It's great to revisit and think about the differences between what we hear prominently and what all the different players are doing. It also sounds like there is a natural vibrato further interacting with the overtones. - whoa!
Having the context of the stems really opens up why this chord feels the way that it does! I would argue that your previous assessment/analysis was (and still is) pretty on the money, specifically in terms of "here's a piano reduction of this Awesome Orchestra". There's some really cool things going on here from a psycho-acoustic perspective. In headphones, what we would hear and refer to as "the chord" wouldn't change tooooo much if we took out the low-end bass strings clusters. But in a massive theater space, full-range speaker stacks with Giant Woofers, those Super Rich, sub-aural tones present in the strings would absolutely WHACK you in the brain and the chest!!! It's so cool picking apart the tools that composers use to create bodily responses. In no other place would this kind of arranging be SO effective than in horror films!!! So glad this hit my page, I love what you're doing here.
Im glad right at the end you mentioned the overtones coming out of those low clusters. Its hard to hear what they are exactly, but they cast a shadow over their domain. We may not always directly perceive Dracula, but they are always there looming, making the atmosphere feel unsettled
That chord was centuries in the making! It started with the hoofbeats of the invading Ottomans, the screams of the impaled, the heartbreak and despair of the living, and the will to live beyond death. Fabulous update!
@@Keith_Horn If you like his work on Dracula, I highly recommend his works 'Death and the Maiden: The Confession', and 'Victoria'. They have this grotesque feeling but are also so, so pretty.
That is indeed a massive chord! No way I'd be able to pick out all the notes by hearing. Just too dense of a sonority. But as a mass of sound, it is very sublime, albeit dreadfully so. I love it! Thank you for both vids on this topic.
It sounds like one of the chords in Prokofiev's 'Battle on the Ice' about 3 to 4 minutes in when the choir holds a few chords, very similar-sounding cluster-chord.
It's every note in the E minor scale. I have that score and checked it when I saw your first video and noticed the ABCDE chord in the piano part, with EF#GA played as rhythmic quarter notes.
Seems to be a perfect pandiatonic E Aeolian as you mentioned. But since it is a big cluster chord with no function and that the bass note is not that clear, i guess every mode from G major scale can be considered. We had the feeling this chord was diatonic and not altered (like in Jazz or with Stravinsky or Bartók) but now it makes fully sense, thank you so much for having clarified. Brillant.
So much more dense now. When I saw the last vid I wondered if it was the electric piano sound? Reminded me of a David Foster type of voicing.. but now..wow! I’m using this as a ringtone when my wife calls.
Aha, i thought it was my piano, or something the choir section was doing in the original version. Great job setting it straight in this follow up! If it wasn't for Keanu...
Just found your channel, like the chord of the week idea. I always found it interesting that Bowie mentioned a fan played the "correct" opening chord to Space Oddity in the middle of the neck when most folks played it near the nut. Never worked out what chord that was. Seeing this made me realise I really should work it out. It's also got me thinkin' how many other chords there are which perplex me. There's loads floatin' in my head, but they're all at the tip of the thought atm so I'll have to wait for them to simmer to the surface. I did manage to transcribe Radiohead's "pyramid song" chords to guitar once, and that was quite the ride. I'm sure there's some Ligeti or Xenakis chords that're still impenetrable to me, and a few by Deathspell Omega to boot. Cheers for the inspiration.
I have been watching for that score to come back in to print at Omni for years. Kilar's Dracula is a big fave of mine. That, and Toto's Dune, made me want to score movies . Oh, and Star Wars is ok too, I guess...
I really wanted this and other Omni editions! I'm from Brazil and it's very difficult to get access to this material. I would give a lot for an e-book like this for sale.
As far as I know, Omni wants to ship to more countries but publishing rights for some scores prevent that. Schott is an international distributor for Omni scores but I don't know if they ship to Brazil
@@Keith_Horn I believe they don't even think about e-books because of piracy. I'll keep an eye on it and as soon as possible I'll buy this gem. For now I'll stick with the treasures you offer, excellent channel
Even with extensive ear training, this “chord” is so dense, that everyone should get a pass on nailing it first try without the score. You were so damn close though.. Great video!
I just wanted to make an observation that the notes played on this chord are the same notes(or at least very similar to my hear) played in the track Forest in the Silent Hill 2 original soundtrack. Which is btw a amazing soundtrack that has a lot of ambience and interesting chords
having zero background in orchestration other than playing around with some softsynths/samplers (again, nothing)... I would have never thought a composer would have such muddy clusters of notes so low in register. Those strings playing that tetrachord... that is like pure sludge!! Instead of viewing it as wrong, im going to take composer's word for it, and count it as something that IS done. Wow! PS: I have played complex chords from songs into SPAN (free spectrum analyzer). I set plugin to high resolution and you can see every sine wave. Through some quick playing around, you can see the harmonic series for different acoustic instruments and get a feel for fundamentals vs harmonics... that way you wont be confused on what notes recording contains. Anyhow, thank you for valuable lesson!
Ha! I watched the previous video and I resisted commenting because my mom taught me right, but I knew there was much, much more to this monstrosity. Good sleuthing! But, I think the notes the choir are hitting are the real emphasis to me and how I begin interpreting the whole thing.
Nice breakdown. To me, this chord brings to mind the opening of Jerry Goldsmith's Omen Suite. Of course, it's not the same, but do you think there's anything in common, perhaps even some influence? I'd love to hear your thoughts.
There are similarities, for sure. They both feature chorus and they both slowly build the same way (Dracula gets much bigger). I don't know if Kilar was influenced directly by The Omen but both of them were probably influenced by Carmina Burana and any other choral works with a chorus singing in latin.
I hear it as having a A or D in the bass for some reason. Especially as the score starts with them droning on A. Idk about the D why I hear it but atleast w/ headphones on its the clearest low note that I hear !
The same here! Was about to post it and saw your comment. Or that is I hear a unison deep a just before the actual chord followed by the actual chord where the bassnote then drops a fifth down to a very deep d. Basically making it one giant Dadd11 or D11 chord (the Dadd11 sound more true to what I am hearing). There are actually physics to back this up. What seems to be at stake hee is the Psychoacoustic phenomenon known as Combination Tone (or Tartini Tone as it is also known) in the form of difference tones where two or more notes either enhances a deeper already present note - or even creates a completely new audible note out of thin air if they are played loud enough. It would make a lot of sense that some hear this phenomena, firstly given that all the a's and f#'s that are present in the full chord and the sheer volume and precense of these given by not only the intense dynamic and character but also the nature of the orchestration and voicing with these notes being stagged on top of each other in multiple instrument groups and voiced over multiple octaves that would further amplify the sound of a D root as both a and f# are part of the D major triad and therefore also present in the D overtones series. Secondly the deep a in the piano and the d a fourth below might enforce and cement this even further as the fourth are the second and third overtone even lower in the harmonic series than the third and fourth harmonic that the minor third between f# and a ringing above. For this reason I wonder if that deep d I hear at the bottom even is below the low d in the piano, (don't have a piano at hand to test it though) so basically a note that isn't even played in the actual chord but instead an imagined and persieved note that that arises due to this Psychoacoustic phenomenon. As a bass and (amateur) organ player myself I and fellow organ and bass players sometimes use this trick of making a fake octave below by playing a fourth below the note you wish to octavate. In this case by playing the a below the d to get an even deeper d - in other words the second and third harmonic to get the first harmonic (or perhaps even the root an octave below that.)
@@mordy91 That very well could be happening in this chord and it might be by design. Maybe the phantom low D stands for Dracula? I know that's a stretch but wouldn't that be amazing if that was his intention?
Makes sense. I wonder if it’s a mistake in the score. Maybe those notes should be G and A instead of A and B. That would match what everyone else is doing
I really hope it's not a mistake in the score and Kilar actually wrote this, but in the penultimate bar of 'The Beginning', (this chord's big moment - dynamic marking fff), clarinets 1 and 2 move from B3 to A3 and clarinets 3 and 4 move from A3 to G3. The piece just wouldn't be the same without it 😂
Well, almost no one could have heard all these notes... except maybe Dylan Beato (although I believe the difficulty to hear all notes in this Dracula chord would lie in thes very muddy very low basses). Check out this boy he's absolutely amazing. Here's a video that his father Rick had to make because people wouldn't believe it was true: th-cam.com/video/EH2JBxdQK3Y/w-d-xo.htmlsi=9v8JBjMCsLN7limw Anyway, good on you to correct the "mistake" (which isn't one really). Carry on the good job, very interesting content. Cheers.
Don't know if you do requests, but I distinctly remember this Boba Fett Theme at 0:20 from Empire Strikes Back being one of those, "What chord was that?" moments. th-cam.com/video/eWO_HFVKR6o/w-d-xo.htmlsi=Y3K7SEq80AYIyAGH
What about the ORIGINAL Dracula chord. I heard a story that Cedric Lawson, Miles Davis's piano player liked that chord and used it so much once in a Miles live show that Miles turned around, stopped the band, and hawked a lugee on Cedric. I assumed it was a diminished chord of some kind. Later, I heard that Cedric became an undertaker because he liked playing organ for dead people. Not trolling here, these are actual stories I heard from someone who knew Cedric. Cedric also had a "special chord" he liked to play at the end of his solos called the "butt swipe". He would stand up, turn around and swipe his butt across the keys (probably inspired by someone like Jerry Lee Lewis) One day Cedric was in the studio with Miles and had been doing the butt swipe chord during his solos and Miles told him he would knock him out if he played that one more time, and Cedric, being Cedric did it again, and Miles knocked him out! Again not trolling here- these are apocryphal Miles stories from someone I knew that was roomates with Cedric. I'd like to see a video about the original Dracula chord. I'm guessing Cedric played that behind Miles because Miles had a reputation for being the 'prince of darkness'...
The 'expert' you consulted forgot about the scordatura. This is a pianoforte in G, an instrument as old and aristocratic as the title character. It's designed to accompany the niche repertoire of the English Horn d'Amore in G. So the sound matches the rest of the instruments: e f# g a b.
Hello Keith May be you will be interested by analysing this opening chord by the mighty Jerry Fielding ? th-cam.com/video/AMKOMOQ6xno/w-d-xo.htmlsi=-aOJkUQ4FgorxUJa
Excellent work Keith - great content and quite enjoyable. As soon as I heard that 4 note cluster I thought of the little run in the intro to Boz Scaggs Love Look What You've Done To Me : th-cam.com/video/hWrbelCfMvc/w-d-xo.html
Practically speaking, this is just the tetrachord with a ladleful of mud for effect, right? I defer to the knowledge of everyone who isn't me in this comment section
I would agree. The core of it is the four note tetrachord cluster and the low piano A minor cluster seems to be there just to make the low end as thick as possible
Love this ! You can find some strange chords in the score of the movie WHAT DREAMS MAY COME : For example : th-cam.com/video/lJKbBXohNtE/w-d-xo.html 2:11 (strange) + 3:40 onwards + 4:04 (brutal ). IMO the whole score is one of the best from the 90s !
@@scorestorm If I were to use a CB, Vcl, Vla, or Vln patch for each part and played the four note cluster I would get an unnaturally large string orchestra. If the virtual violin section was recorded with 30 players, the four note cluster would sound like 120 violins, etc. Maybe starting with Spitfire Chamber Strings or something similar would help avoid the Uber-orch sound. Also - using solo WW and brass patches would sound cleaner and more realistic. It's just tedious.
@@Keith_Horn You won't be able to do uber-orch... You won't get an orch V1 section sound recorded one script 10 times, it doesn't work like that. In any case, it would be more obvious than a piano.
This is sick. Impossible to hear a chord of this quality perfectly by ear, but even more fascinating to see it in its full form!
I was surprised how dense it actually is when I saw it
Big kudos for admitting a mistake, going even deeper, and coming back even stronger! \m/.
Thanks! I thought it was important to give some clarity after seeing the score.
It's great to revisit and think about the differences between what we hear prominently and what all the different players are doing. It also sounds like there is a natural vibrato further interacting with the overtones. - whoa!
Yes the choir is using some pretty intense vibrato
Having the context of the stems really opens up why this chord feels the way that it does!
I would argue that your previous assessment/analysis was (and still is) pretty on the money, specifically in terms of "here's a piano reduction of this Awesome Orchestra".
There's some really cool things going on here from a psycho-acoustic perspective. In headphones, what we would hear and refer to as "the chord" wouldn't change tooooo much if we took out the low-end bass strings clusters. But in a massive theater space, full-range speaker stacks with Giant Woofers, those Super Rich, sub-aural tones present in the strings would absolutely WHACK you in the brain and the chest!!!
It's so cool picking apart the tools that composers use to create bodily responses. In no other place would this kind of arranging be SO effective than in horror films!!!
So glad this hit my page, I love what you're doing here.
Great points. I would have loved to hear this film in a theater
Now that's a massive chord!
Massive!
Im glad right at the end you mentioned the overtones coming out of those low clusters. Its hard to hear what they are exactly, but they cast a shadow over their domain. We may not always directly perceive Dracula, but they are always there looming, making the atmosphere feel unsettled
Yes, there are a lot of them because of that lower register
That chord was centuries in the making! It started with the hoofbeats of the invading Ottomans, the screams of the impaled, the heartbreak and despair of the living, and the will to live beyond death. Fabulous update!
A chord for the ages!
Very interesting, thanks for the update!
Sure thing - I thought it deserved some clarity
For such a dense sound, I think you did great in the other video, working it out mostly correct by ear.
Thanks! I think I got the essence of it but I was missing a couple key buried notes
KIlar is my favourite. Such lush texture, always very willowy and pretty even in the chaos.
He's amazing. I don't know his concert works but I'm looking forward to listening to them
@@Keith_Horn If you like his work on Dracula, I highly recommend his works 'Death and the Maiden: The Confession', and 'Victoria'. They have this grotesque feeling but are also so, so pretty.
@@nickpottermusic I'll check it out!
that is insane
In the membrane!
After watching the first video, I had a feeling something was missing but wouldn't have been able to pinpoint what it was. Great analysis.
There’s more to it for sure
Thanks mate, that’s unbelievably beautiful! Great job
👍🏼
That is indeed a massive chord! No way I'd be able to pick out all the notes by hearing. Just too dense of a sonority. But as a mass of sound, it is very sublime, albeit dreadfully so. I love it! Thank you for both vids on this topic.
"Dreadfully sublime" is well said
Thanks for the update. Had a feeling there was a bit more to it.
I did to. Glad i got to look at the score
Amazing, and thanks for taking the time to clarify this!!!
It was definitely worth the extra work!
It sounds like one of the chords in Prokofiev's 'Battle on the Ice' about 3 to 4 minutes in when the choir holds a few chords, very similar-sounding cluster-chord.
Nice! I'll give that a listen.
That gets pretty intense. Thanks for the update!
Very intense!
It's every note in the E minor scale. I have that score and checked it when I saw your first video and noticed the ABCDE chord in the piano part, with EF#GA played as rhythmic quarter notes.
Right! So hard to hear all of that from the recording. Not the prettiest voicing but still interesting
Seems to be a perfect pandiatonic E Aeolian as you mentioned. But since it is a big cluster chord with no function and that the bass note is not that clear, i guess every mode from G major scale can be considered. We had the feeling this chord was diatonic and not altered (like in Jazz or with Stravinsky or Bartók) but now it makes fully sense, thank you so much for having clarified. Brillant.
Yes the bass note isn't very clear in the recording but the score has it as an E in the low brass and basses
Consider yourself forgiven Keith. 😉 Love your 'Chord Of The Week' videos!
Thanks for the support!
A note on the full score - it is available from UK Amazon. It's not cheap - £70 - but it's defo worth the money!
Good to know - thanks!
At this point it's not a chord anymore, it's a whole vibe. That bottom part sounds like a rumbling coming from the depths of the earth...
It is a whole vibe
So much more dense now. When I saw the last vid I wondered if it was the electric piano sound? Reminded me of a David Foster type of voicing.. but now..wow! I’m using this as a ringtone when my wife calls.
Yeah that sound is reminiscent of David Foster - I don't think he ever used a chord like this though!
Great as always !
Thanks!
Aha, i thought it was my piano, or something the choir section was doing in the original version. Great job setting it straight in this follow up! If it wasn't for Keanu...
Keanu had it wrong in the first video :)
Just found your channel, like the chord of the week idea. I always found it interesting that Bowie mentioned a fan played the "correct" opening chord to Space Oddity in the middle of the neck when most folks played it near the nut. Never worked out what chord that was. Seeing this made me realise I really should work it out. It's also got me thinkin' how many other chords there are which perplex me. There's loads floatin' in my head, but they're all at the tip of the thought atm so I'll have to wait for them to simmer to the surface. I did manage to transcribe Radiohead's "pyramid song" chords to guitar once, and that was quite the ride. I'm sure there's some Ligeti or Xenakis chords that're still impenetrable to me, and a few by Deathspell Omega to boot. Cheers for the inspiration.
Thanks for watching! I like “thought ATM”
You did well, I don't think many people would be able to identify all the notes in that super-cluster chord
Thanks - I couldn’t do it without peeking at the notation
No wonder it's hard to tell what's going on! But it sounds awesome!!
Yeah it's a mess down low but the sound is epic
I have been watching for that score to come back in to print at Omni for years. Kilar's Dracula is a big fave of mine. That, and Toto's Dune, made me want to score movies . Oh, and Star Wars is ok too, I guess...
Yeah SW is ok 😂 haven’t heard Dune in a long time
I really wanted this and other Omni editions! I'm from Brazil and it's very difficult to get access to this material. I would give a lot for an e-book like this for sale.
As far as I know, Omni wants to ship to more countries but publishing rights for some scores prevent that. Schott is an international distributor for Omni scores but I don't know if they ship to Brazil
@@Keith_Horn I believe they don't even think about e-books because of piracy. I'll keep an eye on it and as soon as possible I'll buy this gem. For now I'll stick with the treasures you offer, excellent channel
@@gabrielreis7319 Thanks!
Your hair is phenomenal
Even with extensive ear training, this “chord” is so dense, that everyone should get a pass on nailing it first try without the score. You were so damn close though.. Great video!
Thanks. I think all of us would have lost if this one was the final Jeopardy clue
@ 🤣 true!
I just wanted to make an observation that the notes played on this chord are the same notes(or at least very similar to my hear) played in the track Forest in the Silent Hill 2 original soundtrack. Which is btw a amazing soundtrack that has a lot of ambience and interesting chords
I’ll check that out!
Always helps to take a look at the score.
You can’t always trust your ears.
So true. Especially with a chord this dense
having zero background in orchestration other than playing around with some softsynths/samplers (again, nothing)... I would have never thought a composer would have such muddy clusters of notes so low in register. Those strings playing that tetrachord... that is like pure sludge!! Instead of viewing it as wrong, im going to take composer's word for it, and count it as something that IS done. Wow! PS: I have played complex chords from songs into SPAN (free spectrum analyzer). I set plugin to high resolution and you can see every sine wave. Through some quick playing around, you can see the harmonic series for different acoustic instruments and get a feel for fundamentals vs harmonics... that way you wont be confused on what notes recording contains. Anyhow, thank you for valuable lesson!
That's so helpful to visualize the harmonic series
Ha! I watched the previous video and I resisted commenting because my mom taught me right, but I knew there was much, much more to this monstrosity. Good sleuthing! But, I think the notes the choir are hitting are the real emphasis to me and how I begin interpreting the whole thing.
Agreed - the choir is leading the charge in this chord
Nice breakdown.
To me, this chord brings to mind the opening of Jerry Goldsmith's Omen Suite. Of course, it's not the same, but do you think there's anything in common, perhaps even some influence?
I'd love to hear your thoughts.
There are similarities, for sure. They both feature chorus and they both slowly build the same way (Dracula gets much bigger). I don't know if Kilar was influenced directly by The Omen but both of them were probably influenced by Carmina Burana and any other choral works with a chorus singing in latin.
I hear it as having a A or D in the bass for some reason. Especially as the score starts with them droning on A. Idk about the D why I hear it but atleast w/ headphones on its the clearest low note that I hear !
Yeah I kind of hear that too but the lowest note in the score is E. Maybe the low A in the piano is cutting through?
The same here! Was about to post it and saw your comment. Or that is I hear a unison deep a just before the actual chord followed by the actual chord where the bassnote then drops a fifth down to a very deep d. Basically making it one giant Dadd11 or D11 chord (the Dadd11 sound more true to what I am hearing).
There are actually physics to back this up. What seems to be at stake hee is the Psychoacoustic phenomenon known as Combination Tone (or Tartini Tone as it is also known) in the form of difference tones where two or more notes either enhances a deeper already present note - or even creates a completely new audible note out of thin air if they are played loud enough.
It would make a lot of sense that some hear this phenomena, firstly given that all the a's and f#'s that are present in the full chord and the sheer volume and precense of these given by not only the intense dynamic and character but also the nature of the orchestration and voicing with these notes being stagged on top of each other in multiple instrument groups and voiced over multiple octaves that would further amplify the sound of a D root as both a and f# are part of the D major triad and therefore also present in the D overtones series.
Secondly the deep a in the piano and the d a fourth below might enforce and cement this even further as the fourth are the second and third overtone even lower in the harmonic series than the third and fourth harmonic that the minor third between f# and a ringing above.
For this reason I wonder if that deep d I hear at the bottom even is below the low d in the piano, (don't have a piano at hand to test it though) so basically a note that isn't even played in the actual chord but instead an imagined and persieved note that that arises due to this Psychoacoustic phenomenon.
As a bass and (amateur) organ player myself I and fellow organ and bass players sometimes use this trick of making a fake octave below by playing a fourth below the note you wish to octavate. In this case by playing the a below the d to get an even deeper d - in other words the second and third harmonic to get the first harmonic (or perhaps even the root an octave below that.)
@@mordy91 That very well could be happening in this chord and it might be by design. Maybe the phantom low D stands for Dracula? I know that's a stretch but wouldn't that be amazing if that was his intention?
The bass note you can't actually see on a piece of paper kind of like you can't see Dracula in the mirror :D
And also for me the D ass the bassnote makes the chord much more sinister than having E in the bass. Something about that dissonance of the 4 and 3
From an orchestration standpoint, I'm trying to figure out what the single B adds and if it's even audible in the texture
Makes sense. I wonder if it’s a mistake in the score. Maybe those notes should be G and A instead of A and B. That would match what everyone else is doing
The crunch with a C against E minor was cool __long__ before the Matrix did it.
True
Interesting how Keanu Reeves was in both movies of the 90s that have the spiciest chords and iconic scores.
I better check Point Break and Bill and Ted
Does this chord also appear somewhere in "The Storm" from the same film score?
I just listened and I couldn't find it in that cue
@Keith_Horn That's unfortunate, I was hoping that chord would go beyond the first piece as a kind of leitmotif.
@@CameronClevenger Maybe it shows up in other parts of the score - worth listening from top to bottom
Most heinous! It's one of those chords that might be easier to say what notes are not played ;).
Ha! Good point!
I really hope it's not a mistake in the score and Kilar actually wrote this, but in the penultimate bar of 'The Beginning', (this chord's big moment - dynamic marking fff), clarinets 1 and 2 move from B3 to A3 and clarinets 3 and 4 move from A3 to G3. The piece just wouldn't be the same without it 😂
Let's hope it's not a typo
Well, almost no one could have heard all these notes... except maybe Dylan Beato (although I believe the difficulty to hear all notes in this Dracula chord would lie in thes very muddy very low basses). Check out this boy he's absolutely amazing. Here's a video that his father Rick had to make because people wouldn't believe it was true: th-cam.com/video/EH2JBxdQK3Y/w-d-xo.htmlsi=9v8JBjMCsLN7limw
Anyway, good on you to correct the "mistake" (which isn't one really). Carry on the good job, very interesting content. Cheers.
Dylan is incredible!
So basically just grab a 2x4 and mash all the white keys. Got it 😂
Precisely!🤣
I think Sting accidentally plays part of that chord on the intro to Roxanne
HA! You might be right
Don't know if you do requests, but I distinctly remember this Boba Fett Theme at 0:20 from Empire Strikes Back being one of those, "What chord was that?" moments. th-cam.com/video/eWO_HFVKR6o/w-d-xo.htmlsi=Y3K7SEq80AYIyAGH
I'll add that section to the list. Amazing harmony in there!
What about the ORIGINAL Dracula chord. I heard a story that Cedric Lawson, Miles Davis's piano player liked that chord and used it so much once in a Miles live show that Miles turned around, stopped the band, and hawked a lugee on Cedric. I assumed it was a diminished chord of some kind. Later, I heard that Cedric became an undertaker because he liked playing organ for dead people. Not trolling here, these are actual stories I heard from someone who knew Cedric. Cedric also had a "special chord" he liked to play at the end of his solos called the "butt swipe". He would stand up, turn around and swipe his butt across the keys (probably inspired by someone like Jerry Lee Lewis)
One day Cedric was in the studio with Miles and had been doing the butt swipe chord during his solos and Miles told him he would knock him out if he played that one more time, and Cedric, being Cedric did it again, and Miles knocked him out! Again not trolling here- these are apocryphal Miles stories from someone I knew that was roomates with Cedric.
I'd like to see a video about the original Dracula chord. I'm guessing Cedric played that behind Miles because Miles had a reputation for being the 'prince of darkness'...
Great story! I'll look into the original chord. Probably the 1931 Bela Lugosi version?
@ I'm guessing Cedric was playing the big diminished chord from Bach's Toccata and Fugue
Could you notate it as: "Em tetrachord/Am tetrachord"?
I swore there was a C in there!!! Gut feeling. Saw the first video yesterday. That's a chonky chord!
Yep there's a C hiding down there. Very chonky!
Well, Porumbescu's grandfather had a Polish surname
I learn something new every day
So basically a diatonic scale cluster or an Aeolian harp with all notes being played as far as the piano is concerned.
Exactly
A tetrachord is a cluster?
Not technically - tetrachord is just the four note grouping. Calling it tetrachord cluster is probably more accurate
@@Keith_Horn Thank you.
What notes are the chorus contributing to this chord?
Right - the chorus is singing only G and A
Sorry, I'm new: What's that audio clip at the end of your videos?
It's a voicemail from my cousin that says "Hoodis?" repeatedly.
still sounds like a weird voicing of a Cmaj13#11 to me hehe
I mean - it technically is that, too. It has the right notes
why do you use that tone on your keyboard?
It's more pure than a piano and has less overtones, and the sustain is longer
The 'expert' you consulted forgot about the scordatura. This is a pianoforte in G, an instrument as old and aristocratic as the title character. It's designed to accompany the niche repertoire of the English Horn d'Amore in G. So the sound matches the rest of the instruments: e f# g a b.
HA! Next level nerd humor right there
I'm disappointed by the fact that it's not a chord that includes 2 tritones, now that would express a real sense of danger.
Yes it would!
Hello Keith
May be you will be interested by analysing this opening chord by the mighty Jerry Fielding ?
th-cam.com/video/AMKOMOQ6xno/w-d-xo.htmlsi=-aOJkUQ4FgorxUJa
That's a good one! I'll add it to the list - thanks!
@Keith_Horn my pleasure !
Excellent work Keith - great content and quite enjoyable. As soon as I heard that 4 note cluster I thought of the little run in the intro to Boz Scaggs Love Look What You've Done To Me :
th-cam.com/video/hWrbelCfMvc/w-d-xo.html
It's the same key and everything! Thanks for watching!
@@Keith_Horn Great stuff Keith !
Practically speaking, this is just the tetrachord with a ladleful of mud for effect, right? I defer to the knowledge of everyone who isn't me in this comment section
« Mud »… How prosaic
I would agree. The core of it is the four note tetrachord cluster and the low piano A minor cluster seems to be there just to make the low end as thick as possible
@@Keith_Horn Always good to be validated by someone more harmonically knowledgeable than myself, a humble drummer.
@@ArrogantDan You had me at "ladleful"
Love this ! You can find some strange chords in the score of the movie WHAT DREAMS MAY COME :
For example : th-cam.com/video/lJKbBXohNtE/w-d-xo.html 2:11 (strange) + 3:40 onwards + 4:04 (brutal ).
IMO the whole score is one of the best from the 90s !
Michael Kamen! one of the greats from that era!
It would be interesting to try to reproduce this instrumentally using orchestral libraries.
Yes it would. It might be good to use smaller chamber libraries to avoid 400 players
@@Keith_Horn Why 400, where from if it is a chamber orch?
@@scorestorm If I were to use a CB, Vcl, Vla, or Vln patch for each part and played the four note cluster I would get an unnaturally large string orchestra. If the virtual violin section was recorded with 30 players, the four note cluster would sound like 120 violins, etc. Maybe starting with Spitfire Chamber Strings or something similar would help avoid the Uber-orch sound. Also - using solo WW and brass patches would sound cleaner and more realistic. It's just tedious.
@@Keith_Horn You won't be able to do uber-orch... You won't get an orch V1 section sound recorded one script 10 times, it doesn't work like that. In any case, it would be more obvious than a piano.