In my critique, I'm trying to take the motif that you created and the style that you're playing in, and then expand on it within your own voice. Some of this is it's hard not to include my own ideas in that process. But I'm trying to step into your shoes and say if this is the sort of melodic idea and the feel and the vibe that you have to your music, what could you do to take that and expand it and develop it? When you write music? It's so much about your ear, and learning to hone what you like and what you don't like. I brought that up a whole bunch of times in the class, but there's really no right or wrong way to do things anymore.

There was a period of time in music history, where they had a lot more strict rules about how things should sound mainly like In a time of Bach, or Beethoven or Mozart, and people got really angry when some composers started to go outside of those rules. And literally, sometimes I don't know if you've familiar with a composer named Stravinsky, but he wrote this piece that the first time it was played, it was his Rite of Spring ballet, and I think it was in 1911. When people heard it, they thought it was so outrageous, and so such an affront to kind of musical traditions at the time that they had a riot and a fight in the ballet, because people were so offended by that music that he was creating. Seems a little silly now because there's so much greater range of music that's out there, people are a lot more accepting nowadays.

So However, sometimes that greater acceptance can lead To people saying, Well, whatever, it's just up to you, there's no right or wrong in the way to do it. And I'm trying to balance that by saying, that may be true. But there are some sort of musical fundamentals that if you lean into them can help your writing to be stronger, even though it still comes down to your ear, determining how much dissonance that you want in there, how much turbulence that you want to include how much repetition that you want to hear for this melodic line. Philip Glass is a composer who uses a tremendous amount of repetition, to the point that many people can hardly stand listening to his music because he repeats it over and over and over and over and over again, to ad nauseum for some people. So I think the most important thing to do is to pay attention for yourself and even some of the ideas that I threw out here.

Notice what grabs you you're like, Yeah, I love how that's Sounds and then try to dig into that a little deeper to push into that sound and look at what's making that sound is that the repetition is it like changing the chord progressions, like you said, you were noticing something in the chorus that I was doing to the chords that was really resonating with you. So maybe take what I created here and look at that a little bit closer, and see if you can include more of that in your music or anything else that you hear when you hear something and it resonates with you try to break it down with some of the ideas I brought forward in this class. and identify, I like this because the melody line doesn't go up and down very much. It pretty much stays very, very small range. Great.

We'll see if you can write pieces that the melody line stays in a very narrow range. Maybe you hear pieces and you're like God, I just love how they go all over the place. They go up so high and so low, and then try to write some pieces that would be more aligned with that That makes sense. Yes.