Hey all! Based on some comments I’m seeing, I just want to reiterate what I’ve already said in the video: *yes*, there are a lot of factors that make music sad, and *yes*, the chord that I’m talking about here is not exclusive to Elliott’s music by any stretch of the imagination (he just used it so frequently that it’s a prominent feature of his style). Comment below with your favorite instances of the E.S.C. in other songs :)
Definitely love the heavy mood shift that a properly placed Major II chord can elicit! For me personally, I don't find it to be a sad emotional pull, necessarily. To me it feels like a "sun breaking through the clouds" type feeling if that makes sense. Maybe it has to do with the fact that the expected tonality of the ii chord is minor when speaking diatonically, and substituting the major there can make things seem "brighter". Cool video. Appreciate your enthusiasm!
The song Punisher is specifically about Elliott Smith - she even mentions the Sniw White House because he used to live in one of the cottages where the Disney animators used to work. I used to live in the neighborhood and he would frequent the bars.. especially the Roost so she would hear stories about him still to this day. I feel like the whole album is a love letter to him and it was certainly in my top 3 albums of last year.
When she was in high school she used to record overly sincere Elliot Smith covers and post them to UA-cam. she dyed her hair red and thought you had to fill in your eyebrows with red makeup lmao. she's deleted them from UA-cam
@@Daneh97 www.google.ie/amp/s/www.independent.co.uk/arts-entertainment/music/features/elliott-smith-death-figure-8-album-suicide-anniversary-20-years-a9469326.html%3famp go to paragraph 24, it says the following- “Everything Means Nothing to Me” was born of a violent reaction, during a 48-hour mushroom trip, to the pressures of having to worry about the future of his “art”. “A lot of people from the label were telling him he needed to get it together,” producer David McConnell told Spin. “He was so sick of people talking about the future. So he carved the word ‘NOW’ into his arm with a knife. And he sat down at the piano and wrote ‘Everything Means Nothing to Me’ as the blood was dripping down his arm.”
I like Elliott Smith. Not Phoebe really… because I’m a musician who admires Elliotts musical intelligence. Bridgers doesn’t seem authentic to me, Jason Molina, from “Songs:Ohia” seems legit chronically depressed at times like Elliott. His music is way better than Phoebes music as well imo. LOL
Nothing can ever beat Elliott Smith for me, but I keep hearing little nods to his music when listening through Phoebe Bridgers albums and I love it so much.
I don't think I've ever commented on a UA-cam video before, but this has to have been one of the most intellectually and emotionally engaging videos I've watched in a very long time. Your willingness to attend to the complexity of this music and present it in a manner that is generous, compassionate, and relatable is awesome. I look forward to spending more time with your videos. Thank you for your care and attention.
It's amazing how a major chord, usually considered bright and uplifting, can rip your heart to shreds when used right. By the way, I love your excitement and enthusiasm. You have the attitude of everyone's favorite teacher about you.
@@nikolaisoerensensorry for late reply but I think it's at the end of Karma Police, the "I lost myself" section; it modulates to D major so the E major chord in that part would be the II major/Elliott Smith chord.
love this video! actually, phoebe has said that the song Punisher is actually about Elliot Smith. i like that she’s bringing his music to a whole new generation of sad people :)
Great breakdown! Bridgers has been citing Smith’s influence in her music in interviews for nearly her whole career so the connection has been there for long time fans I think, which makes calling the secondary dominant the “Elliot Smith Chord” in reference to Bridgers music very appropriate. I’ve curiously always thought of Radiohead and other British bands (especially of the 90’s) to have distinctly used that chord a lot more for some reason and always think of that sound as the essence of 90’s Brit Pop haha. Would love to see you expand on this concept with other artists and chase down some of it’s origins in popular music!
19:06 NEEDS to be said more! I write neo-classical music on a daily basis and people usually crap on pop or rap to me as a conversation starter, but I tell them it’s not fair to judge pop or rap by the standards of 18th century classical.
@@thebordenasylum7726 haha i certaintly have, in the time since i posted this comment i have become a huge elliott fan. i like to think i know most of his songs, but then again he wrote so much its unbelievable. god, i love him
@@lucawkaminski haha I've been a huge fan(extreme fan) of Elliott for almost 4 years and i was surprised to hear one song I haven't heard off a couple of months ago.. i would guess he wrote more than 130 songs or more. if you haven't heard them yet go listen to unlucky charm, somebody that i used to know, something to loose, no confidence man..
It’s crazy that I know all of these songs so well and felt like I had internalized them but I still get goosebumps when they hit those specific notes with certain lyrics.
I've been playing Kyoto every morning for the last 2 weeks like I needed to hear it, this makes sense. I need a cathartic release! Also my wife has a good ear and I played her Phoebe Bridgers and she said, "oh, it's like Elliot Smith". Thanks for the breakdown!
this just makes the song ‘punisher’ even sadder considering phoebe wrote it about how much elliot smith means to her emotionally. she really loved that man so much that she carries him in her music. i’m speechless
You always make videos about music so close to my heart. I remember racking my brain over Elliot Smith's music before I studied music theory! I so desperately wanted to capture that incredible feeling you described. Amazing video as always!
As a music teacher, I really appreciate the level of attention to detail in this analysis as well as your use of humor. This is really well done, and I look forward to checking out some of your other material. Take care.
i'm no musician and can't read music, but i feel like there's always a "sad" descending chord progression before that chord offers a "happy" resolution?
wow... this was in my recommended and i clicked on it like i always click on lots of nonsense but this one hit me so hard. i'm low key at a loss for words. phoebe's music has really carried me through the last year and i deeply relate to the catharsis that you so eloquently and clearly explained in this video. i am really grateful for you for taking the time to go through this. i feel so inspired about expanding my own understanding of music composition/ theory now... when in the past it's always felt a little out of reach. thanks man.
Wow! Fascinating video! I adore both these songwriters, but as someone who snoozed through music theory as a kid, it never would have occurred to me to look for similarities like that. Liked and followed!
My analysis of this harmony is a bit different. I think it all revolves around mode mixture involving the 6th scale degree. The emotional potential of mixing the major and minor sixth is huge, in both major and minor keys. What unites a lot of these songs you analyzed is they often have an ambiguous tonal center. It's debatable whether or not they're in the relative major or relative minor key; they kind of occupy both at the same time, which gives the bittersweet, "happy-sad" feeling. This is especially true for "Savior Complex" at 16:51. When I hear the F# major, to me it sounds like it is mode mixture in C# minor, and she is preparing for the famous IV-iv-i progression we hear so much in pop music (note that she ends the phrase singing the syllable "plex" on C#, implying a tonicization of the relative minor key). But the difference is that Elliott Smith and Phoebe Bridgers will tease us by temporarily tonicizing the relative minor key, and give us that IV mode mixture (major 6th scale degree), so we expect the iv to come next and it to resolve to the minor root chord, but instead they unexpectedly go back to the relative major root. The emotional tug at our heart strings comes from dashing our expectations in that way. It's clever, and for me it is all about the 6th scale degree, mode mixture, and the ambiguous area between relative major and relative minor.
Its great once you learn how music theory works, and how people psychologically reacta certain way to certain chord patterns & little changes here and there. It's sort of like how Randy Newman just knocks out songs left and right, and though they sound the same they all still have the same effect--except they intend for a different mix of emotions. The ones who master the psychology of Music theory are the ones like the Beatles, Nirvana, etc where they can write a song on the toilet and it will be better than 99% of people who spend their entire lives trying to write a perfect song. Source: I just pulled all of that out of my ass, but in my head it sounds like it's gotta be right.
Been listening to Elliott Smith for years and ponder over these chords. Thank you for explaining it, might start incorporating it in some songs myself now. I feel like there are still so many elements to Smith's songs that contain more of these gems.
Yo!!! Dude, if you watch the “Live From Somewhere” DVD- I’m in the front row! With long hair! They played trains that night, and Steven broke a string on his guitar, so they had to stop and start over because they were filming. I believe Robert Fripp opened the show with a solo set! This music is so close to my heart!
@@BrianKrock I wasn't lucky enough to ever watch them live, so I've watched all their shows on YT countless times and I know exatly what you're reffering to. :) Awesome stuff! Wilson's songwriting has this effect that you talked about in the video in countless songs, so no wonder how much of fanbois we both are :D
The way she drops into the those ESC and will linger on them for a few beats after the music changes chords again. UUGGGh it just feels so fucking much man
Thank you Brian for making this video. I have cherished this exact chord in Elliott Smith's music for as long as I can remember, and up until now I have never met anyone who can talk about it the way you do. I feel blessed to be able to share this vulnerability with some dude across the internet that I've actually never met. "Angel in the snow" leaves me on the floor each time I hear it. I just wanted to share a little realization that I've had some time ago. You know how in jazz we sometimes tend to finish a minor tune on basically the IV7 chord (for example ending a Dm tune with a G13). That sound always hits the sweet spot for me, and I've never made the connection until recently but if you think of Dm as the relative minor of F, then you realize that it's the E.S.C in F! Basically two sides of a same coin! Much love from France, Nghia
This is such a great video! The Band’s “The Night They Drove Old Dixie Down” drops this exact change right before the chorus, and it always gives me chills. If anyone is into modal/functional stuff one of the little hacks I’ve noticed is this chord change modulates the natural minor scale into the parallel dorian, lots of fun to play across.
Love this chord! I was just talking about it in the Beatles You Won't See Me and I'll Follow the Sun and probably a better example of the feeling you are describing in Yebbas Where Do You Go. Great video as always 👍
@@youmothershouldknow4905 EXACTLY!!! The weird feeling that: "I've never heard something like this before, but I feel like I've known it my whole life."
@@danletras Just to be sure, the progression starts with the chord played over the line, “Waiting for your brother to call.” This first chord, though beautiful, was played in earlier passages. It’s the next chord that evokes shock and awe, the one played over the line, “I saw him down in the alley.” This is one of the most beautiful moments in music, in a pure music sense. As far as lyrics, I don’t pay attention to that. With Elliot Smith, it’s probably some dark shit, nonetheless poetic. I’m just all ‘bout dem chords. For another transcendent chord progression experience, check out the song Transience by Steve Wilson off of the “Hand. Cannot. Erase.” album. Both Wilson and Smith may not be at the level of sophistication of Allan Holdsworth, but, wow, they create beautiful sound.
I've been on UA-cam since 2005 and this is the first video I've seen of someone analyzing Elliott Smith's material. I'm surprised it hasn't happened sooner. He was a genius
This video puts into words something I knew about Elliot’s music but didn’t know the theory. I would say “somehow he makes major chords sound melancholic.” But I didn’t understand how he did it. I also noticed this type of progression in his songs that have this same feeling but I didn’t know what that is called or why it works. I appreciate this.
This is really, really good. Thanks for doing this. (This is my first discovery of your videos.) My first thought was, "That's just a V of V," as you mentioned, but since it doesn't resolve to the V and it resolves to the I, it's really functioning differently and that's key, as you know. Anyway, great work on this video. I look forward to checking out your others. :)
You have no idea how many times I've watched this video in the past year. Your love for music is contagious and I find myself thinking about things I've heard you say quite often. I wish I knew as much as you do, thank you for sharing your knowledge and passion ♥
I could not listen to Elliott Smith for the last 15 years, because I heard the self-titled album on the day I lost a friend to cancer. It helped me back than, but it still hurts quite allot when I hear Elliott Smith today.
I met E.S. In 1993. He was actually a very funny and happy person. Nice observations you have about the emotional impact of even the most seemingly simple chord placed in the right way. It’s like magic. Alchemy.
Brian, this was awesome man. Huge ES and Phoebe fan, so this was interesting and entertaining just for that. But I think what I loved most about the video is your perspective on music, melancholy music especially, and the eloquence you possess to be able to put those thoughts and feelings into words. WHY it's important. Why it's necessary. I don't think I've ever posted on a UA-cam video, but what you have to say about music is important and needs to be heard. Please keep it up.
Interesting watch, also looking forward towards the video on the book! Also almost all my christmas presents were books from your book reccomendation video! The Rest is noise, Anatomy of the Orchestra and Tristan
Duuuuude! This video kicks ass! The style, progression, and of course, your infectious passion! Keep it up! I can't stop punctuating with exclamation points!!!
He is!! I have the good fortune of playing with and becoming friends with Brazilian percussionist Rogerio Boccato (and his daughter and nephew who are also wonderful musicians). The three of them turned me on to so much great Brazilian music!
wow. this video is incredible. i appreciate the depth and the connections and the everything about it. holy shit. pls never apologize for being so thorough ever again
I recently fell in love with Phoebe Bridger's music after hearing her play with Conor Oberst in B.O.C.C. and now I feel like I need to revisit Elliot Smith, as I haven't listened to much of his stuff.
Yes indeed. Similar device used in 8 Days a Week. I think the Elliot Smith approach is really about the phrase kind of landing on that maj 2 chord after some development. Just my take on it.
wow... music theory is so cool... its like listening to a quantum physicist talk but i definitely know my ear has caught this chord before. like an "elliott smith sound" to certain parts of certain songs, that's so cool. i thought i was just making random associations, but this might be exactly what i was hearing! thanks so much for your explanation, i support the minting of your coinage
yes... this is good. the line "i used to light you up, now I can't even get you to play the drums" is always the part of the song that gets stuck in my head! --> catharsis
I loved this video! Also, i also think she's said before Punisher is very much about Elliot and now that you're explaining the use of 'his' chord in her songs it made me think of the phrase in that song "either im careless or I wanna get caught"
Thanks for this incredibly awesome video. Excellent. Subscribed! Videos like this breathe life into me and they are SO freakin' important. Thanks for making this!
You are an incredible explainer of these concepts. I have learned so much about two of my favorite artists that brings me so much more of a love for their music, and i can really see how much you care about it. From the editing to your playing, thank you so much. Great vid!
The chord that guts me the most in Elliott's music is the "Ab" (I use quotes because it's an Gb/F# chord since the guitar is tuned down a whole step) in the chorus of Between the Bars. To me, it's less about the major two as whole, and more about the descending chromatic voice leading that the major two gets him. In that particular part of Between the Bars the bass goes F# -> F -> G# -> G. I love that so much, and it seems like Elliott did too :) This is the first video of yours I've seen, but I'm all about Elliott Smith harmonic analysis content :P
Love that Between The Bars moment too. This bass chromaticism via lots of inversions is very much a part of his style. I Better Be Quiet Now is another great example. It's a very pianistic approach to harmony. My guess is that his classical piano lessons influenced him here.
I've spent the last couple days exploring why the I-II7-IV-I and I-II7-bVII-IV-I progressions of songs like The Beatles - You Won't See Me and The Seatbelts - Gotta Knock A Little Harder hit me so hard, so the timing of this video is pretty wild. Thank you, well done.
Absolutely wonderful video. Thank you for going all in. I am enthralled by this and have been wondering myself at the connective tissue between Elliott and Phoebe. I'm glad this wasn't just a short video. Keep up the great work!
![He's great. ["Mad Rush" analysis (with legos)]](http://i.ytimg.com/vi/tizP7IFyWig/mqdefault.jpg)
![He's great. ["Mad Rush" analysis (with legos)]](/img/tr.png)
Hey all! Based on some comments I’m seeing, I just want to reiterate what I’ve already said in the video: *yes*, there are a lot of factors that make music sad, and *yes*, the chord that I’m talking about here is not exclusive to Elliott’s music by any stretch of the imagination (he just used it so frequently that it’s a prominent feature of his style). Comment below with your favorite instances of the E.S.C. in other songs :)
Definitely love the heavy mood shift that a properly placed Major II chord can elicit! For me personally, I don't find it to be a sad emotional pull, necessarily. To me it feels like a "sun breaking through the clouds" type feeling if that makes sense. Maybe it has to do with the fact that the expected tonality of the ii chord is minor when speaking diatonically, and substituting the major there can make things seem "brighter". Cool video. Appreciate your enthusiasm!
I would love another video on how modal mixture is used on both Phoebe Bridger’s and Elliot Smith’s work
The song Punisher is specifically about Elliott Smith - she even mentions the Sniw White House because he used to live in one of the cottages where the Disney animators used to work. I used to live in the neighborhood and he would frequent the bars.. especially the Roost so she would hear stories about him still to this day. I feel like the whole album is a love letter to him and it was certainly in my top 3 albums of last year.
based
Please do a video about Porcupine Tree (:
Phoebe is unapologetically a huge Elliot Smith fan, so this makes sense.
I can’t imagine why anyone would be apologetic about being an Elliott Smith fan.
Totally perfect to mention Savior Complex; Elliott was the first thing i heard in that song.
no one should have to apologize
When she was in high school she used to record overly sincere Elliot Smith covers and post them to UA-cam. she dyed her hair red and thought you had to fill in your eyebrows with red makeup lmao. she's deleted them from UA-cam
@@not.a.robott Elliott smith wrote Condor Ave. when he was 17
It always blows me the fuck away that he was apparently able to write Everything Means Nothing To Me in one sitting.
From what I remember, blood was dripping from his arm and he was going through extreme stress when he sat down and wrote that song on the piano.
@@yearnpill Where did you both hear about this? I've never heard of this before, and that's one of my favorite songs
@@Daneh97 www.google.ie/amp/s/www.independent.co.uk/arts-entertainment/music/features/elliott-smith-death-figure-8-album-suicide-anniversary-20-years-a9469326.html%3famp go to paragraph 24, it says the following-
“Everything Means Nothing to Me” was born of a violent reaction, during a 48-hour mushroom trip, to the pressures of having to worry about the future of his “art”.
“A lot of people from the label were telling him he needed to get it together,” producer David McConnell told Spin. “He was so sick of people talking about the future. So he carved the word ‘NOW’ into his arm with a knife. And he sat down at the piano and wrote ‘Everything Means Nothing to Me’ as the blood was dripping down his arm.”
@@yearnpill thanks so much! That’s gnarly as hell
@@Daneh97 yea, kinda disturbing yet fascinating that such a beautiful piece of music can come from such a tortured mental state.
Elliott Smith and Phoebe Bridgers... two of my favourite artists! Thanks for the video! 😃
Thank you for your videos
i just came here from your secondary dominants video!! reminded me of this gem :)
mine too!!! plus conor oberst :-)
i love elliott smith, great to hear one of my fav channels does too
I like Elliott Smith. Not Phoebe really… because I’m a musician who admires Elliotts musical intelligence. Bridgers doesn’t seem authentic to me, Jason Molina, from “Songs:Ohia” seems legit chronically depressed at times like Elliott. His music is way better than Phoebes music as well imo. LOL
Nothing can ever beat Elliott Smith for me, but I keep hearing little nods to his music when listening through Phoebe Bridgers albums and I love it so much.
The pissing contest/savior complex melody is 100% what sealed the deal for me too. Ugh SO GOOD.
For me, the only thing that compared to what Elliot Smith made me feel was when I discovered Nick Drake
me: so how can i be a sad lesbian AND learn more about music theory?
brian: i've got you
i was going to comment this exact thing
@@jo-du6km is Brian gay?
Me!
@@dreamstudios9887 maybe he’s lesbian…
I have too much of a crush on her to learn anything from this video. will come back in a month
So...how's it going?
I don't think I've ever commented on a UA-cam video before, but this has to have been one of the most intellectually and emotionally engaging videos I've watched in a very long time. Your willingness to attend to the complexity of this music and present it in a manner that is generous, compassionate, and relatable is awesome. I look forward to spending more time with your videos. Thank you for your care and attention.
This took WAYYYYY too long for this to be recommended to me
It's amazing how a major chord, usually considered bright and uplifting, can rip your heart to shreds when used right.
By the way, I love your excitement and enthusiasm. You have the attitude of everyone's favorite teacher about you.
Well said. I concur.
I find it amazing that people still fall for that basis stereo typing of Major scales happy/ Minor scales sad.
Elliot Smiths resolutions do it to me every single time.
Yeah, his chord progressions are just something else
The way he resolves that final bridge (I guess the bridge?) into the last verse of Say Yes...guhhhh
Hey. This was some of the best self-care I've had for a while. Thanks for all of your work on it.
Hey, that makes me so happy to hear- thanks for letting me know.
AGREED. “Funeral” will break a heart into pieces
Woah Aberdeen likes phoebe bridgers! I’m not surprised but it’s just good to know
it’s my favorite song tBh
@@eranavni-singer9189 *loves
Man, Savior Complex hits *right* in the feelings 🥲
Ahhhhhh Radiohead's Karma Police does this, as does loads of their material but that's what came to mind first
Wait, so karma police is in am, so that would be the D major am I right?
@@nikolaisoerensensorry for late reply but I think it's at the end of Karma Police, the "I lost myself" section; it modulates to D major so the E major chord in that part would be the II major/Elliott Smith chord.
love this video! actually, phoebe has said that the song Punisher is actually about Elliot Smith. i like that she’s bringing his music to a whole new generation of sad people :)
Great breakdown! Bridgers has been citing Smith’s influence in her music in interviews for nearly her whole career so the connection has been there for long time fans I think, which makes calling the secondary dominant the “Elliot Smith Chord” in reference to Bridgers music very appropriate. I’ve curiously always thought of Radiohead and other British bands (especially of the 90’s) to have distinctly used that chord a lot more for some reason and always think of that sound as the essence of 90’s Brit Pop haha. Would love to see you expand on this concept with other artists and chase down some of it’s origins in popular music!
Yeah I was thinking the whole time this chord has a very “oasis-y” Brit-poppy kind of flavor.
@@elkcibdej Oasis were obviously massively inspired by the Beatles, as was Elliott, so that makes sense
The II chord is not a secondary dominant if it resolves to IV.
19:06 NEEDS to be said more! I write neo-classical music on a daily basis and people usually crap on pop or rap to me as a conversation starter, but I tell them it’s not fair to judge pop or rap by the standards of 18th century classical.
oh my god. i'm a phoebe bridgers fan but i have never listened to elliot smith and my life has been changed. thank you.
You have to check out Waltz#1, New Disaster, I Didn't Understand, and Can't Make A Sound if you haven't already
@@thebordenasylum7726 haha i certaintly have, in the time since i posted this comment i have become a huge elliott fan. i like to think i know most of his songs, but then again he wrote so much its unbelievable. god, i love him
@@lucawkaminski haha I've been a huge fan(extreme fan) of Elliott for almost 4 years and i was surprised to hear one song I haven't heard off a couple of months ago.. i would guess he wrote more than 130 songs or more. if you haven't heard them yet go listen to unlucky charm, somebody that i used to know, something to loose, no confidence man..
hey luca this is cracking me !up!
It’s crazy that I know all of these songs so well and felt like I had internalized them but I still get goosebumps when they hit those specific notes with certain lyrics.
I know, I feel the same! Was just yesterday listening to Roman Candle on the bus and frickin goosebumps the whole time
@@BrianKrock roman candle alwayss gives me huge goosebumps 💔
Very compelling an excellently explained :)
Loved it.
Always happy to see you somewhere on UA-cam, you’re one of my favourite youtubers
i didnt know i needed a reminder on why i love elliott smith so much
I've been playing Kyoto every morning for the last 2 weeks like I needed to hear it, this makes sense. I need a cathartic release! Also my wife has a good ear and I played her Phoebe Bridgers and she said, "oh, it's like Elliot Smith". Thanks for the breakdown!
"a musical trilogy I'm working on in D minor which is the saddest of all keys, I find. People weep instantly when they hear it"
this just makes the song ‘punisher’ even sadder considering phoebe wrote it about how much elliot smith means to her emotionally. she really loved that man so much that she carries him in her music. i’m speechless
Just started getting into her music and then you drop this masterpiece. Thank you.
There are not many music theory analysis videos for Elliott Smith's songs. Thank you for making this video! This is such a treat.
Phoebe Bridgers is so awesome, and I love the attention she's getting now.
She isnt
She is awesome. I wouldn’t mind making music with Conor Oberst.
You mean Elliott..
You always make videos about music so close to my heart. I remember racking my brain over Elliot Smith's music before I studied music theory! I so desperately wanted to capture that incredible feeling you described. Amazing video as always!
As a music teacher, I really appreciate the level of attention to detail in this analysis as well as your use of humor. This is really well done, and I look forward to checking out some of your other material. Take care.
It’s the punch we don’t see coming that knocks us out. Thank you for explaining the punch.
i'm no musician and can't read music, but i feel like there's always a "sad" descending chord progression before that chord offers a "happy" resolution?
wow... this was in my recommended and i clicked on it like i always click on lots of nonsense but this one hit me so hard. i'm low key at a loss for words. phoebe's music has really carried me through the last year and i deeply relate to the catharsis that you so eloquently and clearly explained in this video. i am really grateful for you for taking the time to go through this. i feel so inspired about expanding my own understanding of music composition/ theory now... when in the past it's always felt a little out of reach. thanks man.
Ballad of Big Nothing is one of my favourite Elliott tracks too! Great video
Omg I love that you cited João Gilberto and Toninho Horta
That’s weirdd I just buried my head in a blanket and cried to Elliot smith like two days ago now I’m seeing a video telling me to do just that
Wow! Fascinating video! I adore both these songwriters, but as someone who snoozed through music theory as a kid, it never would have occurred to me to look for similarities like that. Liked and followed!
My analysis of this harmony is a bit different. I think it all revolves around mode mixture involving the 6th scale degree. The emotional potential of mixing the major and minor sixth is huge, in both major and minor keys.
What unites a lot of these songs you analyzed is they often have an ambiguous tonal center. It's debatable whether or not they're in the relative major or relative minor key; they kind of occupy both at the same time, which gives the bittersweet, "happy-sad" feeling.
This is especially true for "Savior Complex" at 16:51. When I hear the F# major, to me it sounds like it is mode mixture in C# minor, and she is preparing for the famous IV-iv-i progression we hear so much in pop music (note that she ends the phrase singing the syllable "plex" on C#, implying a tonicization of the relative minor key).
But the difference is that Elliott Smith and Phoebe Bridgers will tease us by temporarily tonicizing the relative minor key, and give us that IV mode mixture (major 6th scale degree), so we expect the iv to come next and it to resolve to the minor root chord, but instead they unexpectedly go back to the relative major root.
The emotional tug at our heart strings comes from dashing our expectations in that way. It's clever, and for me it is all about the 6th scale degree, mode mixture, and the ambiguous area between relative major and relative minor.
Funny you say this because when he said the song was in F Major, I was thinking D Minor.
Which is exactly what you're alluding to.
Yes! Well explained.
Its great once you learn how music theory works, and how people psychologically reacta certain way to certain chord patterns & little changes here and there. It's sort of like how Randy Newman just knocks out songs left and right, and though they sound the same they all still have the same effect--except they intend for a different mix of emotions. The ones who master the psychology of Music theory are the ones like the Beatles, Nirvana, etc where they can write a song on the toilet and it will be better than 99% of people who spend their entire lives trying to write a perfect song.
Source: I just pulled all of that out of my ass, but in my head it sounds like it's gotta be right.
Been listening to Elliott Smith for years and ponder over these chords. Thank you for explaining it, might start incorporating it in some songs myself now.
I feel like there are still so many elements to Smith's songs that contain more of these gems.
"trains" by porcupine tree is another example that haunted me for years because of the same reason.
Yo!!! Dude, if you watch the “Live From Somewhere” DVD- I’m in the front row! With long hair! They played trains that night, and Steven broke a string on his guitar, so they had to stop and start over because they were filming. I believe Robert Fripp opened the show with a solo set! This music is so close to my heart!
@@BrianKrock I wasn't lucky enough to ever watch them live, so I've watched all their shows on YT countless times and I know exatly what you're reffering to. :) Awesome stuff! Wilson's songwriting has this effect that you talked about in the video in countless songs, so no wonder how much of fanbois we both are :D
@@BrianKrock I've watched that 100 times, very cool to know you were there. Great video btw! You got another subscriber
@@BrianKrock one of my favorite live videos of all time
I wonder if they were inspired by elliot smith?
The way she drops into the those ESC and will linger on them for a few beats after the music changes chords again. UUGGGh it just feels so fucking much man
Brilliant. Thank you for such a helpful and thorough explanation of this music.
Thank you Brian for making this video. I have cherished this exact chord in Elliott Smith's music for as long as I can remember, and up until now I have never met anyone who can talk about it the way you do. I feel blessed to be able to share this vulnerability with some dude across the internet that I've actually never met. "Angel in the snow" leaves me on the floor each time I hear it.
I just wanted to share a little realization that I've had some time ago. You know how in jazz we sometimes tend to finish a minor tune on basically the IV7 chord (for example ending a Dm tune with a G13). That sound always hits the sweet spot for me, and I've never made the connection until recently but if you think of Dm as the relative minor of F, then you realize that it's the E.S.C in F! Basically two sides of a same coin!
Much love from France,
Nghia
This is such a great video! The Band’s “The Night They Drove Old Dixie Down” drops this exact change right before the chorus, and it always gives me chills.
If anyone is into modal/functional stuff one of the little hacks I’ve noticed is this chord change modulates the natural minor scale into the parallel dorian, lots of fun to play across.
I've also called this "the Elliott Smith Chord" for a while so this video was vindicating. Awesome stuff!
Love this chord! I was just talking about it in the Beatles You Won't See Me and I'll Follow the Sun and probably a better example of the feeling you are describing in Yebbas Where Do You Go. Great video as always 👍
You're very coherent in speaking! I don't understand music terms but you make me feel like I do, wishing you great power!
oh man, did you have to go with "stab you in the heart".... too soon? idk maybe it is just me. lol
Really great analisys. Thanks for this.
ESC = Basically a mini modulation. Great use of tension.
Ballad of Big Nothing ain’t nothin’: it’s the greatest song in the entire history of popular music.
0:39 to 0:41 of the song-not the video-is the greatest chord progression in all of music.
AGREED!!!
@@danletras
It’s a WTF chord progression in the most beautiful way.
@@youmothershouldknow4905 EXACTLY!!! The weird feeling that: "I've never heard something like this before, but I feel like I've known it my whole life."
@@danletras
Just to be sure, the progression starts with the chord played over the line, “Waiting for your brother to call.” This first chord, though beautiful, was played in earlier passages. It’s the next chord that evokes shock and awe, the one played over the line, “I saw him down in the alley.” This is one of the most beautiful moments in music, in a pure music sense. As far as lyrics, I don’t pay attention to that. With Elliot Smith, it’s probably some dark shit, nonetheless poetic. I’m just all ‘bout dem chords.
For another transcendent chord progression experience, check out the song Transience by Steve Wilson off of the “Hand. Cannot. Erase.” album. Both Wilson and Smith may not be at the level of sophistication of Allan Holdsworth, but, wow, they create beautiful sound.
Saw “Elliott Smith chord” on the thumbnail and already knew what you were talking about!
Love this! More songwriting tips/functional harmony/songwriting analysis! Please!
this might be the best video i have ever seen, it somewhere made her music even MORE devestating
thank you shane madej for talking about phoebe constantly to the point where I had to see what was up. way before she got super famous
Pretty dope analysis of the track! I heard the change over but I didn’t understand much till you said it
I've been on UA-cam since 2005 and this is the first video I've seen of someone analyzing Elliott Smith's material. I'm surprised it hasn't happened sooner. He was a genius
This video puts into words something I knew about Elliot’s music but didn’t know the theory. I would say “somehow he makes major chords sound melancholic.” But I didn’t understand how he did it.
I also noticed this type of progression in his songs that have this same feeling but I didn’t know what that is called or why it works.
I appreciate this.
This is really, really good. Thanks for doing this. (This is my first discovery of your videos.) My first thought was, "That's just a V of V," as you mentioned, but since it doesn't resolve to the V and it resolves to the I, it's really functioning differently and that's key, as you know. Anyway, great work on this video. I look forward to checking out your others. :)
You have no idea how many times I've watched this video in the past year. Your love for music is contagious and I find myself thinking about things I've heard you say quite often. I wish I knew as much as you do, thank you for sharing your knowledge and passion ♥
This chord gives me early 2000’s vibes
Just hearing you talking about say yes was enough to make me tear up as well. 💔 so precious
First of your videos I’ve seen. Keep carrying yourself away, man. Loved it.
I could not listen to Elliott Smith for the last 15 years, because I heard the self-titled album on the day I lost a friend to cancer. It helped me back than, but it still hurts quite allot when I hear Elliott Smith today.
You can’t listen to the self-titled album, or you can’t listen to any Elliott Smith?
@@seanmatthewking Any. But especialy the self-titled one.
I met E.S. In 1993. He was actually a very funny and happy person. Nice observations you have about the emotional impact of even the most seemingly simple chord placed in the right way.
It’s like magic. Alchemy.
Can you tell us about the interaction?
im so glad you made this video because i absolutely love elliott mith and his songwriting has fascinated me and his use of major chords. perfect vid
no joke i’ve been calling this chord the same exact thing whenever i hear it in phoebe’s music! great minds. love the video by the way
Can you do something on Jeff Buckley ! Loved the video btw
you're hands-down my new favorite music educator. Thanks!
good stuff. thorough, informative, and useful.
Dude what a great video. I need to check out your other stuff!!
Brian, this was awesome man. Huge ES and Phoebe fan, so this was interesting and entertaining just for that. But I think what I loved most about the video is your perspective on music, melancholy music especially, and the eloquence you possess to be able to put those thoughts and feelings into words. WHY it's important. Why it's necessary. I don't think I've ever posted on a UA-cam video, but what you have to say about music is important and needs to be heard. Please keep it up.
Man, you're really REALLY GOOD at what you do.
Interesting watch, also looking forward towards the video on the book!
Also almost all my christmas presents were books from your book reccomendation video! The Rest is noise, Anatomy of the Orchestra and Tristan
This is so cool, let me know how you like the books!
Duuuuude! This video kicks ass! The style, progression, and of course, your infectious passion! Keep it up! I can't stop punctuating with exclamation points!!!
You’re blowing my mind, brother
Thanks for the great content. The structure of "Say Yes" is traditionally called a "Tag Line Song"
does this just mean the song has a refrain at the end of each verse or is it different?
Dang, you mentioned Toninho Horta as a "Great Brazilian Master Songwriter!" This made my day, Toninho is a genius!
He is!! I have the good fortune of playing with and becoming friends with Brazilian percussionist Rogerio Boccato (and his daughter and nephew who are also wonderful musicians). The three of them turned me on to so much great Brazilian music!
Brian singing is a beautiful thing and I am honored you shared it with us.
wow. this video is incredible. i appreciate the depth and the connections and the everything about it. holy shit. pls never apologize for being so thorough ever again
I recently fell in love with Phoebe Bridger's music after hearing her play with Conor Oberst in B.O.C.C. and now I feel like I need to revisit Elliot Smith, as I haven't listened to much of his stuff.
ben levin voice over ?!
Ben Levin has such a distinct voice
I was just wondering that lol
Ditto!!!
Yea what?!?
wait i haven’t made it there yet and now i’m excited
I heard this chord in The Beatles' "You Won't See Me". It even resolves to IV in the same way.
Probably where Elliott got it from as he was a massive Beatles fan.
Yes indeed. Similar device used in 8 Days a Week.
I think the Elliot Smith approach is really about the phrase kind of landing on that maj 2 chord after some development.
Just my take on it.
This is an amazing video. Such great musical analysis. Thankyou for making it.
wow... music theory is so cool... its like listening to a quantum physicist talk but i definitely know my ear has caught this chord before. like an "elliott smith sound" to certain parts of certain songs, that's so cool. i thought i was just making random associations, but this might be exactly what i was hearing! thanks so much for your explanation, i support the minting of your coinage
It took me a while for the penny to drop but when it did, it hit hard. Thanks for all the hard work you put into this one.
yes... this is good. the line "i used to light you up, now I can't even get you to play the drums" is always the part of the song that gets stuck in my head! --> catharsis
savior complex was one of my favorites as well much love Brian
Love that you mentioned the W.A. Matthieu book-looking forward to your video on it!
The script was so well written. Neither too formal nor relaxed and perfect word choice. Very enjoyable to listen to.
You’ve helped me musically figure out something that felt so intangible before, thank you so much. Amazing video!
I loved this video! Also, i also think she's said before Punisher is very much about Elliot and now that you're explaining the use of 'his' chord in her songs it made me think of the phrase in that song "either im careless or I wanna get caught"
Hmm that’s interesting, thanks for the info!! Glad you dug the video :)
thank you for making this!!
Thanks for this incredibly awesome video. Excellent. Subscribed! Videos like this breathe life into me and they are SO freakin' important. Thanks for making this!
You are an incredible explainer of these concepts. I have learned so much about two of my favorite artists that brings me so much more of a love for their music, and i can really see how much you care about it. From the editing to your playing, thank you so much. Great vid!
The chord that guts me the most in Elliott's music is the "Ab" (I use quotes because it's an Gb/F# chord since the guitar is tuned down a whole step) in the chorus of Between the Bars.
To me, it's less about the major two as whole, and more about the descending chromatic voice leading that the major two gets him. In that particular part of Between the Bars the bass goes F# -> F -> G# -> G. I love that so much, and it seems like Elliott did too :)
This is the first video of yours I've seen, but I'm all about Elliott Smith harmonic analysis content :P
Love that Between The Bars moment too. This bass chromaticism via lots of inversions is very much a part of his style. I Better Be Quiet Now is another great example. It's a very pianistic approach to harmony. My guess is that his classical piano lessons influenced him here.
I've spent the last couple days exploring why the I-II7-IV-I and I-II7-bVII-IV-I progressions of songs like The Beatles - You Won't See Me and The Seatbelts - Gotta Knock A Little Harder hit me so hard, so the timing of this video is pretty wild. Thank you, well done.
I’m wishing you the absolute best too, thanks for this amazing video 🙏
This was beautifully put. I never knew what it was about Elliot Smith's music (or Bridgers) that made it so heartwrenching. Thank you
Absolutely wonderful video. Thank you for going all in. I am enthralled by this and have been wondering myself at the connective tissue between Elliott and Phoebe. I'm glad this wasn't just a short video. Keep up the great work!
Grandaddy also did a lot of these types of changes.
Grandaddy!! I feel so lucky that I found them through PUP's AM 180 cover.