246 Rule for Better Melodies

Описание: With the 246 Rule you can say goodbye to mediocre melodies forever!
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Like the chords in this example? Learn how we wrote the piano part:
   • How to Write Chillout Chord Progressions  

Most melodies these days are predictable and boring! That’s because most songwriters and producers don’t know music theory, and as a result, they actually end up following the rules without even knowing it. But, when everyone follows the rules, that’s boring! So, we created the 246 Melody Rule as a way to actually break the rules that result in boring melodies. Right, let’s decipher those numbers and get into it. A quick heads up though, the 246 Melody Rule is for intermediate songwriters and producers who are already comfortable writing melodies. If you’re not there yet, no problem at all, simply use the Melody Checklist in our Songwriting & Producing PDF, and your melodies will be elevated to a whole new level!

Right, so as you probably know, a triad is the most basic type of chord, which means it’s also the most popular type of chord (by far!). And as you probably know as well, a triad consists of three notes. For example, the Cmaj triad is made up of the notes C, E and G, which are numbered 1, 3 and 5, respectively. These are known as harmonic notes, as they form the harmony (i.e. the chord). Now, the numbers in our 246 Rule refer to the 2nd note, the 4th note and the 6th note. In other words, the notes that are not in the triad, but are still in the scale. The fancy term for these notes is “non-harmonic”, as they are not part of the harmony (i.e. the chord). And if you’re wondering about the 7, yes it’s also a non-harmonic note here because it’s not in the triad. However, the 7 is a whole different beast, so it’s not part of the 246 Rule, but more on that later.

First, we need to understand why most songwriters and producers are using the 2, 4 and 6 all wrong, despite the fact that they’re not actually wrong notes (cos they’re obviously still in the scale). It seems like a riddle, doesn’t it? Don’t worry though, the 246 Rule solves this issue once and for all! How? Well, when you play the 2, 4 or 6 in your melody, they create tension against your triad below, cos they don’t fit in completely. To hear this, play a triad and then play the 1, 3 and 5 above it as a melody. Those three notes fit in perfectly with your triad below, as they’re merely doubling what’s already there. Now, play a 2 in your melody. This note sits in between the 1 and 3, rubbing up against them and causing tension. And that brings us to the 246 Rule. When most songwriters and producers use the 2, 4 and 6, they resolve them down to the 1, 3 and 5, respectively. But, moving down a note after the 2, 4 and 6 is embarrassingly predictable! And on top of that, creating tension only to resolve it to the predictable note, kinda defeats the purpose of creating that tension in the first place.

For the record, there is absolutely nothing wrong with doing that sometimes. However, most songwriters and producers do that every time they use the 2, 4 or 6. The reason for that, is because they don’t know what to do with the tension they’ve created, so they simply follow where their ear leads them. And therein lies one of the biggest problems with popular music: songwriters and producers are making music by ear, but our ears will always lead us to the most predictable option. That is precisely why we need music theory. You see, for most songwriters and producers, making music feels like a mysterious (and often frustrating) journey through the dark, but it doesn’t have to be like that. Music theory is our flashlight that illuminates the way, revealing musical paths we could not see in the dark. And on that note, if you’re tired of all the trial and error, guesswork, and frustration involved in making music, then you can learn our secret song-whispering method, which we teach in our online apprenticeship course. More on that later, though.

So, every time you use a 2, 4 or 6 in your melody, you have three options:
1. Go down to the predictable harmonic note
2. Go up to the unpredictable harmonic note
3. Go somewhere completely different!

Option 1 is what the rules say you should do, and it’s also what your ears want you to do, and that’s why most songwriters and producers instinctively use option 1 every time, but that’s sooo boring! Great music is all about the other two options. [YouTube limits descriptions. We just maxed it out! Read on here: https://hackmusictheory.com/home/blog...]

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