Aprende un proceso eficiente y efectivo para escribir canciones que expresen tus ideas y emociones, incluyendo una gama de herramientas que giren alrededor del concepto de prosodia; la adecuación de letra y música para apoyar tu mensaje subyacente. Esta obra fue financiada con una donación del Banco Inter-Americano de Desarrollo con recursos del Fondo Coreano para la Reducción de la Pobreza. Las opiniones expresadas en esta obra son exclusivamente de los autores y no necesariamente reflejan el punto de vista del Banco Interamericano de Desarrollo, de su Directorio Ejecutivo ni de los países que representa. El Banco Interamericano de Desarrollo no garantiza la veracidad de la data incorporada en esta obra. Puedes cambiar el idioma en Coursera de inglés al español utilizando la página de ajustes de tu cuenta. Para cambiar los ajustes en tu cuenta de Coursera sigue los siguientes pasos: 1. Ve a coursera.org 2. En la esquina derecha superior haz click en el pequeño triángulo invertido que está a lado de tu nombre y foto. 3. Haz click en ‘Settings’. 4. Selecciona el recuadro debajo de ‘Language’ (idioma), selecciona español y salva los cambios realizados. Coursera ofrece ayuda financiera a los estudiantes que no pueden pagar los cursos y necesiten de una beca. Los estudiantes con ayuda financiera podrán tener acceso a todo el contenido del curso y completar todo el trabajo requerido para adquirir el Certificado de Coursera. La ayuda financiera solo aplica al curso en el que se aprobó la solicitud de ayuda financiera. Para aplicar haz click en la opción “Learn More and Apply” (aprende mas y aplica) debajo del menú a la izquierda.
Ritmo melódico
Loading...
Do curso por Berklee College of Music
Composición de canciones
101 ratings
Na lição
Escribir la canción ("Hobo Wind")
En esta lección, seleccionarás un nuevo título de canción y crearás una hoja de trabajo para ayudar al desarrollo de tus ideas. Escribirás tu letra y le pondrás música, haciendo coincidir los ritmos de letra y ritmos melódicos. Crearás una melodía, usando tonos estables e inestables para apoyar tus ideas.
Conheça os instrutores
Pat PattisonProfessor
I wish we had time in this course to go into the niceties of creating melody, to
go into the niceties of creating harmonic progressions.
But in six weeks, there's only so much we can do.
you may have to wait for another time for that, but that doesn't mean that we
aren't going to deal with what this song can be.
We're going to take a look here first at melodic rhythm.
That is to say, how these syllables that we have created are going to find their
home within the context of musical rhythm.
remember that we've seen this whole thing about setting.
About preserving the natural shape of the language.
About your stressed syllables occurring in stress positions in the bars.
And your unstressed syllables occurring in unstressed positions in the bars.
Stressed positions. In 4-4 time, four quarter notes.
Downbeat, third beat, stressed. Second beat, fourth beat, unstressed.
And then, as we start subdividing those quarter notes into 8th notes, 16th notes,
that same relationship is retained. As we'll see when we start talking about
phrasing. But for now, let's just work with melodic
rhythm. Now, we could simply do this with a
metronome or a simple drumbeat. But I've constructed a little bit of a a
very simple, two-chord loop. That's a four-bar loop going A minor for
the first bar, A minor for the second bar, G major for the third bar, G major
for the fourth bar. And it sounds like this.
[MUSIC] 1, 2, 3, 4, 2, 2, 3, 4, 3, 2, 3, 4, 4, 2, 3, 4 start again.
[MUSIC] And so, I just keep this running. [MUSIC] And not because these are going
to be the chords, but because this kind of mood, this A minor to flat 7 feels
kind of longing. [MUSIC] It feels a little bit wandery to
me. [MUSIC] And so, I thought, you know,
let's just give this a try because it feels like it's got sort of that ambiance
that this that this lyric seems to want to express.
[MUSIC] So, first thing is just generally, how are we going to get these
syllables fitting into this four bar sequence?
[MUSIC] One possibility might be this. [MUSIC] 1, 2, 3, 4, 2, 2, 3, 4, 3, 2, 3,
2, 3, 4, 4, 2, 3, 4. [MUSIC] I hear you out there crying.
[MUSIC] Begging let me in. [MUSIC] You make your way between the
cracks. [MUSIC] I hear you moan, I hear you
laugh. [MUSIC] Singing as you pass.
[MUSIC] Oh, Hobo Wind. [MUSIC] Oh, Hobo Wind.
[MUSIC] And so you try that. Say, mm,[MUSIC] boring.
[MUSIC][SOUND] You know, some great melody I think he's going to have to come
in. Save that one.
[MUSIC] So, maybe we can double that melodic rhythm because we're talking
about the wind like which is moving. [MUSIC] And it really sounds like the
wind is taking a big nap with the note values that long, so maybe.
[MUSIC] 1, 2, 3, 4, 2, 2, 3, 4. Ready, 2, 3, 4, 4.
[MUSIC] I hear you out there crying. [MUSIC] Begging let me in.
[MUSIC] You make your way between the cracks.
[MUSIC] I hear you moan, I hear you laugh.
[MUSIC] Singing as you pass. [MUSIC] Oh, Hobo Wind.
[MUSIC] Hobo Wind. [MUSIC] That felt alright.
[MUSIC] But there was something that I kind of liked about that.
[MUSIC] Half time feel. [MUSIC] Now, I wonder what would happen
if I put a little bit of that maybe in the 4th line.
[MUSIC] Trying like this. [MUSIC] I hear you out there crying.
[MUSIC] Begging let me in. [MUSIC] You make your way between the
cracks. [MUSIC] I hear you moan, I hear you
laugh. [MUSIC] Singing as you pass.
[MUSIC] Oh, Hobo Wind. [MUSIC] Hobo Wind.
That might work. That might work.
And as a, as a melodic rhythm, ba-da-da-da-da, singing as you pass, oh,
Hobo Wind. So, we have note values there, a series
of note values that I think support this whole notion of the motion of the wind.
And at the same time, we have all of this other stuff, the inserted lines, the
rhyme types and so on, keeping the gate open and making it feel like it's in
motion. There's something about it that doesn't
quite feel right to me yet, and I'm not sure what it is.
But, I do know that because I've got my note values, now I can maybe start
thinking about my bridge. Because what I need are note values that
are in contrast with what I've got. [MUSIC] I hear you out there crying.
[MUSIC] Begging let me in. Ba-da-da-da-da-da, ba-da, da-da-da.
So, the note values there are, you know, sort of moderate, ba-da, da-da, da-da.
So, we're dealing with, you know, quarter notes and a few 8th notes here and there,
some dotted quarters, maybe even a half note here and there.
So, let's just say that we have 8th notes, quarter notes, dotted quarter
notes, half notes. Say we've got those.
[SOUND] What have I got? Well, I've got 8th notes, quarter notes,
dotted quarter notes, and some half notes.
What's different than that? 16th notes.
Ba-da-da-da. 32nd, I can't go that fast.
Wait, what else? Whole notes.
Whole notes are different than that. Really long notes.
So that if I want to create a bridge that goes like this, maybe I want some long
notes. So, that now I have two entries into my
brain that say, okay, what do I need the bridge to do?
I need it to be a contrast in melodic rhythm and I need it to introduce or to,
to support the notion of the wind as a singer.
If the notion of hymns is going to make any sense at all.
And I love hymns, because I'm on a religious quest, so I love hymns.
A religious quest for vagrancy,[LAUGH] for sin, for experience, an obsessive
quest. Hymns.
So, what if in my bridge I ask the woman to sing?
[MUSIC] Here I am listening to the wind. [MUSIC] Sing.
[MUSIC] There it is. [MUSIC] Sing.
[MUSIC] All night long.
[MUSIC]
Sing. [MUSIC] What if that's all it is?
What if that's all the bridge is? Sing long.
Consonants rhyme. Sing all night long.
Sing. Oh boy, would that ever be good to say,
sing all night long. Sing, sing your song.
Because song rhymes with long. Whoa, brilliant.
Except, one, we want the bridge to move us into the next section and sing all
night long, sing, sing your song is stable.
It says, okay, I'm done. Hold it.
We're done. And so sing, line 1, all night long, line
2, sing, line 3, does two things. If we just leave it there, it gives us an
odd number of lines and it gives us a shorter line, so to speak.
It asks us to match, and we don't. And so, it just tumbles us right into the
third verse. So, let's just try that.
Let's come out of the second verse and see what happens with that as a bridge.
[MUSIC] I wonder where you're going. [MUSIC] I wonder where you've been.
[MUSIC] I think of hearts you might have touched.
[MUSIC] The ones afraid, the ones unloved.
[MUSIC] The ones you couldn't move. [MUSIC] O Hobo Wind.
[MUSIC]
Hobo Wind. [MUSIC] Sing, all night long.
[MUSIC] Sing. [MUSIC] I wish you'd take me wandering.
That's not bad. But wow, there certainly sure was a long
space for our can of guitar players between the end of the bridge and and,
and the next the next verse. And when you start talking about letting
the arrangement ride over the hill with its lance lowered to save the town that
wasn't written, or wasn't constructed properly.
I'd rather have that bridge, not take all of that time.
And maybe just as simple as, well, why are you still working with that four bar,
four bar thing. It might be that.
But there may be some ways to to deal with that.
But right now, it feels to me like we have something that could be an effective
contrast in terms of melodic rhythm. And it also seems like it's saying the
right thing, that it's talking to the wind as a singer who's out there crying
and moving and touching and so on. And I want to go on the wanderings and
all of that stuff. So, it feels to me like we've got, with
this next step of finding a melodic rhythm, and note that we have no melody
at all. And again, you know, that's going to be
something that that we're going to experiment with.
But at this point, it feels like we've taken the next step toward creating
something. Now note, for you out there who say,
well, I'm only a lyricist. Note that when you start working with
melodic rhythm, you're still working as a lyricist.
That is to say, you don't have to know how to sing.
You don't have to know how to play an instrument.
All you have to know is how to press play on a loop of some kind, or a drum loop,
and work your lyric in melodic rhythm and find out what that feels like.
And then, if you should go on to find chords and melody, great.
If you're co-writing and can now give that to a co-writer, you'll be aiding and
abetting the process by saying, this is how it lays in melodic rhythm to me.
And then, for the composer, it's simply a matter of saying, oh, okay, that actually
could suggest melody to me, that actually shows me how things can move there.
And that's going to be a real boon in creating whatever harmony and whatever
melody I can, I can work with. As opposed to just handing the composer a
sheet of paper and saying, here. And then, the composer not understanding
how you want it to move and all of your thought process.
Now is going to probably give you something that you certainly didn't
expect. And sometimes those surprises are not the
best. So, try to create your melodic rhythm,
maybe in advance. Particularly, when you write lyrics
first, maybe in advance of creating the melody.
Maybe in advance of creating the harmony. As I say, this could have been done
simply with a drum loop or a metronome, but I kind of liked the ambiance of this
this little loop and so I used that to start moving us along.
Explore nosso catálogo
Registre-se gratuitamente e obtenha recomendações, atualizações e ofertas personalizadas.
O Coursera proporciona acesso universal à melhor educação do mundo fazendo parcerias com as melhores universidades e organizações para oferecer cursos on-line.
© 2018 Coursera Inc. Todos os direitos reservados.
