1
00:00:06,200 --> 00:00:09,400
Hello and welcome. 
In today's episode. 

2
00:00:09,500 --> 00:00:12,800
I'll be approaching a question 
that will always be open for 

3
00:00:12,800 --> 00:00:16,800
debate as each and every one of 
us listens to and thinks about 

4
00:00:16,800 --> 00:00:20,900
music differently. 
Nonetheless, all boils down to a

5
00:00:20,907 --> 00:00:24,000
musician's ability of hearing 
sounds in its head. 

6
00:00:24,200 --> 00:00:27,900
And the question is, where do 
musical ideas come from. 

7
00:00:28,600 --> 00:00:30,500
This shouldn't be anything. 
Change. 

8
00:00:30,500 --> 00:00:34,400
If you think that a Jeff 
imagines tastes and Aromas or 

9
00:00:34,400 --> 00:00:37,900
that painters imagine in terms 
of color and light. 

10
00:00:38,300 --> 00:00:42,000
Musicians just happened to 
imagine sounds in the case of 

11
00:00:42,000 --> 00:00:46,100
music, This is called out the 
Asian a term coined by Edwin 

12
00:00:46,100 --> 00:00:49,100
Garden. 
The music that we hear in our 

13
00:00:49,100 --> 00:00:53,300
heads may be triggered by all 
sorts of cues that may occur 

14
00:00:53,300 --> 00:00:57,100
while listening to music 
improvising composing or while 

15
00:00:57,100 --> 00:01:00,000
walking in the park, even if any
music is present. 

16
00:01:00,100 --> 00:01:04,800
In the background, disability is
not the same as being able to 

17
00:01:04,800 --> 00:01:07,600
understand music, on a 
theoretical level. 

18
00:01:08,100 --> 00:01:11,700
This is a cognitive process by 
which the brain gives, meaning 

19
00:01:11,700 --> 00:01:14,700
to sounds while arranging them 
in a musical way. 

20
00:01:15,500 --> 00:01:18,500
There are several types of 
stages of how d--ation, and you 

21
00:01:18,500 --> 00:01:21,200
can learn more about it by 
following the link in the 

22
00:01:21,200 --> 00:01:25,000
description. 
This ability is dependent of a 

23
00:01:25,000 --> 00:01:29,000
knowledge base that we as 
individuals acquire from being 

24
00:01:29,000 --> 00:01:32,000
exposed to all Sorts of musical 
contexts. 

25
00:01:32,000 --> 00:01:35,500
In this process. 
We develop personal preferences 

26
00:01:35,500 --> 00:01:39,400
and tendencies that will inform 
the way we listen, compose, or 

27
00:01:39,400 --> 00:01:44,600
perform music, in some, we Audi 
A8, the tonal and rhythmic 

28
00:01:44,600 --> 00:01:48,600
patterns that have been acquired
throughout our experiences with 

29
00:01:48,600 --> 00:01:52,600
music and use it in combinations
that we hear in our heads. 

30
00:01:52,600 --> 00:01:57,000
Because of this ability, we can 
also predict what will come next

31
00:01:57,700 --> 00:02:01,000
based on our familiarity with 
the tone of Oil and rhythmic 

32
00:02:01,000 --> 00:02:04,900
conventions of the music being 
heard as mentioned. 

33
00:02:05,200 --> 00:02:07,900
This process is unique to each 
individual. 

34
00:02:07,900 --> 00:02:12,500
That draws from its personal and
artistic experiences, aesthetic.

35
00:02:12,500 --> 00:02:16,800
Inclinations, cultural 
background and upbringing in 

36
00:02:16,800 --> 00:02:19,600
that sense. 
We can say that each musical 

37
00:02:19,600 --> 00:02:22,600
piece is potentially unique and 
special. 

38
00:02:23,200 --> 00:02:27,500
With all that said, music isn't 
something random or mystical 

39
00:02:27,500 --> 00:02:30,800
that happens in our heads and is
therefore Are Beyond 

40
00:02:30,800 --> 00:02:34,100
understanding. 
We all have our experiences with

41
00:02:34,100 --> 00:02:36,300
it? 
And for the most part, it is 

42
00:02:36,300 --> 00:02:39,900
something that you can learn 
more about, learn how it works. 

43
00:02:39,900 --> 00:02:43,600
And more importantly, learn how 
you want it to work. 

44
00:02:44,200 --> 00:02:47,800
Hopefully it will help you to 
better translate what you are 

45
00:02:47,800 --> 00:02:50,800
hearing in your head. 
This is the reason why you 

46
00:02:50,800 --> 00:02:54,600
should study music theory so you
can make sense of what you are 

47
00:02:54,600 --> 00:02:58,400
hearing and show the world your 
vision of how music could sound 

48
00:02:58,500 --> 00:03:02,200
your music. 
So what are some of the ways we 

49
00:03:02,200 --> 00:03:06,400
can bring forth the music in us?
Here are some suggestions. 

50
00:03:06,800 --> 00:03:11,200
Number one, make a song that 
somehow follows ideas of 

51
00:03:11,200 --> 00:03:15,800
pre-existing work, as seen we 
get our musical references by 

52
00:03:15,800 --> 00:03:19,500
living and breathing music. 
That isn't necessarily H. 

53
00:03:20,100 --> 00:03:22,700
It is how we combine these 
musical ideas. 

54
00:03:22,700 --> 00:03:26,300
That makes a sound unique and 
this is how our brains work. 

55
00:03:26,600 --> 00:03:29,900
So there is no reason why you 
should dismiss this approach on.

56
00:03:30,200 --> 00:03:33,900
Basis of not being original. 
Once you start changing some 

57
00:03:33,900 --> 00:03:36,800
musical elements of a given song
to your liking. 

58
00:03:37,000 --> 00:03:40,000
You will see that in no time. 
You will end up with something 

59
00:03:40,000 --> 00:03:42,100
very different and more 
personal. 

60
00:03:42,700 --> 00:03:46,700
It is your interpretation of 
music that you are exploring and

61
00:03:46,700 --> 00:03:48,600
doing. 
So, in the back of all the 

62
00:03:48,600 --> 00:03:53,100
previous musicians before you 
use your musical Heritage as the

63
00:03:53,100 --> 00:03:56,900
stepping stone for your 
compositions, and number two 

64
00:03:57,400 --> 00:04:01,300
planning, your music. 
This is a way of finding some 

65
00:04:01,300 --> 00:04:05,000
sense of where you want to go 
while trying to convey a message

66
00:04:05,000 --> 00:04:08,800
and idea or feeling this will 
help you to organize your 

67
00:04:08,800 --> 00:04:12,100
thoughts and give direction or 
purpose to your musical 

68
00:04:12,100 --> 00:04:14,700
Endeavors. 
This is your guideline to 

69
00:04:14,700 --> 00:04:17,700
choosing, how a chord 
progression or melodic line 

70
00:04:17,700 --> 00:04:22,000
should sound and feel the tempo 
of the song more or less, busy 

71
00:04:22,000 --> 00:04:26,300
rhythmic parts and so on again, 
and to think the same horn 

72
00:04:26,500 --> 00:04:29,300
developing your own a static by 
being. 

73
00:04:29,500 --> 00:04:34,000
Exposed to all sorts of musical 
context is very important as it 

74
00:04:34,000 --> 00:04:39,400
will also help you decide which 
ideas to pursue number three, 

75
00:04:39,800 --> 00:04:42,500
creating a Melody. 
Over an existing chord 

76
00:04:42,500 --> 00:04:45,300
progression. 
Pick a chord progression that 

77
00:04:45,300 --> 00:04:49,200
you are especially fond off and 
try to compose or improvised 

78
00:04:49,200 --> 00:04:52,900
your own Melodies over it by 
singing or playing in your 

79
00:04:52,900 --> 00:04:56,600
instrument after a while. 
I'm sure you will come up with 

80
00:04:56,600 --> 00:05:01,700
something unique number four. 
Or re harmonize and existing 

81
00:05:01,700 --> 00:05:05,700
malady, you can also do the 
opposite of what I previously 

82
00:05:05,700 --> 00:05:07,000
mentioned. 
Jazz. 

83
00:05:07,000 --> 00:05:11,100
Musicians do this all the time 
with jazz standards more often 

84
00:05:11,100 --> 00:05:13,600
than not. 
These reharmonization steak 

85
00:05:13,600 --> 00:05:16,100
often. 
Give way to whole new musical 

86
00:05:16,100 --> 00:05:19,000
worlds. 
If you wish, once you have new 

87
00:05:19,000 --> 00:05:23,000
cards, do the same as mentioned 
previously and create your own 

88
00:05:23,000 --> 00:05:26,500
unique Melody. 
On top of these new cards, these

89
00:05:26,500 --> 00:05:30,600
last two suggestions can work 
well with any Element of music. 

90
00:05:30,600 --> 00:05:34,700
You pick up start with a rough 
transcription, of what you think

91
00:05:34,700 --> 00:05:38,700
is happening in a given song or 
something that moves you and 

92
00:05:38,700 --> 00:05:41,300
then start adding Your Personal 
Touch. 

93
00:05:41,400 --> 00:05:45,400
Look at it as if you were trying
to improve or in other words, 

94
00:05:45,400 --> 00:05:49,400
try to remake the musical parts.
As you would like to hear them. 

95
00:05:50,000 --> 00:05:53,800
Number five, listening to other 
musical genres. 

96
00:05:54,100 --> 00:05:57,000
This is a good way of getting 
out of your comfort zone in, 

97
00:05:57,000 --> 00:05:59,300
what concerns to your music 
listening habits. 

98
00:05:59,400 --> 00:06:02,200
It's there is always something 
good to take away. 

99
00:06:02,200 --> 00:06:05,900
If you care to take a look at 
it, not to mention that you will

100
00:06:05,900 --> 00:06:10,000
be increasing your musical. 
Vocabulary final tip. 

101
00:06:10,200 --> 00:06:14,900
Learn music theory, learn about 
how Music Works, how you can 

102
00:06:14,900 --> 00:06:18,500
recreate that musical effect and
why it sounds the way. 

103
00:06:18,500 --> 00:06:21,400
It does. 
Also take the time to figure out

104
00:06:21,400 --> 00:06:24,500
what works best for you. 
In terms of the process of 

105
00:06:24,500 --> 00:06:28,000
music, composition of how you 
can better organize, the 

106
00:06:28,000 --> 00:06:31,500
knowledge, you have accumulated.
It and most importantly the most

107
00:06:31,500 --> 00:06:35,700
effective way to use it. 
And with all that said, remember

108
00:06:35,700 --> 00:06:39,500
that these are all suggestions 
that may help you to bring forth

109
00:06:39,500 --> 00:06:43,900
the music in you, as always 
experiment as much as possible 

110
00:06:43,900 --> 00:06:47,400
as learning music is a process 
of self-discovery as well. 

111
00:06:48,100 --> 00:06:51,500
Now that you know where music 
comes from, it is time to start 

112
00:06:51,500 --> 00:06:54,400
your next song. 
It's all for now, and I'll see 

113
00:06:54,400 --> 00:06:57,200
you on the next episodes. 
Happy composing.