Great work with Hajanga man, i do these overall structure things with songs that I like, and I try to work out the time signature (can't work out harmony and chord progressions). I had the beginning with three bars of 12/8 (quarter note, eighth note rhythm per beat) with two bars of 15/4 (counted in 5 groups of 3/4) however it makes more sence to write it in 5/4!
Nice one June, love tuning into your episodes, sure you'll be transcribing more of Jacob in the future, as he continues to make great videos- just like yourself!
Okay, that's brilliant, June. I came here looking to see if you'd transcribed the duck falling on the keyboard in Jacob's balcony performance of Hajanga...
What? Even a conversation is transcribed to score? What world are we in? Just kidding, I'm happy to see that a genius can awaken many other geniuses the world. Thank you Jacob. Thank you June!
#15th?!? Screw this, I'm going home. Seriously, though, it took me a minute to understand the necessity of that name. You're right. I don't see what else you could have named it.
I can't get enough of these! Quick question: how come sometimes you write more voices than are on screen for only a chord or two? Are you saying there are more voices than faces sometimes, or are you writing out some of the harmonics of the low voices?
June, amazing work! I'm wondering though...what did you mean by "3 against 5"? The "2 against 5" in the top staff makes sense because there each 5/4 measure is divided equally into two halves. But according to your transcription, the bottom staff contains three dotted quarters and THEN an extra 8ths. That's not equal division into three parts. So why the "3 against 5"? Thanks
I think it depends on how you count, but I feel the 3 against 5 by comparing the five-eighths pulse on the top staff to three-eighths pulse on the bottom staff. There are a total of 30 eighths in the phrase; the top staff has 6 pulses of 5 eighths, and the bottom staff has 10 pulses of 3 eighths, or dotted quarters.
Oscar Elmholt Not if you want to indicate a Lydian function. The chord does not sound or behave like it has a diminished 5th, so it would be misleading and inaccurate to notate the #11 as a b5 just for perceived clarity.
I also think this would end up having both the 7ths in the chord which is not ideal. So it might end up being Gmaj13#11#5addb7 which doesn’t exactly roll off the tongue
i thought this was impossible. what is necessary to compose AND perform things like that? im calling it "QUANTUM BRAIN". and you have a quantum ear, at least.
That E-maj7, 13, #15 over G (!?!?) is just a simple, tonal Gmajor7, #11, 13 - very common chord. I've never heard of a "15" before - that's just the 1! An upper octave! A "#15" is just a b9. Simple. Why make it so complicated when it's so simple?
That is not a simple Gmaj13#11 chord. A Gmaj13#11 chord would have the following notes: G, B, D, F#, A, C# and E. The notes in the chord you are questioning are (from the bottom) G, E, F#, B, C#, Eb (D#), and F natural. The Eb and F natural do not belong in a Gmaj13#11 chord. I think the chord could be interpreted in many different ways depending on your choice of root. I gave it a #15 label with the root of E natural due to my personal experience in listening to Jacob's explanation on his method of building tertiary harmony. #15 is the same as b9, but if there is already a natural 9th (in this case, an F#), it wouldn't make sense to label it as a b9. Hope this helps.
Oh! Thanks for the response. I now see that I was ignoring the key signature, and that the upper stave is in bass clef, not treble. My mistake! Love your work, June. Thanks again.
For me it's almost understandable if you think about bright and dark. Jacob has said he thinks of the clockwise direction of the circle of fifths as brighter and counterclockwise as darker. I.e Overtones as brighter, and undertones as darker. With this logic if you have an E fundamental and continually expand by fifths you have E ,B ,F# ,C#, G# ,D#, A#, E#, (F) . If you stack it into thirds you get E, G#, B, D#(Eb), F#, A#(ommited), C#, E# (F) . Jacob would define this chord as E super mega meta lydian. Or simply F#maj7 over Emajor 7. To me this makes sense because the F in the melody as the #15 on "Fly" then is literally flying off the scale/harmony and escaping in light. The nuance then is the G natural instead of a G# . Jackie Chan confusement status.
Remember to take into account the octave displacement between a b9 and #15. The 8 is an octave above the 1. The 15 is two octaves above the 1. Therefore, a #15 is NOT just a b9.
impressive i guess from a musician/theorist standpoint but from a strictly listening perspective it just sounds like glorified Weather Channel music. only really interesting thing was DMaj9#11#13 to Gm11@ 2:23 and the minimalism sounding polyrhythms in #2 (sounds like a Wes Anderson movie until the shitty vocal break). despite all the complexity his work still has a very formulaic feeling; IMO he harmonizes way too much in a consonant manner. too much chemistry and not enough alchemy i guess- too clinical.
Some of the music on news networks are actually pretty compelling so I can't argue with you there. I didn't necessarily make that connection but I can see it so that might be part of the appeal to me.
I LOVE that you transcribed the heckler.
Alexander Wollheim yes yes
I think he says "A-men!" haha@@lucaslemonholm5492
@@LucDiGiuseppe yes
Probably my favorite content on youtube right now
Plini + Jacob Collier collab??? Imagine...
How anyone could count out 24/16ths, let alone decipher it by ear is just beyond me. Excellent work here!!
think of it as compound 7 time! so much easier to count if you view it as a metric modulation.
I just hear it as 7s immediately, the transcription is actually way over my head lmao
AM loving the end of this! You're even transcribing his conversations! LOL!
but can you transcribe a literal drum set falling down some literal stairs
but can you transcribe a figurative drum set falling down figurative stairs?
Time Signature???????
4/4
Even the rest are quite simple, just group by three and you get 21=7 18=6 15=5
Manuel Campins simple in concept yes, simple in practice? For pros maybe ;)
Literally transcribing Jacob Collier. Absolutely stunning work!
I'm now convinced that you and Jacob are my new favourite people
I love this stuff. And I think the heckler may have said "Amen"
"Heck yeah" ?
But can you transpose a fish
Alright now you're just showing off with your perfect pitch at the end there lol
this is truly amazing
Great work with Hajanga man, i do these overall structure things with songs that I like, and I try to work out the time signature (can't work out harmony and chord progressions). I had the beginning with three bars of 12/8 (quarter note, eighth note rhythm per beat) with two bars of 15/4 (counted in 5 groups of 3/4) however it makes more sence to write it in 5/4!
Thanks June!!!!
Nice one June, love tuning into your episodes, sure you'll be transcribing more of Jacob in the future, as he continues to make great videos- just like yourself!
"I think I have once, maybe two times I've done that.."
Amazing as always.
thanks mate
You're educating me!!! Thank you so much for all theseanalysis!! Luv u
I love the endings of these videos. :D
Okay, that's brilliant, June. I came here looking to see if you'd transcribed the duck falling on the keyboard in Jacob's balcony performance of Hajanga...
I think the heckler was saying “AMEN!”
You're doing amazing work to the world, thank you so much for this!
Thank you so much, everything's more clear now! Sometimes it's really difficult to hear the middle voices... ;-)) Great work June!
Wow! Awesome channel, many thanks!
Wow I'm speechless
This content is amazing thank you!
What? Even a conversation is transcribed to score? What world are we in?
Just kidding, I'm happy to see that a genius can awaken many other geniuses the world. Thank you Jacob. Thank you June!
It sounds like the heckler could be saying "Amen" instead of "Hey," am I wrong?
You're correct. He actually says Amen and Jacob immediately responds with his own harmonized "Amen"
yuh
great stuff
thanks
June please please please fully transcribe Ancona :))))
The heckler said "Amen"
heckler is saying amen btw ;)
5:49 someone's been listening to Avishai Cohen!
Ancona: jazz + djent = DJAZZ
The heckler said "Amen" I think
#15th?!? Screw this, I'm going home. Seriously, though, it took me a minute to understand the necessity of that name. You're right. I don't see what else you could have named it.
haha with the heckler added in
Amazing @June Lee This is what I am looking for.. oh man, How can you do this? This is great :D
#15!!!!! Love it! Maybe you can call that as a polychord of FMaj7#5(no3)/Gmaj13 :D
I can't get enough of these!
Quick question: how come sometimes you write more voices than are on screen for only a chord or two? Are you saying there are more voices than faces sometimes, or are you writing out some of the harmonics of the low voices?
Jacob lip-syncs!
thank you. before jacob was a book with 7 seals
now its 6 seals only
Thanks for being the analytical ear I don't have to cope with him.
At 1:37, how can it be 2 against 5 and 3 against 5? I can't put it together in my head.
it should be 2 against 5 and 2 against 3 (or 10 against 15 if that makes more sense in this context of 5)
This is the most beautiful thing ever 😍🔥 although am I right in saying that at 3:02, there isn't a C5 on the top, top note is an F4
June, amazing work! I'm wondering though...what did you mean by "3 against 5"?
The "2 against 5" in the top staff makes sense because there each 5/4 measure is divided equally into two halves.
But according to your transcription, the bottom staff contains three dotted quarters and THEN an extra 8ths. That's not equal division into three parts. So why the "3 against 5"?
Thanks
I think it depends on how you count, but I feel the 3 against 5 by comparing the five-eighths pulse on the top staff to three-eighths pulse on the bottom staff. There are a total of 30 eighths in the phrase; the top staff has 6 pulses of 5 eighths, and the bottom staff has 10 pulses of 3 eighths, or dotted quarters.
Great work, June! That favorite chord - wouldn't it be easier to write (and read) Gmaj13(b5,#5) ?
Oscar Elmholt Not if you want to indicate a Lydian function. The chord does not sound or behave like it has a diminished 5th, so it would be misleading and inaccurate to notate the #11 as a b5 just for perceived clarity.
I also think this would end up having both the 7ths in the chord which is not ideal.
So it might end up being Gmaj13#11#5addb7 which doesn’t exactly roll off the tongue
His chords progression reminds me of Ted Greene. Dont U guys think? Hugs from Brazil!
just WOW :O
Can you transcribe the mit blackbird?
genial...Thanks
In "Each Coming Night", in the third bar, right hand, isn't that a C instead of a Db on the second sixteenth ? Correct me if I'm wrong
Dallas wind symphony
4:45
i thought this was impossible. what is necessary to compose AND perform things like that? im calling it "QUANTUM BRAIN".
and you have a quantum ear, at least.
3:12
Man you're talented enough to make YOUR OWN music and not prepare somebody's ideas
what does DΔsus mean?
Varra Dmaj7sus4 (D G A C#)
James Blake vibes
V A R I O U S V O W E L S
I N T E N S I F I E S
How?
how can you?
21/16???? WTFFFFFFF
Neil Bolima I’ve seen 23/16 before...
alot of these chords are wrong. cool transcriptions though
Dreaming Autumn June has perfect pitch and has interviewed with Jacob plenty of times? I doubt they're wrong
That E-maj7, 13, #15 over G (!?!?) is just a simple, tonal Gmajor7, #11, 13 - very common chord. I've never heard of a "15" before - that's just the 1! An upper octave! A "#15" is just a b9. Simple. Why make it so complicated when it's so simple?
That is not a simple Gmaj13#11 chord. A Gmaj13#11 chord would have the following notes: G, B, D, F#, A, C# and E. The notes in the chord you are questioning are (from the bottom) G, E, F#, B, C#, Eb (D#), and F natural. The Eb and F natural do not belong in a Gmaj13#11 chord.
I think the chord could be interpreted in many different ways depending on your choice of root. I gave it a #15 label with the root of E natural due to my personal experience in listening to Jacob's explanation on his method of building tertiary harmony. #15 is the same as b9, but if there is already a natural 9th (in this case, an F#), it wouldn't make sense to label it as a b9. Hope this helps.
Oh! Thanks for the response. I now see that I was ignoring the key signature, and that the upper stave is in bass clef, not treble. My mistake! Love your work, June. Thanks again.
:D
For me it's almost understandable if you think about bright and dark. Jacob has said he thinks of the clockwise direction of the circle of fifths as brighter and counterclockwise as darker. I.e Overtones as brighter, and undertones as darker. With this logic if you have an E fundamental and continually expand by fifths you have E ,B ,F# ,C#, G# ,D#, A#, E#, (F) . If you stack it into thirds you get E, G#, B, D#(Eb), F#, A#(ommited), C#, E# (F) . Jacob would define this chord as E super mega meta lydian. Or simply F#maj7 over Emajor 7. To me this makes sense because the F in the melody as the #15 on "Fly" then is literally flying off the scale/harmony and escaping in light. The nuance then is the G natural instead of a G# . Jackie Chan confusement status.
Remember to take into account the octave displacement between a b9 and #15.
The 8 is an octave above the 1. The 15 is two octaves above the 1.
Therefore, a #15 is NOT just a b9.
nem hazudik
remélem
ja, mert nincs filhallásom, igaz-e?
impressive i guess from a musician/theorist standpoint but from a strictly listening perspective it just sounds like glorified Weather Channel music. only really interesting thing was DMaj9#11#13 to Gm11@ 2:23 and the minimalism sounding polyrhythms in #2 (sounds like a Wes Anderson movie until the shitty vocal break).
despite all the complexity his work still has a very formulaic feeling; IMO he harmonizes way too much in a consonant manner. too much chemistry and not enough alchemy i guess- too clinical.
Some of the music on news networks are actually pretty compelling so I can't argue with you there. I didn't necessarily make that connection but I can see it so that might be part of the appeal to me.