These 2 Notes Trick Your Brain Into Hearing 4
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- Опубліковано 22 тра 2024
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As a side note, root-7-3(8va) is often what we refer to as "shell voicings" because they're really the only important notes. Spread out that way, they have a very nice blend! For all you pianists, you can try working through a chart putting all of these shell voicings together for each chord change. If your hands are big enough, try to play it in one hand! You'll hear a lot of shell voicings in bebop recordings. Bud Powell, Red Garland, Wynton Kelly, etc. Super useful stuff.
thanks
Hey considering you loved talking about Michael Giacchino's Incredibles soundtrack and you like racing games, you should take a look at the soundtrack for the underrated film, Speed Racer.
"side note"? No pun intended right?? 🤣🤣
I’ve also heard them being called skeleton voicings (in Australia 🇦🇺)
Side note, If anyone has heard “ Boredom “ by Tyler the Creator, Charles uses the same that C maj Chord scale that acts as the vocal melody in Tyler’s song. You have got to React to his Music!
I personally did not “hear” the roots to the 2-5-1 in my head at all, but the harmonic function of the chords is definitely implied
same here. glad to see other people aren’t hearing it and that my ears aren’t just broken
Can also confirm, did not hear any roots.
Same here.
I'm thinking maybe it was because he didn't use the "immediate" root (meaning the note on the same octave range)
or
Maybe it have to do with this being an acoustic instrument thing...
Anyways, I didn't hear it too. I'm glad I'm not just simply bad of hearing
I just couldn’t hear the as Maj7 chords. Think about if he used plain major chords, then it’s just church harmony.
I love 2-5-1 but personnaly i just heard two notes
I personally heard 2-4-b7 or something to that effect
my brain went into over drive and I hear way more then the root
@@Chestnut-xm2pv I experienced something similar myself.
He said harmonic context. Click bait title
yep, it sounds a bit like exaggerated harmonic explorations of Bach (like in sinfonia f minor), but I can't hear it as part of harmonic context by itself :/
edit: after listening that context for some time it becomes more obvious but I wouldn't say it's the most 'expectable' one
Imma be honest, I feel this illusion works best on Jazz players/listeners where 7ths may be considered a requirement for building chords.
From a heavy metal listener perspective, that chromatic descend you did at the beginning didn't mean a whole lot to be honest. Maybe my brain isn't that much wired into considering 7ths often, and mostly focus on roots thirds and fifths.
... Or maybe not. What are your opinions?
Totally get you! In fact, I felt the only reason I “filled in the other notes” of the 251 was cuz I’ve listened to and practiced it so many times alr
My friends who only play 156m4 pop songs most likely won’t be able to recognise this movement
Yes, that "illusion" is very specific to jazz players. II-V-I is used in other music as well, but recognizing and mastering them is the very core of jazz improvisation.
yes, I'm more exposed to classical music so I don't hear the "illusion", I only hear the tone played 😂
Absolutely agree
Personally I totally agree and felt similarly.
9:16 Truly capturing those moments where you get distracted while the teacher is explaining something important 🤣
Total ADD moment right there that made me laugh.
I thought: Cowlick police
I think this is something someone more fluent in jazz would pick up. i.e. YOU. Lol To me, it sounded more like a descending atonal thingy. Something a Japanese videogame composer would do. Adding context and then removing it didn't help (unless I actually TRIED to imagine the root notes). I think this is similar to the V - I perfect cadence using only 2 notes. Have an F and B go to E and C and most people (who grew up in the west) would understand what's going on.
Yeah definitely, because I did hear the 2 5 1s but I DO listen to a lot of jazz
I literally only heard it because I was watching a video on the exact same thing earlier today! It's almost like Charles was spying on me, kinda creepy lol.
Indeed. Studies have even shown that jazz musicians have trained their ears to be super sensitive to II-V-I progressions. Most others will only really hear 2 notes at a time.
I've been trained in classical violin for 10+ years and I can't hear it, so I guess I fit into this theory because I'm left out lol. I wonder if someone in classical piano would hear it though, since they play with lot more chords.
@@oryxthemad I'm classically trained and playing now for 20 years...I didn't hear it at all. Even after hearing it again with the roots removed. I don't "see" that context in my mind
I also learned in choir that if two people sing the 1st and 5th in perfect harmony, the audience hears the 3rd because of the way soundwaves work
Well even only singing the root note, you already have the third and the 5th in the natural harmonics that are audible to some extent
but don't you need the 3rd to tell you if it's a major or a minor chord?
@@zapcoolman8816 Major 3rd occurs naturally with harmonics: Fundamental is 1->1(8va)->5->1->3->5->b7->1
Thinking of trumpet/bugle partials, you start on C->G->-C->E ; E is the third of C Major.
All instruments (including the voice) have harmonics in the form of overtones - they are what make up the timbre of an instrument, or what it sounds like.
It works with other intervals too, and you can even get multiple overtones at once! I sing in a barbershop quartet and barbershop is all about those ringing overtones. Producing overtones is a really awesome feeling, it’s almost like the room is singing back at you
I'm a musician and even though I don't have perfect pitch, I think my musical hearing is well developped.
But even after hearing the root notes of each chord, I wasn't able to hear the full harmony.
I was just hearing a bizarre albeit interesting chromatic walkdown.
I don't know what's wrong with me then
Probably maybe you haven't been as exposed to 2-5-1s? Or maybe you need to have played a lot of them. I'm a musician and could not for the love of me hear the 2-5-1 but I also wouldn't be able to instantly sing a 2-5-1 if someone asked because of my non-exposure to that progression, it doesn't come naturally to me because I haven't listen to much music that use 2-5-1s
same. I think it's a question of acculturation/habituation to the 2-5-1 progression. I'm a huge classical enthusiast and I didn't assume anything about the roots when I heard the two note progressions.
@@cloudhed It's not only about the exposure to 2-5-1, it's also the exposure to this specific voice leading. (I mean, 2-5-1 also happens a lot in classical, but this is not how the voice leading would work in that context - the critical part is the resolution of that tritone, which in classical would pretty much always resolve to the 3rd and root of the tonic chord instead of the 3rd and major 7th. So, even if someone had heard a lot of 2-5-1 progressions in other styles, they still might not hear one here, because this is only how the progression would be played in jazz, and not what you would expect to hear in other styles.) A lot of jazz pianists learn to play these rootless "shell voicings", and practice them all the time, because in a jazz ensemble, the bassist is expected to play the root. So this probably influences their hearing - they learn to hear the expected bass part, even when it isn't there, because they rarely play the actual bass note themselves.
@@MaggaraMarine I agree. Many styles of music resolve to the root and 3rd or 3rd and root (like in guitar, 6ths).
same with me, i deal with music theory and music every day and didnt hear it at all
Even after all of that I still wasn't able to hear more than what was already there i.e. 2 notes. I originally thought I was just listening out for overtones but of course that wasn't the point. Then after hearing the 2-5-1s with and without context, I still heard 2 independent voices, especially an enharmonic Ab at the end. Could this trick be down to experiencing lots of 2-5-1s? Or perhaps you learn to hear this?
Definitely, if you're not as familiar with 2-5-1s you probably won't hear it. I did but I listen to a lot of jazz. So yeah it's probably just familiarity.
That's super interesting! I think there's absolutely a certain amount of long-term exposure that helps with this. Practicing a lot of ii-V-Is would definitely engrain it into your ear a lot more! It's super useful because it helps us understand what our focus should be when building chords and understanding the important components that will convey the most amount of information about the overall harmonic context.
@@CharlesCornellStudios Yes absolutely! I think its similar to black midi, where you only hear the lyrics if you know the song. Its interesting stylistically how we each 'want' to hear something differently. I've currently been consumed by Bernard Herrmann and Stravinsky so I guess my cadence spotting is slightly 💨 at the moment! 🙊 Perhaps thats why I just heard each voice individually without any... 'bias'?
Coming to think of it, I think you'd find Psycho's 'Marion Cue' really interesting harmonically
I'm with you, and I'd go as far as to say that without the root, the three chord sequence sounds super dissonant to me
@@CharlesCornellStudios I've studied a lot of chord structure and I've been exposed (and readily able to recognize) to the 2-5-1, but at first all I heard was the intervals (P5-d5-P5). Then once you played the roots I kept them in my head and could hear it.
I actually heard it because I was literally just playing around with 2-5-1 on the piano while going down a whole step every time a few moments ago, AND in that exact voicing too which is a funny coincidence (i do it very often i need help)
But if you showed me that when I just woke up without any context, no I don't think my brain is gonna fill in those gaps
Edit: also i just realized it sounds like we use the same exact piano sound LOL he uses keyscape right?
I was literally just watching a beginner Jazz guitar video earlier today, an episode about chord voicings with only thirds and sevenths, just like this! So when Charles started playing I knew exactly what he was going to talk about, entirely by coincidence, lol.
okay I just woke up and I cant hear it XD
I didn't quite hear it at first, either, but then after he played the sequence with the root note, I couldn't un-hear it.
Yo
It’s gd
I've got a pretty good hear for music, and I couldn't hear the 2-5-1 context until the roots were added. Just sounded like a mode using the chromatic scale. Kool though!
I think part of the disconnect that people are having is what you mean by "hearing." There are actual things you can do with overtones and such to trick people into hearing notes that are not being played (I think Adam Neilly did a video one one). This feels less like literally hearing it, but more like passing off the information that the note would convey. The note is implied. However, like how subtlety in language can run into issues with people from different cultures or experiences since they might not have the same assumptions I think this doesn't really work if people aren't familiar enough with the Jazz or chordal music theory in general (and I'm certainly not). That doesn't mean it isn't a good musical tool to use if you understand it, just that the listener might not pick up on exactly what you intended.
Bars
@casi what the fuck
Yes, this is very important. Different styles follow a bit different "grammar". These patterns aren't something "objective" that people are going to hear instinctively. Being able to hear them requires being familiar with the "grammar" of jazz. If you are familiar with other styles, these notes may have a completely different "meaning" to them - you are expecting them to behave differently.
As you said, this isn't about overtones or anything "physical" like that. This simply has to do with expectations that you have learned through listening to a specific style. I knew what I was supposed to hear before he even explained it, but still had somewhat a hard time hearing it, because I'm really not a jazz musician. I instinctively hear these notes in a different context that I'm more familiar with. I did start to hear it when he repeated it a couple of times, but I didn't hear it instantly, even though I have a good ear and a lot of musical experience and theoretical knowledge. And still, even after he added the root and then removed it again, hearing the 2-5-1 resolution still took some conscious effort from me. I didn't hear it "naturally".
I think only you and other people used to that jazz progression “hear” the other notes. It sounds nothing like then version within the roots.
Ha, I feel a little better after reading the comments. I consider myself a theory nerd and have been into music (not a lot of jazz) for most of my life, but I definitely couldn't hear the 2-5-1 at first. I guess it really does come down to how familiar you are with 2-5-1s. Makes the video even more interesting!
I make chiptunes, not many chips can play more than 3 notes at a time. Been doing this forever it seems. Also arpeggios are your best friends. Major arpeggio command 047 and minor 037 (fasttracker 2 style commands 0xy)
Hi, I love the changing of background settings throughout the video!! As someone who struggles with paying attention sometimes, I was more engaged in the video almost the whole time. Thank you, Charles 😌
When I first started learning improv, I remember my teacher just HAMMERING the importance of the 3rd and 7ths of a rootless chord. I have all my 251's down to the tee. He's such a good teacher!
i know many people already pointed that out from their personal experience but i feel like i want to explicitly clarify this again: this works with different cadences for different people. it is based not only on your ability of musical imagination but also heavily on your personal immersion in the tropes of the genre using these effects. the way this works therefore is historically and culturally unstable. g.f. händel for example wouldn't have been able to hear 2-5-1 root notes here and many people of today may be not familiarized enough with händel's "note exclusion tropes" to be able to feel them the way he probably did.
just to make a point, because it is not like you should "objectively be hearing a 2-5-1" here.
other than that i think charles uses these ideas as a vehicle to explain certain theoretical and aesthetic concepts (such as reduction to the essentials). and that is pretty dope.
Man… I have a pretty good understanding of the concepts you talked about but the way you brought it out just really opened my creative thinking!
You’re the man🤙
Why can't I hear the roots? I just hear fifth-tritone-fifth
Same. Charles forgets we're not all prodigies
I did hear the 2 5 1
It really depends on what music you listen to, I listen to a lot of jazz and jazz standards, indie rock and some pop so 2 5 1s are pretty familiar to me. But I can see how someone who doesn't really listen to the same music has trouble listening for things like that
I'm a vibes player. This is lifeblood. So weird to see other people not hearing it instantly when it's what I breathe in my chords. I only have 4 notes that I can play at any one time, so I have to be very picky about chord tones and voicings. 3rd and 7th are always present lol. They tell you chord quality and are usually the simplest way to access smooth voice leading. Shell voicings are just so cool to me since I don't have the luxury of really ever playing the root
I definitely think this is a jazz listener's illusion. At first listen I was expecting something to do with overtones and harmonic series, and thought the first chord was supposed to be Eb major followed by wonky chromaticism to D major. I didn't even think about ii-V-I until you gave the answer.
I mean I have a masters in composition and having being exposed to and studying pretty avant garde music for many years I just hear intervals going to Tritone and perfect fifth descending down. I think you could probably hear a lot of different things depending on the exposure or training you’ve had with music throughout your life/ study.
Thank you! With the way you explain things, the info you give is always something I can use even if I don't understand it the way a trained pro would. I appreciate that so much!!
I had a "5ths are useless" situation the other day. In a piece I'm playing, the first and second trumpets have a 5th interval (concert Eb and Bb). It sounded empty, and we have 3 trumpets, so I suggested to The conductor for me to play a concert G, making it an Eb maj triad. They said yes and now it sounds super cool.
really liking this video format. i don’t expect you to make all of your videos like this, but this was very well structured. keep it up!
This video seems to me to be a really valuable checkpoint for people with pre-intermediate experience in music for figuring out chord mechanics. This cleared up so much for me, thanks!
Dude, I love your videos. They always teach me something new and inspire me to dig deeper into the foundation of music itself. Your the best!
Dear Charles, you help us so much. I study jazz music and somehow it's so hard for me to understand the lectures and here I come to pass my exams and learn, I finally start to understand. Great content!! Many greetings from academy of music in Poznań Poland! There are many of us who watch you
Side note, the 5th can become important in defining the chord if it is altered such as in augmented or diminished chords.
Thank you so much for this elaborate explanation!!! Great vids!!!!
This is great, dude! I have my students do a similar exercise on trumpet over whatever tunes we’re working on. Just pick a rhythm & play 3rds and 7ths over the whole form. This will be a cool thing to share with them to supplement their practice!!
Every time you added the root note, it completely changed the entire thing for me.
I mean… I do notice the lack of a root, but I can still recognize the chord. It still sounds fuller, and in my opinion, better, with the root rather than without it
I really like this new tweak to your style, breaking up the camera angles a bit. Keeps it lively for those of us who stopped band before high school.
3rds and 7ths -- name of the game in conventional harmonies... Great for LH comping and as a way to stay out the bassist's way, and to prompt the RH to improvise over the extensions instead of the scale. Thanks, Charles! I've been discussing this with a buddy who's learning piano (he's already an accomplished guitarist, bassist and vocalist).
8:34 Love the "clockwise" correction. Too funny!
Interesting. This went a little over my head, but it reminded me of playing chord progressions on a marimba in band about 20 years ago. 💜
If it’s tough to hear it, try resolving the top note back up a half step on the third chord (so Eb/Bb, Eb/A, D/Bb, for example). It breaks the 3rd/7th pattern in favor of 3rd/Root on the last chord, but it’s easier to hear the resolution Charles is talking about when you hear the two leading tones resolve outwards.
I find how different major and minor 3rd pairings travel in different chords of a key. Like the 5th to the 7th of one chord can be the 3rd and 5th of another. And chords can be identified and created by stacking the different pairings of thirds.
Great music theory lesson into the standards of jazz!
The one thing I would caution, is emphasis on the 2-5-1 roots.
They're absolutely how you want to start off listening, but getting used to them can be hard to get away from.
Other substitutions can be used with those 3rds and 7ths voicings.
The particular one that comes to mind is the Tritone substituation, where the V (G7) chord can be substituted with a Db7 chord, because it has the same 3rd and 7th notes, just reversed.
But then the progression becomes 2-b2-1, which is just as cool and natural sounding as the 2-5-1.
So learn the beauty of those 3rds and 7ths - absolutely.
Learn them in relationship to the root?
When starting, sure, but know there's more out there if you're willing to be flexible with that relationship as well.
What is neat Is that at first I did not hear what you were hearing. I just heard dyads moving with suspensions, but once you brought in the roots it was clear where you were going. Cool stuff.
The importance of the 3 and the 7 is also how a tritone substition basically works : you can litteraly change the other 2 notes of the chord and still keep the same chord function.
Many classical composers used the cowlick zoom as a way to strengthen the V7-I resolution
The addition of the root C to the other two notes at the beginning was a complete revelation to me and gave a context to them that I previously couldn't identify,. Even though I'm a vocalist and not much of an instrumentalist, I'm normally pretty good with harmonics, so that suggests to me that Charles is assuming that everyone else can hear in their heads what he can in his. Perhaps it's 'cos he's classically trained and thus steeped in a sea of potential voicings, making it quick and easy to identify possible contexts for any interval?
Playback Speed 0.5 comes handy when i try to learn stuff from this channel. :) Great content, as usual.
My Bass teacher once taught me the Circle of fourths which is basically the circle of fifths counterclockwise. All my other music teachers I told about that said that it doesn’t make sense. Now it makes sense.
could you make some videos on how musicians train their relative pitch? mine is coming along okay but iv pretty much been teaching myself id like to hear from someone like you on how to improve it.
It's simple art to play this, it's a whole lot more complicated art to explain it that well. Well crafted video mr Cornell
On guitar and mandolin I play these "two note" chords when I vamp on a I-IV-V progressions (blues, funk, etc.) On those instruments the notes can be played on adjacent strings just one fret apart. There is very little movement on the guitar or mandolin when changing chords, just a half step down from I to IV and a half step up from I to V. I never understood why I could hear the root so clearly when it wasn't there. Thanks for making sense of this! Cool beans.
Fun harmonic convergence: if you take the 3rd and 7th of the dominant 5th chord and the tritone substitution, you get the same notes, and that's kinda why tritone subs work
For example, in the key of A major, the dominant 5th would be E7, and the tritone sub is Bb7. The 3 and 7 of E are G# and D, and the 3 and 7 of Bb are D and Ab (or G#)
I think the reason why so many people aren't hearing it is because this only works when you are familiar with 7 chord 2-5-1s. If your not, I don't think you'll be able to hear it as well as others. The cool thing about music tho, is that very similar movements happen in other genres of music. So even if they didn't hear a 2-5-1, they heard something else more familiar to them.
If you can't hear the ii-V-I, try adding (play/hum) just the root of the I chord when it comes, and leave the ii and V as just the two notes. I found that hearing the tonic was really important for me (I couldn't hear the ii-V-I without it), but with that one extra piece of information, my brain was able to fill in the rest of the gaps (even without the roots of the ii or V, I could still hear them function as ii and V)
Of course, people steeped in jazz may not need that extra context, and some people may need more (eg the roots of both the ii and the I but not the V, or maybe the roots of all three).
I was literally just watching a beginner Jazz guitar video earlier today, an episode about chord voicings with only thirds and sevenths, just like this! So when Charles started playing I knew exactly what he was going to talk about, entirely by coincidence, lol.
currently awaiting your new video that goes over the new Kenobi trailer and the real power that music holds... I literally could watch that trailer blindfolded and would be at the same excitement level as actually watching the teaser trailer.
Thank you for! I remember discovering this when I was in high school learning piano and playing around with the circle of fifths but didn't have the language to explain what I was hearing. Also @9:17 I wasn't expecting that, lol
just found your channel. This video is really amazing
Nostalgia in Times Square has a Nice melodic line in the last 4 measures implying a sequence of 2-5-1
@Adam Neely explain why people have different experiences, according to some it has to do with previous exposure to jazz, but knowing you I'm sure there is depth here!!
At Berklee they called these "guide tones" - if you want two horns to play backgrounds to a soloist, using these two tones yields a perfect pad every time.
I'm very new to the number system and still don't have it internalized. I struggled to hear the notes that weren't there through this whole video. Even after you played it with context and then played just the 2 note version, my brain wasn't coming up with root notes that weren't there to give context. Instead I just keep hearing it as 2 note intervals without any context. I bet having a deep familiarity with the sound of a 2-5-1 and the types of music that use it frequently is why this works. For someone like me who spent years learning how to play and make music without the context of theory or formal training, it doesn't really work. Super interesting. I also wonder if people who play non-western music would hear something totally different.
Personally I didn't really think of chords so much when I heard it, but when I did assign chords to the sound I was thinking of, I got something like VII6 - bVII7 - i9, so sort of a similar structure but with a deceptive cadence
I actually noticed this a long time ago by myself but that's probably because i love Japanese jazz fusion and anime soundtracks that im able to pick this up.
I see that a lot of people don't notice the 2 5 1 is actually pretty interesting
I heard a lot of anime/game soundtrack vibe but I didn't pick up the roots/my brain didn't "hear" them for me.
@@strat0caster124 hmm that's weird like for me is i definitely can hear the roots but probably because im also a music theory/jazz nerd and love to dissect ost's and it became kinda natural for me.
I definitely didn't hear it at first, but by the end of the video, I started to hear the implied harmony.
This is a perceptual trick, requiring some form of musical memory and assumption of root note placement. Personally, when I heard it the first time, I simply heard it as a dissonant yet resolving chromatic progression. Sounded like something out of a horror movie to signify some oncoming evil, or a descent into madness...
Then after you played the roots with these notes, I heard what you were talking about as clear as day.
I think it depends on whether you're tuning your mind to hear a resolute chord or whether you hear the notes for what they are...
Found this the other day. Was blown away
Great explanation! I didn't hear the 3rd notes myself, but everything else really clicked into place after the explanation.
I had to rewind and watch the slow zoom focus on the hair sticking up twice haha
This might sound very strange, but I could hear the root only sometimes. Sometimes I could hear them, but there were points where I heard like a “darker version” of the intervals/2 isolated notes played together
9:15 Not the slow zoom in on the ahoge! _Again!_ 😆 My man's got that Dennis the Menace going on.
Also, I never noticed how much Charles looks like Justin Timberlake until the shifted camera angle.
My ears were forged in a modern (even contemporary) classical environment, so I was just hearing the two notes you were playing :) just without judgement.
Okay I don't have anything close to perfect pitch or great theory so I'm not sure how similar they actually are but am I the only one who kept just hearing him play the piano part from Videotape by Radiohead again and again (almost). It actually took me a bit to realize what song I was hearing so I was completely distracted and kept rewinding.
Also I really feel the 2 note versions feel really different than the three ones. It feels like they have more tension and dissonance without the third note rounding them out.
This is bizzare for me. I usually feel like i had the ability to hear "more" when it comes to harmony and it's context, but with this particular progression i feel NOTHING from the 2-5-1 when i dont hear the root. Even when you play it right after with the root its completely different. Without the root it sounds janky, sad and dissonant and for sure it does not say home, if anything, the opposite. Now the question is, am i actually deaf for this particular "musical que" or am i an original, sticking away from the mold :D?
Same. Without the root, it was just nothing to me.
Maybe because im still trying to apply this 2 5 1 concept in my playing, but i don't hear that without the root. I started with the bass, so with those identities you can make any melody in any key. Especially when you go around the entire circle of harmony because you hit all 12 notes at some point through the progression, so technically anyone can start at any given point and at some point something will sync up and the expression of the synchronization or lack thereof. Often times one instrument, like the piano can go around the whole circle, while a bass sticks to only a few chords to emphasize the point. I'm still new to the piano, so hopefully these ideas will get me better at this kind of thing. I find naming chords on the piano kind of useless because many times your combining functions and can have as many as 10 or more functions at once if your good at fat fingering. You can imply chords and harmony with one note and a rhythm. So often times I just name the chord whatever my left hand is doing, and you can axis the root chord over all the even numbers, and really stack dissonance on the odd numbers. It's kind of the baroque idea of triangulation from your root. Like to me Tocatta and Fugue in D minor sounds like its in A minor to me, even though everything points to d minor, everything seems to be running away from d minor, hence fugue or to run away, to flee. And when you run from the tonic constantly the dominant becomes the epicenter of the runs from the diminished symmetry into the strange sad starting point, pointing and emphasizing the life of the minor keys and how naming things becomes Irrelevant, hence Tocatta, to touch to feel. I mean thats why everything is a drum. Playing 88 different drums at the same time can get complicated. I always found understanding of harmony easier to understand with the path of each part and the nature of the part. I don't know i would rather define the quality then create it rather than take the quality and make meaning out of it. Though i guess it would be the same thing. Maybe i make things too complicated.
Hello Charles! Can you look at Brian Tylers Formula 1 theme and break down why it’s so insanely good? 😍
What's also interesting is if you change the root from any given chord, e.g CMaj7 C-E-G-B, and make the 3rd the new root (E), the 7th of C (B) becomes the 5th of E. Essentially a gap of 4 scale degrees between both intervallic relationships.
5 scale degrees - 1 scale degree = 4.
7 scale degrees - 3 scale degrees = 4.
So when you say that the 3rd and 7th gives us more information than the root-5th I want to be slightly facetious and say that they can just about be considered to be the same context withstanding. A great informative video nonetheless!🙂.
It's really interesting, I feel like I can choose to hear or not hear the roots
In the beginning when you were playing those two notes, I found myself singing the roots of the 2-5-1 that the notes were related to. I also hear the roots in a chromatic, tritone sub kinda way. Maybe it's just baked into my brain from practice or something 🤣
Always love a good 2 - 5 - 1
That cheeky zoom got me, nice dude
Just to add myself as a datapoint in the discussion going on, I heard it. I mean, not literally hear, or even hearing in my head but like, I heard a 251 in Bb rather than some weird 5th and tritone resolving to a d5. In the same way that if you hear a bebop phrase without accompaniment you also hear what chord progression it's over, even if you don't necessarily hear accompaniment in your mind's ear even.
I had a fun time learning something I can use
The visuals are nice
Are you familiar with difference and combination tones? Another really cool way of 'generating' extra notes.
Charles !! Always with the dope content! Can you please do a Nirvana review next ? Songs like “In Bloom”?
Agreed. Nirvana have really unusual and inventive chord progression
I would have liked to have seen this visualized in a wav form. I could have seen the harmonics with and w/o the 5th.
Just wanted to say Charles that from the perspective of a classical musician, hearing it without the root makes it sound like just notes descending. Whereas I guarantee jazz musicians can audiate the progression much better because they're used to hearing that 7th added to the chord.
As a musician i don't hear the 2-5-1- progression without the root. More like a: Eb . Eb° . Dm . and so on. It only sounds like a progression if you put it in a key context. If not, it's just a chromatic movement. Although Eb is the relative major of Cm, the notes of Eb° are the tensions of F7 and Dm is the third chord of the scale and it could be replacing the Bbmaj7. This is the context the ear needs to assign roles to chords.
He's really dropping knowledge today
Very cool, but I'm another one that didn't hear it. I compose orchestral pieces and what I heard was a kind of sinister tritone-ey descending line, assuming that the chord was changing for each group of 3 note combos, rather than on every change. But I can totally see hearing it if you are normally thinking within a jazz context. That's what I think is cool, that even among musicians we can hear different things depending on the perspective we are coming from.
Honestly for me, I did not hear the root notes while listening to the samples. Im always used to picking out specific notes in a chord and play them back to myself.
Although I have experience in music theory and playing music (the violin), I couldn't say the note names when I hear them like people with perfect pitch can, however I can discern separate notes in a chord, should I need/want to.
I can see why people might hear more notes being played then there actually are, however I just hear the 2 notes being played. The roots only adds to the harmony which I think sounds very nice.
Love the "personality" zoom in :D
This is most likely something they utilized in old video games when making 8-bit music. Because polyphony was limited
I have a question
Do you think the 5th is superfluous only when it's a perfect 5th ?
Intuitively, I would think that in a Maj7b5 the b5 would be important for the function of the chord to be stated in context
But i'm unsure if it's altering just the sound and not the function, or both, and how context dependent this is (because it's a very specific chord)
I'm curious to hear your thoughts on that ^^
As far as I know, it's only the perfect 5th that ain't important at all. The reason for this is that the perfect 5th is very present in the roots harmonics. The perfect 5th is the strongest of these (after the octaves of the root of course).
It's just the relationship of those two notes to one another, the most easily recognizable pattern of chords is the 2-5-1
Curious to see if this trick works with different instruments or an ensemble and not just with piano.
I ironically sang C F Bb before hearing the chords but couldn't connect them together with the shell voicings alone
You should look at some of Billy Joel's music! He's got some amazing songs that would probably be fun to analyze
Guys he’s not saying you ACTUALLY hear 2 more notes. He’s saying the content they provide to the chord is able to be inferred by the 2 existing notes
You getting better and better at making thumbnails is really fun
The 5th is the least useful note of any chord, yet the circle on 5th is an intricate part of understanding harmony. Music is fascinating.