All language subtitles for 12-13 - Structuring Songs - deadmau5 Teaches Electronic Music Production

So you you've made your eight bars if you know loopy loopy goodness and then just sounds really good if you just

Let the thing play for hours on end

Making it interesting as about Minor sometimes major variations to that same bar and

Carrying that on and you do adding

Really interesting breaks or you know swells and dips

Taking out all the percussion in the drums

And then doing something completely different

But in the same key as your main thing that's what kind of keep something interesting you know

Arrangement in in dance music Irani DM is is pretty

Ready hard-coded into the

Intro

Breakdown and then

And then your whole main hug and then break down again

That's like

The formula just like

Pop has a formula just like

The country has a formula

Okay so

Structuring a song

You know you're going to you're going to see an arrangement

Kind of like this it is very atypical

Gopher dance music EDM where is like

Just by looking at it I can already tell you what

And what's going to kind of go on here

Where is all the little dots lines and grades and

All the pieces are just elements of the song so it's like basically you know me it starts out one way and then this

Two elements, come in over that amount of time

And then it kind of goes up to this thing and then you have this like this.

In this area here where it's kind of a

Breakdown or a little looks like because obviously not a whole lot of drums and other stuff

Stop coming back and then after that it

Comes back

But

If you kind of look at this from like a condensed View

The whole track

Is more or less

This section right here

And and this is how I I kind of start

So this is where that this

Song is built so here is

Like with everything kind of playing at the same time

Is this is where like the most elements are kind of playing

There's no rule

As to how many times you need to

Have a hookah or

No or Adoration of bars are time or something like that but

If it's going to be the you know the prominent almond track those should take up a third

Of

Of the

Of the whole track you know I think

And in the way you would arrange a track

Is

Basically

Let's let's delete this whole arrangement

And

Now let's say I wanted

Oh well let's

Here's this piece if I if I go through and start

Soloing elements you know you

Connie

Can I hear

Everett

Every individual element

Of the track and this distract

Surprisingly minimal

Kind of thing

Boy scrapping

And there's the lead and so I guess at that time when I wrote the truck I thought okay well let's

Let's just start with

That and then as that goes well

Kind of but that do its thing for one bar

And then we'll bring the kick in

Which is that

Collapse

But you don't hear me

So then there's the keg

And let's say

About Point bringing this there

Or a hi-hat

Rather

I hear the hi-hat coming in there

And then

Just is just basically kind of you know deconstructing your your your main part here and then

Constructing

A sequence out of it

It is really that easy but then you know it's going in and making small little variations

Or you know stacking Parts secure Avenue

Octave

Such as adding a new

Layer that

Same with that

And then the rest is

Just you know kind of going in like salwan

Right here

You know I don't I don't want to kick on that last

Dad and all that stuff so basically what you have a rough arrangement of how you want it

You been go back and

Why do men go from the beginning again and then just start adding all the little weird of facts and and small

You know I I just kind of

Run through all the little Parts my track if I want like a just a doubled-up Kik

No

But

It all stems from this having it

Being this is the track at its fullest and you know

Copying copying copying and then

Attracting parts

I just know generally from all dance music I've ever heard it's usually within the

262

7 Minute Mark and I don't know if that's arbitrary or to the point where I song becomes like new

Too repetitive and in the sense that yes

We've been hearing the same melody or the same song or the

Drum

It for too long

It could be as arbitrary is why why we recorded 44 1 kilohertz and can only fit 75

5 minutes on a CD you know it

Nor it could be psychological like

Attention span is just

Not fast

You know

Can't

Do for 13 minutes

Haven't had any negative feedback if I

Felt like it could be

Pulled out that long if the

Departs barricaded enough

Like strobe was one of my kind of

Bigger tracks where it had

Like it was almost to track

Jackson a fact where it started out slow and then turned into a different melodic structure halfway through so

It was two 5-minute long tracks that I kind of had to

Sing together somehow and it turned into one really long track but because of that change halfway through the

The track

It must have worked because it was like you know it was like two different things to the air you know

We're one was like a slow kind of build-up thing that went on for like about

4minute

And then

Mnmn the beat

Texan and all this other riff comes in so it's

That was okay

To do but you know

Miscarrying

That straight out for you know 10 minutes wood

Would drive me insane

Because I find when I'm

Playing the stoplight sometimes

I end up cutting a few bars out because you know

Like up there looking at my watch like

How long has this song been playing you know

Warming idiom

Live

Or presenting it live or DJing it

Time for that matter

It's it's good to have a kind of continuous

Mix

So

When you're thinking intro of a song Sometimes It's good to think outro of another song you like

Whether it's yours or someone else's preferably yours

In-N-Out

Are ways that you can integrate that intro

To seamlessly blend in with an outro of a previous body of work

Now

When it comes Album Time like or or just creating one-off kind of things it's not incredibly important

Because

Sometime most albums

Separate songs of separate entities and that's that you know

CD stop

Search

And then next track starts kind of thing but

I like to approach it in the way that you know

My

Melody intro

Is in the same

Jeor correlates with

Another project that I was working off of so it's like creating

One big long

Cracked and then I could say that big long track is

This is my live show you know because some

The nature of EDM shows

There's no breaking

Reaction

Your

Halfway through the outro of your last song your your into the

Beginning of your next song Single taneous late cuz they're

Overlapping

You can't have that law where you

You stopping

Intro the drummer in intro

The base is not Stephanie

Talk about your day you know that doesn't happen that

The EDM festivals weirdly enough

But for the sake of performance in and not having that

Break in my show where I have the

5 Seconds

2 minutes of

Silence hour

Some other stuff

Whenever possible I I try to

Have my intro correlate with an outro of a

Pre-existing body of work

Whether it's mine or somewhere else

Okay this this terminology the drop

I mean

I can understand it's a

Spec's nnn the way

That is it it really reminds me of you ever seen the movie Amadeus

You should really watch that

Film because it has

A lot in parallel to do with popular EDM

I remember a scene in that movie and this is we're not even talking electronic music but it's funny because it's so relate

Is that you know

This is what the end of the at the end of our peace we have to put a big bang so people know into clap you know

And that was a thing it really was back in that day and

And you know it

Pieces had to be conformed to a certain way to instruct the audience

Do something I have some

Participation or expectation of that music where is you know

Mozart was like

Kind of mocking that in a way where is like you know he would do that as a piss-take but

The point is

Is that I understand that you know you if you have a crescendo

You know and then

Kind of aloe

Mid-level sort of thing

And then you have a complete drop off but then

That during that short drop off thing going up and then you go down and that's the the

The kind of

Feeling it would invoke out of a listener so you have this thing and then just a

Little

Snippet of you know all hey we're going over the hump and then

And then it's up here because that's

Right after this

Drop this low in in that Crescendo in and that

Really does stupid thing but

In my mind and this is just solely my opinion it's like

Everyone in the crowd is a grown-ass adult or at least I would hope or assume over the age of 6

16 we don't

I have to

Clap our hands if were you know

If You're Happy and we know it

There are other ways to invoke

Moments of

Intrigue hyper mystery without

Having too blatantly Illustrated