All language subtitles for 3, Writing the Melody & Initial Lyric Ideas

So last lesson was all about making the
track, making very simple tracks you

write over to and now in this lesson,
we're going to write over that track.

So the general approach of how I think
about writing in general is just to say

something that people already say as
songwriters, as artists, as producers.

Our goal is to help people who don't do
that for a profession to fill in the

blank for them to make something that
they want to say to somebody a bit easier

by showing them a song, by maybe showing
them the song that we're writing right

now, the song that you're writing, the
one that I'm writing.

We want to as artists because it's what
we are, artists we want to make people's

lives easier by having by using like a
song assistant method.

And that's why I always kind of think
about, that's why I always pay attention

to what people say in conversation,
because people might inadvertently say

something really dope and it might turn
into a cool lyric.

And I think I was kind of riffing on
something in the last lesson I had like a

little sentence pop up in my head we'll
see if that still works i need a little

refresh i might need to play this track a
couple of times, but we'll start with the

chorus first and then build around that
that's what I usually do come up with the

core 1st and then all the stuff
surrounding it.

I always start out by listening at a very
low volume i don't want to kill my ears

oh yeah, I remember that right.

Oi, have something in mind this is the

verse section right here, but I'm not
going to focus on that right now this is

the chorus coming U right here i'm going
to focus on that for sure, changing that

snare, but it's good to hear it just for
the rhythm right now.

Ok, So what I would usually do, and I'd
recommend you to do the same, I have this

little record track right here.

I'll make it bigger to put some emphasis

on it.
I make it red and yellow and I read for

record and the only thing I have on here
right now my vocal chain is an 1176 going

through a well it used to be ATD 2, now
it's a it's a Neve kind of situation.

I'm not even going to pretend I know all
the insurance and outs of that

compressor, it just makes my voice sound
good.

This is a Telefunken.

I usually use a little cheaper handheld

mic, but might as well use a really nice
one if it's right here in front of me.

I'm very insecure about my voice to be
completely honest, and I try and put as

much stuff on it right away.

Like I know for like Alicia Keys for

example is an amazing singer, a way
better singer than me and sings with

absolutely nothing no reverb, no auto
tune or anything.

I do the opposite because I'm not as good
of a singer so I need to hear my voice

kind of perfect because I guess it's my
perfect pitch too.

If I hear one wrong note, I'll just get
discouraged and think the melody is bad.

So on the first channel strip here I'll
put the auto tune to classic mode and

turn the retune speed all the way up to 0
so it sounds like a super robot, and put

it in the classic mode of course D flat
major.

Like I said, this song is in D flat
major.

I'll probably let's put a little reverb
on here.

So I put it.

I make it super super tuned because I

know it's not going to end up sounding
like that but in my mind, it's honestly,

I just saw Esther Dean track her vocals
like that back in 2015 when I worked with

her, and I just have done it ever since
and it just sounds like it sounds like a

final vocal, even though it's super
robotic and you know that there's room

for improvement.
So that's why I do it, Yeah, yeah, yeah.

I also have a CLA 76 on here just because
it's low latency.

I do it just like that, and I can turn
the input up and squash the vocal a

little bit.
What's going to inspire a lot of melodies

out of me is knowing that it sounds like,
what's the best way to say this like,

super squashed, but like not too
squashed.

And like I want to hear a lot of
processing on my voice.

Let's throw an eighth note delay on here
too.

Check, check, check, check.

Yeah, yeah, yeah.

So I have this melody.

When I was making the track, this melody

kind of just reared its head while I was
making it and it's just A just the fifth

above the D flat so starting on an A
flat.

And in my mind this chorus when the vocal
is completely finished would have a

slightly stacked Tears For Fears kind of
sounding vocal versus A it would be like

and I would stack that kind of like mid Z
head tone, airy voice like maybe four

times i can show you how I how I do that,
but I'll make the demo.

I'll sometimes tune the demo and make it
sound perfect because then I can i just,

like, enjoy it more when I bop around and
listen to it in the car, that sounds like

a almost finished product, even though
it's not.

So let's listen to this chorus one more
time.

I'm just going to turn that synth down a
little bit, too.

So the lyric I had in mind was why you
got to get why You got to go and get my

hopes up and we'll figure out what why My
brain wanted me to do that but it just it

also sounds good off the tongue.

Why you got to go and get my hopes up i

don't know what it means yeah.

Oh, oh, that could be cool too.

Ok, something I loved oK, pause real
quick something I love doing is whatever

the lyric is and it doesn't have to work
out like this all the time, but whatever

the lyric is, if something's mirroring
that in the melody so if the lyric, I

don't know.
I think the lyric in this song is going

to be why you got to go and get my hopes
up.

If because it's it checks a couple of
boxes for me it's something that people

say, oh, you got my hopes up.

And I think it would be really cool if

the melody went up when I go up too so if
I sing up and the melody goes up there's

some in it catchiness attached to that.

Let's see if it sounds good i could be

completely off, but I don't think I am.

We just got to get every note perfectly,

get closer to it and that would be
stacked too, but that's kind of dope.

Ok, so I'll turn the auto tune a little
bit down on the track that I drag it to.

It's just for recording purposes.

I don't want that up to be not as whiny

up. I want it to be kind of saying it the

same way, but it's cleaner.

Do this.

Ok, so this is the most important part
i'll take the I'll unarm the track for a

second on the theme of going slow and
methodical with everything.

I will just turn that up a little bit.

Why you got to go and get my whoops up.

I want that to be on the grid, and I know
it's a demo vocal, but sounds pretty on

the grid actually i might just take this
and just drag it and maybe this one too

why you got to?
Why you got to, got to, got to And the Y

is just over to the left a little bit why
you going to go and get my hoes up?

Why you going to go and get my hoes, Get
my Let me put it on the grid see where

that sixteenth note is yeah, I can drag
this over to the left a little bit.

It's just it's so satisfying just having
the silly Dumbo vocal just being so in

pocket why you going to go and get my
hoes up?

I'll even Why you going to go and get my
hoes up?

Trim this down.

This is what happened with with We Don't

talk Anymore and that vocal ended up
being in the actual song so you never

know. I don't think this one is, but maybe it

will be i don't know why you going to go
and get my hopes up why you going to go

and get my hopes up.

I want to get get my.

Just take some space out.

There's something rhythmic about it i

don't know got to go and get my hopes.

Got to go and get my hopes.

Got to go and get my hopes up.

Got to go and get my.

Get my.

Kind of take this one out this is what I

do for every song.

Go and get my host.

Get my go and get my hopes up.

Go and get my hopes.

Get my it's barely noticeable go and get
my hopes up.

Go and get my hopes Just a little cut
right here too so it just like impacts,

it lands.
Get my hopes up, get my hopes up, just

that up.
Bring it over a little bit so it's get my

hopes up.

I want to hear it with some more tune.

Something like simple like oK, so that's
the tag right there and I'll copy and

paste that one since I spent so much time
making it good.

Oops, hold on over one boom.

I hate that snare.

I got to mute that snare no production
right now, but I'm just so much better

oK, sorry.
Ok, so let's do the B melody right now

this might be a little rough, but let's
see.

I never done it and make me think it did
want me from the book and make and why

you got to go and get my hopes up and
make me think you wanted me from the

beginning. Make me think it did i mean I know you

wouldn't say make me think you did want
me from the beginning but it like it.

It's kind of a weird way to say it.

I don't know could change but we're going

to get the melody go and get my.

I ain't going to go and get my whole son

and make me think you did.

Oh, I ain't going to go and get my whole

son and make me think you did.

Oh, I ain't going to go and get my whole

son and make me think you did.

Oh, OK, tractor.

And make me think you did.

Oh, maybe I go up on that.

I'm going to bring the compressor of this
LA Two i love this by UUAD.

Make it a little more squashed.

Got to go and get my whole son.

I should probably here, I'll show you
what my chain is right now so obviously I

have my record track right here.

And then I record everything here and

then drag it down to this chorus track i
just have it in my template because I

always start with the chorus, Just take a
little lows out, whatever the hell this

thing is.
This is like a what even is this?

See, I don't even like my engineer at Ben
helped me set this up.

I don't know, it's like a compressor or
something like that this is a deesser.

This is a great compressor.

Kind of looks like I recorded a very low

I I I gain staged it a little bit but
like this kind of just rounds everything

out and makes it nice and pleasant.

And Zed told me to do this, put a little

bit of a widening delay on the vocal this
is the difference here if I take it off,

I ain't got to go and get my hopes up.

If you don't want to take the time to

stack a bunch of vocals, you just turn
this up here and it sounds like this and

it's just about kind of blending it and
making it sound.

You don't want it to be like that's
annoying so you just bring it up like I'm

going to take a little bit.

I'm going to drag these here and I want

less delay.
Again, it's not a race.

It's better to just kind of move slow and
thoughtful.

I don't even want the fourth, delay but
I'm going to keep it there anyway because

it does something.

I'm going to sing that a little bit

softer. Yeah i think I'm going to go because it's

about like, I don't know, it just feels
nice going to the B flat twice there

let's see.
Yeah, it's catchier let me just get that

a little bit better.

Take this down here, drag it down just on

that, make it OK so maybe the same kind
of rhythm, but like one tiny little

change. Ok, that's better.

A little like, OK, so I'm not going to
figure out that lyric right now, but I

know I want that pocket and that rhythm
because I haven't had that straight.

It's very syncopated and I want something
to balance it out.

So it's like 75 % syncopated this B part
and then you put them, you give it a

little bit of the straight notes like
eighth notes and then you're back at the

hook again.
The tagline rather I'm just going to say

like something random right now it's just
like sounds like words but not really.

I don't know what I'm saying.

Come on, why you got to go oh, that's

cool the people would say that come on,
why you got to go and get get my hopes

up. Ok, so you do this.

I feel like this would be on a like, OK,
so I have these background, this

background bus here i let's see what that
come on sounds like as a response rather

than actually on the lead vocal.

I think it would be kind of a nice ear

break, so let's kind of take this up a
little bit.

Definitely need some tune on there.

Let's put it on every first section of

the channel.
Just have a bit of fun with it.

Take a Valhalla and you know Max does
this a lot size down come on, come on.

Let's see.

And we're just going to stack that right

now and have it like not on the lead, but
in the background as like kind of a

response come on it's like you're having
like a conversation with one voice.

I'll back the tune off that a little bit.

So this is what I usually do on a set of

four background vocals i have the come on
the very frontal, nasally kind of thing.

And then Babyface always told me to do
this, to layer it with a like a barely

audible whisper and then a slightly more
naughty whisper.

So we'll do the slightly more naughty
whisper that'll this is what this is

right here.
So instead of come on, you do come on,

come on i guess it's falsetto would be an
easy way to say it, just layer it and but

like morphing your voice to make it just
sound like to support the other vocal,

that sounds kind of nice.

Ok and one more.

Might not even need the little whisper
we'll do it anyway, since I said it.

Come on. Just that.

Come on, Causeway it sounds like a crowd.

You're doing that maybe on those
whispers.

Just take a simple EQ, one band, just do
a high pass.

Super airy.

Sorry, I know that metronome is annoying.

Group them together and kind of turn it
down and blend them in.

This is without it.

This is with it.

Add something, which is pretty cool.

For fun let's stack that why are you

going to?
And by the way, I'm going to resync all

of this, but it's just so fun again to
have a demo vocal that sounds like almost

done, even though it's not.

Ok, let's see.

Because then I kind of have like an
outline of how I'm really going to record

it like I'll know that I'm going to stack
on that why you got to go and get my

hopes up and maybe leave this next part
as a solo vocal why you got to go and get

my hopes up and then nope.

Why you got to go and get my hopes up and

make me.

Oh, you gotta go and get my home son.

And make me think it did.

Oh, why you gotta go and get my oh.

Why you gotta go and get my home son and
Meg.

I ain't gonna go and get my home son.

Ok, one more.

Why you gotta go and get my home son.

And Meg.

Maybe one more whisper too why you gotta
go and get my By the way, I do this to

hear myself a little bit better.

Sometimes I'll even go off pitch if I am

too much in headphone world so I can
still feel like the the resonance in my

voice by just letting one ear loose why
you got to go and get my home son and

make why you got to go and get my home
son and make me?

If I were recording a real vocal, I would
then vocal line everything and make

everything super tight but we don't need
to do that right now.

I may be going back on my idea that
everything has to be super tuned it kind

of sounds better.

I like that better i think that's better.

That's kind of hard hold on, let's put
this on a let's, let's do this.

Let's drag these down here.

Just, I love separation and I love being

able to, like, change something
independently.

So we're just going to do this this OK
because I don't want as much reverb on

these right here, so I'll just use the
proper reverb.

Now I can take these here and drag them
back to where they once were.

Ok, so now we're at the second-half of
the course.

I want a different rhyme scheme because
every time I do a course, I think it

should sound like a roller coaster like
when I used to go to Six Flags, like I

would want to just ride the roller
coaster over and over again because there

was just something to look forward to.

You want the listener to have something

to look forward to.

So if you have the same rhyming scheme,

it's just going to kind of be monotonous
and maybe they won't play the song again

you want them to play it as much as
possible, especially in today's streaming

environment. So my last rhyme was make me think it

did. There you go.

And I'm also kind of thinking of like,
what could you say you don't want to make

a complete Babble, but hint at some
words.

Ok, so you go, why don't you go like, I
got to fit a little ya, nice drag that

little ya in there.

Oh yeah you could say something like why

you got to go and get my hopes up and
make it seem like you're always going to

be here and then one day you just go up
and disappear or something like that.

I don't know if that's like cash would be
able to like help me kind of like bring

it home but, like, the idea is there
because that's what someone would do like

in a relationship like, I'm sure you or
some I've definitely gone through, like,

you know, I've been really excited about,
like being with somebody and maybe she

has eyes on somebody else and completely,
you know, doesn't know how to tell me so

trying to just like, you know, what's the
term ghost, get ghosted that's happened

to me before.

And I get my hopes up i was looking

forward i was planning out dinners i was,
you know, thinking about what I was going

to wear, what I was going to smell like
or something i don't know it's real like

everything that you put into your art
should be 100 % real.

It should be the truth.

Because even if somebody listens to this

and they're like, oh, I don't like this,
this sounds like a typical Charlie song

it's like they can have that opinion, but
they can't deny that it's not the truth.

And I've written songs that maybe weren't
the truth and those didn't resonate at

all with people because people are smart,
they can tell what is truthful and what

is not, and this is the truth.

I've felt this emotion before maybe you

have as well.

Maybe you want to look forward to feeling

this emotion in some sick way i don't
know.

But it's art.

It's fun, OK?

I'll just like, say some Babble and then
figure it out later.

I want to end on disappear and that's
when you do the little melody change.

I would say one day you just disappear,
but it doesn't like fall off the tongue

really super nice.

And one day you just disappear you want

it to be as easy to sing along to as
possible that's why I'm OK with Babel for

now. Let's do that let's.

And then one day you disappear not
perfect, but good for now.

And then you go and disappear.

Oh, that's nice.

Ok, so one.

But I don't want to say go because I say

why I got to go and get my hope substance
too many goes so then you go, so you just

kind of jumble in your mind like what
else could be said.

Then you say wanna for now and then you
want to disappear.

Then you want to disappear.

Then you want to disappear.

Ok, so let me see if that makes that's
cohesive the beginning of it.

I got to sing it the same way.

See how this sounds different than I

gotta sing it like this?
It's kind of dope, actually, but then you

want to disappear it could actually be a
real lyric.

And how did I do the and that's going to
rhyme that's going to mirror that

exactly, that rhyme scheme.

So we have to figure out like another

word that has song.

Not this This is kind of cheesy, but

like, it sounds good keep me up till the
dawn come on And then you do come on And

then now we're starting to have a
well-rounded chorus let me just copy

paste these couple elements here.

Got to sing that better.

Actually hate that pyrite, but it sounds
good for now.

Ok, so paste the commands now.

Good chorus should literally just mirror

itself and I know them.

And that's really cool.

Ok, OK, so this is the scratch course we
have so far.

Well, let me play it going out of the
verse chords, because what makes it

really distinct and cool is that the
verse chords are different.

I'll turn the click off.

Maybe a post course or it could be really

boss going into oK, so let's figure out
before we figure out the form, let's

figure out what the verse melody is going
to be, right?

Oh, that's dope oK, hold on.

I'm thinking as far as references, I'm

just I don't even know if I'm referencing
a song but it's definitely like I feel

like someone would listen to this in
their room with like the big cell phone

in like 1992 or something like that.

And we didn't have like so much social

media. Like this is what we'll be playing in the

background and you modernize it that way
to give it that like classic feel.

Oh by the.

But sometimes what I'll do is I'll take

even more what kind of EQ job is this?
Jesus, I'll take, Oh my God, I'll take

some highs out of the click so the click
doesn't bleed into the headphone.

Just make it lower.

What else would you say why you got to go

come out?
You'd say, like, you set it up like

lyrically, again, not being perfect, but
like you set it up like what would a

human say before they said, why I got to
go and get my hopes up you would.

It's almost like you're talking to that
person you would say I was so I was so

yeah, you'd say I was so excited like I
was So I was looking forward to to you

know to doing something with you.

So you'd start off with like I was, how

do you fit excited in there?
Yeah, like, I was so excited today.

I didn't expect to feel so much pain.

I was so excited today to blah blah blah,

blah i never thought I'd be feeling this
pain like, I didn't expect to wake up

like this i went to bed last night
thinking I was going to have like, the

best time ever.

But you hit me with the you're going to

kill me text.

You don't want it to be like too on the

nose, because then it sounds corny, but
like just something easy someone would

say maybe not, but you make me feel all
this pain then you suddenly, just with a

snap of your finger, just make it go away
i was so excited today.

You know something i was so excited
today.

Ok, So you could go up so you go and then
the back half you go away.

Ok, let's see i was so excited today.

So I'm just like freestyling, not nice i

like that.
I think just keep going on that that

little i was so excited today.

On the third one, you hit him with the A

flat. Just like you're just keeping the

listener engaged the entire time with
like keeping the same rhythm in the same

form, but just adding a little note
there, a little note there.

O on this one I'm going to go.

I never and I never asked i never I could

have got I never asked you to stay i
could have gotten over you so easily if I

weren't so you know in I'm in too Deep
like the Some 41 song and then it's

really simple on the 3rd, fourth one you
do the same thing so let's hear what we

got so fun i was so excited today.

I guess I got two hooked easily not

perfect, but better.

Ok, that's good for now and then the

fourth one.
Ok, so if that's the end of the verse

going of the chorus, what do you say
before something like that and kind of

like sing into it a little bit to get
that breath in.

Ok, so now we have something.

I was so excited today.

I guess this let me hear this on the
speakers.

I was so excited today.

You won't like the and go away.

Guess I got to look so easily.

No sense, but it's vibe.

You said you stay right here with me.

Ok, so I feel like the verse should come

in right there i don't think it needs to
go to a pre chorus i want to keep it i

want this to be like a short song, so
let's consolidate that let's consolidate

that and I want the music to drop out and
the second verse is going to come in

right there.
And I want the drums.

Even though the drums aren't done we're
not thinking about production right now

we're just focusing on the songwriting
aspect of things i want all the music to

drop out and the verse is start right?
And that's really convenient because the

verse starts, pops up.

Ok, so let's copy and paste this this is

the form of the verse right here.

But we have different chords, so we're

going to copy and paste this little kick
situation here.

I wonder if I still have that.

So when we do the roduction later, I'm

going to get that same Juno sound and
play the first chords in like a different

way. But let's do this.

I was so excited today.

Gimma, gimma.

So music cuts out.

Go and gimma.

I was so excited.

I was so excited today.

You won't make the thing go away, just
copy and pasting, not doing roduction,

but just copy and pasting again.

You won't make the thing go away.

Oh wait, is that doper?
Ok, so this happened in One Call Away, my

Song, One Call Away where we had a verse
going into the chorus and it felt right

there. But when we got to the second verse, it

felt a little bit too soon to have the
chorus come in.

So I don't do it all the time in songs,
but just add a little just add 4 on the

songwriting tip of things.

Add 4 bars of the chorus after this

second verse ends, we're going to and
we're going to write a new melody on top

of that right now.

And I'm going to take the drums out and

write a new melody on top of that.

Take these hi hats out and that's where

the second chorus comes in.

And now it's like, ah, I wanted it again

because if we didn't add those four bars,
the second chorus would be like.

I heard this 5 seconds ago, but for
whatever reason I could be wrong.

Let me let's listen to verse two.

First chorus going to the verse two and

make me think it did want me from the
understanding me.

That'll be that'll be less sustained and
everything, But just for the songwriting

purpose we'll just keep it going.

It doesn't have to sound perfect.

Oh wait, maybe could you do that melody
there?

That actually could work really well,
because at this point, as a listener,

you've heard that melody in the
background, but it'll all kind of connect

when you hear it at once.

Or maybe it sucks, but let's hear it

let's let's try it.

So do this right here, this little stack.

Nobody would be so lucky to have your
clothes do them, I don't know, something

not perfect like lyricism, but get the
point of what the melody, the shape of

everything we're constructing it, this
let me hear what this sounds like on the

speaker. And then, unlike the first chorus and the

second chorus, the drums come in right
away.

I ain't got to go and get my hoe sucked
and the only light can do Then You wanna

disappear?
Came me up 'til the Dawn come on, I ain't

got to go and get my homestop maybe.

So this is like a bridge now, copy and

paste this we're building the form of the
song right now.

And what I've been doing lately is like,
songs are shorter right now, and I'm kind

of embracing that.

No third chorus really necessary right

now. Let's get this.

Let's be out here so this is the outro
chorus we're building right now.

Take all the, you know, just mute the
drums, signifying that it's just going to

be the down section and it ends right
there maybe go and get my hope, son.

And no cord under there just got to go
and get my hopes up that ends at two

eighteen. It's like I want it to be a short song

that might change.

I might wake up the next day and do the

next lesson and be like, oh wait, there's
a whole different thing we can do but

right now I want it to be a short song.

Let's go with the flow.

This is everything so far i was so
excited today.

That's my hair up.

Guess I got to hook so easily.

Guess I got to hook way too easily.

You said you stay right here with me.

I ain't gonna go and get my home, son and
make me think you did want me from the

burger, man.
You're understanding me on.

Come on.

I ain't gonna go and get my home, son.

Then you want to disappear.

Kick me up the dawn and get my or wait,

maybe that's dope and right there the
bass is going to be like rock and it's

not going to be as like pedal on the D
flat.

I don't like that anymore.

I feel like there's something more

special that could go there.

I feel like we haven't had a section that

has, like, long, elongated notes so maybe
I feel like that would be fun.

Like, I've been in, you know, I've
performed for crowds and like as much as

like 15000 thousand people and I love it
when people sing along to like, long

notes and sometimes my stuff gets a
little complicated so it's nice to break

it up with some, like, let's put the
metronome back on.

That'd be crazy.

Let's do this here, let me nail that let

me just let me back it up here.

Just want it to be something like that.

Drag this back a little bit, make it in
pocket.

Ah, now.

Now you can like for the bridge you can

just, like, stupidly sing along with the
little melody that's been laying the

entire time in the song.

Oh, that's kind of hard.

Let me dulicate this track because I want
them to kind of overlap.

This is the bridge.

What did I do?

Simple, shorter.

Oh, it all falls into each other.

Ok, right here and justice for fun to a
harmony on that.

And I just duplicate that again it's not
really.

I want to just keep it moving i could
easily make another aux for that, but

just just one just to hear the harmony
it's just for reference.

Ok, OK, let me do this right here copy
paste.

Ok, let's listen to all of this form
let's clean this up here we don't need

this extra stuff at the end Here, let's
label all of our stuff.

Call this RE.

After those four bars, we have Chorus 2.

This is like the sing song Lullaby
Bridge.

I probably like stack this vocal and do
all my usual Charlie harmonies and stuff

like that and this is going to be the out
chorus for now.

And I always just hit mark end where the
delay runs out so the bus sounds you know

what the the bounce rather sounds good.

It's two twenty two ten short ass song.

Might add something to it, but for right
now it's good let's listen to what we

got. I was so excited today.

You want to make that thing go away?
Guess I got to hook so easily.

You'll say you'll stay right here with
me.

Why you got to go and get my whole son
and make me think it did.

Want me from the burger, Man, You're
understanding me come on, come on why you

got to go and get my whole son?
And only like in here.

Then you want to disappear.

Keep me up to the dawn.

Come on.

I was so excited today.

I don't know where to go i ain't got to
go and get my own son and make me think

it did want me from the burger then you
understanding me?

Come on i ain't got to go and get my own
son.

And you want to disappear.

Keep me up to the dawn come on, I aren.

I ain't going to go and get my hopes up
and make me think it did want me from the

burger. Then you're understanding me.

Oh, come on.

I ain't going to go and get my hopes up.

I mean, that's aggressively short that's
like short, like a hip hop song it could

work. But I'll probably later in life maybe add

something another section to it maybe.

I don't know i love it when the the first

first goes right into the chorus the
first chorus, I think it's like really,

really special so I don't know, but
that's my scratch right now and then I

would not spend, I I wouldn't go crazy on
the sounds right now i'd go to a friend's

house, go to, you know, eat some food or
something, hang out with some people

safely, of course, And then have that
bounce in my car and just play it a bunch

of times and then when I'm not, when I'm
like all relaxed and not in the studio

thinking about it, I'll probably come up
with like a better idea or an

improvement. You know, Rome wasn't built in the day,

so you just get a little bit of it done
and just get excited about the

possibilities. So that's my scratch track now it is your

turn to do the same thing again don't no
need to fill in all the lyrics right

away. Just get the just get the skeleton of the

song just like I did and come back for
the next lesson and we'll add to it.