Join Tim's online conservatory on Patreon (High Castle Conservatory). This is the best way to support Tim's efforts to create more music education content and get exclusive lessons. www.patreon.com/hccmusic Explore and buy albums from Tim's 50's/60's & Beach Boys-inspired group I.S.S. albums on Bandcamp timsmolens.bandcamp.com/ Explore and buy the albums of Tim's genre-defying sci-fi prog band with an all-star international roster, High Castle Teleorkestra. highcastleteleorkestra.bandcamp.com/ Explore Tim's UA-cam channel playlists and subscribe to his channel. ua-cam.com/users/timsmolens Check out Tim's website timsmolens.com/
At one point in my life, I had my grandmothers piano at a house I rented, and at that time I had bought the Pet Sounds box set, and that was the first time I’d actually heard the album. I had only heard Wouldn’t Be, and Sloop, and God Only Knows. I was blown AWAY by this song. I learned how to play it on that piano. I couldn’t believe how great this song was. The vibe and mood of it is epic, it’s absolutely beautiful chords.
This was the song my wife and I danced to for our final dance at the end of our wedding. Our anniversary is coming up so I’m working on a cover of it for her. This was invaluable. Thank you Tim
Me too. I’m here there anywhere, concerning Brian Wilson appreciation. This song for instance, I feel it’s criminal that I never heard this until I was 28. It’s pure brilliance.
This is ‘Beatles who, Elvis who?’ Get the hell outta here….”artists?”, this makes them ‘sound simply not THIS talented’… it’s just music from Brian’s brain, his own writing. He’s IMPRESSIVE….
My music theory knowledge is scruffy as I play electric guitar but I can grasp a fair amount of this. I was always drawn to Wilson's compositions they feel so magical. Those half diminished chords and minor 6s are beautiful. I also love the minimal bass line travel
I adore this song and all of Brian's accessible yet sophisticated music. I have an intermediate grasp of music theory, but I find a lot of jazz too jarring and almost pretentious to my ear, though I fully appreciate the level of skill and dedication to master it and I respect those who can. I am fascinated with Brian's ability to make complex music sound relatable and easy to digest. It is a shame most people only know the Beach Boys for their more straight forward early pop hits, especially over here in England; It's all Surfin USA or Barbara Ann. It's testament to Brian's genius how he can make something so complex and innovate so easy on the ear and the heart. It's beautiful yet heart breaking, melancholic and deeply uplifting in equal measure. The Beach Boys deserve just as much notoriety and accolades as The Beatles. Modern pop music is not art and not innovative or interesting in my opinion. It's lazy and it's conveyor belt landfill music using the same clichéd tried and tested chord progressions and asinine lyrics to appeal to the lowest common denominator. It has gone the same way as the film industry in my opinion. It's a shame. As a child of the 90s I can't help but feel my generation and those who came after have been short changed in this regard. I hope the new Beach Boys documentary soon to be released on Disney will introduce Brain's music to a whole new set of fans. Your analysis is fantastic, both in terms of music analysis and articulating the feelings and emotion this song invokes. Never heard it so perfectly described. I could spend many an hour discussing Brian's music with you over a beer or six! Thank you for this and all of your work exploring Brian's music. I hope your channel achieves the recognition and success it truly deserves. Great work.
Well im sure Rick Beato understands you but we can all agree that this is simply beautiful. Depending on mood this is my favorite BW composition and song
I was composing some stuff earlier, and this song hit me and made me stop. The way the first chorus ends, the arrangements of the conclusion "heartbeat" flow into the 1st part of the 2nd verse, which makes the transition feel so unique. Ontop of that, the next phrase is where the strings are introduced. The way they come in is staggered as well, starting softly around "we could live" and then swelling beautifully into "forever tonight". The staggering of arrangements is absolutely brilliant and subtle. Love your work in Estradasphere and SC3!
Thank you so much for this phenomenal breakdown of my favorite Beach Boys song. It's so complex. I remember reading an interview with Elvis Costello where he said one of the most startling things he'd ever heard was Don't Talk being played on the cello. I've searched for it but can't find it. The cello would absolutely suit it perfectly, though.
Whenever I hear this song I think of that line from Shakespeare, “That strain again! it had a dying fall.” Seems like the notes just go down and down forever. Great video, thanks!
THE most complex song on Pet Sounds - well explained. Have you checked out the Philip Lambert book Inside the Music of Brian Wilson for breakdowns? LOVE your calling chords androgenous - which the truly are. Nice sweater BUT even better is the double bass in the background. The half-diminished chords on the album helped make it. I'll head over to THAT song next.
Yep this is just about the most complex song on there. Yeah that androgynous word seems to work really well for those certain chords that don't give the listener any sense of major or minor or feel like both. Check out the hour-long video I just put out on half diminished chords and all the diversity they add for the songwriter. Thanks for watching
@@TimSmolens I will go and check out the half diminished - which really have to come from his jazz voicing infatuation with Four Freshmen. The explanations of bass notes - melodies within themselves, which is further reference of FF part writing. Moving voicings. He had the vocal overdub of voices from February 11th, 1966, at Western which eventually came the string part. The voices were instruments in their own. Watching more of your channel now. Thanks for ALL that you do.
WONDERFUL analysis! One question about the bridge: The chords you've denoted (C/G - Ab6 - Cm9/G - C7-9/G) are slightly different from what I hear, which is C/G - Bb7/Ab - EbM7/G - Gdim7. In other words, the same (V7 -> I) with G7/F -> C/G is repeated (modulating to Eb-major) with Bb7/Ab -> EbM7/G. Then it modulates back to F-major, using the Gdim7 -> F/A as a (viio -> I). Curious what you/anyone thinks of this! Cheers :)
Another awesome analysis Tim. I'm working on a song that bounces between a major D key (verses) and it's relative minor Bm (choruses) and it was affirming to see your call out of the minor key's ii half diminished to V7 - which I've found is crucial tension needed to sell the minor key chorus as a bonafide CHORUS and to keep it from feeling like a meandering vi chord bridge.
I couldn't disagree more about the fade out being an uninteresting arranging choice. There's a reason Brian faded out nearly every Beach Boys song. In his 2016 memoir, he said "I liked (vocal) rounds because they made it seem like a song was something eternal".
I think you have a good point. My point is that I had analyzed so many interesting and innovative devices up to that point that there was nothing ground breaking about the fadeout and there doesn't need to be because it is perfect in it's simplicity and you are right about it hinting at eternity. Thanks for watching*!
@@TimSmolens Ah that makes sense. Yeah nothing groundbreaking. But a tasteful choice I think for a song like this. Resolving at the end would almost destroy something about the song. That sort of hypnotic quality. Instead, trailing off in repetition just works really well. Loving these analysis videos of Brian's compositions. Few have done so in such depth. Keep up the great work!
Also 19:09, let's not forget that music isn't a meritocracy. I'm sure Brian didn't think so highly of his own compositions; perhaps some irreverence is not only permitted but necessary.
Beautiful examination of arguably his greatest work and clearly explained with humour,candour and possibly a hashish hangover!A delightful celebration unquestionably;I shall be revisiting this video regularly.Thank you.
@@minifuzz5 thank you so much. the "hashish hangover" is me recording the video when I got off work and I work graveyard so I was super slap happy and semi delirious. Check my playlist page for lots more similar videos of Beach Boys analysis and other things for the advancing musicians and composers.
@@TimSmolens Hey Tim,I have just discovered your page and wholeheartedly dig what you are doing!As a self taught jazz musician I came home one night about 17 years ago(whilst fully engaged in a 20 year long London gigging career)and found a 90 minute doc on Brian and the BBs and just had my ass handed to me at that moment!So,while late to the game I have been fully enjoying the voyage of harmonic brilliance that Brian brought.Just this minute enjoying your 'Surfs Up' extrapolations and will be delighting in more in the nearness of time! Blessings from the South of France.Stu
Join Tim's online conservatory on Patreon (High Castle Conservatory). This is the best way to support Tim's efforts to create more music education content and get exclusive lessons.
www.patreon.com/hccmusic
Explore and buy albums from Tim's 50's/60's & Beach Boys-inspired group I.S.S. albums on Bandcamp
timsmolens.bandcamp.com/
Explore and buy the albums of Tim's genre-defying sci-fi prog band with an all-star international roster, High Castle Teleorkestra.
highcastleteleorkestra.bandcamp.com/
Explore Tim's UA-cam channel playlists and subscribe to his channel.
ua-cam.com/users/timsmolens
Check out Tim's website
timsmolens.com/
Don't talk (put you'r head on my shoulder) has such a heartbreakingly beautiful chord progression
VENUS AND MARS, BABEEEEY!
Sorry. I just love that album... I had to say something when I saw your avatar thing.
@@aj.s... haha, i love it too!!
At one point in my life, I had my grandmothers piano at a house I rented, and at that time I had bought the Pet Sounds box set, and that was the first time I’d actually heard the album. I had only heard Wouldn’t Be, and Sloop, and God Only Knows. I was blown AWAY by this song. I learned how to play it on that piano. I couldn’t believe how great this song was. The vibe and mood of it is epic, it’s absolutely beautiful chords.
I figured out my voicings from just a chord chart, I would’ve loved to have this video then.
I wish I could go back to that time. I would BLAST this song, and bath in it.
Your singing of these beach boys melodies is extremely well done, and that's not an easy thing to do!
This was the song my wife and I danced to for our final dance at the end of our wedding. Our anniversary is coming up so I’m working on a cover of it for her. This was invaluable. Thank you Tim
I'm so glad someone if finally taking the task of analyzing Brian's music and presenting it in an educational format.
Me too. I’m here there anywhere, concerning Brian Wilson appreciation. This song for instance, I feel it’s criminal that I never heard this until I was 28. It’s pure brilliance.
This guy has this pegged. He speaks for me….
This is ‘Beatles who, Elvis who?’ Get the hell outta here….”artists?”, this makes them ‘sound simply not THIS talented’… it’s just music from Brian’s brain, his own writing. He’s IMPRESSIVE….
My music theory knowledge is scruffy as I play electric guitar but I can grasp a fair amount of this. I was always drawn to Wilson's compositions they feel so magical. Those half diminished chords and minor 6s are beautiful. I also love the minimal bass line travel
I adore this song and all of Brian's accessible yet sophisticated music. I have an intermediate grasp of music theory, but I find a lot of jazz too jarring and almost pretentious to my ear, though I fully appreciate the level of skill and dedication to master it and I respect those who can. I am fascinated with Brian's ability to make complex music sound relatable and easy to digest. It is a shame most people only know the Beach Boys for their more straight forward early pop hits, especially over here in England; It's all Surfin USA or Barbara Ann. It's testament to Brian's genius how he can make something so complex and innovate so easy on the ear and the heart. It's beautiful yet heart breaking, melancholic and deeply uplifting in equal measure. The Beach Boys deserve just as much notoriety and accolades as The Beatles. Modern pop music is not art and not innovative or interesting in my opinion. It's lazy and it's conveyor belt landfill music using the same clichéd tried and tested chord progressions and asinine lyrics to appeal to the lowest common denominator. It has gone the same way as the film industry in my opinion. It's a shame. As a child of the 90s I can't help but feel my generation and those who came after have been short changed in this regard. I hope the new Beach Boys documentary soon to be released on Disney will introduce Brain's music to a whole new set of fans.
Your analysis is fantastic, both in terms of music analysis and articulating the feelings and emotion this song invokes. Never heard it so perfectly described. I could spend many an hour discussing Brian's music with you over a beer or six! Thank you for this and all of your work exploring Brian's music. I hope your channel achieves the recognition and success it truly deserves. Great work.
Cannot believe I’ve had the good fortune to come across this channel. Brilliant analysis of important songs.
Well im sure Rick Beato understands you but we can all agree that this is simply beautiful. Depending on mood this is my favorite BW composition and song
Fantastic analysis!
You're a great man, Tim. Merry Christmas.
I was composing some stuff earlier, and this song hit me and made me stop. The way the first chorus ends, the arrangements of the conclusion "heartbeat" flow into the 1st part of the 2nd verse, which makes the transition feel so unique. Ontop of that, the next phrase is where the strings are introduced. The way they come in is staggered as well, starting softly around "we could live" and then swelling beautifully into "forever tonight". The staggering of arrangements is absolutely brilliant and subtle.
Love your work in Estradasphere and SC3!
I love how sexy and hog wild Brian went for this classic. Thanks for the breakdown, Tim
Thank you so much for this phenomenal breakdown of my favorite Beach Boys song. It's so complex. I remember reading an interview with Elvis Costello where he said one of the most startling things he'd ever heard was Don't Talk being played on the cello. I've searched for it but can't find it. The cello would absolutely suit it perfectly, though.
Thank you so much for these videos. Opening a whole new language and internal understanding of how these songs work. Eternally grateful!
This is very helpful. Would love to hear an analysis of "I Guess I Just Wasn't Made for These Times". Much appreciated.
Thanks for watching. That song is definitely on the list and hopefully I will get around to the next few months
3:40 Yeah, man. I agree. I think And Your Dream Comes True is his richest thing he ever arranged.
Amazing. Thank you.
That festive sweater really sets the tone. I realize I miss Christmas!
just discovered your channel. your work is great
Great work, as usual
Whenever I hear this song I think of that line from Shakespeare, “That strain again! it had a dying fall.” Seems like the notes just go down and down forever. Great video, thanks!
THE most complex song on Pet Sounds - well explained. Have you checked out the Philip Lambert book Inside the Music of Brian Wilson for breakdowns? LOVE your calling chords androgenous - which the truly are. Nice sweater BUT even better is the double bass in the background. The half-diminished chords on the album helped make it. I'll head over to THAT song next.
Yep this is just about the most complex song on there. Yeah that androgynous word seems to work really well for those certain chords that don't give the listener any sense of major or minor or feel like both. Check out the hour-long video I just put out on half diminished chords and all the diversity they add for the songwriter. Thanks for watching
@@TimSmolens I will go and check out the half diminished - which really have to come from his jazz voicing infatuation with Four Freshmen. The explanations of bass notes - melodies within themselves, which is further reference of FF part writing. Moving voicings. He had the vocal overdub of voices from February 11th, 1966, at Western which eventually came the string part. The voices were instruments in their own. Watching more of your channel now. Thanks for ALL that you do.
Dude you have the voice of an angel. I don’t play piano, but do play guitar and really appreciated your explanation of the theory.
WONDERFUL analysis! One question about the bridge:
The chords you've denoted (C/G - Ab6 - Cm9/G - C7-9/G) are slightly different from what I hear, which is C/G - Bb7/Ab - EbM7/G - Gdim7. In other words, the same (V7 -> I) with G7/F -> C/G is repeated (modulating to Eb-major) with Bb7/Ab -> EbM7/G. Then it modulates back to F-major, using the Gdim7 -> F/A as a (viio -> I).
Curious what you/anyone thinks of this! Cheers :)
you are the best thanks
Excellent. Happily subscribed! Did think “I’d love to see the chords represented and then they appeared :).
Another awesome analysis Tim. I'm working on a song that bounces between a major D key (verses) and it's relative minor Bm (choruses) and it was affirming to see your call out of the minor key's ii half diminished to V7 - which I've found is crucial tension needed to sell the minor key chorus as a bonafide CHORUS and to keep it from feeling like a meandering vi chord bridge.
Thanks for watching and for leaving the comment. Yes you are right setting it up with that minor two five is crucial
Is the recording a half step higher than the chords shown here? Great analysis!
I couldn't disagree more about the fade out being an uninteresting arranging choice.
There's a reason Brian faded out nearly every Beach Boys song. In his 2016 memoir, he said "I liked (vocal) rounds because they made it seem like a song was something eternal".
I think you have a good point. My point is that I had analyzed so many interesting and innovative devices up to that point that there was nothing ground breaking about the fadeout and there doesn't need to be because it is perfect in it's simplicity and you are right about it hinting at eternity. Thanks for watching*!
@@TimSmolens Ah that makes sense. Yeah nothing groundbreaking. But a tasteful choice I think for a song like this. Resolving at the end would almost destroy something about the song. That sort of hypnotic quality. Instead, trailing off in repetition just works really well.
Loving these analysis videos of Brian's compositions. Few have done so in such depth. Keep up the great work!
The "Pet Sounds" album is the Ark of the Covenant, but some David Ackles or Julee Sill analyses would also be most welcome!
Also 19:09, let's not forget that music isn't a meritocracy.
I'm sure Brian didn't think so highly of his own compositions; perhaps some irreverence is not only permitted but necessary.
Beautiful examination of arguably his greatest work and clearly explained with humour,candour and possibly a hashish hangover!A delightful celebration unquestionably;I shall be revisiting this video regularly.Thank you.
@@minifuzz5 thank you so much. the "hashish hangover" is me recording the video when I got off work and I work graveyard so I was super slap happy and semi delirious. Check my playlist page for lots more similar videos of Beach Boys analysis and other things for the advancing musicians and composers.
@@TimSmolens Hey Tim,I have just discovered your page and wholeheartedly dig what you are doing!As a self taught jazz musician I came home one night about 17 years ago(whilst fully engaged in a 20 year long London gigging career)and found a 90 minute doc on Brian and the BBs and just had my ass handed to me at that moment!So,while late to the game I have been fully enjoying the voyage of harmonic brilliance that Brian brought.Just this minute enjoying your 'Surfs Up' extrapolations and will be delighting in more in the nearness of time! Blessings from the South of France.Stu