Killer man your explanation on the subject is the first that's really given me something to work with 🤘

4:52 I KNEW it I fvcken KNEW it... I just commented under a recent lydian chromatic video that some of Russell's contentions feel like backronyms, to me... IOW, it seemed as if he designed his theory, and then found potentially conflicting musical examples, and then expanded his theory to explain some common practice... even though that practice had come out of a different theoretical and cultural framework. Which is fine, but it adds to my confidence since I was able to observe that.

The Chord progression is absolutely beautiful.

Now just imagine justly tuning that.

As for the alternating major and minor 3rds, guitarist Larry Carlton talks about this on his instructional video from 1986.

When people take "all you do is stack thirds" personally

Why didn't you put a picture of George Russell? There is enough pictures out there, and why don't you speak to the fact that at the time he was considered a friend and an influential person to many of the renowned musicians.

Good info, if too clever by half.

👍i LoVe ! 💙⚪❤

Sorry, you are just confusing other people. The basic lydian concept is scale, and scale is in octave. You gave 'over octave' perception. Just make other or new theory. Just write the book. Don't do 'viral video' for money.

He released a full version in his reharms album in 2019 kzbin.info/www/bejne/bpTJdKBoqZykl7c

Ah yes, jazz. The only type of music you don't have enough hands for.

MORE CHORD

4:04 circle of fifths (half is up an octave)

There eventually comes a point in life when... You just don't have enough fingers.😁

OK, let's just stop this nonsense...all you're doing here is repeating the notes as the thirds are added above one another. Any jazz player worth his salt will tell you that adding a natural 11th, such as F onto a C major chord, produces a minor second between the third and that note, confusing the listener as to whether or not the chord is major or suspended. Same with augmented 5ths and flatted 7ths. All that's happening here is a "mish mosh" of notes. Unless you wanted to create a certain effect or emote a feeling in a film score, this wouldn't make any sense in a club during a Saturday night performance.

That analysis was as great as the solos. 🎉

Jacob is without a doubt the ultimate musical sponge in a fascinating and admirable way. Little Blue also sounds more transparently like Billy Joel’s “And So It Goes” (a piece Jacob has performed live)

i have found the greatest youtuber of all time

I learned math major abstract algebra, particularly group theory, then music theory 1 and 2, and found out music people use such a complicated system for a simple math concept!🤣🤣🤣

Some of those chords sound like they're from the tune "Guess Who I Saw Today?"

someone needs to get out more

And it sounds like "[blwuhhhh]"

Why has nobody put this chord in a piece yet? Pretty easy ngl to play.

If I can have the widest vocal range ever, which is 22.5 octaves, then the chord is 72 notes.

when you bought the whole piano and want to use the whole piano.

Bruh everyone disagrees with George Russell, always blames on other drivers

Прикольная иллюстрация законов музыкальной гармонии, теоретически - любое нагромождение звуков невсегда является какафонией, хотя на практике это так😆

damn dude thats crazy

Cool. I didn't understand any of this and have no idea what it was suggested.

Looks like some sort of a drug :D

I used to go to Clare's house to hang out. He played music like this on his organ, improvizing it as he went. It simply stunned me that he had such a brilliant harmonic skill.

I'll stick to smoke on the water thank you

This is the musician version of "way too much free time."

That was wild.

I'd like to hear the chords played with pure sine tones. The sonorities of a piano's timbre must surely complicate matters.

2:45

Ok

Lol I'm gonna send this to a music major

Oh, is THIS the one David played?

Wut about A###?

Frank Zappa anyone?

'66 Brian Wilson could probably sing that chord layered. Here's him singing 8 part harmony for an demonstration piece for the track "Don't Talk" kzbin.info/www/bejne/pXOno4uDjNSFptk

Jazz ;-;

Can't beat Cmaj44add2add4add6add8add10add12add14add16add18add18add20...add86add88.

The fuck is a double sharp?

Insane, accesible, clear musical theory lesson on Rob Araujo. Outstanding.

Everybody, read the comments below. I've never seen so many hilarious comments.

Memeworthy quality aside. Ive been in the arpeggiating space for a spicy minute the last couple days. Ive been learning a lot about how simple relationships between chord progressions can allow for some really interesting modulations and further harmonic changes that sound like key or time signature changes but are actually sonically obeying the original chord progression and metric of the time interval between each arpeggiating tone. (On the smallest scale of violating classical rules to create outstanding chordal changes and discover deeper harmonic relationships I can think of, see info on the backdoor 2-5 turnaround) This chord fits very neatly in my recent obession on overtones and the value of breaking up chord shapes into arpeggios as youre saying (see on YT piano legend Barry Harris on his superclass seminars where he describes the diminished scales and other rudimentary classical scales as relational like family, it's a strong argument for being able to change from any key to another as long as you know the right relational rules to map and travel along until you reach the correct tonal center). I think the relationship our big meme chord here is demonstrating is the completely illusory tonal centers of what we consider a major or minor sound to be. It's something i would bet is intrinsically linked on a harmonic level and that nomenclatures like these serve to show the highest possible order of magnitude in which the 'overlap' of all major and minor intervals would create a very neat 'mapping' that a improv performer with a good ear could utilize to basically and seemingly make creative and jarring key changes while never harmonically violating the mathematical structure of what the listeners ears would expect to hear (my thoughts are these sonic changes 'sound good' to us because it can be both mathematically and procedurally described - not to either ascribe nor dismiss the characterization of a divine quality, circumstantial order from chaos, or natural beauty (i personally feel its all the above and none simultaneously, the contradiction being part of the accepted description above) - but that the audible calculus we take for granted our analog ear-to-brain connection does with these sound waves would make more sense of harmonic patterns and structures which would emulate nature like chaotic flow; exponential/logarithmic growth, spirals, fractals, Fibonacci sequences, tree roots, lightning patterns, water whorls, pyroclastic flow, entropy/atrophy of fire, the ultimate normal directional force extrapolated from the multitude of astronomical actors which influence the ebb and flow of the tides' fluid dynamics, the conversion of mass to energy in a nuclear meltdown, the shape of a mushroom or the repeating patterns on a leaf, the repeated small actions of a single bee, ant, or wasp, coalescing and aggregating the minutiae of the millions of smaller interactions to abstract higher order existence without needing executive function or self-referential cognizance (in the same way a linear tangent of a simplified formula can be derived from a curve or algebraic function of a higher dimensionality, which we can determine the normal of the curve by taking the perpendicular of the tangent derived by that curve), black hole event horizons, asymptotes and other continuity errors, smoke diffusing in the wind, the golden ratio, sunbursts from a cloud diffusing light and it further diffracting coming in thru a window creating a small temporary rainbow, and the dual state properties of light... However I digress that is not the topic of this meme essay, but I think some of Bach's work in overtone and repeating patterns is a good early probing of this idea; also see the book Godel Escher Bach 😂) I love stuff like this. Ive literally been listening to 8 arpeggiating bars (unrelated to this) and happened upon this video again and i was like "huh neat timing". Something something overtones/microtones? No tldr this is my youtube dissertation and you're watching a meme video. You know what you signed up for when you scrolled this far down the rabbit hole ☝🏻 PS I didn't have a good spot to put this in so here's a bonus. For those interested in deep musical relationships, I am obsessed with the relationship between sound frequency and rhythmic ratios. Long story short, for every whole number time signature there is a ratio dividing the number of beats per measure, if you speed the tempo of the ratio fast enough it will correspond to a tonal center whose musical intervals are the exact same ratio 😮, and vice versa if you slow down the # of times the frequency of a specific tone on a keyboard, or any single note modulates, it will always be a repeating rhythm whose subdivisions will also be along the same ratio. This means that rhythm and sound are intrinsically linked which I postulate we can use this knowledge to extract simple rules to warp the time and space of a melody (see Mathiews Harmonic Experience textbook). To me, this relationship is similar to what I think of the meme chord: all of the 12 tempered notes (and their respective major/minors) are chromatically linked together but there are not always single-intervalic paths and this chord describes the reach and overlap of each major and minor interval. The simplifications you performed by splitting it into different voicings, split chords and thereby establishing the lydian mode as (what I personally consider) the tonal center of this chord/scale, I speculate show the familial groupings that Barry Harris was describing. Legit thanks for making this meme vid 💜

And is totally useless to my ear.