2:13 “Cycle changes” which is just a fancy name for a descending half-diminished leading tone substituted mixolydian elided upper structure altered cadential fifths sequence
At 3:34, it could be a number of things. here are a few of my interpretations. I'll show how the notes are stacked from the top down and then brackets show how they are grouped. D13#15/D# (D# B G E D C A F#) (D#) If we ignore D in this sequence, stacking up from the bottom: (F# A C E G B D). It's just stacked 3rds. In the same way a D7#11 would count up to G and alter it to fit the lydian dominant sound, this just counts up to the extension past the 13th, the 15th, and alters it. It may LOOK like it's the root, but it's just an extension, and we will treat it as such. This would act as a V7, or bVII dominant. Where G#min11 is either the tritone substitution, or it acts as the 3rd of Emaj7, and D is a whole step approach. B7#5/D9 (D# B G) (E D C A F#) (D#) Just a straight up polychord. If we call D the root, then D7 doesn't "cadence" to G#min11, it just uses the G#min as a tritone substitution to create movement. It'd be the equivalent of using an Ab7 on the second bar of the bridge of rhythm changes to extend the idea of D7 for 2 bars to some kind of elaboration. B/Amin11 (D# B) (G E D C A) (F#) (D#) The middle register are an Amin11, or A minor pentatonic over F#, pointing to a D mixolydian tonality. The B D# on top complete the B triad formed by the F#, which acts as a V leading to E. This is further reinforced by the succeeding G#min11, which is both a chromatic approach from the Aminor 11, the IIImin7 of E major. Here's a few more Eminmaj7/D7b9 (D# B G E) (D C A F# D#) Badd4/Dadd4. OR B11/D11 (B D# E F#) (D F# G A) and (C) could either be the 7th of D or the b9 of B, which would make: B7b9/D11 Bprygian/D# or Bb9sus4/D# or Bb9sus4/D#/E (B C D E F# A G) (D#) JUNE YOU MAKE THE MOST AWESOME VIDEOS!!!!!!!!! :D :D :D :D :D :D I literally devour this stuff!!! Thank you for existing and gifting the world with your music and your INCREDIBLE ears haha! I don't know how you do it man!!! Thank you for everything. I hope this helps! :D
June Lee GBD#/D minor (add9) polychord I think? Collier is basically this century's Wagner - he can get away with being harmonically weird and not need explanation.
This is so incredibly good, I would say you have the best music theory channel along with Adam Neely and Jeff Schneider, for being able to explain difficult topics so easily like this. Amazing!
Thanks so much for these videos, June Lee. But it would be much appreciated if you explained with a little more detail on each of the examples for us lesser-than-godlike beings out there.
Thanks, I was about to shrivel up waiting for this video. BTW here is my take on the mystery chords: 3:15: Dmaj13(b9)(#9)(#11) 3:33: D#maj13(b5)(#5)(b9)(#9) For both of these chords he's combining the altered scale with major 13 chords. Very cool! 5:40: Fm11(b9)(b13), built on the locrian (what you had was obviously correct too) Let me know if anyone needs explanations. For the second chord, you have to enharmonically rename about half of the notes (using double accidentals, etc.) so I don't blame June for avoiding that.
I like that you used Rudolph, like in the interview. Was expecting a minor 3rd split into fours, but I guess you never figured out how to notate that yet haha
Not really 4 half steps, but 4 steps. They are no longer half-steps (if you call them that, then you call the interval of the 4 half-steps a major 3rd, but we want to still *call* it a minor 3rd). If I was going to notate it, I would draw a long straight glis line between the first and last notes of the run and put note-heads on that glis-line at the specified rhythmic intervals. I think that would give perfect clarity, I don't know of any other way to notate it and I'm surprised that's not what Jacob did in the first place [he said he didn't know how he would notate it, but it seems obvious to me, maybe I'm missing something? I come from classical music, not jazz, so I'm a stranger in a strange land!]
Easily the best vid in the series if you go and start applying it right away. It really gives some insight into how Jacob is able to get away with what sometimes seems like total harmonic chaos and then all of a sudden you feel at ease because the mechanisms at play were in motion the whole time.
Wow cool video this is some serious music theory , thanks for all of your hard work putting this together. What kind of equipment did you use for the vocal harmonies in Rudolph the Reindeer ?
Re-Harmony That's the name for what Jacob Collier and Dirty Loops are doing. I don't know whether or not this will just be a trend within Jazz, or whether or not it will be its own fully fledged genre some day, but mark my words, this is going to be an important part of music history. And we're all along for the ride. June Lee, you are doing God's work.
Reharmonisation is decades old.... something used extensively by jazz musicians since at least the 1950s (possibly earlier). An easy example is 'Blues For Alice', which is a 12-bar blues composed by Charlie Parker in 1951. It's essentially an expansion of the traditional jazz blues form, which is itself an expansion of the original blues form, and utilises the pre-calculated harmonic descent described by June in this video (i.e. downward progression of ii-V cadences to arrive at the IV-chord, then more such cadences to arrive at the penultimate ii-V-I).
garrett's heart is in the right place but he lacks background knowledge. because computers and the internet will be a huge thing someday. sorry sir , just kidding ...
I understand your point, but the truth is that reharmonisation is probably even older than jazz itself, as many classical/romantic composers used harmonic ideas that were extensions of previous ideas. Heck, even the jazz ii-V-I is basically just an expansion of the perfect cadence, which is centuries old. I'm saying this because the internet has given many people a false sense of novelty when it comes to MANY things...... especially art/music. Granted, it's fine for people to not know certain things - hence why they succumb to this 'false novelty' - but the problem is that it causes many people to get credit for creating things that they simply reproduced. This isn't their fault when the misconception is created by the crowd's reaction, but too often the crowd is left un-corrected by those who benefit from the false credit. To be totally and utterly frank, a great example of this is the fact that I can't actually name any classical musicians who used reharmonisation prior to jazz. I'm not a classically-trained musician, but ultimately that's no excuse.
I guess I should have thought about what i was saying and i should have used better wording. I didn't mean that the act of re-harmonizing a song was something brand new and that Jacob Collier or Dirty Loops invented it, just that they seem to have popularized it. I didn't mean re-harmonization in the broad sense, where you just re-harmonize, I meant specifically the extreme jazz re-harmonization with the dozens of extended chords and the voice-leading techniques like Planing through almost every progression. I know these things already existed, I'm wasn't trying to say that they were just created recently, I just meant that they seem to be on the up-and-up. Kind of like how John Coltrane didn't INVENT the ii-V-1 progression in Major 3rds, but he took them to such a higher level than anyone in the past had done that they're pretty much synonymous with him. Hence the colloquial name, "Coltrane Changes" that they have unofficially been given and the name that everyone uses.
Garrett Tageant Actually, John Coltrane DID invent that concept - hence the name. He was the first musician to write a tune using key centres specifically spaced in major thirds, which has the effect of creating three key centres with the least possible number of common notes. Regarding your first point, Dirty Loops et al are also not the first musicians to popularise reharminisation, as the first jazz musicians to use the technique also created tunes that became very popular (both at the time and later on). The use of extensions is also not unprecedented, as an 'extension' is simply any 9th, 11th or 13th used as part of a given chord. I'm sure there are plenty of chord progressions from 1950s bebop tunes that use 9ths and 11ths, as 9ths are common minor ii-V-I progressions (i.e. in the V Altered chord), and 11ths are used in the tritone substitutions that were often superimposed over those minor progressions. Granted, modern musicians have used extensions that weren't used back then, but developing a concept is not the same as inventing one.... not by a long shot.
*If I can throw in my two cents on your videos, Mr. Lee:* *I enjoy them!* They do a good job of *showing* oddness and giving you a *starting point* for making your own. I benefit from these videos. *However* , you could do a better job of explaining (certainly for some in the comments, and for mental stimulation) *how* you come to your conclusions and *why* they work. I'm not a fan of your first video because it's just *examples* . Your videos are getting longer, and that's a good thing! Don't be afraid to pare down on the examples a little and spend an extra ten minutes at the end taking just *one example* of your subject (harmonization, add4 sonority, half step tricks, etc.) and *explaining* the thought process and the little style flourishes you use (we all play favorites, it would be fun to hear yours when relevant, too -- *not just Jacob Collier* ). By golly, keep some examples. They help. They're smart, and you use them well. But *anybody who's found you will be interested in those extra ten minutes* . So it'll balance out that way. You could even do in-depth looks in *another video series* , like, with a piano view, if you like. I, and others in the comments, would just like to pick your brain. Just an idea. *Also* , your humor is top-notch, as seen best in the reharmonization video. I'm'a *subscribe* now, whether you listen to me or ignore, because I enjoy these either way (just maybe a little more my way :p ). Keep at it!
Hey Peyton, thanks for throwing in your two cents, man :) I understand where you're coming from. I personally find it very challenging to find a good balance for each video; being too specific and having too much detail would bore the audience quickly, while having too little detail would mean there's not enough content. With this video, I wanted to present a more broader concept of what the arrival is. In the future, I'll probably focus more on smaller concepts in detail!
Yeah, I can't very well imagine pulling videos like these off, myself. Good rule of thumb ya got there, the broader the concept the broader the video. Thank YOU. And good luck!
Hey June-- I disagree: having too much detail would NOT bore the audience, because the people who are finding and watching these videos want to learn. I love your videos, but I always come away a little annoyed and wishing I had learned something concrete. I agree with Peyton and some other people posting here. I love your channel-- please keep it up.
Oh shit, of course, thanks! By the way, do you think Jacob approaches flat 6ths in minor chords the same way he uses natural fourths in major chords? I see there's a lot of chords that would be easier to notate that way in here, like the the first chord on Pure Imagination.
Why does this work? Is it because listeners tend only to remember the last thing you did, they cannot contextualize it all as if they were looking at a painting and comparing elements in a non linear framework. Music is a linear time based experience with one event overshadowing the previous until you get to a cadence or pause in the time frame which makes an impression. Think of it like looking at a bright window in a darkened room. Close your eyes and you will continue to see the details of what you last saw. In that instance it's related to how the eyes actually capture information but sound wise it's connected to our short term memory. This is why learning music takes repeated listenings
Now that you mention it, yes it is Phrygian (because of the G-natural). It's correct, but it's such an anomaly! It is a little strange to call it C quartal, though, because the G is maximally removed from C (in the quartal scheme of things). I guess June preferred it over the other options: Cmin(maj7)(b9)(b13) B6/9(#5) / C Using a Gb really would have been simpler (ordered quartal harmony = locrian), but of course Jacob breaks the new "norms" as soon as we figure them out.
That was absolutely wonderful! Your voice is gorgeous. Thanks for teaching me. Your videos are very addictive!
Subscribed!
I didn't want to sleep anyway
2:13 “Cycle changes” which is just a fancy name for a descending half-diminished leading tone substituted mixolydian elided upper structure altered cadential fifths sequence
At 3:34, it could be a number of things. here are a few of my interpretations. I'll show how the notes are stacked from the top down and then brackets show how they are grouped.
D13#15/D#
(D# B G E D C A F#) (D#)
If we ignore D in this sequence, stacking up from the bottom: (F# A C E G B D). It's just stacked 3rds. In the same way a D7#11 would count up to G and alter it to fit the lydian dominant sound, this just counts up to the extension past the 13th, the 15th, and alters it. It may LOOK like it's the root, but it's just an extension, and we will treat it as such. This would act as a V7, or bVII dominant. Where G#min11 is either the tritone substitution, or it acts as the 3rd of Emaj7, and D is a whole step approach.
B7#5/D9
(D# B G) (E D C A F#) (D#)
Just a straight up polychord. If we call D the root, then D7 doesn't "cadence" to G#min11, it just uses the G#min as a tritone substitution to create movement. It'd be the equivalent of using an Ab7 on the second bar of the bridge of rhythm changes to extend the idea of D7 for 2 bars to some kind of elaboration.
B/Amin11
(D# B) (G E D C A) (F#) (D#)
The middle register are an Amin11, or A minor pentatonic over F#, pointing to a D mixolydian tonality. The B D# on top complete the B triad formed by the F#, which acts as a V leading to E. This is further reinforced by the succeeding G#min11, which is both a chromatic approach from the Aminor 11, the IIImin7 of E major.
Here's a few more
Eminmaj7/D7b9
(D# B G E) (D C A F# D#)
Badd4/Dadd4. OR B11/D11
(B D# E F#) (D F# G A) and
(C) could either be the 7th of D or the b9 of B, which would make: B7b9/D11
Bprygian/D# or Bb9sus4/D# or Bb9sus4/D#/E
(B C D E F# A G) (D#)
JUNE YOU MAKE THE MOST AWESOME VIDEOS!!!!!!!!! :D :D :D :D :D :D I literally devour this stuff!!! Thank you for existing and gifting the world with your music and your INCREDIBLE ears haha! I don't know how you do it man!!! Thank you for everything.
I hope this helps! :D
please share your thoughts on what the "wat is this chord" chord is... at 3:34
June Lee GBD#/D minor (add9) polychord I think? Collier is basically this century's Wagner - he can get away with being harmonically weird and not need explanation.
June Lee is the chord right before that B2/D# not B2/F#? Just curious
G Aug over D min9 for that wat chord? Wat should just be the new standard notation for that lol
D13(#15)/Eb
I agree that it's D13(#15)/Eb. He loves those #15s
This is so incredibly good, I would say you have the best music theory channel along with Adam Neely and Jeff Schneider, for being able to explain difficult topics so easily like this. Amazing!
Haven't watched him, but I get the feeling I should?
1G1 I recommend him
Thanks so much for these videos, June Lee. But it would be much appreciated if you explained with a little more detail on each of the examples for us lesser-than-godlike beings out there.
And if you happend to do so, then half hour videos would't bother me at all.
Yes, please. :]
Same sentiment.... june mostly just shows examples without explaining whats going on. These series couldve been so great if he explained
Thanks, I was about to shrivel up waiting for this video. BTW here is my take on the mystery chords:
3:15: Dmaj13(b9)(#9)(#11)
3:33: D#maj13(b5)(#5)(b9)(#9)
For both of these chords he's combining the altered scale with major 13 chords. Very cool!
5:40: Fm11(b9)(b13), built on the locrian (what you had was obviously correct too)
Let me know if anyone needs explanations. For the second chord, you have to enharmonically rename about half of the notes (using double accidentals, etc.) so I don't blame June for avoiding that.
Emotional Rudolph / arr by June. Passion and warmth of your voice made me feel good 🐥
Im here 😁
And then 🙈 somehow
I arrive at the place 😄
Very well taught Mr. Lee!
You seem to be in the lead to opening the world up to Jacob's musical mind.
Very much appreciated!
A-mmmmazing! What a brilliant channel, thank you so much for the hard work you do in breaking this down!
I like that you used Rudolph, like in the interview. Was expecting a minor 3rd split into fours, but I guess you never figured out how to notate that yet haha
My thoughts exactly :)
17-TET actually.
Can you expand on this concept? Treating a minor third as if it's a fourth and filling in the notes between, descending in almost half steps?
yeah exactly. watch june's interview with jacob for more clarity!
Not really 4 half steps, but 4 steps. They are no longer half-steps (if you call them that, then you call the interval of the 4 half-steps a major 3rd, but we want to still *call* it a minor 3rd).
If I was going to notate it, I would draw a long straight glis line between the first and last notes of the run and put note-heads on that glis-line at the specified rhythmic intervals. I think that would give perfect clarity, I don't know of any other way to notate it and I'm surprised that's not what Jacob did in the first place [he said he didn't know how he would notate it, but it seems obvious to me, maybe I'm missing something? I come from classical music, not jazz, so I'm a stranger in a strange land!]
I love how that one chord said D Maj suhmmm...... harmonies are a beast!
Just became a Patreon supporter. Shine on, you crazy, harmonious diamond.
Holy cow, Thanks June for sharing your knowledge, you make very enjoyable videos !
I love your videos! You make possible understand this! greetings from Guatemala!
1:57 sounds so cool
Easily the best vid in the series if you go and start applying it right away. It really gives some insight into how Jacob is able to get away with what sometimes seems like total harmonic chaos and then all of a sudden you feel at ease because the mechanisms at play were in motion the whole time.
Nice work June! Enjoying these vids!
June you harmonization is Awesome dude!
Spitting fire Lee! As always.
Thank you!!
A new episode! Yaaaaaaaaaaaaaay! Thanks!
Amazing job
Can you make a video about polychords?!
0:55 I thought it was going to be the lick and about to scream.
Hey June! I really love your videos and appreciate what you're doing! Will there be a full transcription of Hideaway in the future?
Wow cool video this is some serious music theory , thanks for all of your hard work putting this together. What kind of equipment did you use for the vocal harmonies in Rudolph the Reindeer ?
Great lesson. Do you think you could reference a piano, or at least piano keys for those of us who aren't the most adept with sight reading?
Yeah. Using Collier's pieces as an examples for harmony lessons is like a first car driving lesson where you find yourself landing a NASA aircraft.
Lack of chord analysis on Rudolph made it harder than it had to be to follow. :)
Re-Harmony
That's the name for what Jacob Collier and Dirty Loops are doing. I don't know whether or not this will just be a trend within Jazz, or whether or not it will be its own fully fledged genre some day, but mark my words, this is going to be an important part of music history. And we're all along for the ride.
June Lee, you are doing God's work.
Reharmonisation is decades old.... something used extensively by jazz musicians since at least the 1950s (possibly earlier). An easy example is 'Blues For Alice', which is a 12-bar blues composed by Charlie Parker in 1951. It's essentially an expansion of the traditional jazz blues form, which is itself an expansion of the original blues form, and utilises the pre-calculated harmonic descent described by June in this video (i.e. downward progression of ii-V cadences to arrive at the IV-chord, then more such cadences to arrive at the penultimate ii-V-I).
garrett's heart is in the right place but he lacks background knowledge. because computers and the internet will be a huge thing someday. sorry sir , just kidding ...
I understand your point, but the truth is that reharmonisation is probably even older than jazz itself, as many classical/romantic composers used harmonic ideas that were extensions of previous ideas. Heck, even the jazz ii-V-I is basically just an expansion of the perfect cadence, which is centuries old.
I'm saying this because the internet has given many people a false sense of novelty when it comes to MANY things...... especially art/music. Granted, it's fine for people to not know certain things - hence why they succumb to this 'false novelty' - but the problem is that it causes many people to get credit for creating things that they simply reproduced. This isn't their fault when the misconception is created by the crowd's reaction, but too often the crowd is left un-corrected by those who benefit from the false credit.
To be totally and utterly frank, a great example of this is the fact that I can't actually name any classical musicians who used reharmonisation prior to jazz. I'm not a classically-trained musician, but ultimately that's no excuse.
I guess I should have thought about what i was saying and i should have used better wording. I didn't mean that the act of re-harmonizing a song was something brand new and that Jacob Collier or Dirty Loops invented it, just that they seem to have popularized it. I didn't mean re-harmonization in the broad sense, where you just re-harmonize, I meant specifically the extreme jazz re-harmonization with the dozens of extended chords and the voice-leading techniques like Planing through almost every progression.
I know these things already existed, I'm wasn't trying to say that they were just created recently, I just meant that they seem to be on the up-and-up. Kind of like how John Coltrane didn't INVENT the ii-V-1 progression in Major 3rds, but he took them to such a higher level than anyone in the past had done that they're pretty much synonymous with him. Hence the colloquial name, "Coltrane Changes" that they have unofficially been given and the name that everyone uses.
Garrett Tageant Actually, John Coltrane DID invent that concept - hence the name. He was the first musician to write a tune using key centres specifically spaced in major thirds, which has the effect of creating three key centres with the least possible number of common notes.
Regarding your first point, Dirty Loops et al are also not the first musicians to popularise reharminisation, as the first jazz musicians to use the technique also created tunes that became very popular (both at the time and later on). The use of extensions is also not unprecedented, as an 'extension' is simply any 9th, 11th or 13th used as part of a given chord. I'm sure there are plenty of chord progressions from 1950s bebop tunes that use 9ths and 11ths, as 9ths are common minor ii-V-I progressions (i.e. in the V Altered chord), and 11ths are used in the tritone substitutions that were often superimposed over those minor progressions. Granted, modern musicians have used extensions that weren't used back then, but developing a concept is not the same as inventing one.... not by a long shot.
Now to somehow integrate these ideas into my own arrangements xD!
awesome june!
I'm confused about what you said for the Pure Imagination example. Jacob uses "text panning"? What is that? Those embellished repeats of the lyrics?
Xolin11 “text painting”
More! More!
best channel on YT
what was I supposed to learn from this?
you can do whatever you want harmonically so long as it's satisfying from start to end.
Sorry, what was that word you said at 6:03? "He uses (?) as an excuse to modulate in the middle of the phrase"
Text-painting
Text
Amazing
to esperando o próximo episódio...
*If I can throw in my two cents on your videos, Mr. Lee:*
*I enjoy them!* They do a good job of *showing* oddness and giving you a *starting point* for making your own. I benefit from these videos. *However* , you could do a better job of explaining (certainly for some in the comments, and for mental stimulation) *how* you come to your conclusions and *why* they work. I'm not a fan of your first video because it's just *examples* . Your videos are getting longer, and that's a good thing! Don't be afraid to pare down on the examples a little and spend an extra ten minutes at the end taking just *one example* of your subject (harmonization, add4 sonority, half step tricks, etc.) and *explaining* the thought process and the little style flourishes you use (we all play favorites, it would be fun to hear yours when relevant, too -- *not just Jacob Collier* ). By golly, keep some examples. They help. They're smart, and you use them well. But *anybody who's found you will be interested in those extra ten minutes* . So it'll balance out that way. You could even do in-depth looks in *another video series* , like, with a piano view, if you like. I, and others in the comments, would just like to pick your brain. Just an idea. *Also* , your humor is top-notch, as seen best in the reharmonization video. I'm'a *subscribe* now, whether you listen to me or ignore, because I enjoy these either way (just maybe a little more my way :p ). Keep at it!
Hey Peyton, thanks for throwing in your two cents, man :)
I understand where you're coming from. I personally find it very challenging to find a good balance for each video; being too specific and having too much detail would bore the audience quickly, while having too little detail would mean there's not enough content. With this video, I wanted to present a more broader concept of what the arrival is. In the future, I'll probably focus more on smaller concepts in detail!
Yeah, I can't very well imagine pulling videos like these off, myself. Good rule of thumb ya got there, the broader the concept the broader the video. Thank YOU. And good luck!
Hey June-- I disagree: having too much detail would NOT bore the audience, because the people who are finding and watching these videos want to learn. I love your videos, but I always come away a little annoyed and wishing I had learned something concrete. I agree with Peyton and some other people posting here. I love your channel-- please keep it up.
Maybe you could provide extra in-depth things on the side (Pleaseee)
@@JuneLee I'm really waiting for that
You didnt explain any of jacob colliers harmonies. You just showed examples :( i really wanna learn tho
Have you ever thought about doing a Christmas album?
Very nice!!! :)
giv us more of this pls
june pls
What's a D maj "suhmm"? I've wondered about that chord before
super-ultra-hyper-mega-meta
Oh shit, of course, thanks! By the way, do you think Jacob approaches flat 6ths in minor chords the same way he uses natural fourths in major chords? I see there's a lot of chords that would be easier to notate that way in here, like the the first chord on Pure Imagination.
in chord notation, what does the triangle symbol mean?
It means major
You're my teacher
Why does this work? Is it because listeners tend only to remember the last thing you did, they cannot contextualize it all as if they were looking at a painting and comparing elements in a non linear framework. Music is a linear time based experience with one event overshadowing the previous until you get to a cadence or pause in the time frame which makes an impression. Think of it like looking at a bright window in a darkened room. Close your eyes and you will continue to see the details of what you last saw. In that instance it's related to how the eyes actually capture information but sound wise it's connected to our short term memory. This is why learning music takes repeated listenings
3:18 .....The Lick ;O)
What is C-qt ? @4:40 4th measure 2nd beat
Its a chord built from intervals of fourths only I believe
Anak Baiharn That is what I was thinking C min Quartal or something but I cant see how that chord was built on 4th intervals.
Quartal (so locrian)
@@abcomposition C (no F) Bb Eb (G for m2 from Ab, aug4 of Db) Ab Db
Can you please tutor us or something on music theory?
4:42 - Cm (qt?) quartel harmony?
Quartal (so locrian)
Oh of course. I should of acctually looked at the chord. yeah it's a minor flat 9 so could be locrian / Phrygian I guess!
Now that you mention it, yes it is Phrygian (because of the G-natural). It's correct, but it's such an anomaly!
It is a little strange to call it C quartal, though, because the G is maximally removed from C (in the quartal scheme of things). I guess June preferred it over the other options:
Cmin(maj7)(b9)(b13)
B6/9(#5) / C
Using a Gb really would have been simpler (ordered quartal harmony = locrian), but of course Jacob breaks the new "norms" as soon as we figure them out.
Noice!
Is this harmony with June or harmony with Jacob?
What the heck is an F- qt. Quartal? Quarter? Anyone?
A chord built (or primarily built) by stacking upward 4ths
Chris Bandy so Quartal.
Correct!
Goodness gracious, what kind of vitamins do you take. Your brain is in 3yrs from now!!! Maybe 10!!!
"I hate enharmonics."
#PerfectPitchProblems
I get quickly bored of Collier's style in general. Dunno why. Maybe it's the lack of timbral variety.
Y'all, what the heck is a #15
Stacking 5s :)
you want to be J Collier