I love this version. He's right about the emphasis on the word to, it's very odd. I know he went high after saying people go out of tune that high, but I think he meant that the jump in melody from low to high is what causes the difficulties.
If you remember only one thing, it should be start basically at the bottom end of your range for this song. Most people pitch this in the middle of their range, then either "change keys" accidentally or botch the high note on a terrible vowel. I love the idea, though.
I dunno why people are complaining about him trying to mess with the Happy Birthday song. You really think one guy with one video is gonna change how billions of people sing a song every year? Let the man have his fun.
Don't be surprised. The mayority of people usually hate a true musical genius of their era. It's only later, that future generations tend to appreciate these innovative kind of things.
For the folks saying it's "higher than the original", you can just change the key to make the top line higher or lower. The original goes to a G5 whereas his version goes to an F5 (which is not higher). To those saying he wrote it "out of his range", how do you explain him literally singing the original (which is higher than his version)? He just sings the Bs, Cs and Fs quietly: that's not the same as being unable to sing it...
I love debussy. Sometimes all I can think about it Debussy. The pianist fits so well with Debussy. When Debussy is young, that is when you want Debussy.
It is such a hard tune to sing, and it should not be. We all try to sing it several times a year. This version is much easier and sounds much better and easier for the masses to sing!!
This is brilliant. And I think it’s even more brilliant thst he’s asserting that because of the bad writing that it is always sung out of tune and this more streamlined approach is more natural..... sings it like shit 😂
Starting off with a major sixth is not easy for most people! (And if he played it on F major, he wouldn't have to strain his voice in a falsetto like he was doing on C major.) But I certainly like the lydian mode better in the original, which occurs right on the subdominant chord, the place where the melody descends after having reached the top note. But he was right, this top note in the original melody IS too high for most people. But his new high note is only just a whole tone below the original high note, so that still doesn't solve the problem-it's still too high. And remember that this new high note he's proposing is sung where we usually say the birthday celebrant's name, and so imagine how the song will be potentially "murdered" by non-singers!
If the octave leap is difficult then simply change the first note of the interval, like this (Key of C major): GGAGCB GGAGDC *EE*GECBA FFECDC. Just change the key To F or Eb and everyone will be able to sing it . There, fixed, that's not so hard to do. Also, the melody of Happy birthday is actually "Good morning to all", a song from 1893, and in countries like Portugal it even has longer lyrics so, perhaps you could change it’s lyrics.
...but it's not. He eliminates the octave leap, approaches the upper register in step-wise motion, and still keeps the entire song within a one-octave range. The old way would have moved up to a G in this key. His version keeps it at an F.
@@will123134 he has not stated that he will be able to sing it better but it will be generally singable. Ivan is not a singer, but a composer and a conductor.
Actually he manages to keep it a tone lower, but I agree that it is still quite high in the register. Perhaps in eliminating the octave leap it makes it easier to achieve the higher notes as the ascent will naturally bring a crescendo and smaller Intervals are easier to sing for the common of mortals who are not professional singers :)
He was actually proving that the older version had a hard-to-sing range, when he said that. So his new version does have a better (easier to sing) range. Please, stop taking drugs and pay attention, idiot
I agree with his point, although the original melody is culturally and historically unbeatable. “To” is done, lol. Btw, strictly speaking, should the third “you” be just one note due to single syllable?
That high G is (1) the logical culmination of the G (Happy) and C (you), and (2) it's FUN to do an octave leap. It's not an audition. It's an excuse to leap and octave. True the accents on the "to" is bad in a textbook, but I don't think it's bothered all that many people. Indeed, the two "to you's" match nicely as DO-TI, RE-DO, and that is transformed into the part with the name (TI-LA), MOREOVER -- the Ti-La continues to a La-flat-Sol as harmony under the "Happy Birth" at Fa-Mi, which leads to the last RE-DO. And, the last gesture goes Fa-Mi-Re-Do (Happy Birth[day] to you). The lesson is: the song works, and so there must be SOMETHING that makes it good, IN SPITE of the apparent (but not real) weakness. For me, it's: step one --- decide if you like the song (which I do), and then, step two -- keep digging until you find what might be responsible, keeping in mind that textbook techniques often make competent music, but this is beyond competent.
I don't think so. The original used the major scale... it works for a happy song like "happy birthday". Throw in chromatic or modal stuff and it kills the spirit of it. Also, in no way is this easier to sing than the original. An internationally renowned composer should've come up with something a bit more effective.
His points on the original are: 1) it's poor word-setting - although he exaggerates, accentuating the 'to' as no-one ever would normally, Fischer has a point, and his version amends this convincingly. 2) Happy Birthday is much harder to sing than most people realise - his melody is definitely easier to sing, but as it's less familiar to everyone, the original has quite a head-start. His composition: whilst gently tweaking the pitch curve, he deviates surprisingly little; the last phrase is identical, and principal harmony throughout is the same. Subtly done. It's still in a major key and built on the major scale, with two delicate lower auxiliaries in the first line. We're not talking chromaticism like Bizet's Habanera, or Entry of the Gladiators. Yes, the jumps can be playful, so something of the character is lost, but he's willing to sacrifice this because in reality they're so often screwed up, like most amateurs trying a trick shot in snooker. A wider point: chromatic music needn't be out of spirit; a chromatic note can be playful or cheeky, like the Blackadder theme tune, or the F# in The Simpsons. Possibly it's a bit cheesy/corny, like 'Oh I do like to be beside the seaside', but I think the opening of Fischer's melody is still in the right spirit, which largely comes from having the same rhythm throughout. The two chromatic notes almost make up for the lack of large leaps. The mawkishness is the chromatic harmony, notably the secondary dominant in the third line, followed by the 7-6 over F. Unless this were part of a theme-and-variations cycle, I think simpler harmony is preferable and keeps the spirit of the song purer - particularly good for children.. I'm not so fond of the C/B clash in the harmony on the final '-day' either - almost a wrong note. If it's going to be gently enhanced, I prefer a barbershop F# in the harmony here, resolving downwards to F in the next chord under 'you'. Fischer presented his version on BBC Radio 4 today (clearly still a hobby-horse), and put an A-flat in the harmony under the final 'happy', which is also too dark and sentimental, IMHO. He uses nothing modal. Do I prefer it? No. Did it make me think? Yes.
Happy Birthday isn't a happy song. Have you heard it lately? Just because it's got the word happy in the lyrics or it's in a major key doesn't make up for the awful tune and how slow it is.
His melody is a very good melody, but he is incorrect about the emphasis being on “to” and not “you”. Yes it is a leap, but it’s also on a weak beat. The strength of beat 1 with the word “you” outweighs the strength of the jump on the word “to”. Starting on “la la so fi (raised 4 which is an accidental) so ti” is much harder for non musicians than starting “so so la so do ti ”. Octaves are fine because they’re octaves. And it falls to a nice cadence that is anticipatory, not sad. So, no. I do like his version, but he’s pointing out problems that don’t exist and everyone loves it because it picks at tradition.
This is actually quite simple to fix: just change the note D in the penultimate bar to B. By doing so, it also allows for an upward resolution to C in the final bar, creating a more natural melodic tendency as B is the leading tone to C.
I find it awkward that he's playing it on a piano, especially since there are no instruments on Happy Birthday, only the piercing cries of young children.
Sorry but this guy has ruined the original melody and is talking nonsense. He asks questions like "why does it go up?" at 1:01; simple - because you're repeating the same line three times so the second one builds and the third one naturally wants to be the more dramatic and excitable one. And he's completely wrong about the word "to" being accented, it's no different in his version; the word "you" is still the emphasis in both versions as it's the downbeat of the next bar. Changing the note doesn't necessarily change the emphasis. It's funny as well that he thinks his is more singable yet can't sing either version as his version also goes to high for him 🤣😂.
Nope....I'm in disagreement with this. The original has simple 4th and 5th intervals that 95% of the world can easily sing. The octave may be a bit of a stretch for some, but it brings energy to the song. The original sounds much happier than Fischers....after all we are celebrating and singing a birthday song!
I dont mind the guy having fun, but dang he literally just sort of flipped the melody where as the first one resolved from a higher interval moving downard, his resolves from a lower interval moving upward ok for one thing, anyone that can not sing an octave range is going to have a tough time singing practically anything. every student ive tested has a voice range of at least two octaves, and these are absolute beginners, so i dont really understand what hes saying, unless he is simply commenting on the fact that he apparently cant sing either version secondly, the word you falls on the downbeat of both variations, where the emphasis would normally be anyway. and who puts the accent only on the word TO? isnt it normally song TO YOU? with both words accented wider intervals are likely to provide greater tension, so ascending to an octave will sound farther from the root than ascending to the sixth. how far do you want to feel the melody travel? an octave or a sixth? imo they said this guy is a conductor, and it sounds like his experience with happy birthday comes from some bad conducting experiences or something is my guess
That version's a bit sad at the end. Prefer the original as it's jauntier, with it's quirky up-down moves, and the the high notes at the times when the word 'to' is sung are fun to reach for, causing much jollity when many get it wrong when sung in a group.
But there are notes in the cord that are lower as well versus the very dominant high note in the original. Honestly I prefer this version over the original because of that one note.
This demonstration would have been better if he had sang an octave lower. He sounds like he’s struggling to sing it, which isn’t exactly going to spark confidence in people who already can’t sing well.
Is this guy for real? Just because you leap up a fourth on "-day to" doesn't mean "to" gets special emphasis. It's the syllable "you" that gets the emphasis he demands, by arriving on the first beat of the next measure. Fischer ridicules this by singing "tooo-you, tooo-you," but that is not actually how the song goes. The way he sings it it's "to" that comes on the first beat, the opposite of what happens in the song. No wonder he feels called upon to improve what he ruined in the first place. Parallel example: Hark the Herald Angels Sing. Begins right away with a fourth leap on "hark the." Does that mean "the" gets special emphasis? Of course not. It's the next note, "he-" of herald that gets the full emphasis because it's on the first beat of the next measure.
Tisztellt Fiser úr én nagyon önt de miért nem tudják a koncertjüket egy kiicsit feltúrbozni mint például Andeu Rieu ne hogy fére értsen imádom önöket allig várom a következő koncertet Amszterdamban tudom hogy más müfaj de szerintem sokkal jobb lenne de lehet tévedek ezen felül akkor is csodálatos minten tisztelet az önöké
They are attempting to sing it, but usually (far more often than not) it's mangled. Not just the octave leap; many people don't realise that the second two bars aren't exactly the same as the first: the 'to you' is a step higher on the scale; with a group singing it, all kinds of unpleasant clashes are created. I don't object to the original as much as Ivan, but I do share his pain.
Thats what makes it more social that its a playful song. Now you just made singing happy birthday more awkward. I wouldnt sing that song to another guy since its more harmonious and therefore more romantic. The awkward tune makes it less romantic, and therefore more playful.
Eh, sounds bland. Original one's far better. So what not everyone can *sing* it? What we hear in our minds is already autotuned anyway as long as we know what it sounds like.
If we had all grown up with this version, we would like it more and be used to it. He has some valid musical points. Great for discussion topic.
This makes me laugh aloud with delight every time I see it. Genius. Thank you, Ivan Fischer.
I love this version. He's right about the emphasis on the word to, it's very odd. I know he went high after saying people go out of tune that high, but I think he meant that the jump in melody from low to high is what causes the difficulties.
Hey I like that. He is right. It's not TO you it should be to YOU. I love this guy
So you can “give something to the people”
I love it. It puts the accent more on you. Everything is leading to you the most important factor in the song
Great message here with voice-leading and phrasing. Love the focus on "line" :)
today is HIS BIRTHDAY! Happy Birthday, Iván!
the way he writes on the paper in the beginning makes me feel comfortable. it seems like a really good pen to paper softness
That's so ADD thing to consider !! 😂❤
Love it! So funny and persuasive - we really should change the tradition!
Excellent! I love this musical and more sing-able version! Well done, Professor!
It's a great variation. I love it! :-D
Ça fait tellement longtemps que je eecherche cette vidéo ! Merci
I watch this every year on my birthday
If you remember only one thing, it should be start basically at the bottom end of your range for this song. Most people pitch this in the middle of their range, then either "change keys" accidentally or botch the high note on a terrible vowel. I love the idea, though.
I dunno why people are complaining about him trying to mess with the Happy Birthday song. You really think one guy with one video is gonna change how billions of people sing a song every year? Let the man have his fun.
Why not be the change, you expect from world?
Don't be surprised. The mayority of people usually hate a true musical genius of their era. It's only later, that future generations tend to appreciate these innovative kind of things.
He's got great idea and composition skills.
And it becomes a traditional song forever😇✌
You really spoke my mind! I love your version!
What does a pirate say on his 80th birthday?
"Aye matey."
Tony Music good joke
beatifull!.. thank you for it song
he is a legend! a game changer!
Spread the word! End the tyranny of birthday screeching!
I don’t know that that’s any easier to sing. But I really enjoyed this video 😇
Skip to the song - 2:09
Marvelous
But that works just fine, isn't it? :D
Zum Geburtstag ↑ viel ↓ Glück! x2
Zum ↑ Geburtstag alles ↓ Gute!
... Zum Geburtstag viel Glück!
For the folks saying it's "higher than the original", you can just change the key to make the top line higher or lower. The original goes to a G5 whereas his version goes to an F5 (which is not higher).
To those saying he wrote it "out of his range", how do you explain him literally singing the original (which is higher than his version)?
He just sings the Bs, Cs and Fs quietly: that's not the same as being unable to sing it...
I'm here in 2020✌🤟👋
Too true!!! I have always detested that song. He has made it so much more pleasant. Wow!
I hear a lot of Debussy in the new version.
It doesn't sound like Debussy at all
I love debussy. Sometimes all I can think about it Debussy. The pianist fits so well with Debussy. When Debussy is young, that is when you want Debussy.
Serennekin No. Stop. Family Guy did that, not you.
It is such a hard tune to sing, and it should not be. We all try to sing it several times a year. This version is much easier and sounds much better and easier for the masses to sing!!
This is brilliant. And I think it’s even more brilliant thst he’s asserting that because of the bad writing that it is always sung out of tune and this more streamlined approach is more natural..... sings it like shit 😂
When he cringed at the jump “TO you” 😂😂😂😂
Yes!❤
He has a point. The original version is a bit too percussive and his is more melodic and mellow. Ok, It´s well taken.
Starting off with a major sixth is not easy for most people! (And if he played it on F major, he wouldn't have to strain his voice in a falsetto like he was doing on C major.) But I certainly like the lydian mode better in the original, which occurs right on the subdominant chord, the place where the melody descends after having reached the top note. But he was right, this top note in the original melody IS too high for most people. But his new high note is only just a whole tone below the original high note, so that still doesn't solve the problem-it's still too high. And remember that this new high note he's proposing is sung where we usually say the birthday celebrant's name, and so imagine how the song will be potentially "murdered" by non-singers!
If the octave leap is difficult then simply change the first note of the interval, like this (Key of C major): GGAGCB GGAGDC *EE*GECBA FFECDC. Just change the key To F or Eb and everyone will be able to sing it . There, fixed, that's not so hard to do.
Also, the melody of Happy birthday is actually "Good morning to all", a song from 1893, and in countries like Portugal it even has longer lyrics so, perhaps you could change it’s lyrics.
I love how he said one part is always out of tune and is struggling to sing his own arrangement haha. His explanation is accurate overall though.
The end notes are still high?
Me, an intellectual:
FOR HE'S A JOLLY GOOD FELLOW, FOR HE'S A JOLLY GOOD FELLOW, FOR HE'S A JOLLY GOOD FE-E-ELLOOOOOOW, AND SO SAY ALL OF US!
Ivan Fischer needs to do a TED talk.
But... YOU is on the beat!!!
And so is BIRTH...!
neither version is good enough. i encourage people to use their own melodies. that way it would create an additional surprise moment.
I have tried a "screamo" version on random occasions... it did not go well.
*Criticizes the third section for being too high*
*WRITES SOMETHING EVEN HIGHER*
...but it's not. He eliminates the octave leap, approaches the upper register in step-wise motion, and still keeps the entire song within a one-octave range. The old way would have moved up to a G in this key. His version keeps it at an F.
@@will123134 he has not stated that he will be able to sing it better but it will be generally singable. Ivan is not a singer, but a composer and a conductor.
Actually he manages to keep it a tone lower, but I agree that it is still quite high in the register. Perhaps in eliminating the octave leap it makes it easier to achieve the higher notes as the ascent will naturally bring a crescendo and smaller Intervals are easier to sing for the common of mortals who are not professional singers :)
Mariah Carey is just laughing! Hold my beer.
In french we don't have that problem, we don't say «To»
He could also keep the same melody on the first 4 bars and change the notes on ''TO", put G instead of C.
How about singing in F major? Which is singable.
"My version is much better because it's in a better range and anyone can sing it," he said, moments before proving it was completely out of his range.
So much harder to sing!
He was actually proving that the older version had a hard-to-sing range, when he said that. So his new version does have a better (easier to sing) range. Please, stop taking drugs and pay attention, idiot
I'd like to note: he's not a singer, he's a conductor.
Ikr
hahahahha nice point
Can someone share the sheet ?
The original is much more musically appropriate for a birthday.
he switched to falsetto in his version. An octave is difficult for the vast majority of folks.
Yes! I totally agree with him. Great idea let’s change it!
This person somehow reminds me of Mr. Bean😂
2:41
I agree with his point, although the original melody is culturally and historically unbeatable. “To” is done, lol.
Btw, strictly speaking, should the third “you” be just one note due to single syllable?
KwangHoon Han in the original happy birthday you say the name so he’s able to stay true to that by adding the extra note
That high G is (1) the logical culmination of the G (Happy) and C (you), and (2) it's FUN to do an octave leap. It's not an audition. It's an excuse to leap and octave. True the accents on the "to" is bad in a textbook, but I don't think it's bothered all that many people. Indeed, the two "to you's" match nicely as DO-TI, RE-DO, and that is transformed into the part with the name (TI-LA), MOREOVER -- the Ti-La continues to a La-flat-Sol as harmony under the "Happy Birth" at Fa-Mi, which leads to the last RE-DO. And, the last gesture goes Fa-Mi-Re-Do (Happy Birth[day] to you). The lesson is: the song works, and so there must be SOMETHING that makes it good, IN SPITE of the apparent (but not real) weakness. For me, it's: step one --- decide if you like the song (which I do), and then, step two -- keep digging until you find what might be responsible, keeping in mind that textbook techniques often make competent music, but this is beyond competent.
Today is gonna be a-okay
'Cause we're celebrating your birthday
Happy birthday ...
Celebrating your birhtday
Sorry, already improved
No bruh but I feel you though
in spanish it's like this.
❤❤😂
I don't think so. The original used the major scale... it works for a happy song like "happy birthday". Throw in chromatic or modal stuff and it kills the spirit of it. Also, in no way is this easier to sing than the original. An internationally renowned composer should've come up with something a bit more effective.
And he’s even wrong about the accent! The piece begins with a pick-up and the word “you” comes on the downbeat meaning it gets the accent.
His points on the original are:
1) it's poor word-setting - although he exaggerates, accentuating the 'to' as no-one ever would normally, Fischer has a point, and his version amends this convincingly.
2) Happy Birthday is much harder to sing than most people realise - his melody is definitely easier to sing, but as it's less familiar to everyone, the original has quite a head-start.
His composition: whilst gently tweaking the pitch curve, he deviates surprisingly little; the last phrase is identical, and principal harmony throughout is the same. Subtly done. It's still in a major key and built on the major scale, with two delicate lower auxiliaries in the first line. We're not talking chromaticism like Bizet's Habanera, or Entry of the Gladiators.
Yes, the jumps can be playful, so something of the character is lost, but he's willing to sacrifice this because in reality they're so often screwed up, like most amateurs trying a trick shot in snooker.
A wider point: chromatic music needn't be out of spirit; a chromatic note can be playful or cheeky, like the Blackadder theme tune, or the F# in The Simpsons. Possibly it's a bit cheesy/corny, like 'Oh I do like to be beside the seaside', but I think the opening of Fischer's melody is still in the right spirit, which largely comes from having the same rhythm throughout. The two chromatic notes almost make up for the lack of large leaps.
The mawkishness is the chromatic harmony, notably the secondary dominant in the third line, followed by the 7-6 over F. Unless this were part of a theme-and-variations cycle, I think simpler harmony is preferable and keeps the spirit of the song purer - particularly good for children..
I'm not so fond of the C/B clash in the harmony on the final '-day' either - almost a wrong note. If it's going to be gently enhanced, I prefer a barbershop F# in the harmony here, resolving downwards to F in the next chord under 'you'. Fischer presented his version on BBC Radio 4 today (clearly still a hobby-horse), and put an A-flat in the harmony under the final 'happy', which is also too dark and sentimental, IMHO.
He uses nothing modal.
Do I prefer it? No. Did it make me think? Yes.
Happy Birthday isn't a happy song. Have you heard it lately? Just because it's got the word happy in the lyrics or it's in a major key doesn't make up for the awful tune and how slow it is.
His melody is a very good melody, but he is incorrect about the emphasis being on “to” and not “you”. Yes it is a leap, but it’s also on a weak beat. The strength of beat 1 with the word “you” outweighs the strength of the jump on the word “to”. Starting on “la la so fi (raised 4 which is an accidental) so ti” is much harder for non musicians than starting “so so la so do ti ”. Octaves are fine because they’re octaves. And it falls to a nice cadence that is anticipatory, not sad. So, no. I do like his version, but he’s pointing out problems that don’t exist and everyone loves it because it picks at tradition.
Hahahahahahahahahahaha. I like it
anyone can give the chords and notes for ppl who cant read notes?
I like it but it ends the traditional way, "happy birthday TO youuuuuu"
This is actually quite simple to fix: just change the note D in the penultimate bar to B. By doing so, it also allows for an upward resolution to C in the final bar, creating a more natural melodic tendency as B is the leading tone to C.
انا جاي من طرف الدحيح في التويتر و مش فاهم حاجة 🇮🇶
I find it awkward that he's playing it on a piano, especially since there are no instruments on Happy Birthday, only the piercing cries of young children.
Sorry but this guy has ruined the original melody and is talking nonsense. He asks questions like "why does it go up?" at 1:01; simple - because you're repeating the same line three times so the second one builds and the third one naturally wants to be the more dramatic and excitable one. And he's completely wrong about the word "to" being accented, it's no different in his version; the word "you" is still the emphasis in both versions as it's the downbeat of the next bar. Changing the note doesn't necessarily change the emphasis. It's funny as well that he thinks his is more singable yet can't sing either version as his version also goes to high for him 🤣😂.
Nope....I'm in disagreement with this. The original has simple 4th and 5th intervals that 95% of the world can easily sing. The octave may be a bit of a stretch for some, but it brings energy to the song. The original sounds much happier than Fischers....after all we are celebrating and singing a birthday song!
hi guys
How do you say Debbie Downer magyarul?
How do you say Archie Bunker in German?
ironic that he sings it out of tune xD
I dont mind the guy having fun, but dang
he literally just sort of flipped the melody
where as the first one resolved from a higher interval moving downard, his resolves from a lower interval moving upward
ok for one thing, anyone that can not sing an octave range is going to have a tough time singing practically anything. every student ive tested has a voice range of at least two octaves, and these are absolute beginners, so i dont really understand what hes saying, unless he is simply commenting on the fact that he apparently cant sing either version
secondly, the word you falls on the downbeat of both variations, where the emphasis would normally be anyway. and who puts the accent only on the word TO? isnt it normally song TO YOU? with both words accented
wider intervals are likely to provide greater tension, so ascending to an octave will sound farther from the root than ascending to the sixth. how far do you want to feel the melody travel? an octave or a sixth?
imo they said this guy is a conductor, and it sounds like his experience with happy birthday comes from some bad conducting experiences or something is my guess
My name is ivan tamez
I always thought the whole point of this terrible song was to EMBARASS the birthday person. He's actually teaching about how to set a text properly.
Chopin
🤭🤭🤭
Sa shopee ang dami bumili sa shopee in shopeee many
That version's a bit sad at the end. Prefer the original as it's jauntier, with it's quirky up-down moves, and the the high notes at the times when the word 'to' is sung are fun to reach for, causing much jollity when many get it wrong when sung in a group.
Some people just want to see the world burn.
his re-write's high part is higher than the original he was just criticizing for being too high....
But there are notes in the cord that are lower as well versus the very dominant high note in the original. Honestly I prefer this version over the original because of that one note.
Nope - his melody notes are lower, but his right hand piano is higher.
If you read the sheet music that he wrote, you can see. He's just not a singer.
The old one goes up a whole octave the new one almost hits it but not quite
This demonstration would have been better if he had sang an octave lower. He sounds like he’s struggling to sing it, which isn’t exactly going to spark confidence in people who already can’t sing well.
Is this guy for real? Just because you leap up a fourth on "-day to" doesn't mean "to" gets special emphasis. It's the syllable "you" that gets the emphasis he demands, by arriving on the first beat of the next measure.
Fischer ridicules this by singing "tooo-you, tooo-you," but that is not actually how the song goes. The way he sings it it's "to" that comes on the first beat, the opposite of what happens in the song. No wonder he feels called upon to improve what he ruined in the first place.
Parallel example: Hark the Herald Angels Sing. Begins right away with a fourth leap on "hark the." Does that mean "the" gets special emphasis? Of course not. It's the next note, "he-" of herald that gets the full emphasis because it's on the first beat of the next measure.
I'm confused as he doesnt sing the same melody as his piano, he sounds out of tune with his own piano
But he can't sing it ?
Tisztellt Fiser úr én nagyon önt de miért nem tudják a koncertjüket egy kiicsit feltúrbozni mint például Andeu Rieu ne hogy fére értsen imádom önöket allig várom a következő koncertet Amszterdamban tudom hogy más müfaj de szerintem sokkal jobb lenne de lehet tévedek ezen felül akkor is csodálatos minten tisztelet az önöké
He's right about the original but somehow makes it worse 🤣
Is this why I've always hated this song so much? Because it's objectively shit? I like this revised version better.
Don't fix what isn't broken.
This video clearly blew right over your head. Keep trying and maybe you'll do something half as creative as this.
It kind of is though... His version isn't that good either also... :P
no.
yes
For me the original is better. If this professor does not like the original, he could make his own version without messing with the traditional one.
millions of people are singing the original version every minute... so maybe it's not that difficult to sing?
They are attempting to sing it, but usually (far more often than not) it's mangled. Not just the octave leap; many people don't realise that the second two bars aren't exactly the same as the first: the 'to you' is a step higher on the scale; with a group singing it, all kinds of unpleasant clashes are created. I don't object to the original as much as Ivan, but I do share his pain.
Too bad he can't sing
wat
Thats what makes it more social that its a playful song.
Now you just made singing happy birthday more awkward. I wouldnt sing that song to another guy since its more harmonious and therefore more romantic.
The awkward tune makes it less romantic, and therefore more playful.
Eh, sounds bland. Original one's far better. So what not everyone can *sing* it? What we hear in our minds is already autotuned anyway as long as we know what it sounds like.