Lin-Manuel Miranda's Iconic Overlapping Technique
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- Опубліковано 28 гру 2021
- They way he overlaps each person's part in the climax of his songs is so good!
Non Stop - Hamilton
96000 - In the Heights
We Don't Talk About Bruno - Encanto
No copy right intended. - Розваги
i think it's lowkey a crime for not mentioning Blackout when more than half of the song is *this*
There’s a part in the song “Finale” when all of the characters are singing different parts as Us Navi gets ready to leave Washington Heights.
YES i came to this video solely expecting Blackout. It's my favorite song from In the Heights!
Totally agree!
Blackout is different though. Cause yes it was layered, but the layering in those parts served more to show that it was just chaotic around. And they also weren’t established lines the characters had already sung. So there isn’t any reason to think they wouldn’t fit together so easily. Whereas the other 3 songs had lines that came separately earlier in the song and then all blended together in the end. And in Hamilton’s case, it came from lines that were sang throughout the movie. That’s what makes it so special to hear the first time
let's not forget about Schuyler Sisters
its like a tradition of him in every project
its tradition in the vast majority of musicals for the number before the end of act 1 to play all the songs played so far to sum up and recap the act
He didn't do it in 21 chump street sadly
@@ShurikanBlade or vivo
he didn’t for moana
@@mehanaleila wel.. he wasnt the only composer on moana so its not completely his, but in the hiest and hamilton are and he was and hack even encanto. You get me? Hes a writer on these too
Lin really has a way of creating that feeling that every character has a mind and ambitions of his own, while still making it feel like they’re a part of the group belonging to the plot and not feeling out of place or messy. It’s beautiful
And that's the second way he's similar to Frank Capra.
he’s crazy hro
Wow. Look at Mozart opera. Nothing new.
@@markswessinger7814 yes just like how
A perfect game or a 60 point game isint new still impressive af
What he said 💯💯
Lin really said musical chaos but it sounds like harmony and I love that for him
Love that for him or love him for that? XD
Thats cause uts not musical chaos
Controlled chaos
@@dw1419 it's new internet lingo lol
It's like when your friend has good news and you say "love that for you"
he's the gustav holst of our time
Hamilton is amazing though, because he is not overlapping any sounds, he is overlapping the motifs of all the characters as they were sung through act 1, basically reminding us all of the characters and where they are right before finishing the act and at the same time saying look, all of that brought us (and Hamilton) here, while also perfectly capturing the feeling of having a thousand voices in your head while trying to make a decision. And somehow it all fits into a great so g
Same with encanto
@@markusbonnet439 not really. In encanto he overlaps the parts of the different characters from the same song, basically telling their stories about Bruno. The part that really surprises me about Hamilton is that he is basically mixing parts from all of the songs of the musical up to that part AND the way it sounds has a thematic meaning in the musical.
@@neoshenlong I think the only parts where they added bits were Isabella and Dolores, with them saying "I'm fine" as if convincing themselves they're going to be fine with the choices that are being made about Mariano's proposal/lh
Yeah, I enjoy all of them, but Non-stop is just on another level. The whole way he plays with motifs in that musical just keeps impressing me even now when I've listened to it hundreds of times
Yeah. If Hamilton's compared to Encanto, he basically treated the whole Hamilton as one song and he uses "parts" of the song back, since in Encanto he uses the parts of the song in the end.
He doesn't take into consideration the feelings of those of us who sings all the voices in a sing along
😂😂 right
True😂😂😂
And this is why I'm teaching my children the different parts as we watch Encanto multiple times daily 😆
Yeah when I reach the dinner table part of We Don't Talk About Bruno I basically sing:
"Seven foot frame, rats along his back, and there wasn't a cloud in the sky, no clouds allowed in the he told me that my powers would grow, THUNDER, you telling the story or am I? Oije Mariano's on his way He told me that the life of my dreams would be promised and someday be mine, Abuela get the umbrella-a-a, and I'm fine, and I'm fine, and I'm fine HE'S HERE!"
@@00ammy00 LMFAO FR
I like how Anthony Ramos who was a secondary character in ‘Hamilton’ became the lead in ‘In the heights’ and Stephanie Beatriz who was a secondary character in ‘In the heights’ was the main character of ‘Encanto’
Seems like a pattern
And the lady who plays abuela in In the Heights is also abuela in Encanto
@@nluvwithrobin To clarify, Olga (Doña Claudia) is only Abuela’s singing voice. The abuela’s normal voice is done by someone different.
I absolutely love this
That’s it. Next movie will have Camilo’s actor as the lead
How was he able to make the overlapping work in We Don't Talk About Bruno? Like everyone's verses were so different and he mashed them up to sound perfect like how?!
Because the underlying harmonies are still the same.
I think it’s because they’re still the same chord progressions, but they’re all in different tempos?
same key and same tempo, so they can be mashed up however you want
The only one who we can’t hear (because she’s whispering) is Dolores’ verse.
The first part of it
@@aimanazminovich3602 We can hear her, you just have to listen very carefully.
It was honestly the overlapping technique in we don't talk about bruno that made me realize it was Lin who wrote songs for Encanto
They also mention a hurricane in the song, no Lin musical without at least one mention of hurricanes.
Oh! How funny!
He didn't invent this concept. It's called an all-skate, and its been used in dozens of musicals such as Les Miserables, RENT, You're A Good Man Charlie Brown, and almost every Sondheim musical
@@RENTnerd87 No one said he invented the concept; just say you wanted to be a nerd and go.
@@noneofyourbusiness2477 There's always that one nerd in the comment section that tries to debunk anything, like cool, you know how to use google.
What’s so amazing is how it all blends so well and how it sounds so good despite how all of them sings together like it shouldn’t have hit that hard but it DOES
edit: 9k likes?! I guess we all love what Lin does with his pen
Writes on the same chord progressions he explained it in an encanto extra
96000 especially - it all shouldn’t work together but it’s FIRE
And he's only getting better at it with each project!
Leonard Bernstein actually invented that kind of musical technique for Broadway in the Tonight Quintet of West Side Story!
@@belle-ashton2167 what is this technique called? Im trying to find
Wow, if I had a nickel for every time Stephanie Beatriz was involved in one of Lin-Manuel Miranda's overlapping technique songs I'd have two nickels. Which isn't a lot, but it's weird that it happened twice.
lol
I wasn’t a fan of her role in In the Heights but yes I love her as Mirabel
I mean, you can say the exact same thing for Anthony Ramos, too
Leslie Odom Jr., and Karen Olivo too. Leslie was in the tick-tick boom workshop i think? And Hamilton. Karen too, she was in In The Heights OG cast, was the Angelica Schuyler of Chicago, and was also on the tick-tick boom workshop. And Mandy Gonzales and Christopher Jackson too! She was on In The Heights OG cast as well and is currently Angelica Schuyler rn on broadway i think. And Christopher Jackson was on In The Heights OG Cast, Hamilton and the movie version of In The Heights. Philippa Soo can also be kinda added as she did sing the demo of "How Far I'll go" from Moana lol. ^^
It's amazing how he's able to make every single word intelligible and understandable even tho it's overlapped. My respecf for him just went higher
That’s the sound designer/actors not Lin
HE DOES IT SOOO WELL I thought that no one else was aware of that overlapping Technique
sondheim
I agree Sondheim does it as well with A Little Night Music and Into the Woods I think. Oh, and West Side Story. He wrote the lyrics for that musical. That's all I can think of atm haha
I mean, he didn’t invent it, but he certainly is good at it.
Am I missing something, Isn't this just basic use of leitmotif?
@@octoartstuff I think it's the extent to which he uses it. Leitmotifs are in everything, but the way most of Lin's shows use not only instrumental and melodical motifs but lyrical motifs that are all built to flow together and change overtime is... Intense. Eliza, for example, has "that would be enough", "look around, look around", and "helpless" which are present throughout nearly every one of her songs and change throughout the show to reflection her character's relationship to Alexander. Going even a step further, Maria using Eliza's motif of "helpless" when Alexander is having an affair with her is considered grimy and gross, because that's Her word, for Her love. So many of his songs are basically patchworks of previous ones, evoking specific emotions, with the fun in this video being how they overlap to give new meaning and intensity.
I got a bit caught up in it, but the point is that the extent to which Lin's shows depend on leitmotifs is what makes him unique
This is a musical technique called polyphony and it usually sounds really chaotic- but good. However Lin elevates it so that it actually harmonizes as well as still being seperate, and it sounds fucking amazing. He's a musical genius- comparable to Mozart in my opinion.
Doubt you even listen to classical.
There has never and will likely never be a genius born that was quite like Mozart. Lin is good, but no composer before or after Mozart can really be compared to his sheer natural talent (not necessarily his quality).
Everyone shitting on you for the Mozart bit but really, fr, Lin is amazing. His lyricism is stunning I almost cried when I heard ‘sentences bordered on senseless’ and ‘city is insidious’ I nearly happy cried. And the way he can make unique and unconventional forms of base music, sound so good, is astounding. Mozart was as good as he was, because he was one of the first of his kind. He invented new styles because so few existed at that time. It is impossible for modern composers to accomplish the same, but that doesn’t mean they aren’t comparable.
@@vel6319 i really couldn’t care less what strangers on the internet believe but thank you :)
@@vel6319 Agree with you. People often forgets that most of the genius lived back then are so important right now because they were pioneers. Its a impossible place the reach for the others who came after them.
There's something so satisfying every time he does it. It always sounds perfect.
I think this goes far further than Lin. For example in the climax of Les Mis' One Day More everyone sings their own part from the song and it overlaps into this sort of thing. Here's an example of what I'm talking about ua-cam.com/video/M78k8fqnxY4/v-deo.html&ab_channel=lesmiserableslondon
I still do agree that the way Lin calls back to not only previous lines of the song, but to the whole motifs of characters is great. Lin truly is a genius.
I think the video is only pointing out that Lin has a tendency of using this technique in his hit projects; not claiming that he invented it
Yeah, almost every musical composer has done something similar at some point--Andrew Lloyd Webber, Leonard Bernstein, Stephen Sondheim, Jonathan Larson, Jeanine Tesori, Tom Kitt, Alan Menken, Jim Steinman... Lin's works are special in many ways but this isn't it. Still, it's wonderful whenever it happens--my ears are weak :>
You're right that it's a pretty standard musical theatre trope. Hamilton, of course, takes it to the next level because it uses musical motifs like very few musicals before it ever have. It's a technique which provides for good climaxes.
@@aryan.mathur191 Indeed-Hamilton is one of the structurally tightest shows I've seen, with a variety of motifs blending into different songs, the verbal meaning transforming as the show progresses to signify character development. The only other show I remember seeing this happen is Merrily We Roll Along, in which same words take on different meaning in different stages of the characters' lives. It may very well be one of Lin's inspirations, as he is shown to learn from the works of his predecessors.
@@aryan.mathur191 plenty of shows use motifs hamilton just uses them lyrically so you here it.any musical writer worth their weight is gonna use musical motifs. allot of sondhiem uses the same sequence of notes, sometimes slowed down or sped up or even sometimes the mirrored image of the motif to tell the story
We Don't Talk About Bruno is probably the peak because of just how many tracks are being layered onto one another and each one of them is audible and also able to blend in with one another.
i can't hear dolores
@@ralsideltrun1391 you gotta listen really closely
@@ralsideltrun1391 I think you can hea her sing "another" while mirabel is putting together the pieces for example
@@ralsideltrun1391 watch the official lyric video once you see her lyrics, you can start to hear her too(it worked for me)
As soon as I heard that part in We Don’t Talk About Bruno, I immediately thought about Non-Stop in Hamilton. I knew Lin composed for Encanto, but that moment nailed the door on the coffin for me. If I could learn a thing or two about Lin’s songwriting, I would only hope to be half of how great he is!!!
Same LMAO ik he worked on encanto but never really thought about it until the last third of we don't talk about bruno
Same. When I saw that but I went, “non-stop 2.0” even tho I know it was also in In the heights 😂
I hope you do
i really love how in the encanto song featurette thingy he mentioned how each character has a certain pulse and when everyone is singing he carefully places the characters’ respective pulses in their parts and thats just beautiful
But also at the end when rebuilding their home, the sisters all sing in each a part of their respective sisters "pulse" in unison, its beautiful.
He’s such a genius
I’m so glad you’ve made a cut of all of these! When I heard it in Encanto I was so unsurprised but in the best way
"We Don't Talk About Bruno" is probably the best on this list and in the movie, due in large part to the sheer number of characters singing at once, with different-styled parts, yet all keeping the same rhythm and tempo.
Totally agree. I think 5 of them are singing at the same time with Peppa and Felix going back and forth with each other. It’s well written.
I seen the movie 3 times. I still can’t find a favorite song
They're all amazing but Non-Stop is just on another level entirely.
I can’t figure a favorite song I have in Encanto or Hamilton
My favorite thing Lin does is make the music have it's own progression arc.
Hamilton does this really well. Many songs are repeated in the play, but the tone and cadence completely changes based on the story.
He does this in Vivo too. I'm not sure of the song names, but "You and I" and "running out of time" are played a lot throughout the movie, but they slowly develop new meaning as the film progresses.
I think Manuel's ability to do this is really something special
I’ve been a fan of him since I saw the national tour of In the Heights summer 2010. I wanted to see him play Usnavi at the Hollywood Pantages. Instead I saw another guy as Usnavi in Costa Mesa
In Vivo's Running Out Of Time, i think what Lin is establish the themes of Gabi and Vivo in the previous songs then combined them in this song.
The line "Remember [ ]" is from Keep the Beat, which is where Vivo and Gabi is just mellowly getting along. Now, it's both of them united under one goal: getting the song to Marta
Lin is just good at making the absolute sure that every song in his musicals is as useful as possible
The technical term for this is ‘musical counterpoint’ and there are some really terrific examples of this throughout Music Theatre history. My personal favourite is the Tonight (Quintet) from West Side Story
Did you listen to the 2021 version of the song? It sounds pretty impressive.
@@belle-ashton2167 I haven’t seen it yet
The recap of Christmas Bells from rent is also an amazing modern example. It's just amazing when it swells and then all moves back to unison for "no room at the Holiday inn". You can tell how much influence Lin took from Joshua Larson.
The scene in "We don't talk about bruno" where they are putting the dishes and singing together is just amazing
i just love the one with washington overpowering eliza and angelica's singing because it always reminds me of that meme where a train is passing through and another train suddenly comes crashing through it. my brain is broken
😂😂
He's a Musical Genius!!!
The overlapping in "We don't talk about Bruno" makes even bigger sense when you notice, that every character sings their own part when the vision is still in pieces and when it's put together by Mirabel, they all start to sing "we don't talk about Bruno" in one voice
I love it he literally represents what's going on in your brain when you're thinking about multiple things at once
We didn't know Lin Manuel wrote the lyrics for tr last movie. Then we heard nobody talks about Bruno and we both screamed 'this must be LIN Manuel!'. It's indeed, very iconic and a way to put his handprint on everything he makes.
He was one of few reasons I believed in Encanto and the beautiful movie it would be
He also does it in Blackout - In The Heights!
One of his most underrated songs. Sadly, I feel like the movie didn't really do it justice, at least for me.
That’s my favorite example of it!
@@silverstarlightproductions1292 changing the ending made sense for the transition but really killed the song’s entire build up and main reason for existing (being the finale to the story’s 1st act)
@@spacecadet3293 Exactly! I also hate how they got rid of Benny and Nina's part and replaced it with Usnavi's stupid line: "You were shaking your ass for like half of the heights!" I was just like: "Y'all really arguing about this right now??"
@@silverstarlightproductions1292 yeah replacing a problematic story beat with a line that would sound out of pocket in 2008 is head scratch inducing. Blackout is arguably one of the top three songs in the show so to see it just kind of squished in between a four song marathon is kind of disheartening
This is called an “all skate.” And he isn’t the only one who’s ever done this.
ikr that's basic opera technique
Yeah, but he introduce me to this technique and put it into the pop culture
Nobody's saying he's the only one to do this. You have to admit, the way he does it is iconic.
Thank you for dedicating a video to this. I feel like this his call sign or musical watermark. He truly a masterful writer.
every musical does this though. its a common trope of the last song of act 1 of every musical
@@ThePurpleCheesecakeZebra They are fans. They can't think clearly.
@@Maspets Are you just replying to every comment. No one is saying he INVENTED it. He just executes it very well. Have you really listened to his musicals (besides Hamilton and Encanto). There's a ton: 21 Chump Street, In The Heights, Moana, Vivo, Bring It On, Mary Poppins Returns. When Stephen Sondheim revived West Side Story, he enlisted Lin to cowrite additional lyrics. Lin has worked with Stephen and cites him as an influence. Lin is a composer. In your other comments, you have called him mediocre, "kiddie" and you have said he doesn't know music theory. That's bafflingly humiliating
@@lysmith5280 The title clearly suggests he invented it or that the technique is "his" in some way. So someone is saying that. And I never said "he doesn't know music theory", try using your brain next time you read what I write.
@@Maspets You did say that in a different comment section lol
Leonard Bernstein actually invented that kind of musical technique for Broadway in the Tonight Quintet of West Side Story! But what’s impressive in Lin is that he mixed various and complex melodies in such a smooth and modern way.
Ever since In the Heights, I believed Leonard would have been proud of Lin
I’ve always loved overlapping, I wish more people would do it.
he does it very briefly in Running Out of Time in Vivo when Gabi goes “we gotta go we gotta go we gotta go” and Vivo goes “i know i know i know” too
I felt those Savages from Pocahontas vibes since it was the turning point race against time
You mean… simultaneous recapitulation? It’s so weird seeing people discover this like it’s somehow a revolutionary thing that Lin invented
Nobody said that. Theyre just recognizing that its a key element that he impliments in all of his work. Chill.
it’s in les mis too
He’s just a legend ❤️❤️
this is one of my favorite songwriting gimmicks, weezer and fall out boy have done it as well as sondheim musicals and les mis, and i'm sure there are tons of other examples, but it's always such a satisfying payoff. loved the way lin did it in we don't talk about bruno!
Im curious about fall out boy songs that use this gimmick, could you share some examples so i can check them out?
@@madellineb8730 listen to What a Catch, Donnie - they invited a bunch of other fueledbyramen artists to layer in lyrics of their other songs and it's beautiful.
Weezer did it with Long Time Sunshine.
and every time is like- *chills*
Honestly, Lin just understands the art of music
His heart and will to experiment with different cultures is the true measure of a musician
He does it so well because I’ve heard it in other musicals before and usually think it’s a mess and hard to understand
I had no idea he did the music for Encanto???! That explains why it’s so good
He was one of few reasons why I was so excited for the movie
Lin is seriously one of the greatest of this time. I’m so glad to be around to experience his talents and gifts!!!!
Me too! I first saw In the Heights when I was 17. As the son of a Mexican American, I felt a connection with wanting to learn from the cultures of DR, PR and Cuba. To expand my cultural horizons. And the music was unlike what I have heard before. I haven’t gone back to Mexico since 2005 and have been wanting to for a while. I’m California born who never realized In the Heights would be the beginning of a journey. I’m 29 now and Lin has had a sensational year with the movie version of ITH. As well as Vivo and Encanto
The magic of music theater! Multiple characters singing about their distinct feelings in a way that somehow all comes together in perfect harmony! ❤️ As others have pointed out, Lin didn’t invent this technique (though he does execute it very well). It’s been common in Western music theater since the 1700’s. A few famous examples:
Le Nozze di Figaro Act II Finale (Mozart, 1786)
Bella figlia dell’amore, Rigoletto (Verdi, 1832)
Falstaff Act II Finale (Verdi, 1883)
Pretty much all of Act II of La Boheme (Puccini, 1895)
Tonight Quintet, West Side Story (Bernstein, 1957)
Johanna Reprise, Sweeney Todd (Sondheim, 1979)
There was a great overlapping moment in Vivo too
He’s such a musical genius!
The fact that these songs are so catchy and make me want to dance WHILE highlighting the character's motifs, motivations an feelings, as well as helping the plot advance. It's just so impressive... Lin Manuel, HOWWWW?!
Of course. It's Lin lmao he's too awesome
This skill of his… just legend-worthy. I can’t get enough. Absolute master.
This is a musical theatre staple but Lin definitely goes hard
After watching Encanto and listening to that song in full it's so much more impressive because it's like 5 verses that are completey different rhythm-wise but put together they clash so awesomely...
You know what they say, two Melodie’s make a harmony.
Ehm... This is the most musical theatre thing ever. It has been so for ages.
Hamilton will forever have a special place in my heart. I remember watching it live back in 2016 w my dad and holy crap was it amazing.
I loooove that he does this. Nonstop is my favorite Hamilton song
It's not iconic because musical theater has made that a common thing for years. But he does it well
This is a convention in the musical theatre and has been for decades and is the same for opera. He does it well but most composers do this.
i love what they did with we dont talk abt bruno because when the girls spin around places it also swaps the audio of the characters
MORE EXAMPLES OF THIS IN LIN MANUEL’S WORKS:
The end of one of his single works called “Almost like Praying” featuring the Artists of Puerto Rico.
“Running Out of Time” from the movie Vivo has a minor overlapping part.
From the Same movie, “Keep the Beat” features an overlapping duet.
“Where you Are” from the Moana Soundtrack has overlapping from the villagers of Montinu’i (Don’t know if I spelled this right)
In the Movie, “Mary Poppins Returns” There’s another one in “Trip a little light Fantastic”.
“Blackout” in In the Heights is A PRIME EXAMPLE
Hope this interests you guys!
Due respect: There's no doubt that he's mastered it, and put his own signature on it, but it's not specifically a Miranda thing ... it's a 'Broadway' thing! A 'musicals' thing. Classic scenes in Les Miz and Rent both have this. To name only a few I'm sure.
Without Rent, there would partially be no Hamilton or In the Heights
"Overlapping technique" (aka polyphony) has been used in music since somebody tried singing the first canon probably like thousands of years ago. It's everywhere in classical music from fugues and choral music to most operas and musicals ever written. I love this compilation though and I guess just like Harry Potter did with reading, Lin Manuel Miranda is bringing new people to music and musical theatre.
In the Heights came to Broadway at a time when I was nurturing the inner musical theatre geek inside me. I was already into Wicked and Hairspray
And he does it so you never really lose track of what everyone is saying. Normally, it ends up just this huge mess where you have no idea what's happening, but he balances them so well by bringing certain lyrics to the front then pushing them back and they just play and bounce against each other in such a beautiful magical way
Called it! I knew We don’t talk about Bruno was gonna be in here
I'M GETTING ALL THE GOOSEBUMPS JUST WATCHING THIS!!
I haven't even seen In the Heights yet, and I'm sure its overlap part will hit harder when I do, but it still sounds electrifying!
Lin has really convinced the world that he invented the ostinato, huh
Lin said he basically gives each part a melody over the same chord with diff rhythms, he has def mastered that technique
We can’t forget tick tick boom therapy 🤨
yeah but jonathan larson wrote the song not lin, so it does not count here
This is literally how I found out he did the encanto soundtrack, we don’t talk about Bruno had Lin vibes all around
You know its lin when there’s amazing overlapping at the end of the songs
This overlapping technique is a standard practice in opera, and consequentially musical theatre. The unique gift LM Miranda brings is merging historic classical techniques with modern culturally relevant rhythmic and instrumental patterns.
Esas canciones son mis favoritas de cada película/obra. Ugh, están tan llenas de entusiasmo y energía que me hacen querer cantar ✨
I love it because it's incredible and sounds amazing, LIN IS LITERALLY THE DEFINITION OF TALENT, but i hate it because i can never decide what part to sing😂🥺
this technique of his is so addictive to the ears!! and its so satisfying to have all songs mash up together for a more powerful effect! and one of his signatures too that ive grown to love is narrating through song like characters will literally sing what they are doing / about to do at that exact moment.
IMO he perfected this in Encanto
System of a Down does this too and it sounds amazing.
Love LMM, a truly brilliant lyricist and composer! If you guys love this type of thing, it’s actually a common trope in musical theatre like Les Mis or Into the Woods which many people in the comments have graciously pointed out. My personal favorite is Finale B from RENT, yall please check it out! (though it goes without saying that it really helps to know the context by listening to the entire musical first)
My favorite is 96000, I love In the Heights and that song just HITS
I love spotting this technique in his music, it's one of the things that I immediately associate with Lin and his work. Non-stop I adore especially, as it brings in motifs from previous songs, specific to each present character, and it just slaps so damn HARD. He always makes it sound simultaneously chaotic and coordinated in the best way possible. What a genius
Given probably hundreds of musical songs do this I'd say you're not going to have a hard time spotting it in almost everything you'll listen to
I was talking specifically about Lin’s music but you make a good point. Could you give me a few examples because I’ve been in the mood to expand my music taste.
Wait, people don't seriously think he coined this technique right? Especially when he consistently talks about his biggest influences like Sondheim who does this in almost al of his shows.
I don't believe they're trying to say that Lin invented the technique, however he has a unique style of how the music over laps
He’s Amadeus🥰 in the Amadeus movie Wolfgang describes all the singers singing their individual songs at the same time, & explains you can’t do that with talking, it would be chaos. (I think it’s when he is talking about The Magic Flute
In artist terms, its like overlapping your rough sketches of the same thing together and it looks really good somehow
I've been down so many "Lin-Manuel Miranda DEMO's" on my youtube recommendations that I really thought this video was going to be another Lin-Manuel Miranda impressions video 💀
I hope people know he didn't invent this concept. It's called an all-skate, and its been used in dozens of musicals such as Les Miserables, RENT, You're A Good Man Charlie Brown, and almost every Sondheim musical
he's excellent in storytelling through music
You forget one of the best finale, in my opinion. In the Heights finale is so touching and also, has parts of overlapping.
- Hydrants are open
- Hydrants are open “a little higher”
- Piragua: piragüero
- Siempre seguirás en tu camino para siempre: Abuela Claudia
- Going downtown, it won’t be long: Vanessa
He is truly genius! The first time I heard it, I was reminded of how operas use that technique - love how he modernized it!
I’m sad he didn’t do this technique in Moana 😔 (at least I don’t remember him doing it)
I feel like they didn’t give him as much leeway in Moana, but in Encanto he wrote all the songs and seemed to have much more freedom to add his signature style to the songs
Didn't expect to find the brii Studios in this comment section!
I don't think there are enough characters with their own motifs to mix in one song in Moana to be integrated well in the story... So he didn't write one? Just my guess.
Such a unique talent and I FREAKING LOVE IT. Blackout is my favorite though.
Therapy from Tick Tick Boom is also a great example and THESE songs slapped SO HARD I LOVE THEM
The fact that I can understand it all makes it even better.
My Idol 💛
I love LMM, but this is hardly unique to him. He just executes it extremely well (as he does with everything else).
I’ve seen almost everything Lin has created
Thank you for this. Iconic is a great way to describe this. It's so much fun to listen to and try to sing all the parts!
Not only do the voices blend together cohesively and beautifuly but the overlapping technique is both recognizable and different in every musical which makes it fun, interesting and doesn't get old at all. This guy's a song writer legend.
Kinda wish someone with some music theory would talk about and break down this stuff. I love it but people rarely mention this part of a musical (which tons of shows do) but it's bizarre because I think it's the greatest use of the medium and it's never talked about.
There’s this great UA-camr named Howard Ho that goes really deep into a lot of Hamilton’s music theory and musicals in general!!
@@nataliesquire969 love his stuff, I asked if he'd ever talk about this and he said he might so...here's hoping lol
I'm sure Sideways spoke about it in one of his videos (the technique, not Hamilton) though I could be wrong
Yes Howard Ho’s vids on this topic & others are fantastic.
i can imagine the demos
It’s more of a he is a master at describing multiple stories at once and combining them perfectly
If he does it in every piece of work he does I'm all for it because his execution is top tier
I may be biased (look at my profile picture) but I feel like Non-Stop was the best one