Wow, you just released a nearly hour-long iceberg and now you’re uploading again. It isn’t often that one of my favorite content creators uploads regularly. Thank you for the serotonin
Eleanor Rigby is probably my favorite Beatles song, so this is quite fascinating to me. I do miss the more complex string accompaniment that exists in the original song.
I like this exercise, but I'm not so sure that the melody fits well with most of these new progressions. Maybe it's just because I'm already very familiar with the song. Update: I wrote this comment before hearing level 7. I actually think that the vocal melody fits better with the level 7 chords than with several of the earlier levels.
I totally agree. Some new progressions fit better than others, but the original chord progression is brilliant and superior to all the others. Not that David would´ve suggested anything else. Still this is a healthy exercise to do and broadening the mind is always a good thing to do.
It's an interesting dilemma and I agree with you. Part of the problem with this approach is insisting on a new key centre and basing chords around that key. In one instance he says he changes to Gmaj but he's in G dominant, so a mode, which is fine but pointless to say it's a reflection of Gmaj/Emin relationship. Later he does it with A but it's the same issue especially as the meldoy ends on the minor 7th of the A and it's not convincing. I think you are right to say the original harmony influences our opinion because it forms a big part of the song's character, but I think the approach of just looking at chords individually rather than focussing on the harmonic phrasing and how the ideas start and resolve is far more important than what happens in the middle. Done wrong, reharmonization sounds too 'pastel' colours. Some of the ideas don't take us on interesting musical journies. The original harmony is very powerful for its simplicity character and colour.
I think it shows that a lot of chord progressions can “work” with a melody but what separates great artists from average/mediocre artists is great artists pick the most emotive progressions.
This is a great exercise and very instructive, but I hope you don't take it amiss when I say that it just points up how elegant the original harmonization was.
The last one was interesting ending with Dsus4 and D. That sort of works pretty well musically with the original song, although it seems to imply that there was a positive resolution to Eleanor's existence, which doesn't really fit with the lyrics. Lots of things to mull over when composing music. Really good content.
Hello! Just want to say that I love your videos so much! When I got into the rock band Queen, I found other rock music that (as we all know) opens so many doors to musical experience. I decided to study music seriously when I knew I felt something with music, and discovered your channel. So far I've learned to understand time signatures such as 6/8, today, chord progression (which I hope to incorporate to my piano playing), and a LOT of music theory. Don't know if you read that or not, but the point is: I really love how you use rock music to give examples of music theory. It's very helpful! Keep it up.
That was fascinating. I would have loved a Level 8, where you just chose WRONG chords with no connection with the melody, to see if the wrong chords could still produce listenable music!
@McGeoculus im a little unsure which one you mean by the notes are the same but im assuming you mean the melody is the same but in general it sounds different. it of course is because they changed the chords to make it have a different sound. unless you mean something else then specify cuz im unsure lol
@McGeoculus ah i get that second comment. yeah i personally think it has something to do with like you perception of each chord. i have that too. it's kinda like when i hear the note D in a D minor it may not be exactly the same feeling I get when I play a Dbmaj7 chord. in other words, it's abt the context of the note and how it's used
This is a pretty cool exercise and I really do I like how some of these sound, especially level 2 and 3 for me result in the most interesting melody which "makes sense", for lack of a better word. But it also shows, just like with many of George Colier's pieces, than in music complexity doesn't always translate into a better experience, and sometimes less (e.g. less complex) is more, as the levels 6 and 7 don't really sit well with me, to be honest.
@@kristianburys160 Um, yeah, I confused these two ^^. I follow George's youtube channel because he makes interesting and entertaining transcriptions, and this probably why I've mistaken him for Jacob.
You are right level 2 and 3 sounds pleasing and beautiful but eventually after a while you will get bored that's how nature works and you wana level up
I'm just a beginner at songwriting and this concept is something I really needed to hear about. I think this will really help me express the ideas that my favorite artists have put into my head. Thanks loads, you're a brilliant teacher!
Lots of people finding level 7 hard to listen to, but it's actually my favourite of all the re-harmonisations! I think having the backtrack always being on strings made some of them less impactful for me, like the bluesy one in E, but I do love the idea of resolving to an E major perhaps right after a Bm7 or Bm6?
7 was my favourite too - it it very different, but I thought it really worked, and I could absolutely imagine listening to a full song sounding along those lines.
Interesting exercise. It's difficult to shake the original harmonies from my head, so naturally I think those work the best but #4 with its descending progression really added a nice dimension to the song and sound near as good if not better than Paul's original conception.
While copyrights have traditionally just been melody and lyrics, there are definitely songs which are at least as harmonically driven as they are melodically driven. This is particularly true of songs with rather simple 1 or 2 note melodies but very distinct chord changes, riffs and grooves.
Super interesting. I was left with a better understanding of McCartney’s intuitive genius. His choice naturally fits the sentiment. He had no pop contemporaries exploring these possibilities. His match between words, feeling, music is extraordinary. Thanks for this exploration.
Terrific video. I’m studying theory and this was really helpful. Using Eleanor Rigby was brilliant since it’s a song almost everyone on the planet knows. But as a 69 year old super-Beatles fan I have to say on some level this was quite disturbing; I wish I could un-hear the Phrygian-inspired version, and your level 7 is the stuff nightmares are made of. And last but not least, thank you for leaving Locrian out of this: I don’t think I could survive a Locrian Elenor RIGBY.
Another great vid. Explained in layman’s terms, clearly and precisely. That last one sounds banging and all mate, would love to hear an album full of reharmonised songs from you. Thanks again mate you’re a legend
Very strange you chosed a Beatles’song to show example of reharmonization a song ! :-) Your work is as always brilliant. I really enjoy the new version (the last one) of Eleonor Rigby !
That was brilliant David. Loved your ideas, and how you explain them. I especially liked the Dorian arrangement of level 2 (that's my favourite mode, so no surprise there), and the Dsus4 resolution to D on level 7, which is surprisingly beautiful and well resolved. Looking forward to more of these.
Genius presentation, thanks. You are an excellent explainer, and teacher. Nicely staged, with regular summaries. And using all these well-known songs anchors is it to music already in one’s head. Some of the jazz songs are … intuitive. I’m just old enough to remember the album coming out as a teenager. It was a modal change what the Beatles were up to, and there was a great buzz in the air at the youth club when Keith brought it in.
The strangest melody with respect to its chords is Phantom of the Opera. If you start in Dm, the chords go like: Dm Gm C Dm ("in sleep he sang to me, in dreams he came"), Dm Gm C Dm ("that voice which calls to me and speaks my name"), Dm Bb ("and do I dream again?"), when you get to that Bb ("dream again") the notes of the melody are A G G. Neither A nor G are in in Bb, and they are the only notes during that chord. Yet it sounds completely fine (and resolves very nicely to C, where that "early" G belongs to.)
As (a bit of a rarity I know) someone who doesn't listen to or particularly like the Beatles. I liked about half the examples and particularly the last one better then the original. I thought my perspective might be interesting as so many of the comments were from people immersed in the original 🤔
Excellent explanation and a great example to start with. I really like the sound of your Level 5 sequence and adding a 6th to the G in bar 4 and the Sus4 in bar 7.
By about the 4th example Adam Neely would have had the tune wrapped in the most discordant polychordal soup imaginable. I'm not saying that's good or bad - it just is.
I was just thinking about this song while listening to Tally Hall’s “Misery Fell”. Misery Fell samples Elenor Rigby’s verse melody, so the songs sound extremely similar. Spooky
I've always found myself drawn to pieces using the harmonic minor scales, and this was no exception! Absolutely loved level 3, but I agree with many on here about how well level 7 worked when though it was so far away from the original.
Interesting. Only goes to show that while from a music theory perspective all of this might work and that tunes are arranged for a number of reasons-many of them very pragmatic A vocalists range for example. Most songs are written in a key that helps to express a mood or feeling. Aside from the extensions and other ornamentation Eleanor Rigby in A or D major just sounds….idk silly.
Me: bet you can't play the whole song changing keys through each sequential level or reharmonization! David Ben's Piano : hold my beer.... ..... 😬 will he take the bait....!?
Re/harmonization is one of my favorite things to do in music so seeing you creating video regarding this subject is a joy to me :) As for the harmonies, i prefer the original (even though i'm not familiar with the song, my apologies 😅) simply because of the chord voicings employing the chromatic scale -which to me at least wasn't noticeable when i first heard it here.
I think there's a slight contradiction in the level 4 example. On one hand, F and C are pointed out as being supported by the melody notes in bars 1 and 4, but on the other hand, the final bar ends on G natural note, while that bar is being reharmonized using picardy third, i.e. the E chord, which contains a G# note - that makes for quite a dissonant resolution. Was that your specific goal to have it there? BTW, the same applies for level 3 (E chord on the last bar), but I kind of dig that dissonance at the end there, where it supports the overall bluesy minor-major feel of that approach, and makes that final note feel like kind of a blue note.
Level 5 confused me a bit as you referred to it being G mixolydian which matches the chords you had but then you reference G major and E aeolian being relative which I understand as well BUT G mixolydian wouldn’t be relative to E aeolian would it? Wouldn’t that be A aeolian? Love the videos. You have definitely turned some lights on for me!
It's just how you were taught to hear the song, lil bro. Had they released level 7 you would probably speak of it as a classic and trash any deviations from that version
@@ThePhreakass As a 60 year old, I doubt I qualify as your "lil bro". As a musician I disagree with your assessment. That said, music is an aesthetic with a wide variety of appeal and you are of course entitled to your opinion.
this is super fun and interesting!! i think levels 3 and 4 are my favorite. but this whole project is perfect considering as we know... there are seven levels...
Very interesting. What I would like to know is how James Taylor, for example, manages to turn a three chord tune (Buddy Holly's Everyday) into a much more sophisticated-sounding tune by adding substitutions.
You actually were an inspiration for me to buy a piano and start taking lessons 4 months ago. Funny my Mother did the same thing at her retirement, buying a baby Grand. And she played another 22 years.
Thanks for the reply and making me aware of this David. So-there is _NO_ definitive version. Just the one chord structure that says what you want to say, on the day
I've watched many of your videos, and every single one has been educational AND entertaining, but I found myself actually having FUN with this one! That is, until Level 4, when the fun was replaced with the mind-blown emoji...
David, what motivated your choice of the Fmaj7 chord in level 5? You explained why F fits with the melody, but I am curious to know why you included a major 7. You always seem to have a good reason for whatever you do, so I am curious to know:) And the chord is not actually in the key of G - do you also call this a modal change? And thanks for the video, it's fascinating!
1. In my perception, the harmonies may even characterize a song more than the melody does! In some of the "Eleanor Rigby" examples, I asked myself if I recognized the song at the first go without the text. 2. Another thing, in some way just the opposite effect: It happened several times that the sound track of a TV advertising strikingly reminded me of a certain song, although the melody was quite different. Might it be that this is a fraud of the advertising professionals to avoid copyright claims? Profiting from the recognition value of a song without paying for it, because algorithms searching for copyright violations are no longer able to recognize the song? 3. That might also be the reason, why I usually like the original version of a song better than any cover (although there are - rare - exceptions): For me, the chords are the heart of a song; so I just don't feel comfortable when they are changed.
I happened to sing with great, great guitar players, I often asked them about harmony and composition, but they never knew what and why they were doing, they just played by instinct, now you're giving me the answers I've always longed for. I'm wondering: are there any songs in which melody remains the same but harmony changes significantly, I mean, not just one or two chords?
wow! i thought the b3atles stuff was extremely copyrighted, really nice topic though, i was thinking on studying on it, and i found this video quite on the right timing
Levels 6 & 7 sound incredibly cool, even though they are not "supposed to". Thank you, I learn a lot from these examples. How do you come up with the ideas? Is it a mix of trying, experimenting and applying theory or is it something else?
Wow, you just released a nearly hour-long iceberg and now you’re uploading again. It isn’t often that one of my favorite content creators uploads regularly. Thank you for the serotonin
Thanks!
I hope he doesn't overwork himself
@@kevincronk7981 We love music!
This needs to become a series with many songs. This is such a good way to learn about writing music
Eleanor Rigby is probably my favorite Beatles song, so this is quite fascinating to me. I do miss the more complex string accompaniment that exists in the original song.
oh it’s beatles
"Find a chord with an A, for example...A" brilliant delivery there lol
I like this exercise, but I'm not so sure that the melody fits well with most of these new progressions. Maybe it's just because I'm already very familiar with the song.
Update: I wrote this comment before hearing level 7. I actually think that the vocal melody fits better with the level 7 chords than with several of the earlier levels.
I totally agree. Some new progressions fit better than others, but the original chord progression is brilliant and superior to all the others. Not that David would´ve suggested anything else. Still this is a healthy exercise to do and broadening the mind is always a good thing to do.
It's an interesting dilemma and I agree with you. Part of the problem with this approach is insisting on a new key centre and basing chords around that key. In one instance he says he changes to Gmaj but he's in G dominant, so a mode, which is fine but pointless to say it's a reflection of Gmaj/Emin relationship. Later he does it with A but it's the same issue especially as the meldoy ends on the minor 7th of the A and it's not convincing.
I think you are right to say the original harmony influences our opinion because it forms a big part of the song's character, but I think the approach of just looking at chords individually rather than focussing on the harmonic phrasing and how the ideas start and resolve is far more important than what happens in the middle.
Done wrong, reharmonization sounds too 'pastel' colours. Some of the ideas don't take us on interesting musical journies. The original harmony is very powerful for its simplicity character and colour.
I think if the descending semitone line in the original changes (D C# C B) isn't there, it doesn't really sound like "Eleanor Rigby" any more.
@@cgideas Agree.
I think it shows that a lot of chord progressions can “work” with a melody but what separates great artists from average/mediocre artists is great artists pick the most emotive progressions.
You are literally mentoring the rising generation of musical artists! And you don’t ask for anything else in return!
Just to sign up for Nord VPN 😅
This is a great exercise and very instructive, but I hope you don't take it amiss when I say that it just points up how elegant the original harmonization was.
The last one was interesting ending with Dsus4 and D. That sort of works pretty well musically with the original song, although it seems to imply that there was a positive resolution to Eleanor's existence, which doesn't really fit with the lyrics. Lots of things to mull over when composing music. Really good content.
ending on the dsus with that hanging G may have worked better, ironically
Hello! Just want to say that I love your videos so much! When I got into the rock band Queen, I found other rock music that (as we all know) opens so many doors to musical experience. I decided to study music seriously when I knew I felt something with music, and discovered your channel. So far I've learned to understand time signatures such as 6/8, today, chord progression (which I hope to incorporate to my piano playing), and a LOT of music theory. Don't know if you read that or not, but the point is: I really love how you use rock music to give examples of music theory. It's very helpful! Keep it up.
😊😊😊😊
That was fascinating. I would have loved a Level 8, where you just chose WRONG chords with no connection with the melody, to see if the wrong chords could still produce listenable music!
Non-functional harmony! A very interesting way to make music from a melody
Something, something no wrong chords... Something, something jazz. 😏
@McGeoculus im a little unsure which one you mean by the notes are the same but im assuming you mean the melody is the same but in general it sounds different. it of course is because they changed the chords to make it have a different sound. unless you mean something else then specify cuz im unsure lol
@McGeoculus ah i get that second comment. yeah i personally think it has something to do with like you perception of each chord. i have that too. it's kinda like when i hear the note D in a D minor it may not be exactly the same feeling I get when I play a Dbmaj7 chord. in other words, it's abt the context of the note and how it's used
This is a pretty cool exercise and I really do I like how some of these sound, especially level 2 and 3 for me result in the most interesting melody which "makes sense", for lack of a better word. But it also shows, just like with many of George Colier's pieces, than in music complexity doesn't always translate into a better experience, and sometimes less (e.g. less complex) is more, as the levels 6 and 7 don't really sit well with me, to be honest.
Which pieces by George Collier you know? Do you mean Jacob Collier?
@@kristianburys160 Um, yeah, I confused these two ^^. I follow George's youtube channel because he makes interesting and entertaining transcriptions, and this probably why I've mistaken him for Jacob.
You are right level 2 and 3 sounds pleasing and beautiful but eventually after a while you will get bored that's how nature works and you wana level up
I'm just a beginner at songwriting and this concept is something I really needed to hear about. I think this will really help me express the ideas that my favorite artists have put into my head. Thanks loads, you're a brilliant teacher!
Lots of people finding level 7 hard to listen to, but it's actually my favourite of all the re-harmonisations! I think having the backtrack always being on strings made some of them less impactful for me, like the bluesy one in E, but I do love the idea of resolving to an E major perhaps right after a Bm7 or Bm6?
7 was my favourite too - it it very different, but I thought it really worked, and I could absolutely imagine listening to a full song sounding along those lines.
Interesting exercise. It's difficult to shake the original harmonies from my head, so naturally I think those work the best but #4 with its descending progression really added a nice dimension to the song and sound near as good if not better than Paul's original conception.
While copyrights have traditionally just been melody and lyrics, there are definitely songs which are at least as harmonically driven as they are melodically driven. This is particularly true of songs with rather simple 1 or 2 note melodies but very distinct chord changes, riffs and grooves.
Super interesting. I was left with a better understanding of McCartney’s intuitive genius. His choice naturally fits the sentiment. He had no pop contemporaries exploring these possibilities. His match between words, feeling, music is extraordinary. Thanks for this exploration.
Great work man. Imo tends to show how they got it right in the first place
The original harmony is the best.
Terrific video. I’m studying theory and this was really helpful. Using Eleanor Rigby was brilliant since it’s a song almost everyone on the planet knows. But as a 69 year old super-Beatles fan I have to say on some level this was quite disturbing; I wish I could un-hear the Phrygian-inspired version, and your level 7 is the stuff nightmares are made of. And last but not least, thank you for leaving Locrian out of this: I don’t think I could survive a Locrian Elenor RIGBY.
You're very good Dave.
6 and 7 are tough to listen to for very long.
I agree on 6, but I thought 7 was actually quite listenable.
Another great vid. Explained in layman’s terms, clearly and precisely. That last one sounds banging and all mate, would love to hear an album full of reharmonised songs from you.
Thanks again mate you’re a legend
The Beatles - Eleanor Rigby
Level 0: 0:43
Level 1: 1:23
Level 2: 3:20
Level 3: 4:02
Level 4: 4:50
Level 5: 7:10
Level 6: 8:17
Level 7: 9:00 9:55
Wow dude I would nvere have thought to to take this this song too D Major. impressive
this is a video i've been looking for for a long time just never knew what to title it. great job! thanks!
That's how the group "Dirty Loops" became famous: Reharmonising well-known pop songs with jazzy harmonies.
Very strange you chosed a Beatles’song to show example of reharmonization a song ! :-)
Your work is as always brilliant. I really enjoy the new version (the last one) of Eleonor Rigby !
That was brilliant David. Loved your ideas, and how you explain them.
I especially liked the Dorian arrangement of level 2 (that's my favourite mode, so no surprise there), and the Dsus4 resolution to D on level 7, which is surprisingly beautiful and well resolved.
Looking forward to more of these.
Interesting exercise (particularly level 4) in proving McCartney's original instincts were bang on.
Thank you David for giving of your time.much appriciation
Genius presentation, thanks. You are an excellent explainer, and teacher. Nicely staged, with regular summaries. And using all these well-known songs anchors is it to music already in one’s head. Some of the jazz songs are … intuitive. I’m just old enough to remember the album coming out as a teenager. It was a modal change what the Beatles were up to, and there was a great buzz in the air at the youth club when Keith brought it in.
Its crazy how changing the chords to the relative major key suddenly makes the melody sound so joyful without changing a single note.
I don't know if I'll ever get your level of understanding, but I love your approach to describing these different ways of looking at music.
Wow I love what you did with level 7. Great work!
I always thought the part after "Where do they all belong?" was adopted into a late 1970's McDonald's commercial.
Amazing video man, I am truly grateful for these high quality videos you upload.
David, this is your best video so far - I really enjoyed it, thanks.
Very interesting as a demonstration of the potential of reharmonising. I think Sir Macca probably nailed it with the original, though!
Wow! I was just working on reharmonizing old songs Ive written, thank you. Ps I love the frequent uploads
Brilliant! I enjoy your videos David. Thank you for sharing your music theory knowledge with us.
The strangest melody with respect to its chords is Phantom of the Opera.
If you start in Dm, the chords go like: Dm Gm C Dm ("in sleep he sang to me, in dreams he came"), Dm Gm C Dm ("that voice which calls to me and speaks my name"), Dm Bb ("and do I dream again?"), when you get to that Bb ("dream again") the notes of the melody are A G G. Neither A nor G are in in Bb, and they are the only notes during that chord. Yet it sounds completely fine (and resolves very nicely to C, where that "early" G belongs to.)
As (a bit of a rarity I know) someone who doesn't listen to or particularly like the Beatles. I liked about half the examples and particularly the last one better then the original.
I thought my perspective might be interesting as so many of the comments were from people immersed in the original 🤔
Level 5 sounds like IV-I-V in C to me, especially with that F natural.
Excellent explanation and a great example to start with. I really like the sound of your Level 5 sequence and adding a 6th to the G in bar 4 and the Sus4 in bar 7.
Fascinating! Thanks, David.
Thanks!
By about the 4th example Adam Neely would have had the tune wrapped in the most discordant polychordal soup imaginable.
I'm not saying that's good or bad - it just is.
I was just thinking about this song while listening to Tally Hall’s “Misery Fell”. Misery Fell samples Elenor Rigby’s verse melody, so the songs sound extremely similar. Spooky
yay tally hall
David just casually reharmonising like an absolute maniac!😝
Very enlightening, thanks very much!👍
I've always found myself drawn to pieces using the harmonic minor scales, and this was no exception! Absolutely loved level 3, but I agree with many on here about how well level 7 worked when though it was so far away from the original.
Whoever is dubbing Paul's voice does a nice job.
The Greatest song of all time and the song that got me into The Beatles.
It was an instant classic and VERY ahead of its time!
That's exactly why I love your channel!
My favorite Beatles' song, great maestro!
David at it again, reharmonising is cool cool saw it first from jacob collier. Pls do a vid on him
Circle of 5ths version: Am9 D13 / G13 C7 / Fma7#11 B7#5b9 / Em E7 ://
To be completely honest, the first harmonization sounded the most interesting, simple or not.
I liked how you turned Eleanor Rigby into Gangsta's Paradise in level 2
Interesting. Only goes to show that while from a music theory perspective all of this might work and that tunes are arranged for a number of reasons-many of them very pragmatic A vocalists range for example. Most songs are written in a key that helps to express a mood or feeling. Aside from the extensions and other ornamentation Eleanor Rigby in A or D major just sounds….idk silly.
4:50 Eleanor Rigby, Moby version
Me: bet you can't play the whole song changing keys through each sequential level or reharmonization!
David Ben's Piano : hold my beer....
.....
😬 will he take the bait....!?
How do you make this type of animations? They look super clean
Thanks! It's just screen capturing Musescore and then upping the contrast and saturation to make it look better 😊
Thanks for the simple and clear explanation of reharmonization! Well done!
Thanks 😊
You made an excellent work !! Keep it going 👏👏👏
So fun! I found the new chords quite difficult to hear tho, because of 50 years of my brain being bent upon the original.
Another great lesson. 😃Thank you, David!!!
Thank you 😊
Absolutely fascinating!! I love this kind deconstructive stuff!
Re/harmonization is one of my favorite things to do in music so seeing you creating video regarding this subject is a joy to me :) As for the harmonies, i prefer the original (even though i'm not familiar with the song, my apologies 😅) simply because of the chord voicings employing the chromatic scale -which to me at least wasn't noticeable when i first heard it here.
To be perfectly honest, everything beyond level 2 sounded quite odd to me 😉
7 was good
I think there's a slight contradiction in the level 4 example. On one hand, F and C are pointed out as being supported by the melody notes in bars 1 and 4, but on the other hand, the final bar ends on G natural note, while that bar is being reharmonized using picardy third, i.e. the E chord, which contains a G# note - that makes for quite a dissonant resolution. Was that your specific goal to have it there? BTW, the same applies for level 3 (E chord on the last bar), but I kind of dig that dissonance at the end there, where it supports the overall bluesy minor-major feel of that approach, and makes that final note feel like kind of a blue note.
Level 5 confused me a bit as you referred to it being G mixolydian which matches the chords you had but then you reference G major and E aeolian being relative which I understand as well BUT G mixolydian wouldn’t be relative to E aeolian would it? Wouldn’t that be A aeolian? Love the videos. You have definitely turned some lights on for me!
Same obsevation. Lol.
What I'm getting from all that is that you can basically choose any chord you want and you'll figure out a reason why later 😅
I think it is very clear that John and Paul got it right.
Some interesting sounds and brilliant analysis as usual, but the Beatles hit jackpot.
It's just how you were taught to hear the song, lil bro. Had they released level 7 you would probably speak of it as a classic and trash any deviations from that version
@@ThePhreakass As a 60 year old, I doubt I qualify as your "lil bro". As a musician I disagree with your assessment. That said, music is an aesthetic with a wide variety of appeal and you are of course entitled to your opinion.
@angrytedtalks Could have saved some of that precious time by not writing a comment since you have so little of value to say.
@@ThePhreakass You could indeed, but you have no idea whatsoever what I might have to say.
@@angrytedtalks "No u"-ahh comment 🤣
Another excellent video. Thank you, David.
Amazing examples, thank you!
😊😊
this is super fun and interesting!! i think levels 3 and 4 are my favorite. but this whole project is perfect considering as we know... there are seven levels...
Very interesting. What I would like to know is how James Taylor, for example, manages to turn a three chord tune (Buddy Holly's Everyday) into a much more sophisticated-sounding tune by adding substitutions.
Interesting reharmonisations. Reminds me of a Adam Neely video. Convince me that you can't choose pretty well anything!
You actually were an inspiration for me to buy a piano and start taking lessons 4 months ago. Funny my Mother did the same thing at her retirement, buying a baby Grand. And she played another 22 years.
Great stuff! Keep it up!
Absolutely brilliant. Somewhat twisted, but brilliant.
Excellent teaching, beautifully done.
Thanks for the reply and making me aware of this David. So-there is _NO_ definitive version. Just the one chord structure that says what you want to say, on the day
I've watched many of your videos, and every single one has been educational AND entertaining, but I found myself actually having FUN with this one! That is, until Level 4, when the fun was replaced with the mind-blown emoji...
David, what motivated your choice of the Fmaj7 chord in level 5? You explained why F fits with the melody, but I am curious to know why you included a major 7. You always seem to have a good reason for whatever you do, so I am curious to know:) And the chord is not actually in the key of G - do you also call this a modal change? And thanks for the video, it's fascinating!
I m considering buying nord vpn only to thank you about the quality of this video
wouldve been cool if the outro was reharmonized too but the chord progression is really the heart of the tune
I really love this video. Thank you :)
Thanks!
holy fuck the sound of IV-i is incredible
1.
In my perception, the harmonies may even characterize a song more than the melody does! In some of the "Eleanor Rigby" examples, I asked myself if I recognized the song at the first go without the text.
2.
Another thing, in some way just the opposite effect: It happened several times that the sound track of a TV advertising strikingly reminded me of a certain song, although the melody was quite different. Might it be that this is a fraud of the advertising professionals to avoid copyright claims? Profiting from the recognition value of a song without paying for it, because algorithms searching for copyright violations are no longer able to recognize the song?
3.
That might also be the reason, why I usually like the original version of a song better than any cover (although there are - rare - exceptions): For me, the chords are the heart of a song; so I just don't feel comfortable when they are changed.
Very interesting video. Thank man!
I happened to sing with great, great guitar players, I often asked them about harmony and composition, but they never knew what and why they were doing, they just played by instinct, now you're giving me the answers I've always longed for. I'm wondering: are there any songs in which melody remains the same but harmony changes significantly, I mean, not just one or two chords?
What a great video! I would love to hear more examples like this... and also on how to do it :) tnx!!
To me, at level 6 start to sound out of tune instead of a new key center. Love the video and the beatles, thank you!
wow! i thought the b3atles stuff was extremely copyrighted, really nice topic though, i was thinking on studying on it, and i found this video quite on the right timing
I learned so much from this. Will take some time to unpack.
As always writing a comment to support the channel
I love watching these videos and pretending I have any idea what's going on
You MUST find Sparks' reharmonization of "I Want To Hold Your Hand." Hilarious and genius. th-cam.com/video/3xYBcT6E98E/w-d-xo.html
Levels 6 & 7 sound incredibly cool, even though they are not "supposed to". Thank you, I learn a lot from these examples. How do you come up with the ideas? Is it a mix of trying, experimenting and applying theory or is it something else?
Very eye-opening 👏🏻
Level one instantly gave me a very strong memory of the track Porcelain by Mobe. Its not the same but something triggered a memory.
Wow, really nice video.