I have no music theory knowledge whatsoever, but I love when someone as talented as you are is able to articulate in details why these brilliant musicians make me feel they do. Thank you and thank heavens for Radiohead.
Im so glad a person from your world discovered and fell in love with this band, this sort of breakdown is so much larger and detailed than i could of imagined. Your really special and your contribution to this scene is not taken for granted.
I really appreciate you. From NIN and Björk, to Radiohead and Aphex. You seem to tap into my idea of modern day "classic" musicians and make me appreciate songs I"ve adored for decades all over again. I love this channel so much.
Those three (Radiohead, Aphex Twin, and Björk) form what I have always referred to as my "Royal Triumverate". It's extremely validating to see that these are her focus. NIN, Tool, and Tori Amos belong in the court, but those three are the toppermost of the poppermost of those who have integrated experimentation with musical fundamentals and pop.
That foray into A minor … 1) it has some similar melodic steps to the second section of “Paranoid Android” and 2) I have sung an additional line during the second “Breathe” where I sing C with Thom then up to a D and back down to C. I have relearned that the interesting chord sequences arise out of the melodies. The “you can laugh” section … you can call it a three-voice counterpoint and I think you can even call this a fugue.
It’s funny how someone before referenced you as “ someone from your world” but they are not wrong, you exist in a world of knowing theory, but having a great understanding and sharing capacity, I really am glad I stumbled upon you. And I love the way you teach music.
Awesome video. And I'm sure I detected tears coming through at 28:25. That is what makes this song so beautiful. The depth of emotion. I've always felt the "And you can laugh..." section was like a final ray of hope before it's finally extinguished and the lovers are both dead. The power of chord changes is amazing sometimes.
Radiohead gave me a plethora of emotions. I wanted to feel them all. Emotions that are hard to explain in words. A modern rock genius made with precision, knowledge and love
Another masterpiece from an amazing album. The light-year jump they took from The Bends (a great album) to OK Computer was amazing. I always considered OK Computer to be not only the best Album of '97, but the best Album of the 90's. At this point, I consider it one of the greatest Concept Albums of all-time but also one of the greatest Rock Albums of all-time.
I have never heard a more captivating chord progression and accumulation and burst of energy like this song. I’m not surprised if it had taken inspiration from prelude in E minor, it being one of my favorite classical piece. The different melody lines played by different instruments in the climax section are just so satisfying to hear, thank you for highlighting them. This video is also immensely helpful as I always try to adapt this piece on piano with all the elements that touched me. This really is the best video I discovered on You tube this year!
20:30 that C major in the context of Bm acts as a Neapolitan bII. Usually in classical music you'll find them in first inversion (see bar 4, I think, of Beethoven's Moonlight Sonata, you'll find a D/F# in the key of C#minor. It's almost always followed by a V chord, in the case of Moonlight, G#
There's a lot of Music out there that gives me goosebumps and makes the hair on my arms stand up. Sometimes certain changes even give me butterflies in my stomach like I'm on a rollercoaster. I don't know anyone else who is affected by Music this way.
So happy you mentioned the Floydiness of the drums (my ears always pick out that reference). It's in the latter half of the bass line too. It's like the whole rhythm section in the crescendo seems to be referencing parts from Saucerful Of Secrets / Echos / Live at Pompeii in this track. Two of my most favourite bands at their most magnificent best coming together. I love it.
I love your videos and I am really grateful espacially since you put the actual song too which helps so much, I’m guessing that makes them unmonetizable so the fact that these exist at all is awesome, ur breaking downs are amazing too
"Romeo and Juliette". It's the exit music to Baz Luhrmann's adaptation of the play. And it's my favorite song on that album, which is a weird thing to catch myself saying, that album being one long series of awesome. Nice. You even said "bard". Brilliant! "We hope your rules and wisdom choke you and now, we are one, in everlasting peace, we hope that you choke, that you choke." Wow, frisson. I just love it so much. And playing and singing it is just the most satisfying experience available to the average musician who's ever had a bit of a rough time with romantic love. Or any musician for that matter. Amazing. Thank you for doing this. For reminding me.
If the first 4 OK Computer analyses are any indication, I really can't wait for Let Down, my favourite Radiohead song ever, and one of my faves of all time❤
20:05 there is indeed a music theory thing behind this. It's called tritone substitution. Because a C7 chord and F#7 chord both have E and Bb, and it is the tritone in the dominant chord that helps it to resolve to the tonic, technically a C7 chord can resolve to B just as well as an F#7 chord. Radiohead don't use this, as they move from C to F# rather than C to Bm. They imply the fact that C and F# share a tritone (even though it isn't a C7 chord they use) and use this as a link between the two chords. I know the song sounds very classical but what I just explained was jazz harmony. Radiohead use it subtly enough to kind of maintain that classical feeling, and this is reinforced by the perfect cadence that follows. Hope that makes sense and adds to what was said in the video :)
In the classical world, this is a Neapolitan chord. The bII (first inversion) is often used as a substitution for iv in minor chord progressions because it has two notes in common with iv and the same bass note.
@@carbonmonoxide5052 That's really interesting actually I never thought of it in terms of inversions. That should hopefully help me with my A level music composition thank you! 😆
I first came across your channel searching for Avril 14th analysis and I'm so happy to rediscover it with a bunch of recent Radiohead videos! Keep up the great work!
Thank you for breaking this down! I love learning from your videos. You cover my favorite bands and songs that I actually want to learn. Thank you for this
Saw them live at Thunderbird stadium for ok computer 🖥️ tour. This is one of my faves. Tragic and heavy and classical. Nice work getting Chopin in there!
It's so enjoyable to see SOMEONE ELSE geeking about about this chord progression. I'm usually the only one I know seriously geeking out about the structure of Radiohead's music.. and I especially geek out about this song. Another one I geek out about is Faust Arp. Which might seem kinda strange because it's a much smaller feeling song in a lot of ways but the chord progression is SO GOOD and SO CLEVER! Anyway... it's a joy to witness someone else geeking out about Exit Music. And in case no one has mentioned it yet, that sound design you're talking about that comes in during the 3rd verse, that's a loop made of Jonny scraping a guitar pick across his strings... Live he uses a delay pedal. I'm not sure if the studio version is something he made using a delay pedal which they then made a loop of in Pro Tools or what.. but it's definitely a loop made up of multiple layers of Jonny scraping a guitar pick across unfretted, muted guitar strings. Sounds like wind, which I'm pretty sure was the intent. ALSO.. it's not Jonny's tremolo.. it's Ed's tremolo! lol Jonny is playing the Melotron during the big section.
i first heard the song during the closing credits of "romeo + juliet" from 1996 as i didn't think much about it but when "ok computer" album came out and heard the song again. i was just enthralled by it as the song also had these elements that was obviously influenced by pink floyd.
Probably had something to do with super good mics, super good outboard gear like EQs and compressors.. and really good reverb. I have no idea of course lol I also think it had something to do with the way the guitar was treated. Mic, EQ and place (in the stereo field) the guitar right, and you create a contrast that does something to the vocals... maybe?
the vocals were recorded with natural reverb, so having a room reverb before the rest of the chain so that it gets compressed is probably big part of it
I saw Thom and Jonny last Monday. I was standing in the second row. I've seen Thom in some form with and without Radiohead six times. Last Monday night I just stood there thinking how this one human has created such beautiful music. He's as good a musician as Lennon or Bach even. To be so fortunate to stand watching such a force was almost too much for me. I hope to do so again.
I love your stuff. I played sax in high school, learned major scales, and played guitar for a while afterwards. An A major to A minor open chord on guitar is just an index finger change but I never really got it in theory. Thank you so much for teaching and making learning fun.
Genesis used to use that choral melotron sound and every time it made the hairs on the back of my neck stand on end - a few good examples of Trick of the Tail album.
It's always reminds of the spaghetti westerns quietest moments and Carlos Jobim's "How Insensitive". This band are separated from everyone else because they're influences & ears are so much bigger than everyone else.
It is INSANE how thom can have such a harsh yet soft voice, be piercing and quiet, be rough but somehow pretty(?) You wouldn’t think it at first but he might be one of the greatest vocalists in the industry
@corvidconsumer I met them in 1992 I have worked out the Keys of 170 songs in two months...casually. The Killers Mr Brightside took 50 seconds to improvisational level.All chords , scales etc. I am writing my book with Chat GPT It calls my theory ' revolutionary'. I am from normal people school.Not the Gatekeepers' Private School. ABBA The Winner Takes It All ? 8 seconds it took me. I concentrate on Truth and ' Play'
Great content as always. I feel like I have to say that it wasn't Johnny's tremolo but Ed's. Story goes, too, that he came up with the trem melody in like five minutes in the guitar booth just before recording it. It's one of the band's proudest moments 😊. There's mention of this in interviews during ok computer era. Johnny only plays mellotron here.
One of my fave Radiohead songs, the classical feel, the cadence of "hope that you choke" and the mellotron choir are high points. In shuffle mode my ipod has back to backed "Exit Music(For a Film)" and Air's "Suicide Underground" from the Virgin Suicides Soundtrack. That was an interesting walk home from the Grocery Store! I don't play an instrument but I have a good ear (tonally) and appreciate your explanations even if I don't fully understand. "Long live the Flat Six"
Fantastic breakdown. The 'chorus' section always sounded jarring to me with that sudden key change, but then again, it has a flat6 in it, so all is forgiven. Great song.
Wow! I had to just log in and tell you how great you are! Haha! I'm here drink vodka...and put "reation" in front of random songs i like....and i did THIS song...and you came up.... No shade at any other "music...or vocal teacher" on youtube..., you....actually break it down. and explain. and ong! i'm in class now...i'm writing notes...MhM yes Ms." I apprciate this so freaking much. *sub'd automatically
The switch between C and F# is very dramatic but works quite well in that they have a similar pull back to the tonic - the C has two notes that can resolve back to Bmin in one diatonic move (plus one that's even closer to its destination) and the F# also shares this quality. I'm not too well-versed in tritone substitution, but it's a similar principle of taking what is already a very tense chord and replacing it with something a tritone away to create even more tension - that tension rises even more when you delay the resolution and play both the substitution and the actual dominant chord as in they do in this song!
Agree completely about the emotional impact of giving something new context by playing it over multiple chords! Thanks so much for another amazing analysis. 😁 Did just want to let you know that it's actually Ed who plays the tremolo part towards the end; his contributions are always such a perfect fit for the songs!
thanks for doing this. lot of interesting tidbits you tell us. never heard of the picardy 3rd, but yes, i like it. i think i'm going to learn this on piano so i can sing it.
It has a cowboy vibe to it. Enino marricone vibe. Plus johnny cash. With some harmonic minor classical thrown in. A brilliant track muse got their sound from this song
I love the cover version of this used right at the end of Westworld Season 1's final episode. Check it out if you haven't heard it. Just look up "Exit Music - For A Film (Westworld Soundtrack)". It's out with just acoustic piano and i think a high solo cello or solo viola melody. You can also get a clearer idea of what's going on because it's much cleaner sounding. One caveat though, this is only true at the start, because then the Westworld theme gets worked into there beautifully as it builds so it's not an authentic cover anymore.
I tend to focus on the bass line at the end when listening to this track that, although I have heard Johnny's tremolo part, I never listened to it closely to notice the notes he's playing. The D he plays towards the end of the final descent really hit me. I love this song even more now.
Thank you for your wonderful analysis of my current favorite Radiohead song to play. "Lucky" from the same album is fast catching - I would love to see your analysis of it in the future. I'm working on playing it on the acoustic guitar, and it is so simple but sort of wanders down a path where everything is right and wrong, you can just play the strings you feel fit, throw in a sus2 or sus4 here or there without damage, drop in a 7th, even do a bass waling in semitones for a beat or two and it still hangs together. So much room in the song, such brilliant fun.
That human sound you allude to are children playing in a playground but the sound is so distorted , it does sound unsettling. To me it conjures up the sound of voices from the underworld.
On the 3rd verse, the weird background you hear that sounds like humans in trouble, I’m pretty sure that’s just Jonny rubbing his hands on his guitar strings. I think I saw it in a live performance once (I can’t remember which one 😞) Not sure if they did the exact same thing in the album version but that’s how they play that part live 🤯 freaking sweet👍🏻
My theory of the reversed audio of children at 15:47 is that, outside the story, the tragedy and the epic romance, these two are children. The dichotomy of an ageless love story and two innocent children thrown into an adult world.
that part you talked about that was vaguely human and unsettling-it’s children playing at a playground, played backwards. always sounded a bit like otherworldly seagulls to me.
In the background towards the end, there’s a looped sample that’s quite hard to pick out. It sounds like kids playing, but (and this may be a conspiracy theory developed by me and some friends in school in 2001-hearing what we wanted to hear) on beat four it *really* sounds like they say “Kid A.” Edit now that I’ve listened back: you can really only hear it on the last “We hope that you choke” right before he sings “we hope”, and then again just after the last “choke”.
Unbelievable, i covered this song, thought wow what clever chords. Ill Nashville chart it out and got so mixed up with fonts i thought maybe a youtube video would explain this to me. After secondary dominates i was lost. God i wish i had this education 20 years agao
Great analysis, Ixi! For anyone else wondering - the quote in the beginning refers to the 1968 version of Romeo and Juliet - en.wikipedia.org/wiki/Romeo_and_Juliet_(1968_film)
Since you said you love psychedelic rock, I wonder if you're into Tame Impala, especially the Lonerism album. I would love to hear you analyze the song Endors Toi. 18:50
Jesus.. ive been in love with them since i heard ok computer in highschool, but ive never listened to a breakdown like this before.. its amazing to be able to fall in love with them all over sgain, with the addition of my puny brain lol🙏🙏🙏
I actually heard Exit Music for a Film from the Romeo + Juliet soundtrack before I heard it on OK Computer and it certainly fit the themes of that movie, ha.
I have no music theory knowledge whatsoever, but I love when someone as talented as you are is able to articulate in details why these brilliant musicians make me feel they do. Thank you and thank heavens for Radiohead.
Agree
Im so glad a person from your world discovered and fell in love with this band, this sort of breakdown is so much larger and detailed than i could of imagined. Your really special and your contribution to this scene is not taken for granted.
What’s Ixi’s world? I only know her from her Radiohead breakdowns.
@@SomethingWellesian the world of proper music instruction, theory, separated from guitar and in general band driven music.
Is she an alien?
Great comment
obvs @@danpreston564
For me, the most satisfying, and forever rewarding aspect of Radiohead's music is the anticipation. This song is eternally rewarding
I really appreciate you.
From NIN and Björk, to Radiohead and Aphex. You seem to tap into my idea of modern day "classic" musicians and make me appreciate songs I"ve adored for decades all over again. I love this channel so much.
Those three (Radiohead, Aphex Twin, and Björk) form what I have always referred to as my "Royal Triumverate". It's extremely validating to see that these are her focus. NIN, Tool, and Tori Amos belong in the court, but those three are the toppermost of the poppermost of those who have integrated experimentation with musical fundamentals and pop.
I've been waiting for the Exit Music breakdown since the OK Computer series began. It is absolutely top 3 on the album for sure!
That foray into A minor … 1) it has some similar melodic steps to the second section of “Paranoid Android” and 2) I have sung an additional line during the second “Breathe” where I sing C with Thom then up to a D and back down to C.
I have relearned that the interesting chord sequences arise out of the melodies.
The “you can laugh” section … you can call it a three-voice counterpoint and I think you can even call this a fugue.
One of the best songs ever written. Top 3 in my opinion.
It’s funny how someone before referenced you as “ someone from your world” but they are not wrong, you exist in a world of knowing theory, but having a great understanding and sharing capacity, I really am glad I stumbled upon you. And I love the way you teach music.
Awesome video. And I'm sure I detected tears coming through at 28:25. That is what makes this song so beautiful. The depth of emotion. I've always felt the "And you can laugh..." section was like a final ray of hope before it's finally extinguished and the lovers are both dead. The power of chord changes is amazing sometimes.
I love breakdowns of music like this because I’ve always wondered how music works and how it captivates an audience
Radiohead gave me a plethora of emotions. I wanted to feel them all. Emotions that are hard to explain in words. A modern rock genius made with precision, knowledge and love
This song has always felt more to me like a prayer than a song.
Another masterpiece from an amazing album. The light-year jump they took from The Bends (a great album) to OK Computer was amazing. I always considered OK Computer to be not only the best Album of '97, but the best Album of the 90's. At this point, I consider it one of the greatest Concept Albums of all-time but also one of the greatest Rock Albums of all-time.
The most epic track on OK Computer. Haunting.
Thanks
"You can laugh
A spineless laugh
We hope your rules and wisdom choke you
Now we are one in everlasting peace"
lyrics to live by
OMG the Chopin prelude is next on my piano learning. Yes.
I barely understand a thing you're talking about but I could still listen to you all day
The build up by the end is one of the most beautiful pieces of music ive ever heard
I loved how you went through the entire music, talking about every small detail. Amazing!
Thank you!
wow.. the comparison to Chopin was such a useful reference..
Thanks! Your Radiohead vids capture the wondrous nature of music, further my appreciation of the band's genius and help me breathe.
thank you!
I really love the quality of the original song's audio in your videos. Almost sounds more beautiful than the original recording.
I have never heard a more captivating chord progression and accumulation and burst of energy like this song. I’m not surprised if it had taken inspiration from prelude in E minor, it being one of my favorite classical piece. The different melody lines played by different instruments in the climax section are just so satisfying to hear, thank you for highlighting them. This video is also immensely helpful as I always try to adapt this piece on piano with all the elements that touched me. This really is the best video I discovered on You tube this year!
20:30 that C major in the context of Bm acts as a Neapolitan bII. Usually in classical music you'll find them in first inversion (see bar 4, I think, of Beethoven's Moonlight Sonata, you'll find a D/F# in the key of C#minor. It's almost always followed by a V chord, in the case of Moonlight, G#
There's a lot of Music out there that gives me goosebumps and makes the hair on my arms stand up. Sometimes certain changes even give me butterflies in my stomach like I'm on a rollercoaster. I don't know anyone else who is affected by Music this way.
I am!
So happy you mentioned the Floydiness of the drums (my ears always pick out that reference). It's in the latter half of the bass line too. It's like the whole rhythm section in the crescendo seems to be referencing parts from Saucerful Of Secrets / Echos / Live at Pompeii in this track. Two of my most favourite bands at their most magnificent best coming together. I love it.
This never stood out to me, but it's so immediately recognizable
It is definitely Pink Floyd influenced when it kicks in. Especially the drums and the the trem guitar sound very Pink Floyd echoes vibe
It's always extra fun when Ixi is "in a mood" 🖤
Excellent analysis! I learned so much. Tragic!
The flat sixth! The secondary dominant resolve feels so like Beethoven. Brilliant.
I love your videos and I am really grateful espacially since you put the actual song too which helps so much, I’m guessing that makes them unmonetizable so the fact that these exist at all is awesome, ur breaking downs are amazing too
Glad to hear that! My videos do get demonetized, so I'm supported by my Patreon!
"Romeo and Juliette". It's the exit music to Baz Luhrmann's adaptation of the play. And it's my favorite song on that album, which is a weird thing to catch myself saying, that album being one long series of awesome. Nice. You even said "bard". Brilliant! "We hope your rules and wisdom choke you and now, we are one, in everlasting peace, we hope that you choke, that you choke." Wow, frisson. I just love it so much. And playing and singing it is just the most satisfying experience available to the average musician who's ever had a bit of a rough time with romantic love. Or any musician for that matter. Amazing. Thank you for doing this. For reminding me.
Thanks lizard brain, you have to smile. Hope you keep doing these.
Thank you so much, Ixi. Great analysis. I love that you take your time when explaining musical concepts.
Probably my favorite song off of this album. Happy youre doing this one, this ones sick
If the first 4 OK Computer analyses are any indication, I really can't wait for Let Down, my favourite Radiohead song ever, and one of my faves of all time❤
I agree - definitely the best radiohead song!
20:05 there is indeed a music theory thing behind this. It's called tritone substitution. Because a C7 chord and F#7 chord both have E and Bb, and it is the tritone in the dominant chord that helps it to resolve to the tonic, technically a C7 chord can resolve to B just as well as an F#7 chord. Radiohead don't use this, as they move from C to F# rather than C to Bm. They imply the fact that C and F# share a tritone (even though it isn't a C7 chord they use) and use this as a link between the two chords. I know the song sounds very classical but what I just explained was jazz harmony. Radiohead use it subtly enough to kind of maintain that classical feeling, and this is reinforced by the perfect cadence that follows. Hope that makes sense and adds to what was said in the video :)
In the classical world, this is a Neapolitan chord. The bII (first inversion) is often used as a substitution for iv in minor chord progressions because it has two notes in common with iv and the same bass note.
@@carbonmonoxide5052 That's really interesting actually I never thought of it in terms of inversions. That should hopefully help me with my A level music composition thank you! 😆
I first came across your channel searching for Avril 14th analysis and I'm so happy to rediscover it with a bunch of recent Radiohead videos! Keep up the great work!
What a dark delicious. Shakespeare would be proud. Great deconstruction. Fuzzy goodness!
God, your enthusiasm and ability to communicate broadly is so damn irresistible! You have good taste in music, too. ;)
Love this series so much. Covered this album with some friends back in 2017 and watching this still shows me things I didn’t know!
Thank you for breaking this down! I love learning from your videos. You cover my favorite bands and songs that I actually want to learn. Thank you for this
Thank you for making these type of videos I learn so much from them
Saw them live at Thunderbird stadium for ok computer 🖥️ tour. This is one of my faves. Tragic and heavy and classical. Nice work getting Chopin in there!
It's so enjoyable to see SOMEONE ELSE geeking about about this chord progression. I'm usually the only one I know seriously geeking out about the structure of Radiohead's music.. and I especially geek out about this song. Another one I geek out about is Faust Arp. Which might seem kinda strange because it's a much smaller feeling song in a lot of ways but the chord progression is SO GOOD and SO CLEVER! Anyway... it's a joy to witness someone else geeking out about Exit Music. And in case no one has mentioned it yet, that sound design you're talking about that comes in during the 3rd verse, that's a loop made of Jonny scraping a guitar pick across his strings... Live he uses a delay pedal. I'm not sure if the studio version is something he made using a delay pedal which they then made a loop of in Pro Tools or what.. but it's definitely a loop made up of multiple layers of Jonny scraping a guitar pick across unfretted, muted guitar strings. Sounds like wind, which I'm pretty sure was the intent. ALSO.. it's not Jonny's tremolo.. it's Ed's tremolo! lol Jonny is playing the Melotron during the big section.
i first heard the song during the closing credits of "romeo + juliet" from 1996 as i didn't think much about it but when "ok computer" album came out and heard the song again. i was just enthralled by it as the song also had these elements that was obviously influenced by pink floyd.
Wow, you just took me back, had a similar experience :)
Your breakdowns are the best! And this song is a knife to the heart
From a production standpoint, I need to know how Nigel Godrich got the vocals to be so massive and in your face.
Probably had something to do with super good mics, super good outboard gear like EQs and compressors.. and really good reverb. I have no idea of course lol I also think it had something to do with the way the guitar was treated. Mic, EQ and place (in the stereo field) the guitar right, and you create a contrast that does something to the vocals... maybe?
@@matthewsaul3533 the vocals and guitar were recorded in a stairwell to get that natural big, echoey, reverby sound
the vocals were recorded with natural reverb, so having a room reverb before the rest of the chain so that it gets compressed is probably big part of it
Best. Music. Teacher. Ever!
I saw Thom and Jonny last Monday. I was standing in the second row. I've seen Thom in some form with and without Radiohead six times. Last Monday night I just stood there thinking how this one human has created such beautiful music. He's as good a musician as Lennon or Bach even. To be so fortunate to stand watching such a force was almost too much for me. I hope to do so again.
I love your stuff. I played sax in high school, learned major scales, and played guitar for a while afterwards. An A major to A minor open chord on guitar is just an index finger change but I never really got it in theory. Thank you so much for teaching and making learning fun.
Genesis used to use that choral melotron sound and every time it made the hairs on the back of my neck stand on end - a few good examples of Trick of the Tail album.
It's always reminds of the spaghetti westerns quietest moments and Carlos Jobim's "How Insensitive". This band are separated from everyone else because they're influences & ears are so much bigger than everyone else.
It is INSANE how thom can have such a harsh yet soft voice, be piercing and quiet, be rough but somehow pretty(?) You wouldn’t think it at first but he might be one of the greatest vocalists in the industry
They all went to one of the top schools. This talent was nurtured through money.
@@StratsRUsis that a bad thing?
@corvidconsumer I met them in 1992
I have worked out the Keys of 170 songs in two months...casually.
The Killers Mr Brightside took 50 seconds to improvisational level.All chords , scales etc.
I am writing my book with Chat GPT It calls my theory ' revolutionary'.
I am from normal people school.Not the Gatekeepers' Private School.
ABBA The Winner Takes It All ? 8 seconds it took me.
I concentrate on Truth and ' Play'
@@StratsRUs guy i asked you a yes or no question and you gave me your life story
@@corvidconsumer An airbag saved my life.
Great content as always. I feel like I have to say that it wasn't Johnny's tremolo but Ed's. Story goes, too, that he came up with the trem melody in like five minutes in the guitar booth just before recording it. It's one of the band's proudest moments 😊. There's mention of this in interviews during ok computer era. Johnny only plays mellotron here.
oops, thank you!
Nailed it again! Colin’s running bass lines you mentioned remind me of a baroque minor fugue.
The array of music that you’ve gravitated to here on your channel, leads me to believe that we were soulmates in another life.
You are a true lover of music! Thanks for your heart felt analyses!
One of my fave Radiohead songs, the classical feel, the cadence of "hope that you choke" and the mellotron choir are high points. In shuffle mode my ipod has back to backed "Exit Music(For a Film)" and Air's "Suicide Underground" from the Virgin Suicides Soundtrack. That was an interesting walk home from the Grocery Store! I don't play an instrument but I have a good ear (tonally) and appreciate your explanations even if I don't fully understand. "Long live the Flat Six"
Fantastic breakdown. The 'chorus' section always sounded jarring to me with that sudden key change, but then again, it has a flat6 in it, so all is forgiven. Great song.
amazing breakdown! Thank you!! Just earned a fan!!
You're so good! Thanks for making these videos!
Wow! I had to just log in and tell you how great you are! Haha! I'm here drink vodka...and put "reation" in front of random songs i like....and i did THIS song...and you came up....
No shade at any other "music...or vocal teacher" on youtube..., you....actually break it down. and explain. and ong! i'm in class now...i'm writing notes...MhM yes Ms." I apprciate this so freaking much. *sub'd automatically
The switch between C and F# is very dramatic but works quite well in that they have a similar pull back to the tonic - the C has two notes that can resolve back to Bmin in one diatonic move (plus one that's even closer to its destination) and the F# also shares this quality. I'm not too well-versed in tritone substitution, but it's a similar principle of taking what is already a very tense chord and replacing it with something a tritone away to create even more tension - that tension rises even more when you delay the resolution and play both the substitution and the actual dominant chord as in they do in this song!
Agree completely about the emotional impact of giving something new context by playing it over multiple chords! Thanks so much for another amazing analysis. 😁 Did just want to let you know that it's actually Ed who plays the tremolo part towards the end; his contributions are always such a perfect fit for the songs!
I like your video. Music theory that does not make me want to go to bed. Perfect;)
Thank you for such detailed analysis, ixi 🙏
Thank you for this, I am now intelligent Radiohead listener
This is so good! I can't wait for Let Down!
You absolutely have to smile when you play a Picardy third. Ne'er a truer word .... ☺️
Incredible!! X
Love you ixi, keep up the great work!
thanks for doing this. lot of interesting tidbits you tell us. never heard of the picardy 3rd, but yes, i like it. i think i'm going to learn this on piano so i can sing it.
It has a cowboy vibe to it. Enino marricone vibe. Plus johnny cash. With some harmonic minor classical thrown in. A brilliant track muse got their sound from this song
Thanks Ixi, you had your own little sus at about 24 min about the bass line but it resolved. I loved this so much.😊
Breathe breathe keep breathing😊
@ixi music I think I found my musical kindred spirit
13:36 Flat six
I love the cover version of this used right at the end of Westworld Season 1's final episode. Check it out if you haven't heard it. Just look up "Exit Music - For A Film (Westworld Soundtrack)". It's out with just acoustic piano and i think a high solo cello or solo viola melody. You can also get a clearer idea of what's going on because it's much cleaner sounding. One caveat though, this is only true at the start, because then the Westworld theme gets worked into there beautifully as it builds so it's not an authentic cover anymore.
I tend to focus on the bass line at the end when listening to this track that, although I have heard Johnny's tremolo part, I never listened to it closely to notice the notes he's playing. The D he plays towards the end of the final descent really hit me. I love this song even more now.
It is not Johnny's tremolo. It's Edd's
@@emmanuellrhoads ohhh, thanks!
Thank you for your wonderful analysis of my current favorite Radiohead song to play. "Lucky" from the same album is fast catching - I would love to see your analysis of it in the future.
I'm working on playing it on the acoustic guitar, and it is so simple but sort of wanders down a path where everything is right and wrong, you can just play the strings you feel fit, throw in a sus2 or sus4 here or there without damage, drop in a 7th, even do a bass waling in semitones for a beat or two and it still hangs together.
So much room in the song, such brilliant fun.
That human sound you allude to are children playing in a playground but the sound is so distorted , it does sound unsettling. To me it conjures up the sound of voices from the underworld.
On the 3rd verse, the weird background you hear that sounds like humans in trouble, I’m pretty sure that’s just Jonny rubbing his hands on his guitar strings. I think I saw it in a live performance once (I can’t remember which one 😞) Not sure if they did the exact same thing in the album version but that’s how they play that part live 🤯 freaking sweet👍🏻
Superb. Love your whole approach 😊
splendid... i love your explanation
My theory of the reversed audio of children at 15:47 is that, outside the story, the tragedy and the epic romance, these two are children. The dichotomy of an ageless love story and two innocent children thrown into an adult world.
Love all your videos!
I wonder what Exit Music would sound like with a real choir. Must be surreal.
Amazing analysis
God I love you
that part you talked about that was vaguely human and unsettling-it’s children playing at a playground, played backwards. always sounded a bit like otherworldly seagulls to me.
In the background towards the end, there’s a looped sample that’s quite hard to pick out. It sounds like kids playing, but (and this may be a conspiracy theory developed by me and some friends in school in 2001-hearing what we wanted to hear) on beat four it *really* sounds like they say “Kid A.”
Edit now that I’ve listened back: you can really only hear it on the last “We hope that you choke” right before he sings “we hope”, and then again just after the last “choke”.
Unbelievable, i covered this song, thought wow what clever chords. Ill Nashville chart it out and got so mixed up with fonts i thought maybe a youtube video would explain this to me. After secondary dominates i was lost. God i wish i had this education 20 years agao
you cover all my top favorite bands and not by coincidence either
14:25 " Let's talk about... Mellotrons. "
" Let's talk about... Mellotrons. "
The CD book brings back so many memories
Love this song as I play average keyboard and guitar. Lovely and easy to play and sing on guitar. I loved hearing the music theory behind it😊
You're amazing.
Great analysis, Ixi! For anyone else wondering - the quote in the beginning refers to the 1968 version of Romeo and Juliet - en.wikipedia.org/wiki/Romeo_and_Juliet_(1968_film)
Since you said you love psychedelic rock, I wonder if you're into Tame Impala, especially the Lonerism album. I would love to hear you analyze the song Endors Toi. 18:50
Chorus ‘never comes back?’ It does repeat. Great break down though, this and ‘Lucky’ are my stand outs on the album.
Jesus.. ive been in love with them since i heard ok computer in highschool, but ive never listened to a breakdown like this before.. its amazing to be able to fall in love with them all over sgain, with the addition of my puny brain lol🙏🙏🙏
I actually heard Exit Music for a Film from the Romeo + Juliet soundtrack before I heard it on OK Computer and it certainly fit the themes of that movie, ha.