Suno Instructions for the Music Theory Explanation Copy and paste the block below directly into Suno as your full prompt (style + lyrics). Style prompt: Spoken word educational narration in the style of a clear, authoritative classic radio announcer. Warm baritone male voice (or confident female radio host voice), measured pacing, excellent diction, slight natural reverb like an old broadcast booth. Calm, knowledgeable, and engaging — the tone of a late-night jazz radio host explaining something important. No singing. No music bed at first, then very subtle sparse piano or soft ambient pad underneath that never competes with the voice. Clean, intimate, high-quality spoken delivery. Tempo of speech is deliberate and easy to follow. Structure as a continuous radio-style monologue with natural pauses between sections. Lyrics / Script: Welcome. Today we’re covering the essential music theory every songwriter actually needs. First, the musical alphabet. There are twelve unique notes. C, C sharp or D flat, D, D sharp or E flat, E, F, F sharp or G flat, G, G sharp or A flat, A, A sharp or B flat, and B. Then it repeats. A half step is the smallest distance between notes. A whole step is two half steps. Next, scales. The major scale is the foundation of most bright-sounding songs. Its formula is whole, whole, half, whole, whole, whole, half. In the key of C that gives you C, D, E, F, G, A, B, C. The natural minor scale feels darker. Its formula is whole, half, whole, whole, half, whole, whole. A minor is A, B, C, D, E, F, G, A. Pentatonic scales are especially useful for melodies. The major pentatonic uses the first, second, third, fifth, and sixth notes of the major scale. The minor pentatonic uses the first, flat third, fourth, fifth, and flat seventh of the minor scale. These five-note scales almost always sound strong. Intervals are the distances between notes and they carry emotion. A minor third sounds sad. A major third sounds bright. A perfect fifth feels powerful and open. A tritone feels tense. Larger leaps create drama. Smaller steps feel smooth. Chords are built by stacking thirds. A major triad is the first, third, and fifth notes of a major scale. A minor triad lowers the third. Seventh chords add one more note for richer color. In any major key the basic chords are: one major, two minor, three minor, four major, five major, six minor, and seven diminished. Some of the most useful progressions for songwriters are one–five–six–four, six–four–one–five, one–four–five, and the classic two–five–one. The five chord creates the strongest pull back to the one chord. Every major key has a relative minor that uses the exact same notes. C major and A minor are relatives. Switching between them gives you instant emotional contrast. When writing melodies, stay mostly inside the scale. Land on chord tones — the first, third, or fifth of the current chord — on the strong beats. Use other scale notes on weaker beats for movement. Repetition with small variations is stronger than constant new ideas. Leave space. The highest note in a phrase often carries the most weight. Rhythm matters too. Most songs are in four-four time. Strong beats are one and three. Syncopation — emphasizing the off-beats — adds energy. Here’s a practical way to use all of this: choose a key and a mood. Pick a progression that matches the emotion you want. Write a simple melody that sits mostly in the scale and hits chord tones on the strong beats. Test it against the chords. Adjust anything that clashes. Then add rhythmic interest and create contrast between sections. These are the core relationships. Master them and you stop guessing. You start making deliberate choices that move the listener. That is the foundation. Extra tips for better results in Suno: • If the voice comes out too fast or rushed, add “slow deliberate pacing, clear enunciation, natural pauses between ideas” to the style prompt. • For a more modern podcast feel instead of classic radio, change the voice description to “calm, intelligent podcast host, conversational but precise.” • You can generate it in sections (Part 1: notes and scales, Part 2: chords and progressions, etc.) if the full length gets truncated. • After generation, you can use the “Extend” or “Continue” features if you want to expand any section. This should give you a clean spoken-word track that sounds like a radio host delivering the exact explanation.
