Lesson video

Hello, my name is Miss Charatan, and I'm really looking forward to teaching you today all about how we write words, how we set words to music.

So we're going to have a slightly wordy warmup today.

I'm going to give you a word, and you're going to find something that rhymes with it, and it's going to get steadily harder and harder.

So first one, fly, as in to fly.

Wave.

Smile.

Clappy, I meant to say happy, and I don't know why I said clappy, so happy.

How about clap? How about cold? How about young? How about whiz? How about sky? Great, hopefully you're suitably warmed up with your rhymes.

Let's get going.

In this lesson, you will need a piece of paper, a pencil to write some things down, your voice, definitely, and if you'd like, a Digital Audio Workstation, such as GarageBand or BandLab Education, if you'd like to take your work further.

Pause the video, go and get those things now, and come back when you're ready.

Great, let's get started.

So we're going to begin by recapping the different parts of a song, 'cause we need to know what part we are writing for.

We're then going to learn about how words are set to music.

We will learn how to generate ideas for lyrics.

We will learn how to write lyrics in an AAB structure, which is going to be so useful for all types of music.

And then we're going to explore how you might take your ideas further.

Let's begin by recapping the different parts of a song.

So firstly, we're going to be writing lyrics today, but what are lyrics? Think about your answer, and I'm going to give it now.

It is the words of a song.

So when I talk about lyrics, I'm talking about the words.

What is a typical song structure? Put the sections in order.

So here they are, all on my screen, all jumbled up.

Pause the video, put them in order, and resume when you're ready.

Great, so the correct order is as follows.

Check your work now.

Well done if you've got all of those correct.

So if we had to narrow down our structure, to the two most important parts for a song, what would they be? Choose two parts now.

Okay, if you chose verse and chorus, you were totally correct.

Those are the most important parts for song, and we can actually just have a song, which verse, chorus, verse, chorus.

We could even have a song which is verse, verse, verse! So we're going to stick with these two parts of the song, today.

I'm now going to play you.

"Ain't No Mountain High Enough" by Marvin Gaye.

And you probably know this song already, which part is the chorus, and which part is the verse, and how do you know? ♪ If you need me call me no matter where you are ♪ ♪ No matter how far don't worry baby ♪ ♪ Just call my name I'll be there in a hurry ♪ ♪ You don't have to worry ♪ ♪ 'Cause baby there ain't no mountain high enough ♪ ♪ Ain't no valley low enough ♪ ♪ Ain't no river wide enough ♪ ♪ To keep me from getting to you babe ♪ Such a great song, that one.

So which was the verse, which was the chorus? Can you divide it up? Yes you can.

So we have the verse was here, well done if you got that correct.

And our chorus is here.

How did we know? Well, the chorus was way more repetitive.

We have enough at the end of those first three lines and it's really, really catchy as well.

I'm sure you recognise this song really easily.

I absolutely love it.

So what are the features of verses and choruses? We are going to listen to a few more, and we're going to decide on the features as we listen to them.

Have your pen and paper ready, and note down anything you notice about this chorus and this verse.

This is The Beatles, "I Want to Hold Your Hand", another great song.

♪ Oh yeah, I'll tell you somethin' ♪ ♪ I think you'll understand ♪ ♪ When I say that somethin' ♪ ♪ I want to hold your hand ♪ ♪ I want to hold your hand ♪ ♪ I want to hold your hand ♪ ♪ Oh ♪ Great song.

So what do we notice about the chorus? Well yes, it's very short, and it's only got two lines, and they're repeated, they're the same thing.

It's also super catchy.

♪ I want to hold your hand ♪ Really, really catchy, that really sticks in your head.

How about this chorus? It looks quite a lot longer.

So I've actually divided this up into two bits, 'cause I can't play it all to you.

So this is "Believer" by Imagine Dragons.

I'm going to play you the verse.

No, I'm not, going to play you the verse.

♪ First things first ♪ ♪ I'mma say all the words inside my head ♪ ♪ I'm fired up and tired of the way that things have been ♪ ♪ Oh ooh ♪ ♪ The way that things have been, oh ooh ♪ Okay, so that's the verse, and here is the chorus.

♪ Pain! You made me a, you made me a believer, believer ♪ ♪ Pain! You break me down, you build me up ♪ ♪ Believer, believer ♪ Okay, so I couldn't play you all the chorus, but you can see it is very, very repetitive.

We've got these two contrasting lines in the middle, and then we have that same line again at the end.

So it was also a much, much higher, didn't you notice that? So the first bit was ♪ First things first ♪ And then the next bit was an octave higher.

♪ Pain ♪ Which has made it really, really exciting, and the kind of high point of the song.

So we've listened to three choruses so far.

So what have we noticed about verses and choruses? What are their features? Pause the video, put the features in the correct boxes, and resume when you're ready to check your answer.

Great, so check your answers now.

So verses have less energy.

They still have energy, but it's slightly more relaxed, generally speaking.

The lyrics tell a story, so they set us up for what is going to happen.

And generally speaking, every line is different.

The chorus on the other hand has maybe the main message of the song.

See, for example, "believer, you made me a, you made me a believer, believer", that was the main message.

Very repetitive as we've seen in all three of them, and probably the catchiest part.

So that's the bit that you're going to remember probably about the song.

However verses can also be catchy, but the chorus is probably the most catchy bit.

So now, let's test your knowledge.

I'm going to play you this two parts of this song.

This is "Hallelujah" originally by Leonard Cohen, but this one is sung by Rufus Wainwright.

You're going to identify which part is the verse and which is the chorus, so you just need to write the first word for example, and write a sentence to explain how you know it is the verse and the chorus.

So here is the first bit of the song.

♪ I'd heard there was a secret chord ♪ ♪ That David played and it pleased the Lord ♪ ♪ But you don't really care for music, do you? ♪ So I can't play you next three lines.

So now we're on the last two lines.

♪ Hallelujah, Hallelujah ♪ ♪ Hallelujah, Hallelujah ♪ Such a beautiful song.

Do go off and listen to that in your own time.

So pause the video, identify the verse and chorus, and explain why you have identified them like that.

Lovely, let's now check our answers.

So here was the verse, obviously much, much longer, and the chorus is much shorter.

How do we know this? So for the verse, it tells that story, it's got a real narrative there.

And each line is different, even though there are similar things.

So for example, the chord and Lord, that's a nice rhyme there, for every line is different.

Let's look at the chorus.

Very repetitive, it's just four words.

It's very catchy, it's the bit you remember the most, and it's actually got the main message saying, "Hallelujah", great.

Well done, if you identified the verse and chorus correctly, and if you managed to write a really great sentence explaining why.

So we've recapped the different parts of a song, we're now going to learn a bit more about how words are set to music, because that's going to really help inform your decisions when you're writing your own song.

So let's have a quick recap of what syllables are because we need syllables in order to set our words to music well.

So, words are divided into syllables.

So they're different parts of a word.

So for example, cheese is one syllable, just one, cheese.

Mushroom is divided into two.

Mush-room, two syllables.

To-ma-to, three syllables.

How many syllables does my pepperoni topping on my pizza have? Pep-per-on-i.

That is four syllables.

Well done if you got that correct.

I'm not so sure about mushroom and pepperoni pizza myself, but this was a great example for my syllables.

So we've cracked syllables.

We know what syllables are.

We now need to think about how we fit our syllables.

When songwriters set their lyrics to a melody, they need to work out how the syllables fit.

Do they want one syllable to have many different pitches or just one pitch? So we're going to now sing "Twinkle, Twinkle Little Star".

We need to think, does each syllable have its own pitch and its own note, or are they spread across more than one pitch? Okay, I've now appeared.

So here's our first note.

♪ Twin ♪ And it might be helpful to count on your hands the syllables.

So shall we go? ♪ Twinkle, twinkle little star ♪ ♪ How I wonder what you are ♪ ♪ Up above the world so high ♪ ♪ Like a diamond in the sky ♪ ♪ Twinkle, twinkle little star ♪ ♪ How I wonder what you are ♪ So did each syllable have its own pitch and note, as in, it was separate from the other notes and the pitches? Yes is the answer.

So we can see here, look, twin-kle, they all have their own notes, and you can actually see that they're divided by little dashes.

And that shows us that the word is divided up into syllables and they each have their own note.

Same with little.

So, each syllable has its own note and pitch.

And this is called syllabic word setting.

What part of a song or what type of song would you think you would use syllabic word setting in and why? Have a think about that now.

If you said verse, you're absolutely correct, because the verse is there to communicate a story, and it's much easier to do that syllabically because we can just get through it more quickly.

If I was going ♪ Twinkle ♪ that takes a much longer time than going ♪ Twinkle ♪ like that.

You also, rap music, rap songs have, generally, all syllabic word setting, because it's much more like speech.

And our speech is syllabic.

I don't go ♪ Hello ♪ to you.

So that is syllabic word setting.

It's great for versus, as I said, we don't need to hang around on the words.

So the opposite to syllabic word setting is melismatic word setting.

That's where we have more than one pitch per syllable.

This takes much more time, but it's really expressive, and can help emphasise a word.

I'm now back.

So how can we sing "Twinkle, Twinkle" melismatically? Obviously that's really hard because we'll need to stray away from the actual tune.

So it could be you add more notes to let's say star.

♪ Twinkle, twinkle little star ♪ that's melismatic, that's quite a long melismatic phrase.

Just going ♪ Star ♪ that is melismatic because there are two pitches for one syllable.

Star has one syllable, ♪ Star ♪ is two notes.

So that is how we could make it melismatic.

Here's a challenge for you.

Can you pause the video and try and come up with a really cool melismatic setting of "Twinkle, Twinkle Little Star"? Or you could do a melismatic setting of your own name.

So mine, Miss Charatan, ♪ Miss Charatan ♪ that is melismatic.

Pause the video, do a quick task for yourself.

Maybe one, two minutes, come back when you're ready.

Lovely, so let's now identify which bits are syllabic, and which bits are melismatic.

We're going to go back to that great song, "Hallelujah".

I'm going to play it to you one more time, and you are going to identify which bit is melismatic.

There is one melismatic word.

♪ I'd heard there was a secret chord ♪ ♪ That David played and it pleased the Lord ♪ ♪ But you don't really care for music do you? ♪ ♪ Hallelujah, Hallelujah ♪ ♪ Hallelujah, Hallelujah ♪ Did you spot the melismatic word setting? So we've got our verse, that is all syllabic because it's telling a story.

So the verse was completely syllabic.

Our chorus, on the other hand, the last Hallelujah was syllabic.

So we had first first one, ♪ Hallelujah ♪ they all have their own notes, they're own pitch.

The last one, ♪ Hallelujah ♪ they had more than one note, more than one pitch, on that lu sound.

That made it really expressive and really beautiful at the end.

It wouldn't have sounded as good if it just went ♪ Hallelujah, Hallelujah ♪ doesn't sound as good.

So if we look here, this is what it looks like in kind of our pink notation.

♪ Hallelujah ♪ Each one has its own pitch.

However, the last one is melismatic.

♪ Hallelujah ♪ How many pitches did the lu have on the melismatic Hallelujah? If you said four, you were correct, well done.

So what is syllabic word setting? Is it one pitch per syllable or many pitches per syllable? Correct answer is one pitch per syllable, well done.

And what is the term for many pitches per syllable? Melodic, mnemonic, melismatic, choose the correct one.

Yes, it is melismatic, great job.

So we have learned about how words are set to music, and we're now going to learn how to generate ideas for lyrics for your very own song! So exciting.

So you're going to write an AAB verse of a song, which is a really great starting point for all sorts of different lyric structures.

And then, you will have lots of options to take your ideas further should you wish to.

So when we write a song, we first need to think of our theme.

So that's really our song title.

Then we're going to come up with connected words to do with that theme.

That's going to help us make our lyrics.

Then lastly, when, as we're writing our lyrics, we will need to come up with words that rhyme with the connected words, otherwise we're not going to have such good flow to our lyrics.

Don't worry about the rhyming for now because that's something that we cover later on when we get writing.

So step one in writing your song.

You need to decide your message or point and choose your topic.

So when you decide your message or point and choose your topic, a good idea is to do something that you know really, really well.

That means that you could have something probably that you're passionate about and really confident at writing about.

Here are some ideas, such as your family, friends, somebody you love, maybe an experience you had.

And there's also some deeper ideas there too if you're feeling brave.

Pause the video, use this page to come up with some ideas, one topic for your song, and write it down on paper.

If you have too many ideas, don't worry at all because just choose one, and you can write another song about something else another time.

Take five minutes, resume the video once you've got a topic.

Great, hopefully you've got a topic you're feeling really passionate about and ready to write lyrics all about.

So we now need to mind map the topic.

Here was my example.

My topic is the environment, and I have mind mapped many words to do with the environment.

I just didn't really think too carefully about it.

I just wrote many, many down.

Some words I won't end up using, but that's absolutely fine.

The words I put in bold are the ones that I really love, and I really want to maybe use, and they really stick out to me.

You could do that too by underlining certain words in your mind map.

Don't worry too much about getting many, many words.

Even just a few would be a great starting point.

So you're now going to pause the video, and you're going to mind map your topic like I have done today.

You might want to do a big, long list.

You might want to make it more of a diagram.

And actually if you've got any ways or phrases that come to mind, you might want to write those down too.

So for example, for me, one that came out was save the earth, I thought I'd write that down.

That's fine.

Pause the video, take 10 minutes, and resume when you have finished your mind map.

Excellent work.

We're now going to move on to generating phrases from our mind map and our words.

So here is my mind map.

I'm going to extract some ideas from this mind map.

There are some words that stuck out to me, and I've highlighted a few more, actually.

I love the word precious, or the word mountains.

I actually really like the word planet.

I forgot to actually highlight that in italics.

I've got prized planet, better place, as my phrases that came to mind when I was mind mapping.

So my ideas, our planet is precious.

That's what came out for me.

Heal the forest, heal the sea, just came into my mind too.

I might not use all of this, but it's a good start.

So go back over your mind map.

Are there any phrases or ideas that come out? Could you put them into short sentences? You don't need to really organise them yet.

Just let it flow, write down as much as you can.

If you have loads of ideas, that's great.

Could you then decide which would be best for chorus, which will be best for a verse? Pause the video, take 10 minutes to find some phrases and ideas, and resume when you feel you got enough to move on.

Excellent work.

Let's now move on to writing our lyrics in an AAB structure.

So this brings us on to step four, writing lyrics.

So we're going to look at AAB verses.

Many blues and rock and roll songs use an AAB lyric structure, and they are so useful because there are two lines repeated, and then a third line.

So actually, you don't need to come up with that much material to get a whole verse.

This is the example from Elvis Presley, "Ain't Nothing But A Hound Dog".

Let's listen to it and spot that AAP structure.

♪ You ain't nothin' but a hound dog, cyrin' all the time ♪ ♪ You ain't nothin' but a hound dog, cryin' all the time ♪ ♪ We'll, you ain't never caught a rabbit ♪ ♪ And you ain't no friend of mine ♪ ♪ When they said ♪ And then, the second verse is very similar, it's just AAB with different lyrics.

We can see there is repetition here.

Repetition is not a bad thing at all.

Repetition is your friend.

Here is another AAB verse, and it's just "Chicago Blues" by Robert Johnson.

So similar thing, "Oh baby don't want to go, oh baby don't want to go, back to the land of California, to my sweet home Chicago." What do we notice about the rhyming here? Which words are rhyming? Well done if you spotted that the ends of the lines all rhyme.

So time, time, and mine.

So that's not an exact rhyme, but it's good enough.

And go, go, and to cago, again.

So we don't need to do absolutely perfect rhymes.

We just need to get that sense of a near rhyme is absolutely fine.

So I'm now going to create my own example.

So at the top, in my box, I've got some of my ideas from my mind map, and you're going to do similarly, you will have your mind map in front of you.

I really liked my phrase, our planet is precious.

And then I was trying to think of another end to that line.

Can you think of one? That our planet is precious, but what's happening to it? We don't respect it, that's what I got.

So our planet is precious, but we don't respect it.

Then I repeat it exactly.

Our planet is precious, but we don't respect it.

And then, I need something else at the bottom.

What should we do? We got to act now, and I put got to 'cause that's just a nicer way to put it.

It's not grammatically correct, but that's okay, I'm writing a song.

We've got to act now or what? What's going to happen? What rhymes with we've got to act now? What rhymes with it? I'm not quite sure, can you help me out? Hmm, so I actually decided to put we've got to act now or there won't be anything left.

respect it, left.

It's an okay rhyme, but maybe I need to switch some things around to make it better.

Can you think of anything I could do? Our planet is precious, but we don't respect it.

We've got to act now or there won't be anything left.

So I can swap it round.

Our planet is precious, but there's no respect.

And then I've got respect and left, and that sounds much better.

So as you're writing, you can make these small changes.

You don't need to stick with what you had originally.

So now I've got my AAB structure.

We've got to act now or there won't be anything left.

I can maybe even make that shorter.

We've got to act now or there'll be nothing left.

That might be even better, now I'm thinking about it, teaching you.

So you are now going to do what I've done.

You're going to write a verse in an AAB structure.

All you need is two lines to get your AAB structure.

If you're finished, you can actually try and think of an extra verse.

So maybe try an AABA structure.

Edit as much as you want, take 10 minutes.

Come back when you're ready.

Excellent.

So here is the checklist.

Which structure did you use and why? Which words rhyme? What do you think these lyrics would be suitable for? Verse or chorus, there's no real right answer.

It depends what your lyrics are.

So you have done a great job.

You've written lyrics in an AAB structure.

That is the beginning of a whole song.

Fantastic work.

We're now going to explore how to take our ideas further.

I'm going to give you various suggestions as to what to do.

You do not need to do them all.

Pick one, as I go through, that you're going to do, make a note of it, and then when I pause the video, you will do it then.

So option one, you've written your first AAB verse.

Well done.

You can now write a second one to make your song longer.

I'm not going to explain this to you, 'cause I've already taught you how to do it.

Option two, you could extend your lyrics into a different structure.

I'm going to show you how to do that now.

It is much easier than you think.

So we could change our lyric structure from an AAB to an ABAB.

So let's now look at my ABAB structure at the bottom.

For my ABAB structure, I got my first line exactly the same.

My B, exactly the same.

And then I just repeated it.

And actually I suddenly now got a much longer verse, which is four lines long rather than three.

So that's one way you can try really easily.

How about an AABA structure? This is a really popular structure in pop songs, such as Sam Smith's "Stay With Me".

Go away and listen, if you don't believe me.

So that's what I've done.

I've still kept my AA.

So I've got my planet is precious, but there's no respect.

I've repeated it.

I sandwiched it with a B, and I've gone back to A again.

Again, not too difficult.

I could think about doing an ABAC.

So now I've had to have a new idea there.

So actually for my newbie, I put oceans rising, so many deaths, our planet is precious, but there's no respect, We've got to act now or there's nothing left.

So again, they don't all rhyme.

Deaths and respects kind of rhymes-ish, but not really.

So you can actually be a bit more relaxed with the ABAC structure in terms of rhyming.

You could also experiment with an ABCD structure.

I haven't shown you to do that here, but that's something else you can experiment with 'cause there's not really a right way.

You don't have to do it in one of these three ways, whatever suits you and sounds good.

Another option is to create a chorus.

Again, this is not as difficult as it might seem.

Remember, what are the three features of a chorus we spoke about? Okay, if you said it was the main message, yes.

Repetitive, yes, very, very repetitive.

And the catchiest part, no pressure, eh? So what are we going to do about our chorus? You need to be thinking, what's your main message? My main message is everyone needs to save the planet.

What's your main idea, maybe.

What do you want people to do or think, or how do you feel? So for example, if it's a breakup song, don't leave me, I miss you.

Something like that might be your main feeling.

So for me, it's a message, to save the earth.

So what am I going to tell people to do? Look after our planet, potentially, look after the earth, up to you.

So what could go in my second bit of my chorus? It's our treasure.

So we're going to structure this in a similar way to maybe I saw earlier.

So I've done look after our planet, it's our treasure, look after our planet, and make it last forever.

That could be one chorus.

A nice ABAC structure.

This could be even more simple.

Look after the earth, look after the earth, look after the earth, we've got to make it work.

So that could actually, that's not very much work at all, is it? Because you've just got one small phrase, and you repeat it three times, and added one onto the end.

So use one of my two examples here.

So we've basically got an ABAC or an AAAB for your chorus, nice and short, nice and catchy.

Don't worry at all about the tune at the moment.

I'm now going to show you how to develop your work so far into a structure and maybe add a melody to it.

This is quite advanced, so don't worry if you're not at that stage yet, but it might be useful for you to see where your song could go.

So here is my song.

I've got my, actually extended my verse.

So I've got my ABAC verse, I liked that one the best.

And then I've got my really repetitive chorus.

I came up with two chorus sequences.

They're pretty easy to come up with.

You could steal mine, you've come up with, hopefully you've been doing some of my other lessons as well.

You could also feel free to change your chorus sequences as you went along.

Actually, I did for mine.

So my chord sequence here, I'm not going to go through it too much with you.

I'm going to show you maybe what I did to come up with a tune.

So I'll play you my chord sequence through.

So I'll start with my first chord.

Our planet is precious, but there's no respect, oceans rising, so many deaths.

So I'm just going to say my words first, just to kind of get that rhythm with my chords.

So our planet is precious, but there's no respect, oceans rising, so many deaths.

So now imagine a fast forward.

I then think about my melody.

Try and get a note from the chord.

♪ Our planet ta-dah ♪ Maybe like that one? Then I'd have a go at noodling around with my melody.

This is kind of what I came up with.

♪ Our planet is precious, but there's no respect, ♪ ♪ Oceans rising, so many deaths ♪ And then I repeat that again, maybe? ♪ Our planet is precious, but there's no respect ♪ ♪ We've got to act now ♪ Maybe even change the last line, ♪ Or there's nothing left ♪ So I'm not completely happy with that, that's fine.

I'm going to change it and work on it a little bit more.

Then if I did the chorus, I practise the same thing again.

I probably try and say the words on top, Look after the earth Look after the earth Look after the earth We've got to make it work Something like that, it's quite natural.

I haven't really got any melismatic writing in there yet, but I might choose to do so later.

Then I would think about maybe making it a bit higher.

♪ Look after, maybe up there ♪ ♪ Look after ♪ That may be a bit high.

♪ Look after the earth ♪ ♪ Look after the earth ♪ Stay with the chord.

♪ Look after the earth ♪ ♪ We've got to make it work ♪ Or, ♪ We've got to make it work ♪ ♪ We've got to make it work ♪ Something like that.

♪ Look after the earth ♪ ♪ Look after the earth ♪ ♪ Look after the earth ♪ ♪ We've got to make it work ♪ I like that one.

♪ Look after the earth ♪ And then I finish that off.

So that was my work in progress I just showed you there.

I would probably want to edit that and refine it even more.

But actually, I've got a verse and a chorus, which is a start of a song.

I might even then think about taking some things out or changing my words around, changing my chord sequence.

It's a long, crazy process.

You're not going to get it all done today, and that's absolutely great, but I do hope that you kind of stick with your song and go with it, and be creative.

So you are going to take your ideas further in one of the following ways.

Depending how much time you have or what you want to do with it, you could write another AAB verse.

You could probably do that pretty quickly.

Write a verse in different structure, like I showed you.

Write a chorus, put it all together and write a melody for your lyrics like I've done.

You could even use Digital Audio Workstation like GarageBand or BandLab Education.

Go on that, create a backing track for yourself or use loops, sing on top of it.

I'm not going to show you that today, but you should be able to do that by now, by looking at some of the other lessons.

If you need help for any of this, just rewind the video, and go back to the sections where I'm teaching you, for example, how to write a chorus.

Good luck, be creative, and enjoy your songwriting journey.

So hopefully you have taken your ideas further in some way.

Here are three questions to help you reflect on your work today.

Great job so far.

Excellent.

So it will be really good if you could share what you've done so far, it's also a really great opportunity to get some feedback.

So you could perform it to somebody at home.

If you're feeling brave, show it to somebody, you could record yourself on your phone and send it off.

I have done that before with some friends.

You could record yourself and share it with us in another platform.

If you're at a school, you could send it in.

You can enter it into a competition.

So many exciting things you can do with your song.

So I do hope you get it out there at some point.

So to finish, we're going to reflect on our work today, and recap some of our learning.

On a piece of paper, answer these three questions.

Pause the video, take three minutes, resume when you're finished.

Great, so syllabic word setting is when we have one pitch per syllable.

Well done if you got that one correct.

Give yourself a big tick.

Melismatic is when we have more than one note per syllable, for example, ♪ Miss Charatan ♪ for example.

And how did you write your lyrics? So you probably did the following things.

Decided your topic, mind map your words, extracted some longer phrases, and wrote in an AAB structure.

Well done for your great work today.

If you'd like to, please ask your parent or carer to share your work on Instagram, Facebook, or Twitter, tagging @OakNational and using the hashtag #LearnwithOak.

All that's left to say is great job.

I really, really genuinely hope you take it further.

It's so exciting to do and such a great creative outlet, and do share your work with others.

It will be really lovely for you to show off what amazing stuff you have done.

Take care, see you next time, bye!.