Guy, thank you for your wonderful characterization of Pat's composition and for your very well articulated performance of it on keyboard. Virtually all of Pat's and Lyle's compositions have such magical melodic and harmonic design and are always technically performed so perfectly. Your interpretations of the elements of music theory in this particular piece are very well thought out and are explained very straightforwardly.
Hi Jim, When I Analyze a piece of music, I try to find something that we can take from it, and try it ourselves. In this case, it's taking something as simple as C-Am-F-Dm and altering it chromatically. Thank you for this comment :)
That and Hermitage show the maturity of Pat even at his young age, and how his association with Lyle developed those basic chords into intricate constructed heartfelt comps. Watching the vids from Germany in the late 70's pulls at my heart, and just to watch Pat play, eyes tightly closed, fingers know exactly where to go. Kills it
Pat and Lyle always make the most beautiful music together. I appreciate you making these videos Guy. These are the types of topics I get excited about. My students and I are always exploring new ways to reharmonize progressions and this is another great concept to add to one's vocabulary. Thank you!
Thanks, Derryl, I find that some basic harmonic concepts can open things up to musicians. And very often it's about something that a talented musician already hears intuitively. They're about the harmonic "areas" beneath the chords. Bill Evans talked about in his interview with Marian McPartland. I'll make a video on that soon!
Hi Peter, thanks! I've been asked before about Au Lait. The thing is, I love Offramp so much I want to keep it a mystery :) (although I did make a video on Are You Going With Me)
So looking for a comment. Hermitage from Pat Metheny live 1980 Germany . The whole concert is so ❤️❤️❤️. Especially the above. Love to see him play with eyes deep closed as the comp just moves his fingers. And Lyle ,
Thank you! and I think you got a point there Michele - it does sound 6/8-ish... I will look into it again. In a second video I made of it ("How to play Sirabhorn") I follow more what Pat it doing on the guitar. That sound of 5ths...
In the first four chords, is it an option to see the Bbm - Gb as a temporary modulation to Db tonality and back to C tonality with the final Em chord? Thanks for sharing your knowledge.
You know, real modulations are something more substantial usually. Like a REAL shift to a new key, that's really being established. many times it's just a momentary chromatic alteration. Don't just go by theory here, think also about the whole story and if you really feel that the music has gravitated to a new tonal center.
Its a brilliant read on it...better than I managed to do and seems to be more in keeping with my attempt to re-hear it with fresh ears. I wonder what Pat was thinking when he wrote it? What exercise was he working on, I wonder? "Written for a gig... utilizing an odd tuning on the electric 12-string...." What was that tuning? He wrote this tune at age 21. Amazing. Here is a good attempt at playing it I just came across: th-cam.com/video/R6hBGQx7fAE/w-d-xo.html
Thanks David. In his songbook he mentioned it was written in 1974, exploring the idea od large interval leaps and the idea of improvising on just clean triads - the A majors and B majors - more of a Strawberry Field influence than standard jazz repertoire of the time.
the guitar was tuned in 5ths. I know because I asked Pat when he did a seminar at GIT. Made it very easy to play. and he said it was playable in regular tuning but its more challenging for the hands.
Guy, thank you for your wonderful characterization of Pat's composition and for your very well articulated performance of it on keyboard. Virtually all of Pat's and Lyle's compositions have such magical melodic and harmonic design and are always technically performed so perfectly. Your interpretations of the elements of music theory in this particular piece are very well thought out and are explained very straightforwardly.
Hi Jim, When I Analyze a piece of music, I try to find something that we can take from it, and try it ourselves.
In this case, it's taking something as simple as C-Am-F-Dm and altering it chromatically. Thank you for this comment :)
Brilliant analysis 🎯
Glad you enjoyed it! Thank you!
I love this song and you are breaking it down. Bright Size Life is one of my favorite albums too.
Thank you! BSL is a very unique album!
Your videos, the better analysis of Pat en Lyle Music I ever seen !
Jacques thank you!
That and Hermitage show the maturity of Pat even at his young age, and how his association with Lyle developed those basic chords into intricate constructed heartfelt comps. Watching the vids from Germany in the late 70's pulls at my heart, and just to watch Pat play, eyes tightly closed, fingers know exactly where to go. Kills it
Pat and Lyle always make the most beautiful music together. I appreciate you making these videos Guy. These are the types of topics I get excited about. My students and I are always exploring new ways to reharmonize progressions and this is another great concept to add to one's vocabulary. Thank you!
Thanks, Derryl, I find that some basic harmonic concepts can open things up to musicians. And very often it's about something that a talented musician already hears intuitively. They're about the harmonic "areas" beneath the chords. Bill Evans talked about in his interview with Marian McPartland. I'll make a video on that soon!
Excellent. Thanks so much. What a mood song. So beautiful
Thank you! Great unique tune by Pat!
Your work is as always remarkable :)
Thanks Maurizio :)
This is a new version of the analysis, with some additional material.
Wonderful analysis! Thank you for taking the time for this 🙏
Excellent as always. Have you done 'Au Lait' yet?
Hi Peter, thanks! I've been asked before about Au Lait. The thing is, I love Offramp so much I want to keep it a mystery :) (although I did make a video on Are You Going With Me)
So looking for a comment. Hermitage from Pat Metheny live 1980 Germany . The whole concert is so ❤️❤️❤️. Especially the above. Love to see him play with eyes deep closed as the comp just moves his fingers. And Lyle ,
woah, another great video. thank you soooo much!
Thanks, Matheus!
I wanted to upvote the video until it was finished...but I couldn't wait. :)
Great job you did, thank you for this all. Grtz
brilliant
Brilliant! thanks! ...I am wondering why the lead sheet of the real book is in 3/4, any chance that you have a better transcription, in 6/8 ?
Thank you! and I think you got a point there Michele - it does sound 6/8-ish... I will look into it again. In a second video I made of it ("How to play Sirabhorn") I follow more what Pat it doing on the guitar. That sound of 5ths...
I agree 100%
Thank you! I’m glad to hear that! 🙏
In the first four chords, is it an option to see the Bbm - Gb as a temporary modulation to Db tonality and back to C tonality with the final Em chord? Thanks for sharing your knowledge.
You know, real modulations are something more substantial usually. Like a REAL shift to a new key, that's really being established. many times it's just a momentary chromatic alteration. Don't just go by theory here, think also about the whole story and if you really feel that the music has gravitated to a new tonal center.
@@dr.guyshkolnik_composer Thanks for the reply.
at 7:28 "The relative major of Am" ? grtz, Luc
Luc Be yes!
Its a brilliant read on it...better than I managed to do and seems to be more in keeping with my attempt to re-hear it with fresh ears. I wonder what Pat was thinking when he wrote it? What exercise was he working on, I wonder? "Written for a gig... utilizing an odd tuning on the electric 12-string...." What was that tuning? He wrote this tune at age 21. Amazing. Here is a good attempt at playing it I just came across: th-cam.com/video/R6hBGQx7fAE/w-d-xo.html
Thanks David. In his songbook he mentioned it was written in 1974, exploring the idea od large interval leaps and the idea of improvising on just clean triads - the A majors and B majors - more of a Strawberry Field influence than standard jazz repertoire of the time.
the guitar was tuned in 5ths. I know because I asked Pat when he did a seminar at GIT. Made it very easy to play. and he said it was playable in regular tuning but its more challenging for the hands.
You NEED to take the PMG out to the world, since Pat is not