Some additional thoughts/corrections: 1) I should note that, while the Bb chord resolving to A is, I think, the strongest resolution in the loop, it's still not _that_ strong: It's Bb major 7, which means it contains an A, and if you're trying to resolve somewhere you usually don't want to play the root of your target chord before you actually go there. The presence of the A means that gravitational pull is a little blocked, but I think the melodic emphasis on Bb still gets you some resolution even if it's not as strong as, say, Bb7 would be. 2) Yes, one possible name for the pattern I described is "syncopation". Very clever, thanks for noticing. My point is specifically the structure of starting on the downbeat, then bouncing off it with a shortened note and staying there for some predetermined amount of time before returning to the beat. It's a subset of the broader category of syncopation. 3) Sources differ on exactly how many saxophonists they went through: Some say 9, others say 11. I found interviews of Gregory saying 9 and couldn't find any first-hand accounts for the 11 one, so I went with 9, but the point is it was a lot. 4) I should note that apparently Michael only heard the sped-up version, and may not have even known that Gregory had initially recorded down a half-step, which may have affected his judgment. 5) What's that? You didn't click on a video about saxophone beeps and boops for an extended digression about the ontology of artistic experience? Well, good news, you got one anyway. 6) As far as I could find, Cummings is just credited with "percussion", so the specific identification of congas and tambourine was my best guess. I think it's right, but I'm less confident than I would be if I'd had a definitive source. 7) In retrospect I wish I'd spent a bit more time on Murrell's part, it's simple in concept but he develops it in some really cool ways. But the video wound up super long as-is and I didn't want to push it further. But his use of cross-sticks in the verse and the low tom joining the tambourine's accent on 4 in later section are both great touches. 8) There's reverb on the vocals in the verse too, but to my ears it's much thicker in the chorus.
The rhythm for the saxophone is a variation of a 7+9 subdivision structure that I see all the time in fusion-jazz inspired rock, metal, and pop. I just call it 7+9 or 9+7, where the rhythm starts on beat, syncopates, then corrects itself like you said. But this is a lot lower tempo than how I'm used to hearing it, and the fact that it's being played on an instrument with very little "attack" makes the rhythm sound extra fluid and, to use a technical term, swanky.
No, the strongest resolution is the Amin back to Dmin. It’s a modal V minor to I minor resolution. Root movement is V to I. I just don’t understand your desire to see week beat resolutions. C’mon man, this is Modal Harmony 101. Strong resolution defines the key. It’s not A Phrygian, not G Dorian. It’s D Aeolian. Just look at how many times the melody hits a D on a strong beat. If you’re analyzing resolutions on weak beats and weak bars it’s time to ask Musician’s Institute for your tuition back.
You're my best friend that I've never met, 12Tone, haha. Seriously though, I m soooo glad there is a channel like this that not only studies songs this deeply (like I try to, ever since a kid it was just natural) but also has the training & understanding to solve the problems and answer the questions those of us with a lower level of education are hearing, and Cana tell they are there, but you know the name for it and the history behind it. Doing that is exactly what got me obsessed with music theory in the first place, knowing the really name and history behind what I was already doing naturally in my music, and pushing that further is what got me interested in getting back into school (I'm going to Berklee now, doing the first couple years online, so far I've had all A's. which you'd think is hilarious, if you knew my academic history.) The way you break it down, feels like the way I break things down to my students (I'm a guitar, bass, & music production teacher.) albeit your version is a lot more complex and researched lol, but I love to hear it. Especially when you say something like "and thats how it always is, butttttttt" hahaha. There is always an exception, isn't there lol. I just wanted to say thanks dude, keep up the sick work
I desperately need someone to do an in depth compositional analysis of Let Your Love Be Strong by Switchfoot. The chord progression and melody are just so unique and it's slightly beyond my ability to really deconstruct and understand. There's some really cool theory behind this song and I need someone like you to explain it to me. Please! If you don't already know the song, I highly recommend that you listen to it. I know you'll love it. Thank you 12T ❤
definitely. It makes it very emotive and soulful, and the darker theme gives it a bit of a for lack of a better word 'smoky' vibe, which works well with the (I think) smooth jazz sorta thing the song's got going on.
I think the saxophone serves as a sorta symbol of empty pleasure in a way. Its a loud, very emotional instrument, but it alone doesn't tell the full story of the song. Sex via cheating is kinda all about empty pleasure, and the voice is what communicates the regret that comes out after. Especially in a minor key like it is. Its also amusing you mention the syncopation too, given one of the most iconic lyrics of the song is "guilty feet have got no rhythm".
The saxophone riff being played on a tenor, but sped up to the point that it sounds like an alto is fascinating. Having looked at the sheet music for it though, it's much easier to just play it on an alto. Everything easily fits into its range without any need for tricks in the recording booth.
I went to a Latin convention once in a big roomy hotel, where one kid brought a sax and played this over and over from different locations, and you could hear the echo from across the hotel. Truly a hilariously formative memory.
I had no idea about the speeding up of the slowed down pace. Once you slowed it back down, I instantly went "THAT'S a proper saxophone!" something I'd never noticed that the sax always felt "off" before, but couldn't articulate.
You know what that 11:35 timbre always sounded to me like? An acoustic “lens flare”. Of course I had no idea why it sounded that way, but I sure noticed the result.
I wanted to let you know that one of your videos started a music-oriented butterfly effect on my YT algorithm which eventually resulted in me finally buying a keyboard, which has been so much more rewarding than I ever could have imagined. Thank you for what you do
Learning music theory is great, but there's something special and unique about actually using your hands to investigate all those sounds. I started playing guitar last year, and I don't regret it.
i watched his hotel california video during covid, and since then i’ve somehow arrived to playing upright bass in gigs every week. it’s a long story but u never know where these videos will take u.
Proposition: A 16th note that is played to move 8th notes into off-beat syncopation should be referred to as an Offset Note. That's all, that's the post.
That makes a lot of sense as that’s the term that’s typically used with sequencers for the parameter that moves the first note of the sequence to another point in the measure.
Loved the lore behind the sax glissando! Being gen x, this is the very song that had me dance close to a girl pretty much for the first time as a 12-13 y o. I don't remember anything about my dancing partner, but I remember the whole body experience of holding someone close and moving together in tandem. It was a powerful thing.
Empty casual sex is all about physical pleasure and/or emotional pain depending on how aligned the parties involved are, or aren’t. So the transmutation between pain and pleasure with regard to how the riff is read makes perfect sense. Because it’s both. At once. Or can be. Or will be over time. Thus the song. Past George saw and felt the pleasure - present George sees the pain caused by his casual treatment of his partners in pursuit of his pleasure.
Even though this was the song of my very first slow dance in middle school, I've always thought of this as a sad song rather than a sexy song. The minor key and "never gonna dance again" was enough to do that for me.
i LOVE the candidness in the outros lately. it feels conversational, and i LOVE IT SO MUCH. and also, SIR. keep us informed about your vision. that is why we are HERE. we're here for WHAT YOU DO. keep it up. :)
I am surprised by the fact that rarely, if ever, anyone notices the fact that the nain theme is a variation of thev"cry me a river" lick, which in turn is one the most quoted licks in the history of jazz
I think this might be your best video yet. Especially the section from 3:16 onwards, "the observation is what makes it art" and "meaning is always emergent" are pearls of wisdom. Thanks.
Additional insight on the problem with F# on the saxophone: In the natural range of the saxophone, the highest note usually sits at F, which puts the F# just out of reach without having to either A) swap to the low end of the octave register at some point in the glissando, requiring the simultaneous use of the thumb key and most (if not all) fingers - very awkward and difficult to do, almost guaranteed to sound muddy, B) play the F# as an overtone, which requires slightly unnatural fingering to get threre through the glissabdo but also an extreme change in amberture (the shape and angle of where the lips meet the mouthpiece - also a very terrible and messy way to do it, C) play the whole lick in the octave register, which is impossible when Bb tends to be the bottom note in range and the glissando starts on an A, or D) have an instrument with the rare high F# key built in. This applies to all saxophones, since this is in regards to the instrument's pitch, not concert pitch. Same for all instruments that don't play in concert pitch, really. Sax, brass, clarinets, etc. Seemingly few non-string instruments are notated in concert pitch AFAIR, hence the talk about F# on a sax despite writing an E on the sheet music in the video. Lots of wind instruments have issues like these, and part of the tricks with orchestration is knowing which problems need to be avoided for what instruments.
Thanks for sharing this! I just discovered this video on 'Careless Whisper' today (June 1st, 2024) but back in April, I had trouble overdubbing a saxophone part I was playing on a piece I am currently working on with my small band, and I was thrilled to see that I had in fact ended up solving my difficulties playing the part in almost exact the same way you describe here, albeit with modern, digital tools at our disposal. Some things never really change... I, too know of the difficulties hitting that F# on a saxophone.
Fun fact: the sax part was written by George Michael. You can find interviews confirming this. That might be why it's not a "normal" sax part. Also, as an alto sax player, it blew my mind to learn the sax was originally a tenor, because playing it on alto sounds right.
Fantastic choice of song and great job. I have loved him since i was little. This song appeals to so many people with such diverse taste and it's cool to hear what things can make such a universally loved song.
I'm predominantly a guitarist, but I played tenor sax for 8 years in school. It's pretty nutty the tricks you can figure out with the keys - alternate fingerings exist but there are WAY more than standard books tell. I always thought it was an alto, cool hearing it slowed down briefly.
The melody, harmony, rhythm, and instrumentation tell us the subject is sensual and sexy, the lyrics tell us that it’s about a failure of that. It’s like in tarot, whether you believe the factuality of it or not, the interpretation when the card is in inversion is different from when it’s in the upright position.
The sax solo puts me in mind of a man chaotically falling down a hill, lying at the bottom for half a bar, before picking himself up and steadily climbing back up ... only to immediately fall back down again. A sense of a sisyphean cycle of pain and regret.
Monoloop Noodling - "I will survive" is my favourite Monoloop. Gaynor's is best but the band Cake version got me playing it on guitar. Monoloops are great fun for noodling as you try differrent variations and conversation with what else is going on in the tune. Thanks for another intresting video.
I think putting the tonic second creates a push-pull effect; We are drawn to the tonic, yet when we get there, we are pushed away. I think this keeps the loop going in perpetual motion.
Thank you so much for this. I’ve always loved this song, and seeing it broken down like this is great. Also, it’s given me an idea on how to finish a song I’ve been working on that I don’t think I would have come to without your explanation of the significance of some of the harmonic choices made in the song. Now to go watch Deadpool again.
Great summary of the importance an audience is to art! It’s something that many people today tend to overlook/hear when viewing the arts of any kind. It’s for the people that witness it to connect the artist’s perspective of an idea or experience with their own.
everyone: talking about him analysing the song and how it gives them inspiration and is interesting and what not me: THE DRAWINGS ARE SO GOOD AND INTERESTING, THEY MAKE SO MUCH SENSE TOO, AND IT'S SO COOL AND SMART we need to give his visual artistry more praise
As I watch the video and don't recognize some sections, a realization: everytime I think about this song, or whenever I sang it in karaoke, it has always been the Seether cover from when I was a teen 🥴 some vocal lines are completely different
It's a song about sex addiction. In order to make the listener feel what it's like to be a sex addict, it has to feel both sexy and depressing. If it were just depressing and not sexy then it wouldn't be a good song about sex addiction because it would be indistinguishable from a song about heroin or gambling addiction. Most listeners still fail to get that point though...because they don't want to. Most people don't care if they hurt other people, and are just looking to media for excuses. That part isn't so deep. It's pitiful, because it's a song cautioning against the psychologically damaging effects of cheating and sex addiction, which people use as an anthem to cheat and be sex addicts. That's a sociological fact, not a musical one. To put it another way, people know what it's about better than they even realize, just by psychoacoustic association, and it only sounds generically sexy because we live in a society that glorifies cheating as a "win".
Is it weird that I never heard this song as sexy? It’s obviously extremely emotional, but about guilt, regret and loss rather than present desire, and I felt that come through in the music as much as the lyrics. But then, I’m old enough to remember it from when it was first in the charts, so maybe the new sexiness associations are more prevalent among people who first heard it post-memeification, when it had become an icon of the overt sleazy seductiveness of sax solos.
So, I don't know if you take requests, but I'd you haven't heard the song "I really want to stay at your house" Rosa Walton, I would recommend giving it a listen. It may be branching furthing into soundtrack construction for how it's used in a piece of media than what you normally do, but it's very well done for it's simplicity.
The backstory behind this song is incredible too. George had pretty much written it back in 1981, knew it was a big deal, but wasn't in a position to do anything with it. He'd kept it in his back pocket while Wham! continued their meteoric rise until the public were ready for a change of style. A year before this came out and changed the world, George went over to Muscle Shoals and recorded an early version with Jerry Wexler. It's hard to find that version and, though it sounds great, it just lacks that spark. Imagine having such pride and confidence in your song that you're able to tell someone as great as Jerry "thanks but no thanks" and have another pass at it until it's *just right*. Wow. The rest is history... ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-s03-uzAW_Ko.html
I always loved the song and the saxophone for their absolutely danceable groove. I didn't know people thought about the song... well, in that other way.
I know this comment will get lost but I desperately need someone to do an in depth compositional analysis of Let Your Love Be Strong by Switchfoot. The chord progression and melody are just so unique and it's slightly beyond my ability to really deconstruct and understand. There's some really cool theory behind this song and I need someone like you to explain it to me. Please! If you don't already know the song, I highly recommend that you listen to it. I know you'll love it. Thank you 12T ❤
Honestly my first instrument was sax, and I understand transposing notation for ensemble playing purposes… But for 20 years I’ve been confused how tenor and alto players can both discuss their “high F# key” when they’re tuned differently to Bb and Eb. Especially because I have perfect pitch. I was able to just dissociate and focus on fingering rather than pitch with the notation, but it still bugged me. So thanks for confirming my sanity when you said it actually plays an E on tenors hahahah. And I’m not surprised his sax didn’t have that key. Even Yamahas haven’t had it until like 2005 or something fairly recent ish.
Really enjoyed this one! A little surprised not to find your rendering of Bill Clinton, but hey, Imaginary Bill Clinton on Sax is a regular at my mental variety show anyway.
One thing to note is how many people were likely brought in by the 2007 Seether version. I like the Wham! version, but it honestly feels incomplete comparatively speaking. The electric guitar that replaced the sax makes a huge dynamic difference and feels almost apologetic (or maybe more defiant. It's difficult to fully describe) opposite the sax. The sax is disconnecting from the original partner, while the guitar feels more like a connection to a new partner. It's really weird how much I've change messes with a song.
About the keyboard work... I'm pretty sure the synth arrnagements and playing were by Anne Dudley, who at the time was just beginning to establish her career in this regard. The album version (or "extended mix"), that some may not be familiar with, has a long synth and electric piano intro which is by her hand: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-tFiMA_Id3A4.html
I would even add that the part that comes at ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-izGwDsrQ1eQ.htmlsi=RkRBBv1Xex8nXcT1&t=255 is right after "Was what I did so wrong that you had to leave me alone" so, he's alreay alone, and he sings the "darara" in a ghostly manner, and theres a sound that is similar to a synth, mimicking of his singing, and I personally think that is alluding to him living only of the memories of conversations with his lover. Gosh I love this song fo f much! Thank you!
Just because she's a big part of the zeitgeist at the mo, do you think you might do a Taylor Swift song? If so, i suggest "Lover", since Jack Antonoff has said it's a "perfect song". I think it's pretty close.
I know its not really in your forte, but could you cover any lil peep, juice wrld, xxxtentacion? Since they heavily used instruments along with 808’s in their instrumentals. Love the music theory videos! Keep up the great work
I like the Seether version better. Replaces the sax with really nice unison bends (and some bends that are _almost_ unison) on guitar, which I would also call sexy. The dissonance in the bends definitely comes across as painful.
It's so sexually charged because the song is about he's putting out ALL the pheromones in an attempt to get back with a partner he's been cheating on. Musically, sax and min9 chords are hallmarks of booty soul that people recognize intuitively, if not overtly. So, it's sexy because of the topic and vocal delivery/charismatic performance, and also it's a foundational neo-soul track. Also the tempo and rhythm😂.
