Okay, so let's make something that just really uses octaves here. So I have queued up here. Ah, little baseline. A little bass synth I should say. So I'm gonna make a C and then I'm just gonna duplicate that out and just make a whole bunch of 16th notes in a sea. And now I'm gonna move some of them around with octaves, right? Some was gonna move them up or down. Um, if you're using able to live what you don't have to for this class, but if you are using able to live ah, shift and then the up arrow will bump you up or down and active up the shift up arrow bums who up and active shift down, bumps you down an octave. So, um, I'm just gonna move that one up. It's gonna kind of arbitrarily do this. Um, maybe this one will move up to actives. We just went down and active, uh, and to up one. Sure. Let's do that. Okay, so let's hear what that sounds like. I think through this is really effective on bass notes, arm based lines now note that the active I'm in is C one the lower. These numbers ar...
e the lower. The pitch is okay, so we can go down to C zero C. Negative. One scene Negative two. That's really low. Um, C one is a good kind of baseline area area. Maybe even see zero, depending on the kind of music you're making. So ah, let's hear this. It would slow it down to touch maybe 105 and a little boring. 1 11 And I grabbed just one of the the, uh, built in able to, uh, drum loops here. So, um, that's just throw a little drum loop on it. So it stopped that play. Little drum loop. Let's just see how this face not not a bad start to something that I've spent, you know, all of five seconds. All right. Now, while I'm here, I still have this clip. This was my, ah, little melody that I made in the previous video with octaves on it. So, um, let's just hear that I switched the sound over to a synth, and let's just maybe jazz it up a little bit by adding some delay to it. Okay? And now this is all in. This is all only white notes. So and the baseline is on Leah. See, So I know that these are probably going to sound good together before I even hit play. And remember, that is the point of music theory is to be able to kind of think through something and be able to say, Well, I know I'm only playing white notes and my baseline is only white notes, Um, and in particular, my baseline is only at the pitch see and actives. And I just know from experience that all those things work together really well. So I havent tried this yet, but I think it's going to sound pretty good. So I'm gonna launch these sequentially. So here's my beat. My baseline. Let's start this melody and see what happens. Wait. So the key to remember here is my baseline is just octaves. It's just playing the pitch, see in a bunch of different octaves, right? And because of those wave forms, I know these are all gonna work well together, right? And I don't really have to worry about ah, the harmony or anything because it is an active and an octave is the safest interval you can make so experiment with that. Try it out. Try just making some baselines or even some melodies with just actives. I could turn this into a melody. Easy, Select all Let's shift this up Two octaves Now we're in the C three c four range and let's put this on my lead synth and let's just hear that pretty cool. No delay, all right. Not bad. Just using actives. Cool texture. Um, and remember all you have to do to find those actives. Count up eight white notes from where you are and you're on inactive. Or if you want to use this mouse over thing, find the same letter. So if I want to find an active of E, I can either count up eight white notes or I can just scroll up here till I see another E. There's another E that's my active. Excellent. Now you know, actives