Take 6 - Hark! The Herald Angels Sing

hello everybody, have some christmas cheer and Download transcriptions at georgecollierm.... Check out the Discord!: / discord
Original video: • Take 6 - Hark The Hera...
Performed by: Take 6
Transcribed by: Furkan Barut
faq:
Q: how old are you / A: i'm in high school!
Q: how are you related to jacob collier? / A: i'm not, we just have the same last name
Q: how do you transcribe? / A: i use musescore for notation and 'Transcribe!' for beat marking, slowing down etc
Q: do you have perfect pitch? / A: no
Q: where can i suggest videos? / A: / discord
Q: what music do you listen to? A: open.spotify.c...

[@GeorgeCollier]

Yeah this should all be one semitone lower. Sorry for letting this mistake get through - I pitch shifted sections whilst transcribing so that it was closer to a piano key rather than lying in between notes as that's a pain to transcribe. Should be D major with a modulation to Eb major.

[@flossingjonah9066]

They're just using Baroque tuning :)

[@andybaldman]

You do great work, George. I wish I had your talent.

[@isaacseiken9522]

no perfect pitch?

[@drkiwihouseMD]

ah ok. I thought l screwed up my pitching.

[@NerdTrumpet]

That bass is so solid, you could build a house on it.

[@nassera]

I did build one so high, I not only hear the angels. I see them.

[@nathanmaxwell1195]

bro was delivering that bass line like a mailman

[@sebthi7890]

Pull the plug and you won't hear him anymore. The volume of the higher voices is many times bigger, the balance in such a choir is made by a sound mixer.

[@davidresendiz7989]

that bass was so solid that iron went home and cry itself to sleep

[@OscarGeronimo]

They did indeed, that arrangement is a complete built.

[@cristiangamesgames]

Could you please make a guide on transcribing? like your whole process and everything?

[@MatSmithLondon]

Not intending to sound pompous here, mentioning this for a reason - having done a few reasonably complex transcriptions myself (see my Jarrett's Ritooria on my channel), I can say I wouldn't know where to start trying to teach someone to transcribe. It's not really something I learned, more years of developing a musical ear and being half decent at notation - latter of which takes years of study and the former is just kind of achieved by listening to stuff on repeat, which I did from an early age, trying to learn to play it at the piano, and repeating it - as in hundreds of times. Until you get faster at recognising combinations of sounds. In fact - transcribing is how people learn to compose - Mozart started by copying others' music until he (at a young age) developed his own ideas.

[@glowi984]

@@MatSmithLondon I think while experience never fails, there are more measured and guided approaches to learning especially when you have an objective in mind. I would think each aspect you mentioned can be broken down into steps and repeatable exercises with some resources to develop each skill independently. Sure it might take more effort structuring development in terms of finding goals and measuring your progress towards transcribing, but any hope towards developing transcription is better than telling someone that transcription is an exclusively unguided pursuit.

[@josephcolon5812]

as someone who is growing in experience I 100% agree with what Mat Smith said. It’s simply a mix of learning hundreds of songs (on piano/keyboard ideally) and seeing and hearing the common music theory used across all of them. The sound and feeling those progressions make become second nature. If you yourself play an instrument and if you consistently practice the same or similar fundamental exercises everyday (ideally) for months or years then those notes on your instrument will be ingrained in your head and you’ll be able to sing them in tune without a reference pitch too. If you learn to sing, you’ll have a better understanding of the feeling of each note in relation to the chord. This however takes years of concentrated learning and reflection, there is no real shortcut. Start with learning your favorite songs that you’ve heard hundreds of times and learn it in all twelve keys. Learn it in one key and on your own transpose it up or down chromatically until you’ve learned it in all 12 keys. This will force you to think more abstractly and see music in shapes with no name attached to them which helps you process faster when playing and will help your ear grow familiar to the feeling of those chord progressions. As you learn more and more songs you will hear and recognize very similar progressions and feelings in new songs and be able to predict them with greater and greater accuracy, and polish your predictions into accurate transcriptions after sitting listening to it while next to a keyboard. Hope this helps some

[@cristiangamesgames]

@@MatSmithLondon Not pompous at all! The thing is, I already understand that patience and constant practice is essential in this particular practice. Same goes for learning a certain phrase, chord progression, a lick, etc. and transposing it to all 12 keys to really understand it. That's all well and good, but in this case, I'm more interested in George Collier's particular way of transcribing, everything from his workflow to which area he focuses on first (I imagine the bass in most cases, if not the melody). I'd like to see what tricks he has up his sleeves. For example, just recently I found out that you can simply raise the song an octave to hear the bass notes more clearly. I never would've thought of that. It's tricks like that that I'm looking for. Thanks for your input though!

[@MatSmithLondon]

@@glowi984 No I don't believe it's an exclusively unguided pursuit at all. I removed the last sentence from my initial comment where I said "I just don't think you can teach it", I'm not a teacher and so am not qualified to say that - although, at least here in the UK, transcription is not ever taught as part of a musical syllabus and to an extent I would question whether transcription on its own can be taught. I think it's because transcription isn't a single skill, it's an amalgamation of skills: reading, playing by ear, writing music on the page, hearing pitch, all of which were in my case guided (piano lessons, school, university). For me the desire / ability to transcribe was one of the natural results of these things.

[@ThePopeOfAllDope]

Ever since I listened to Quincy’s ‘Back on the Block’ as a kid, Take 6 has never left my ear, and I could recognise their sound anywhere. Love them

[@jhkrev3]

beautiful tenor voice

[@tiyenin]

Brother of Brian McKnight, the 90's R&B artist!

[@MrBlaze9225]

This is how Andy wished he sounded in his Cornell acapella group lol

[@gabrielkinzel3389]

I forgot how profound the lyrics were. Absolutely awesome voices

[@sebthi7890]

you look like Moritz 🧐

[@alexeyfedorov4434]

I really would like to hear the first take of the song, of course, they nailed it from the 6th take.

[@gothgrrl8711]

@@Arsalias it was a joke i believe,

[@darshanpatel.1782]

Amazing Acapella!

[@jarrittstillprays3929]

Glad to see Take6 getting recognized

[@lukasferchhumer3708]

Seeing this only now. Kudos to the transcriptionist (vocal jazz is always a beast to transcribe) & thank you so much for featuring Take 6 on your channel! :) Transcribing and/or analyzing T6’s “Hark! The Herald Angels Sing” is the equivalent of attending a masterclass in (contemporary) counterpoint, harmony, and voice leading, plus - albeit actually one of Take 6’s less challenging arrangements - it makes for a great (very) advanced exercise in ear training. This particular arrangement (created by former T6 member Dr. Cedric Dent) is what first got me into vocal jazz many years ago, and it is indeed the perfect “gateway drug” into the harmonically more complex arrangements by the same group or other vocal jazz groups such as Accent. I’d love for you to post more vocal jazz content like this, perhaps even with some harmonic analysis annotations in the score as well as pointers to particular passages featuring characteristic arranging devices, so that your viewers can appreciate the masterful arranging even more and maybe learn a few tricks of the trade to employ in their own arranging/composing work. More than happy to help if you need someone to proofread transcriptions and/or aid in harmonic analysis! For completeness’ sake, I’ll close with a couple of hints to make your future vocal jazz transcriptions even better:

[@lukasferchhumer3708]

- Always pay - or ask your transcriptionist to pay - extra close attention to the baritone part, which usually has the trickiest intervals and most satisfying lines. For example, note how in measure no. 6 on bt. 3 Cedric (baritone & arranger) actually sings a beautiful ascending line in contrary motion to the melody in the top part (eighth note E♭3, eighth note F3, quarter note G3). - Familiarize yourself with the characteristic sound and feel of common five-/six-part jazz chord voicings such as the 13sus voicing in measure no. 12 on bt. 3 (starting from the bari seventh, it’s all stacked thirds - meaning that the tenor 2 B♭3 should actually be a C4 -, which you’ll learn to recognize instantly with more experience); or the crunchy m9 voicing in measure no. 20 on bt. 1 (note how there’s actually a stealthy little G3 in the baritone part, creating a tasty m2 dissonance, which is archetypical of the T6 sound); or the very dense maj9(add13) voicing in measure no. 22 on bt. 3 (from bass part up, it’s A♭2, E♭3, F3, B♭3, C4, G4); or the maj9 voicing in measure no. 23 on bt. 3 (A♭2, E♭3, A♭3, C4, G4, B♭4); or, crucially, the “magical” C7♭9(♯11) voicing (C2, E3, B♭3, D♭4, F♯4/G♭4, B♭4) - or G♭ over C polychord, if you like -, which also happens to be a film composers’ favorite (John Williams’ “Flying Theme” from E.T. comes to mind); etc. - You’ve probably already found this trick yourself, but when in doubt about a particularly elusive chord, check the “Transcribe!” software’s built-in sound spectrum analysis and make use of its excellent pitch-shifting algorithm (dense voicings often get more transparent when taken up the octave into a more human-hearing-friendly range); beware of overtones, though. For example, it’s easier to correctly identify the bass note in measure no. 50 on bt. 4 as G♯2 that way (or G2 when accounting for their unusually shaky intonation during that particular performance). - Finally, sometimes you just have to rely on “arranger’s common sense” (i.e. your own arranging experience) to make informed guesses where the transparency of the recording is less than ideal and notes are more felt than heard (or when you have to choose between several plausible options) - like in measure no. 57 on bt. 3, where the baritone E♯3 (E3) is admittedly a bit hard to pick out individually but the chord still distinctly feels like a major chord (sweetened by an added ninth), and the E♯3 (E3) is also a much more sensible option voice-leading-wise (the baritone line as notated in the video suggests weird quasi-parallel motion in octaves between the top-part melody and the bari part).

[@zanpix]

i think they just transitioned from A=427 to 440 in Eb as opposed to Eb to E nat. insane transcription as always, love ur stuff

[@OsvaldoFerraz]

I will take this as my birthday present. Thanks George!

[@spencerplouzek2126]

Happy Birthday!

[@youcantkeeprunninginandout7240]

This is definitely one of my favourite renditions from one of my favourite bands I only wish there was a high quality live version of their We Wish you a merry Christmas/ Carol of the bells mashup

[@singrdave]

I transcribed this miraculous arrangement for my college quartet to perform. I still have a copy of it on cassette lol

[@musical_lolu4811]

2:47 the second tenor's little melisma on 'bo-o-o-rn', damn!

[@NorseGodFimbulthulr1]

I am glad you have transcribed this wonderful arrangement. One of the best vocal groups giving an amazing arrangement! Enough to make even the most scroogey feel excited for Christmas!

[@makotojames-organandharpsi1195]

They went up a semitone without going up a semitone.

[@harvestedvoltage4324]

Indeed

[@JacopoTore]

Che fortuna averli sentiti dal vivo, col bis a cappella senza microfoni. Una magia

[@maxis2k]

That's freaky. I randomly remembered this group recently after not hearing anything about them for 20 years. Then this shows up on youtube. A very pleasant surprise.

[@reubenkopec2344]

Hey George I think I found a few mistakes with the bass part at bar 19. The Bb in the descending line should actually be a B natural, and the low note on the word ‘the’ should be an Eb, not a C. The same thing again at bar 40. Thanks for the transcription though!

[@GeorgeCollier]

The B natural was closer to Bb and most likely a mispitch, and if you listen carefully you can hear the low C :)

[@GeorgeCollier]

Actually you're right about the C on second listening, but the Bb is correct!

[@Julik1981]

Найкраще, чудове, ідеальне, еталонне виконання!)🥰👍 Bravissimo)👏👏👏👏👏👏

[@typebeats5162]

The part in Eb is really in D and the part in E is really in Eb

[@austinblalockspeedruns7560]

Take 6 are absolutely amazing

[@lukepnovak]

Bass guy’s balls dragging the ground

[@pst9056]

I remember seeing these guys at a music festival competition!

[@calvinliem8271]

my mom once said "African-American always have the best and soulful vocal out there". this video really shows it. such a beautiful acapella !

[@videogajima]

Thanks Calvin!

[@giovannidaza4574]

Thanks bro for you great work

[@jackstraw262]

Holy shit on both these dudes voices and the transcription

[@callumcook9224]

take 6!! greatest group of all time

[@emiliostetter6351]

finally!

[@hannm734]

Hey George, So Much 2 Say by Take 6 is a very good one too.

[@eleanorsherry4620]

my perfect pitch brain can't handle the top voice being flat

[@MrCrapDude]

Finally a song I can match my bass to.

[@kyfetrombetta3691]

Will one day you make something about Voiceplay, PTX or Home Free? (if u already havent done love your channel)

[@Matt-no7gg]

I sent in a VoicePlay transcription for the show the other day, let's see if it winds up on the channel

[@ombrenightcores4153]

I can’t tell if they were supposed to go to the key of E, but they definitely sounded like they were in Eb after the modulation even though there clearly was one

[@orsonabram]

Would love to see Get away Jordan on this channel….one of my fave tunes ever

[@manbuckets]

Merry Christmas!

[@Lee_music249]

Intonation needs some work. Especially near the end.

[@stuartbarber7414]

did you shift the recording? it's off a half step from the transcription

[@drewautote]

It got that way by the end. The guys went a bit flat, it happens in a capella music. They are supposed to be in E at the end

[@JoshuaSobel]

@@drewautote partly due to the Pythagorean pitch paradox - you can't sing in tune and not have your pitch drift. Pretty interesting, and people like Jacob Collier have learned to exploit that sort of thing in all sorts of new ways. The music world never stops being exciting!

[@stuartbarber7414]

@@drewautote maybe they drifted over the whole night, but even the first note is an A

[@harmonica.3494]

자주 들릴게요🎉

[@coanful]

the bass tho

[@titusbeertsen]

back today for probably my 50th listen

[@ught2304]

🔥🔥🔥

[@dgmullin1]

At 1:22 I think this should be C7b5 or Cb9b5 (so C E / (C or Db?) E / Gb Bb) but otherwise great!

[@EchoHeo]

1:16 you missed lyrics at the bottom

[@OrbiliusMagister]

I had to listen to 2:26 many times to be sure there was no E#: The chord has no third and yet my ear demands its presence. Am I tricked by the studio version or is there a "ringing chord" making me believe that it is not sung but generated by harmonics?

[@ashleythorpe7933]

The Enigma theme somewhat fits with this

[@AndreADVN]

Please: O Come, All Ye Faithful - Voctave

[@UrNameIsPolo]

Lord I saw your face- by the Katinas live performance. Check that one out please.

[@JackLanhardt]

i hate to be that guy but this is in the key of D not Eb. they sing a bit sharp at the very beginning but it quickly settles down in D. super dope transcription nonetheless

[@GeorgeCollier]

It is written in Eb as it is closer to Eb than D, and when they clearly modulate up a semi tone, they land closer to E when Eb:)

[@bogdang7726]

This is closer to D major that Eb major.

[@harvestedvoltage4324]

Love the singing. However, it always bugs me when singers gradually get more and more off-pitch (deviating from the original key). I think this is somewhat characteristic of live acapella performances though, so not at all restricted to this group. Still, I thought they were excellent.

[@annabellethorpe2542]

I also don’t think this arrangement is practiced as well as it could have been. Some of the blatant off pitch entries would probably be corrected with some more rehearsal time. Also matching vowels on some words like “Emmanuel”

[@audreytrammell1994]

Also the weird thing where locking into harmonies is actually off from standard tuning pitches because of hertz stuff. It could be a little bit of that, although they didn't sound the most locked in with each other. It's hard to match pitches when you aren't matching vowel placement. Although I think they have an amazing talent and still sound amazing together. There's a certain something to the sincerity of this group

[@RDS_Armwrestling]

Yeah there's a lot of flatness between them all. Not easy when there's one to a part and their mic'd individually, can spoil the blend.

[@wtwrush]

Yeah this is uncharacteristically “sloppy” for take 6 as far as pitch is concerned. I agree it might not have been thoroughly practiced

[@bryanrobertson615]

That’s what they’re known for. You will never have the same version each time..amazing

[@ajgibelius]

Please do more take six

[@Snookbone]

Early enough that the title hasn't been changed to some dumb shit yet

[@justintaylor375]

Thanks for what you do!

[@johamiltonmusic97]

They are great, but I’m listening and they seem to be almost a semi-tone off of the transcription or vice versa.

[@AdamFaruqi]

Sweet arrangement, but their tuning is wack throughout.

[@huss0553]

Second

[@jakethewoz]

I like the arrangement, but so much of the singing is breathy and nasal.

[@harvestedvoltage4324]

Yeah especially that guy who did the high falsetto singing

[@Maackau]

John 3:16 16 For God so loved the world that he gave his one and only Son, that whoever believes in him shall not perish but have eternal life.

[@larachrist5329]

Lil bit pitchy...

[@PhilTaylorPhotog]

very pitchy tho...

[@yes-ut3ro]

this was the moment i realized i’m not a true tenor

[@samthisam570]

Black people got soul, man. 👏

[@zanderbos7308]

The transcription is wrong, it should should be down half a step. Otherwise great job!

[@drewautote]

Actually no. They start in Eb and modulate to E. However, as is common in a capella music, they end up going a bit flat. So by the time they get to the modulation, they’re already a bit below the key of E. By the end of the song they settle in Eb even though they should be in E. If you listen to the end of the song and go back to the beginning of the video you’ll hear that they start and end in the same key, which should not be the case. It’s just common in live a capella music to go a bit flat.

[@burkdizzle]

Dey dont make music like this anymore

[@preserveourpbfs7128]

I’m gay af and even I feel like my girls gonna leave me for one or all of them

[@schmeeps7465]

Good singing, just not a fan of the arrangement. Direct modulation up a half step is kinda cringe ngl.

[@DQuixote24601]

Normally I would agree in an instrumental arrangement; however, since this is a vocal arrangement and the last verse is all about light and life and related imagery, modulating up (especially to E major, one of the brightest keys) I think fits the lyrics well. There always has to be a balance between the music and the lyrics driving the arrangement for it to turn out well.

[@laertesdd]

@@DQuixote24601 but is there really something like a "bright key"? isn't it all relative? could someone without absolute pitch identify which key it is at all if they had no reference note or key?

[@DQuixote24601]

@@laertesdd Compared to how they used to be played, bright and dark keys are honestly mostly a historical hold-over or tradition except for a few things. Because of how they are tuned, a piece with a few sharps is easier to play and sounds more resonant on a string instrument, and a piece with a few flats can sound more full and bold on brass instruments (I don't know how it works for woodwinds). Good composers, whether for tradition's sake or not, will often take this into account when composing. Since I play trombone, if a piece has a prominent brass part, I might be able to tell if it has more sharps or flats because I know what to listen for, but in vocal music, the absolute key probably doesn't make much of a difference. The important part is the relative key change of going up a half step.

[@laertesdd]

@@DQuixote24601 my point exactly, but thanks for your insights. i understand that shostakovich's eighth is called 'tragic' because it's in c minor and he chose that key probably because of beethoven's fifth of which the first movement is written in the same key. but that doesn't make c minor as a key in and of itself 'tragic' in any way. relatively seen, c minor is to e flat major what a minor is to c major. in my ears that's all. not to mention that you could just change the concert pitch from 440 hz to any other number, and all the keys would sound different.

[@Wildbillhitchcock]

@@DQuixote24601 Plus, there's a pause in between. It wasn't like they were kind of leading up to it. They stopped and went up a semitone. I'm not against that.

[@celibidache1000]

Pretty sloppy intonation from beginning to end. Awful octaves and unisons.