Are you tired yet?!?? 4:23

Could you quickly explain how you generate the visualizations? Which software? Thanks!

I don’t know a single thing he’s talking about, but I like the instrumental of the song, so I guess it’s kinda interesting. 😅

I usually have hard time following fast-paced vids about complicated concepts. This one was super easy to follow. great job.

Why do you put chords first? I've never heard someone conceive of modes as compressed chords. It's completely backwards, harmony comes from melody not the other way around...

What is this language, that I know but I don't?

This reminds me of a chord progression I included in some music I composed about five years ago - I needed to strike seven notes with my right hand at one point, which meant that the music could not be transposed to any other key!

If you want to just get to the full chords... 2:40

UP A MAJOR THIRD... TO F DOUBLE SHARP?! WHAT THE FLIPPING HELL IS THAT

I always knew I was on the Lydian S P E C T R U M 🌈

damm girl you a fifth below me.....👁👄👁

And here I thought I was the only person who thinks this way. I might have known that Mozart or Bach actually came up with it first! Rats!

"hi sir, what would you like me to play this evening?" "yes" "what?" *"NOW PLAY"*

I know what I'm gonna do next time I see my friend who has perfect pitch.

Sun Ship

Any F1 Fans

HAPPY 2025❤❤❤

This is a normal video

Jacob just some nerd with perfect pitch who smells his own farts

Never thought a music note could traumatize me

Cursed asf

Just because the mind creates all this, does the ear LIKE IT??????????????????????????

❤❤❤❤ This is so beautiful Thanks so much sir

~ Puts guitar down

my cat walking over my piano while explaining this to me

HEY Just HUGE ohhh pls do the same for his solo in Africa Blues .

Ok. You only 10 fingers. Irrelevant.

This guy is insane. Thank you so much🎉

The king is back 🫡

Western music uses the tempered scale where notes are adjusted so all the scales overlap which allows key changes in music. So I believe the octave in western music is an exact ratio but the fifth is not. So I wonder what the LCC would sound like using exact non tempered fifths?

Barney Kessel does this at 0:38 into "Autumn Leaves" (1968) kzbin.info/www/bejne/Y5nWlYR6nL1ggLM

perfectly unnecessary! thanks

Chick Corea plays a full descending arpeggio of this chord (although wrapping back around) twice in “Forgotten Past” on the Eye of the Beholder Album.

The chord you are looking for is already present in every single note in the form of the overtone series. BUT: The well-tempered scale means deliberate detuning.

Excellent is this AI analysis? Very very good job breaking down this and the whole approach, graphics & edits

This is the kind of analysis I rarely see, if at all, that leads to a deeper understanding. Great work on this. (And quit learning from teenagers).

Please, do more of these kind of analysis videos. It's so important to know how to scale over the continuum of the song. Talking about motifs, enclosures etc is what really gives us the direction to know what to do with scales and notes. I have a suggestion: Frank Gambale - Stella by Starlight, Absolutely Live in Poland. Liked, thanks!

Brilliant analysis! Any PDF available sir?

Thank you very much for this instructive analysis Is there a chance to get a transcripition of this wonderful solo from Justin-Lee Schultz .. ??

this is a really good breakdown, thanks bro

2:30

Brilliant analysis! Love the touch of humor, and major 7 over a dominant 7th is just Justin’s way of being a deviant genius. The major chords down the dominant diminished scale was my favorite part.

1:51 I swear that's a Nintendo Gamecube or Wii sound effect but I just can't place it!

The 👑 is back!!!

el acorde D7.#9.#5 (no 3) que escribes varias veces está incorrecto. 1) no uses paréntesis para excluir notas o grados en el acorde, para eso usas corchetes. ejemplo: D[3] = D + A D[5] = D + F# D4[ ] = D + G 2) debes escribir los grados del acorde desde el más agudo hacia el más grave, si fuera necesario destacarlos explícitamente. ejemplo: D7.9 no es necesario, cuando entendemos que los acorde de 9na ya poseen la 7ma; basta cifrar D9 = D + F# + A + C + E; y también D9[5] = D + F# + C + E D7.9 podría interpretarse como que deseas la 7ma en "lead" D7.9 = D + E + F# + A + C D11 = D + C + E + G = C/D D9.11 = D + G + C + E D11[9] = D + A + C + G ... D b13.#9 = D + C + F + Bb ** en la práctica el Cifrado no pretende sustituir al Pentagrama, sólo brindar un simple acercamiento armónico 3) cómo cifrar que queremos poner la 3ra mayor en el X11? ejemplo: D3.11 = D + G + C + E + F#; de esta manera evitamos el siempre incómodo intervalo de 9na menor entre F#-->G, dejándolo como 7ma mayor G-->F# ** es esta la idea detrás de una armonización donde empleamos la 11na aumentada en la melodía mientras el acorde aún reposa en simple triada: ejemplo: D = D + A + F#; pero la melodía en G#, formando un intervalo de 7ma mayor con la 5ta A el Cifrado pretende simplificar, no tiene sentido práctico ninguno escribir a continuación de la nota fundamental todas las alteraciones presentes en el acorde, en vez de eso recomiendo partir el cifrado. mal: Eb #11.13.#7. bien: 2F | 1Gm / Eb = Eb + Bb + D + G + C + F + A; este es un clásico "Acorde Escalar", o sea, que tiene todas las notas de una Escala * recordar que 2F se refiere a la 2da inversión de F, de manera que 2F = C + F + A * 2F | 1Gm = Bb + D + G + C + F + A; este acorde, visto desde la raíz Bb, sería: Bb #7.6.2; el uso de la barra Vertical es para Acorde en la mano derecha y acorde en la mano izquierda; lo que conocemos como Poli-acorde * 1Gm / Eb = Eb + Bb + D + G; típico Acorde Partido por bajo (híbrido) 4) La otra solución común en el Cifrado es el uso de Estructuras Acordales, esto es, partiendo de una nota raíz, indicar los intervalos que seguirán, usamos "llave" para esto { } D{443} = D + G + C + E D{3444} = D + F# + B + E + A D{7442} = D + C + F + Bb + C D{+4.43} = D + G# + C# + E#; o también 2C# / D; D#2.#7.#4 [ ] queda bien clara la eficiencia del uso de signos en la notación 2C# / D; la cual sólo emplea 5 Aprovecho para dejar mi insatisfacción sobre el acorde C°7; el cual sale de la lógica de "añadir" notas a las triadas C = C + E + G C7 = C + E + G + Bb C° = C + E + G C°7 = C + Eb + Gb + Bbb (y esto es un total disparate para mí y un abuso, en su lugar debió simplemente escribirse: C°6 = C + Eb + Gb + A Cm7.b5 = C + Eb + Gb + Bb; es demasiado largo; mejor bastaba C°7 = C + Eb + Gb + Bb (una triada disminuida a la que se le añade la 7ma menor) 😎 Espero estas ideas puedan ayudar a la comprensión del Cifrado en la Armonía Popular

Has el análisis con la música de "Take 6" and Jacob Colliers

Good Job!!! 🔥

I'll take one A7 with extra black keys

Wowow Man!

The largest chord is me mashing the Casio keyboard with my forearm. "Sir, can you leave the music store please"