We think all brilliant music in any genre is balanced and well-organised, but what do we mean by this? These videos will show you the different aspects of your music you’ll need to think carefully about to make it sound as good as it possibly can.
The same track can sound completely different depending on the way your sounds and instruments are put together. In this video, we’ll give you four simple tips to bear in mind when arranging any kind of music.
If you’re not happy with your music, it might be tempting to add more layers or tunes to improve it – unfortunately this is often the wrong strategy! Here, top composers explain how stripping away a few ideas may actually be the best way to make your best ideas shine.
Whether you’re preparing for an exam or working with a filmmaker, a brief might appear to limit your creativity with its rules and restrictions. Here are seven steps to discover your creativity when writing to a brief, using real-life examples.
How can you make the most of your bass parts and avoid having a ‘muddy’ bass? In this video, we reveal the science of bass notes and give practical tips to make your basslines work for you.
What makes a piece of music feel evenly balanced? When it’s not too empty but not too full? Not too simple but not over complicated? Here are four ideas to help you achieve balance in your music.
It can be easy to get stuck in the detail of your music early on in the process – spending hours on 5 seconds of music or fiddling with a plug-in. In this video musicians share ways to get a sense of how your whole piece is structured before getting bogged down in detail.
Writing tunes is something that we can all do – it really isn’t difficult! Once you’ve got a tune, we’ll then show you how to make the most of it.
When you have a blank screen or page in front of you, how do you begin to make up tunes? Actually it’s not hard – here are 15 simple ideas to get you writing melodies straight away.
What you can do with a tune? How can you – as we say – develop melodies so you can write longer pieces without just stringing together lots of unrelated ideas? In this first video, we’ll cover simple and widely used techniques to keep your tune interesting.
What can you do with a tune? How can you – as we say – develop melodies so you can write longer pieces without just stringing together lots of unrelated ideas? In this second video, we’ll explore some more advanced techniques to try with your tunes.
We’ve worked with GCSE and A-Level students for over 15 years and we’ve heard hundreds of student exam pieces. In these two videos, we show you the 27 most common mistakes that cause students to lose marks, and how to avoid them.
Imagine being an examiner. You’re listening to your 70th piece of the day. It’s not that bad but you’re struggling to stay awake… This is part 1 of the most common pitfalls students may come across when writing an exam piece.
Imagine being an examiner. You’re listening to your 70th piece of the day. It’s not that bad but you’re struggling to stay awake… This is part 2 of the most common pitfalls students may come across when writing an exam piece.
Everyone writes music in their own way, but most of us experience the same challenges. Here, you’ll also find great advice from the musicians we spoke to that we think will help any musician – whatever style of music you want to write.
Getting feedback from your friends, teachers or collaborators can really help you understand how other people are hearing your music. We asked leading musicians how they go about getting feedback on their music.
Experimenting – being curious and open to trying new ideas – is something that all the musicians we spoke to love to do. A small experiment can open a whole new set of possibilities that sets you off on a totally new creative path.
Writing music can be a rewarding process, but can at times be emotionally draining. We asked leading musicians how they keep productive, sane and enjoy the process of making music, from dealing with writers block to working out their ideal schedule.
We spoke to legendary musician and producer Brian Eno who told us about what he considers the most important quality for a music maker to have – alertness.
Your phone can be a brilliant tool to help get your ideas down quickly, but receiving messages and notifications can distract you from focusing on your music. So what do you do with your phone when you’re writing music? We asked musicians how they manage their relationship with their phones.
Can you know too much or too little about music theory? Do successful musicians even use the knowledge they have? We asked eight superb artists about how they think about their own music education. Some think they have quite a lot of knowledge and others say they don’t have much at all; but they are all creative and successful.
Sometimes writing music is more about graft – putting the hours in – rather than just being inspired with a brilliant idea. Being methodical may not sound glamourous, but lots of composers believe that organising the way you work can actually unlock your creativity, not cramp your style.
Every artist has their own way of getting started - from avoiding writer’s block or feeling overwhelmed, keeping their ideas fresh and using their software effectively. Here, celebrated musicians share their advice on how to make the beginning of the process an inspiring experience.
Do you ever struggle with the early stages of a new project? Nine brilliant musicians reflect on how to stay focussed and productive when you are working on new material.
In part 1, we find out if the sounds you hear played back in notation software programmes are realistic, and why you tend to hear certain techniques more than others in music made with virtual instruments.
Are you worried that your music doesn’t seem very original? This might not be a problem – it’s what you do with those ideas that counts. We spoke to leading musicians about using other people’s ideas as a springboard for their own music.
Here are 9 things to watch out for when using notation software to make sure you are writing to the full potential of the musicians you’re writing for, and not the weaknesses of the software.
In part 3 of our series exploring the pros and cons of notation software, we look at how your workflow – the way you use the software – can affect the music you write.
Our guest composers all agree - you don't need tons of chords to make great music. But what happens if you want to try something new? Here we look at some classic chord sequences - simple and complex ones - to help you understand why they work and how you can learn from them.
What can you do if your harmony gets stuck or feels like it’s not doing enough? Do you need to use more interesting chords? In this video, we discuss ways to incorporate more adventurous harmonies.
How can you begin to change the chords in your music? Here’s a handful of tips you can try with your own music to spice up your chord choices.