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- เผยแพร่เมื่อ 24 ก.ย. 2024
- Support Option #1: Patreon.com/GUIM
Support Option #2: paypal.me/BJsSchoolofMusic
Twitter: / guimmusictheory
Upper-level Music Theory Group: Facebook.com/Groups/MusicTheoryII
Welcome to the sixth installment of Analyzing Harmony. This is a series that focuses on, predominantly, the element of Harmony in music with additional commentary on melody, counterpoint, and form when directly related. This series will look at a variety of musics but mostly various periods of the Common Practice Period (Baroque, Classical, Romantic), early 20th century musics, and retro VGM (NES - PS1).
In this particular installment we'll be delving into Anxious Heart from Final Fantasy VII on the Playstation. This is, of course, composed by the legendary Nobuo Uematsu!
This is a theme that is composed almost entirely around Chromatic Mediant relationships, so if you enjoyed EP 02 which looked at Valkyrie Profile's Counterfeit Self you'll sure to find enjoyment in this installment!
As a professional musician, I really do appreciate these videos! Uematsu's use of various modes is fantastic indeed. Would love to see what you have to say about the V13ths, usage of 7/8 and 3/8 time and other crazy stuff that's going on in One-Winged Angel.
Thanks for the kind words! I plan to eventually tackle the various battle themes of Uematsu, for sure! I have a lot of Uematsu tunes transcribed. It's so hard to pick which ones I'll make videos of first! Haha!
I'll be doing an installment on Kuja's Theme from Final Fantasy VIII. I'm not sure when it'll release, but I plan to have it up on Patreon in the next month or so. It's a really happenin' tune built around Chromatic Mediants, but in a not so obvious way. You should check it out if you're unfamiliar!
Also, if you're into odd time signature stuff, I'll be doing a lot of rhythmic analyses of Motoi Sakuraba's tunes (especially those from Valkyrie Profile) which are all of the place with time signatures. I'll be debuting Analyzing Rhythm if I can reach the financial backing to unlock it.
@@GUIM1797 oh sounds neat! Another great theme with an odd time signature (23/16 to be exact) is the Ganondorf Battle theme from Ocarina of Time. The rhythmical dynamics over there are also very whack! Looking forward to your next videos!
@@spyroschristoulakis6296 If you haven't checked out 8-bit's channel yet, I strongly recommend you do! He makes videos similar tho this and has made one on odd time signatures, since you seem to be very interested in that --> th-cam.com/video/5JRojRIA1ng/w-d-xo.html
@@linuskuehl7399 thank you!
I wished that I found your video earlier. Back in year 2014 Dec, I bought an electronic keyboard because I wanted to do covers of Final Fantasy music especially from those series composed by Mr Nobuo Uematsu.
I really love this video especially I tried to play Anxious Hearts on keyboard but I was having no knowledge of the music theory that this music contained.
I just play according to the chords in the music sheet and play the melody by ear.
Thank you for this video. I can get a clearer picture of the actual chords and under this music a little better.
Outstanding video, @GUIM !
WOW. Thanx so much ! Very helpful
This video is fantastic, some solid theory and analysis!
Thank you!
Fantastic video as always!
Thanks!
Okay, I'm gonna be honest here: GUIM, a lot of what you say goes way over my head, demonstrating that I don't know nearly as much about music as I think I do. For example, at 13:30, you say that the G, Bb, and D are neighbor tones, not chord tones, and I can't help wondering what you're basing that on. I'm not disagreeing, mind you, I just don't know where you're getting that information. That said, I am loving your videos!
Right, that's because those notes are embellishing the chord tones of F-7. Notice that D and F as well as G and Bb are used to embellish the notes Eb and Ab, respectively. In this sense, even F is used as a Neighbor Tone (locally) despite it being a chord tone of the actual chord.
Since we have both Neighbor Tones (Lower and Upper, respectively) appearing between the chord tones we can refer to them as forming Neighbor Tone Groups.
So rather than the simple form of...
Eb-D-Eb (Lower) or Eb-F-Eb (Upper)
Ab-G-Ab (Lower) or Ab-Bb-Ab (Upper)
... we get...
Eb-D-F-Eb (Lower-Upper)
Ab-G-Bb-Ab (Lower-Upper)
The decision to view them as embellishments stems from looking at where they're coming from and where they're going. Locally (and structurally) they do nothing more than decorate individual tones. As a result they're reduced to surface level embellishments.
Hopefully this clears up a bit! It'd be easier to demonstrate this with sheet music and audio examples.
I love your analysis! Will you be doing any more from ff7? I really hope so! Either way thanks for the great content!
Thanks for the kind words! And yes! I have plans to do loads more of the FF franchise with FF7 included! :)
@@GUIM1797 Wow thank you for the speedy response. Awesome! That's great news. it's one of my favourite game soundtracks and to have you explain the form and nuances of these pieces as thoroughly and clearly as you do is amazing! thanks again for your great work!
@@Audiojunkk Let me know if there are any tracks in particular that you'd like to see. It's a huge OST so sometimes it's hard to select a track to work on! Haha.
That said, I have a little over twenty tracks already transcribed for FF7!
@@GUIM1797 ah mate i'm sure whatever you pick will be great! But some highlights are ones like Mako Reactor, The main theme, Shinra company... it's too hard to choose! Love the use of loads of dissonance in a lot of the music especially when contrasted with how comical a lot of the rest of the score is haha!
Love your videos ! Did you do videos on more crazy music like the boss or battle theme from FF7 ?
Thanks for the kind words!
I haven't done any Battle Theme analyses from Final Fantasy yet, but they're in development!
@@GUIM1797 still need a webcam ? tried to message you on Facebook
@@RemiDav Sorry for the slow reply! TH-cam failed to let me know about this reply! I am still in need of a webcam (I'm looking to eventually get at least two of them). Right now I'm looking at the Logitech C920.
I haven't been on Facebook in a long time (couple of months or so now). If you want to contact me directly you can send an email at GuimMusicTheory@gmail.com or through the messaging system on Patreon.
I wish people spoke in roman numerals instead of chord letters
4:49 wouldn't it make more sense to, instead of labeling the whole bar here as C major, label it as Csus4 going to C? It's a common cadence and I feel it might better describe what's going on with that move, although I can see why you might just look at is an appogiatura . Great video, though!
Thanks for the comment and kind words!
I imagine for many that's how they would approach the labelling, but since these videos are not about performance and include me talking through the music I take liberties with certain aspects of labelling.
I don't actually view it as an appoggiatura, I view it as a suspension which is what Csus4 implies. Later in the video I use 4-3 in the labelling to visually indicate F is a suspended 4th. I also mention at around the timestamp that it's a dissonant/embellishing 4th which is, again, what Csus4 traditionally implies at its core.
When the suspension is used as a clear embellishment I usually won't write out a chord label for it because (A) I'll typically discuss it in the video and (B) sus4 is inefficient when it comes to spacing (it takes up a lot of horizontal area wasting loads of vertical space). Sometimes I'll fuse figured bass with chord symbols to indicate embellishments though (this is most commonly done with Cadential 6/4 chords).
With this all in mind though, I wouldn't view the suspension as a structural element of the cadence. The cadence itself, to me, is just a Half Cadence, i.e. the phrase cadences on V. I'm in the school of thought that views the embellishments as surface elements rather than structural. I wouldn't include a Cadential 64 as a structural part of the cadence either. It was still just be, structurally, a V chord that is embellished on the surface.
I'll keep your thoughts in mind though!
@@GUIM1797 Thanks for the reply!
Also, on re-reading my comment, I realized I might have come off as trying to correct you, which is not what I intended. I was more just curious as to why you labeled it that way (which I get now) but realized that what I wrote didn't necessarily meet that tone.
@@linuskuehl7399 No worries, that's not how I took it! Besides, some of the things I do are atypical so I'm totally open to discussion! :) Curiosity is certainly welcome here!
Thank you for clarifying though, text based conversations can easily go awry.
By the way, this Sunday I'll be releasing either a Harmonic Analysis of a track from Madara on the Famicom or a Melodic Analysis of a track from Legend of Mana (I haven't decided yet)!
Umm i don’t really know what any of this means am i weird for watching this without any music background or prior knowledge cus i just hear wierd mumbo jumbo and think it sounds cool