Great arrangement! With the written score you can really see how it is influenced by “Sabre Dance” by Khatchaturian . Always sounded familiar and further when you delve into the music the more the rhythms/modulations/scales really match up
You're correct. I looked at some other arrangements and one of them continued with the iconic #4 chord and I thought it sounded "more Simpsons" so I did it too, but going over it again I regret that decision because the #4 is still present in the bass and the B7 chord gives it a more pleasant, rounder sound. So I have updated my arrangement now and added a correction in the description, but unfortunately I can't change the video. Thanks for pointing it out!
I guess you're right to call it Lydian dominant (also the "acoustic scale" in another comment), it's just that I don't go that far into the details about it, and I still think you could call out the "lydian" features the way I do where it's applicable in the music.
I've been an Oingo Boingo fan since wayyyy back. You can find the same quirkiness there, although the genre is completely different. Danny Elfman is a genius. And a little crazy I think. 🙃
There is a notational error. It’s written in 4/4,which is fine but when the main melody comes in , the first bar has a dotted crotchet or dotted quarter note followed by another crotchet. Well the dotted crotchet is correct but the following crotchet should be two 8th notes tied together to show the middle of the bar because it just looks wrong. It’s quite hard to see beats.
You're absolutely right. I looked at some other arrangements who had done the same mistake and didn't think enough about it myself. I have updated my arrangement with correct notation now, unfortunately can't change the video.
@@SonataSecrets the video was still amazing! I loved hearing you play it! Didn’t ruin the video in anyway just my music theory brain had to say something
You know, I did not see this one coming. Not a fan of the Simpsons per se but I always found the theme interesting. So thank you for this. :) A quick question on your notation: So, I play the organ and in the books I use, you will always see G Mixolydian with no accidentals, C# Phrygian with 3 sharps, C Dorian with 2 flats etc., i.e. it is indication in the fixed accidentals what the key is. I see here not just on your notation but that of other TH-camrs that you only use major/Ionian and minor/Aeolian for fixed accidentals, so C Lydian will have no accidentals while in stuff I usually use it will have one sharp. So, what gives? Why this difference? I mean, adding the extra sharp or removing the extra flat would negate the need to add the respective extra sharp or natural symbol on the sheet music. Just a question. Thanks. :)
I understand the question, it would make more sense theoretically to use one sharp for C lydian, I think it's just that we "default" back to the ionian/aeolian key signature so it's always clear where the root is. At least for me it makes more sense this way because I'm not at all used to playing in other modes in general, so the harmony even feels more like a temporary offset (so accidentals makes sense), even if it's for a whole piece! I suspect you'd learn to feel differently if you're used to playing in the modes more...
@@SonataSecrets Yeah, I think that is one difference between classical vs church music. Classical barely if ever touches the other modes from what I understand, while because some of the hymns are really really old, some of the modes still survive and when we get to the Romantic period some even went back to the Middle Ages and starting reusing the modes. Classical would then be more "modern" or rather contemporary and as a result be more conventional and stick with mainly major and minor. I dunno, this was a small hypothesis I put together with the small experiences I have. - But again thanks for the video and thank you for your answer. :)
I might have to get the music and learn this myself now that I can play more again post-surgery! 🤔 The hardest part is that whole-tone fingering generally really sux. 😖 The nerd in me, though, wonders how you would secure copyright to make an arrangement of this and sell it. Did you just text Danny and ask? 😜 (I’m only half-joking because I’ve actually been able to talk to composers before for stuff like this instead of going through their “people”.)
It's a valid question, I've spent quite some time to check it out, and it works through the service/platform ArrangeMe.com which owns a lot of titles, including this one, and makes it available for third party arrangement. Only the deal is I get 10% of any revenue (I don't think the terms of service is a secret), the rest is shared between the platform and the original composers. I think it's actually a good deal, the music gets spread out and the composers get paid, as long as you realize it's not feasable to make a living off of only arranging it. It looks pretty similar on musicnotes.com marketplace (same % deal), however they don't have this title available for arranging so I cannot upload it there. Also, if you upload an arrangement to musicnotes marketplace (something they do have the rights to), it doesn't show in their general search which only seems reserved for their selected artists arrangements...
I hadn't heard of the acoustic scale before reading the wikipedia page for this video haha. Sure, technically it's correct that it uses the major #4 b7 scale, but the b7 part is less prominant than the #4 (lydian) which is why I talk about it the way I do. For example, the main version of the theme doesn't use the b7 at all. The start of the 16th runs (b.13) actually uses the leading note (M7) first before switching to the b7 when approaching the full whole tone part. However, it does come into play in later parts (b.16-17, also b.21), it's just that I didn't go into that much detail in this video. I would argue that it's still correct to call it lydian for those parts of it where it overlaps.
“Hehehe it’s even sillier.” I couldn’t help but chuckle myself. :)
Such a great analysis and arrangement!! I want a full Performance in a separate video please! 😍
Here you go! th-cam.com/video/_EOv6lholyk/w-d-xo.html
I was also thinking I'm going to have to go to Vinheteiro's channel to see the full performance but will go and watch yours now 😊
Astounding. Thank you for making me smile at the darkest time of my life. I also appreciate the warning that it's difficult.
Great arrangement! With the written score you can really see how it is influenced by “Sabre Dance” by Khatchaturian . Always sounded familiar and further when you delve into the music the more the rhythms/modulations/scales really match up
You should analyse Por una Cabeza Tango. Most famous tango full of modulations.
I love that you're digging into media music!
Sonata Secrets doing Simpsons analysis was not on my bingo list!
Great video.
I thought the part at 0:31 is supposed to be a B7 chord
You're correct. I looked at some other arrangements and one of them continued with the iconic #4 chord and I thought it sounded "more Simpsons" so I did it too, but going over it again I regret that decision because the #4 is still present in the bass and the B7 chord gives it a more pleasant, rounder sound. So I have updated my arrangement now and added a correction in the description, but unfortunately I can't change the video. Thanks for pointing it out!
Thanks!
Wow so interesting and thankyou !
Awesome!! ❤
First of all great analysis I've always loved ur videos! Isn't it in lydian dominant?
I guess you're right to call it Lydian dominant (also the "acoustic scale" in another comment), it's just that I don't go that far into the details about it, and I still think you could call out the "lydian" features the way I do where it's applicable in the music.
That’s what I was thinking too: Lydian dominant.
Very clever, very wise.
Well done
I've been an Oingo Boingo fan since wayyyy back. You can find the same quirkiness there, although the genre is completely different. Danny Elfman is a genius. And a little crazy I think. 🙃
There is a notational error. It’s written in 4/4,which is fine but when the main melody comes in , the first bar has a dotted crotchet or dotted quarter note followed by another crotchet. Well the dotted crotchet is correct but the following crotchet should be two 8th notes tied together to show the middle of the bar because it just looks wrong. It’s quite hard to see beats.
You're absolutely right. I looked at some other arrangements who had done the same mistake and didn't think enough about it myself. I have updated my arrangement with correct notation now, unfortunately can't change the video.
@@SonataSecrets the video was still amazing! I loved hearing you play it! Didn’t ruin the video in anyway just my music theory brain had to say something
Wonderful !
Unser Sandmännchen is the longest running animated TV series.
That is very funny music ! Great videos whether it is Schubert music or the Simpsons’ !
No comment about the tie ;)
How can you be so good on piano music ?
Hi sonata Secrets, could you do Brahms Rhapsody in G minor please?
It's high up on the list for future repertoire, so maybe next year...
First! Thank you!!!❤
OMG---that was sOOOOOOOOOOOOOOO fun!!!!!!!!!!!!!!!!!!!! 😂 🤣 😃 😄 😅😂 🤣 😃 😄 😅😂 🤣 😃 😄 😅
You know, I did not see this one coming. Not a fan of the Simpsons per se but I always found the theme interesting. So thank you for this. :)
A quick question on your notation: So, I play the organ and in the books I use, you will always see G Mixolydian with no accidentals, C# Phrygian with 3 sharps, C Dorian with 2 flats etc., i.e. it is indication in the fixed accidentals what the key is. I see here not just on your notation but that of other TH-camrs that you only use major/Ionian and minor/Aeolian for fixed accidentals, so C Lydian will have no accidentals while in stuff I usually use it will have one sharp. So, what gives? Why this difference? I mean, adding the extra sharp or removing the extra flat would negate the need to add the respective extra sharp or natural symbol on the sheet music. Just a question. Thanks. :)
I understand the question, it would make more sense theoretically to use one sharp for C lydian, I think it's just that we "default" back to the ionian/aeolian key signature so it's always clear where the root is. At least for me it makes more sense this way because I'm not at all used to playing in other modes in general, so the harmony even feels more like a temporary offset (so accidentals makes sense), even if it's for a whole piece! I suspect you'd learn to feel differently if you're used to playing in the modes more...
@@SonataSecrets Yeah, I think that is one difference between classical vs church music. Classical barely if ever touches the other modes from what I understand, while because some of the hymns are really really old, some of the modes still survive and when we get to the Romantic period some even went back to the Middle Ages and starting reusing the modes. Classical would then be more "modern" or rather contemporary and as a result be more conventional and stick with mainly major and minor. I dunno, this was a small hypothesis I put together with the small experiences I have. - But again thanks for the video and thank you for your answer. :)
Yeah, I think so too.
This is fun as something different. I used to love this show. I almost view it as a kind of comedic version of a secular bible.
Yust a little Kvestion ... are you from Norvay or Sveden?
haha unexpected video, I like
I might have to get the music and learn this myself now that I can play more again post-surgery! 🤔 The hardest part is that whole-tone fingering generally really sux. 😖
The nerd in me, though, wonders how you would secure copyright to make an arrangement of this and sell it. Did you just text Danny and ask? 😜 (I’m only half-joking because I’ve actually been able to talk to composers before for stuff like this instead of going through their “people”.)
It's a valid question, I've spent quite some time to check it out, and it works through the service/platform ArrangeMe.com which owns a lot of titles, including this one, and makes it available for third party arrangement. Only the deal is I get 10% of any revenue (I don't think the terms of service is a secret), the rest is shared between the platform and the original composers. I think it's actually a good deal, the music gets spread out and the composers get paid, as long as you realize it's not feasable to make a living off of only arranging it.
It looks pretty similar on musicnotes.com marketplace (same % deal), however they don't have this title available for arranging so I cannot upload it there. Also, if you upload an arrangement to musicnotes marketplace (something they do have the rights to), it doesn't show in their general search which only seems reserved for their selected artists arrangements...
@@SonataSecrets that’s great! I know other people who use ArrangeMe, but I didn’t know that Musicnotes does something similar.
Is it not more accurately defined as the acoustic scale?
I hadn't heard of the acoustic scale before reading the wikipedia page for this video haha. Sure, technically it's correct that it uses the major #4 b7 scale, but the b7 part is less prominant than the #4 (lydian) which is why I talk about it the way I do. For example, the main version of the theme doesn't use the b7 at all. The start of the 16th runs (b.13) actually uses the leading note (M7) first before switching to the b7 when approaching the full whole tone part. However, it does come into play in later parts (b.16-17, also b.21), it's just that I didn't go into that much detail in this video. I would argue that it's still correct to call it lydian for those parts of it where it overlaps.
And to think this all came within a drive home from a meeting with Matt Groening and they had it by the next day
Quem nunca entendeu pra que ser um staccato tá aí! hehe
Berstáin?
The best theme Bernstein never wrote.
Thought it was Danny Elfman
México 😂
Tf is that thumbnail 💀
Changed it 😅