All language subtitles for 14. Writing, Recording, and Producing the Thickest Part.eng

What's up, guys?

And welcome to our new lesson.

Today we're going to walk
through the entire process

of writing, recording,
and producing

the thickest main part
of my original song.

I've talked about this
before, but usually I

start writing a song in the
keys or either the guitar.

Today I'm going to
start out with a guitar

because I did the
previous song in the keys.

However, if you
don't have a guitar,

you can start it on
the keys and come up

with a cool chord thingy there.

You're free to do whatever
you want it's music

OK, so first things first, what
type of song do I want to make?

I need some paper.

I just feel like
making a fun song,

so I want to make it an upbeat.

So not fast but not slow,
definitely not slow.

If fast is here,
and slow is here,

it should be somewhere
along 75% or something.

The kind of fast song?

I wanted to sound
happy and uplifting.

I want to make that song
that everybody knows,

but nobody knows the name of.

You hear it on the
radio, and you're like,

oh, I know that melody,
blah, blah, blah.

And then you're coming
home, and you're like, mm,

you forgot about
that song already.

And then you're walking through
a store, and you hear it again.

And you're like, hey,
this is that song.

I want to make
that type of song.

It should be easy listening.

It sound uplifting,
happy, I think

pretty poppy because to
work on the radio like that,

it should sound very,
very commercial.

That's not a dirty
word by the way.

We have happy, uplifting,
kind of fast or upbeat.

I'm going to use a guitar.

Definitely going to use
some synth chords or stuff

like that.

I think I'm going to use a
mixture of acoustic elements

like drum stuff, and
electronic snaps, and synths,

but I think two synths should
be pretty, pretty subtle,

or maybe like a cool
pluck which is very cool.

All right.

Let's start out with
the chord progression.

When I'm starting
to write a song,

I usually pick my
acoustic guitar.

And then when I get new chord
progression, I'm like, OK,

should I stick with
the acoustic guitar

or switch it up to
an electric one?

Let's see.

[GUITAR STRUMMING]

I was playing around with this
chord progression yesterday,

and I'm sure somebody
else used it.

I'm not sure which song
or where I picked it up,

but the chord
progression is E minor,

D major, G major, C major.

And it sounds-- it
sounds kind of sweet.

[GUITAR STRUMMING]

So I was like, all right.

That's interesting, but
how do I like explain

to you how to get through this?

So that got me thinking.

I have an E minor chord.

So we have an E minor, then
we have a D major, a D major,

a G major, and a C major.

So we have a C
major and a D major.

Those are two major
chords next to each other.

If we think back
to the last lesson,

the two chords that are always
major next to each other

are the 4 and the 5.

So this chord
progression is in the key

of G. With that knowledge,
I can write down the chord.

So we have a 1 major,
the G, a 2 minor,

which is an A minor,
a 3 minor which

is a B minor, 4 major,
which is a C major,

a 5 major which is a D, a 6
minor which is an E minor,

and a 7th weird one.

I'm not going to use that.

So that leaves us with these
possibilities for the chord

progression, G major, A
minor, B minor, C major.

C major, yeah.

D major, and E minor.

If you look at a chord
progression I heard yesterday,

it's E minor, D major,
G major, C major.

In this major skill
of G, that would

translate to E minor
which is 6, the 6th chord.

E minor D is the 5th.

Then to a G is to 1, then
to a C which is the 4.

So this is a 6, 5, 1,
4 chord progression,

and I think it sounds great.

[GUITAR STRUMMING]

That's epic.

That's super cool.

So this is usually
how I write a song.

I have a chord
progression already

or I pick it up somewhere.

And if I don't have a
chord progression already,

I'm starting out with
a random chord I like,

for example, A minor.

[GUITAR STRUMMING]

I'm just playing this
right now because I've

heard of chord
before, so I'm just

going to figure out where
do I think it needs to go.

[HUMMING]

So I got my chord progression
in the G major scale.

If you want to come up with
an original chord progression,

you can just pick a random
key on the keyboard,

for example, D, and
then you're going

to make the major scale
of D like I told you

in the last lesson.

You're going to
find all the chords,

and then you're going
to order the chords.

For example, you can use the
same order I have, 6, 5, 1, 4.

That's a great
option, but you also

have the 1, 5, 6, 4 option.

In this key, in
the G major scale,

that will be G, D, E minor, C.

[GUITAR STRUMMING]

Also sounds good.

You can figure out
your own order.

You can check out
songs you like,

and use that chord progression.

I'm going to go with E
minor, D, G, C. I actually

think an acoustic guitar
sounds pretty good, especially

with the little picks.

[GUITAR STRUMMING]

(SINGING) Bom, bom,
bom, bah, bam, bah, bom.

OK, so let's start
recording this-- making me

a file, making a new project.

We're going to make some
guitar natural finger pick.

That's better I
think, with no chords.

I don't want that.

Input one, because
I need my mic.

All right.

Let's set up the mic.

I'm just going to build out
the thickest part right now,

so I'm going to add
an acoustic guitar.

Let's put my mic over here,
so you can see what I'm doing.

Plug in my headphones.

Check check, check, check.

So I'm going to
loop this 8 bars.

I should tune before.

[GUITAR TUNING]

Nice.

All right.

Let's take it away.

[GUITAR STRUMMING]

I got to keep going
until I get a good take.

There we go.

I can make a good
take out of that.

Now let's record it again.

I recorded it too soft.

Something that
happens to people.

This is better.

I think I hear better right now.

That was good one
in there, I think.

[GUITAR CHORD PLAYING]

That one 's pretty
good, and so I'm

going to export active
continued track.

So it's just going to export
that take in this loop,

and then I think it
was that this part.

That was good, and
[? now this. ?]

[GUITAR CHORD PLAYING]

That's also a good part, so
I'm going to exploit that too.

I'm going to cut this up.

All right.

Why am I doing this?

This way, I've two different
loops, this one and this one.

And it will sound at
least, a little bit human

because I'm just
going to copy-paste

this for the rest of the song.

So there should be a
little bit of variation

if I just use the same
loop over and over again.

I can very well do
that, but I think

this is going to sound
a little bit more human.

So let's work on the
song a little bit.

[GUITAR CHORD PLAYING]

(SINGING) Mm-mm.

Mm.

Duh,duh, duh, duh, duh, dut.

[GUITAR CHORD PLAYING]

I've no idea what
this plug-in is,

but it just makes it louder.

[GUITAR CHORD PLAYING]

It sounds pretty good.

OK, we have a progression.

I feel like we can come up
with a melody right now.

I'm going to recorded
on a guitar too.

I'm not sure if I'm going
to keep it on a guitar,

but I want to make
an idea to have

like a chorus melody
or post-chorus

melody like a cool intro.

Dudu, du, du or
something like that.

So we have G, A,
B, C, D, E, F sharp

as notes in the
scale of G major.

And as I told you in
the previous lesson,

we can use the pentatonic
scale to come up with melodies

that sound immediately good.

So we need to remove
the 4th, which is a C,

and the 7th note
from our major scale,

and then we have G, A, B,
D, E. And those notes can

be used to create
a great melody,

so I'm just going to get
my guitar, guitar pick,

and actually try out some
melodies on top of this.

[GUITAR ACCOMPANIMENT]

OK, so--

[GUITAR ACCOMPANIMENT AND
WORDLESS SINGING]

[GUITAR ACCOMPANIMENT]

Hah!

[FINGERSTYLE GUITAR - SMASH
MOUTH, "ALL STAR"]

[LAUGHS]

That's "All Star"
by Smash Mouth.

No.

[LAUGHS]

OK, something cool.

Something catchy.

[GUITAR ACCOMPANIMENT]

Hm.

[GUITAR ACCOMPANIMENT AND
WORDLESS SINGING]

[GUITAR ACCOMPANIMENT]

Ah.

No, no, no, no.

[GUITAR ACCOMPANIMENT AND
WORDLESS SINGING]

OK, so I'm jamming around
the pentatonic scale.

I feel like I need another note.

I know with the
pentatonic scale,

I can make an easy melody, but
I really want to use the C-note.

So I'm going to do that.

I mean, we know the major
scale, and it's in there,

so we can use it.

Don't be afraid to break the
rules or it's not a rule,

but the pentatonic scale can
help you make a great melody.

But right now I think, oh,
I really like that C-note.

I'm going to play for
you what I really like.

[GUITAR ACCOMPANIMENT AND
WORDLESS SINGING]

Let's record it
on acoustic guitar

and then on electric
guitar too later

to see what sounds better.

I can imagine that later on, I'm
going to replace this with a--

[VOCALIZING]

Something like that, or
maybe even a chorus melody.

[GUITAR STRUMMING]

Maybe that was good enough.

I hope that was good enough.

Start somewhere here.

OK, so I want the song--

the melody starts a
little bit earlier

than a chord progression.

So I'm just going to
drag this over here.

And how does this sound?

[GUITAR ACCOMPANIMENT]

(SINGING) Du, du, du, du.

It already sounds like that
song you hear on the radio,

you don't know the title of.

You know that song that
you hear for about a week,

every day, a few times,
and then you're like,

oh, I love this song.

And then two weeks later,
you're like, I hate this song.

[GUITAR ACCOMPANIMENT]

OK, I'm going to layer
the acoustic guitar chord

progression with an electric
guitar because I think,

we can use a little
bit more texture,

and it will just help
the feeling of the song.

So I'm going to make
a new audio track,

and add an electric
guitar clean.

[GUITAR STRUMMING]

I'm [? not ?] working on solo.

Input two.

I should tune this.

[GUITAR TUNING]

[GUITAR ACCOMPANIMENT]

The acoustic guitar
is not well played,

so I'm going to quantize it.

16th notes.

And then I'm going to
use this little trick.

I'm going to set the
cue strength to 90%.

So it gets quantized a little
bit, but it will still sound,

human I hope.

[LAUGHS]

[GUITAR ACCOMPANIMENT]

Let me just going to
flatten to merge this one.

I'm going to do the same
thing, quantize this to, oh,

16th notes, and then 90%.

And there is a weird
[INAUDIBLE] going on.

[GUITAR ACCOMPANIMENT]

That one.

[GUITAR ACCOMPANIMENT]

I'm going to pan this guitar
a little bit to the left,

and I'm going to add
the electric guitar.

[GUITAR ACCOMPANIMENT]

Whoa.

That one is super weird.

[GUITAR ACCOMPANIMENT]

So you can actually use this
view to adjust the markers.

So this marker was
not timed well.

So I can open this view using
[? just ?] the button or the E,

and then go to this button flex.

And select the slicing
part, and then I

can just adjust all the timing,
of the quantized button.

I think right now,
I want to make

the sound of the electorate
a little bit sharper,

a little bit more springily.

I love that.

I think an electric guitar for
the melody would work better.

So let's try that.

[GUITARS ACCOMPANIMENT]

Yeah, I love that.

Let's record it again.

All right.

Here we go.

[GUITARS ACCOMPANIMENT]

Whoo!

Oh, no.

Because I recorded
on loop, it did not

record the first note
of the the melody.

So I'm just going to
record it like this.

[GUITARS ACCOMPANIMENT]

I have the first one.

That's good.

OK, I'm just going
to keep it like this

because I'm not sure what I'm
going to do with the melody.

So I don't want to waste
like an hour trying

to play the perfect one.

[GUITAR ACCOMPANIMENT]

I'm going to quantize this a
little bit to, [INAUDIBLE] 80%.

Whoa.

There's a weird sound there.

There too.

[GUITAR ACCOMPANIMENT]

[ELECTRIC GUITAR CHORD]

Whoa.

Where is that weird sound?

[INAUDIBLE] the acoustic guitar.

[GUITAR CHORD PLAYING]

There's a weird click
in acoustic guitar.

We don't like weird clicks.

I'm just going to copy that one.

[GUITARS ACCOMPANIMENT]

Whoa.

Maybe that works.

[ELECTRIC GUITAR CHORD]

Just to give you a
little more sprinkle.

[ELECTRIC GUITAR CHORD]

So I'm going to
add another guitar.

I have a cool idea.

[GUITARS ACCOMPANIMENT]

Hmm.

Let's pick a different.

I feel like I need a
different sound for this.

So this sound is great,
but I feel like it's

too much in the same space.

So maybe, how is this?

It needs to be the high one.

So let's record that one.

[GUITARS ACCOMPANIMENT]

That's a great melody.

It's like a little silver
sprinkle over the song.

Well, let's do that
on the [? rhyme. ?]

[GUITARS ACCOMPANIMENT]

Pretty good.

You know what's surprising?

Usually, I feel like
I have to tweak a lot,

but today I just pick
presets, I played it,

and it's sounding good.

And that's a great
thing about [INAUDIBLE],,

but the bass have a trick.

I'm going to add--

I want a really clean
bass today because I

feel like that fits the song, so
I'm going to add a fed effects.

And it's just going to make
it sound more [? more. ?]

And so listen to this.

Now there's something.

OK, I'm going to center this.

[GUITARS AND BASS ACCOMPANIMENT]

So I want to make
a cool bass line.

I'm going to--

[BASS GUITAR STRUMMING AND
WORDLESS SINGING]

So in part one,
we learned how to

we can make our bass
line more interesting.

I have the notes of my
major scale written out

in front of me.

I'm just going to use the chord
notes for every chord change.

So I'm going to play
E, E, D, D, G, G C,

C. And I can just do that,
but I feel like there could be

a little interesting bass line.

So I'm going to
play E, E, lower E.

So I'm going to do
the octave jump, which

makes it interesting.

(SINGING) Boom,
boom, boom, boom.

TO the D.

(SINGING) Boom, boom,
boom, boom, boom, boom.

That way of colliding--

(SINGING) Boom,
boom, boom, boom.

I'm just playing a major scale
there, so we're on a G chord.

I'm playing G, A, B,
C, to the C chord,

and that works great
because you actually

walk to the next chord.

So it goes like E,
E, D, G, A, B C.

[HUMMING]

And maybe even like a--

[WORDLESS SINGING]

[GUITARS AND BASS ACCOMPANIMENT]

I don't think I'm going to
use the A-notes of the E.

So I'm going to--

[WORDLESS SINGING]

That's cool.

[GUITARS AND BASS ACCOMPANIMENT]

The first one, I'm going
to time a difference.

So I'm going to play--

[WORDLESS SINGING]

That is a great base line.

[GUITARS ACCOMPANIMENT AND
WORDLESS SINGING]

I messed up the second time.

I can just loop this.

So flatten that and merge.

Copy, paste.

So the thing I've learned
is that a good bass

player is a little bit lazy, and
I feel like my bass timing here

is not lazy enough.

So I'm going to select
all my bass clips,

and I'm going to add a little
bit of delay just a little bit,

20 takes.

[GUITARS AND BASS ACCOMPANIMENT]

It just-- whoa.

It starts to swing immediately.

[GUITARS ACCOMPANIMENT AND
WORDLESS SINGING]

All right.

Nice.

We need an electric piano.

So actually, I think everything
sounds good like this.

So new track.

So for instrument, we
need an electric piano.

I'm going to go with
the Bosendorfer,

and then I'm going to
add it to channel EQ

because I feel like it
sounds a little bit dull.

[PIANO KEYS]

So I'm going to use the
keyboards piano bride.

[KEYBOARDS PIANO BRIDE]

Cool, and then I want a
little bit last reverb.

[PIANO KEYS]

[PIANO AND GUITARS
ACCOMPANIMENT]

It really sounds like
that song on the radio

that you don't want to
hear again after 100 times.

[PIANO AND GUITARS
ACCOMPANIMENT]

Maybe--

[PIANO KEYS]

[PIANO KEYS AND WORDLESS
SINGING]

No, that's not the right order.

[PIANO KEYS AND WORDLESS
SINGING]

Ooh!

That's a nice chord, but
that's not what we need.

[PIANO KEYS]

I think that's it.

Let's just record that.

Three and--

[PIANO AND GUITARS
ACCOMPANIMENT]

Actually, this
sounds pretty good.

[PIANO KEYS]

I want to try a
different piano sound.

[PIANO KEYS]

[PIANO AND GUITARS
ACCOMPANIMENT]

I feel like this piano,
the Afro-Cuban piano,

sounds a little bit
more grady or something.

It adds more depth.

Less EQ.

[AFRO-CUBAN PIANO KEYS]

Let's remove a little
bit of the lows.

[AFRO-CUBAN PIANO KEYS]

That add a little bit high.

[PIANO AND GUITARS
ACCOMPANIMENT]

OK, and what if we add--

[PIANO KEYS]

De, duh.

[PIANO KEYS]

What if we add that melody
on top of the guitar too?

[PIANO AND GUITARS
ACCOMPANIMENT]

That could work.

[PIANO AND GUITARS
ACCOMPANIMENT]

I'm starting to love this!

All right.

This is how I work usually.

I feel like I start
out with the guitar.

I start with a melody,
and then I actually

come up with a bass line, or
I come up with a piano line,

or I come up with a drum feel.

In the previous course, we
had a very strict order.

You can use that order, but
right now, I, feel like OK,

how do we fill this up?

I need some extra
melodic stuff going on.

And right now, I want
to focus on some drums.

[PIANO AND GUITARS
ACCOMPANIMENT]

I'm just going to
look [INAUDIBLE]..

Wait.

First, I think we can
add some Logic drums.

Slow jam?

[DRUMS]

That is a great snare.

Yeah, let's do that.

[PIANO AND GUITARS
ACCOMPANIMENT]

Just going to make
some [? heights. ?]

Let's add a snare.

[PIANO, SNARE, GUITARS
ACCOMPANIMENT]

Let's add a clap on top of that.

[CLAPS]

Wait.

No, no, I went in
on a separate track.

So I'm just
recording that again.

[PIANO, DRUMS, GUITARS
ACCOMPANIMENT]

Cool.

Then I'm going to--

[CLAPPING]

Yeah.

[CLAPS AND DRUMS]

OK, now I need some extra
sounds from supplies

just to juice it up a
little bit, you know.

[INSTRUMENT MIXES]

Ooh!

I like this already.

[INSTRUMENT MIXES]

Hmm.

It's too much.

For a moment, I was
like, that can be cool.

[INSTRUMENT MIXES]

Whoa.

That loop is great.

That's going to add a
lot of vibe to the drums.

Listen to this.

[INSTRUMENT MIXES]

I want this sound
like it's in a room.

So I'm going to end a--

[INSTRUMENT MIXES]

Whoo!

[INSTRUMENT MIXES]

I need some extra cool--

[INSTRUMENT MIXES]

Whoo!

That is a great sound.

I can definitely
[? notice that ?] from here.

Some snaps or-- ooh, snaps!

Let's look for snap.

[INSTRUMENT MIXES]

That's a great snap.

[MUMBLING]

Yep.

Yep, yep.

[INSTRUMENT MIXES]

It just adds a little
bit extra texture.

So a snap with a
little bit of reverb.

So that's a roomy vibe, and
then it's a little bit softer.

I think this can be even softer.

Oh!

I want to look at
all the songs again.

[INSTRUMENT MIXES]

No, no no, no.

[INSTRUMENT MIXES]

I want to get clean kick.

I know which kick I want.

Where is it?

[INSTRUMENT MIXES]

[SIGHS]

Ooh!

Oh, I already have that one.

[INSTRUMENT MIXES]

Definitely that one.

Let's chop this
up because there's

like a weird click at the end.

Fade out.

[INSTRUMENT MIXES]

And I'm going to bury the
extra percussion loop.

I feel like it's way too
much in the foreground.

[INSTRUMENT MIXES]

That's better, and
I'm going to layer

that with an acoustic kick.

[ACOUSTIC KICK]

That's better.

2, 3 and--

[INSTRUMENT MIXES]

Maybe lets go um.

[INSTRUMENT MIXES]

That could work.

I could definitely work.

Let's try this out.

[INSTRUMENT MIXES]

[MULTI-INSTRUMENT ACCOMPANIMENT]

Whoa!

[MULTI-INSTRUMENT ACCOMPANIMENT]

I feel like we can use a little
bit more stuff in the drums.

[DRUMS]

A tambourine!

I mean, tambourine is a
great sound [INAUDIBLE]..

So I'm going to
lower the volume.

I'm going to add a little
bit of reverb to this.

[MULTI-INSTRUMENT ACCOMPANIMENT]

Yeah!

And then it should be
like a very soft hit.

So I'm going to chop this up,
add a little bit of fade out.

[MULTI-INSTRUMENT ACCOMPANIMENT]

[REVERB]

Wait.

That's not a reverb I like.

[REVERB]

That is better.

I think this should be solid.

[MULTI-INSTRUMENT ACCOMPANIMENT]

Yeah, that is better.

Ooh!

It's adding to that sweetness.

[MULTI-INSTRUMENT ACCOMPANIMENT]

So we have we have a crash.

[CYMBALS]

Why is it only there?

Let's layer this with
another one then.

[CYMBALS]

I notice it's only
in my left ear.

It's pan to the left.

So I'm going to add a
gain, a gain plug-in,

and set this in mono.

[CYMBALS]

[? Now ?] it crashes
in the middle.

[CYMBALS]

This should gave,
it some extra grit.

[MULTI-INSTRUMENT ACCOMPANIMENT]

Maybe an [INAUDIBLE], a shaker.

Very soft.

Logic has shakers, I think.

[SHAKER]

It's fine, and
then I'll EQ this--

[SHAKER]

--to make it very
soft because this is--

[MULTI-INSTRUMENT ACCOMPANIMENT]

[MULTI INSTRUMENT ACCOMPANIMENT
WITH WORDLESS SINGING

]

I feel like we can add
one more key thing,

and that is an organ.

[ORGAN PLAYING]

Ooh.

That's aggressive.

I just want like a subtle.

[ORGAN PLAYING]

No.

No, no no.

[ORGAN PLAYING]

Sideman organ.

That sounds pretty good.

[MULTI-INSTRUMENT ACCOMPANIMENT]

All right.

Let's record the keys.

[MULTI-INSTRUMENT ACCOMPANIMENT]

OK, so its cool.

There's that--

[PIANO PLAYING WITH WORDLESS
SINGING]

I feel this dish should be like
a thing that fills up the lows

but also adds a little
bit of sprinkle.

[PIANO PLAYING WITH WORDLESS
SINGING]

I think that's it.

It shouldn't be more than that.

Let's record that.

[MULTI INSTRUMENT
ACCOMPANIMENT WITH WORDLESS

SINGING ]

OK, so I have this
Sideman organ.

Checking this with
the good take.

OK.

[WHISTLING]

[MULTI-INSTRUMENT ACCOMPANIMENT]

Did I not play it right here?

Oh, no.

[PIANO KEYS]

Oh!

That's [INAUDIBLE].

So this is a great
thing about [INAUDIBLE]..

I did not play
the G chord right.

So I'm just selecting
everything and cutting it off

at the start of the next note.

So it's playing through.

[MULTI-INSTRUMENT ACCOMPANIMENT]

Is there a [INAUDIBLE]
thing in here?

Yeah.

[MULTI-INSTRUMENT ACCOMPANIMENT]

I've no idea what
all these buttons do.

I'm just clicking around.

[INSTRUMENT MIXES]

Oh!

No.

[INSTRUMENT MIXES]

Oh!

I think that is better.

[INSTRUMENT MIXES]

Oh.

[INSTRUMENT MIXES]

[MULTI-INSTRUMENT ACCOMPANIMENT]

[HAND CLAPS]

It might be interesting
to add some claps.

Let's copy this guitar part.

Just some--

[HAND CLAPS]

OK, check, check, check.

[HAND CLAPS]

Yeah, that's good.

That's good.

I'm just going to pan
this in the middle.

I'm just going to
record this on loop.

I can't use that.

[HAND CLAPS]

Nice!

And then I can use
all these lines.

I'm going to unpack
them to new tracks,

creates new tracks for
all the recorded loops.

I'm going to cut
them in the middle

because I played the
same loop two times.

And then I can just
duplicate all these,

and drag the second
part to the first part.

And I have six
layers of clapping.

It's sounding like this.

[HAND CLAPS]

Way too loud, of course.

[HAND CLAPS] So lower the
volume on a lot of them.

Whoa.

That's too loud.

Let's loop the first part.

[HAND CLAPS]

[INSTRUMENT MIXES]

I'll do a little
bit EQ on the organ.

I feel like the low end is
a little bit uncontrolled.

[INSTRUMENT MIXES]

That clap really makes it.

[INSTRUMENT MIXES]

Yeah!

That really makes it good.

OK.

[MULTI-INSTRUMENT ACCOMPANIMENT]

All right.

Let's listen to
this a little bit.

[MULTI-INSTRUMENT ACCOMPANIMENT]

And then it should be
like a cute love song.

I think this is the main look.

I think we it.

It really sounds like that
song you hear on the radio

a few times, and
you're like, oh, nice.

It sounds cool, but then
you forget about it.

And if you hear it too much,
you're going to hate it.

So I'm really happy with
what we have right here.

OK, so in this lesson, we
talked about a chord progression

I found, and then we searched
a major scale for that.

We used those notes, and we
used to pentatonic scale,

but we also used an
extra note, which

is in a major scale,
which is fine.

And we used the notes to create
the notes from a major scale

to create a base line.

And then we layered.

We layered a lot.

I added a piano,
[? chord, ?] and melody.

I added a little teeny-nee,
nee, nee-nee guitar.

I doubled the acoustic
and the electric guitar.

And then I added
some acoustic claps

because acoustic
claps are a great.

I think that we
have a great loop.

[MULTI-INSTRUMENT ACCOMPANIMENT]

[WORDLESS SINGING]

All right.

So now it's time
for your project,

writing, recording,
and producing

your first main thick part
of your original songs.

Good luck with that.

Make sure you use the techniques
we learned in the previous two

lessons, and I'm looking forward
to hearing what you make.

I'll see you in the next one.