Really love this Tune. Specially how Pat avoids any overspiced ¨jazz¨ harmony and keeps it very classical, simple , triadic, but with elegant use of thirds, fifths and sevenths on the Bass, (signature) Often going to an unexpected place. And, the (romantic, emotional ) character is equally there despite this astute motions. Great Work as usual Guy!!. Thanks for sharing all this with musical curious people.
Thanks Sergio, What you said about chords going to unexpected places I'm going to specifically talk about it in the next video. I've known one or two harmony teachers that would get upset by C/Bb not resolving the' right way' - but we love it :)
"You" and "Another life" have something special, the voices of Bona and Vu, especially the first one, create an unrepeatable atmosphere. I think Speaking of Now is an underrated album. Good analysis Guy!
Speaking of Now... I love the extended guitar, piano, and trumpet solos, the synth pads are still there but more subtle (more guitars) and all of what Pat and Lyle can offer as composers is presented in such a natural way - just a great album
Def one of my faves from the later iteration of the group. Pat always likes chords moving in interesting places, a key simple trick that often gets underutilized, because chords don't have to have many extensions to sounds evocative if they move far enough from each other, making more room for better voice leading since the contrast between notes is more different than just diatonic.
What You said about chords plus the fact that entire progressions can have this accumulated resonance, like open chords on a guitar. You play the sequence and the chords help one another to sound open and big. As opposed to progressions when a chord is "chocking" the resonance the previous one. You know what I mean?
I think I do, and believe me I love my extensions, and THEN some, hah! But yes I can see how it's good for chords/voicings to be balanced between themselves so that one doesn't sound like it had too much information in it compared to another, as one example.
Wonderful video, Guy, especially your observations about how Pat's use of irregularity in "You" (and elsewhere) introduces a sense of additional emotional and poetic movement within and between phrases. Also, your personal musical phrasing playing technique and all of your solo piano adaptations of Pat's and Lyle's works in your videos are an absolute joy to listen to, (I've been meaning to share this with you for quite some time and am glad that I *finally* remembered to do so). Additionally, your choices of sampled/layered pianos and specific subtle FX and airy pads that you've used in this and your other videos really does Pat's and Lyle's works proper justice, especially as you use them toward conveying the emotional dimensions and components of their music. I'm very eager to watch Part Two of this series.
Thanks for noticing my efforts, Jim. My two favorite melody interpreters (ok, since the '70s) are Pat Metheny and Jan Garbarek. To me, Pat is the Pavarotti of melodic guitar playing (Like for example the head of 'Unrequited'). So I try to pay extra attention to that. I was looking for a pad that would go with piano for a long time, and finally found one - just resonance 100% on white noise - it gets you that 'whistle' sound with the piano. The next video is going to be about personal tweaks that Pat's doing of traditional progressions and some unorthodox used of chord inversions.
A great topic to analyze. I really liked the irregular approach, I feel it gives continuity to the music. Sometimes the symmetric can be a barrier that fragments speech. I learned a lot from this video, thank you very much!
I agree with this. The irregular phrases create movement and tension. With regularity you know when it's going to resolve, but here you don't, and when the resolution comes sooner or doesn't come when you expect it to it surprises you. Pat always keeps things interesting!
That's great to hear Andoni, and yes, In a piece like that you see how Pat is not leaving even one area of the music untouched: unusual progressions, unusual structure, unusual phrase lengths unusual chord resolutions (in the next video)This what sets it apart from his more 'regular' pieces.
@@dr.guyshkolnik_composer Despite how unusual this piece is, it is still very accessible (compared to a tune like Offramp, which like Ornette's music, is unusual and less accessible). Could you make a video on how Pat is able to write very unusual music yet still make it easy to listen to? That's a rare talent, and why I love Pat's (and Lyle's) music.
Hi Guy, I've been watching your wonderful videos and I thank you a lot for that, it's inspiring how you "decompose" each part of Pat Metheny's compositions so we can learn from it. Something I would like to hear is your own piano versions of these tunes. I mean complete tunes. This particular piece (and also Last train home) sounds great in your piano solo version. Thanks again!
Thank you so much Leo! I was thinking of making some videos on how to play some of these tunes, maybe with a complete piano version at the end. I might do that :)
Fantastic video bro! Love the keyboard angle :) very insightful, and of course beautifully played as always. Your part 2 video is really fascinating as well!
Thank you for making a video on this song. I have been researching this song for awhile and you have really helped. Thank you. Also is there any particular language this is sung in? I want to learn the lyrics.
Guy, you are coaxing more emotion and dynamics out of a Nord, then I though possible. :) Beautiful playing. Are you using stock sounds? Bye the way, I HATE when you stop! Bravo!
tunes sounding different as piano solos. I remember when the album came out: "fans" on Metheny's site tended to be drawn to this one, especially the Mays' crescendo bit, with people being disappointed in two things: the record sounded like a reprise of the Still Life band's sound and again, on tunes like "You", relied on the multi-instrumentalist doing wordless vocals in falsetto whereas many thought a woman singer would sound better than a falsetto voice (ditto "Goodbye"). I remember someone expressed that point in a funny way that out of decorum I will not repeat.
Well, people say a lot of things :) To me, this album doesn't sound like Still Life: The general sound is more acoustic. More guitars and fewer synth pads, more piano solos. Less Brazilian in general. In Still Life, they were finally doing stuff they couldn't do on ECM, and that energy is showing through I think.
@@dr.guyshkolnik_composer Yes, more acoustic, even bluesy (first 3 numbers), although PMG appeal usually was melodic qualities way beyond blues (track 4 onwards). Gathering Sky/You reminded me of Fields Sky/Goodbye (Travels) with better arrangements. I agree re. You as notable melody. And Gathering Sky: I like the unison lines, partly because when Pat/Lyle did that, it gave the melodies a chirpy, almost Irish, quality.
Hi Herve, Thank you! This is Pat's music, I can not sell it. Also, for this specific tune I did not make a transcription (The only one I did is Slink - and I can share it with you - find me on Facebook or Instagram 0 by the same name) Thanks, Guy.
If you like Speaking of Now, I've got more videos about this album here: bit.ly/2lW1LDg
It's my first real exposure to Metheny so anything you do based on this is like gold for me.
Really love this Tune. Specially how Pat avoids any overspiced ¨jazz¨ harmony and keeps it very classical, simple , triadic, but with elegant use of thirds, fifths and sevenths on the Bass, (signature) Often going to an unexpected place. And, the (romantic, emotional ) character is equally there despite this astute motions. Great Work as usual Guy!!. Thanks for sharing all this with musical curious people.
Thanks Sergio, What you said about chords going to unexpected places I'm going to specifically talk about it in the next video. I've known one or two harmony teachers that would get upset by C/Bb not resolving the' right way' - but we love it :)
@@dr.guyshkolnik_composer Looking Forward to It!
"You" and "Another life" have something special, the voices of Bona and Vu, especially the first one, create an unrepeatable atmosphere. I think Speaking of Now is an underrated album.
Good analysis Guy!
Speaking of Now... I love the extended guitar, piano, and trumpet solos, the synth pads are still there but more subtle (more guitars) and all of what Pat and Lyle can offer as composers is presented in such a natural way - just a great album
Def one of my faves from the later iteration of the group. Pat always likes chords moving in interesting places, a key simple trick that often gets underutilized, because chords don't have to have many extensions to sounds evocative if they move far enough from each other, making more room for better voice leading since the contrast between notes is more different than just diatonic.
What You said about chords plus the fact that entire progressions can have this accumulated resonance, like open chords on a guitar. You play the sequence and the chords help one another to sound open and big. As opposed to progressions when a chord is "chocking" the resonance the previous one. You know what I mean?
I think I do, and believe me I love my extensions, and THEN some, hah! But yes I can see how it's good for chords/voicings to be balanced between themselves so that one doesn't sound like it had too much information in it compared to another, as one example.
I think Pat is maybe the best composer ever.
This channel is amazing!!
Do you have a sheet music of this piece?
Wonderful video, Guy, especially your observations about how Pat's use of irregularity in "You" (and elsewhere) introduces a sense of additional emotional and poetic movement within and between phrases. Also, your personal musical phrasing playing technique and all of your solo piano adaptations of Pat's and Lyle's works in your videos are an absolute joy to listen to, (I've been meaning to share this with you for quite some time and am glad that I *finally* remembered to do so). Additionally, your choices of sampled/layered pianos and specific subtle FX and airy pads that you've used in this and your other videos really does Pat's and Lyle's works proper justice, especially as you use them toward conveying the emotional dimensions and components of their music. I'm very eager to watch Part Two of this series.
Thanks for noticing my efforts, Jim. My two favorite melody interpreters (ok, since the '70s) are Pat Metheny and Jan Garbarek. To me, Pat is the Pavarotti of melodic guitar playing (Like for example the head of 'Unrequited'). So I try to pay extra attention to that. I was looking for a pad that would go with piano for a long time, and finally found one - just resonance 100% on white noise - it gets you that 'whistle' sound with the piano.
The next video is going to be about personal tweaks that Pat's doing of traditional progressions and some unorthodox used of chord inversions.
A great topic to analyze. I really liked the irregular approach, I feel it gives continuity to the music. Sometimes the symmetric can be a barrier that fragments speech. I learned a lot from this video, thank you very much!
I agree with this. The irregular phrases create movement and tension. With regularity you know when it's going to resolve, but here you don't, and when the resolution comes sooner or doesn't come when you expect it to it surprises you. Pat always keeps things interesting!
That's great to hear Andoni, and yes, In a piece like that you see how Pat is not leaving even one area of the music untouched: unusual progressions, unusual structure, unusual phrase lengths unusual chord resolutions (in the next video)This what sets it apart from his more 'regular' pieces.
@@dr.guyshkolnik_composer Despite how unusual this piece is, it is still very accessible (compared to a tune like Offramp, which like Ornette's music, is unusual and less accessible). Could you make a video on how Pat is able to write very unusual music yet still make it easy to listen to? That's a rare talent, and why I love Pat's (and Lyle's) music.
Amazing vídeo, I cant wait to see part 2, for sure the best channel of TH-cam! Thx again!
Thank you! :)
Great video! I can't wait for part 2!
Thanks Matt!
Always loved this song, but didn't ever fully 'get it'. Thank you for helping me understand this piece better.
Thanks Kimberly, hoping to uncover some more of it in the next video :)
Another great video. I love all these tunes, but personally I would really like to see more analyses of Metheny tunes from the classic ECM catalog.
I love this song ❤
Great job. Wonderful playing.
Hi Guy, I've been watching your wonderful videos and I thank you a lot for that, it's inspiring how you "decompose" each part of Pat Metheny's compositions so we can learn from it. Something I would like to hear is your own piano versions of these tunes. I mean complete tunes. This particular piece (and also Last train home) sounds great in your piano solo version. Thanks again!
Thank you so much Leo! I was thinking of making some videos on how to play some of these tunes, maybe with a complete piano version at the end. I might do that :)
Certainly you might do that!
Fantastic video bro! Love the keyboard angle :) very insightful, and of course beautifully played as always. Your part 2 video is really fascinating as well!
Thanks man, there's so much to discover about this piece... :)
Thank you for making a video on this song. I have been researching this song for awhile and you have really helped. Thank you. Also is there any particular language this is sung in? I want to learn the lyrics.
Guy, you are coaxing more emotion and dynamics out of a Nord, then I though possible. :) Beautiful playing. Are you using stock sounds? Bye the way, I HATE when you stop! Bravo!
Thank you very much, Greg! :) It's a good board! Yes, I'm playing the Italian Grand with some reverb and the string resonance.
thanks again Dr! :)
tunes sounding different as piano solos. I remember when the album came out: "fans" on Metheny's site tended to be drawn to this one, especially the Mays' crescendo bit, with people being disappointed in two things: the record sounded like a reprise of the Still Life band's sound and again, on tunes like "You", relied on the multi-instrumentalist doing wordless vocals in falsetto whereas many thought a woman singer would sound better than a falsetto voice (ditto "Goodbye"). I remember someone expressed that point in a funny way that out of decorum I will not repeat.
Well, people say a lot of things :) To me, this album doesn't sound like Still Life: The general sound is more acoustic. More guitars and fewer synth pads, more piano solos. Less Brazilian in general. In Still Life, they were finally doing stuff they couldn't do on ECM, and that energy is showing through I think.
@@dr.guyshkolnik_composer Yes, more acoustic, even bluesy (first 3 numbers), although PMG appeal usually was melodic qualities way beyond blues (track 4 onwards). Gathering Sky/You reminded me of Fields Sky/Goodbye (Travels) with better arrangements. I agree re. You as notable melody. And Gathering Sky: I like the unison lines, partly because when Pat/Lyle did that, it gave the melodies a chirpy, almost Irish, quality.
Owen McGee More bluesy indeed. I would even say more American. I like this album.
Super!
Thanks Daniel :)
Great video, thank you. Is this piano transcription available to buy? I will love to play it! even if it's hard
Hi Herve, Thank you! This is Pat's music, I can not sell it. Also, for this specific tune I did not make a transcription (The only one I did is Slink - and I can share it with you - find me on Facebook or Instagram 0 by the same name) Thanks, Guy.
@@dr.guyshkolnik_composer I will do that. Thanks!
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