Hello guys I'm searching for a best melody course in edm if somebody knows then suggest me

 

maybe someone has one specific tut in mind but ive watched dozens of tuts about subjects close to your question and they all simple revolve around the same basic music theory

the question you maybe should focus on is:
"what is the relation between melody and chord-progressions"
that will give you a good starting point

for instance, house music has some preferable chord types that give a very recognisable dark/deep sound but searching "for edm" will simply result in light versions of the same needed music theory basic principles, there are not really any "edm melody specifics" im afraid

cheers

 

Last edited: Feb 2, 2019

No, no, you've got that wrong. You're searching for punctuation marks.

 

You need to study music theory (to be good) or buy crappy plugins to sound like a "wannabe" amateur...

Or learn how to to do a Google search...

 

Hello, a very good videos to work on melody in general but could be useful for any genre I guess :

 

Melody Course in EDM?

I suggest Comedy..

 

Just remember I and V - Tonic & Dominant - then dance between them

 

Seeing his question,I think he needs more explanations.

 

Think "melody". Not "EDM melody".
There are compositional tools and tricks to write good and/or memorable melodies. I'd look into music theory, improvisation (on your instrument of choice, or using your vocals) and learning composition.

 

Well, I just transpose my keyboard and play on the white keys - so in any scale we have 1 2 3 4 5 6 7 with 1 being the home base and 5 is where you want to go. Then you just play around between those two notes until something sounds good. Trust your ears and don't overcomplicate things, it's not rocket science

Checkout hooktheory.com if you want to see some real melodies in action.

 

Last edited: Feb 3, 2019

It doesn't take knowledge of any amount of music theory at all to create a melody, none, none at all. One does however need an ability to translate the music that one hears in one's mind in some way that others can hear it. That might be playing it on a musical instrument, inputing on a piano roll or humming or singing into a microphone. The theory can however come in handy to create an arrangement, layering voices in a pleasing or not so pleasing manner. But for the simple melody follow your creative nose. Everything's coming up roses, can you smell 'em?

 

It's remarkable that we live in an age where it's assumed something like this is merely a question of fact-finding, given that it's easily the most hard-earned and idiosyncratic element of any songwriters endeavour - while music theory can be very useful in all other aspects of music production, nobody can teach someone to write a distinctive, memorable an most importantly sticky/catchy tune. Indeed, that's what seperates gods from mortals ultimately.

On a more practical note, the TED talk below is all about this kind of thing and is surprisingly full of all kinds of interesting:

 

melody doesn't have or recognize genre.

how to write a melody:
1) make something up in your head.
(make sure it's a tune, not pretty pictures of naked people or plans for what you're gonna wear at the next comicon, a laundry list or the synopsis of a movie or anything else. it has to be a tune).
done.

2) further:
whistle or sing it out loud.
done.

3) veiter:
pick it out on an instrument, bung it down on a daw piano roll or summat. even dots on paper will do.
There you go, all done.
is it any good?

that can come with practice, study, luck and a l'il libation to the gods or st cecilia wouldn't hurt.
the main thing is to enjoy doing it.
Now, how to incorporate your new melody into a more complete opus? well that's a different story.

 

Last edited: Feb 3, 2019

as stated here, i think melody is mostly genre independent. most of the literature on melody in music theory is still relevant.

i also agree with most of the sentiment expressed here. you just have to listen, go to your happy musical place and imagine it. deceptively simple. a keyboard helps to further the endeavor. this is the only sure fire way of finding a natural, relevant, creative motif for any given passage. you may want to stay clear of purely 'written' melodies for exposed parts (e.g. vocal lines, prominent solos, even exposed bass parts, etc), but as you know there is no rules.

'hearing' a melody also provides a greater sense of creative accomplishment. it is a unique part of you and your sum total musical experience expressed in the world at large.

if you discover you have no natural proclivity for 'hearing' melody just stick to genre that are not heavily melody dependent or create your own. if worst comes to worst you could become a minimalist composer. (jk. i am actually a big fan of minimalism)

 

he could try covering or remixing 433

 

I will suggest one method for finding new melodies, which will help you to understand the relationship between the notes and the chords, and between the notes themselves. We will use a simple example in C major.

Here is the well known "Access of Awesome" chord progression, I - V - vi - IV (C - G - Am - F), and we will use the C major scale (c, d, e, f, g, a, b)

C chord tones = (c, e, g) & non-chord tones = (d, f, a, b)
G chord tones = (g, b, d) & non-chord tones = (a, c, e, f)
Am chord tones = (a, c, e) & non-chord tones = (b, d, f, g)
F chord tones = (f, a, c) & non-chord tones = (g, b, d, e)

Note: chord tones = stable & non-chord tones = unstable

Enter these chords into a DAW as simple triads, so that they don't suggest any melody.

Now loop this 4-bar chord progression and play the above scale notes using a piano VSTi for clarity.

You can then zoom in on each individual chord, e.g. for C, listen to the difference between all of the notes, both chord tones (c, e, g) and non-chord tones (d, f, a, b). You should start noticing the relationship between particular notes and chords. In C major the root note is 'c' and the dominant is 'g'.

Also try playing a single note throughout the entire chord progression, to see how it's sound changes with each chord.

Using this method I can easily find melody ideas in a minute or two, it just takes some practice to learn the relationships.

For reference, here are some well known songs that use the above chord progression:

 

Last edited: Feb 3, 2019

Long time lurker but as well a long time Zenarcist fan, though your post focuses lots on the head and nothing about through the heart which is where the melody is spit out of the aether. Some people are limber and can do a split without a thought some have to work through the pain to get there while still others will never ever be able to bend down and touch their ankles. Unless you (not you in particular) can just open up to the flow, I think the only way to actually write melodies is to write melodies. Some people are gifted and others not. Not everybody can be a musician although they hope to be. If I was two meters tall I would be playing in the WBA, but unfortunately I am WAY under that mark on the wall, so although my dreams were dashed as a young girl I found other things to apply myself to, things that didn't involve jumping high and dribbling the court. I know you mean well but we are not all equally created to finesse all tasks. Fish make terrible airplane pilots.

 

I get your point, and I too struggled with melodies for a very long time until I discovered the relationship between chords and notes, and the intervals between them. It was a urika moment for me, and I remember sticking with the same simple chord progression until I had learnt all of the relationships inside out.

All I have suggested is that the OP (or anybody else) enter 12 midi notes into 4 bars of their DAW, and then press 7 notes on a keyboard. We are not talking complexity here, it's just a simple learning by doing exercise. Besides, if almost all popular music could be composed on the white keys of a transposed keyboard using just 7 notes, wouldn't it make sense to learn how to do it?

Once you know the basics, it is easy to move onto more complex material. Even if you start with a melody you still have to harmonize it, which is the above in reverse. And I always transpose my mini keyboard, so if I am writing something in Eb, then the root c = eb and the dominant g = bb. I don't know a lot of music theory, but I have made a point of knowing what I need to know, even if my eyes glazed over trying to understand this stuff. In my opinion the perseverance is worth it if you want to demystify the process.

Regarding the head and the heart, the theory becomes invisible, but you instinctively know what notes are available to you as you express your emotions from deep within heart. I consider it to be like a roadmap that points you in the direction of where you want to go, and stops you from getting lost and going around in circles.

 

Last edited: Feb 6, 2019

IMO that just demonstrates how much art is swamped with people's egotism. Markets reenforce this dynamic, by compensating artists to reflect naive "popular taste" instead of trusting them to work as specialists. Who knows more about what makes solid music, "the masses" or a trained composer? I would hope it would be the latter.

Ultimately, being concerned with one's music being distinctive, memorable, or catchy is just another way of seeking personal approval/attention. The self-centered notion that it somehow matters how many people hear or like your music when it really doesn't.

Personally, I think that people should get more into music as structure. Catchy melodies are manipulative and just not very interesting, YMMV

 

then to here too
The Theory & Arrangement Behind ...

https://www.edmprod.com/?s=The+Theory+&+Arrangement

first is at the bottom of the first page