1481236060 DM Workbook v4 106 .pdf

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06 TURNING MELODIES INTO ARRANGEMENTS
DEADMAU5 TEACHES ELECTRONIC MUSIC PRODUCTION

It’s all just derived from sustained chords, which is all fucking
music is really. — deadmau5

16

SUBCHAPTERS
▶▶ Bass Lines
▶▶ Lead Lines
▶▶ Case Study: Cat

CHAPTER RECAP
Turning your melodic structure into a layered arrangement of
different instruments is easier than you'd think. Every note you're
going to need is already in the chords of your melody. Your bass
will be derived from the lowest notes of the chords, and your
lead line will be derived from notes near the top of your chords.

Thruster

NOTES

You can make your parts more interesting by playing around with
the length and order of the notes, moving parts up or down five
or seven semitones, or using arpeggiators to make things more
complicated.
TAKE IT FURTHER
▶▶ Take a deeper listen to "Cat Thruster"—take note of where the

chords change and what the bass and leads are doing.
▶▶ Get to know your arpeggiator better: whether you use a plug

in like Cthulu or the Arp that comes standard with your DAW,
spend some time messing around with its features until you
feel like you know it inside out. Arpeggiators are all over
deadmau5’s music–find an Arp pattern you like in one of his
songs and see if you can make something that sounds similar.
If you're up for a challenge, "4ware" is a good place to start.

ASSIGNMENT
▶▶ Go back to the melodic structures in your Mr. Potato Head bin

and use what you've just learned to pull bass and lead lines out
of each one. Save these into new folders in your clip bin.

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