Thank you 8-bit Music Theory. Chords: Major or Minor, sometimes 5ths / 4ths. I don't think in terms of 9ths / 13ths - but it's where the bass note is in relation to the chord inversion. Dissonance is intended - never accidental. Composition driven by how it feels. Close spacing of intervals derived from hardware limitations - but I still use this technique as it compartmentalizes instrument specific frequencies over the harmonic spectrum - everything has its' place. I try not to over-think it.
Thank you David. You are doing what I dream of doing. I love ambient music, and I'm going to make ambient music just for the love of it. Thanks for what you do. You're a hero.
Thank you for talking about voice leading. I often feel that this gets neglected when people talk about chords, but motion between individual parts and what register notes are located in are extremely important too
Very well done! When you discuss the Bflat 13 chord and the dissonant minor 9 interval that is "frowned upon" I think there are other points to consider. 1. It's all about timbre or tone quality here. If you had distorted guitar play the bflat 13 chord and sustain it then it would probably sound pretty rough. He has some smoother synths playing with mellow tones. 2. The notes in the melody are being played quickly and that's what really makes the dissonance less noticeable. The full chord only happens for a split second and he uses a smooth pad so it sounds more on the pleasant relaxing side then if you were to have a horn section play it triumphantly. I agree with you it sounds tasty and not awkward, great video, thanks!
Enjoying your channel big time, any good resources (books and stuff) you recommend to increase your theory knowledge? I learned playing things by ear and am trying to get back and actually learn now.
I also think that technology has a lot that helps ambient music. Reverb, "blooming" into a chord or idea (idk what to call that effect), delay, especially long delay, always helps to get that idea across. Also, synths, and just different sounds in the mix that aren't really musical, but texture heavy, really help. It helped Robert Fripp and Eno, so it for sure helped David Wise
I remember how proud i was for owning donkeykong country 1 & 2 17 years ago. I remember how the nintendo service told me that the snes could do ‘’CD quality’’ audio, i was astonished about that.
You touched on something that has always grabbed my attention when it comes to compositions, something that I call "contextual justification" because I have no other name for it. I'm wondering if it has a name. For example, when trying to figure out a chord while learning a piano piece, sometimes you'll get the chord right, but it will sound wrong. Chords with "forbidden" or ugly intervals that, on their own, are quite unpleasant to listen to. However, when the surrounding music gives each of the notes in the chord a "justification" for being there, it suddenly sounds pleasant and harmonious, constants being a simple example of how this can be achieved. Does this concept have an official music theory name?
I think I know what you mean, crunchy, tense jazz chords which - played in isolation, sound harsh and unusable. But in context, can sound like "home" or "longing". It feels like it has a lot to do with voice leading - probably not the term you're looking for, but it must be about how the leading tone and inner voices build *toward* something crunchy/"ugly" - they "prepare" you for the sound. And when you finally reach it, it's justified and feels right, as you say.
yeah I agree here. Either voice leading can make the ugly intervals sound good in context by adding tension or being in close proximity to a note in the previous chord, or sometimes reinforcing the crunchy note can make it feel nice. As adam neely would say, repetition legitimizes.
When I was a kid Blockbuster was running a game competition for DKC2 and everyone was blown away by all the tricks this little kid knew. I was taking out people 10 years older than me. I won the competition and got a bunch of marvel trading cards.
even better when you realize THAT HE DID SOMETHING THAT WAS ACTUALLY ALMOST IMPOSSIBLE ON THE SUPER NINTENDO the waveforms don't like constant drones, BUT HE DID IT ANYWAY at least that's my understanding
@@Starlightbooper It was likely sarcasm. "I have a strange feeling, I'm not sure why" is the base of their comment. They're just poking a bit of fun at how he speaks about David wise a lot.
After school today I saw this in my sub box and was watching it. My friend was next to me, and at 2:58 he asked me with the most confused voice “wait, WHAT did he just say?”
@@doooouge1136 "Cm9 Abmaj7(#11) vamp" just means that this *fancy chord* and *another fancy chord* can be *a musical thing that repeats throughout the whole track that sounds REALLY good* (vamp).
Jesus, I love that ending song that fades in right at 10:30. Any chance of a name or link? It sounds like you composed them yourself but you never know.
That B-flat Add2 voicing is straight out of the Steely Dan playbook. It's most prominent (with more colors at times) on Peg from Aja. It's one of my favorite kind chords to play, too!
Jonny Kaine I think the harpsichord is great craftmanship , with them 2 keyboards , multiple sets of strings , manual transposer. The modern piano is like a Massive tank beside , I'd still rather play harpsichords for the variety and richness of tones.
@@_frection_419 There certainly are a crap ton of modern pop songs that use V7 chords, but typically they're even more basic and just use triads. There's still a strong indication of where they're going to move to, just not as colorful.
That was a very good explanation. You would not believe how hard it can be to explain constants some orchestra players. I make use of this in all of my music, as I love the way different chords illuminate the main melodic pattern. It's like life progressing, with the circumstances changing.
I'd say so, yeah. The chords and the "constant" melody are played by different instruments so I think that makes it kinda easier to "separate" them, if that makes sense.
I think covering the great soundtrack behind this series was very "Wise" of you. And I love how keep everything simple and don't get caught up in all the complicated "(Jungle) Hijinks" of music theory. You K. Rool man!
Khryberos if you think about it too much, then you'll be in (Torchlight) Trouble. He broke down David Wise's ambiance into 4 simple steps. If you just focus on the steps, and use the transcriptions as guidelines, it won't look like such a (forest) Frenzy
The DKC games are some of my childhood favorites. Or at least the first one is. I actually sadly never played 2 or 3 until much more recently but I love them all. But the original holds a special place in my heart nostalgia-wise, and the music probably has a lot to do with that. David Wise is, frankly, a musical genius. If I had to say one other song from the games that came to mind as relevant to this video would be In a Snow-Bound Land from DKC2. Kinda sad that one didn't come up, but still a really well-made video that explains things really well, even to my admittedly basic understanding of music theory and composition! ...Though one counterpoint I might find interesting to explore is the other level themes in the games, because... I can't describe it and it's probably really dumb, but even the other songs with more strong direction and progression instead of just the ambient chord progressions still have a really strong sense of these composition tips behind them too somewhat. Like, they still have that ambient style even if they're more focused and have full resolution and progression. And it'd be cool to see what makes them work that way.
This is awesome; so great that you also focus on the less conventional melodically-driven pieces, but also these terrific soundscapes and what makes them special. Still always get chills when I listen to Aquatic Ambiance.
I always get the feeling that people think that, under any circumstances, avoid a natural fourth and major third in the same chord. Especially when I was studying Jazz I got that feeling. However, I actually really like the sound of an add11-chord, IF the fourth is placed underneath the third, creating a major seventh interval instead. It isn't that often heard, but I think it's a unique and really tasteful sound. I thought of this when you mentioned the "forbidden 11th", it feels like people tend to overlook the possibility of an other voicing in that case. :) In any case, as you mentioned, in the right context, taboo intervals can very much sound great too.
I've always thought that if chords with tritones in them (like dominant 7ths and diminished chords) can sound good, then literally any other interval can sound good given the proper contextualization.
I just want to add in part a hack if anyone wants to quickly learn to read sheet music, memorize where the C and G notes are on the scale. And remember that flats(b) are down a semitone, and sharps(#) are up a semitone.
I love the Donkey Kong Country soundtracks, particularly the original. I grew up playing that game like mad at my grandparents. I still remember the moment I finally beat the game with a visiting cousin. Such great times! Nice analysis! This is definitely some solid tips for those just getting into ambience. Funnily enough, examples of the rules "being broken" are in the tunes you posted. A couple of things can be potentially misleading if taken at face value. It's not simply that "we've heard Ab∆7 for so long that it just works." That would imply that even a sustained voicing would work, which it could if treated well, but more importantly... the 11th/4th is temporary. That's a part that a lot of people don't stress when it comes to these "11th" and "Add4" chords with arpeggios/ostinatos. A lot of examples that work are examples of notes being temporary. b9th intervals are mostly shunned in beginner courses to avoid students playing sustained dissonances on extended chords. Jazz school is a little more intense about it, but that's also because a lot of Jazz is improvised compared to through-composed pieces that can easily manage the intervals in a pleasing way. There are so many b9 intervals in Classical pieces (and the 4th on Major chords pops up in a lot of earlier Jazz before Lydian became the go to). One of my favorite examples if Brahms' Cello Sonata. Homey comes straight in with a C∆/B with a b9 between the B and C. Not a b16/#15, a straight up b9 and it's in the lowest notes. Talk about some rub! And that leads to the next point, which is that way too many educators don't stress tension and release. b9 intervals work excellently for this. This is why, in Jazz, so many cats are hip to the 7(b9) extensions, because it's at a point of tension and release. If it works there, it can work elsewhere. This is also what's happening in the Stickerbrush Symphony piece. Tension and release. Of course, hearing it time and time again helps desensitize our ears, but the play between B and C is just tension and release. Just check out any Classical piece in minor and there is a good chance you'll hear a b6 on a minor chord. On every single chord you mentioned one of the two tones will be a chord tone. F∆ = B to C, #4 to 5 G∆ = C to B, 4 to 3 E- = C to B, b6 to 5 So it's also really important to be aware of the tension and release factors as well as the temporal nature of music. We're totally fine with hearing loads of dissonance as long as it resolves (or doesn't in a clever way). Oh, and that Bb2/D... such a sick quartal voicing! Keep it up, 8-Bit!
I feel like dynamics are really important for getting a really nice soothing ambient sound. You can see the arpeggiated parts or even the chords having various dynamics, crescendos, etc.
As a self-taught musician who's still learning the ropes and loving every minute of it, I don't understand the technical elements behind much of what this video is conveying. But, I do appreciate it very much and I've watched it twice trying to glean as much out of it as I may. I prefer more aggressive music such as EPIC, cinematic, and orchestral compositions, but I have recently come to love ambient music like that which is spacey, cosmic, and creates the sense that one is journeying through space and time. Learning more about chord progressions -- making them smoother and less jarring -- is what you've explained in great detail and exactly what I've needed. Thanks!
On Fool on the Hill by The Beatles, McCartney is playing D6 and then changes the bass chord to B, without changing any note, making the chord Bm7, and it's just beautiful! It's on "they can see that he's just a fool" part.
Concerning point 3; bizarrely enough, a lot of the chords in Stickerbush Symphony always gave me the feeling they were "going somewhere", particularly the Em7 chord. I think it's one of the aspects that make that song relaxing in a pretty unique way; it feels like it manages to be ambient while at the same time somehow still having that sense up build-up and release (kind of like the musical equivalent of an opiate trip, lol). Music theory isn't my forte, so could anyone here with more knowledge than me explain this to me a little better? In that regard, it's very different to Aquatic Ambience (to which it's often considered a spiritual successor - it was even originally intended to be a water level theme).
Yo! I know you probably get a lot of requests, but I think you should consider taking a look at D.K. Country Returns' "Gear Getaway." It uses the 5/4 time signature pretty well, and it's probably my favorite piece from a video game soundtrack. It kind of sounds like a Disney villain theme song :D.
YES! Like you, I eat up that inverted V voicing - that exact same voicing. God in heaven it's just so beautiful. As it happens, no single piece of music has influenced anything I write more than "Aquatic Ambience." I constantly find myself inverting V chords to avoid committing to a particular direction, and to make transitioning to a root iii sound like a "circle of fifths" maneuver. And whenever I use a pad sound - whether it's front and center, or cleverly in the background - just by instinct, I find myself using smooth voice leading for it. Nothing is better for grounding the whole piece. No matter what chaos I toss in elsewhere, even rhythmic chaos, the techniques I picked up from that freaking game provide an immovable center of gravity that makes everything make sense. Holy hell, I'm so glad this video exists. I only just found you, but...I had to smash that subscribe button. I HAD to!
WHERE DID HE GET THIS SHEET MUSIC FROM. I have looked everywhere for hours trying to find the original copy of stickerbush symphony and have ceased to find it. The pictures he shows of the music are the original because every note lines up correctly and none are missing, but WHERE DID HE GET IT FROM.
3:29 I laughed out loud! Nice gag. It's nice to know these things, as I love the Donkey Kong Country soundtracks very much. :) I don't think I can use knowledge from this video in my own compositions though, as I rarely use chords in my music. Edit: Actually, I might be able to use the idea of a melody that repeats for so long that it can go with things that don't really fit!
Man, I really like your explanations but I feel like the examples u used are actually now very diatonic in today’s music “meta” I think a lot of formal music analysis is stuck in a very old era of thinking when analyzing music. How do you feel about that?
I LOVED this video. If I wasn't broke as a joke and in debt right now, then I would absolutely support you financially. You always put out stellar content, man.
Love it. I'm late to the party but I have to add that I strongly disagree with the "don't use dominant 7ths" bit, since that's precisely what Koji Kondo uses in the Great Deku Tree dungeon from OoT. The feeling was so strong I had to comment on a week old video just to remove the tic. Thx
This music has so much in common with popular EDM, like Pretty Lights... It sounds like those more chill EDM songs are taking inspiration from these same ideas
Great video! I think another thing why David Wise's is such a remarkable composer is his choice of voices/instruments & also the mix. You could take the same progression with the same notation and if you don't know how to do voicing/expression like he does it wouldn't come close to capturing the vibe. Personally choosing/creating the right instruments/textures for a song is another animal in itself.
Always fascinating. Though no matter how many music theory videos I see I still struggle with it. Considering all the things I've managed to be relatively good at in my life, being bad at understanding music at least makes some contrast to that. XD But, it still feels weird hearing it explained repeatedly and just struggling to grasp even the very basics of what any of it means...
Fun fact: at 6:45ish when you're showing Stickerbrush Symphony's transcription, the bass doesn't actually jump octaves in the fourth bar of that pattern. it's just the switch to a different filtered sample that makes them sound that way.
I think Disasterpeace's gorgeous soundtracks, particularly that of Hyper Light Drifter, might give Wise a run for his money as "King of the ambient VGM composers".
Please make a video about Rare's other musical masterpiece: Killer Instinct. Particularly the legendary main theme and how Mick Gordon rejuvenated it for the 2013 game.
Do you have any thoughts or materials or examples on HOW TO DESCRIBE A CHARACTER with chords? How to create characters music? Like Guyle or Ru or Zangiev
![ได้เวลา! พาน้องแฝดฉีดวัคซีนครบ 1 เดือน🫣 [cc] แดนแพทตี้ SS2 | EP.52 |](http://i.ytimg.com/vi/IzeLtaXBLNE/mqdefault.jpg)
Thank you 8-bit Music Theory. Chords: Major or Minor, sometimes 5ths / 4ths. I don't think in terms of 9ths / 13ths - but it's where the bass note is in relation to the chord inversion. Dissonance is intended - never accidental. Composition driven by how it feels. Close spacing of intervals derived from hardware limitations - but I still use this technique as it compartmentalizes instrument specific frequencies over the harmonic spectrum - everything has its' place. I try not to over-think it.
No way. Is this the real David Wise?
@@howard_blast yes.
Thank you David. You are doing what I dream of doing. I love ambient music, and I'm going to make ambient music just for the love of it. Thanks for what you do. You're a hero.
I aspire to make music as well as you, big fan!
So cool to see you here! I work in game audio now because of Aquatic Ambiance, so thank you.
Donkey Kong Country 2 has the best music of any game, I think. There's never a bad spot. Never a misstep. It's just heaven level to level.
One of the best analytic video I've seen on the master of ambient, Sir Wise! Hope to watch some more of your great content.
Thank you for talking about voice leading. I often feel that this gets neglected when people talk about chords, but motion between individual parts and what register notes are located in are extremely important too
Very well done! When you discuss the Bflat 13 chord and the dissonant minor 9 interval that is "frowned upon" I think there are other points to consider. 1. It's all about timbre or tone quality here. If you had distorted guitar play the bflat 13 chord and sustain it then it would probably sound pretty rough. He has some smoother synths playing with mellow tones. 2. The notes in the melody are being played quickly and that's what really makes the dissonance less noticeable. The full chord only happens for a split second and he uses a smooth pad so it sounds more on the pleasant relaxing side then if you were to have a horn section play it triumphantly. I agree with you it sounds tasty and not awkward, great video, thanks!
Enjoying your channel big time, any good resources (books and stuff) you recommend to increase your theory knowledge? I learned playing things by ear and am trying to get back and actually learn now.
I also think that technology has a lot that helps ambient music. Reverb, "blooming" into a chord or idea (idk what to call that effect), delay, especially long delay, always helps to get that idea across. Also, synths, and just different sounds in the mix that aren't really musical, but texture heavy, really help. It helped Robert Fripp and Eno, so it for sure helped David Wise
So awesome. Keep it up
Great video.
Brilliant! 🤯
The greatest part of the entire video is that you said Stickerbush Symphony instead of Stickerbrush Symphony
the aquatic ambiance theme gave me some seriously surreal dreams as a child
baack then, video game music was soo emotional :) sometimes we played just games for the music ;D
thats the reason i love videogame music:)
I still listen to it when I want to relax.
Good music to get high to
My name used to be Donkey Kong, but then I took an arrow to the knee. Now they call me Diddy.
"Use smooth voice leading."
*Donkey Kong vocalizes*
very smooth voice
i was searching for this comment
They’re finally here, our DK crew
C O C O N U T C R E A M P I E
LOL
@@tysonasaurus6392 DK Country, 2 and 3 are undeniable in the group of the best games ever! :)
"A lot of rules can be broken" he said while glitching Mario Kart 64.
"Where we're going, we won't need roads" ::uses a chord voicing with a minor ninth in it::
High quality, worth-more-than-money-can-buy musical analyses on beautiful video game music pieces.
*_WONDERFUL!_*
David Wise was a wise man indeed.
Still is.
Carpaccio Yeah
I remember how proud i was for owning donkeykong country 1 & 2 17 years ago.
I remember how the nintendo service told me that the snes could do ‘’CD quality’’ audio, i was astonished about that.
Favorite VG composer
You touched on something that has always grabbed my attention when it comes to compositions, something that I call "contextual justification" because I have no other name for it. I'm wondering if it has a name.
For example, when trying to figure out a chord while learning a piano piece, sometimes you'll get the chord right, but it will sound wrong. Chords with "forbidden" or ugly intervals that, on their own, are quite unpleasant to listen to. However, when the surrounding music gives each of the notes in the chord a "justification" for being there, it suddenly sounds pleasant and harmonious, constants being a simple example of how this can be achieved.
Does this concept have an official music theory name?
Hmmm. If it does have a name I'm not sure what it is. Contextual Justification sounds good to me!
PiercingSight dont know of a specific term but another one you could use is relative meaning.
I think I know what you mean, crunchy, tense jazz chords which - played in isolation, sound harsh and unusable. But in context, can sound like "home" or "longing". It feels like it has a lot to do with voice leading - probably not the term you're looking for, but it must be about how the leading tone and inner voices build *toward* something crunchy/"ugly" - they "prepare" you for the sound. And when you finally reach it, it's justified and feels right, as you say.
Contextual Justification. If it's not the official name, it should be!
yeah I agree here. Either voice leading can make the ugly intervals sound good in context by adding tension or being in close proximity to a note in the previous chord, or sometimes reinforcing the crunchy note can make it feel nice. As adam neely would say, repetition legitimizes.
1:17 Oh boy, there was a hidden cave? Now I have to get out my old Nintendo again - Thanks for that :/
Alrota Music hahaha yeah I was watching the gameplay too
rofl I said the same thing. I never knew that cave was there
When I was a kid Blockbuster was running a game competition for DKC2 and everyone was blown away by all the tricks this little kid knew. I was taking out people 10 years older than me. I won the competition and got a bunch of marvel trading cards.
David Wise's stuff is always the best
He”s above you.
even better when you realize THAT HE DID SOMETHING THAT WAS ACTUALLY ALMOST IMPOSSIBLE ON THE SUPER NINTENDO
the waveforms don't like constant drones, BUT HE DID IT ANYWAY
at least that's my understanding
I have a strange feeling you love David Wise's ambient music. Not sure why.
who doesn't?
How can you not be sure why?, just listen to the donkey kong country soundtracks and come back after that..
@@Starlightbooper It was likely sarcasm. "I have a strange feeling, I'm not sure why" is the base of their comment. They're just poking a bit of fun at how he speaks about David wise a lot.
THICC chord extensions
Gotta lay that harmony on THICC
After school today I saw this in my sub box and was watching it. My friend was next to me, and at 2:58 he asked me with the most confused voice “wait, WHAT did he just say?”
ya he lost me there too
yknow it's just one of those vamps
@@doooouge1136 "Cm9 Abmaj7(#11) vamp" just means that this *fancy chord* and *another fancy chord* can be *a musical thing that repeats throughout the whole track that sounds REALLY good* (vamp).
This is one of your best videos yet :D
agreed, dkc 4 lyfe
Totally agree! I almost felt hypnotized after watching this
Damn, makes me wanna save if for a special moment. Hahahah DK is love. As its soundtrack.
I agree maybe the best because the topic has never really been touched upon before!
Jesus, I love that ending song that fades in right at 10:30. Any chance of a name or link? It sounds like you composed them yourself but you never know.
Idk but it might be NES era David Wise music? I was going to see if I could find it too
those ledger lines tho
Nobody:
David Wise:
__
__
__
__
__
_ •
That B-flat Add2 voicing is straight out of the Steely Dan playbook. It's most prominent (with more colors at times) on Peg from Aja. It's one of my favorite kind chords to play, too!
jaxvon that's awesome
that's like 16-bit Music Theory :^ >
Soy Milk Any music theory really , Listen Bach 8 bit , it seems like it's MADE for that ^^
@@LeVezz makes sense. Bach wrote a lot of music for harpsichord which is a kind of "lo-fi" instrument in a way.
Jonny Kaine I think the harpsichord is great craftmanship , with them 2 keyboards , multiple sets of strings , manual transposer. The modern piano is like a Massive tank beside , I'd still rather play harpsichords for the variety and richness of tones.
Sounds to me that 99% of post-2000 EDM and pop music have been ripping off Donkey Kong.
ErebosGR Its so true, you'll never see a dominant chord in modern pop because it feels too cliche. Donkey Kong started it all.
s a d k o n g h o u r s
David Stoneback Ummm y'know pretty much every single pop song uses a V - I right
(i.e. a dominant chord)
@@_frection_419 There certainly are a crap ton of modern pop songs that use V7 chords, but typically they're even more basic and just use triads. There's still a strong indication of where they're going to move to, just not as colorful.
@@davidstoneback6159 only with the power of jazzzzzzz
That was a very good explanation. You would not believe how hard it can be to explain constants some orchestra players. I make use of this in all of my music, as I love the way different chords illuminate the main melodic pattern. It's like life progressing, with the circumstances changing.
I just started writing some ambient chiptune pieces of my own and this video is a godsend. Great advice and a lot to think about!
Mortistar
I know almost nothing about music theory and I still watched this video
Do you think the instrumentation helps dissolve the minor ninth dissonance?
I'd say so, yeah.
The chords and the "constant" melody are played by different instruments so I think that makes it kinda easier to "separate" them, if that makes sense.
I think covering the great soundtrack behind this series was very "Wise" of you. And I love how keep everything simple and don't get caught up in all the complicated "(Jungle) Hijinks" of music theory. You K. Rool man!
Aha. Have a like for the puns.
The puns are strong with this one.
You get a like for the way you worked in the title of Jungle Hijinks alone.
*this* was "uncomplicated"?? I loved it, don't get me wrong, but holy cow it was information-dense...
Khryberos if you think about it too much, then you'll be in (Torchlight) Trouble. He broke down David Wise's ambiance into 4 simple steps. If you just focus on the steps, and use the transcriptions as guidelines, it won't look like such a (forest) Frenzy
I wonder if you could do ballad of the wind fish, and why it makes me cry
The DKC games are some of my childhood favorites. Or at least the first one is. I actually sadly never played 2 or 3 until much more recently but I love them all. But the original holds a special place in my heart nostalgia-wise, and the music probably has a lot to do with that. David Wise is, frankly, a musical genius. If I had to say one other song from the games that came to mind as relevant to this video would be In a Snow-Bound Land from DKC2. Kinda sad that one didn't come up, but still a really well-made video that explains things really well, even to my admittedly basic understanding of music theory and composition! ...Though one counterpoint I might find interesting to explore is the other level themes in the games, because... I can't describe it and it's probably really dumb, but even the other songs with more strong direction and progression instead of just the ambient chord progressions still have a really strong sense of these composition tips behind them too somewhat. Like, they still have that ambient style even if they're more focused and have full resolution and progression. And it'd be cool to see what makes them work that way.
This is awesome; so great that you also focus on the less conventional melodically-driven pieces, but also these terrific soundscapes and what makes them special. Still always get chills when I listen to Aquatic Ambiance.
I always get the feeling that people think that, under any circumstances, avoid a natural fourth and major third in the same chord. Especially when I was studying Jazz I got that feeling. However, I actually really like the sound of an add11-chord, IF the fourth is placed underneath the third, creating a major seventh interval instead. It isn't that often heard, but I think it's a unique and really tasteful sound. I thought of this when you mentioned the "forbidden 11th", it feels like people tend to overlook the possibility of an other voicing in that case. :)
In any case, as you mentioned, in the right context, taboo intervals can very much sound great too.
Herbie Hancock will use that sound at times (the sus chord with 3 above the 4). It really is a cool chord.
William Doran Yes I suppose that's a better name for it! The chord really brings out the major tonality.
I've always thought that if chords with tritones in them (like dominant 7ths and diminished chords) can sound good, then literally any other interval can sound good given the proper contextualization.
Is that outro music from something or is that by 8bitmusictheory, cause i dig it, it's super cute
Instantly-fucking-subscribed.
If the interval minor 9th is a nono, how is the Vb9 used?
What’s that outro song? Sweet af!
3:00 Blank Banshee, anyone?
omg yes i was wondering where have i heard it
Blank Banshee hell yes
YESSS
Yeh BOI
Eco Zones
it would be nicer if you showed on the keyboard wich note is wich
I don't think there are a lot of people who can read sheet music
I just want to add in part a hack if anyone wants to quickly learn to read sheet music, memorize where the C and G notes are on the scale. And remember that flats(b) are down a semitone, and sharps(#) are up a semitone.
@@RawGreenTheAnimator not sure if this is a hack but rather how you read sheet music?
I have very little interest in musical composition, but I LOVE your videos.
Also, DK:C is one of the greatest soundtracks of all time.
I love the Donkey Kong Country soundtracks, particularly the original. I grew up playing that game like mad at my grandparents. I still remember the moment I finally beat the game with a visiting cousin. Such great times!
Nice analysis! This is definitely some solid tips for those just getting into ambience. Funnily enough, examples of the rules "being broken" are in the tunes you posted.
A couple of things can be potentially misleading if taken at face value. It's not simply that "we've heard Ab∆7 for so long that it just works." That would imply that even a sustained voicing would work, which it could if treated well, but more importantly... the 11th/4th is temporary. That's a part that a lot of people don't stress when it comes to these "11th" and "Add4" chords with arpeggios/ostinatos. A lot of examples that work are examples of notes being temporary.
b9th intervals are mostly shunned in beginner courses to avoid students playing sustained dissonances on extended chords. Jazz school is a little more intense about it, but that's also because a lot of Jazz is improvised compared to through-composed pieces that can easily manage the intervals in a pleasing way. There are so many b9 intervals in Classical pieces (and the 4th on Major chords pops up in a lot of earlier Jazz before Lydian became the go to).
One of my favorite examples if Brahms' Cello Sonata. Homey comes straight in with a C∆/B with a b9 between the B and C. Not a b16/#15, a straight up b9 and it's in the lowest notes. Talk about some rub!
And that leads to the next point, which is that way too many educators don't stress tension and release. b9 intervals work excellently for this. This is why, in Jazz, so many cats are hip to the 7(b9) extensions, because it's at a point of tension and release. If it works there, it can work elsewhere.
This is also what's happening in the Stickerbrush Symphony piece. Tension and release. Of course, hearing it time and time again helps desensitize our ears, but the play between B and C is just tension and release. Just check out any Classical piece in minor and there is a good chance you'll hear a b6 on a minor chord. On every single chord you mentioned one of the two tones will be a chord tone.
F∆ = B to C, #4 to 5
G∆ = C to B, 4 to 3
E- = C to B, b6 to 5
So it's also really important to be aware of the tension and release factors as well as the temporal nature of music. We're totally fine with hearing loads of dissonance as long as it resolves (or doesn't in a clever way).
Oh, and that Bb2/D... such a sick quartal voicing!
Keep it up, 8-Bit!
I feel like dynamics are really important for getting a really nice soothing ambient sound. You can see the arpeggiated parts or even the chords having various dynamics, crescendos, etc.
As a self-taught musician who's still learning the ropes and loving every minute of it, I don't understand the technical elements behind much of what this video is conveying. But, I do appreciate it very much and I've watched it twice trying to glean as much out of it as I may. I prefer more aggressive music such as EPIC, cinematic, and orchestral compositions, but I have recently come to love ambient music like that which is spacey, cosmic, and creates the sense that one is journeying through space and time. Learning more about chord progressions -- making them smoother and less jarring -- is what you've explained in great detail and exactly what I've needed. Thanks!
On Fool on the Hill by The Beatles, McCartney is playing D6 and then changes the bass chord to B, without changing any note, making the chord Bm7, and it's just beautiful! It's on "they can see that he's just a fool" part.
Aquatic Ambience is one of the best tunes from video games because, you know the location it sounds best, a cruise.
I'd tell you to do Celeste but I don't have any money.
oledakaajel same ;-; its music is too good to be ignored though
Great vid. David Wise is awesome.
Thanks. I love love love your channel. OK? I LOVE IT.
Concerning point 3; bizarrely enough, a lot of the chords in Stickerbush Symphony always gave me the feeling they were "going somewhere", particularly the Em7 chord. I think it's one of the aspects that make that song relaxing in a pretty unique way; it feels like it manages to be ambient while at the same time somehow still having that sense up build-up and release (kind of like the musical equivalent of an opiate trip, lol).
Music theory isn't my forte, so could anyone here with more knowledge than me explain this to me a little better?
In that regard, it's very different to Aquatic Ambience (to which it's often considered a spiritual successor - it was even originally intended to be a water level theme).
I have no idea what im watching but its so well explained, I can't look away
people mustn't forget that a minor 9th is really a compound minor 2nd
That may have been the most jarring choice for outro music after a video about ambient music!
using these concepts to write Midwest emo/twinkle emo/math rock is really fun
I love you
Yo! I know you probably get a lot of requests, but I think you should consider taking a look at D.K. Country Returns' "Gear Getaway." It uses the 5/4 time signature pretty well, and it's probably my favorite piece from a video game soundtrack. It kind of sounds like a Disney villain theme song :D.
Donkey Kong Country 2 is my favorite OST of all time by far. Formal training or not, David Wise's music is truly master class.
This has helped me to understand some of the stuff that I love about the music I write. Absolutely invaluable
WTF, this video is exactly what I needed for the piece I'm currently working on, heck yes
"Avoiding this is the first rule..."
David Wise:"THERE ARE NO RULES!"
Dude your videos are the best..... blending my two favorite passions..... well done!
So interesting and helpful! I love your series :D
YES! Like you, I eat up that inverted V voicing - that exact same voicing. God in heaven it's just so beautiful. As it happens, no single piece of music has influenced anything I write more than "Aquatic Ambience." I constantly find myself inverting V chords to avoid committing to a particular direction, and to make transitioning to a root iii sound like a "circle of fifths" maneuver. And whenever I use a pad sound - whether it's front and center, or cleverly in the background - just by instinct, I find myself using smooth voice leading for it. Nothing is better for grounding the whole piece. No matter what chaos I toss in elsewhere, even rhythmic chaos, the techniques I picked up from that freaking game provide an immovable center of gravity that makes everything make sense.
Holy hell, I'm so glad this video exists. I only just found you, but...I had to smash that subscribe button. I HAD to!
Ambient is one of my favorite genres. Thanks for this analysis. :)
Haze Anderson anything worth listening to in that genre?
Late reply but check out Broken Soul Jamboree by Tipper
WHERE DID HE GET THIS SHEET MUSIC FROM. I have looked everywhere for hours trying to find the original copy of stickerbush symphony and have ceased to find it. The pictures he shows of the music are the original because every note lines up correctly and none are missing, but WHERE DID HE GET IT FROM.
Ear training and notation software = you too can have sheet music with every note lining up correctly and none missing.
K thanks man
will you do a video on Metroid Prime 1's music?
whats the outro song?
The intro to Aquatic Ambience is objectively the best piece of VGM ambient music ever created.
LOVE DAVID WISE
3:29 I laughed out loud! Nice gag.
It's nice to know these things, as I love the Donkey Kong Country soundtracks very much. :)
I don't think I can use knowledge from this video in my own compositions though, as I rarely use chords in my music.
Edit: Actually, I might be able to use the idea of a melody that repeats for so long that it can go with things that don't really fit!
6:49 Ah, my favorite chord progression! Thanks for showing me! I’ll add it to my collection!
It's messed up how truly amazing this soundtrack is... truly amazing.
When you hit that second LUSH and DENSE Fm11 chord on Aquatic level
Hmmmmmmmmmmmmm
Real theoric explanation of how an ear orgasm is created
Man, I really like your explanations but I feel like the examples u used are actually now very diatonic in today’s music “meta”
I think a lot of formal music analysis is stuck in a very old era of thinking when analyzing music. How do you feel about that?
Speaking of David Wise's musical work, I wonder if you had covered anything he did for _Wizards & Warriors_ (1987) and _Ironsword_ (1989)?
I LOVED this video. If I wasn't broke as a joke and in debt right now, then I would absolutely support you financially. You always put out stellar content, man.
I love this channel!
Love it. I'm late to the party but I have to add that I strongly disagree with the "don't use dominant 7ths" bit, since that's precisely what Koji Kondo uses in the Great Deku Tree dungeon from OoT. The feeling was so strong I had to comment on a week old video just to remove the tic. Thx
what was the outro music i need it
This music has so much in common with popular EDM, like Pretty Lights... It sounds like those more chill EDM songs are taking inspiration from these same ideas
Predominate...hmm. Well, that's different. Subdominate, maybe?
Please, PLEASE do an episode on Donkey Kong Jungle Beat. The music is sooo good and it also has interactive music and sounds
Great video! I think another thing why David Wise's is such a remarkable composer is his choice of voices/instruments & also the mix. You could take the same progression with the same notation and if you don't know how to do voicing/expression like he does it wouldn't come close to capturing the vibe. Personally choosing/creating the right instruments/textures for a song is another animal in itself.
What is the song in the intro?
Always fascinating.
Though no matter how many music theory videos I see I still struggle with it.
Considering all the things I've managed to be relatively good at in my life, being bad at understanding music at least makes some contrast to that. XD
But, it still feels weird hearing it explained repeatedly and just struggling to grasp even the very basics of what any of it means...
All Donkey Kong Country soundtracks are incredibly satisfying to listen to
i just realised its "stickerbush symphony" and not "stickerbrush symphony". goddamn.
so spamming a Bad Chord over and over and over again, will eventuall be GOOD THATS WHAT YOUR SAYING! RIGHT! right?!?!?
Fun fact: at 6:45ish when you're showing Stickerbrush Symphony's transcription, the bass doesn't actually jump octaves in the fourth bar of that pattern. it's just the switch to a different filtered sample that makes them sound that way.
I'm in love with your analyses.
I think Disasterpeace's gorgeous soundtracks, particularly that of Hyper Light Drifter, might give Wise a run for his money as "King of the ambient VGM composers".
And David made all that shit for a SNES sound chip let alone an actual full range of instruments.
666th comment
Please make a video about Rare's other musical masterpiece: Killer Instinct.
Particularly the legendary main theme and how Mick Gordon rejuvenated it for the 2013 game.
Don't avoid dominant sevenths. Resolve them deceptively to bVI9 or something. Maybe Fr+6.
Do you have any thoughts or materials or examples on HOW TO DESCRIBE A CHARACTER with chords? How to create characters music? Like Guyle or Ru or Zangiev