14 Music Theory Hacks

for Electronic Musicians

HackMusicTheory.com
 MODE HACKING
seven feelings, one formula

Scales are modes, and modes are scales. Same thing, different name. A scale/mode is
a family of notes that sound good together. Most western music over the last
thousand years has been made using the same set of seven notes, which occur from
the Pythagorean-based formula of semitones: 2 2 1 2 2 2 1

Start on any note, then follow this formula and you’ll have the mother of all scales,
Ionian, the one that nature gave us from whole-number ratios in sound. Remember,
when counting semitones, don’t include the note you’re on.

Then, to get a different vibe, start somewhere else within the above formula, like from
the first 1 semitone: 1 2 2 2 1 2 2. If you use this mode to compose your chord
progression and melody, they will convey a dark mood.

Where you begin determines the musical home and creates the emotion, so be sure to
select the correct mode for what you’re wanting to express, and then be sure to
emphasize its root note and triad in order to orientate the ear. And yes, if you like, you
can use a different mode in each section of your song.

Mode Vibe Formula Example

(in semitones)
Ionian Happy 2212221 CDEFGAB
AKA “the major scale”
Dorian Sad but hopeful 2122212 DEFGABC

Phrygian Dark 1222122 EFGABCD

Lydian Quirkily uplifting 2221221 FGABCDE

Mixolydian Happy but serious 2212212 GABCDEF

Aeolian Sad 2122122 ABCDEFG

AKA “the minor scale”
Locrian Evil 1221222 BCDEFGA

POWER HACK (BONUS):

It's way easier and quicker to compose in the “white note” modes above, and besides,
then you don't even need to remember any formulas at all. So, pick your mode based
on the vibe you wanna create, then once you're done making your chord progression
and melodies on the white notes, just select all the MIDI and drag it up or down to
where ever you want/need it to be.

HackMusicTheory.com
 CHORD HACKING
composing a chord progression in 4 steps

1. work out the scale (using its semitone formula), and the spelling:
1 2 ♭3 4 5 ♭6 ♭7 8
D E F G A B♭ C D

2. write out all the triads in that key, using chord symbols:
I II ♭III IV V ♭VI ♭VII -
Dm Edim Fmaj Gm Am B♭maj Cmaj -

3. decide what you want to say through your musical story (i.e. chord progression), then
choose the appropriate chords (major=happy, minor=sad, diminished=WTF?!):
Chord progression (Verse of Create/Generate) Notes in each chord
I - Dm DFA
V - Am ACE
IV - Gm G B♭ D
♭VI - B♭maj B♭ D F
♭III - Fmaj FAC

4. re-arrange everything around the common notes (using inversions), and where there's
no common notes between chords, make one (using a sus chord):
Chord progression (Verse of Create/Generate) Re-arranged notes in each chord
I - Dm/A A D F (common notes are A & F, from last chord: Fmaj/A)*
V - Am A C E (common note is A, at bottom)
IV – Gsus4 (added in, as Am & Gm have no common note) G C D (common note is C, in middle)
IV - Gm G B♭ D (common notes are G & D, at bottom & on top)

♭VI - B♭maj/F F B♭ D (common notes are B♭ & D, in middle & on top)

♭VI - B♭maj B♭ D F (same chord, different position = no chord change)

♭III - Fmaj/A A C F (common note is F, on top)

*Always check your last chord back to your first chord within each chord progression (for looping), and make sure
there is at least one common note, and that it's in the same place (bottom, middle, or top) within those chords

HackMusicTheory.com
 VIBE HACKING #1
notes & chords that are different between modes

The modes are categorized into major (happy) or minor (sad) by their 3rd note. If a
mode's 3rd note is four semitones above its root (interval of a major 3rd), then that
mode is a major mode. If a mode's 3rd note is three semitones above its root (interval
of a minor 3rd), then that mode is a minor mode. There are three major modes, and
four minor modes.

MAJORS:
Ionian (AKA “the major scale”, this is the parent major mode that our ears are used to hearing)
Lydian (this mode is “the major scale” with a ♯4 instead of a 4)
Mixolydian (this mode is “the major scale” with a ♭7 instead of a 7)

MINORS:
Aeolian (AKA “the minor scale”, this is the parent minor mode that our ears are used to hearing)
Dorian (this mode is “the minor scale” with a 6 instead of a ♭6)
Phrygian (this mode is “the minor scale” with a ♭2 instead of a 2)
Locrian (this mode is “the minor scale” with a ♭2 instead of a 2, and a ♭5 instead of a 5)

Mode Spelling Example from C Emphasize

Ionian 1234567 CDEFGAB -
(major mode)
Dorian 1 2 ♭3 4 5 6 ♭7 C D E♭ F G A B♭ F maj
(minor mode) (ears are used to a Fm)
Phrygian 1 ♭2 ♭3 4 5 ♭6 ♭7 C D♭ E♭ F G A♭ B♭ B♭m
(minor mode) (ears are used to a B♭maj)
Lydian 1 2 3 ♯4 5 6 7 C D E F♯ G A B Dmaj
(major mode) (ears are used to a Dm)
Mixolydian 1 2 3 4 5 6 ♭7 C D E F G A B♭ Gm
(major mode) (ears are used to a Gmaj)
Aeolian 1 2 ♭3 4 5 ♭6 ♭7 C D E♭ F G A♭ B♭ -
(minor mode)
Locrian 1 ♭2 ♭3 4 ♭5 ♭6 ♭7 C D♭ E♭ F G♭ A♭ B♭ E♭m
(minor mode) (ears are used to a E♭maj)

HackMusicTheory.com
 VIBE HACKING #2
what makes each mode sound and feel unique

It is essential to emphasize the root triad in order to orientate your listeners' ears to
the musical home that you have chosen. There are a few ways of doing this, like
starting your chord progression on the root triad, or spending more time on the root
triad than the other chords. This will establish the root note and the major/minor
quality of the mode, however, it will not highlight the unique character of your chosen
mode.

After hundreds of years of music mostly being composed in Ionian (AKA “the major
scale”) and Aeolian (AKA “the minor scale”), our western ears are so accustomed to
these two scales, that it's actually really difficult to draw the ear away from them. This
is why it's also essential to emphasize the main chord that makes that mode
different to its “parent” mode (i.e. Ionian for major modes, and Aeolian for minor
modes). You can find the main chord that highlights a mode's vibe, by building a chord
around that mode's unique note (i.e. 6 in Dorian), where that note becomes the 3rd in
the chord (i.e. IV in Dorian). This unique note changes that chord to the opposite
quality (major/minor) of what we're used to hearing, and therefore catches our ears.

For example, a chord progression in Dorian can accidentally sound like Aeolian
instead. How do you prevent this? You play the main chord that is not found in
Aeolian, the IV major. In Aeolian, the IV chord is always a minor, so by playing this as a
major chord, you are firmly establishing the Dorian atmosphere through highlighting
its difference from Aeolian. Do you need to apply this method to Ionian and Aeolian?
Nope, as our ears automatically default to these two modes already.

Mode Vibe Spelling Emphasize

(unique notes underlined)
Ionian Happy 1234567 -
(major mode)
Dorian Sad but hopeful 1 2 ♭3 4 5 6 ♭7 IV maj
(minor mode) (ears are used to a IV m)
Phrygian Dark 1 ♭2 ♭3 4 5 ♭6 ♭7 ♭VII m
(minor mode) (ears are used to a ♭VII maj)
Lydian Quirkily uplifting 1 2 3 ♯4 5 6 7 II maj
(major mode) (ears are used to a II m)
Mixolydian Happy but serious 1 2 3 4 5 6 ♭7 Vm
(major mode) (ears are used to a V maj)
Aeolian Sad 1 2 ♭3 4 5 ♭6 ♭7 -
(minor mode)
Locrian Evil 1 ♭2 ♭3 4 ♭5 ♭6 ♭7 ♭III m
(minor mode) (ears are used to a ♭III maj)

HackMusicTheory.com
 INTERVAL HACKING
understanding all musical relationships & their emotions

An interval is the distance between two notes, measured in semitones, which has a unique
emotion resulting from how the vibrations of those two notes interact. Intervals are therefore
musical relationships, which makes intervals the most important thing to master in music.
When you're composing a melody (horizontal music), you're working with melodic intervals
occurring as one note moves to the next note . When you're composing harmony/chords
(vertical music), you're working with harmonic intervals occurring from all the notes vibrating
together at the same time.

We only have 12 notes total, and if you understand each note's purpose and hope for its life,
you can use those to manipulate the emotions of your listeners. For example, 7 is one of those
notes who really isn't satisfied with his life, and desperately wants to keep up with The Joneses
(i.e. the 1 or 8, AKA the root). So, every time you call on the 7, it's gonna try its best to pull you
up to the 8. Please be aware that harmonic intervals like this, are heard in relation to whatever
chord is playing at the time. In other words, a B over a Cmaj chord is a 7 and will desperately
want to go up to the root C (as mentioned above), however, a B over a Bm is not a 7 anymore,
it's the root, and will therefore sound totally solid, and won't want to go anywhere.

Harmonic notes are notes in the chord, and non-harmonic notes are notes not in the chord. A
great melody has a balance of both! In the examples above, the B is solid over the Bm as it's
already in the chord (harmonic note), but the B over the Cmaj is not in the chord (non-harmonic
note), so it really really wants to move to the nearest harmonic note, the C. This is the musical
gravity you can control and play around with when you understand musical relationships (i.e.
intervals). You can choose to build anticipation but then thrill your listeners by going
somewhere unexpected, whereas people making music by ear will tend to be guided by this
musical gravity, resulting in predictable music.

Semitones Name Spelling Example from C Emotion

zero Perfect Unison 1 C
one Minor 2nd ♭2 D♭
two Major 2nd 2 D
three Minor 3rd ♭3 E♭ sad
four Major 3rd 3 E happy
five Perfect 4th 4 F
six Augmented 4th / Diminished 5th ♯4 / ♭5 F♯ / G♭
seven Perfect 5th 5 G
eight Minor 6th ♭6 A♭
nine Major 6th 6 A
ten Minor 7th ♭7 B♭
eleven Major 7th 7 B
twelve Perfect 8th / Octave 8 C

HackMusicTheory.com
 BASS HACKING #1
compose a bass/synth line in 2 steps

1. Work out the scale (using the semitone formula) and its spelling:
1 2 ♭3 4 5 ♭6 ♭7 8
D E F G A B♭ C D

2. Play around with these notes, perhaps beginning on the root to help establish your key,
just for now. Be sure to inject life and energy into your bass lines by using different note
lengths (note values) on the MIDI grid, and placing some of your notes on off-beats
(syncopation). Also, when you're playing around and experimenting with the notes in
your scale, always be on the look out for a short musical idea (motif) emerging, which
you can repeat to give your bass line structure and familiarity. However, don't overuse
these - usually two repetitions in a row of a motif is great, but three in a row can often
be too much of a good thing. Lastly, use rests/silence to frame sections of your bass line
(phrasing), which will break it up into memorable chunks and give the bass time to
“breathe”.

3. BONUS: for maximum melodic strength, avoid moving in perfect 4ths (i.e. 5 semitones,
e.g. E to A) and perfect 5ths (i.e. 7 semitones, e.g. G to D), as those sound waves vibrate
too similarly and are therefore rather weak/boring. If you jam out a bass line that you
really dig, but then discover afterward that there's a perfect 5th between a couple notes,
don't worry, this is an awesome opportunity to create something even more special.
Break up this perfect interval by adding an extra note in between these two notes. This
will actually make your bass line even more unique and unpredictable, as you would
never have thought to put a note in there if it weren't for that moment of weakness from
the perfect 5th. Finally, always check your last note back to your first note within each
bass line (for looping), and if you find that it's a perfect 4th/5th, be sure to add in a note
to break up that perfect interval too.

HackMusicTheory.com
 BASS HACKING #2
compose a funky bass/synth line in 4 steps

1. work out a natural minor scale (AKA “the minor scale” or Aeolian mode) and its spelling:
1 2 ♭3 4 5 ♭6 ♭7 8
F♯ G♯ A B C♯ D E F♯

2. now turn this into a pentatonic minor scale by deleting the 2 and ♭6 notes:
1 - ♭3 4 5 - ♭7 8
F♯ - A B C♯ - E F♯

3. finally, turn this into a blues scale (i.e. the funky scale) by adding a ♭5 note:
1 - ♭3 4 ♭5 5 - ♭7 8
F♯ - A B C C♯ - E F♯

4. start jamming and have fun with those off-beats (syncopation), and, be sure to include
the funky trio of ♭7 to 8 with some ♭3 to flavour. For an even funkier bass line, play
around with octave jumps, and for ultra mega funkiness, try throw in the ♭5 too! And
remember, always be motif hunting for that short musical idea you can repeat, to give
your bass line structure and a catchy familiarity. Lastly, phrase your bass line by using
rests/silence to give it space to “breathe”.

5. BONUS: for maximum melodic strength, avoid moving in perfect 4ths (i.e. 5 semitones,
e.g. E to A) and perfect 5ths (i.e. 7 semitones, e.g. G to D), as those sound waves vibrate
too similarly and are therefore rather weak/boring. If you jam out a bass line that you
really dig, but then discover afterward that there's a perfect 5th between a couple notes,
don't worry, this is an awesome opportunity to create something even more unique.
Break up this perfect interval by adding an extra note in between. Finally, always check
your last note back to your first note within each bass line (for looping), and if you find
that it's a perfect 4th/5th, be sure to add in a note to break up that perfect interval too.

EXAMPLE:
Verse bass line in 'The Wave' by Vespers & Ray Harmony

F♯ → A → C → E
E → F♯ → E → F♯ → C → B → A → A → F♯ → E → C → E
E → F♯ → F♯ → F♯ → A → C → E
E → F♯ → A → F♯ → A → C♯ → A → B → C → B → C → A → F♯ → E → C → E → E

HackMusicTheory.com
 VOCAL HACKING
the ultimate checklist for composing a great melody

1. Write out the scale you used for your chord progression (see Chord Hacking PDF)
1 2 ♭3 4 5 ♭6 ♭7 8
D E F G A B♭ C D

2. Write out your chord progression AKA harmonic story, then begin telling your melodic story over it.
MELODY CHECKLIST - use all these hacks to compose a great melody! (see Create/Generate example below)
Hack & Definition Why & How
harmonic notes (in chord, wanna stay put) Why: Tension and resolution gives your melody momentum
non-harmonic notes (not in chord, wanna move) How: Use a combination of harmonic and non-harmonic notes
avoid moving in perfect 4ths (five semitones) Why: These intervals vibrate too similarly, so sound weak/boring
and perfect 5ths (seven semitones) How: Avoid 'em, but if you get one, break it up with another note
motifs (short musical ideas, melodic or rhythmic) Why: Repeating them gives your melody structure and familiarity
How: Look out for anything catchy emerging as you experiment
large intervals (6ths & 7ths) Why: Large intervals grab attention and create interest
How: Use small intervals for flow, and large intervals for drama
note values (length/duration of each note) Why: Different length notes give your melody life and energy
How: Play around with different note durations on the MIDI grid
syncopation (accenting an off-beat) Why: A few unpredictable off-beat notes create excitement
How: Use on-beat notes for impact, and off-beat notes to thrill
phrasing (framing a segment with rests/silence) Why: Breaking up melodies into chunks makes them catchier
How: Sing your melody and use rests where you want to breathe

Chord progression Vocal melody (highlighted in MIDI above), with spelling

verse of Create/Generate spelling is heard & written in relation to each chord's root note (highlighted in MIDI chords above)

I - Dm/A D (1) →B♭ (♭6) → A (5) → C (♭7) holds over to next chord...
V - Am …becoming a C (♭3) → A (1) → G (♭7) → B♭ (♭2)
IV - Gsus4 to Gm A (2) → B♭ (♭3)
♭VI - B♭maj/F to B♭maj C (2) → A (7) → F (5) briefly holds over to next chord...
♭III - Fmaj/A …becoming a F (1)

HackMusicTheory.com
 COUNTERPOINT HACKING
creating depth by adding musical layers of countering melodies

WTF is Counterpoint? Let's just say it's one of the best ways to make your music stand out from the
crowd, as there's probably less than 0.01% of all popular music that has any counterpoint in it.
Counterpoint is the method of adding musical layers by composing melodies with countering contours .
A song could have ten different synths in it, but if they're all playing the same thing, it'll sound thin with
only one musical layer. On the other hand, a song could have a mere two synths, but if they're playing
totally different melodies at the same time, that creates two musical layers and therefore true musical
depth. Yes, two synths using counterpoint will sound bigger than ten synths not using counterpoint. This
is because counterpoint stimulates the brain to listen both melodically (horizontally) and harmonically
(vertically). The hacks below exist to ensure your multitracks are actually perceived as musical layers.
THREE COUNTERPOINT HACKS
1. if the lead melody moves up, the backing melody moves down (contrary motion) - the holy grail!
2. if the lead melody moves up, the backing melody stays the same
3. if both melodies move in same direction, one moves by small interval, the other by big interval
Using the above methods will always ensure your melodies are heard as independent layers, and not just
copies of each other. These compositional techniques can be used for all your layers, from backing
vocals to bass, from synths to guitars. Anything and everything benefits from counterpoint composition.

EXAMPLE: First line (“ We create/generate ”) from chorus of Create/Generate

Root notes Lead vocal melody, with spelling Vocal counterpoint (highlighted in MIDI above),
of chord progression spelling is heard & written in relation to with spelling
(dark long notes in MIDI above) each chord's root note spelling is heard & written in relation to each chord's root note

F for Fmaj G (2) →A (3) → C (5) → E (7) _* → F (1) harmonizes A(3) → A (3) harmonizes C(5) →
C (5) harmonizes E(7)
A for Am F (♭6) → A (1) A (1) harmonizes F(♭6) → F (♭6) harmonizes A(1)
D for Dm - -
*The first note of the lead vocal melody (G) is not harmonized, as it's the word “We”. Only the title “Create/Generate” is harmonized.
BONUS HACK : It's not always possible, but try to harmonize in 3rds (e.g. A & C), as this is the magic interval we use to build chords.

HackMusicTheory.com
 LYRIC HACKING
creating timeless lines & catchy hooks with depth

Great lyrics are timeless. They convey thoughts that are deeply human, providing a mirror for each listener to reflect on
their own life. On the opposite extreme, rubbish lyrics are disposable. They rely on tired cliches and shallow hooks, often
conveying absolutely no message/meaning whatsoever. Are lyrics really that important? In a word: Yes! In two words: Hells
yes! We're all hardwired to connect with the human voice, and that fact makes vocals the most important instrument. On
top of this, when the human voice and language are fused, this unification of melody and words is by far the most powerful
part of all music. Nothing else comes even close to this ultimate musical combo!

CHORUS
This is the take-home message for your song. Short and punchy! What's the one thing you want listeners to remember from
your song? Write your chorus lyrics around that one theme. Also, a lyrical motif (hook) is vital in creating coherency as your
song's story unfolds. This hook will be your song title, too. In Create/Generate, we wanted to open a discussion about the
benefits of humans and machines working harmoniously together to make art. The hook/title came from the contrasting
approach of humans creating with feelings, and machines generating with algorithms. Starting the chorus with “We”
establishes a strong and positive united front. “Artificial art” makes use of alliteration, and the “art” in “artificial” is also
emphasized vocally with it being sung twice, in a stutter-style, first by Kate and then by Ray who finishes the word. The final
line looks to an optimistic future and concludes with “collaborate”, which also rhymes with the song title in the first line.

We create/generate . Heartfelt algorithm . Artificial art . Evolve, collaborate

VERSES
These are the sections of your song in which you can freely develop your narrative. Verses don't need hooks, and they don't
need to be nearly as concise as choruses. It's common to have two or three different verses in a song, forming the bulk of
the lyrics, and therefore the place in which the story progresses.

OTHER
A pre-chorus (AKA pre/build) raises anticipation to the conclusion that is the chorus. A bridge/breakdown takes a time-out
to allow for a fresh perspective. An intro gives a little teaser preview, while an outro wraps up with a final thought. These
extra sections provide opportunities for covering your story from different perspectives, keeping listeners captivated
throughout your entire song.

LYRIC HACKS
• Start here #1: a favourite interview question is always: “What's this song about?”, so start writing your lyrics by
answering this question. Then zoom into the underlying theme, and write, write, write, and write some more!
• Start here #2: got nothin' to say? No probs. Write down a bunch of random words that your song makes you feel.
• Editing: the most vital stage of lyric writing, is editing. Once you've done #1 or #2 above and have a bunch of
pages filled with scribbles, go through them and circle anything that stands out. Now, play around with combining
those words into tighter ideas and lines, and get rid of any words that aren't really necessary within those lines.
• Sentences: avoid writing sentences. While lyrics should make sense, words like “and” can easily be replaced with a
comma, resulting in a much tighter vocal part. It's also fun to stitch ideas together into a lyrical collage.
• Questions: a rhetorical question can engage listeners, subconsciously demanding their attention.
• Visuals: a picture is worth a thousand words, so always try to write visually, by planting images in listeners minds.
• Double meanings: using words/phrases that can be interpreted in different ways, allows for depth and space in
which listeners can find their own relevant meanings.
• I's & You's: use these pronouns sparingly, and only when you really need to. “I” can close off your lyrics to listeners
and inhibit their own interpretations, and “you” can come across as forceful and preachy.
• Cliches: they exist cos they're usually true, but no song benefits from them. If you find yourself drawn to one,
experiment with a different way of saying the same thing. For example, “every cloud has a silver lining” could
rather be “silver surrounds our grey”. Same meaning, but a fresh angle that's much more interesting.
• Rhyming: definitely not necessary in lyrics, and can often sound cheesy and child-like. If in doubt, don't rhyme!
• Alliteration: using the same letter/sound at the beginning of adjacent words can be used as a more subtle
alternative to rhyming.
• Dictionary: looking up a word's exact definition, especially its etymology (origin/development), can spark creative
ideas and give you a different angle to explore.
• Thesaurus: amazingly insightful and helpful tool, but use it mindfully, otherwise you could easily end up with lyrics
that nobody (including yourself) can understand.
• Synesthesia: pretend you have this condition that muddles up the senses, and you'll tap into some truly unique
expressions. For example, “minutes in mauve”, or “elude the taste of silence”. Meaningful, different, and super fun!

HackMusicTheory.com
Vespers & Ray Harmony
Create/Generate (feat. Kate Harmony)

Verse 1
Technology developing
Identity, intelligence
Authentic purpose
The transcendence

Pre
What is progress?
What is art?
If not a future we design
Sign of our time
Man made machine
Hybrid mind elevates

Chorus
We create/generate
Heartfelt algorithm
Artificial art
Evolve, collaborate

Verse 2
Systematic discovery
Through circuitry
Transformation by
Hands behind the code
The transmission

Lyrics © 2016 Ray Harmony & Kate Harmony

 BASS HACKING #3
compose a bass line for a chord progression in 2 steps

1. Write out the scale you used for your chord progression (see Chord Hacking PDF)
1 2 ♭3 4 5 ♭6 ♭7 8
D E F G A B♭ C D

2. Write out your chord progression, then begin playing around in the low end,
remembering to center your bass line around the root note in each chord. For an
awesome bass line, balance the stability created from these root notes, with the
instability created from the other six notes in the scale. Too much stability will make
your bass line boring, but too much instability will make your musical foundation too
weak to hold all the chords and melodies above it. Lastly, when composing any melody,
always use the MELODY CHECKLIST (in Vocal Hacking PDF) for an ultimate list of hacks
to compose a great melody!

EXAMPLE : Bass line for verse of Create/Generate

Chord progression Bass melody, with spelling

verse of Create/Generate spelling is heard & written in relation to each chord's root note
(highlighted in the green MIDI chords above)

I - Dm/A D (1) → D (1) →C (♭7)

V - Am A (1) → A (1)
IV - Gsus4 to Gm G (1) → G (1) → G (1) → F (♭7) → D (5)
♭VI - B♭maj/F to B♭maj B♭ (1) → B♭ (1) → D (3)
only goes to B♭maj first time, second time stays on B♭maj/F

♭III – Fmaj/A F (1)

second time plays Fmaj (root position) leading into chorus

HackMusicTheory.com
 SYNTH HACKING
compose a unique synth part in 4 steps
1. Write out the scale you used for your chord progression (Pre of Create/Generate is in F Lydian)
1 2 3 ♯4 5 6 7 8
F G A B C D E F

2. Write out all the triads in that key, using chord symbols
I II III ♯IV V VI VII -
Fmaj Gmaj Am Bdim Cmaj Dm Em -

3. Decide what you want to say through your musical story (i.e. chord progression), then choose the
appropriate chords: major=happy, minor=sad, diminished=WTF?!

4. Guitars & higher-pitched synths thrive on melody and harmony, so break down your chords into
their individual notes, and then approach them melodically. Lastly, always use the MELODY
CHECKLIST (in Vocal Hacking PDF) for an ultimate list of hacks to compose a great melody!

Chord progression Synth/Guitar part (highlighted in MIDI), with spelling

Pre of Create/Generate spelling is heard & written in relation to each chord's root note (dark notes at bottom of MIDI)

F maj F(1) → E(7) → G(2)

Am E(5) → C(♭3) → B(2) → G(♭7) → E(5) → C(♭3) → D(4) → C(♭3)
C maj D(2) → E(3) → D(2) → B(7)
G maj G(1) → A(2)
F maj F(1) → E(7) → G(2)
Am E(5) → C(♭3) → B(2) → G(♭7) → E(5) → G(♭7) → A(1) → C(♭3) → A(1) → G(♭7)
C maj A(6) → B(7)
G maj D(5)
Please note: repeated parts are in black, variations are in grey

HackMusicTheory.com
 MODULATION HACKING
change keys successfully using these 3 methods

Modulating is the fancy word for changing key. For example, if your song's verse is in D Aeolian and the
chorus is in F Ionian, the music is said to modulate between these two sections. You wouldn't wanna
spend four minutes saying exactly the same thing to someone, as that's not very interesting for them to
listen to. It's the same with music. You can express a great deal in four minutes, and your listeners
deserve that, so move through a minimum of two different keys in every song. This will express two sides
to your story, and keep them captivated throughout the journey. And, what's better than two? Yep.
Ideally, songs should have at least three different sections (verse, chorus, bridge), so why not treat your
listeners to a different key for each section. They will thank you with their full attention!
I like to think of notes as people, so imagine your music is a room with seven people in it (i.e. the current
mode/key you're using). It doesn't take long for your listener to get to know all seven notes, and then the
conversation gets stale. So, as the host, you kick some old notes out and replace them with new ones,
and everything's fresh again! Then after a while, those new notes aren't new any more either, so you
ditch 'em for the old ones again, who now sound fresh as they've been away. The amount of new notes
you introduce when you modulate, determines how close or distant the new key sounds to the old one.
Lastly, always try a direct/abrupt modulation first, as sometimes going straight into a new key can create
an incredibly interesting change. But, if your ear tells you that sucked, then try one of these three hacks:

METHOD FOR EXAMPLE WHY HOW

Root Notes Different notes, F Lydian → F Ionian
same root
Pre 1 → Chorus 1
in Create/Generate
Relative Keys Same notes, D Aeolian → F Ionian
different root
Verse 2 → Chorus 2
in Create/Generate
Perfect Cadences Different notes, E Dorian → F Ionian
different root
key w/ two ♯ → key w/ one ♭
chord progression example:
Em (old key's root)
→ Amaj (pivot on A, old key)
→ Am (pivot on A, new key)
→ Cmaj (new key's Vmaj)
→ Fmaj (new key's root)
This method is especially Change instantly and
useful in electronic effortlessly to
music, when you want to whatever mode you
maintain a particular low want, by simply
frequency throughout a keeping the same
whole song. root note.
When you want a Start your new
seamless modulation, section on the root
emphasize another note triad of the mode
within the current mode you've modulated to.
as your new root. Be Sometimes it helps to
sure to emphasize it avoid the root chord
sufficiently though, of the mode you just
otherwise the ear will came from, otherwise
not be pulled away from the ear can be
the old mode. tempted back to it.
There's something Use Vmaj of the new
uniquely refreshing key you're going to,
about changing notes followed by the root
and roots between chord of that new
sections in a song. key. If possible,
However, this type of precede the Vmaj
modulation is potent with a chord that's in
and perhaps not for both old & new keys,
every song. Approach AKA a pivot chord.
with caution, but know If that's not possible,
that your boldness will try find a note that's
be rewarded! the same in both
keys, AKA a pivot
note, and play both
versions of the chord
from it
(see example on left).

HackMusicTheory.com
 KEY HACKING
work out any key signature for any mode in seconds

Key = scale/mode
Key signature = sharps (♯) or flats (♭) in a key

The Key Signature Killing Machine™ is one of the most powerful hacks. It’s based on the
“circle of fifths” but goes way beyond the circle’s limitations. In seconds, the Killing
Machine will give you the key signature (and therefore all the notes) of any scale, while
also showing you which scales don’t exist. Without further ado, here it is: F C G D A E B

INSTRUCTIONS:
1. Start on the respective “white note” key (the one with no ♯ or ♭) for your
scale/mode - these are written below the Killing Machine
2. If the root of your scale/mode is a natural note (no ♯ or ♭): Locate the root of your
key, then count each note until you reach that root (going right means you’ll
have ♯s in your key, and going left gives you ♭s) - don’t count the starting “white
note” key, as it has zero ♯ and ♭
3. If the root of your key is a ♯ or ♭ note: Count right for ♯ and left for ♭ until you
reach the end on either side, then loop around and continue, but now each note
has an invisible ♯ (if you were going right) or ♭ (if you were going left) - stop
counting once you reach the root of your key
4. When you arrive at the root of your key, the amount you counted away from the
“white note” key is the number of ♯s or ♭s in your scale/mode - remember, if you
went right you’ll have ♯s and left you’ll have ♭s
5. Lastly, what are the actual ♯s or ♭s in your scale/mode? For keys with ♯s, your first
♯ is always F, then go right and add as many as you need. For keys with ♭s, your
first ♭ is always B, then go left and add as many as you need - scales/modes
have 7 notes, so if you count more than 7 ♯s or ♭s, that key does not exist and you
need to use the enharmonic of its root instead (e.g. G♯ Ionian would have 8 ♯s, which
means it does not exist, the Ionian from that root note needs to be called A♭ Ionian instead)

HackMusicTheory.com