“You’ll be absolutely free, only if you want to be” Every now and again, some brilliant mind like Zappa comes along and just does whatever they want, and then for decades other brilliant people have to try to figure out just what the hell happened there.
This is what blows me away about Zappa. He didn't go to one of the top music conservatories in the country, or any school at all. He taught himself in a library and then went to work. I know of no other musician/composer in the modern era of music that did what he did - taught himself then went out on his own and became one of the most prolific and influential musicians of our time.
@@itconqueredtheworldsmith4053 where he took a music composition course if memory serves. But he didn't go to a music conservatory. He was self-taught.
@@itconqueredtheworldsmith4053 sounds like you've got a lot of shame yourself, and project it onto well meaning strangers on the internet in order to feel better about yourself
I've maintained for a number of years now that Zappa was a bridge between rock, jazz, and classical. Seeing this, and seeing the clip of Zappa with Pierre Boulez, only reaffirms what I already knew
For years, I would have said he was a bridge between rock and classical only until I really started to listen more to his instrumental music. Really, quite jazzy too.
One thing that hits me about this: Those parallel chords he speaks of are very easy and idiomatic to play on the guitar. As is the seven-part harmony he mentions - six notes on six guitar strings, plus one in the bass. In other words, we're seeing one way that FZ's formal classical music reflects his experience and vocabulary as a rock musician.
@@horowizard it's a possible approach. I read somewhere that Frank did have an oddly tuned guitar with intervals of 10, 11, 3, 8 or something like that. Not sure he used weird tunings live though.
Ok. For me, it’s more about the fact that it’s the most beautiful, emotional (i know that’s not what you’re supposed to say about him or his art but I think it’s obvious), enlightened experience one could have while awake. Outrage at Valdez 😮❤❤❤❤❤😢🎉🎉🎉🎉 /zappa freak called Andreas Kleerup. Wicked video!!!
Frank was a real artist, he kept his intrigue in music alive and always pursued his ear and vision. So great to understand what he was up to, still sounds good!!
@Get Zappéd 1974 Parallel 4ths are the kind of chords you hear ALL over big band swingin' jazz like Count Basie and Buddy Rich. They sound big, thick and chunky and take up a lot of sonic space without sounding overly dissonant. What is a 4th? its the distance between C and F, or E and A, or Doh and Fa if you're a "The Sound of Music" fan and prefer Solfeggio (Doh re mi fa so la ti doh) In a Major scale (or Doh re me fa so la ti doh), the 4th degree is the "fa", the "do" the 1st. if you sing "Do" and your wife sings "Fa" at the same time you have a stacked 4th. If your son sings the "ti" then you have some parallel 4ths (a "ti" is 4 above a "fa"). what happens if your daughter sings "re"? Then we're starting to get some chunky parallel 4ths. 'Doh - Fa - Ti - Re' being harmonized and sung in that order from low to high by a voice quartet is an example of parallel 4ths. I'm guessing Zappa was listening to some wild Jungle Big Band Jazz, thought "man those chords sound phat why are them chords so chunky and thick?" he then studied some big band harmony, took this idea and ran away with it. Started experimenting like a crazed lunatic. This song is packed with parallel fourths: th-cam.com/video/fvos4cWr9RM/w-d-xo.html You can clearly hear the influence on Zappa's work.
@@smelltheglove2038 Think of Brian May, Tom Morello or the dude from Muse. They use harmonizer pedals, whammy pedals and octave pedals, stuff that auto stacks notes on top of other notes. Imagine you program your Whammy-Pedal to have an interval of a 5th, a power chord, so when you play an individual note, the whammy pedal automatically plays a power-chord harmony. We're gonna fret the 2 on the E string. Now get ANOTHER whammy pedal, and program for that to harmonize a 5th, over the top of the first whammy-pedal. This is a Sus-2 chord, but auto-harmonized by whammy pedals playing individual note. You can play it on your guitar going; D-6- A-4- E-2- but we're just playing an F# on the 2nd fret of the low E string and the whammy pedals are auto doing the harmonies for us automatically Now get a third whammy pedal, and program that to harmonize another 5th on top of the second whammy pedal We could play this manually like in the tab below, but the whammy pedals are doing the hard work for us, cos we're just fretting the 2 fret on the E string. G-8- D-6- A-4- E-2- These are parallel 5ths. Keep going to infinity if you enjoy. Parallel 4ths are an interesting point to jump from because they sound phkucing phat and you hear them alot in big band harmony. That's the guts of all this stuff. It's just harmony. The numbering stuff, like where you see 1 11 3 5 8 is referring to the semitone distance between the harmonic intervals stacked above the previous note. I'm gonna write the famous piano chopsticks using a tab notation that writes only the baseline but the harmonic interval (in semitones) as a number next to it. So C12 means play a C with an octave above, F2 means, play F + a note which is 2 semitones higher (ie G). Play in 6/8 or waltz time- F2-F2-F2-F2-F2-F2-|E3-E3-E3-E3-E3-E3-|D9-D9-D9-D9-D7-D9-|C12-C12-C12-C12-D9-E5|Repeat If you can follow along with that, you'll see the written note is the bassline of chopsticks and the neighbouring number is where to harmonize, written in a semitone interval next to it. It may not be the most elegant tab notation to follow but you could write a symphony with that notation if you and your performers have the patience to use it. If I write C#1 11 3 5 8, that means play a chord that has a C#, with 1 semitone above that note = C#+D, then 11 semitones above the last note = C#+D+C#, then 3 semitones above the last note = C#+D+C#+E, then 5 semitones above the last note = C#+D+C#+E+A etc. Why would someone torture themself with this type of notation? I think Berg and Schoenberg the serialists were the first to use it, but I'm not 100% on that. It's just interesting to use non-conventional ideas. They peak my interest and sound more interesting than overused cookie-cutter diatonic I-vi-IV-V (ie the blink 182 progression) type of contemporary pop harmony that is the vast majority of white-bread contemporary pop songs. I find that pop music sounds cooler with jazzy flavours like neo-funk or Quincy Jones or Stevie Wonder with 9 chords and #9 style Hendrix Chords, that stuff going on. This shit is just running away with this idea of chord extensions but getting real deep into it.
This is so impressive, the presentation clear and concise. I'm a Zappa wannabe trying to learn how to play his music and this has simplified what seemed like the most incomprehensible into a relatively simple repeating pattern rooted in different places over time to create ebb and flow. Simply astonishing.
I remember seeing at least one documentary that seemed to imply that Zappa's boyhood fascination with Varèse was somehow a result of his childhood mercury exposure, as though someone would need to have something wrong with their brain to listen to that kind of music. And yet here's Zappa plainly showing us that he found Varèse interesting for creative reasons, and telling us specifically what some of those creative reasons were.
I have been watching a lot of TH-cam videos lately. I'll get an interest in a subject, then the algorithm suggests more and then I get bored of it. I'm finding lately that subjects of a more academic nature, like this, leave me feeling happier after I watch it for some reason. Frank's music has always spoke to me in a special way. It's such a treasure to find another fan that has the knowledge to decipher the master's code. It's my dream to make a TH-cam channel where I post my own experimental music, maybe this will motivate me a little. The present day composer refuses to die !
With that voice, those strange sounding chords and the talk of 'repeating structures' and the like, this video had the feeling of a 70s space documentary, so I guess, who you jiving with that cosmic debris, Mr H? Excellent video, 10/10
Great insight! I should mention that a lot of the parallel harmony maneuvers were because a) you could retune the oscillators on the Minimoog (etc.) to create parallel harmonies (probably what was done on Pound for a Brown) and b) he would have people play along with a tape at different speeds so that, when sped back up, your could get those harmonizations (probably what he did on Roxy and Elsewhere)
There was also a keyboard (the EML Polybox) that Tommy Mars used (like on Alien Orifice '81) that would do parallel harmonies for voltage controlled synthesizers.
Yeah, it’s probably Eddie Jobsons part in Pound for a brown!? But still you hear the French school of avantgarde music in this approach (Varese, Messiaen, Boulez). Fascinating analysis! 👏👏👏🙏
Zappa learned music through reading other people's scores. When you are training to be a conductor, score reading and analysation is emphasized and taught.
Gotta love how his musical brilliance was accompanied by a penchant for coming up with hilariously eccentric titles, such as "The Rejected Mexican Pope Leaves The Stage"!
@@JamminClemmons I believe Watermelon In Easter Hay refers to the Easter baskets given to kids containing candies hidden in the "hay"(from my recollection some kind of shredded plastic sheeting or mylar), one type of which was a hard candy wrapped in cellophane printed to look like watermelon, which was watermelon flavored.
That's awesome about Watermelon and is plausible. I like also that Zappa didn't take himself TOO seriously. But if what if he did take a more serious approach? How many more people would know his name and music today? Or maybe less?
Years ago I read some guy’s doctoral thesis on Varez where he analyzed his music as relying on vertical symmetry. Some time later I discovered Witold Lutoslawski and found that he used a similar technique for pitch derivation in his music. Although Lutoslawski’s music was quasi-tonal you (or at least I) could hear the mathematical resolution in it.
Thanks for this video. It explains why, in his more orchestrated pieces, I often had trouble determining a specific key. Usually, one can determine a key by finding the fourth to the tonic since it is usually avoided when playing the I chord. Zappa seemed to have set harmony in order to avoid having to avoid notes like the 4th against the tonic. Playing along, I could always play the entire scale, or two scales an interval apart. Thanks for explaining how he did it!👍
A very personal way of composing, and a good method, which is important to have when you want to think of composing seriously. There's similarities to Hindemith here and serialism, in the sense that you can order a series of notes vertically to make a particular chord and use it as a basis for your piece.
A superb video. Thanks a lot. I always loved and admired Frank’s complex harmonic material, although the rock and humorous excursions never did much for me. Each to their own.
Fascinating. Personally I think it sounds like Shostakovich / elbows on the keyboard so not my choice to listen to but utterly fascinating just like its composer.
I know this is about chords, but the 'scale' E-F-A-C-D-G-B is quite beautiful and opens up a whole new world. Just scramble any scale & play those notes in upward sequence across as many octaves as necessary to keep going up. You can even build chords on that re-arranged scale. There will be some clunkers, but so is the major scales' diminished triad.
I admire Frank Zappa's faithfulness to his own vision of things. He seemed unerringly true to himself and learned voraciously from those around him, be it blues, jazz, serialism or whatever. Plus he makes me laugh and have some truly fascinating interviews on artistic-cultural life in general. As a largely self taught composer and musician the genius is palpable.
I was thinking the same thing! There are DEFINITELY some strong harmonic similarities. Some of these chords and harmonies also make me think of Alberto Ginastera's roiling, turbulent Piano Concerto (1961), with its jarring splashes of dissonance.
i remember the first time i heard a zappa album. it was overnight sensation. between the really strange cover and the strange arrangements, i felt this sort of mechanical feeling. amazing FZ didnt do drugs because that album seemed like some kind of lsd experience to me. But that sound and those alien arrangements made an impression. i followed FZ afterwards and i even got to see him live 1 time. for a while there, it seemed like he had a new album out every month, no way to keep up being a broke kid. this video explains some of that "feel" that a great part of FZ's music has in it and why nobody sounds like FZ. this was an interesting watch, and actually has given me a few insights on HOW to explore the scales in my own compositional endeavors to keep making something new and interesting
Thanks for this video! What I learned from it is the following: that (1) Zappa liked to maintain a similar harmonic density throughout a phrase, and to do so, took an easy shortcut: massive parallelism between instruments (or voices); (2) He preferred to never double a voice at its octaves; (3) He liked to build a chord from an entire diatonic scale sounding simultaneously but at different densities depending on its voicing. Does the above list miss anything important? Also, would it be fair to say that his chord choices were tactical and textural, rather than strategic and gestural?
I find it interesting that Boulez had reservations about Frank's serious music. I guess this was due to him being essentially self taught. Excellent video mate. How have I only just become aware of your chanel?
Boulez was a heavy-weight poser, well-trained of course, but his music is intellectual, forcing us to wonder what effect music 'has' to have on us, in one way. I find this intellectualism dry and unlistenable, unless it's there just to be analysed. Then by whom? Others of his ilk, slapping each other on the back, or stabbing each other in the back. Thankfully PB's attitude mattered not to Zappa. Boulez and his serial systematics was a cul-de-sac in musical history. Only worth the paper it was written on.
@@spikymuck3280 12-tone serial music is, indeed, a cul-de-sac. I hate it. The justification given for it was that the traditional tonal system was "arbitrary," so why not just impose another arbitrary structure? As for the "arbitrariness" of tonal music, try playing some Bach for songbirds. They will start singing their hearts out. Put on some Schoenberg and they'll fly away in terror.
@@acbulgin2 The general reaction of birds to Bach is extraordinary. You should try it sometime. I used to own budgies. They also loved big-band jazz, Tammy Wynette, and Locatelli (and Baroque string music in general), but not hard rock or dissonant jazz.
@@acbulgin2 No need to be so snide. My scholarship concerns mostly modern poetry, Italian and French, and a bit of medieval as well. I've also translated a fair amount of same, along with prose fiction. And I write and publish poetry as well. My interest in music comes from playing the guitar (but only as an amateur), and from a lifetime of listening. I can attest that I have witnessed birds' reaction to Bach first-hand. In a calm enough setting, they will also come out of the trees and draw near when I play the guitar outside (not electric, naturally).
In an alternate universe Allan Holdsworth Joined Frank Zappa's band in the mid to late 1970s and a black hole formed and the whole world imploded onto itself
I'm just wondering about the stacked fifths. If a mayor scale is a half circle on the circle of fifths, why not just call CEBF#GDA a selection out of G mayor? The magic lies in the 7maj. Very interesting video. Please write a book.
Was any of this actually released in print form, other than the finished compositions themselves, or did you just figure it out? Did he intend to release this as a book or theoretical paper at any point, or did he intend it to stay a secret?
such complicated analysis to show random paralellisms . THe conclusion is: you can use any maneirism you want regarding paralelism in modern music. I guess it is not hard to understand
Emotionally bewildering... Some stirring moments lost in a thicket of randomness. I do think it is possible to generate art through a formulaic process. But i feel that zappa had p̶o̶o̶r̶ uneven* taste in what things SOUNDED like... This is the musical equivalent of a randomly-generated wallpaper that hurts to look at. If anyone can suggest a piece of music by Zappa you found genuinely beautiful or moving, I would be curious to listen. *Edit
@@ClintLock1 Yeah Frank was all over the place . A rare pretty one. I would call some of his instrumentals like Zoot Allurs or Peaches En Regalia worthy of that personally, but a lot of his material was very mathematical sounding and got less and less accessible. I am sometimes even down with hearing him do a modal jam on guitar for ten minutes, and other guitarists not so much.
At 4:55 shouldn't the 5th beat of bar 4 be an E# and not an F in order to maintain the intervalic spacing of a Perfect Fourth between the two voices and the uniform Melodic jumps of a Major Seventh in both lines?
@@ABrooksGraphics you were just given an example of why one might spell a certain way. Also, while this gets off focus a bit, an F in a sharp key, F# is literally a misnomer, or B lydian where E# is its a xact fourth. Leaving alone intonation on instruments not stuck on 12 tET.
There was such a non-conformist streak in Frank that, once you caught his sense of humor and spite toward norms, his flourishes of bizarrely structured runs and progressions (if they can even be so termed) almost make sense. Apart from any knowledge of Frank as a person, just listening with zero awareness of who wrote the piece, many of his works can only be described as chaos intentionally injected by someone who didn't really know what to do. Before you critique my saying it that way consider the phrase ''know what to do'', which itself implies an expectation of some unspoken norm. Did he know how to do it? Certainly. Did he know what to do or even what he was doing? Many times, musically speaking, no. Yet, he always knew what he was doing intellectually and that can be VERY confusing if you just can't wrap your head around music as a social instrument. He was a purveyor of intellectual double entendre, even his song titles induce in one a kind of second guessing as to how they should be interpreted which it is understood is NOT to be simply or plainly read or spoken. In this respect, and as each individual to ever live should be approached with awe, he always kept us guessing and curious and never spoon fed us the trained expected so that he could reap the financial benefits of the trained response. Never forget that Frank grew up around charlatans working dog and pony shows and he hated that shit with a passion.
Brilliant...and a total drag to listen to. Play this for seedling plants and they would either die or turn into "Day Of The Triffids". And I am a musician, I listen to Bartok and Stravinsky and Jongen, et. al. and I'm telling you...this stuff is a drag to listen to.
“You’ll be absolutely free, only if you want to be”
Every now and again, some brilliant mind like Zappa comes along and just does whatever they want, and then for decades other brilliant people have to try to figure out just what the hell happened there.
yes!
This is what blows me away about Zappa. He didn't go to one of the top music conservatories in the country, or any school at all. He taught himself in a library and then went to work. I know of no other musician/composer in the modern era of music that did what he did - taught himself then went out on his own and became one of the most prolific and influential musicians of our time.
There are others like one of FZ's favorite guitarists, Allan Holdsworth.
I read somewhere that David Axelrod, who was friends with Zappa, did the same too...They surely made fun about it.
@@itconqueredtheworldsmith4053 where he took a music composition course if memory serves. But he didn't go to a music conservatory. He was self-taught.
@@itconqueredtheworldsmith4053 have you been tested for rabies?
@@itconqueredtheworldsmith4053 sounds like you've got a lot of shame yourself, and project it onto well meaning strangers on the internet in order to feel better about yourself
I've maintained for a number of years now that Zappa was a bridge between rock, jazz, and classical. Seeing this, and seeing the clip of Zappa with Pierre Boulez, only reaffirms what I already knew
Very well put!
Very third wave
For years, I would have said he was a bridge between rock and classical only until I really started to listen more to his instrumental music. Really, quite jazzy too.
Musical genius. One of my favorite eccentric musicians of all-time.
Yes, he was peaking with the 3 Studio Tan albums. Every note was written out. Genius.
@SpitfireRoad Frank Zappas studio tan album is a masterpiece so is sleep dirt
Frank Zappas the greatest
One thing that hits me about this: Those parallel chords he speaks of are very easy and idiomatic to play on the guitar. As is the seven-part harmony he mentions - six notes on six guitar strings, plus one in the bass. In other words, we're seeing one way that FZ's formal classical music reflects his experience and vocabulary as a rock musician.
Are some of those 7 note chords even physically possible on Guitar and Bass?
@@horowizard Depends upon what they are. Many of them might be.
@@horowizard when the intervallic structure is equal, you can tune the guitar to play the chords.
@@BertBeentjes Are you saying a non-standard tuning is the approach?
@@horowizard it's a possible approach. I read somewhere that Frank did have an oddly tuned guitar with intervals of 10, 11, 3, 8 or something like that. Not sure he used weird tunings live though.
Man Beato needs to have you on
This technique and the instrumentation of his band or ensemble is what makes Zappa stand out
Ok. For me, it’s more about the fact that it’s the most beautiful, emotional (i know that’s not what you’re supposed to say about him or his art but I think it’s obvious), enlightened experience one could have while awake.
Outrage at Valdez 😮❤❤❤❤❤😢🎉🎉🎉🎉
/zappa freak called Andreas Kleerup.
Wicked video!!!
Your analysis of Zappa is some of the deepest I've seen. There's a lot to admire here.
Frank was a real artist, he kept his intrigue in music alive and always pursued his ear and vision. So great to understand what he was up to, still sounds good!!
I have no idea how anything about music theory works but even still - as a Zappa fan - this was an utterly fascinating watch!
Trust me. Knowing the theory doesn’t help
@@ranchsmith4892yes it does! 😂
@Get Zappéd 1974 Parallel 4ths are the kind of chords you hear ALL over big band swingin' jazz like Count Basie and Buddy Rich. They sound big, thick and chunky and take up a lot of sonic space without sounding overly dissonant.
What is a 4th? its the distance between C and F, or E and A, or Doh and Fa if you're a "The Sound of Music" fan and prefer Solfeggio (Doh re mi fa so la ti doh)
In a Major scale (or Doh re me fa so la ti doh), the 4th degree is the "fa", the "do" the 1st. if you sing "Do" and your wife sings "Fa" at the same time you have a stacked 4th.
If your son sings the "ti" then you have some parallel 4ths (a "ti" is 4 above a "fa"). what happens if your daughter sings "re"? Then we're starting to get some chunky parallel 4ths. 'Doh - Fa - Ti - Re' being harmonized and sung in that order from low to high by a voice quartet is an example of parallel 4ths.
I'm guessing Zappa was listening to some wild Jungle Big Band Jazz, thought "man those chords sound phat why are them chords so chunky and thick?" he then studied some big band harmony, took this idea and ran away with it. Started experimenting like a crazed lunatic.
This song is packed with parallel fourths: th-cam.com/video/fvos4cWr9RM/w-d-xo.html
You can clearly hear the influence on Zappa's work.
I’ve been playing guitar for two decades and understand basic theory, this was way over my head.
@@smelltheglove2038 Think of Brian May, Tom Morello or the dude from Muse. They use harmonizer pedals, whammy pedals and octave pedals, stuff that auto stacks notes on top of other notes.
Imagine you program your Whammy-Pedal to have an interval of a 5th, a power chord, so when you play an individual note, the whammy pedal automatically plays a power-chord harmony.
We're gonna fret the 2 on the E string.
Now get ANOTHER whammy pedal, and program for that to harmonize a 5th, over the top of the first whammy-pedal. This is a Sus-2 chord, but auto-harmonized by whammy pedals playing individual note. You can play it on your guitar going;
D-6-
A-4-
E-2-
but we're just playing an F# on the 2nd fret of the low E string and the whammy pedals are auto doing the harmonies for us automatically
Now get a third whammy pedal, and program that to harmonize another 5th on top of the second whammy pedal
We could play this manually like in the tab below, but the whammy pedals are doing the hard work for us, cos we're just fretting the 2 fret on the E string.
G-8-
D-6-
A-4-
E-2-
These are parallel 5ths. Keep going to infinity if you enjoy.
Parallel 4ths are an interesting point to jump from because they sound phkucing phat and you hear them alot in big band harmony.
That's the guts of all this stuff. It's just harmony.
The numbering stuff, like where you see 1 11 3 5 8 is referring to the semitone distance between the harmonic intervals stacked above the previous note.
I'm gonna write the famous piano chopsticks using a tab notation that writes only the baseline but the harmonic interval (in semitones) as a number next to it. So C12 means play a C with an octave above, F2 means, play F + a note which is 2 semitones higher (ie G).
Play in 6/8 or waltz time-
F2-F2-F2-F2-F2-F2-|E3-E3-E3-E3-E3-E3-|D9-D9-D9-D9-D7-D9-|C12-C12-C12-C12-D9-E5|Repeat
If you can follow along with that, you'll see the written note is the bassline of chopsticks and the neighbouring number is where to harmonize, written in a semitone interval next to it.
It may not be the most elegant tab notation to follow but you could write a symphony with that notation if you and your performers have the patience to use it.
If I write
C#1 11 3 5 8, that means play a chord that has a C#, with 1 semitone above that note = C#+D, then 11 semitones above the last note = C#+D+C#, then 3 semitones above the last note = C#+D+C#+E, then 5 semitones above the last note = C#+D+C#+E+A etc.
Why would someone torture themself with this type of notation? I think Berg and Schoenberg the serialists were the first to use it, but I'm not 100% on that. It's just interesting to use non-conventional ideas. They peak my interest and sound more interesting than overused cookie-cutter diatonic I-vi-IV-V (ie the blink 182 progression) type of contemporary pop harmony that is the vast majority of white-bread contemporary pop songs. I find that pop music sounds cooler with jazzy flavours like neo-funk or Quincy Jones or Stevie Wonder with 9 chords and #9 style Hendrix Chords, that stuff going on.
This shit is just running away with this idea of chord extensions but getting real deep into it.
This is so impressive, the presentation clear and concise. I'm a Zappa wannabe trying to learn how to play his music and this has simplified what seemed like the most incomprehensible into a relatively simple repeating pattern rooted in different places over time to create ebb and flow. Simply astonishing.
I highly recommend getting a copy of that Brett Clement Zappa journal article
@@SineEyed proving you know nothing about music or are a troll. GFY
@@MFKR696 @SineEyed 2020's sock puppet says what?
@@MFKR696 @SineEyed 2020's sock puppet says what?
@@MFKR696 you're not TRYING to be someone else... you just ARE someone else, sock puppet. Now run along, child, you have no business here.
I remember seeing at least one documentary that seemed to imply that Zappa's boyhood fascination with Varèse was somehow a result of his childhood mercury exposure, as though someone would need to have something wrong with their brain to listen to that kind of music. And yet here's Zappa plainly showing us that he found Varèse interesting for creative reasons, and telling us specifically what some of those creative reasons were.
That's funny to me because I remember losing my interest in avant garde music around the time I had my fillings removed.
I have been watching a lot of TH-cam videos lately. I'll get an interest in a subject, then the algorithm suggests more and then I get bored of it. I'm finding lately that subjects of a more academic nature, like this, leave me feeling happier after I watch it for some reason. Frank's music has always spoke to me in a special way. It's such a treasure to find another fan that has the knowledge to decipher the master's code. It's my dream to make a TH-cam channel where I post my own experimental music, maybe this will motivate me a little. The present day composer refuses to die !
Go for it.😅
Can’t hurt to try.
With that voice, those strange sounding chords and the talk of 'repeating structures' and the like, this video had the feeling of a 70s space documentary, so I guess, who you jiving with that cosmic debris, Mr H?
Excellent video, 10/10
Great insight! I should mention that a lot of the parallel harmony maneuvers were because a) you could retune the oscillators on the Minimoog (etc.) to create parallel harmonies (probably what was done on Pound for a Brown) and b) he would have people play along with a tape at different speeds so that, when sped back up, your could get those harmonizations (probably what he did on Roxy and Elsewhere)
There was also a keyboard (the EML Polybox) that Tommy Mars used (like on Alien Orifice '81) that would do parallel harmonies for voltage controlled synthesizers.
Yeah, it’s probably Eddie Jobsons part in Pound for a brown!? But still you hear the French school of avantgarde music in this approach (Varese, Messiaen, Boulez). Fascinating analysis! 👏👏👏🙏
This is actually helpful to know.
Zappa learned music through reading other people's scores. When you are training to be a conductor, score reading and analysation is emphasized and taught.
The Little House I Used To Live In is a great example of this.
Yeah I NEED a LOT more Theory before this makes the same sense to me it did to Frank. Bless him and thank you Frank
even if you know theory does not make too much sense
Gotta love how his musical brilliance was accompanied by a penchant for coming up with hilariously eccentric titles, such as "The Rejected Mexican Pope Leaves The Stage"!
- HAR!
Or, "Watermelon in Easter Hay." Do you have any idea how heavy that Easter basket would wiegh? That Easter Bunny retired................
@@JamminClemmons I believe Watermelon In Easter Hay refers to the Easter baskets given to kids containing candies hidden in the "hay"(from my recollection some kind of shredded plastic sheeting or mylar), one type of which was a hard candy wrapped in cellophane printed to look like watermelon, which was watermelon flavored.
That's awesome about Watermelon and is plausible. I like also that Zappa didn't take himself TOO seriously. But if what if he did take a more serious approach? How many more people would know his name and music today? Or maybe less?
Bob in Dacron
The first thing that's made my brain work properly in over a week. Thank you🙏🏻😁
Thank you so much for your uploads. If you had a book published, I'd buy it. Excellent work and analysis
Many thanks!
Many thx for giving us these fascinating insights into Zappa’s compositional techniques🙏
I now understand his music better
Thanks for your description. Always intetesting... 👍
Years ago I read some guy’s doctoral thesis on Varez where he analyzed his music as relying on vertical symmetry. Some time later I discovered Witold Lutoslawski and found that he used a similar technique for pitch derivation in his music. Although Lutoslawski’s music was quasi-tonal you (or at least I) could hear the mathematical resolution in it.
Great video dude, big Zappa fan and as a musician who is still learning theory it helps to have it spelled out neatly like this
This channel has got detailed value.
This is pure gold! I am now a subscriber. Thank you!
You're welcome, and thank you for watching.
This is astounding.
This is one step removed from flinging paint at a canvas/manuscript paper and I also love Apostrophe.
It's very informative and useful, a real treasure. Thanks!!!
Thanks for this video. It explains why, in his more orchestrated pieces, I often had trouble determining a specific key. Usually, one can determine a key by finding the fourth to the tonic since it is usually avoided when playing the I chord.
Zappa seemed to have set harmony in order to avoid having to avoid notes like the 4th against the tonic. Playing along, I could always play the entire scale, or two scales an interval apart.
Thanks for explaining how he did it!👍
thank you so much, great stuff
Another excellent video, thanks
Reminds me of the different scales developed by Messiaen. Similar chord sounds, too.
A very personal way of composing, and a good method, which is important to have when you want to think of composing seriously. There's similarities to Hindemith here and serialism, in the sense that you can order a series of notes vertically to make a particular chord and use it as a basis for your piece.
Great Google-Moogly Again Mr Zappa. Thank You!
A superb video. Thanks a lot.
I always loved and admired Frank’s complex harmonic material, although the rock and humorous excursions never did much for me.
Each to their own.
Amazing stuff!
Zappa, in one interview said his favourite vegetable was tobacco . . .
So I guess my favorite vegetable is cannabis.
this was fantastic to watch.
Brillant, love your videos
I wish i understood music like this.
Thank you for your work! 🎉
An early GF's Mom went to elementary school w/Frank, said, "He questioned everything." Here's to growing your mind.
thank you for posting this
This theory is a bit over my head, but I sure recognize Zappa!
Great insight. You know your stuff. Great video.
Instant sub, this is brilliant, thank you!
Well made video, thank you!
I think Tommy Mars would be a great interviewee for you Chanan. This is fascinating.
Fascinating. Personally I think it sounds like Shostakovich / elbows on the keyboard so not my choice to listen to but utterly fascinating just like its composer.
Revelatory. Thanks!
I know this is about chords, but the 'scale' E-F-A-C-D-G-B is quite beautiful and opens up a whole new world. Just scramble any scale & play those notes in upward sequence across as many octaves as necessary to keep going up. You can even build chords on that re-arranged scale. There will be some clunkers, but so is the major scales' diminished triad.
So a minor or c major? Just scrambled?
@@Ottophil Yes, because the intervals between notes are different than C major, the flavor will be different.
Good analysis , well done . Great work !
Many thanks!
The original Unison Midi Chord pack.
(Only producers will understand)
Frank Zappa is the greatest
very good indeed, I really enjoyed this!
Many thanks Malcolm.
I admire Frank Zappa's faithfulness to his own vision of things. He seemed unerringly true to himself and learned voraciously from those around him, be it blues, jazz, serialism or whatever.
Plus he makes me laugh and have some truly fascinating interviews on artistic-cultural life in general.
As a largely self taught composer and musician the genius is palpable.
Free Zappa music classes....merci beaucoup
Where do you get the sheet for these great examples?
I'm beginning to understand why Zappa thought Holdsworth was interesting.
I was thinking the same thing! There are DEFINITELY some strong harmonic similarities. Some of these chords and harmonies also make me think of Alberto Ginastera's roiling, turbulent Piano Concerto (1961), with its jarring splashes of dissonance.
I feel like I’ve heard one of those voicing in night school
It's that C major spread out with the F#. You hear it very early in Night School, laid out almost the exact same way you hear in this video.
i remember the first time i heard a zappa album. it was overnight sensation. between the really strange cover and the strange arrangements, i felt this sort of mechanical feeling. amazing FZ didnt do drugs because that album seemed like some kind of lsd experience to me. But that sound and those alien arrangements made an impression. i followed FZ afterwards and i even got to see him live 1 time. for a while there, it seemed like he had a new album out every month, no way to keep up being a broke kid. this video explains some of that "feel" that a great part of FZ's music has in it and why nobody sounds like FZ. this was an interesting watch, and actually has given me a few insights on HOW to explore the scales in my own compositional endeavors to keep making something new and interesting
Small, but perfectly-formed. Subbed.
Thanks for this
Hurt my brain, LOL😆 I think I'll just listen.
Thanks! I never really knew how stupid I was until I tried to understand this theory. 😂
My name is Bill I drink beer 🍺
Now, that is one fine comment! I guess you love titties also.
Fantastic. Although why "fixed intervallic tracking" instead of plain old "parallel motion" ?
Yooooo night school I think has some of these ideas
love it!!
Thank you very much.
Everyone in rock and roll plays checkers Frank played chess
Good to know Zappa truly was just autistically stringing together sequences of chords and it wasn't an issue with my ear 😂😂😂
Thanks for this video!
What I learned from it is the following: that
(1) Zappa liked to maintain a similar harmonic density throughout a phrase, and to do so, took an easy shortcut: massive parallelism between instruments (or voices);
(2) He preferred to never double a voice at its octaves;
(3) He liked to build a chord from an entire diatonic scale sounding simultaneously but at different densities depending on its voicing.
Does the above list miss anything important?
Also, would it be fair to say that his chord choices were tactical and textural, rather than strategic and gestural?
"The Rejected Mexican Pope Leaves the Stage" reminds me of some of the tracks in the Zelda Breath of the Wild video game.
Oh, now I've got it.
Zappa would have a huge problem with his name appearing next to the word 'Bible'......
I find it interesting that Boulez had reservations about Frank's serious music. I guess this was due to him being essentially self taught. Excellent video mate. How have I only just become aware of your chanel?
Because you suck
Boulez was a heavy-weight poser, well-trained of course, but his music is intellectual, forcing us to wonder what effect music 'has' to have on us, in one way. I find this intellectualism dry and unlistenable, unless it's there just to be analysed. Then by whom? Others of his ilk, slapping each other on the back, or stabbing each other in the back. Thankfully PB's attitude mattered not to Zappa. Boulez and his serial systematics was a cul-de-sac in musical history. Only worth the paper it was written on.
@@spikymuck3280 12-tone serial music is, indeed, a cul-de-sac. I hate it. The justification given for it was that the traditional tonal system was "arbitrary," so why not just impose another arbitrary structure? As for the "arbitrariness" of tonal music, try playing some Bach for songbirds. They will start singing their hearts out. Put on some Schoenberg and they'll fly away in terror.
@@acbulgin2 The general reaction of birds to Bach is extraordinary. You should try it sometime. I used to own budgies. They also loved big-band jazz, Tammy Wynette, and Locatelli (and Baroque string music in general), but not hard rock or dissonant jazz.
@@acbulgin2 No need to be so snide. My scholarship concerns mostly modern poetry, Italian and French, and a bit of medieval as well. I've also translated a fair amount of same, along with prose fiction. And I write and publish poetry as well. My interest in music comes from playing the guitar (but only as an amateur), and from a lifetime of listening. I can attest that I have witnessed birds' reaction to Bach first-hand. In a calm enough setting, they will also come out of the trees and draw near when I play the guitar outside (not electric, naturally).
This is so fuckin' awesome!!
In an alternate universe Allan Holdsworth Joined Frank Zappa's band in the mid to late 1970s and a black hole formed and the whole world imploded onto itself
nice video!!!!!
Has any one studied Walter Piston's book Harmony ? Apparently Frank did .
I'm just wondering about the stacked fifths. If a mayor scale is a half circle on the circle of fifths, why not just call CEBF#GDA a selection out of G mayor? The magic lies in the 7maj. Very interesting video. Please write a book.
Thank you
Exciting presentation
Was any of this actually released in print form, other than the finished compositions themselves, or did you just figure it out? Did he intend to release this as a book or theoretical paper at any point, or did he intend it to stay a secret?
This was Greek to me for the most part, sadly. I did get a good chuckle out of the use of "hitherto". Great video. Thanks.
Thank you.
Frank Zappa would agree that his chord technique, like his classical writing in general, is derivative of Xenakis
Sounds like a cat walking on the piano keyboard, c'mon people.
such complicated analysis to show random paralellisms . THe conclusion is: you can use any maneirism you want regarding paralelism in modern music. I guess it is not hard to understand
This is another great video. What about the influence of Slonimsky's Thesaurus of Scales?
Fucking Genius is my analysis..
Emotionally bewildering... Some stirring moments lost in a thicket of randomness. I do think it is possible to generate art through a formulaic process. But i feel that zappa had p̶o̶o̶r̶ uneven* taste in what things SOUNDED like... This is the musical equivalent of a randomly-generated wallpaper that hurts to look at. If anyone can suggest a piece of music by Zappa you found genuinely beautiful or moving, I would be curious to listen.
*Edit
Lucille
@@geraldfriend256 Just listened. That is a nice one
@@ClintLock1 Yeah Frank was all over the place . A rare pretty one. I would call some of his instrumentals like Zoot Allurs or Peaches En Regalia worthy of that personally, but a lot of his material was very mathematical sounding and got less and less accessible. I am sometimes even down with hearing him do a modal jam on guitar for ten minutes, and other guitarists not so much.
Sofa is a beautiful piece. Inca roads. He did some pretty music.
@@geraldfriend256 i like his guitar work with the band and he was very funny. he was definitely irreplaceable
Thank you for this video.
amen
At 4:55 shouldn't the 5th beat of bar 4 be an E# and not an F in order to maintain the intervalic spacing of a Perfect Fourth between the two voices and the uniform Melodic jumps of a Major Seventh in both lines?
E# is essentially just another name for F
@@ABrooksGraphics you were just given an example of why one might spell a certain way.
Also, while this gets off focus a bit, an F in a sharp key, F# is literally a misnomer, or B lydian where E# is its a xact fourth. Leaving alone intonation on instruments not stuck on 12 tET.
There was such a non-conformist streak in Frank that, once you caught his sense of humor and spite toward norms, his flourishes of bizarrely structured runs and progressions (if they can even be so termed) almost make sense. Apart from any knowledge of Frank as a person, just listening with zero awareness of who wrote the piece, many of his works can only be described as chaos intentionally injected by someone who didn't really know what to do. Before you critique my saying it that way consider the phrase ''know what to do'', which itself implies an expectation of some unspoken norm. Did he know how to do it? Certainly. Did he know what to do or even what he was doing? Many times, musically speaking, no. Yet, he always knew what he was doing intellectually and that can be VERY confusing if you just can't wrap your head around music as a social instrument. He was a purveyor of intellectual double entendre, even his song titles induce in one a kind of second guessing as to how they should be interpreted which it is understood is NOT to be simply or plainly read or spoken. In this respect, and as each individual to ever live should be approached with awe, he always kept us guessing and curious and never spoon fed us the trained expected so that he could reap the financial benefits of the trained response. Never forget that Frank grew up around charlatans working dog and pony shows and he hated that shit with a passion.
Really ? All being done way before by far more talented and skilled musicians in Jazz , only far better .
Sometimes genius does what genius is going to do. There is no intermediary
Brilliant...and a total drag to listen to. Play this for seedling plants and they would either die or turn into "Day Of The Triffids". And I am a musician, I listen to Bartok and Stravinsky and Jongen, et. al. and I'm telling you...this stuff is a drag to listen to.
Then don't listen to it.
@@ChananHanspal I think FZ's music is lovely.
Briliant Video Chanan! is it possible to buy the FZ Chord Bible book? I can´t find it anywhere ;) Thanks
Many thanks. Unfortunately, there is no FZ Chord Bible book to purchase.