On the riff, some people are commenting that there's no A before the D, so I figured I should clarify: I'm fairly certain there is, but the MIDI example _does_ overemphasize it. It's a ghost note, created through a muted pull-off from the B to an open-string A, and it fluctuates in presence so it's not always there, but I'd say most statements of the riff include it to some degree, and to my ears it feels incomplete without it. (If you're curious what it sounds like, I isolated an example of it over on twitter: twitter.com/12tonevideos/status/1092833670199631873 ) It's hard to do really subtle notes in MIDI, though, so the version I played makes it sound like a full note and that's not entirely accurate either. Sorry about that!
For me the extra A is not supposed to be there all the time, and when you do hear it it’s possible that it’s a different guitar, or the bass drum or something else fooling your ears to hear the A. The first riff in the song, when the bass is alone, is very clearly not played with the A, and the B is muted to leave you in no doubt that the next note is the D. That’s what my ears are telling me.
i think that what's going on is that when the bassist stops the vibration of the a string with his picking hand to stop the b from being a half-note he occasionally does it too vigorously and what we're hearing is the vibrations that causes. the faint tapping frequently heard after the low f# i think is evidence that waters is probably in that sort of overzealous mood
There is actually no A before the D. If you listen to the early tracks, demo mixes, and their multitrack breakdown, it's very clear no A is meant to be there. Also, if you watch Waters or Gilmour play this line, that A is also missing. Those A's you're hearing are mostly likely extra filler notes from the doubling guitar and not the bass.
Love this. The only song that both my mom and my kid said to me, 30 years apart, at the beginning with the cash register and coins "Turn down that noise!" :)
The teacher: Poems everybody! Money get back I'm alright Jack Keep your hands off of my stack New car, caviar, four star daydream Think I'll buy me a football team This is just rubbish ! (Everybody laughs )
(edit, when I posted this, I got the order of things slightly backwards, the first part is double tracked and the third part is ADTd.) Another interesting detail about the solo: The first section uses an auto-doubling effect to make it sound like the guitar was double tracked, which contributes to it sounding so big, and also gives a mono-recorded guitar a stereo sound. The auto-doubling is taken away during the second section, making the guitar sound small, and more notably, you only hear it coming from the left speaker. Then, for the third part of the solo, instead of bringing back the auto-doubling, the guitar is actually double tracked for real. So, it goes back to being in stereo, but now there's tiny discrepancies between the two performances. So even though the dynamic is loud-quiet-loud, there's still a different feel to the first and third sections of the solo.
It was manually double-tracked, btw. Gilmourish.com is the source. Solo # 3 did use ADT (echo, which is what gives it the stereo effect), but #1 was manual.
Here's the breakdown: Stratocaster, bridge pickup Bill Lewis Custom 24-frets guitar (third solo*) - rhythm 1/melody; Colorsound Powerboost - rhythm 2/fills; Colorsound Powerboost - tremolo guitar; clean signal with Kepex tremolo (rate 80%) - solo 1; Fuzz Face and echo (manually double tracked) - solo 2/mid-section; Fuzz Face - solo 3*; Fuzz Face with echo (ADT Automatic Double Track) www.gilmourish.com/?page_id=46
I might be wrong here, but I don't believe they used an auto-doubling effect on the first solo. Those two guitar tracks are very close, but you can hear some subtle differences. The obvious one being the last bend of the first solo with the two guitars bending different notes. Please correct me, if I'm wrong. edit: Actually the other guitar doesn't even have any bending at the end.
My favorite song by this band, and I've got a theory on the placement of the "turnaround." As you mentioned the bassline is in constant falling motion, but it also RISES as you go up to the F# (and walk/fall back down) and up to the E (and walk/fall back down) so it almost gives a feeling like Sisyphus, rolling the boulder up the hill over and over again only to have it fall back down every time. At the very highest point (the measure of E toward the end) they walk alllll the wayyyyy back down. That makes the last 2 measures of B feel almost like a pickup into the next section (and if you listen to the drums they do a huge extended fill over these 2 measures back into the "crashy" section). To me it feels like we're seeing someone progress through futile attempts at chasing money, you can get close, even achieve the apex, but it all comes falling back down and you get ready to start the humble blues progression all over again.
Yeah, the first section seems to be "we're loud and full of money", then the turnaround (which sounds like all the money just disappearing), then a subdued section "we've got no money, we can't be big and splashy", then the second turnaround, which sounds like another money windfall, followed by "we're loud and we're full of money" again. A musical rendition of the rollercoaster of highs and lows that is money.
I don't know if I've heard this somewhere, of if it is my own thought, but... I've always called this sort of descending turnaround a "Falling Leaf" turnaround. In fact, I think someone in one of the 90's concert videos (Rachel Fury, in DSOT perhaps?) does a hand gesture that looks like the swinging, 'scalloped' descent of a falling leaf, at one point. In the end, all the money in the world amounts to a carpet of dead, dry, leaves at the feet of the dying oak.
And it also ties in with a common critic of capitalism that says the proletariat is constantly fighting the odds to achieve an imaginary and always shifting satisfaction point. You work the whole day, week, year thinking "after that I'll be able to rest/enjoy myself" but that moment never truly comes bc you're tied back to the authoritarian production structure in a constant battle against precarity. The only relief is consumerism that reinforces the machine (reference intended hehe) I know it's best to not go too much into politics in yt comments but given the band in question and what the song is about it felt relevant
One thing you didn't mention is that the use of 7/4 is kinda feels like a reference to how weeks have 7 days, and for someone who is working relentlessly, that... never really feels long enough.
Nope, you're searching for a connection that was never part of it. 7/4 was just how the time signature fell out when Roger wrote the riff. I've never heard or read him or anyone involved with recording the song ever breathe a word about the seven days a week thing.
Another tide bit about the money loop in the beginning. Roger Waters created the tape loop for the intro in his wife’s pottery studio using a Revox A77 Tape Recorder. He recorded various samples, including coins clinking, paper tearing and a ringing cash register, then cut up the tape into seven sections of equal length. By hand cutting and splicing these pieces together then wrapping the loop around the room, Waters created the infamous metronomic sequence that introduces the track and is known as one of the most innovative uses of tape loops.
Since I haven't seen anyone else mention it.......... The earliest example of what I think fits your criteria for an organic loop has got to be Manfred Mann's song "Machines" from 1966. It's structured much like Money, with industrial sounds being looped in a rhythm before a bassline (and bit of organ) come in to match that rhythm, though it's in 4/4. It's really quite a brilliant song and way ahead of its time in that regard.
I think the song speaks to materialism, capitalism, etc... so my take on your philosophy behind the song and particularly the break/pause at the end of the 4/4 guitar solo that you invited comment: in the spending of money from an emotion-based perspective by people, there can be a pleasure, joy, satisfaction from acquiring something, but after act of spending/acquiring is completed, the hole being filled may re-emerge; or maybe buyer's remorse may set-in... so that pause/break may be in deference to those types of outcomes where money or the spending of it is only temporarily satisfying an emotional need. I'm not a doctor, nor a musicologist, so take it with a grain of salt...
One of the six pieces I'm currently doing on drums for SQA Advanced Higher Music. How about understanding Toto - Hold The Line, another piece I'm doing?
If you're doing advanced higher music, then Rosanna should be the pick ;) Seriously though, I love how this song (Money) sounds so simple on the drums, but there's a lot of nuance.
I heard Gilmore say that thank god Waters chaned it to 4/4 for the solo. And, I love the trasition with Mason banging out the string of 1/8 notes to resync the time. "Dark Side of the Moon" is my favorite albulm, with Moody Blues "Days of Future Past" a close second. I miss the days of albulms, instead of single song releases.
The turnaround is where it is so that the remaining bars in the 12x2 bar blues line can provide a sort of intro-transition between the solos. Build up and release, maybe?
Regarding the early turnaround riff that you ask about at 6:57, on the third repetition of the 24-bar 4/4 form over the guitar solo, the turnaround leads right back to the opening 7/4 riff. This is repeated for two 7/4 bars, but counted in 3/4 and 4/4, this completes the 24 measure form. Like you said at 6:32, this emphasizes a return to the beginning. They just get sneaky and use the intro phrase to close out the blues form. It fits so well because just like the into sets us up for the bass line, we already expect this bit of cool-down after the turnaround because that's exactly how they end the blues form of 12 7/4 bars during the verse--with two bars of the intro riff over the i chord. (love this song. thanks for pointing out the variation in production during the guitar solo, I've never noticed what an impact that makes before.)
0:24 "... sarcastic sendup of materialism, Money." Whenever I hear this song I can't help wondering how many people genuinely think it's some kind of aspirational ode to the supposed joys of capitalism.
I read in some magazine or maybe heard in the "making of..." dvd that the only reason there are common time parts in that song is because Gilmore couldn't solo in 7/8. Either way, great analysis of a great song.
Hadn't heard that one, but I know they had to get session drummers on "Mother" and "Two Suns in the Sunset" because Nick Mason couldn't handle the rhythmic complexities.
You are right, I watched the documentary on Dark Side and to quote David Gilmour himself, it made it significantly easier for him to solo in 4/4 so they made that acoomodation
I got a record player for christmas and pilfered my dad’s copy of Dark Side. Can I just say, holy f**k! Money is one of the first Floyd songs I remember hearing. I love your videos, please don’t ever stop making them.
Now I thought we were supposed to discuss sequencing as if they were in a major key, but you're calling the Bm the 1 chord. Shouldn't the D be the 1 chord?
6:55 That turnaround coming in early is actually not that uncommon. Jazz really likes its turnarounds (take this with a grain of salt as not all jazz is the same). In some blues forms, they like to throw in turnarounds whenever they enter a tonal shift for emphasis, like a turnaround in bar 4 into bar 5 to the IV chord, or a turnaround in bar 8 into bar 9 to the V chord for examples. That early turnaround is probably meant for emphasis back to the I chord in bar 11 of the form.
Analyze Napalm Death’s “You Suffer" Can you do the Beatles' "Strawberry Fields Forever?" The internet has the ability to bring to the surface some great teachers... Thanks for the lesson.
Sick video. This is the first one I've seen, and it's always been a favorite of mine, as a bass player and a Floyd head. Keep up the great work, it is great for people like me just coming into proper 'music theory' to get cool little lessons like this and see how everything fits together after I've just been playing by ear for two decades
Me and a drummer friend of mine constantly have arguments as to whether Pink Floyd actually knew they wrote this in 7/8 time or whether they were all too high and just going along with whatever came out. I'd like to think that they knew.
what is WRONG with youtube today, it's like a smorgasboard of good content, I can't keep up forking this; HTME's Science of Transparency and Refraction; forking Songify Groundhog Day; Vox's DeLorean history; Errant Signal's Broken Reality, Vaporwave, and Irony; AVGN-guy's Underrated Action Movies; vlogbrother's TH-cam and Copyright in 2019; a Sam O'Nella video
I love your videos and I always wonder if some of these bands actually put this much intentional thought into these songs or if they were just rolling with something that sounded cool?
One thing that has always intrigued me, as a bass player, and I'm a bit surprised it wasn't mentioned. The 'organic loop' (after a brief intro, involving what sounds like the bell of an opening change drawer and the sound of change being scooped from one of the 'pockets' inside) is in 7/4, setting up the meter of the bass intro. But, the bass enters on beat 3 of that 7/4 pattern (or alternatively, the loop starts on 6)... any thoughts as to why?
It would be awesome if you broke down Steve Miller Band's "Serenade". No worries though. TH-camrs are super busy so just keep doing what you do and keep that one in your bag of possibilities for the future at least.
@@MrParkerman6 at first I thought you were wrong, but after extensive (seconds) of google searching, I find you are correct. I thought there was something about the loop that was record breaking though and it appears to be the physical size XD www.songfacts.com/facts/pink-floyd/money
You sure picked an interesting song from that album to analyze. Tons of overt symbolism going on in this one. Also if you think you are over analyzing, the song lyrics just flat out tell you hey, symbolism!
Shout out to the fellow Floyd fanatics who will watch literally any content on the entire internet if the thumbnail includes a triangle and a beam of light
Are you being served has a theme tune also starting out with an organic loop based on cash register etc but came out the year before dark side of the moon was released
Other ideas for "organic loops" - Giuseppe Verdi's The Anvil Chorus (1853)... nothing else will quite give you the sound or feel of blacksmithing, or generally hard work, as a real steel hammer striking an anvil at regular intervals. Anyone else have ideas from before or after Pink Floyd's "Money?"
One thing to mention (that really has nothing to do with theory) is the reason for the guitar solo being in 4/4 time. Oddly enough it's because David Gilmour couldn't play a solo in 7/4 time. I don't remember where I saw it, but there was an interview (documentary maybe?) and he just came right out and said it.
Interesting that you notated the bass line with a pair of 8th notes on beat six because if Roger plays that, it is the exception rather than the rule from what I hear. The "turnaround" I always counted as 8/4 +6/4 which, as you point out, equals 14 which is twice seven, but what makes it unusual is that it divides it differently so one measure is beat longer and the next a beat shorter. What about the guitar chords and keyboard parts?
Great video! And, perhaps unsurprising, on the first song to get me into Prog Rock! I actually get a slightly different feeling from the 7/4 time signature. I find that it makes the song feel a little faster, in that you're subconsciously listening for that 8th beat, but it never comes. To me, it feels almost like the song is skipping ahead a bit each time, giving it that uneven feeling.
Meters of actual analog tape sections taped together and running outside the reel machine across the room and around a mic stand and back to the machine.
Haven't seen anyone mention any of this.... You mentioned the blues influences throughout the video but didn't make it clear of the swing tempo for both the 7/4 and guitar solo parts of the song. Hopefully everyone is keeping up with your videos and is therefore familiar with swing tempo as common to blues. However, I have always wondered whether the guitar solo section is better read as 12/8 rather than swung 4/4. I get this mainly listening to the drums which play a fairly constant 12 hi-hats per bar through the second "subdued" part of the solo. Any thoughts?
Holy.... Stop doing this, ive been subscribed to this Chanel for a while and I really enjoy the content alot. But... This has happend 5 times now. I listen to a song for the first time in ages, maybe even try to learn a little on guitar, and then the NEXT DAY you upload a video on it. Im thankful but also creeped out. Keep up the great work tho, i love the videos!
You mean on the offbeat between the last B and the D? It's definitely there but he doesn't always emphasize it (and sometimes he outright drops it.) so it's not a super important structural part or anything.
12tone - Yeah, it's not like an intentional note. It's more like he just lets the open A string ring out when lifting his finger. Not quite a pull-off, but it's still there. I think that's why it kind of disappears to a lot of our ears.
To my ears and picking up a bass, it sounds like he isn't really playing an A, it's a muted pluck of the A string that comes naturally given the alternate picking and shuffle feel. And even then, he only plays it sometimes. On a tab, for example, it would be marked with an X. It might be more explicitly played in the guitar track though.
Also the drums follow the baseline relatively closely and it plays two strongly emphasized quarter notes there which could also contribute to us only hearing it as two quarter notes in the baseline.
I actually picked this song as a vernacular song to analyze in my college music appreciation course. I definitely didn't analyze it to this detail but the whole starting in 7/4 time was a big point just because you almost never hear anything besides 2, 3 and 4 time with the occasional 5/4 even in art music, let alone vernacular.
Maybe to some it takes some of the romanticism out of music, but analysis like this is what I love about music. It shows there is a technical/mathematical side and seeing the sheet music/midi is like taking a look under the hood of a car or looking at the “code” to a song. I write music and constantly feel like I’m making all the same decisions, and then I look at another song and realize how many simple decisions I’m overlooking in trying to create something complex. It seems like song writing is more like building a house, you have to start with a simple foundation and accept that it isn’t going to be complex right away.
Don't forget the keyboard comping in minor seventh chords definitively establishing Dorian over the verse riff. The early turnaround in the solos section blues leaves a vamp, basically a wind-up for the next section, evidenced by the long and dramatic drum fills. Oh, and they cut the vamp from the end of the solos section, going straight back to the verse riff. The solos aren't just playing with blues influences, every lick is a classic blues lick. And the first section of the guitar solo is double-tracked, for greater effect. Okay, i'll stop fangirling now. :-)
Hello ! on the solo, bars 19 and 20, if you play a Em over the 'ealry turnaround' as you call it, it's fits perfect. the bass line makes believe you are in B- but actually it fits on a E- ( the 3thd note of the bass at the 19th bar is a G, insisting as the minor third note of the Em. And so, you have to consider the B bass note of the phrase as the 5th of the Em . Rock and roll way...). the 4 last bars are killing the traditional turnaround in blues, in a very resting way (B- tonic chord), like in old traditional blues. --- Bravo 12tone love your channel. (sorry for my bad english I'm french)
Slapping the F# turn around on the E is because it works & (IT SOUNDS F-ING AWESOME!) In Fact the Entire Song Sounds F-ING AWESOME. No need to go any further. & It sold a ton 🙄😂
The turnaround during the guitar solo is played four bars early, and the pattern is continued for 4 more bars before moving into the quieter part of the solo before it explodes again.
All of those soundscapes on 'Dark Side Of The Moon', particularly 'Money' and 'Time' are because of the genius of a single man... The recording engineer... ALAN PARSONS!!!
While your perceptions are really interesting and compelling (especially RE the blues form vs money/profit idea), I always wonder how consciously Pink Floyd (or any such artists) thought about this kind of thing! Is there any proof that they did?
Was just listening to The Yardbirds “The Nazz are Blue”. Made me wonder how much the 12 bar blues guitar solo part of Money may have been influenced by this song. It’s one of Jeff Becks landmark blues solos, I find it highly doubtful that Gilmour had not heard it by that point in history. Whether realized consciously or not, it would have been a nice homage without being an outright copy, from one of my two favorite guitar players to the other.
In the Republic by Plato, Book III (398-403), they talk about music in a way I haven't heard yet. They throw around some phrases that seam interesting like 'panharmonic scale' etc. Do you have insight into the conversation they are had?
Have you done anything on how music elicits emotion? Why is it that certain melodies make people cry? And maybe how cultural and personal that may be? Even gendered? Here are some songs that get me, and I don't want to listen to them to much because I don't want to lose the emotional response: Sufjan Stevens: Great God Bird; Peter Gabriel, Mercy Street, Ben Howard, Conrad, and Gregory Alan Isakov, Stable Song I've also noticed that the several channels that do this kind of analysis seem to stay way from folk, even progressive folk, and oh my god, look at bluegrass!!!!!!! Playing creatively and skillfully within extremely tight rules.
Wiecie co jest złe? :D hehe - koleś non stop mówi, serio, non stop :) Chyba kocha swój głos :) A piosenki i tak nie zrozumiał :D Cheers. Tłumacz muzykę dalej. Tym bardziej prog rock... ;)
Here's an easier "understanding" of Money for the layman: Cash register - 7/4 time - Sax solo - 4/4 time - GUITAR SOLO!!! - 7/4 time - 4/4 time - Guitar/vocal fade out.
@@SpaceCattttt It just feels like the fade out is centered more around 2 beats than 4. Just a two beat repeated groove during the fadeout, which is why I feel that it's 2/2 instead of 4/4. Feel free to correct me tho, I'm not sure.
@@diigdugg Ah yes. I agree with that. Whether or not it actually is 2/4 time or not, I'm not sure. It's definitely not 2/2 time, but it could be 4/4 time, albeit with slightly different syncopation. I mean, 4/4 is usually counted as 1,2,3,4, but you could also count it as 1,2 - 3.4. In which case the emphasis would be on the 1 and the 3. And when you do that, you end up with something that sounds very much like the fade out to Money. But I'd have to check out the official music sheets to know for sure.
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On the riff, some people are commenting that there's no A before the D, so I figured I should clarify: I'm fairly certain there is, but the MIDI example _does_ overemphasize it. It's a ghost note, created through a muted pull-off from the B to an open-string A, and it fluctuates in presence so it's not always there, but I'd say most statements of the riff include it to some degree, and to my ears it feels incomplete without it. (If you're curious what it sounds like, I isolated an example of it over on twitter: twitter.com/12tonevideos/status/1092833670199631873 ) It's hard to do really subtle notes in MIDI, though, so the version I played makes it sound like a full note and that's not entirely accurate either. Sorry about that!
12tone no yeah that note is definitely supposed to be there. It just sounds weird like slurs in Sibelius.
For me the extra A is not supposed to be there all the time, and when you do hear it it’s possible that it’s a different guitar, or the bass drum or something else fooling your ears to hear the A. The first riff in the song, when the bass is alone, is very clearly not played with the A, and the B is muted to leave you in no doubt that the next note is the D. That’s what my ears are telling me.
i think that what's going on is that when the bassist stops the vibration of the a string with his picking hand to stop the b from being a half-note he occasionally does it too vigorously and what we're hearing is the vibrations that causes. the faint tapping frequently heard after the low f# i think is evidence that waters is probably in that sort of overzealous mood
The A before the D is wrong. Watch a video of either Gilmour or Waters playing it on guitar or bass - it's not part of the riff.
There is actually no A before the D. If you listen to the early tracks, demo mixes, and their multitrack breakdown, it's very clear no A is meant to be there. Also, if you watch Waters or Gilmour play this line, that A is also missing. Those A's you're hearing are mostly likely extra filler notes from the doubling guitar and not the bass.
First song I learned to play on the cash register
I like you
JaYf7709 thank you
Austin Kistler I played it on a cash register...
I got fired from my job.
you're a genius
yeah my fender registraster got worn out with this one
One of these days Ima gonna undersrand what you are sayin
Was that pun intended
@@jman9030 yep
That's exactly what I'm thinking too lmao
i hope that was intended
Yo dawg it’s understand.
Love this. The only song that both my mom and my kid said to me, 30 years apart, at the beginning with the cash register and coins "Turn down that noise!" :)
Maybe you should've responded to your kid with... "Yeah? Well I'm about ready to turn down your allowance, young'n!" 🙉
Well, that's depressing.
Montag Alexis imagine getting an allowance
*"I'M ALRIGHT JACK KEEP YOUR HANDS OFF OF MY STACK!!!"*
*"I'M ALRIGHT JACK KEEP YOUR HANDS OFF OF MY SACK!!!"*
If remembered correctly, this line is also present in “The Wall”...
@@rasmusthunberg8967 yup when the teacher reads the poems at loud
Kappa
The teacher:
Poems everybody!
Money get back
I'm alright Jack
Keep your hands off of my stack
New car, caviar, four star daydream
Think I'll buy me a football team
This is just rubbish !
(Everybody laughs )
Holy crap that six beat version of the bass line just made me SO UNCOMFORTABLE. I feel like I need to go take a prog shower.
LMAO
whats a prog shower
Understanding Pink Floyd's "Echoes" ? ^^
and Atom Heart Mother!
the video will be like 3 hours long lmao but it is a tune love it
And Shine On You Crazy Diamond while he's at it...
What key is the submarine radar "ping" in?
I wholeheartedly support this recommendation.
(edit, when I posted this, I got the order of things slightly backwards, the first part is double tracked and the third part is ADTd.)
Another interesting detail about the solo: The first section uses an auto-doubling effect to make it sound like the guitar was double tracked, which contributes to it sounding so big, and also gives a mono-recorded guitar a stereo sound. The auto-doubling is taken away during the second section, making the guitar sound small, and more notably, you only hear it coming from the left speaker.
Then, for the third part of the solo, instead of bringing back the auto-doubling, the guitar is actually double tracked for real. So, it goes back to being in stereo, but now there's tiny discrepancies between the two performances. So even though the dynamic is loud-quiet-loud, there's still a different feel to the first and third sections of the solo.
This is really really great
Genius production
They also pulled out the wet effects for the second section. The solo was played on a custom-made 24-fret guitar, a Lewis.
It was manually double-tracked, btw. Gilmourish.com is the source. Solo # 3 did use ADT (echo, which is what gives it the stereo effect), but #1 was manual.
Here's the breakdown:
Stratocaster, bridge pickup
Bill Lewis Custom 24-frets guitar (third solo*)
- rhythm 1/melody; Colorsound Powerboost
- rhythm 2/fills; Colorsound Powerboost
- tremolo guitar; clean signal with Kepex tremolo (rate 80%)
- solo 1; Fuzz Face and echo (manually double tracked)
- solo 2/mid-section; Fuzz Face
- solo 3*; Fuzz Face with echo (ADT Automatic Double Track)
www.gilmourish.com/?page_id=46
I might be wrong here, but I don't believe they used an auto-doubling effect on the first solo. Those two guitar tracks are very close, but you can hear some subtle differences. The obvious one being the last bend of the first solo with the two guitars bending different notes. Please correct me, if I'm wrong.
edit: Actually the other guitar doesn't even have any bending at the end.
My favorite song by this band, and I've got a theory on the placement of the "turnaround." As you mentioned the bassline is in constant falling motion, but it also RISES as you go up to the F# (and walk/fall back down) and up to the E (and walk/fall back down) so it almost gives a feeling like Sisyphus, rolling the boulder up the hill over and over again only to have it fall back down every time. At the very highest point (the measure of E toward the end) they walk alllll the wayyyyy back down. That makes the last 2 measures of B feel almost like a pickup into the next section (and if you listen to the drums they do a huge extended fill over these 2 measures back into the "crashy" section). To me it feels like we're seeing someone progress through futile attempts at chasing money, you can get close, even achieve the apex, but it all comes falling back down and you get ready to start the humble blues progression all over again.
That's a pretty good explanation! I hadn't really clocked the rising roots part of it, that's a good catch.
Yeah, the first section seems to be "we're loud and full of money", then the turnaround (which sounds like all the money just disappearing), then a subdued section "we've got no money, we can't be big and splashy", then the second turnaround, which sounds like another money windfall, followed by "we're loud and we're full of money" again. A musical rendition of the rollercoaster of highs and lows that is money.
this shit just blew my fucking mind. music can be so powerful man.
I don't know if I've heard this somewhere, of if it is my own thought, but... I've always called this sort of descending turnaround a "Falling Leaf" turnaround. In fact, I think someone in one of the 90's concert videos (Rachel Fury, in DSOT perhaps?) does a hand gesture that looks like the swinging, 'scalloped' descent of a falling leaf, at one point. In the end, all the money in the world amounts to a carpet of dead, dry, leaves at the feet of the dying oak.
And it also ties in with a common critic of capitalism that says the proletariat is constantly fighting the odds to achieve an imaginary and always shifting satisfaction point. You work the whole day, week, year thinking "after that I'll be able to rest/enjoy myself" but that moment never truly comes bc you're tied back to the authoritarian production structure in a constant battle against precarity. The only relief is consumerism that reinforces the machine (reference intended hehe)
I know it's best to not go too much into politics in yt comments but given the band in question and what the song is about it felt relevant
One thing you didn't mention is that the use of 7/4 is kinda feels like a reference to how weeks have 7 days, and for someone who is working relentlessly, that... never really feels long enough.
surprisingly, this is the first time I have ever heard that. That's some great insight.
It´s probably not a reference to that though
I think not.
Nope, you're searching for a connection that was never part of it. 7/4 was just how the time signature fell out when Roger wrote the riff. I've never heard or read him or anyone involved with recording the song ever breathe a word about the seven days a week thing.
S C Hall also to add on to what everyone else said , a work week would typically be 5 days not 7
Another tide bit about the money loop in the beginning. Roger Waters created the tape loop for the intro in his wife’s pottery studio using a Revox A77 Tape Recorder. He recorded various samples, including coins clinking, paper tearing and a ringing cash register, then cut up the tape into seven sections of equal length. By hand cutting and splicing these pieces together then wrapping the loop around the room, Waters created the infamous metronomic sequence that introduces the track and is known as one of the most innovative uses of tape loops.
The internet has the ability to bring to the surface some great teachers... Thanks for the lesson.
Since I haven't seen anyone else mention it.......... The earliest example of what I think fits your criteria for an organic loop has got to be Manfred Mann's song "Machines" from 1966. It's structured much like Money, with industrial sounds being looped in a rhythm before a bassline (and bit of organ) come in to match that rhythm, though it's in 4/4. It's really quite a brilliant song and way ahead of its time in that regard.
I listen to this song on repeat in the car some days.
While you get to a Job? ;^)
I listened to this song at work where I get paid and make MONEY
Analyze Napalm Death’s “You Suffer"
Yes
The greatest 1.5 seconds in punk/metal.
Watch that video actually be 20 minutes
but why?
I think the song speaks to materialism, capitalism, etc... so my take on your philosophy behind the song and particularly the break/pause at the end of the 4/4 guitar solo that you invited comment: in the spending of money from an emotion-based perspective by people, there can be a pleasure, joy, satisfaction from acquiring something, but after act of spending/acquiring is completed, the hole being filled may re-emerge; or maybe buyer's remorse may set-in... so that pause/break may be in deference to those types of outcomes where money or the spending of it is only temporarily satisfying an emotional need.
I'm not a doctor, nor a musicologist, so take it with a grain of salt...
I can't the only one who thinks this is one of the greatest songs of all time, its so badass
One of the six pieces I'm currently doing on drums for SQA Advanced Higher Music.
How about understanding Toto - Hold The Line, another piece I'm doing?
If you're doing advanced higher music, then Rosanna should be the pick ;)
Seriously though, I love how this song (Money) sounds so simple on the drums, but there's a lot of nuance.
Wish You Were Here next, please!
well poor you , i cant get enough of pink floyd , and especially that i just learned wish you were here on guitar
@@guitaristssuck8979 What music would you recommend?
@@guitaristssuck8979 Personal preference my friend.
I heard Gilmore say that thank god Waters chaned it to 4/4 for the solo. And, I love the trasition with Mason banging out the string of 1/8 notes to resync the time.
"Dark Side of the Moon" is my favorite albulm, with Moody Blues "Days of Future Past" a close second. I miss the days of albulms, instead of single song releases.
The turnaround is where it is so that the remaining bars in the 12x2 bar blues line can provide a sort of intro-transition between the solos. Build up and release, maybe?
Regarding the early turnaround riff that you ask about at 6:57, on the third repetition of the 24-bar 4/4 form over the guitar solo, the turnaround leads right back to the opening 7/4 riff. This is repeated for two 7/4 bars, but counted in 3/4 and 4/4, this completes the 24 measure form. Like you said at 6:32, this emphasizes a return to the beginning. They just get sneaky and use the intro phrase to close out the blues form. It fits so well because just like the into sets us up for the bass line, we already expect this bit of cool-down after the turnaround because that's exactly how they end the blues form of 12 7/4 bars during the verse--with two bars of the intro riff over the i chord.
(love this song. thanks for pointing out the variation in production during the guitar solo, I've never noticed what an impact that makes before.)
Tabs?
Bro
Thank you for putting 7/4 and not 7/8, haha. With any musical theory reference to Money, that's the first thing I check.
0:24 "... sarcastic sendup of materialism, Money."
Whenever I hear this song I can't help wondering how many people genuinely think it's some kind of aspirational ode to the supposed joys of capitalism.
I read in some magazine or maybe heard in the "making of..." dvd that the only reason there are common time parts in that song is because Gilmore couldn't solo in 7/8. Either way, great analysis of a great song.
Must be pretty hard to make a cohesive solo in 7/4. Makes sense.
Hadn't heard that one, but I know they had to get session drummers on "Mother" and "Two Suns in the Sunset" because Nick Mason couldn't handle the rhythmic complexities.
You are right, I watched the documentary on Dark Side and to quote David Gilmour himself, it made it significantly easier for him to solo in 4/4 so they made that acoomodation
@@vkolpdj there you go. good to know I'm not just imagining memories at this point in my life lol cheers.
I got a record player for christmas and pilfered my dad’s copy of Dark Side. Can I just say, holy f**k! Money is one of the first Floyd songs I remember hearing. I love your videos, please don’t ever stop making them.
Can u do black dog next
Do some Steely Daaaaan!
Now I thought we were supposed to discuss sequencing as if they were in a major key, but you're calling the Bm the 1 chord. Shouldn't the D be the 1 chord?
6:55 That turnaround coming in early is actually not that uncommon. Jazz really likes its turnarounds (take this with a grain of salt as not all jazz is the same). In some blues forms, they like to throw in turnarounds whenever they enter a tonal shift for emphasis, like a turnaround in bar 4 into bar 5 to the IV chord, or a turnaround in bar 8 into bar 9 to the V chord for examples. That early turnaround is probably meant for emphasis back to the I chord in bar 11 of the form.
Would you review another great Waters classic, "Several species of small furry animals gathered together in a cave and grooving with a pict", please?
"I'M ALRIGHT JACK KEEP YOUR HANDS OFF OF MY STACK!!!"
Love to see you analyzing a song built around the bassline for a change.
Do a video on The Rain Song - Led Zeppelin. Such an awesome guitar arrangement.
Analyze Napalm Death’s “You Suffer"
Can you do the Beatles' "Strawberry Fields Forever?"
The internet has the ability to bring to the surface some great teachers... Thanks for the lesson.
I'm surprised you didn't interpret the bass riff as 3/4 + 4/4, thats how i've always felt it
I would like to know how you understand Little Wing by Jimmy Hendrix
I have no other thing to comment about so...
Ye hey dude you're a lefty like me
Eyyyyy
Sick video. This is the first one I've seen, and it's always been a favorite of mine, as a bass player and a Floyd head. Keep up the great work, it is great for people like me just coming into proper 'music theory' to get cool little lessons like this and see how everything fits together after I've just been playing by ear for two decades
The only song I've heard that managed to make common time just sound weird/different
Me and a drummer friend of mine constantly have arguments as to whether Pink Floyd actually knew they wrote this in 7/8 time or whether they were all too high and just going along with whatever came out. I'd like to think that they knew.
This man really loves drawing elaphants
Understanding Dogs please
The best Pink Floyd tune, hard to find the guys to play it!!! This for the video!!!
what is WRONG with youtube today, it's like a smorgasboard of good content, I can't keep up
forking this; HTME's Science of Transparency and Refraction; forking Songify Groundhog Day; Vox's DeLorean history; Errant Signal's Broken Reality, Vaporwave, and Irony; AVGN-guy's Underrated Action Movies; vlogbrother's TH-cam and Copyright in 2019; a Sam O'Nella video
I love your videos and I always wonder if some of these bands actually put this much intentional thought into these songs or if they were just rolling with something that sounded cool?
Talk about the Wizard of Oz Pink Floyd Dark Side of the Moon synchronization thing please
One thing that has always intrigued me, as a bass player, and I'm a bit surprised it wasn't mentioned. The 'organic loop' (after a brief intro, involving what sounds like the bell of an opening change drawer and the sound of change being scooped from one of the 'pockets' inside) is in 7/4, setting up the meter of the bass intro. But, the bass enters on beat 3 of that 7/4 pattern (or alternatively, the loop starts on 6)... any thoughts as to why?
It would be awesome if you broke down Steve Miller Band's "Serenade". No worries though. TH-camrs are super busy so just keep doing what you do and keep that one in your bag of possibilities for the future at least.
As statistics wouldn't have it, I've not seen the comfortably numb video. I'll watch it next though
"It comes with a good pay off." I see what you did there.
You're right. I did watch your Comfortably Numb video :D loving the Floyd vids!
money wasn't the first organic loop in pop because pink floyd did it earlier on Bike
Pink Floyd isn't pop, and organic loops were around long before Pink Floyd.
@@MrParkerman6 at first I thought you were wrong, but after extensive (seconds) of google searching, I find you are correct. I thought there was something about the loop that was record breaking though and it appears to be the physical size XD
www.songfacts.com/facts/pink-floyd/money
Good job!
You sure picked an interesting song from that album to analyze. Tons of overt symbolism going on in this one. Also if you think you are over analyzing, the song lyrics just flat out tell you hey, symbolism!
"First organic loop"
Tomorrow never knows used loads of loops in 1966, most notably a drum loop.
Please could you do one of these for Wuthering Heights by Kate Bush?
It's funny how you overanalyzed a song while making it interesting to listen to.
Shout out to the fellow Floyd fanatics who will watch literally any content on the entire internet if the thumbnail includes a triangle and a beam of light
I'm mainly an Edm listener. But I do love classic rock. And this is exactly why I consider pink floyd to be pure genius in their art.
Are you being served has a theme tune also starting out with an organic loop based on cash register etc but came out the year before dark side of the moon was released
Love to see you analyzing a song built around the bassline for a change.
Other ideas for "organic loops" - Giuseppe Verdi's The Anvil Chorus (1853)... nothing else will quite give you the sound or feel of blacksmithing, or generally hard work, as a real steel hammer striking an anvil at regular intervals. Anyone else have ideas from before or after Pink Floyd's "Money?"
What about Yellow Submarine?
One thing to mention (that really has nothing to do with theory) is the reason for the guitar solo being in 4/4 time. Oddly enough it's because David Gilmour couldn't play a solo in 7/4 time. I don't remember where I saw it, but there was an interview (documentary maybe?) and he just came right out and said it.
Interesting that you notated the bass line with a pair of 8th notes on beat six because if Roger plays that, it is the exception rather than the rule from what I hear.
The "turnaround" I always counted as 8/4 +6/4 which, as you point out, equals 14 which is twice seven, but what makes it unusual is that it divides it differently so one measure is beat longer and the next a beat shorter.
What about the guitar chords and keyboard parts?
And the sax solo!!
I assume you've heard "Seamus" by PF? They use a dog as an "instrument" in that one. :)
Great video! And, perhaps unsurprising, on the first song to get me into Prog Rock!
I actually get a slightly different feeling from the 7/4 time signature. I find that it makes the song feel a little faster, in that you're subconsciously listening for that 8th beat, but it never comes. To me, it feels almost like the song is skipping ahead a bit each time, giving it that uneven feeling.
I think the effect on the guitar in the beginning is tremolo. But it doesn't change the analysis.
Meters of actual analog tape sections taped together and running outside the reel machine across the room and around a mic stand and back to the machine.
Haven't seen anyone mention any of this....
You mentioned the blues influences throughout the video but didn't make it clear of the swing tempo for both the 7/4 and guitar solo parts of the song. Hopefully everyone is keeping up with your videos and is therefore familiar with swing tempo as common to blues.
However, I have always wondered whether the guitar solo section is better read as 12/8 rather than swung 4/4. I get this mainly listening to the drums which play a fairly constant 12 hi-hats per bar through the second "subdued" part of the solo. Any thoughts?
Would the quickest analysis video ever be "One of These Days?"
He would have a hard time spending 10 minutes to talk about only 2 chords but he would do it somehow
"Money" its like "green onions"
You should do “I’m Only Sleeping” by the Beatles
Holy.... Stop doing this, ive been subscribed to this Chanel for a while and I really enjoy the content alot. But... This has happend 5 times now. I listen to a song for the first time in ages, maybe even try to learn a little on guitar, and then the NEXT DAY you upload a video on it. Im thankful but also creeped out. Keep up the great work tho, i love the videos!
he watches you
7:07 Nice sneaky Star Trek reference, and quite appropriate for what's being discussed
That b minor sounded a lot like the song preceding it. Like, and I’m just going by memory, the opening note.
Is that the right bassline? I don’t think the A is there
You mean on the offbeat between the last B and the D? It's definitely there but he doesn't always emphasize it (and sometimes he outright drops it.) so it's not a super important structural part or anything.
12tone - Yeah, it's not like an intentional note. It's more like he just lets the open A string ring out when lifting his finger. Not quite a pull-off, but it's still there. I think that's why it kind of disappears to a lot of our ears.
@@12tone I swear I can't hear it hahahaha
To my ears and picking up a bass, it sounds like he isn't really playing an A, it's a muted pluck of the A string that comes naturally given the alternate picking and shuffle feel. And even then, he only plays it sometimes. On a tab, for example, it would be marked with an X. It might be more explicitly played in the guitar track though.
Also the drums follow the baseline relatively closely and it plays two strongly emphasized quarter notes there which could also contribute to us only hearing it as two quarter notes in the baseline.
I actually picked this song as a vernacular song to analyze in my college music appreciation course. I definitely didn't analyze it to this detail but the whole starting in 7/4 time was a big point just because you almost never hear anything besides 2, 3 and 4 time with the occasional 5/4 even in art music, let alone vernacular.
Maybe to some it takes some of the romanticism out of music, but analysis like this is what I love about music. It shows there is a technical/mathematical side and seeing the sheet music/midi is like taking a look under the hood of a car or looking at the “code” to a song.
I write music and constantly feel like I’m making all the same decisions, and then I look at another song and realize how many simple decisions I’m overlooking in trying to create something complex. It seems like song writing is more like building a house, you have to start with a simple foundation and accept that it isn’t going to be complex right away.
Don't forget the keyboard comping in minor seventh chords definitively establishing Dorian over the verse riff. The early turnaround in the solos section blues leaves a vamp, basically a wind-up for the next section, evidenced by the long and dramatic drum fills. Oh, and they cut the vamp from the end of the solos section, going straight back to the verse riff. The solos aren't just playing with blues influences, every lick is a classic blues lick. And the first section of the guitar solo is double-tracked, for greater effect. Okay, i'll stop fangirling now. :-)
Hello ! on the solo, bars 19 and 20, if you play a Em over the 'ealry turnaround' as you call it, it's fits perfect. the bass line makes believe you are in B- but actually it fits on a E- ( the 3thd note of the bass at the 19th bar is a G, insisting as the minor third note of the Em. And so, you have to consider the B bass note of the phrase as the 5th of the Em . Rock and roll way...). the 4 last bars are killing the traditional turnaround in blues, in a very resting way (B- tonic chord), like in old traditional blues. --- Bravo 12tone love your channel. (sorry for my bad english I'm french)
Fantastic analysis as always, I'd probably die of joy if you did one of these for a Godspeed You! Black Emperor song.
You should do Understanding Tool - Schisim
Please do "Understanding Megadeth's Peace Sells".
Slapping the F# turn around on the E is because it works & (IT SOUNDS F-ING AWESOME!) In Fact the Entire Song Sounds F-ING AWESOME. No need to go any further. & It sold a ton 🙄😂
Understanding achillies last stand - Led Zeppelin
I’ve noticed your blues elephant and your jazz elephant are probably the same elephant.
The turnaround during the guitar solo is played four bars early, and the pattern is continued for 4 more bars before moving into the quieter part of the solo before it explodes again.
All of those soundscapes on 'Dark Side Of The Moon', particularly 'Money' and 'Time' are because of the genius of a single man...
The recording engineer...
ALAN PARSONS!!!
0:56, not sure about your term "organic loop", but The Beatles used a tape loop in "Tomorrow Never Knows".
Later in that year, Gentle Giant used a similar idea of organic loop on the opening track from In a Glass House (The Runaway)
While your perceptions are really interesting and compelling (especially RE the blues form vs money/profit idea), I always wonder how consciously Pink Floyd (or any such artists) thought about this kind of thing! Is there any proof that they did?
Have you done a video on bohemian rhapsody?
Can you do dream theater? 🤔
Was just listening to The Yardbirds “The Nazz are Blue”. Made me wonder how much the 12 bar blues guitar solo part of Money may have been influenced by this song. It’s one of Jeff Becks landmark blues solos, I find it highly doubtful that Gilmour had not heard it by that point in history. Whether realized consciously or not, it would have been a nice homage without being an outright copy, from one of my two favorite guitar players to the other.
In the Republic by Plato, Book III (398-403), they talk about music in a way I haven't heard yet. They throw around some phrases that seam interesting like 'panharmonic scale' etc. Do you have insight into the conversation they are had?
Have you done anything on how music elicits emotion? Why is it that certain melodies make people cry? And maybe how cultural and personal that may be? Even gendered? Here are some songs that get me, and I don't want to listen to them to much because I don't want to lose the emotional response: Sufjan Stevens: Great God Bird; Peter Gabriel, Mercy Street, Ben Howard, Conrad, and Gregory Alan Isakov, Stable Song
I've also noticed that the several channels that do this kind of analysis seem to stay way from folk, even progressive folk, and oh my god, look at bluegrass!!!!!!! Playing creatively and skillfully within extremely tight rules.
Wiecie co jest złe? :D hehe - koleś non stop mówi, serio, non stop :) Chyba kocha swój głos :) A piosenki i tak nie zrozumiał :D Cheers. Tłumacz muzykę dalej. Tym bardziej prog rock... ;)
Do you get copyright claims?
Here's an easier "understanding" of Money for the layman:
Cash register - 7/4 time - Sax solo - 4/4 time - GUITAR SOLO!!! - 7/4 time - 4/4 time - Guitar/vocal fade out.
Wasn't that fade out technically in cut time? Definitely sounded like it to me.
@@diigdugg What do you mean by that?
@@SpaceCattttt It just feels like the fade out is centered more around 2 beats than 4. Just a two beat repeated groove during the fadeout, which is why I feel that it's 2/2 instead of 4/4. Feel free to correct me tho, I'm not sure.
@@diigdugg Ah yes. I agree with that. Whether or not it actually is 2/4 time or not, I'm not sure. It's definitely not 2/2 time, but it could be 4/4 time, albeit with slightly
different syncopation. I mean, 4/4 is usually counted as 1,2,3,4, but you could also count it as 1,2 - 3.4. In which case the emphasis would be on the 1 and the 3.
And when you do that, you end up with something that sounds very much like the fade out to Money.
But I'd have to check out the official music sheets to know for sure.
teppolundgren teppolundgren That makes sense, although I guess the best choice is check out the official sheet music.
HAHA! The square and compass doodle as you are mentioning "... A point through association" at the 7:15 mark is brilliant! ;)