Відео

I love the message in the end! Pursue yourself first, then try to sell it to people similar to you! Hahah I however faled to see where in the "google" definition of genre can one deduce that a song has to belong only to one genre. I think that's an extra assumption you added to the essay. I understand why, many people may be mislead to believe that for whatever reason. But I just don't see that comming from the google definition. Anyways, keep it up!

What about when it goes to 5-7-5 rather than 5-5-7?

Crazy Tigran❤

Hi Braden, I am completely convinced that you are absolutely right! Thank you for clearing up this highly complicated and probably extremely controversal topic. It is always hard to follow your instincts against established opinion. Thank you for this Video! Best regards from Germany!

deep vid bro u earned my sub on this one , i would watch those designs on a loop for hours ngl

素晴らしいです!

Too much weed

You definitely made my day. Thanks a lot. Respect ❤

love it!!

My objection: By familiarizing oneself with music theory (in its current state), one runs the risk of forgetting to think, feel, and sense beyond the scope of what one has learned from the central tenets of the musical theoretical paradigm. I do see your point that music theory in itself does not categorically hinder creativity, as it is ever evolving and practically impossible to grasp in its entirety. However, the sequence with which its contents are learned is somewhat systematic, and in practice, the theory revolves around certain ground assumptions and ways of thinking about music. People tend to learn the core tenets first, and they are generally understood as fundamental and of most importance. Uncommon aspects of music theory are allocated to the fringes, and they are likely to be learned only after many years of studying, notwithstanding their potential usefulness and importace. Examples of central ground assumptions and ways of thinking are: - the use of the diatonic scale as opposed to microtonal scales - the use of equal temperament, - thinking about harmony and melody as separate musical concepts - thinking in chord progressions-or thinking in chords at all - the reduction of a piece of music to harmony, melody and rhythm, as opposed to timbres and frequencies, or colors, or feelings To my experience (of myself and many others), when one learns music theory, one adopts its framework of ground assumptions and ways of thinking, and therefore one tends to pay more attention to the aspects of music that fits within this framework and less attention to what doesn't. This effect is related to the concept of "functional fixedness" from cognitive psychology, which claims that it is mentally difficult to use tools in unintended ways. I've experienced it with musical groups that I've played with; when one's mind is on the endless possibilities of chords, modes, chord progressions, scales, bass lines or drum beats, there are many things that are overlooked in the process. One runs the risk of being satisfied with one's muscal part when chord progression that one is playing fits perfectly in the compositon, but at the same time overlooking that the sound being used is super harsh in the top-end, that it can be heard as a reference to another song (or some other cultural artefact) that you've forgotten to think about, that it makes the music feel a bit dorky in a way that is unexplainable by music theory, or that it sounds stiff compared to other elements of the music, and so on and so on... Some bands do everything "right" theoretically, or they even "break the rules" of the music theory that they know, but they still forget to look beyond current theoretical knowledge for insights. Most listeners have no idea when you've "broken the rules", unless you go way out of bounds. When you're mischievously breaking the rules by playing in mixolydian when you're not supposed to, most people just hear you playing some kind of melody on your instrument and paying attention to the "overall feeling" or "vibe" of it, and how it sounds together with all of the other stuff that is happening in the music. In my experience, it's way more important to consider the "vibe" than what is going on theoretically. There are a couple of ways to break out of this way of thinking. One is, as you mention, to learn an insane amount of musical theory-even the fringe theory that almost no one touches. If you have started learning already, this is probably what you should do, because the way back is possibly overgrown. Another way is to work with non-musicians who can provide you feedback that comes from outside the current music theoretical paradigm. They can tell you that your melody feels energetic, that it reminds them of a certain painting, or a color, or a person, or that it makes them want to dance by stomping their feet. They can tell you that it sounds like you're showing off, or that your stacks of chords make them drowsy, or that it needs to go faster and be more spiky or round. The third way is by distancing oneself from the framework, just as I am doing now. And sure, it's of course possible to be creative within the current musical theoretical paradigm-the vast majority of musicians are exactly that. I guess you can be microcreative by breaking less central rules, and macrocreative by breaking the more central ones. A synonym for "microcreative" could be "clever", or "surprising", and a synonym for "macrocreative" could be "groundbreaking", or "unheard of". So to conclude: You can be creative within the musical theoretical paradigm, but in the early stages of adopting it, and without extraparadigmal guidance, macrocreativity may be more difficult. That seems like a possible roadblock to me.

Beautiful!

This video is really well done. Great perspective!

Hey Braden, this is dope. I know this is an old video but if you still see these comments, I’d like to recommend a book to you (or anyone else who’s interested in this kind of work). “A Geometry of Music” by Dmitri Tymoczko takes a lot of the questions at play here regarding rhythm/meter and extends them to harmony/counterpoint. It isn’t light reading (I’m not a “music theorist” by any means) but this book answered a ton of questions that I never even knew how to ask. Check it out if you’re interested in seeing someone take this kind of analysis and run with it!

I also want to make this metal thing as I have wire and my dad has a mig an dIm sure I can get a wheel , myabe even a bike wheel would work haha, and then ill put it in my wall. Afterall music is frozen architecture ;) > > > > > > > > > > > > > > > > got you ! architecture is frozen music

Another youtube channel I follow linked this video when it came out. I found it pretty interesting then but hadn't expected that to spiral into what it became. He went from not being on my radar at all to being my # 1 played artist of 2020 and me and my partner are celebrating our anniversary by seeing him in Concert next week. Just wanted to say thank you!

great vid. whats the outro music?

This is tits! Love the song. Love it all man. Thank you!

hi Braden. Listen to 3:45 on the track and see what you think about the groups of missing groups of 3.

Hoely🐮

Thank you❤️learn the rules like a pro so you can break them like an artist👌🔥

Great catch and breakdown! Hey, BTW, I'm a sax player and drummer here in Denver. I would love to connect with you at some point. I scoped your band too. Message me if you have any interest in collaborating!

8:41 Song name? Since I've heard it before, once, I think that I already asked this question on another one of your videos.

0:45 *DON'T LET COPYRIGHT DEFINE YOU!!!! JUST LET THEM KNOW THAT IT'S NOT YOUR SONG, LIKE YOU LITERALLY JUST F🤬🤬KING DID!!!!*

11:04 Song name?

This is sick

Your approach here is completely off. This type of music is based on phrases , you don’t count it based on traditional classical music. I could hear him basing his phrasing and feel on different structures ( called dastgahs) more or less. Which are systems in trad music in his region and Iran. Although he has tweaked the whole thing drastically

This is my cuppa tea. Thank you.

Thanks for the analysis!

Oh sorry I was looking for Hardcore, not dubstep. Hardcore EDM is stuff like Angerfist or the bajillion bedroom hardcore producers that throw their songs out there.

Amazing! Which mic are you using to record vocals?

The word you were looking for was "heptagon" :P

Great detective work! I really liked how you synced the animation to shape as it played

You wouldnt happen to be a Slonimsky fan? This reminds me a bit of some of their ideas

I get it now,the threads image was used it album cover...

looks neat why so little views? ;-; we should be ashamed of our selfs...

great! suscribed! you are so talented. greetings from argentina!

Go Braden! Fun fact I'm graduating this year!

lol needed a laugh today

Man. I feel personally attacked. Thanks for the business idea tho. And the silly song.

I appreciate this man. Glad I found the vid.

EggIRL

Great vid :) good concept haha

In a video description on his channel Arthur Hnatek, the drummer on Levitation 21, uses the term "rubato" to describe the free time section: ua-cam.com/video/S_BJNxWkOZI/v-deo.html But it still wouldn't have surprised me if Tigran had written some super granular rhythmic pattern there.

Amazing! Beautiful sound 🖤🤟🏼

Nice breakdown. I just discovered your channel through you analysis of Levitation 21 and find it pretty interesting. Keep it up

heptagon

You just put into words what I’ve been thinking about this song the whole time! Your explanation of perceived downbeats vs. notational downbeats was clear and excellent. Awesome video!

Lmao

I think I just understand the basics of music theory and yet your videos got me really interested. Thanks for excellent content.

Just love how you break it down. Makes complete sense! Thank-you!