To play along with the recording, capo on the 2nd fret or transpose your keyboard +2. CHORDSīeyoncé’s “Halo” consists of four chords and nothing more, it’s that simple. Varying your note rhythm patterns more than this song does will also help you define your song’s structure.
If you’re writing to a repeated four-chord progression like the one in this song, a rising note range is one way you can create contrast between song sections. TIP: The rising note range, lack of pauses, and creative use of rhythmical note repetition are a hallmark of topline writing. Instead, you can adapt any one of these techniques to create an interesting, contemporary effect in your melody. You might not want to create a melody as repetitious as this one.
#Halo beyonce series
The lyrics and note pitches change, but the note rhythm is always a series of short notes followed by one or two LONG ones.Īll together, the rhythmical repetition, rising note range, and lack of pauses give this song its hypnotic, chant-like sound and the feeling that it’s endlessly moving forward. In the post-chorus, the singer begin a series of short, repeated, overlapping phrases that pick up the pace and start on an even weaker beat, Beat 4.ģ.) The melody in every line of the song is rhythmically similar, creating a chant-like feel. The melody is continually in motion, pulling the listener further into the song.Ģ.) Every melody phrase in the verse, pre-chorus, and chorus starts on Beat 3 and ends on (or near) Beat 1, constantly leading you from a weaker beat to a stronger one. Here are some of the techniques these songwriters used to create that effect.ġ.) From the beginning of the song to the end, there are no pauses in the vocal melody longer than one beat. It’s so strong it almost creates a sense of vertigo in the listener. Much of this is a result of the relentless forward momentum of the melody. Notice how much emotional energy that octave leap creates! WRITE A MELODY WITH MOMENTUMĪt four minutes and 21 seconds, Beyoncé’s “Halo” is a long song, but it holds the listener’s interest-a pretty amazing feat for a slow ballad (84 BPM).
#Halo beyonce full
You can either jump up a full octave straight from the verse-as Beyoncé does in “If I Were a Boy”- or drop a pre-chorus in between and work your way up. Write a melody that rises a full octave from verse to chorus. Then notice how the melody remains in a higher range for the second verse. Listen to this song and notice the powerful upward motion of the melody beginning with Verse 1 through the post-chorus. But she never returns all the way to the low notes of Verse 1. Beyoncé plays with the melody, gradually descending to the note range of the first pre-chorus. Here the second verse remains an octave above the first one. And, while most songs will return to a low, conversational note range for the next verse, this melody doesn’t “reset” at the top of the second verse. Many songs feature a rising note range from verse to pre-chorus to chorus, but this one is exceptionally large. Large upward leaps like these raise the listener’s energy level in a big way. The post-chorus reaches the highest notes of all. The chorus ends up a full octave above the verses. The pre-chorus note range is about half an octave higher. The first verse features the lowest notes of the song. This song melody is filled with upward leaps in the melody. MELODY EMPLOY THE POWER OF THE OCTAVE LEAP
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