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new year to everyone and may this year be
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the most productive in creativity, in
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the meantime, welcome to the new video
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from the fl studio pro project
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and continuing the theme of harmony and melody in
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electronic music, I would like to dedicate
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this video to a very popular and
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easiest way to write the main
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melodies, yes, there is something besides the way of
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musical dialogue or call-response, this
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has taken root especially well in the culture of
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trance music, a technique that we will
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talk about today is an ostinato, and at the same time I will
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touch on the most important topic
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when writing a melody and will give a small but
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very valuable material for immediate
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use and the material will be for the jump,
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but more on that a little later, but first we’ll
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take a look at the ostinato technique, and so an
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ostinato is a constant repetition of a
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certain melodic stroke or
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its mother’s constant repetition does not
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mean that this technique was invented in
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order to immerse the audience in a
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sound sleep or cause boredom the meaning of the
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ostinato is that this short
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melodic stroke often remains
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unchanged, while its
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harmonization and the context of the consonances with
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constantly progresses and changes,
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and we will try for simplicity in the
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and the context sounds really
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constantly progresses and changes,
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creating something what we
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like most in music and who remembers
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what I mean is the very contrast of consonances and
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non-consonances consonance dissonance the
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strongest principle when writing a melody,
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as for me, this is a very important technique
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from which it is worth starting when
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writing a melody and harmonizing with
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chords and very many compare the
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technique of ostinato with musical hypnosis,
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since while our ear
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perceives repeating monotonous,
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seemingly boring and uncomplicated
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secondary harmony is introduced into our ear, which
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becomes for us a very fascinating
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context for these same strokes, and
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also vice versa, it works briefly as a
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melody in the context of progressive the
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harmonics seem hypnotic, again
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thanks to the contrast of the end of us, the dissonance
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that there is a constant tension of
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dissonances and the resolution of the consonance of, but
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here it already depends on what kind of bayonets are in the
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melody and how they are harmonized, the
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result is a musical and
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fascinating story where our
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consciousness seems to constantly
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resolve something and to get pleasure from it, that’s
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the meaning of music, not
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just to constantly perceive completely
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consonant harmony, but also to move
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to consonant intervals through dissonances that are
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not consonant with intervals, and the easiest
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way and the most popular way
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to demonstrate this is traditionally
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trance, your adventures with chords of the
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suspended varieties, that is, with 2 or
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c4 on simple chords
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and how can this be applied with the
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ostinato technique, it’s very simple just by repeating
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again by repeating in the end you will get a
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consonance somewhere, somewhere more consonance of
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somewhere more dissonances, that is,
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steps where more resolution is required,
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then let’s look at the resulting
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and It follows from here that ostinato strokes
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in taxes can also be of different
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lengths, absolutely no matter how many bars and
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beats it lasts, even if harmonization
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comes in this case, this is two bars and
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harmonization occurs in steps
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lasting a step of two bars
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for somewhere it may be a little different
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and also the duration of two measures and the
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melodic stroke of the
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ostinato, but harmonization occurs
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much faster than the wall itself,
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only here we will be our
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human nature, more accurately our ear
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will find other laws and principles of
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melodic sequences,
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perhaps a hint challenge response to challenge response
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again repetition of the ostinato is enough
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Interesting hunting on such a banal
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example of repetition is approximately the same way our
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ear perceives melodic fingerpicking and
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arpeggios, only here the point is that
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often war loops change the context of the
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melodies along with the context of harmonization of the
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bass line, for example, or auxiliary
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therefore this could be said to
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be a form of ostinato. - none,
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but only within the framework of one stage of
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harmonization, indeed, the ostinato
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remains unchanged in its principle
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for two or more stages of
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harmonization minutes, again according to its
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note what I said according to my principle since there
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cannot be a rule of music, you
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can always repeat this a lot once, but
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this wall is a technique, a challenge, a response, or
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musical dialogue and other principles and
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techniques, these are just techniques and techniques
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and are given not only to help
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you understand the entire large
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universe of music and explain what works in it
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in most cases and
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really works it’s great to always
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add a deviation from the rules and
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personally introduce your imagination into the same ostinato,
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for example, it can’t always go
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monotonous and repeat itself, you
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can call it an ostinato of power over, and
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somewhere else it could be called the principle of an
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ostinato, an ostinato answer, and so on, and
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you can come up with more like this a lot and a lot
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because this is really an endless
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study and experiment, for example, a very
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interesting point with this form of
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ostinato and musical dialogue at once
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and I’ll explain why there are two forms at once, again
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everything is just an ostinato here is that the
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melodic one is melodically it is
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the same, absolutely the same but
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rhythmically it is different share in the second
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measure it is syncopated a little differently
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to create contrast for this part
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so it can be called a geological
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ostinato me rhythmic dialogue call
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response the same steps are just
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used during different beats and
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as always everything that has to do with writing
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melodies does not matter
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whether it is an ostinato or musical dialogue
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all this is connected with intervals
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and doing everything here in intervals and which
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are considered tension which denouement
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which are consonant and which are
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dissonant since there are enough
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intervals if you count everything then this is the
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unison of the minor second major second minor third
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major heart quarter diminished
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Clinton small sixth large text
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small seventh major septima
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and finally the octave and this is the material
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I have prepared for downloading
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for this video using the link right here or
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under this video in the description you
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will go to the page of our website where the
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download link will be available a very
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useful table from projects fl studio
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tables will give you a complete understanding of
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the interaction of all these intervals,
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of course, along with their names and
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also with a description of each interval using an
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example from a note to giving each
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existing note of a bacterium and with these
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instruments all these principles of writing
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melodies and itself the harmony of musical
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theory will come to you much easier and more
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clearly and that’s all I had
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Pavel Volan and fl studio pro projects
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don’t forget to subscribe to our channel on
00:11:48
YouTube and the VKontakte group see you soon
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