Uploaded August 2026 | Updated September 2026, 3 weeks ago
From first note to finished track that belongs in a real game, and if you decide to, getting paid to compose.
Get the free roadmap: bestmusiccoach.com/roadmap?htrafficsource=yt&el=use-3-phrase-rules-to-write-melodies-that-actually-resolve
There are three things that will create an effective phrase when composing video game music. Number one, have one, and at the most, two motifs. You have one motif and you develop it, or one motif and a second motif and you could develop both of them. Number two is some type of contrasting climax that happens once in the phrase. That could be a high pitch, a low pitch, a change in timbre, the quality of the sound, or an articulation, ornament, or continuous pitch movement like a bend or a slide. And number three is going to be a pause point. Now, a pause point is at the end of measure two, end of measure four, end of measure six, end of measure eight. Some type of area where you either use a longer note, you resolve syncopation, you use some rests to create a feeling of coming to rest or resolution at the level of the rhythm of the melody. Those three things will create effective phrases, especially when paired with singable melodies that are more clustered, meaning not too high, and not too low. You have a note that starts and then you don't go too high and too low from there, and melodies that are either full or empty, full meaning there's more notes or empty meaning there's fewer notes, longer durations, and more rests. That tip comes to you courtesy of page 133 from the book Compose Legendary Video Game Music. It's available on Amazon for purchase now.
From first note to finished track that belongs in a real game, and if you decide to, getting paid to compose.
Get the free roadmap: bestmusiccoach.com/roadmap?htrafficsource=yt&el=use-3-phrase-rules-to-write-melodies-that-actually-resolve
There are three things that will create an effective phrase when composing video game music. Number one, have one, and at the most, two motifs. You have one motif and you develop it, or one motif and a second motif and you could develop both of them. Number two is some type of contrasting climax that happens once in the phrase. That could be a high pitch, a low pitch, a change in timbre, the quality of the sound, or an articulation, ornament, or continuous pitch movement like a bend or a slide. And number three is going to be a pause point. Now, a pause point is at the end of measure two, end of measure four, end of measure six, end of measure eight. Some type of area where you either use a longer note, you resolve syncopation, you use some rests to create a feeling of coming to rest or resolution at the level of the rhythm of the melody. Those three things will create effective phrases, especially when paired with singable melodies that are more clustered, meaning not too high, and not too low. You have a note that starts and then you don't go too high and too low from there, and melodies that are either full or empty, full meaning there's more notes or empty meaning there's fewer notes, longer durations, and more rests. That tip comes to you courtesy of page 133 from the book Compose Legendary Video Game Music. It's available on Amazon for purchase now.
