Great comments in this upload. As Guy says, it is quite something that this can provoke such astonishingly profound feelings. I can remember 30 years ago, in hospital and close to death at the time, listening to this song and being profoundly moved spiritually. Like the heavens had opened.
You are right. It is not an easy piece to analyze, but you took your time and broken it down anyway. It's such a sweet and beautiful song. Thank you, Guy!
Mas Alla is such a beautiful piece! Pedro's vocals, Lyle's parts and the percussion that comes in toward the end of the song are nothing short of spectacular!!! PLEASE keep doing these analyses of PMG music! Even though they are over my head in as I have no formal training, they are no less intriguing and HIGHLY appreciated! In one of the videos you did on First Circle, you explained and confirmed my long stated position on the impact of Lyle Mays on the music of Pat Metheny! Thank you for that!
Hey Mike! Thank you! Pat Metheny group was a band where both Lyle and Pat were responsible for the music. It's not just Lyle's Impact. A large percentage of the music you're hearing was composed by Lyle.
@@dr.guyshkolnik_composer, thank you for taking the time to respond to my post! What I meant by my comment was that the music put out by Pat Metheny was always better from my perspective when Lyle was involved especially performing live or recording. PLEASE keep doing these analyses!
I’m a huge Pat Metheny Lyle Mays fan and you are helping me by figuring out why I am so drawn to their music! Absolutely love your videos and watching you play and break down the songs! I’m just discovering your channel and will be watching many more! Excellent information! Thanks!
I love the fact you have numbers on your keyboard as if you were a beginner . Its the way I teach 4 year olds too. But clearly here it is numbered for another reason YOU are brilliant and I come here many times to refresh knowledge and be humbled by your kind impart of your interpretations. thank you too.
Thank you so much, Sir, for all of the incredible content you're putting out on your channel. You are an amazing teacher and musician. I remember hearing "Mas Alla" for the first time in 2006 when I was 17. I can't express in words how much this song means to me and how much Lyle Mays means to me. Still to this day this music brings tears to my eyes. Another song I deeply cherish and treasure in my heart is "Close to Home". Thank you so much for making an amazing video on that song, too. Would really love to see your analysis of "Dream of the Return" and "The Longest Summer". Thank you a million times for your work. God bless you.
Thank you Oleg. You know, I believe we, the PMG fans, are a unique case in jazz. We are just like the Radiohead or Beatles fans, in being so emotionally attached to the music. Pat has been trying to say that the PMG is just a part of the big picture of who he is, but I don't think it's true. PMG was a band with followers - just like Pink Floyd was.
Yes, that is so true. PMG is a masterpiece of a band, like no other band ever. What makes them trully outstanding, I believe, is the unique emotional sensitivity and the sense of beauty in their music. That is what really touches the heart of the listener. Sometimes when I listen to their masterpieces I just can't believe the beauty of those incredible harmonic progressions, the beauty of Lyle's and Pat's solos, the vocals of maestro Pedro Aznar. And of course the rhythm section, the orchestrations, percussions. But above all the emotional sensitivity and the feelings that were put into this music. The into of "Mas Alla" is simply unearthly. Just like the whole song. How can music be so beautiful, so deep, meaningful and special? I believe the most important thing in music is the effect it has on the listeners - the feelings, the emotions it brings. The music of PMG makes me feel something so beautiful deep within my soul - something that cannot be described with words. I believe PMG fans know that special feeling too.
Oleg, Lyle's close friend, told me that whenever he tried talking to Lyle about theory, Lyle would wave him off - telling him that he started from a feeling he wanted to give the listener and then used his musical means to achieve that.
Lyle will always be loved and missed by so many. He was a gift to this world. May God rest his beautiful soul in Heaven. He was probably the most sensitive and deep musician I've ever heard. And to me Pat and Lyle always were equally genius and equally influential. Not long ago I've discovered the album Lyle recorder with Paul Mccandless. That music is unbelievable.
Once again I want to thank you for the videos you are making about this incredible music, for your professional analysis and insight. It really means a lot. And I'm learning so much. I wish you the best. You are incredible. Keep up this great work.
Lovely analysis. This is one of my favorite songs, too. When I purchased the *First Circle* album long ago, I sped up *Mas Alla* by 10% on my *Technics 1200* turntable, and recorded it to cassette that way. 😊 In fact, I did the same with *End Of The Game* - the uptempo made both feel great to me. Back then, I had to accept a corresponding increase in pitch, of course, but you get used to that. Perhaps I enjoy the accelerations you reviewed here, coupled with a faster tempo. Speeding up certain songs can change its sub-genre or style in a way. And it's not just a *faster* tempo thing - something else happens musically that makes it more pleasing. Slowing down tempo can do same in reverse. But tempo changing isn't an arbitrary thing - it's only for certain songs, and very much a personal preference. Perhaps an idea to explore in another video.
@@dr.guyshkolnik_composer: So simple, but simple/elegant, *not* simple/simplistic. Also, "staying" on the 5th of the Am and using that as *another* intermediate starting point for, while linearly descending in the bass line, a set up from the Fmaj 7th for the F 6th "legato-to-5th" is possibly the most significant and definitely a *very* unique signature of "Let It Be". And, these simple movements *perfectly* set up the resolution to the tonic bass note and chord, ("resolving" to *anything* other than the tonic bass note and major triad at the end of that phrase "just sounds totally wrong"). Regarding the lyrics, I do not know the language in which Pedro Aznar is singing. Is there a translation somewhere on some web site that would have the lyrics in US English?
@@jimkashner ...simple but not simplistic. Pedro Aznar is singing in Spanish. I got the lyrics on the web and google translated them ( Although I do speak Spanish). The lyrics are beautiful. He's talking about the feeling of nothingness and a possible new beginning.
Pat is my favorite artist and this is my favorite song with my favorite line up...on my favorite label. Well done maestro ... quality (and taste) is something severely lacking in our culture now days. God bless...
Very informative and helpful! I'm writing a movement in sonata form right now, and in the development I have been switching keys mainly by cycling through 2-5s. This harmonic acceleration technique could definitely add some more interest, and I'm also seeing places where I've used this technique before unintentionally.
Good to hear that, Doug. I think EDM is getting us used to create and hear stuff by 2 and 4 bars riffs. Here you see that harmonic flexibility. The second example from Pat's song that I showed, is 5 bars long. It changes the "balance of power" in a progression, and can make a certain E major7 shine in expectedly after an acceleration...
Yes Matt, if you remember, I talked about it in "Pat Metheny: what makes this cmaj7 chord so beautiful". (About Naked Moon) I think that in such emotional intensity, "strange" things start happening (remember heating materials in chemistry class?). The structure of the form itself starts changing. It doesn't happen a lot, but Pat gets to that sometimes. I realize now that that was the thing I was missing in Still Life (Talking). In a way there was none of that there. I feel that this thing is somehow represented again, to a certain degree in The Way Up.
@@dr.guyshkolnik_composer The most interesting thing that happens compositionally on Still Life (Talking) is Lyle's Minuano interlude that you so well dissected. I really love Pat's B-section of It's Just Talk. They way it modulates really keeps the tune interesting. And there's the great bass line you spoke about on So May It Secretly Begin. I think Pat has played more tunes from that album in his regular repertoire than from any other album. For Pat, having 5 tunes that amongst his most "fun" to play is what that album is about.
That was the last album on ECM and listening to this track again I could notice the improvisational character these ECM albums had. Something that was partly lost in later albums...
Absolutely the most beautiful composition. Pedro and Lyle creating heavenly music. Incredibly emotional and special
Great comments in this upload. As Guy says, it is quite something that this can provoke such astonishingly profound feelings. I can remember 30 years ago, in hospital and close to death at the time, listening to this song and being profoundly moved spiritually. Like the heavens had opened.
You are right. It is not an easy piece to analyze, but you took your time and broken it down anyway. It's such a sweet and beautiful song. Thank you, Guy!
Thanks man! I appreciate it! Yes, this tune is like a precious stone, organic, undivided. I'm glad you enjoyed it!
This song lives and breathes life! Acceleration does equal excitement and creates interesting transitions.
It really breathes Mike. It's human from every angle. Including the flexible harmonic rhythm - the one component that often remains untouched.
This is my go to on this Lyle's 2nd anniversary of his passing. Pedro does such a moving tribute on his site.💙
Mas Alla, wow. Tears, Lyle, chords, heart. Some days I can't listen to this.
Mas Alla is such a beautiful piece! Pedro's vocals, Lyle's parts and the percussion that comes in toward the end of the song are nothing short of spectacular!!!
PLEASE keep doing these analyses of PMG music! Even though they are over my head in as I have no formal training, they are no less intriguing and HIGHLY appreciated!
In one of the videos you did on First Circle, you explained and confirmed my long stated position on the impact of Lyle Mays on the music of Pat Metheny! Thank you for that!
Hey Mike! Thank you! Pat Metheny group was a band where both Lyle and Pat were responsible for the music.
It's not just Lyle's Impact. A large percentage of the music you're hearing was composed by Lyle.
@@dr.guyshkolnik_composer, thank you for taking the time to respond to my post! What I meant by my comment was that the music put out by Pat Metheny was always better from my perspective when Lyle was involved especially performing live or recording. PLEASE keep doing these analyses!
I’m a huge Pat Metheny Lyle Mays fan and you are helping me by figuring out why I am so drawn to their music! Absolutely love your videos and watching you play and break down the songs! I’m just discovering your channel and will be watching many more! Excellent information! Thanks!
I love the fact you have numbers on your keyboard as if you were a beginner .
Its the way I teach 4 year olds too. But clearly here it is numbered for another reason
YOU are brilliant and I come here many times to refresh knowledge
and be humbled by your kind impart of your interpretations.
thank you too.
Thanks so much Mark!
At the time was making some videos for my course showing active and stable notes of the Major scale :)
Thank you for sharing the knowledge!!
Thanks Hammadi - it's my pleasure.
Thank you so much, Sir, for all of the incredible content you're putting out on your channel. You are an amazing teacher and musician.
I remember hearing "Mas Alla" for the first time in 2006 when I was 17. I can't express in words how much this song means to me and how much Lyle Mays means to me. Still to this day this music brings tears to my eyes.
Another song I deeply cherish and treasure in my heart is "Close to Home". Thank you so much for making an amazing video on that song, too.
Would really love to see your analysis of "Dream of the Return" and "The Longest Summer".
Thank you a million times for your work. God bless you.
Thank you Oleg. You know, I believe we, the PMG fans, are a unique case in jazz. We are just like the Radiohead or Beatles fans, in being so emotionally attached to the music. Pat has been trying to say that the PMG is just a part of the big picture of who he is, but I don't think it's true. PMG was a band with followers - just like Pink Floyd was.
Yes, that is so true. PMG is a masterpiece of a band, like no other band ever. What makes them trully outstanding, I believe, is the unique emotional sensitivity and the sense of beauty in their music. That is what really touches the heart of the listener. Sometimes when I listen to their masterpieces I just can't believe the beauty of those incredible harmonic progressions, the beauty of Lyle's and Pat's solos, the vocals of maestro Pedro Aznar. And of course the rhythm section, the orchestrations, percussions. But above all the emotional sensitivity and the feelings that were put into this music.
The into of "Mas Alla" is simply unearthly. Just like the whole song. How can music be so beautiful, so deep, meaningful and special?
I believe the most important thing in music is the effect it has on the listeners - the feelings, the emotions it brings. The music of PMG makes me feel something so beautiful deep within my soul - something that cannot be described with words. I believe PMG fans know that special feeling too.
Oleg, Lyle's close friend, told me that whenever he tried talking to Lyle about theory, Lyle would wave him off - telling him that he started from a feeling he wanted to give the listener and then used his musical means to achieve that.
Lyle will always be loved and missed by so many. He was a gift to this world. May God rest his beautiful soul in Heaven.
He was probably the most sensitive and deep musician I've ever heard. And to me Pat and Lyle always were equally genius and equally influential.
Not long ago I've discovered the album Lyle recorder with Paul Mccandless. That music is unbelievable.
Once again I want to thank you for the videos you are making about this incredible music, for your professional analysis and insight. It really means a lot. And I'm learning so much. I wish you the best. You are incredible. Keep up this great work.
Hi! If you liked the video - please give it a Like :)
Also, share it with a friend who loves this music. And subscribe for more!
Thanks, Guy.
Lovely analysis. This is one of my favorite songs, too. When I purchased the *First Circle* album long ago, I sped up *Mas Alla* by 10% on my *Technics 1200* turntable, and recorded it to cassette that way. 😊 In fact, I did the same with *End Of The Game* - the uptempo made both feel great to me. Back then, I had to accept a corresponding increase in pitch, of course, but you get used to that. Perhaps I enjoy the accelerations you reviewed here, coupled with a faster tempo.
Speeding up certain songs can change its sub-genre or style in a way. And it's not just a *faster* tempo thing - something else happens musically that makes it more pleasing. Slowing down tempo can do same in reverse. But tempo changing isn't an arbitrary thing - it's only for certain songs, and very much a personal preference.
Perhaps an idea to explore in another video.
One of the sickest songs recorded. Amazing talent all around. Pedros vocals are immaculate.
Incredible.
Hey thanks for this Guy! Such a great song as most of Pat's and Lyle's were. I wish more people knew about their music
Hi Alan Thank you! I feel the same way...
Very interesting take on "acceleration" and expressivity, Guy. Also, "Mas Alla" is an absolutely gorgeous PMG tune.
Thanks Jim! And how about that Early F on Let It Be...? Also, The lyrics by Pedro Aznar are just stunning. I think they are about a loss of love.
@@dr.guyshkolnik_composer: So simple, but simple/elegant, *not* simple/simplistic. Also, "staying" on the 5th of the Am and using that as *another* intermediate starting point for, while linearly descending in the bass line, a set up from the Fmaj 7th for the F 6th "legato-to-5th" is possibly the most significant and definitely a *very* unique signature of "Let It Be". And, these simple movements *perfectly* set up the resolution to the tonic bass note and chord, ("resolving" to *anything* other than the tonic bass note and major triad at the end of that phrase "just sounds totally wrong").
Regarding the lyrics, I do not know the language in which Pedro Aznar is singing. Is there a translation somewhere on some web site that would have the lyrics in US English?
@@jimkashner ...simple but not simplistic.
Pedro Aznar is singing in Spanish.
I got the lyrics on the web and google translated them ( Although I do speak Spanish).
The lyrics are beautiful. He's talking about the feeling of nothingness and a possible new beginning.
You know you are a true Jem. I always learn how my heart feels with the comp. My heart is always open to that hit. And you explain the "how".
Pat is my favorite artist and this is my favorite song with my favorite line up...on my favorite label. Well done maestro ... quality (and taste) is something severely lacking in our culture now days. God bless...
Thanks man! It’s a great song, the lyrics are beautiful too. Full of emotions, dreams...
Thanks, enjoyed that! Good choice of a "forgotten" tune. This album has many hidden gems, such as End of the game, Yolanda, If I could...
Oh yes.. Yolanda, End of the game...these tunes will never be featured on Spotify but we adore them :)
I suggested this one, I have a improvisation on my Instagram page. This song is pretty amazing, specially the intro.
Did you?? Maybe that's why I had it in mind... :) Send the video to me on instagram.
thank you!!! one of my favorites....
Thank you Maria! :)
Thanks for your analysis. Beautiful!
Thank you so much! :)
Thanks my friend! :)
My absolute pleasure - I finally got to know this piece because of the video - and the beautiful lyrics too.
Muchas gracias! Siempre necesite este análisis
I’m happy to hear that Alan!
Thank you so much!
Thank you so much! I’m glad you enjoyed the video!
Very informative and helpful! I'm writing a movement in sonata form right now, and in the development I have been switching keys mainly by cycling through 2-5s. This harmonic acceleration technique could definitely add some more interest, and I'm also seeing places where I've used this technique before unintentionally.
Good to hear that, Doug. I think EDM is getting us used to create and hear stuff by 2 and 4 bars riffs. Here you see that harmonic flexibility. The second example from Pat's song that I showed, is 5 bars long. It changes the "balance of power" in a progression, and can make a certain E major7 shine in expectedly after an acceleration...
Amazing song with Pedro Aznar.
Absolutely. He sang it recently live on his Facebook page. It was wonderful.
th-cam.com/video/WV0sq22VSzk/w-d-xo.html
Slowly breathe in and breathe out. Beautiful......
Long time no see...Glad you are doing well, and post a new lesson!
Trying to avoid the little coronavirus :) I'm glad to be back - there will be more :)
Superb!
Thank you! ☺️
Thanks for all your musical insights...
Thank you - I'm my pleasure sharing them. It really is - that's why I make these videos:)
Thank you for this! What an interesting technique!
Yes Matt, if you remember, I talked about it in "Pat Metheny: what makes this cmaj7 chord so beautiful". (About Naked Moon)
I think that in such emotional intensity, "strange" things start happening (remember heating materials in chemistry class?).
The structure of the form itself starts changing. It doesn't happen a lot, but Pat gets to that sometimes.
I realize now that that was the thing I was missing in Still Life (Talking). In a way there was none of that there.
I feel that this thing is somehow represented again, to a certain degree in The Way Up.
@@dr.guyshkolnik_composer The most interesting thing that happens compositionally on Still Life (Talking) is Lyle's Minuano interlude that you so well dissected. I really love Pat's B-section of It's Just Talk. They way it modulates really keeps the tune interesting. And there's the great bass line you spoke about on So May It Secretly Begin. I think Pat has played more tunes from that album in his regular repertoire than from any other album. For Pat, having 5 tunes that amongst his most "fun" to play is what that album is about.
Always interesting.
Thank you Stuart!
Damn I love this!!
Thanks Jeff!
Thanks again Master!!! Power
Thanks Saulo!
The notion of harmonic rhythm (as it's formerly known) has been around for hundreds of years.
Lyle’s intro on Mas Alla actually made me “high” the first time I heard it.
That was the last album on ECM and listening to this track again
I could notice the improvisational character these ECM albums had. Something that was partly lost in later albums...
For me, First Circle and As Falls Wichita were the desert island albums. THANK YOU!@@dr.guyshkolnik_composer
אפשר בבקשה לדעת מאיזה אלבום של פט לקוח השיר? תודה..
היי גיל - זה מ- First Circle
the genious here is more likely to be Lyle than Pat if you ask me
I love Lyle to death. However this is a Pat song. Lyle’s intro helps making it sublime ❤️
the genious here is more likely to by Lyle than Pat if you ask me
This gorgeous piece, is, oddly, just one small step away from Barry Manilow. Life is strange.