice playing chords as melodies and harmonies in the style of New Wave music.

And for premium subscribers, you can learn to play ‘Running Up That Hill‘ just like Kate Bush to get a first hand experience of how this progression works so you can add this to your creative repertoire.

Running Up That Hill - MelodyRunning Up That Hill - ChordsRunning Up That Hill - Melody & Chords
Oct 17

Everybody wants to… learn 12/8 time!

by in Drums, Fundamentals, Guided Listening, Keys, Pads

Having an appreciation for time signatures is useful for playing every instrument (both melodic and rhythmic) — but how do you decide what kind of rhythm/time signature you’ll use? You could ask this question another way… How do you decide which shirt to wear in the morning?

It all depends on the mood you’re going for and in some cases, the style or tradition of music you’re playing or making.

Let’s take a look at the 12/8 time signature in the context of ‘Everybody Wants To Rule The World’ by Tears For Fears, available to play in Melodics this week for premium subscribers.

The rhythm of the song gives it a shuffling feel, like you’re tumbling through it. It’s got a feel somewhere in-between the steady pulse of a four to the floor beat, and the triplet feel of 6/8.

Have you heard that shuffle rhythm before elsewhere?

It can also be known as the “Purdie Shuffle” (exemplified by Bernard Purdie in Steely Dan’s ‘Home At Last‘, or John Bonham in Led Zeppelin’s ‘Fool in the Rain‘) in drum circles, but you’ve likely heard it frequently in all sorts of contemporary songs.

How about ‘Hold The Line’ by Toto, ‘Higher Ground’ by Stevie Wonder, ‘Lost in Yesterday’ by Tame Impala, ‘Sweet Escape‘ by Gwen Stefani, or ‘bury a friend‘ by Billie Eilish?  What’s important is they all have this same shuffling “triplet feel” or sound, which you can get a natural feel for by listening to this playlist.

That sound can be a creative choice to evoke a certain mood, but often it’s related to making music in a particular style. As well as pop music, this rhythm is also used heavily in doo-wop, blues and jazz – so it can be used in some cases to reference or imitate those styles as well.


Now you know what it sounds like, what actually is 12/8?

As a more uncommon time signature, 12/8 might look and sound intimidating — but don’t worry there’s nothing weird, “irregular” or “odd” about it! You can easily think of 12/8 time as basically using triplets within the context of a regular 4/4 rhythm. Here’s how:

How to count 12/8 time as triplets in 4/4
You can count 12/8 as just 4 triplets!

12/8 means there are 12 1/8th note beats in each bar. 

But what you can’t immediately see from reading the time signature is that those 12 beats are organized into four groups of three 1/8th notes. The four groupings is what gives it the familiar pulse of 4/4 but with the “triplet” feel of 6/8. It’s like a buy one get one free deal for time signatures.

With 12 beats to choose from, there’s a world of opportunity when it comes to deciding which beats the chord changes occur on. With the intro of ‘Everybody Wants to Rule the World’ the first synth chord (A/D) is on the “1” beat — and the second chord (G/D) jumps in a little early on the “2-and-a” beat, imparting a slightly urgent feel to the intro groove.

If you’d like more context around the sound and feel of triplets (outside of 12/8) — you can often hear triplets in the syncopated, staccato vocals of Bone Thugs n Harmony, Three 6 Mafia, and Migos, which really helps to give them their distinctive flows.

The best way to learn is to play — so look out for ‘Everybody Wants To Rule The World’ by Tears For Fears launching on 20th October in Melodics for premium subscribers.

For standard subscribers, make your goal this week to understand time signatures and how to play songs in 2/4, ¾, 4/4 and 6/8.

Melodics’ ‘Time Signatures’ course (for Keys and Drums) is a great starting point to structure your practice around, and if you’re a drummer you’ll be super prepared to dive into ‘Shuffle Grooves’ just in time for when ‘Everybody Wants to Rule the World’ drops this week.

Time Signatures -- Shuffle Grooves -- Two Melodics Courses