this video is really good! hard to hear you at points since music gets a bit loud but overall really really good stuff. don’t ever see mafumafu or utatie get covered like this. :)
I thought your analysis on the E9 passing chord in Onna no ko ni Naritai was pretty interesting. I really just thought of it as another b7 chord since I know nothing about jazz harmony (actually, I really only know the basics of western music...), so it was cool to hear about the diminished shenanigans. Definitely excited to hear about what you have to say about his atonal stuff!
The diminished stuff is kinda a reach now that I think of it, but basically it was just me trying to explain why a bVII can function as a V substitute.
Damn I've been waiting for this! Although this is in English and I know nothing about music, now I appreciate Mafumafu's music even more than before. I'm glad to be able to understand even just a small fraction of his wonderful works. Thank you very much, the fandom will remember you forever 😭💖
Wait a second... I just watched one of your earlier videos and you (at least to me) looked and sounded like a female and now you sound like a fully grown man...
I guess the power of Mafu is so strong any enjoyer automatically turns into a chad.
Finally part 2! I’m a little late now actually but I’m glad I can finally watch it, the first part is one of my favourite videos about Mafu so I’m really glad there’s a next part :D
Super awesome analysis man! I do want to comment on something on the vi-I7 6/4-IVmaj7 chord though in Crayons in the Night Sky. I like to see the passing chord between the E/B and the A as an A#m7b5 since this is just the upper structure of an F#9 chord and it makes sense since it's the V/V and often times in jpop the V/V resolves to the IV. Just wanted to share how I interpret this voicing and chord. Funny note though, the first time I heard this song a few months ago, I thought it was a Bm chord instead of an E/B so when I heard it again in this video I was so confused playing along to it but then I stopped to listen a little closer and I realized it was a I chord. Music is hard like that I guess
Ahh also for I wanna be a girl (english titles cause I can't remember the japanese for shit) I like to think of the bVII as modal mixture of the minor mode. So since it's in F# major, the E major comes as the diatonic VII in F# minor. I almost exclusive view the bVI and bVII as modal mixtures of the minor mode of a key. In a song like peace sign by Kenshi Yonezu, at the end of the chorus, you hear B-Db-Eb which is just a common bVI-bVII-I progression. I think there's a mafumafu song with this progression but I cannot think of it off the top of my head. Basically what I'm trying to say is that I think of bVII working as a dominant substitute because of the relation to the parallel minor key. If the song were in A major, then we could see something like vi-IV-V-V/vi in which the last two chords would be an E-C#. I never really considered looking at it from a diminished chord point of view, but now it's got me thinking that the bVII also works because it can function as a tritone substitution
@@vanillakevs5469 I recently got into music to sing, but I wanted to learn theory and at the same time how the music of my favorite artists is made, and comments like yours blow my mind
![[ENG SUB] Cooking showdown continues!! Mafumafu VS Amatsuki + Soraru Judge (Part 2) |SoraMafuAma](http://i.ytimg.com/vi/fxXpg2ZR7iQ/mqdefault.jpg)
OOPS
At 4:09 It should be G# instead of F#
And at 3:01 it should be i not I
Cal calling Mafu a genius, when he SHOULD be talking about how Cal is a genius
6:11 "because jazz" HAHAHA i love it
this video is really good! hard to hear you at points since music gets a bit loud but overall really really good stuff. don’t ever see mafumafu or utatie get covered like this. :)
Thanks!
ahh I'll work on it
I thought your analysis on the E9 passing chord in Onna no ko ni Naritai was pretty interesting. I really just thought of it as another b7 chord since I know nothing about jazz harmony (actually, I really only know the basics of western music...), so it was cool to hear about the diminished shenanigans. Definitely excited to hear about what you have to say about his atonal stuff!
The diminished stuff is kinda a reach now that I think of it, but basically it was just me trying to explain why a bVII can function as a V substitute.
Damn I've been waiting for this! Although this is in English and I know nothing about music, now I appreciate Mafumafu's music even more than before. I'm glad to be able to understand even just a small fraction of his wonderful works. Thank you very much, the fandom will remember you forever 😭💖
I've been looking forward to this video since the first part. Thanks for uploading :)
Wait a second... I just watched one of your earlier videos and you (at least to me) looked and sounded like a female and now you sound like a fully grown man...
I guess the power of Mafu is so strong any enjoyer automatically turns into a chad.
Finally part 2! I’m a little late now actually but I’m glad I can finally watch it, the first part is one of my favourite videos about Mafu so I’m really glad there’s a next part :D
Super awesome analysis man! I do want to comment on something on the vi-I7 6/4-IVmaj7 chord though in Crayons in the Night Sky. I like to see the passing chord between the E/B and the A as an A#m7b5 since this is just the upper structure of an F#9 chord and it makes sense since it's the V/V and often times in jpop the V/V resolves to the IV. Just wanted to share how I interpret this voicing and chord. Funny note though, the first time I heard this song a few months ago, I thought it was a Bm chord instead of an E/B so when I heard it again in this video I was so confused playing along to it but then I stopped to listen a little closer and I realized it was a I chord. Music is hard like that I guess
Ahh also for I wanna be a girl (english titles cause I can't remember the japanese for shit) I like to think of the bVII as modal mixture of the minor mode. So since it's in F# major, the E major comes as the diatonic VII in F# minor. I almost exclusive view the bVI and bVII as modal mixtures of the minor mode of a key. In a song like peace sign by Kenshi Yonezu, at the end of the chorus, you hear B-Db-Eb which is just a common bVI-bVII-I progression. I think there's a mafumafu song with this progression but I cannot think of it off the top of my head. Basically what I'm trying to say is that I think of bVII working as a dominant substitute because of the relation to the parallel minor key. If the song were in A major, then we could see something like vi-IV-V-V/vi in which the last two chords would be an E-C#. I never really considered looking at it from a diminished chord point of view, but now it's got me thinking that the bVII also works because it can function as a tritone substitution
@@vanillakevs5469 I recently got into music to sing, but I wanted to learn theory and at the same time how the music of my favorite artists is made, and comments like yours blow my mind
is there a next one 😢