OK. So in this part, we are going to take the song that we made and we're gonna arrange it in more of a ballad form uh again using logic session player. So first thing we need to do is open up logic session player. And in the ballad form, I'm gonna expect a more strip back arrangement. So with a ballad, I'm probably gonna start with the keyboard player because that's gonna be providing most of the rhythmic and harmonic interest. So we're gonna start with this. OK? So logic session player has done its magic and we've got the keyboard player set up um for the first eight bars. Again, it has um just tried to decide what the chords are for us, but obviously, we know that it does it slightly wrong. So we need to go in and edit those chords. So we change those chords. We also need to change the harmonic pulse slightly. So we're getting those, that push of the 2nd and 4th chord. OK. We've done that. Let's now have a listen to it. We're gonna mute the electric piano. Let's have a listen. I wan...

t you to know that I love you. I know you feel it too. I am never going not let you go. Our fire will always glow with the OK. He's doing some really lovely things. I feel like though I want the verse to be slightly simpler and then my core is to be more complex. So let's click on the region and let's bring complexity right down. Let's keep it simple. Let's see how that sounds. I want you to know that I love you. I know you feel it too. I am never go. I let you go. Our fire will always glow. We OK. Another way we could make this simpler again is to try and limit the amount of movement that the piano player is doing. Especially in the right hand. There's that flourish that it does pretty early on which for me just feels a bit distracting. I love you. I know I don't need that in my verse. So let's go to movement and we're gonna go minimal range. Let's see how that changes it. I want you to know that I love you. I know you feel it too. I am never go. Now let you go. Our fire will always glow. I'm also gonna bring down fill amount as well. I want you to know that I love you. I know you feel it too. I am never go. Now let you go. Our fire will always glow with every I'm happy with that. I feel like that's sounding a lot nicer. Um As you can see, we've got, we can also change the voicing how, how much the chord is doing. So I'm gonna go at the moment it's on full chord. Let's go to three voice common to see how that sounds. I want you to know that I love you. I know you feel it too. I am never go. Now, let you go. Our fire will always glow with OK. I quite like the second half of uh what the part was doing right there. We'll listen to that one more time. I am never go. Now, let you go. Our fire will always glow. So I'm just gonna try and use that second half and we'll do it twice. So let's drag that. Get rid of the first half. Move this to the start and then we're going to loop that. Let's hear it one more time. I want you to know that I love you. I know you feel it too. I am never go. Now, let you go. Our fire will always glow with. I'm gonna make it slightly uh less complex in its fills. There's a note there that I'm not, I'm not a big fan of which is on the A minor. I know you feel, feels a little bit too crunchy, maybe a bit too tension filled. I want it to feel more like OK. No, it's just the cord that we've got. So let's see if we can adjust some of the faders. Um So we can, so we can get rid of it a little bit. So let's try bringing complexity down slightly. I want you to know that I love you. I know you feel it too. I am never go. Now let you go. Our fire will always glow. I'm happy with that. I think that's, that's more what I was looking for. I like the occasional extra notes that it's adding to the chords, but I don't want too much of it, especially in my verse. So let's now move to our chorus. We're gonna copy this region over. We're gonna make it not a loop anymore and we're gonna drag it out for the full eight bars and then let's try adding more complexity here. Let's see what happens. Oh With every beat I feel from the I'm in. So what's happened there is we haven't copied over the cords that we uh adjusted in the previous section. It's just doing a G chord. So we need to change that. In fact, we can do a loop here. That's useful. Let's get loopy. Let's have a listen to it one more time. Oh With every beat I feel. So from the still, I'm in ice. Paradise. Paradise. Some OK. I'm happy with that. Uh This time around. I don't feel like I need the repeat of the paradise, paradise that we did. In the other version. I like the idea of the space at the end of the section just to contemplate. Um, what we've already sung. What I might do is just add some more fills to this part and add a bit more complexity. Let's have a listen to that with every bead I feel from the still dawn. I'm in a paradise. Paradise. Sometimes it's hard. Ok. I'm happy with that. Let's try, let's try doing some other things. Let's try making this more full cord. Let's see how that changes the part with every bead from the I'm in paradise. Paradise. Paradise. OK. What's interesting when I changed it to full chord, it's changed the chords to feel less like they have more extensions or notes that aren't part of the triad. And now there's more just triad notes. So for example, in ac major chord, we're getting a lot more of the C, the E and the G that you would get in the major chord and less of the uh less stable notes like ad for example. So I'm gonna change that back to three voice common. Um And then I'm going to try and amend the range that we're using. So let's just try a small range and see how that changes it with every bead I feel from the I'm in I paradise paradise. Sometimes it's OK. Interesting. What happens if you make it medium range instead in the right hand with every beat I feel from the I'm in dice, pour dice, pour a dice. I quite like that. Let's now move to our left hand. We want to keep the left hand in. What happens if we make it complex? What does that do to the left hand part of the piano with every beat I feel. So from the still, I'm in dice. Para. Para, I like that. It's adding a little bit more rhythmic complexity. However, we haven't changed the voicing. It's just doing the root note of the chord. So what happens if we change it to root and fifth with every beat I feel from the I'm in paradise. Paradise. Nice again. I'm liking that we've got the rhythmic complexity, but we're adding other notes into the chord. It's also dropped that left hand base note down an octave. So it's even deeper and richer. I really like that. Let's now listen to the verse and then the chorus to see how the two parts contrast. I want you to know that I love you. I know you feel it too. I am never go. Now let you go. Our fire will always glow with every beat I feel from the I'm in paradise. Paradise, paradise. So OK, we could make those two parts contrast even more potentially by just trying to get rid of the left hand. Let's see how that sounds. I want you to know that. I love you. I know you feel it too. I am never go. Now let you go. Our fire. Will always glow with every beat. I feel I'm happy with that because now when that bass note hits at the start of the chorus feels even more impactful.

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Tomas George

Tomas is a UK Music Producer, Composer, Audio Engineer and Video Maker. He's been producing and writing music now for over twenty years, but especially loves teaching it online. Since 2016, he has created online courses about music, audio, and video production that hundreds of thousands of students from around the world have taken. <div><div><br></div></div>

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Peter Darling

Peter <span class="il">Darling</span> is a songwriter and composer operating mainly in the UK. His work has been featured internationally on radio, TV and internet for companies and shows such as Ariel, Queer Eye, Saturday Night Live, Lacoste, Timberland, and many many more. 

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topics covered in this class

Electronic Music Production Logic Pro Pro Audio Software Songwriting Vocals AI Creative Inspiration Writing

2,000+ classes ranging from fundamentals to advanced techniques.

Ballad - Part 1: Keys - Arranging with Logic Pro's 11's Session Players

Ballad - Part 1: Keys - Arranging with Logic Pro's 11's Session Players

Lesson Info

16. Ballad - Part 1: Keys - Arranging with Logic Pro's 11's Session Players

Lessons

Introduction and What You're Going to Learn

Let's Listen to the Two Versions of the Songs That We Create in this Course

AI Lyrics with Lyric Studio - Part 1: Verse 1

AI Lyrics with Lyric Studio - Part 2: Chorus

AI Lyrics with Lyric Studio - Part 3: Verse 2

AI Chord Sequence

How to Create AI Melodies with Melody Studio - Part 1: Verse 1

How to Create AI Melodies with Melody Studio - Part 2: Chorus

How to Create AI Melodies with Melody Studio - Part 3 Verse 2 + Importing MIDI

How to Create AI Vocals with Synth V Studio Basic - Part 1: Importing + Verse 1

How to Create AI Vocals with Synth V Studio Basic - Part 2: Verse 2

How to Create AI Vocals with Synth V Studio Basic - Part 3: Bouncing + Importing

Upbeat - Part 1: Drums - Arranging with Logic Pro 11's Session Players

Upbeat - Part 2: Bass - Arranging with Logic Pro 11's Session Players

Upbeat - Part 3: Keys - Arranging with Logic Pro 11's Session Players