SongwriterTips Here’s a simple trick to find the melodies all around us – hiding in our words and in nature. Melody Mining.


Learn how to compose music, from start to finish.

Be sure to sign up at or to get the full benefits of the course including summaries of all the lessons, worksheets and additional videos.

In this course, you’ll learn about melody, harmony, form, accompaniment, dynamics, articulations and how to make your music generally sound good.

Study the ways in which Mozart, Haydn, and Beethoven all made their music work.

Lesson 1 – How to Write a Melody – Learn about how to write a Basic Idea, the real building block of classical music. The easiest way you’ve ever seen, to write a convincing melody.

Lesson 2 – Harmony 101 – Learn about harmony, and how to make the basic idea you wrote in lesson 1, fit to different harmonies.

Lesson 3 – The Musical Period – Learn about the musical period, the first of the small theme types that classical composers use in their music.

Lesson 4 – The Musical Sentence – Learn about the musical sentence, the second of the small theme types that classical composers use in their music.

Lesson 5 – Functional Harmony – Start to get in depth with your knowledge of harmony. Find out what you’ve been missing that will make writing chord progressions easier than ever.

Lesson 6 – Harmonic Progressions and Chromaticism – Learn even more about how to use harmony to get the effects you want in your music. Learn about the different types of chord progressions, sequences and how to easily use chromatic harmony.

Lesson 7 – Your First Complete Piece – Learn about small ternary form, and how all the previous lessons fit together to create a complete piece of music.

Lesson 8 – The Details – Learn how to use your accompaniment, articulations and dynamics to create a great sounding, convincing piece of classical music.

Be sure to sign up at or to get the full benefits of the course including summaries of all the lessons, worksheets and additional videos.

Eddie Landsberg

In this new series I woodshed through tunes and actually explain the thought process that goes into what’s in my head as I develop the solo ideas.

Today, STELLA BY STARLIGHT… If you want to skip ahead, I play through the melody starting at 3:05.

Starting at 5:26 I discuss application of G blues scale to the changes. I demonstrate it and discuss why it works straight through the changes.

At 17:48 I discuss a cool inverted lick that’s good for modal as well as outside playing and can be used as a very useful run.

19:57 — use of conventional scales, and how to modulate through them

Final run through 32:56

Study with my privately by e-mailing me at… I can teach you everything from chord comps, bass lines, solo ideas, help you develop your rhythmic approach and beyond. — Please, note; however, that due to professional playing responsibilities, I am only able to give a limited number of lessons per month — that said, I’ve spent about a decade and a half developing my 7 Secrets teaching method and am eager to expose as many people as possible to it as I can.

Living Symphonies

June 9, 2014

nature video·186 videos

Living Symphonies is a sound installation which aims to portray a forest ecosystem in an ever changing soundscape – reflecting, in real time, the interactions of the natural world. In this film, Nature Video takes a peek under the hood of Living Symphonies, at the science which makes it possible; and asks how projects like these could influence the way that both the public and scientists see with the world around them.

Read a Q&A with sound artist Daniel Jones:…

Find out more about the project:

Toronto Symphony Orchestra·71 videos

Canadian composer Brian Current discusses his work “Three Pieces for Orchestra”, which had its Canadian Première on March 7, 2014, at our New Creations Festival.

The New Creations Festival is supported by RBC, Canada Council for the Arts, and David Broadhurst.

The music in this video is from our TSO Live recording of “The Planets” by Gustav Holst.

Mike’s Master Classes·219 videos

Tom Lippincott’s New Class Modern Jazz Improvisation is a two-part class that applies modern jazz melodic vocabulary to modern-style compositions and explores more contemporary chord progressions.

Part II:…

Both parts 1 and 2 offer numerous examples, exercises, and etudes written in standard notation and tablature to increase fluency when playing over the often challenging tunes of today’s composers.

A suggested prequel for these classes is Part 2 of the Modern Jazz Guitar series (Melody) which covered using modern vocabulary on standard chord progressions.

While the 5-part Modern Jazz Guitar series included in-depth discussions on the roots of the modern style, technique, melody, harmony, rhythm, sound, and equipment, and addressed improvising on standards, which form the backbone of jazz language, the Modern Jazz Improvisation classes will focus on improvising on contemporary-style tunes.

Anyone who hears jazz musicians performing today will notice that, in addition to standards, they often play their own original compositions as well as those of their contemporaries and recent predecessors.  These tunes, while often derived from or inspired by the old standards, are significantly different in several ways.  Current jazz composers have been greatly influenced by the modal movement that began in jazz in the late 1950s and early 1960s, and most of the modern tunes have their roots in compositions by Miles Davis, Bill Evans, John Coltrane, Wayne Shorter, Herbie Hancock, Joe Henderson, and others in that time period.

Part 1 of this Modern Jazz Improvisation guitar lesson thoroughly explores the chord progression from Joe Henderson’s classic tune “Inner Urge” which has, over the years, become what could be considered a “new standard” since so many jazz musicians have worked on mastering it.  “Inner Urge” is a perfect model to introduce modern jazz progressions as it contains chord movement in both the plateau modal and vertical modal styles and is a direct predecessor to many current jazz compositions.

Modern Jazz Improvisation part 1 covers:

• In-depth discussion of tonal versus modal styles of approach to harmony
• Explanation of the terms “plateau modal” and “vertical modal” and the differences in approach to both
• Detailed harmonic analysis of the chord progression for the Joe Henderson tune “Inner Urge”
• Basic example exercise for gaining fluency with finding the chord tones for the above progression
• Examples of numerous techniques for using motivic development to make logical, musical lines:  rhythmic displacement, rhythmic and intervalic expansion and contraction, and intervalic inversion
• Exercises to gain fluency through quickly-moving harmonically unrelated chord changes using techniques such as scale tone voice leading; diatonic 7th arpeggio voice leading; major, minor, and major b6 pentatonic scales; parallel moving chord shapes; triad pairs; and odd note groupings
• Two examples solos on the “Inner Urge” chord progression incorporating all of the above techniques in a musical context, one designed to be played at a medium tempo, and the other designed to be played at a medium-up tempo
• Running time: 114 minutes
• 13 pages of written examples, exercises, and solo etudes, in standard notation and tablature, with close-up views of the demonstrations
• MP3 backing tracks for all written examples and solos, including full-length track for improvisation practice

NOTE:  This, to me , is a very exciting performance!  The Passion, Unity, Clarity and pure Emotional Drive propels you into a Musical Soul Experience.  Composers, please take note of Brahms’ development techniques.  The internal connection of music ideas creates a beautiful flow –  the sensation of One-ness from beginning to end of each movement.  I Hope you enjoy this performance!

Peter Limonov·3 videos

Gagliano Ensemble, St Peter’s Church, London, Belsize Park, 7th July 2012

Samir Kambarov·17 videos

Ernie Watts.
JEN Conference 2012
Louisville, KY

prosepp·195 videos

Scott’s Bass Lessons·120 videos FREE HD VIDEO BASS LESSONS visit Scott’s site. There you can view FREE BASS TUTORIALS covering bass soloing – improvisation – walking bass – grooves etc or contact Scott for 1to1 Skype lessons with real time screen sharing and correspondence lessons.

“In this bass lesson I show you an amazing exercise to help you start to get those fast lines you’ve been wanting to get down.”

Scott has studied with an amazing host of world class musicians including Skuli Sverrisson (Allan Holdsworth), Jeff Andrews, Ralph Alessi, Ravi Coltrane, Brad Shepik and Adam Rogers. He was also lucky enough to study extensively with Gary Willis in Barcelona from 2006 to 2007.

Wikipedia – Motif

November 16, 2013

Music Motif, from Wikipedia, the free encyclopedia
Jump to: navigation, search
For other uses, see Motif (disambiguation) and Motive (disambiguation).

A phrase originally presented as a motif may become a figure which accompanies another melody, as in the second movement of Claude Debussy‘s String Quartet (1893).[1] About this sound Play (help·info) White would classify the accompaniment as motivic material since it was, “derived from an important motive stated earlier.”[2]

In Beethoven‘s Fifth Symphony a four-note figure becomes the most important motif of the work, extended melodically and harmonically to provide the main theme of the first movement. About this sound Play (help·info)

Two note opening motive from Jean Sibelius‘s Finlandia.[3] About this sound Play (help·info)

Motive from Machaut‘s Mass, notable for its length of seven notes.[3] About this sound Play (help·info)

Motive from many of Bach‘s works including the first movements of the third and sixth Brandenburg Concertos and the third viol da gamba sonata.[4] About this sound Play (help·info)

Motive from Ravel‘s String Quartet, first movement.[4] About this sound Play (help·info)

“Curse” motif from film scores, associated with villains and ominous situations. About this sound Play (help·info)

In music, a motif About this sound (pronunciation) (help·info) or motive is a short musical idea,[5] a salient recurring figure, musical fragment or succession of notes that has some special importance in or is characteristic of a composition: “The motive is the smallest structural unit possessing thematic identity.”[3]

The Encyclopédie de la Pléiade regards it as a “melodic, rhythmic, or harmonic cell“, whereas the 1958 Encyclopédie Fasquelle maintains that it may contain one or more cells, though it remains the smallest analyzable element or phrase within a subject.[6] It is commonly regarded as the shortest subdivision of a theme or phrase that still maintains its identity as a musical idea. “The smallest structural unit possessing thematic identity.”[3] Grove and Larousse[7] also agree that the motif may have harmonic, melodic and/or rhythmic aspects, Grove adding that it “is most often thought of in melodic terms, and it is this aspect of the motif that is connoted by the term ‘figure’.”

A harmonic motif is a series of chords defined in the abstract, that is, without reference to melody or rhythm. A melodic motif is a melodic formula, established without reference to intervals. A rhythmic motif is the term designating a characteristic rhythmic formula, an abstraction drawn from the rhythmic values of a melody.

A motif thematically associated with a person, place, or idea is called a leitmotif. Occasionally such a motif is a musical cryptogram of the name involved. A head-motif (German: Kopfmotiv) is a musical idea at the opening of a set of movements which serves to unite those movements.

To Scruton, however, a motif is distinguished from a figure in that a motif is foreground while a figure is background: “A figure resembles a moulding in architecture: it is ‘open at both ends’, so as to be endlessly repeatable. In hearing a phrase as a figure, rather than a motif, we are at the same time placing it in the background, even if it is…strong and melodious.”[1]

Any motif may be used to construct complete melodies, themes and pieces. Musical development uses a distinct musical figure that is subsequently altered, repeated, or sequenced throughout a piece or section of a piece of music, guaranteeing its unity. Such motivic development has its roots in the keyboard sonatas of Domenico Scarlatti and the sonata form of Haydn and Mozart’s age. Arguably Beethoven achieved the highest elaboration of this technique; the famous “fate motif” —the pattern of three short notes followed by one long one— that opens his Fifth Symphony and reappears throughout the work in surprising and refreshing permutations is a classic example.

Motivic saturation is the “immersion of a musical motive in a composition,” i.e., keeping motifs and themes below the surface or playing with their identity, and has been used by composers including Miriam Gideon, as in “Night is my Sister” (1952) and “Fantasy on a Javanese Motif” (1958), and Donald Erb. The use of motives is discussed in Adolph Weiss’ “The Lyceum of Schönberg”.[8]

Hugo Riemann defines a motif as, “the concrete content of a rhythmically basic time-unit.”[9]

Anton Webern defines a motif as, “the smallest independent particle in a musical idea,” which are recognizable through their repetition.[10]

Arnold Schoenberg defines a motif as, “a unit which contains one or more features of interval and rhythm [whose] presence is maintained in constant use throughout a piece”.[11]

Arpeggio Patterns

November 8, 2013


guitarworld·1,519 videos

Check out Lick of the Day… a free download for iPad, iPhone and iPod touch available at the App Store

“Like” us on Facebook… for more exclusive Guitar World content!

Today’s lick pays homage to the playing of blues legends Stevie Ray Vaughan and Lightnin’ Hopkins. It’s a short but action-packed lick in the key of A, played out of the open position and incorporating lots of quick finger slides, hammer-ons, pull-offs and open strings.

You’ll notice the fraction “1/4” at the top of the bend arrows for the high G note (high E string, third fret) in bar 1 and the low G (low E string, third fret) in bar 2; this indicates my use of microtonal quarter-step bends. With a microtonal bend, the string is bent just a little bit, approximately halfway between the third and fourth fret in each case here. It adds a little “sass” and attitude to the note, unlike a bend that raises a note up to a new, specific pitch.

The tempo is 100 beats per minute, 64 for slow practice.


Starting With Lyrics

Creating Melody

Creating A Structure

For many people often the most difficult task of songwriting is lyric writing. And with lyric writing often the most difficult part is knowing where to start. In this video I give you one technique I’ve found useful: Start at the end!

Also I consider the features of language itself that we need to take into account as we try to shape words into lyrics.

Michael Simmons·25 videos

Melody, Theme, Motive

rockongoodpeople·963 videos… click NOW for a FREE Video guitar lesson that is not on YouTube & a FREE Ebook from Next Level

Charlie Parker inspired jazz bebop licks learn how to swing the notes jazzy guitar lesson

Check out all our current JAM TRACKS, song DVDs, and other instructional DVDs at – just click on any title for detailed lesson descriptions and to watch video previews.

creativeguitarstudio·358 videos

Search Andrew for FREE lesson Handouts.
This Video: November 26, 2010 | Search Videos by Title/Date.

Andrew Wasson of Creative Guitar Studio answers a viewers question…

Q: For me, the basics of music are something I feel that I have developed. I both understand and can play lot’s of; chords, scales and arpeggios. My problem however, is this; when I am composing, what music theory say’s is technically correct hardly ever sounds good to me. Could you make a lesson that covers how to compose with more of a practical approach to theory, independent of all of the technical sides of music-theory. I don’t want to abandon music theory, just begin working in a way that doesn’t have me critically dependent upon theory all of the time.
– Thomas, Tampa, Florida.

A: When I teach composing, I always stress that one of the very first things to learn is how to build on a theme. Theme’s are melodic hooks that create a coherence in a phrase. There are many ways to build a theme, but the most basic way is to repeat something to create a form of melodic or harmonic identification for the listener.

The complete lesson article for this video will be available on the Creative Guitar Studio website shortly. Follow me on Twitter for lesson posting announcements:

Andrew’s Official Q & A Guitar Blog Website:
Andrew’s “Video GuitarBlog” YouTube Channel:
The Creative Guitar Studio Website:
Follow Andrew on Blogspot:
Follow on Twitter for new lesson announcements:

vcjazzTenor1·5 videos

This is a video in which Joe Lovano teaches about the beat in improvisation courtesy of Berklee Music.
To vew more online lessons or videos visit-