Watching the process and seeing you "hmm" and rework and struggle was incredibly valuable. I cannot overstate how meaningful it is to see an experienced professional go "well that's not what I intended". It takes away the stigma of perfection that is so easily built from edited videos of people jumping right to final results. The "nope" area gets left on the cutting room floor, and as learners we NEED to see that. So thank you for leaving it in there. This is easily one of my favorite RUclips videos.
This was great. There is a ton of guidance on youtube for improving an existing melody, but there is MUCH LESS guidance and demonstration for starting from nothing.
Watching the struggle as it develops is relatable and inspiring. Seeing you push through it to make it how you intend, despite the bumps is a very good learning tool. I would have very likely given up at so many points there.
The older I get, the more I appreciate teachers who are completely unpretentious. I wish Ryan Leach had been around when I started 35 years ago - but of course, the joy of having him around now outweighs that!
It's really helpful to see someone as accomplished as you as a film composer face the issues and make mistakes. It's like looking at myself in a mirror. I am sharing your video with my IBDP 1 & IBMYP grade 9/10 students today, who are learning to compose a melody. Where better place to start than with a Ryan Leach video on sentence form.
I really like seeing the mistakes, Guy Michelmore does the same thing and it helps when you are struggling to see that even Pros struggle too. Plus you are looking to solve those issues which means if I have the same problems I can potentially see a way out.
Thanks for sharing that. It took a little while to get used to the idea of showing mistakes, even on glaring ones like a dotted rhythm or a missing sharp sign, but I think you're right that it is helpful. And I think a problem with this melody was that I was so conscious of the camera rolling and not wanting it to get too long that I went with "good enough" when in reality I might've taken a lot more time to fix that annoying bar!
@@RyanLeach The hard nuts in composition are especially what we learn not to be discouraged by - and also a hard nut is to show mistakes - although it is the personalities who had the greatness and kindness to show us their mistakes that we keep in mind and remember gratefully from now on.
To answer your question. Very very helpful. Its one thing to learn a compositional device (2ndary dom, parallel minor) but a totally different thing to see it pop up organically in a composers mind. WHY use a V of V, WHY go to parralele minor. Were often taught the trick without being given a rhyme or reason for its use. Thanks. Awesome channel!
Ryan, thank you so much for you videos. As a lapsed musician trying to wake up again, your videos have been the most inspiring educational resources I've been able to find in years. Thank you.
Wow ! What a confidence booster when watching Ryan having the same sort of problems like myself when doing the thing I love the most in life ! Thank YOU so very much for doing this Ryan !
Thanks so much for this video. This looks very much like my composing process. When I start struggling in the same way that you did, I can get very anxious and just throw something with redeemable qualities out. Seeing someone else struggle through and make it to the through is comforting to me.
This was so ecouraging. I especially related to the part where a segment worked great on it's own, but felt out of place in context. I identify with that so much in my own writing process. And it was good to see the struggle. There's so much mythologizing around music composition that it is easy to fall into a headspace where your own difficulties talk you into too much discouragement.
What I did to check my own compositional skills, after your wrote out the first bars, I wrote the last four before checking what you wrote. You and I went in completely different directions but I really like both. Perhaps if this had been stretched into a full piece they could have been used as variations of each other. That's probably my favorite thing about music composition: there are no right answers, only different interpretations :)
I really appreciate how you approached these videos. While it can be great to have just a short lesson on how a certain bit of music theory works, having a follow up video where you show it in action (mistakes and all) really helps hammer it home and it is something that I haven't seen a bunch of here on RUclips.
Really thank you so much! This your playlist just helped me to put everything in my mind in its place. It was like some enlightenment. It is just wonderful!
In such situations, I stand up walk in the room and sing in my head, that brings me many other ideas, and nothing is faster and as flexible as one's inner ear. What also works for me, I let my daw play the chords, but I load another instrument fir the melody whose timbre can well express the style of melidy and rhythm Im looking for. Sometimes, just a single instrument's timbre can be so inspirational.
I really appreciate seeing the trial and proofing process. So much more is learned by example. Thank you so much! I really enjoy your lessons and I learn so much.
Hi Ryan, I love your videos! They are very inspiring! Thanks so much for providing such great content! Just a quick question, at measure 7-8, is it the tritone jump between C natural and F# in the melody that was not very pleasant to your ears? Maybe adding an Eb before going to the F# or even C natural - Eb - F - F#? I'm asking this because I also encounter this type of situation with 3rds relationship chords. Would be awesome to have your opinion on this
Yea that's a good observation, I also thought about the tritone. It's not bugging me too much, I feel like a lot of my "it's not quite right" feeling is actually happening on the C#. And honestly the more I listen to it the less it bothers me.
@@RyanLeach what if you made it an F# instead of B? I haven't tried it at the piano, but looking at the melody, that is what I am leaning towards. Yes, I know this is a year late, but I just found your page.
Love your videos! I'm glad i found your channel. As someone who likes to write a lot of music but have no education in it, it's soo good to learn all the concepts and forms and theory. It makes me go back and look at old music to see what i have actually been doing. Thank you for sharing these videos!
Thank you Ryan, the actual proces, struggle and all, is very valuable. It helps us problem solve our own writing. I like what I’m seeing in Sibelius compared with the Finale (computer) and Notion(iPad) that I’m using
Would be very interesting to learn more about Forms a bit like your Sentence and Period videos, they're so great! Maybe more techniques that you discovered in 'Analysing Classical Form'?
I just started watching your channel, and what you are doing is amazing. So I'm afraid to ask, but I don't see a certain note choice. On the B9 chord you land on an F# but the next note is E# ? Would an E natural sound better in the flow?
Hm I'm playing with both now and I can't decide! I think either works. I like that the E# has a Lydian hint to it which is kind of energetic, but also that it matches the F major chord which also goes down a half step. That area was obviously not working quite right for me, so I don't know, I think it's a good idea!
I Love your videos so much. I am a composer that returning to compose after a long rest. Your videos help me back to the root. I wanted to ask a question, sometimes when you have all the counterpoint, orchestration, harmony and form knowledge. You get stuck more because you dont want to be cliché or sound like other composer. What is your tip to pass this problem 🤔?
I’m new to this kind of software. Been using ableton mostly but I want to get more familiar with writing on staves. Which program is this? It’s cool that it has orchestral sounds too
Ryan can you give us a few types how to handle the continuation part with more easy. I get stuck many times right there. Is it the harmony the melody ...both..thank you.
There is a great website that goes with Analyzing Classical Form, even if you don't have the book you can study the example sentences and see if that gives you some ideas: www.music.mcgill.ca/acf/example2-1.php Two common ways are sequential harmony (eg. I V ii vi) or breaking the melody into smaller fragments.
I never understood how people use chords without using chords. I just see a melody. Do you have a video that explains thats concept of using chords like this? Is it just using voices from the triad build?
I'm not entirely sure I understand what your question is, but it might be because I have a jazz background where musicians often work from lead sheets?
@@RyanLeach I think you helped me better grasp my question. Do you have a video on how to understand lead sheets? Is it a mix of chord and melody? Or purely melody with broken chords? The chord symbols are what throw me off because I only see melody.
@@thatsotheo I don't have anything on that but that's an interesting topic. Picking up some basic pop or jazz guitar or piano would probably help a lot
I agree with the others. Mistakes are what everyone learns from. Just watch yet another polished product isn't that useful. But what about your part with the B chord. You have a #4 in your melody over the B chord and then the B chord is followed with the E chord and to me it sounds like a regular sus4 melody tone over the B chord fits better and is more in line with what citizens of the western world are used to going from a kind of secondary dominant to dominant or B -> E. Just an idea or maybe I need a Q-tip or a bag of 'em ? :D
Although I didn’t notate it, to my ear the chain of D F Ab B are all major7 chords. I think a B7 sticks out more than I like, and melodically the E sharp matches with the F natural from the previous chord too, so it feels ok to me. But whatever works for you is fine too!
@@RyanLeach Yeah, it's the process that's important here, not these details. But you ain't making it easier for yourself by using D F Ab B which is also a diminished chord, right? :D
That could work too, my ear prefers the Lydian sound of the E# which makes the whole chord feel bright. The E natural also doesn't give me the same forward pull.
Sometimes dealing with mistakes and what Bob Ross calls, "Happy accidents", makes the creative process more down to earth. Of course some of those sour notes are crungeworthy.
Watching the process and seeing you "hmm" and rework and struggle was incredibly valuable. I cannot overstate how meaningful it is to see an experienced professional go "well that's not what I intended". It takes away the stigma of perfection that is so easily built from edited videos of people jumping right to final results. The "nope" area gets left on the cutting room floor, and as learners we NEED to see that.
So thank you for leaving it in there. This is easily one of my favorite RUclips videos.
This was great. There is a ton of guidance on youtube for improving an existing melody, but there is MUCH LESS guidance and demonstration for starting from nothing.
Watching the struggle as it develops is relatable and inspiring. Seeing you push through it to make it how you intend, despite the bumps is a very good learning tool. I would have very likely given up at so many points there.
I appreciate hearing that, I haven't done a video like this in a while but maybe I should do some more soon
@@RyanLeach I like your content, helpful and educational. Keep it up!
The older I get, the more I appreciate teachers who are completely unpretentious. I wish Ryan Leach had been around when I started 35 years ago - but of course, the joy of having him around now outweighs that!
It's really helpful to see someone as accomplished as you as a film composer face the issues and make mistakes. It's like looking at myself in a mirror. I am sharing your video with my IBDP 1 & IBMYP grade 9/10 students today, who are learning to compose a melody. Where better place to start than with a Ryan Leach video on sentence form.
I really like seeing the mistakes, Guy Michelmore does the same thing and it helps when you are struggling to see that even Pros struggle too. Plus you are looking to solve those issues which means if I have the same problems I can potentially see a way out.
Thanks for sharing that. It took a little while to get used to the idea of showing mistakes, even on glaring ones like a dotted rhythm or a missing sharp sign, but I think you're right that it is helpful. And I think a problem with this melody was that I was so conscious of the camera rolling and not wanting it to get too long that I went with "good enough" when in reality I might've taken a lot more time to fix that annoying bar!
@@RyanLeach The hard nuts in composition are especially what we learn not to be discouraged by - and also a hard nut is to show mistakes - although it is the personalities who had the greatness and kindness to show us their mistakes that we keep in mind and remember gratefully from now on.
Watching the process unfold in real time is so fascinating and definitely helps me learn so much! Thanks for sharing the wisdom!
I appreciate it!
To answer your question. Very very helpful. Its one thing to learn a compositional device (2ndary dom, parallel minor) but a totally different thing to see it pop up organically in a composers mind. WHY use a V of V, WHY go to parralele minor.
Were often taught the trick without being given a rhyme or reason for its use.
Thanks. Awesome channel!
Ryan, thank you so much for you videos. As a lapsed musician trying to wake up again, your videos have been the most inspiring educational resources I've been able to find in years. Thank you.
Love watching these "on the fly" tutorials. This is the way I learn best!
It is encouraging to see that even someone like you, who actually knows what he is doing, can run into road blocks from time to time.
Wow !
What a confidence booster when watching Ryan having the same sort of problems like myself when doing the thing I love the most in life !
Thank YOU so very much for doing this Ryan !
Thanks so much for this video. This looks very much like my composing process. When I start struggling in the same way that you did, I can get very anxious and just throw something with redeemable qualities out.
Seeing someone else struggle through and make it to the through is comforting to me.
This was so ecouraging. I especially related to the part where a segment worked great on it's own, but felt out of place in context. I identify with that so much in my own writing process. And it was good to see the struggle. There's so much mythologizing around music composition that it is easy to fall into a headspace where your own difficulties talk you into too much discouragement.
Great way we can learn is to watch the process of creating in movement... thank you keep making these types of video.
I enjoy watching your creative process including the noodling. Thanks!
What I did to check my own compositional skills, after your wrote out the first bars, I wrote the last four before checking what you wrote. You and I went in completely different directions but I really like both. Perhaps if this had been stretched into a full piece they could have been used as variations of each other. That's probably my favorite thing about music composition: there are no right answers, only different interpretations :)
Thanks Ryan really good seeing your “workings out”
I really appreciate how you approached these videos.
While it can be great to have just a short lesson on how a certain bit of music theory works, having a follow up video where you show it in action (mistakes and all) really helps hammer it home and it is something that I haven't seen a bunch of here on RUclips.
This video was very useful. Shows how to go about writing a piece with all the problems and achievements. Would enjoy seeing more like this.
It's great to see the full process and see how you address things that don't feel quite right.
Really thank you so much! This your playlist just helped me to put everything in my mind in its place. It was like some enlightenment. It is just wonderful!
Great stuff. Really digging your videos. I've been practicing using sentence and period form as frameworks when I improvise too.
In such situations, I stand up walk in the room and sing in my head, that brings me many other ideas, and nothing is faster and as flexible as one's inner ear. What also works for me, I let my daw play the chords, but I load another instrument fir the melody whose timbre can well express the style of melidy and rhythm Im looking for. Sometimes, just a single instrument's timbre can be so inspirational.
Yeah I actually appreciate you keeping all the footage of the problem solving. Super insightful!
I really appreciate seeing the trial and proofing process. So much more is learned by example. Thank you so much!
I really enjoy your lessons and I learn so much.
I love watching real process videos becaue it motivate me to push through. This is where the magic happens. Lkke and subscribe lol
Hi Ryan, I love your videos! They are very inspiring! Thanks so much for providing such great content! Just a quick question, at measure 7-8, is it the tritone jump between C natural and F# in the melody that was not very pleasant to your ears? Maybe adding an Eb before going to the F# or even C natural - Eb - F - F#? I'm asking this because I also encounter this type of situation with 3rds relationship chords. Would be awesome to have your opinion on this
Yea that's a good observation, I also thought about the tritone. It's not bugging me too much, I feel like a lot of my "it's not quite right" feeling is actually happening on the C#. And honestly the more I listen to it the less it bothers me.
@@RyanLeach Thank you very much for your reply! Excited for the next videos
@@RyanLeach what if you made it an F# instead of B? I haven't tried it at the piano, but looking at the melody, that is what I am leaning towards. Yes, I know this is a year late, but I just found your page.
Honestly, both kinds of videos are helpful!
Thanks, that's helpful to know!
Love your videos! I'm glad i found your channel. As someone who likes to write a lot of music but have no education in it, it's soo good to learn all the concepts and forms and theory. It makes me go back and look at old music to see what i have actually been doing. Thank you for sharing these videos!
I just recently found your channel, watched a few videos and already subscribed. Just wanna say you make great videos and I appreciate them!
Thank you for sharing your knowledge! ❤
Thank you Ryan, the actual proces, struggle and all, is very valuable. It helps us problem solve our own writing. I like what I’m seeing in Sibelius compared with the Finale (computer) and Notion(iPad) that I’m using
it’s very informative to watch you work through it… inspiring too
Great clips. Keep doing them.
that's sooo good! thank you!
Another really helpful video tutorial Ryan. Thank you
So I've written a Period and now a Sentence, what should come next?
Would be very interesting to learn more about Forms a bit like your Sentence and Period videos, they're so great! Maybe more techniques that you discovered in 'Analysing Classical Form'?
I just started watching your channel, and what you are doing is amazing. So I'm afraid to ask, but I don't see a certain note choice. On the B9 chord you land on an F# but the next note is E# ? Would an E natural sound better in the flow?
Hm I'm playing with both now and I can't decide! I think either works. I like that the E# has a Lydian hint to it which is kind of energetic, but also that it matches the F major chord which also goes down a half step.
That area was obviously not working quite right for me, so I don't know, I think it's a good idea!
I Love your videos so much. I am a composer that returning to compose after a long rest. Your videos help me back to the root.
I wanted to ask a question, sometimes when you have all the counterpoint, orchestration, harmony and form knowledge. You get stuck more because you dont want to be cliché or sound like other composer. What is your tip to pass this problem 🤔?
Personally I don’t worry about it and just write what I like. I think “finding your voice” comes naturally and doesn’t need to be forced
@@RyanLeach
Thank you keep doing great videos
I was watching this literally shouting at the screen, "it's a D sharp!!" 😂😂
I’m new to this kind of software. Been using ableton mostly but I want to get more familiar with writing on staves. Which program is this? It’s cool that it has orchestral sounds too
Ryan can you give us a few types how to handle the continuation part with more easy. I get stuck many times right there. Is it the harmony the melody ...both..thank you.
There is a great website that goes with Analyzing Classical Form, even if you don't have the book you can study the example sentences and see if that gives you some ideas: www.music.mcgill.ca/acf/example2-1.php
Two common ways are sequential harmony (eg. I V ii vi) or breaking the melody into smaller fragments.
Great stuff Ryan, do these concepts translate to music genre's outside of classical music/orchestral?
I think they apply to any instrumental music, and there are plenty of examples in songs, but sometimes songs with lyrics can play by different rules
Thank you for this video. I don't think my six works. It feels a bit too busy there or too chromatic. Even so, this is a very informative video.
11:09 "Haha, not great" I loved his reaction
I never understood how people use chords without using chords. I just see a melody.
Do you have a video that explains thats concept of using chords like this? Is it just using voices from the triad build?
I'm not entirely sure I understand what your question is, but it might be because I have a jazz background where musicians often work from lead sheets?
@@RyanLeach I think you helped me better grasp my question.
Do you have a video on how to understand lead sheets?
Is it a mix of chord and melody? Or purely melody with broken chords?
The chord symbols are what throw me off because I only see melody.
@@thatsotheo I don't have anything on that but that's an interesting topic. Picking up some basic pop or jazz guitar or piano would probably help a lot
The comment section is literally talking about your mistakes. I know how hard it is but just keep going! Error and trial man!
What scoring software are you using?
I use Dorico for notation and Logic for production
I agree with the others. Mistakes are what everyone learns from. Just watch yet another polished product isn't that useful.
But what about your part with the B chord. You have a #4 in your melody over the B chord and then the B chord is followed with the E chord and to me it sounds like a regular sus4 melody tone over the B chord fits better and is more in line with what citizens of the western world are used to going from a kind of secondary dominant to dominant or B -> E. Just an idea or maybe I need a Q-tip or a bag of 'em ? :D
Although I didn’t notate it, to my ear the chain of D F Ab B are all major7 chords. I think a B7 sticks out more than I like, and melodically the E sharp matches with the F natural from the previous chord too, so it feels ok to me. But whatever works for you is fine too!
@@RyanLeach Yeah, it's the process that's important here, not these details.
But you ain't making it easier for yourself by using D F Ab B which is also a diminished chord, right? :D
What software do you use to write music? 😊
Dorico and Logic
@@RyanLeach thank you for the reply. Great tutorials
Thank u :)
Can I point out a little bit? 7th measure, 2nd note e# .... what about an e natural?
That could work too, my ear prefers the Lydian sound of the E# which makes the whole chord feel bright. The E natural also doesn't give me the same forward pull.
The main motif sounds very similar to Overwatch’s theme
Pop goes the weasel mixed with Lord of the rings
Sometimes dealing with mistakes and what Bob Ross calls, "Happy accidents", makes the creative process more down to earth. Of course some of those sour notes are crungeworthy.
Cringeworthy.