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i fully agree with the idea of getting into the videos without the long intro. The long intro (to me at least) comes off as being very cleary being read off a script, which obviously it is but the audience should't really feel like you are just reading something at them. I personally love the more as you go and sort of conversation feeling that comes from youtube, audience connection and entertainment is how channels grow!
I like your choice of Abdim7 for exactly the reasons you laid out. The chromatic descending line is there either way inside the chord progression, but by putting it in the bass notes it draws our attention to it in a pleasing way.
The iv may be schmaltzy, but I still love it. I find it so satisfying because of the way the notes resolve downward into the I. It's the same thing with the V as the final chord in a progression. Is it overused? Sure. But there's a reason it's overused (because of how satisfyingly it resolves). Also, there's a quality of nostalgia and heartbreak to the iv that I'll never stop enjoying. And at least it's outside of the key, which offers momentary interest no matter how commonplace it's become. Nothing bores me more than a purely diatonic progression, especially one that's been used too often (I-V-vi-IV, etc.). Is the iv as exciting as something truly out there? No, but it could be a lot worse.
Your chord change (m.16) produces a kind of development after hearing Brians' earlier in the tune (m.8). It's the kind of thing that makes ear-trained guitarists barking mad.
@@minnixmusic thanks a lot. He is a fun one too try and imitate and has a much looser sound than the other Beach Boys. Thanks for watching and commenting
The one I wanted you to achieve ! Also the 1970s solo version is different, very sadly sung, less harmonic (piano only) and with new chords progressions at a time.
I think 6/8 is the most accurate way to describe this song but I always have trouble with this myself. The only way I can wrap my head around the difference between 6/8 and 12/8 is how to feel the backbeat. The Purdie shuffle is in my mind the prototypical 12/8 groove. Also Fool in the Rain and that one Toto song. 12/8 would make this song feel like it was in half-time. Probably doesn’t make much of a difference for chord charts but I imagine it would when notating specific rhythmic ideas. No different from deciding whether to call something 2/4 (polka feel) or 4/4.
I think about it in terms of phrase length and how regularly the chords change. It's rare that a progression is only changing chords every 12 eighth notes. Most songs in 12/8 are better described in 6/8, imo.
I like your version, but neither is clearly superior imo. It's just subjective. I would guess that Brian might think your version is too simplistic maybe
Sure, get right to it. Ach! I think you're studying the first line too much, and the Bb-6 is not schmaltzy! Dennis' voice is intentionally sleepy, you're doing that attempt well. There is a rhythm/instrument minus vocal of the BB track that I think displays different 'feels' than what you're explaining, but what the hey, close enough.
I"m pretty sure that viewing it is voluntary. I have a specific style of teaching some may dig it some may not. The main part of my lessons is the chord progression analysis and on this one I decided to go into that within the first couple minutes instead of after like 20 minutes...
@@HABLA_GUIRRRI yeah that's not a bad idea. My thoughts were that most of the people are pretty geeky Beach Boys fans but I can't assume that everybody knows these songs. Thanks for the suggestion
