Why are B Sections SO HARD?

Stuck looping the same 4, 8, 16 bar phrase into oblivion? You may have heard that you need a 'B Section' before (whatever that means). I'll show you how to use them to break up the monotony and hold the listener's attention.
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[@JamesonNathanJones]

Oh look, a free eBook containing the compositional concepts I like to use :) bit.ly/FREEcompositionguide

[@blackcitadel37]

Everybody knows that it's actually in the C-sections that the best melodic ideas are born.

[@alexanderschweizer115]

As a Musicproducer/medstudent I am very happy to read such a tailored joke 😂😂😂 gave me a Chuckle 💪

[@SteelShirt99]

@@alexanderschweizer115curious to see how you balance the two

[@OurgasmComrade]

Also instead of using the same old 4/8/16 bar structures, experiment with 3/5/7/9 bar structures! David Bennett has a great video on songs with irregular phrasing!

[@JamesonNathanJones]

Actually planning to talk a bit about that in the “As of Old” breakdown. I often use odd combinations for loops and sequences so that they never quite line up the same way twice. Really helps get more mileage out of them. 👍

[@henrikfisch]

You quickly became one of the three most important channels on KZbin for me. Not only because of your content but also because of how you manage to explain things and therefore spark the urge to try things in making music (for me). The other two channels btw. are those from »Ricky Tinez« (not my music but I simply love the way he explains things and there's a lot to learn) and from »Dub Monitor« (who unfortunately is currently not making any more videos) who presents artists from the Dub-Ambient-genre. Thank you for all the work that went into you videos.

[@JamesonNathanJones]

Wow thanks so much. Love Ricky’s channel too 👍👍

[@henrikfisch]

@@JamesonNathanJones Btw.: I completely overlooked the »Prophet 12« when it came out. Somehow it didn't kick in anyway for me. After you made your video about the »Prophet 12« ... it is now on my »I need this«-list. 🙂

[@kp8923]

Dub Monitor is so good. Ricky seems like a good dude

[@michaelkonomos]

This is gold. This has been THE single most common obstacle I have faced in finishing my music. I've learned enough, and create frequently enough, to stumble into one part that I really love. Happy accidents are great. But to have a second happy accident that relates enough to the first - nearly impossible. At least in my experience. At this point you need some strategy - some intentional steps you know to take to make happy accidents more likely - and this is such a great video about principles that can get you going, without being overly prescriptive. Well done!

[@Stadsjaap]

Here's a thought: The A section is usually a nice hook or groove and that's why you keep it. It is less likely that you will come up with something even hookier or groovier for the B section. So, why not make your A secion your B section (where A would correspond to verse and B to chorus in the traditional song structure)? That way you don't have to pressure the track into trying to outshine your hook. 😊

[@05degrees]

Thanks, it’s really good when ideas can both be summarized in few words but also displayed wide because it really is how humans learn, by making our own abstractions and it’s usually not enough to hear a concise statement when you haven’t yet thought on the topic yourself. And even when you have conclusions like what you are hearing, it’s still useful to look at concrete ways you might’ve overlooked when thinking/practicing yourself. What I mean is, good pacing and exposition. Though I have a minor complaint: when you started describing what happens in section A when it plays, you cannot both be in the foreground, so ears like mine that aren’t very keen, would not find enough time to tune in to the music to better grasp the transition to a B section.

[@LueKey23]

Thanks Jameson, I always forget how helpful it can be to remember some basics of composing an interesting track. The trap of "it has to come out of my own creative mind without rules or theory" is always tempting but in the end even more frustrating. Good things often sound good for a reason. It can be just a pure good idea, but more likely its a good idea combined with some well done homework of rules and theory.

[@karl.weaver]

Thanks

[@chambre466]

thnx

[@fallprecauxionsmusic]

this kinda demystifies the whole thing of taking a central musical idea & getting deep into the development process. this is really helpful. many thanks, nathan!! -rocco

[@vlastnimokem7482]

wonderful stuff!

[@delbo3115]

Dang, you are unique in the Tuberverse in that you can hobnob up on Olympus and bring down and explain the divine concepts in terms we mortals can consume. I enjoy your self effacing methods and delivery, but I'm not fooled; you're the real deal, and you have an obvious passion for sharing, as much, almost ( I assume) as creating, Well done, please may I have some more?

[@nathanfinnegan522]

Another great vid! Thanks.

[@Elixirmusiques]

Great explanations with on the point examples. Superb music and lush soundscapes. Tremendous job Jameson!

[@Nala239]

this is a great video and I'll definitely look into the guide

[@unclemick-synths]

Great video 👍

[@davidmcgirr]

The third piece is outstanding, I really feel the stacking of intensity, the bass note changing the sonic landscape. I've also been enjoying your newsletter.

[@bingoflangeworthy]

I don't know where I heard it recently but the theory I'm currently conforming to is that repetition is good because you're teaching the listener what they are listening to, but you never repeat something more than once. I think for me this has resulted in some fairly satisfying non-tradition compositions, but at least I don't think they are boring. I wonder though - do people who are listening to your music ever hear it with quite the same ears as you? For starters, by the time you've got half way through composing it, you'll have heard your tune a thousand times more than anyone else will ever hear it.

[@robertochehade]

Great video ! I'm composing a new song at the moment and i was thinking on ways to create variations to my main idea . So this "opened" my brain .

[@feralfoods]

i seriously appreciate all the free stuff you offer. these videos, your composition guide, and emails. hopefully one day i can take a real course. but until then thank you so much. i am totally in a loop hell, i have about a thousand loops that are about a minute or two in length, but cannot seem to make them complete. thank you for your help, maybe i can get some of these made into complete tracks....

[@itsfadixx]

hi I came here from upload simulator 2 the mobile game that had your grounded soundtrack wich I feel like it was a banger u are very good at this and I love your work I'm a fan

[@sentimentaltrash]

Really appreciate the classical explanation into electronic music! The only other person I’ve seen talk about this is minor science (I’m sure there’s others out there) but you’ve explained it in a really tangible, easy way for me to get!!!! Lovely music! Thank you

[@Delouser69]

Great video, your voice and beard make me want to say you’re the Matt Walsh of music production, lol

[@gerrycasso2535]

Thank you

[@rodrigolaporte274]

WHO in his right mind can UNLIKE this video???? come on!

[@JamesonNathanJones]

I’m sure someone will haha

[@PsychologyAcademia]

You can take this idea further. Traditionally tracks start slowly evolving over time using the methods you show. But you can start fast(like jazz does sometimes). And go the other direction get more deeper and thoughtful. Then return to faster. This can add variety to the old formula which can get repetitive on an album say.

[@daynemin]

A book called The Addiction Formula is really good at breaking down sections, how to relate and create them.

[@Dave-nm8uk]

Reminds me slightly of the Good, the Bad and the Ugly! Good concepts here though. Will have to watch this a few times more. Also a short snippet of Satie right at the end.

[@Alckemy]

Duplicate and variate. That’s the easiest way to A- make your material longer and B- have a reference point to create something familiar yet different. Watching the rest of your video provides a lot of context to how it’s done in practice^

[@CartoonCityKid]

🫤 I can always FEEL when the change is supposed to happen. I think it's the time for a chord change or key change, and I don't know how...or with my limited knowledge, it's a total guess. I want to be able to make an educated guess like "I know at least 3 paths I can take, and this is the color of each" I think it's called "modulation" but I'm not sure. If someone knows what I mean maybe you can tell where I need to look.

[@jonathanparham]

I like the synth examples. I have to work hard to hear the transition

[@minddesigns01]

Your Waltz is lovely. Any chance you will be selling the sheet music? I purchased it from Bandcamp and have been listening to it over and over and over.

[@Fedor_Tkachev_Music]

I’m stuck in a habit of making sound on sound loops in sandman pro plugin. Just playing electric cello or synths into a 10 or 20 second buffer and listening how the sounds mangle and disintegrate over time, depending on the settings.

[@candormind3159]

I couldn't find this waltz on apple music

[@JamesonNathanJones]

Here you go :) music.apple.com/us/album/waltz-in-g-minor-piano-single/1712718427

[@stephanehoreczko]

Nice Waltz, is the sheet music for sale somewhere?

[@Nala239]

the Korg ms20 and model D sound very fat together, what fx was used on it ?

[@jscj2066]

I’m so happy that you created another KZbin channel with your music, so that I can find your music easily! I’m really enjoying Waltz in G Minor!! ❤️

[@jscj2066]

And great content in this video!

[@JamesonNathanJones]

Thank you!

[@BaltimoreReese]

Try to simplify please as I got a bit lost 1/3 into the video.

[@sentimentaltrash]

I think this video does a great job at kinda melding the theory from electronic production (switch ups) and music form (tertiary). If you’re a little stuck definitely recommend looking at one of those individually :)

[@OBRIZZLE]

Beautiful video well done (again!)

[@OBRIZZLE]

100th video liker 😎

[@JamesonNathanJones]

Thank you!

[@CJLloyd]

Thank you so much for this insight! I am literally going to put it use right now.

[@JamesonNathanJones]

Awesome! Thanks for watching :)

[@YoureNowOnTV]

Thank you for sharing your knowledge with the World. Your efforts are greatly appreciated! 😁👍

[@JamesonNathanJones]

I appreciate that!

[@BlackMan614]

I'm classically trained and I still use aids like Cognitone software. I've also seen artists workspaces where they have posters of circle of fifths and other harmonic aids on their walls.

[@IntertemporalTraveler]

I like to carry bass lines through the B section a lot, along with a very stripped back drum sections, sometimes even just a single drum element. I've also in the past when I wrote a violin solo that had a melodic variation of the A section an octave lower.

[@IntertemporalTraveler]

My biggest issue with any writing is having the time and mental space to sit down and write music I'm satisfied with that doesn't just feel like generic stuff anyone could come up with. Life is busy and music is still something I'm trying to build into more of a side gig.

[@Shadoweeeed]

Thanks! this video really helped getting out of my creativity stump!

[@JamesonNathanJones]

Great to hear!

[@pugo7925]

I put your video in a background while doing mandatory tasks, at some point I slightly lost you and got completely drowned in the beautiful music. it really resonated with me, I really need to check out your music. and re-watch this video at some point

[@JamesonNathanJones]

Haha thank you!

[@Herfinnur]

I love Waltz in G Minor so much!

[@JamesonNathanJones]

Thanks!

[@tinkerwithstuff]

"put something in there that sounds like it doesn't belong there... we don't want that !?!?" ... many 'technical' Prog Rock / Metal bands: "hold my beer"

[@DerekPower]

Sanddunes and Shorelines was in a sense an exercise in consciously coming up with B sections. Contrast definitely played a role such as faster chord sequences compared to slow, more dynamic bass-lines compared to steady state, etc. I even took an old idea and used that as a B section.

[@PattyCFG]

'Grounded' was the perfect example.

[@johnnyhawk]

COOL

[@donnydarko7624]

I laughed too hard at "now what?", so did ableton.

[@WizardOfArc]

I like to play with variations and harmonizations to the original idea

[@primewavesmusic]

I like that song you used as an example at 5:00. What is its title?

[@primewavesmusic]

Nevermind - I noticed it up in the top left corner. "Tides"

[@GizzyDillespee]

Play the head, then each instrument takes a solo, then play the head. And if there's a c-section, don't stray too far from the g-string.

[@MrKrisstain]

but what if u not got A sektion?