I think I need 5 more lives to get 5% of the geniality of PMG's music... it's so deep, so complex and yet so easy to listen, it is within milli seconds deep in emotions, there is comfort, love, passion, truth... WOW! Almost listening to this music for 40 years and the magic is growing and growing!
So deep so complex and written with absolute clarity. And the sound doesn't get dated because it's made of so many layers of sounds - nobody can copy it.
Plus the melody line at 8:10 adds the Lydian context to the Cmaj7 which immediately sends the listener to that sentimental place which the mode does so well. Love your videos!
Thank you! Another way to look at the Cmaj7 is as IV of G. When you play a song in G major and go to the IV - C, the note F# is a natural part in Cmaj7. Not because it's Lydian - but because it's part of the scale. It's true that many songwriters may not use that sound, but it IS available as part of the scale.
I've always been in love with the Pat Metheny Band, especially Lyle Mays. They are pure geniuses. I can't read music but your classes explain why I love it so much. PS you can really play the piano. Please keep the classes coming. Thank you so much.
What a phenomenal lesson! Much of Pat's stuff has hit me in the heart for decades, and I may have noticed something was up unconsciously, but you put your finger right on a big part of it. Thanks!!!!!!!!
I can't follow all of the harmonic analysis, but I certainly understood and appreciate your wrap up explaining the idea of our perpetual hope/tension that the shortened chord value causes... pretty cool (and I agree!!).
A BIG Thank you! You analyze in depth the essentials with your skills and your feelings as a great musician. And your focus on Pat and Lyle's music is a great choice. I will follow you for a long time.
Thank you, Sergio! From what I've read in Pat's Songbook he composed this ballad one night after a show, sitting on the piano while the crew was "tearing down all the gear with only the piano remaining, with me annoying them by continuing to work after the show was over" :)
I would say 'oh yeah man'. Lyle Mays (RIP brother) had a genius about coming up with beautiful arrangements, I worked with PMG as a staff recording engineer at A&M records in the '90s. The whole lot of PMG musicians just amazed all of us. So tight and focused, they were ready most all the time. I've followed PMG from then to now religiously, music I was dedicated to. Nice video for all who appreciated their music innovations!
Amazing work, Master. Very helpful explanations, not only in terms of progressions and chords , but even for analyzing details that makes music so special and artistic
Brilliant work.....For a song writer and Pat Metheny fan like myself your videos are truly inspirational. I wish I'd had these insights 20 years ago....I can't get enough.....Thanks so much
Great channel! I really enjoy your perspective on songwriting and what makes good songs interesting. It’s a very unique way of looking at things! I would humbly suggest however to obtain a mic setup that is either on you or close to you, so that there is not so much room echo. It will really go a long way to improve the overall quality of the production. I look forward to more of your videos and Thank you!
Thanks, Anthony! Being a composer, you can't help looking at great songs and ask why is it so... Music theory can give some good answers particularly classical theory which (at its best) deals more with how music moves, those "lows of attractions"... About the sound, I think It got better in the last few videos, I changed to a shotgun mic. It's a learning process :)
Thank you! I've been always obsessed about why certain chords sound magical in the hands of some composers. Timing has a lot to do with it! And Thank you :)
Personally I think what's really interesting about this tune by Metheny is not what you're talking about but something else. It's very hip and harmonically sophisticated the way many of the chords are serving "more than one function" in a sense. A clever use of slash chords, scale wise root movements, moving bass notes over triads, and using enharmonic equivalent's in a clever manner. The first clever thing is the song starts on IV major instead of the typical I major and therefore moves from: IV G maj to V A maj to I D maj. The bass line though stays on G until the I major chord arrives, But instead of using the D as the bass note Metheny takes advantage of enharmonic equivalent's here. D maj and F# min have the same notes except for the root. So he moves the root (AKA the bass note) of the D maj chord to F#, the ii minor chord in the key of Emin. so in essence its a cleverly disguised ii V i from F# min to B/D# to Em that is written as Dmaj7/F#, B/D#, Em. so the Dmaj7 with F# in the bass is serving as a I Maj7 but it could also be written as F#m, the ii chord in the subsequent 2 5 1 leading to Em, Then why not continue the madness right LOL? So since Em chord and C Maj7 are enharmonic equivalent's Pat cleverly moves the bass note again this time from E to C thus changing the tonality of the tune again from minor to major just by moving the note the bass player is playing. ii Vmaj i IV an unusual progression that sounds beautiful. BUT SINCE YOU'RE A PROFESSOR YOU ALREADY KNOW THAT. So here's the answer your looking for on the rhythm thing. Even though the song is written in 4/4 in the songbook if you count it in 2/4 then the mystery LOL is revealed. If you count it in 2/4 notice that the pulse of the song is heavy on 1 (that's on 1 & 3 if you count it in 4/4). So the pulse is on 1 right where Mr. James Brown taught us it should be :) In 2/4 the pulse is heavy on 1 and space for the ambient melodic ballad to breath on 2. However occasionally in the tune the bass will walk to a 1 chord with a pulse (note played) on 1, 2,, & 1 again. That's cool though because we arrive on a resolution, a I chord (or a nice harmonious major7th IV chord) AND it does NOT disturb the original "groove" 'of the tune to do that. It's just a walking bass line all quarter notes (disguised 251) leading to a tonic chord. The whole tune is essentially based on those concepts.
Invaluable, extremely hard-to-find information from somebody who is obviously a very knowledgeable musician. Just wondering if you could use an over-head camera in future videos so that we can see exactly what you are doing at the keyboard. It would be the icing on the cake !
Thanks, Devan, yes harmonic rhythm means that you go one level deeper in personalizing your harmony even if you relay 95% of the time on a steady harmonic rhythm.
Thank you very much for such great material! Very insightful! Yesterday I was just analysing the song "Make Peace" (Metheny/Mehldau) becouse I was obcessed to know why the the D chord sounds so good. The melody goes: A E F# and the D chord harmonizes this F# (a third)... It happened that the preceding chords comes from a modal interchange.
Now, why doe's it sound so good - Excellent question! I think you're right. It's a momentary shadow from the minor. And to add to that, the minor chords (F, C) are falling on the first and accented bar of the two (the second one, the weaker is the D). To me, It only makes the D less sure of itself, more of hope...
Great insights and analysis, Guy. I always learn something new from your videos. Thank you for the thought, effort, and time you put into them. Peace 🙏
Music Theory is a science that's so beyond me, in this lifetime, but I sure can tap the ethereal and maj7 is magical for me. I appreciate this because it's so uplifting!!!
Naked Moon is one of my favorite Metheny ballads (more like a hymn IMHO), I wonder why it only ended up on a live album. I like the way you make a connection in your videos between the musical elements and human behavior/thinking. For example, in one of the videos the progression didn't end up on the expected chord, and you said "Ab denied it" like it was a real life situation". I think this subject is not discussed enough, and I think that subconsciously this is how people connect to certain music. Regarding harmonic rhythm in the example of I Say a Little Prayer, another way to look at it is from the point of the rhythm. The bar was short due to the rhythm of the lyrics, so there was no time for the last chord to extend.
Thank you! I agree with you on I Say a Little Prayer. And about what you said about the "human" interaction between the notes, maybe it's also the influence coming from listening to a lot of (specifically) Mozart instrumental music. His concertos for piano and orchestra are written like operas. You can hear the orchestra, supporting, objecting, understanding... Great stuff.
@@dr.guyshkolnik_composer This song moves me so so deeply - every time - gorgeous - I am leaving each of my son's a Pat song ...and this one I am leaving to my youngest son. - A beautiful boy!
@@barbarapeacock317 That’s one of the - that is the most beautiful thing I’ve heard in ...a month (since my youngest daughter, 3 years old, asked me, “What is empathy?” and then proceeded to listen to and remember my brief definition).
A strong resolution on a weak beat used as a turnaround to strengthen what would’ve been a weak modulation to a new temporary key. And I just realized it’s sort of a displaced rhythm changes turn around. V7 to I to VI with the I chord being minor. Hidden familiar root motion Inside the novel harmonic rhythm that just plain helps it work. Jeebus, Pat knows his shit.
Man I'm really appreciating your videos. I'd love to see some Bach videos...I know there's tons to learn from the chorales but not sure how to approach them sometimes.
In the chorales, the key for us is to be able to see the essential harmony through all the additional melodic activity of the voices. I will make a video (or more) pretty soon. Bach's fugues were the subject of my Ph.D. work. There's a reference to Bach in this video ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-eHqHLtZeWhU.html
Big fan of yours - I've been watching your videos for some time! I haven't delved deeply into your channel, but I'm wondering if you share any of your own compositions?
Edson, I believe also that when he let the melody lead the way, it can take the harmony to unfamiliar places. Not only What chord, but also Where and when. Thank you!
@@dr.guyshkolnik_composer perfect. I work making music for advertising, commercials and movies. This subject is always around because you got to make melody/harmonic resolutions in unexpected places to fit the scene. I love this "surprise" in all kinds of music. You talked about "Last Train Home" intro, don't you? P.S.Pat and Lyle are genius. Thanks again!
@@mikeo2420 What Can I say? There are many outstanding musicians, but with Pat, it's like he has made a decision only to put out music he's 100 percent emotionally involved in. I mean the level of how much he cares about it is very very rare...
Tell me about it... the first thing that comes to mind is how much he CARES about music, I think it all begins from that. And thanks for watching Neil! (a new video on 'The Way Up' coming soon)
Good ears! In the last two bars of the intro, you have the short D chord in the first half of the first one before moving to A. Also interesting how she opens with a dominant D7 chord.
10:55 I don't think people think of it as as two missing beats. Lot's of songs have missing beats or added beats. In this case I think It's serves as a transitional section with emphasis. It makes the song more interesting. Lot's of progressive rock songs have strange time signatures like 4/4 followed by a measure of 7/8 or something like that. I have written pieces of music with dropped beats or added beats and not even realized it until I was arranging a drum track or overdubbing another part. Of course I'm not a drummer. I suppose drummers notice these things while they are playing.
The point is what it does to the harmonic progression. Rhythmically alone it's no big deal but combined with the harmony can be the reason why a common progression may sound so effective.
@@dr.guyshkolnik_composer Yeah the harmony is beautiful but the dropped beats make it standout. Kind of like emphasizing the chord. Like saying listen to this. Bachrach is musical genius and it is part of the main chord structure. But dropped beats are pretty common in a lot of rock and pop music. Like when transitioning to a new section. Or maybe during a turn around. Or maybe right before the bridge. Or towards the end of a song as the chorus repeats. It adds an air of urgency. Like you are moving forward quickly. Rick Beato demonstrates this in this pop/rock song: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-dJgrXqvpXF0.html
