Why Modern Musicians Love The Four-Chord Loop

[@12tone]

The first 500 people who click this link will get 2 free months of Skillshare Premium: skl.sh/12tone24 Some additional thoughts/corrections: 1) One thing I should note here is that as far as I could find, Tagg never explicitly lays out his model in significant detail: He describes its basic principles and then starts applying it to examples, which is a perfectly valid approach, but it means that I've had to fill in some gaps with my own interpretations and observations. To the best of my knowledge, everything in the video reflects his approach (Except the part about the medial chord setting up the incoming, which, again, is my own addition.) but if you'd like to read it more directly, the book is called Everyday Tonality, and I've included a link to buy it in the sources in the video description. 2) A point that I left out is that Tagg's definition of loop requires a certain length. Basically, he works from a principle called the "extended present" (Basically, the amount of time you can experience as roughly a single event, which he defines as between 1-8 seconds depending on tempo, style, and other concerns.) and then argues that a shuttle must exist within the extended present and a loop can take up to two of them. This means, for instance, that Creep, which I cited, isn't technically a loop since it takes about 20 seconds to repeat. I'm not really convinced that this is a necessary condition, but it's certainly true that the length of time you spend on each chord does impact perception, so slower pieces feel different from faster ones. I still think the model works even beyond Tagg's 16-second limit, though.

[@7177YT]

For someone like me, who dabbles in producing electronic music this feels wuite liberating.I tend to feel guilty for throwing out ambigous collections of chords who fit the mood without tying them in to the framework of functional harmony.(:

[@Sly_Spy]

You should analyze born slippy by the underground

[@AnimationArrow]

I love how the deeper you get into music theory, the more it just says, "eh, do what you want".

[@illegal_space_alien]

This is why avant garde noise is music theory's final form.

[@samuelmarger9031]

I (somewhat) quote Jake Lizzio from Signal Music Studios: "Music theory is not prescriptive; it's descriptive."

[@frejhedman9830]

@mark heyne which in my opinion is exactly why it's interesting to analyse music, because we can understand why they "just felt it"

[@jazzbumpa9917]

@mark heyne That's the case in any field. Theory is always about explaining what already is, and how and why it works.

[@dhio9615]

Because ultimately art is just that.

[@beatrixwickson8477]

You could look at this video as the main topic being the tonic and the skillshare promo being the subdominant but really it's all about the transition.

[@skreml8804]

Damn😳

[@EpicStuffMan1000]

I feel like a lot of the people complaining about modern four chord loops are the people who play three chord loop blues

[@room34]

It's funny how you focused on "Great Gig in the Sky" at the beginning, because just last week Rick Beato posted a video about "Rocket Man" and when he demonstrated the first two chords in the piano part I immediately thought, "Hey, that's 'Great Gig in the Sky'!"

[@danielmccready1501]

Dude same!

[@jonnuanez2843]

I made a comment on Rick Beato's "Rocket Man" video about how Great Gig and Rocket can be linked musically. Works perfectly.

[@mikhailmihaltses2651]

LMAO, exactly what i thought

[@jaschabull2365]

Stands to reason, considering Rocket Man is about a guy who's got a gig in the sky. Maybe it's not all that great to him, though.

[@MindLaboratory]

9:56 "...unhelpful" draws Navi. Good one!

[@pianoboi4842]

Now we need a video called "Why the Chainsmokers love the (same) three chords loop"

[@devilsslave1970]

Can't guarantee that that one goes quite as deep

[@jaschabull2365]

Because no one told them that if they play the same three chords that you'll just yawn and say, "Woo hoo hoo, it's all been done."

[@antoninstival8777]

In my musical journey,, I first learned the musical therory by myself by analysing the songs I loved. My main influences were pop and rock and I didn't really care about classic music. I was seeing each chord of a chord progression as a colour and a world by itself instead of a functional tool. I didn't even know the concept of dominant so it didn't bother me when the V chord didn't lead to the I but I loved the sound of that chord it was one of my favorite colour. One of my favorite song was Hotel California and the chord progression begins with | i | V | bVII |. The melody just make me feel that we were visiting a different colour at each chord but I wasn't (or maybe uncounsciously) feeling the direction of the chord. Then I go to the university to learn Musicology and I find it really easy because I knew a lot of thing even if I was naming and feeling them. After my Licence my perception changed and I feel more the functional harmony. And I think it's the case of most of the people who are just listening to modern music. Damn it's way easier to understand then to explain in english, I'm french..

[@azuregriffin1116]

Your English is pretty good, I must be honest. Certainly better than my French. I can only think of three things that seemed a little 'clunky'. "... understand then to explain" - it should have been *than*. When you use -ing verbs, it carries a sense of one exact moment rather than a period of time (especially in the past), so when you said "I was seeing each chord," it felt a little out of place to a native English speaker, as this occured over a period of time. When it comes to communicating and making it simple, I'd give this advice: if you have already established the time, use the "simple" past tense (I saw, I walked, he thought etc.) and I don't think you can go wrong. You *can* use the 'ing' verbs to establish a time period at the very beginning, but it's not necessary, such as "I was walking down the stairs this morning and saw a bird," as it establishes the moment at which you saw the bird and that these happened at the same time. You *can* also use it to give detail in how an action happened or that they occured simultaneously: I remembered where I left my keys, thinking about last night's party. He smiled, jumping for joy. It should have been "I knew a lot of things," as there was more than one thing. Anyway, certainly nothing impaired communication at all. I just like languages and was eager to explain, as I wish to learn a few myself. I might even learn French one day ;-) Back on topic: I'm glad you found music,and very much enjoyed reading you comment.

[@campsjams]

When he said it could be in four possible keys I immediately though “G minor, C, or F.” Proud of myself. I’m learning!

[@MisterAppleEsq]

One thing I like about this model is that makes more a point of the oft-overlooked fact that a chord's place in a progression has a huge impact on how it's perceived. 8-bit Music Theory talks about it a bit in his Sonic video.

[@simongordon3463]

Holy pluck that ad hit me before I even realized it was an ad.

[@tylerowens]

I totally lost it at your drawing for "unhelpful" XD

[@starrk7158]

Same

[@calebbohrer3757]

When?

[@starrk7158]

@@calebbohrer3757 it's closer to the end of the video.

[@tswizz4268]

caleb bohrer 9:56

[@jimcurtis9052]

I’m a noob musician and this has been my staple for building backing tracks to practice over. I know a lot of professional musicians kinda look down on people like myself, but I find learning music more difficult than other people do. Which is why I use the 4 chords system. I also have difficulty understanding what music is doing. Thanks for all your videos bud, they really help folks like me. 👍 I guess not everyone has the ability to learn fast.... so if anyone else is like me, I just wanna say, you’re not alone. Happy jamming folks. ☺️🤘

[@bushman6964]

How’s it going bro?

[@jimcurtis9052]

@@bushman6964 same as always... how are you?

[@cdifreakguy]

I once wrote a chord loop that goes Dm Am Cm D7. I really liked the sound of it but I had no idea what key I should say it was in. Now I can rest easy knowing that that's okay :)

[@jonnuanez2843]

Use the fact that you don't know the tonal center as the basis for writing melodies (plural) within the song. The bass can be a sort-of anchor, but don't let it define the song. Use the bass as rhythm and color or ghost notes.

[@randomguy263]

Damn, that sounds fucking awesome.

[@aHumbleChad]

Not having a definite tonal center is good to have because it allows you to be versatile writing melodies and harmony, but if you want some structure, I'd say your progression is in G. Therefore, you have, vm, iim,ivm, V7.

[@thomasmacmillan]

Perhaps it could be categorised as a D dorian / C melodic minor #4 fluctuation? Or maybe D aeolian / C dorian #4? It's hard to tell without knowing whether B or Bb is used. Or maybe D dorian/mixolydian with a temporary pull towards C melodic minor (Cm)? Anyway, nice progression! :D

[@alonzochurch6398]

I just tried it with 3-note open voicings. For voice leading on the Cm to D7 I'm going Eb to D, C to C, and G to F#. Sounds fantastic.

[@scottgarner3281]

Nice touch using Cloud's Buster Sword on FINALity at 3:51

[@anactualbucket1082]

I got a progression like that thing, chord shuttle. The verse is B E and the Pre-Chorus would be A B C#m D#m7 C#m7 B A And then resolves by playing A E But D#m isn't in E, and A isn't in B either. Yeah, I'm pretty proud of it.

[@lorenzoguarn]

One possible explanation is that you used modal interchange and borrowed the chord for that bar from E lydian, then returned to the original key of E (aeolian). Pretty clever idea and often sounds “natural”, not forced at all, check it out!

[@guilhermecads]

That's the video that makes you feel like you're faaar from really understanding music when you thought you were close (because you started getting functional harmony). Loong way to go yet ahahha By the way, your channel is one of the gems I have on KZbin (don't know if I'm saying it right), really it's almost unbelievably good to have all this content for free! Really, thank you!!! (And after all that KZbin keeps not recommending me your videos, despite the fact that I have turned on notifications and all)

[@lucasfurseth]

there is a right answer! It's vi II. The C chord has a very crunchy non-diatonic sound to it. It's the same move as "Oye Como Va", "Down By the River", "Use Me", and "Reptilia".

[@lucasfurseth]

also "Any Colour You Like". Viewing it as vi II is the most intuitive, offers the most mathematical simplicity, and for chrissake it's what Pink Floyd ends up resolving to in the actual song

[@monkey_breath]

absolutely love that when you said a thing was "not helpful", you drew navi! i laughed very hard.

[@devilsslave1970]

Never thought I'd be convinced to respect the four chord loop

[@vebtyrit]

"Much like in Great Gig in the Sky, the tonic and medial chords may just be so similar in weight that determining which one is which is impossible,"... and who is who 🎵

[@SamuelHatch]

Another fantastic video! However, I disagree with Where Is My Mind being a “true” example of your point. In the chord progression that you highlighted, I kind of agree with you. There are moments in the progression that you give and in the song itself that seem to suggest a bouncing between two keys: the tonic (E) and the relative minor (c#). (WHERE is my key center??) The primary progression that you use in the video (E c#m G# A) is a great example of 2 “locations” we’re bouncing between, where the G# serves as a V to take us to the bVI (A) of the new key c#m, while the A also serves as a subdominant moving back to the E. However, that’s not the only progression to the song. The following section briefly gives us an indication that we’re now in the key of c#m with (E G# A am c#m). It’s then immediately followed by a big, resounding B7 for a couple bars, which is the V7 that takes us back to our original key of E. This is where I believe the song destroys true ambiguity. While it begins with a strong tonic/subdominant/minor-modulation “bouncing between locations” feeling, its huge resolution is ultimately V-I. (An “answer” to our wobbly confusion). To me, this changes the way I hear the song: that it’s truly in the key of E and these “moments” of modulation are ultimately brief. I see and hear too much direction to truly classify the song itself as an example of ambiguous chord function. I don’t think you’re “wrong”, (I mean, c’mon in theory there is no such thing) but I do think there are more clear examples out there where the song itself demonstrates what you’re talking about; never really giving us an “answer” as to how the chords are functioning or what is its definite key. This ambiguity is why Loopers love these progressions. It gives them a tiny bit of structure, but ultimately allows them to play around with the tonality/feeling, and it also allows them to incorporate many color tones in their melodies. This was a great video and I would love to see you explore this concept more in future videos, especially since most pop songs of today dwell in this ambiguous 4-chord territory. I feel like Nirvana would be a great band to use as well, because many of their songs use 4 chord repetitions, none of them actually containing a true “function”. Thanks again, man. :)

[@forestcochran4196]

I know 12 Tone just did a video about "Heart-Shaped Box," but I agree that Nirvana has an interesting way of doing ambiguous chord changes which could be cool to explore at some point down the road. Cobain had a big affinity for doing chords that are either a minor third or a tritone apart, and using mostly power chords so that there isn't a third unless it's sung. Both very cool tools if you're trying to make something outside of a I-IV-V vibe that still feels punk rock.

[@12tone]

That's a fair point! One thing I maybe should've clarified is that, while in my original loop video I was explicitly looking for songs that used only one loop, Tagg views them more sectionally. That's why, in his list of things to look for to determine the "real" root, he includes checking other parts of the song for other progressions to provide context. The question isn't really about whether it's possible to determine a root, though: In most cases, it will be. The question has more to do with how the chords behave in the moment, and in the verses for Where Is My Mind, I think viewing the G# as performing medial function is good way of understanding its role.

[@lolothesilly]

been watching a bunch of your videos, and the more i learn about music theory, the less it feels like a form of math, and the more it feels like a form of magic. not just "wave a wand and things happen" magic (though since i know very little it does feel like that a bit too), but "put the right herbs/runes/crystals/etc in the cauldron to make a specific potion". i never really understood when people talked about how specific notes convey specific feelings before, but i think it's starting to click for me, which is a weird sensation, but also very cool, like learning a new language. thanks for these vids!

[@AZ19AZ199]

When you look at the Melody the great gig in the sky wouldn't you say that the composition is mostly in g Dorian? It seems more confusing to say that there's 4 possible tonal centers when it seems to melodically come to rest on g pitches. Pink Floyd uses Dorian alot (like breathe on the same album)

[@mentalitydesignvideo]

I also think it's a typical RnB, minor blues Dorian, just like most of Chic disco songs.

[@ClikcerProductions]

Yeah, a i IV is classic dorian, and the melody definitely emphasises the g. I don't think that was a great example of something using a chord loop thats tonally ambiguous

[@maxinegabrielah]

And to be honest, that Dorian sonority is present on their entire discography - heck, the whole transition from the first solo in Echoes is on the same harmonic structure - and I'm sure it came from both Gilmour and Wright's roots in blues and jazz.

[@DryeLint]

I just stumbled upon this video while looking at other theory videos. I don't think this guy understands as much music theory as he thinks he does and it's a shame he talks so authoritatively about it.

[@edward4840]

DryeLint maybe watch more of his videos before assuming that?

[@chriscopeman8820]

Wanting to chew on these ideas, I checked Amazon for Tagg's book. $84 is more than I want to spend so I'll watch this video a few more times, with many pauses. You can talk a whole lot faster than I can listen! Wowzer!

[@WillayG]

Whenever I watch one of your videos I get inspired to write music.

[@duality4y]

this is amazing, when i heard the plagal cascade it felt amazing i like it so much. (7:03) immediately my head went racing with ideas :P

[@iammrbeat]

My favorite four-chord loop is the one that bounces the nicest with the beat. Oh wow, I just realized I am the opposite of a music theorist.

[@user-ff1ez5sy5h]

nah u jus hava different theory 😊

[@teucer915]

I love it when you cover non-functional harmony this practically, because things like this are also the key to writing in the full range of modes.

[@teucer915]

For example, the presence of the I and Vm chords screams "mixolydian" and now I'm playing with making loops with those as the tonic and medial to see if I get something I like out of it.

[@NeoCat1993]

Although you mostly do more popular songs, I'd really like you to analyze one of Igorrr's songs ("Opus Brain" would probably be a good candidate) since the mix of baroque music, electronic music and death metal is both very unique and harmonically interesting.

[@haleyc2962]

ever since i started thinking of chords less as their names and relations and thinking a bit more of them as “baaaah baaah” my improvisation has felt a lot more post-punk and that’s a pretty pretty cool

[@haleyc2962]

7:20 i call that the The Offspring Gone Away progression. very holy and catholic sounding

[@MarcadamiaNut]

man I don't understand how you communicate so many ideas through visual, sound and language. If I can absorb 5% of this, I'm happy.

[@insanemtl5890]

My three favourite four chord songs are these :) - Killed By Death (Motörhead) - Musik ist keine Lösung (Alligatoah) - Robeast (Dance With The Dead) The third one of these in particular got an epic signature part around the one minute mark that does not start on the tonic. It starts on the flat minor sixth. And with the first minute of the song building up to that, the tension works great. That's probably DwtD's favourite chord loop. Other great tracks of them with the catchiest part also starting on that flat minor sixth would be their Remix of Scandroids' "Neo Tokyo", as well as their original "The Man Who Made A Monster" :)

[@nathanielsnyder2588]

Patricia Taxxon also covers the four chords and Tagg's analysis and goes further in this video youtube video: kzbin.info/www/bejne/gV67hIeJo9aLrtE She even calls out 12Tone a little over 17 minutes in. I wonder how well they know each other.

[@internetuser8922]

The beginning of this video reminds me a lot of 8-Bit Music theory's video on how Chrono Trigger uses non-functional harmony.

[@patrickhodson8715]

"I hate how modern pop music just repeats the same chords over and over again. It's so boring. But anyway I love classical pieces like Pachelbel's Canon" --someone, probably

[@mfcrocker]

I went back to the previous video on 4-chord loops and noticed something missed from the discussion about Creep. You point out that the G has D as a 5th and B has D# as a 3rd, but if we continue onwards C has E as a 3rd and Cm has Eb/D# as a 3rd, giving us a nice little D -> D# -> E -> D# motion. I'd argue that the B and Cm chords both work well as outgoing/incoming chords because that D# isn't in the G Major scale and thus doesn't feel as restful as the G or C do. (Tagg's idea works *really* well for Creep)

[@fatfatat444albertkagan]

Most of my music involves taking the 4-chord loop and making it interesting.

[@Mr.Nichan]

I didn't really think about how bizaare and difficult to interpret the pictures he keeps drawing are until just now.

[@darwonka]

Thanks for all you do!

[@teucer915]

I'm watching this again with the thought of a loop I've found a lot when harmonizing 20th-century folk: I V7 VIm V7. That appears for a moment in a lot of songs but truly loops in a few. And when you think of it in this way, it fits, naturally. Where you don't find it: actually old folk songs. Did Pete Seeger and his ilk start the move to this form? I think maybe.

[@Viviantoga]

I think it's arguable that in a doo wop progression that the outgoing chord does set up the mediant in Tagg's analysis. Even if there's nothing particularly inherent in the note motion to directly point from a Dm to a Bb (such as the example chords given in the vid), the echoing of the motion from the chord transition beforehand (F to Dm, all notes dropping a triad) establishes the direction of movement sufficiently enough to prepare listeners to feel that the Dm>Bb (all notes dropping a triad again) should be an expected progression. It effectively requires the effort of both the tonic's and the outgoing's movement to get to mediant; a direct continuation of the shaky path already started rather than a smoother detour to get to the same location. The weakness of the resolution from the outbound vi chord to the mediant IV chord is balanced by the way that the movement then rebounds back upwards from iv to V, preventing a complete loss of strength in the mediant chord.

[@runninglyrics]

When you're looking for stuff on looping pedals and end up with a deceptive cadence.

[@nathanbrady2704]

I do not know if you accept analysis suggestions in comments but maybe I will get lucky. I suggest 'Dreaming of you're by The Coral. It is what I consider to be a perfect pop song and would like to hear what you make of it. Might be a bit simple maybe

[@freesk8]

7:34 Ha! Interrupting cow! :) Knock, Knock. Who's there? Interrupting cow. InterMOOOOO! :)

[@davidmendoza1300]

The IV can substitute as a dominant function chord. It’s called the plagal half cadence

[@iakanoe]

I feel you're analyzing Rocket Man on the whole first part of the video.

[@benburke3015]

Interesting. Really enjoyed the stuff on the chord shuttle. LCD Soundsystem use it a lot in their work (All My Friends, Dance Yrself Clean, Home etc.)

[@tjl102]

axis of awesome - four-cords does this but with song

[@gorimus]

Nice analysis. Btw, I checked three sources which say it's C9 and not C7!

[@nugboy420]

9:00 we got MITO and OMIT. WHAT ABOUT ITOM or TOMI lol oh I guess TOMI is the normal one lol

[@dharryg]

Thanks! Very useful lesson!

[@nugboy420]

I like that you keep playing the notes of the two chords for each diff key as if what we r hearing is going to be any different. Also cuz it did kinda actually make me feel it differently I guess I’m gonna give it a second go.

[@juanchis.investigadorsonoro]

Such a great video and I just bought the book. Thanks!

[@remem95]

Man, I love the symbols you use for some of the stuff :D Unhelpful = Navi lol

[@8cordas381]

The way I see it, analysing four chord loops without analysing the lead is pointless, the loop works as a drum, a repetitive pattern that works as a background as the lead slowly goes through the different functions across the verse. On creep, one can infer the function of each chord by following the lyrics, the G set a motif, B brings up tension, C and Cm act as one resolution with a theme changes from verse to verse. Then, as C and Cm work as one resolution, C brings up the resolution as Cm adds weakness on such resolution, a "giving up" feeling. Love your videos, by the way. Edit: We are used to Bm after Gs, it is what our brains expect, a B major, in this case, I see it as Bm with a dissonance, as the Bmaj when our brains expects a Bm adds up to the tension. Edit 2: G is the tonic, Bmaj adds tension as we leave the tonic's scale, Cmaj resolves as we are back in the tonic's scale, Cmin turns the C resolution into a complex one like a bridge inside the loop.

[@forrcaho]

Just learning music, and don't have any significant affection for pop (I mean, it's ok, but whatever) but the Gospel of Functional Harmony has always rung hollow to me. Maybe it works for Common Practice music, but why do we always have to be "going somewhere"? It's way past time for a different view, and this one certainly makes sense. I wish we could all just rename "functional harmony" to "classical harmony", because I resent the insinuation that "non-functional harmony" is "harmony that doesn't work".

[@psazani]

interrupting cow...MOOOOOO

[@ray_maestro_]

Explain some Stevie Wonder. I’m not classically trained. But I love his music and would like a break down of his skills. Great videos by the way!

[@mal2ksc]

Rick Beato just did so recently. kzbin.info/www/bejne/g2jHaHSCarmppJY

[@andrewstillwell1191]

Great lesson 👍 👌 👏

[@ofdrumsandchords]

It's also Oye como va (Tito Puente), Am D7. A minor dorian rather than G minor natural. Anyway, blues and jazz accustomed us to hear a dominant seventh chord on any degree, going anywhere else. But we've also heard millions of songs with C G Am F in any order, Am F C G most often, that we don't need anymore to know if we are in A or in C, and a V7 in this context would sound like a fart. Rock is below baroque. What bothers me is people saying that music using a more sophisticated language than Knock on heaven's door lacks of emotion, and that there is no feeling, groove, emotion in jazz. They just don't hear it. Same problem as intelligence : to understand you are a moron, you have to be smart. We've seen that before with Stravinsky, nothing new under the sun. But illiterate citizens put a Trump in office, that's a serious issue.

[@Fempath]

Those four people that disliked this video are likely guilty of abusing the four chord loop 😝 I look forward to all of your videos ❤️

[@timbeaton5045]

it's a bit like asking what the sum of the series 0,1,0,1,0,1,0...is. It neither diverges or converges (resolves!).

[@kyleisaac7474]

Unrelated to this video, but have you ever tried analyzing Colour my World by Chicago?

[@Gwyll_Arboghast]

i think E-D-A is more of an authentic cadence via a plagal cadence. the V chord is being let down gently by the IV chord.

[@BryceRogers_]

From what I gather, musicians love the four chord loop because there’s actually a lot of complex iterations of it... Yet they all tend to resolve well, which is what fans love

[@BryceRogers_]

@Sensible Talk yeah I think both of our statements can coexist. They probably don't put a lot of thought into the music theory; but they subliminally know that a progression like "Creep" sounds unique and satisfying

[@BryceRogers_]

@Sensible Talk you're totally fine, I didn't mean to sound defensive either. And yes! I have only been playing guitar since 2016, but I have run into the same kind of struggles with my own songwriting. Hard to break out of the box.

[@BryceRogers_]

you wanna add me on Bandlab or something like that? I'd love to talk more and maybe try to collaborate. @brycerogers

[@colinedmunds2238]

First chord doesn’t have to be I (tonic) is such a tough thing to get my students to grasp. Look at Daft Punk’s “get lucky” Bm, Dmaj7, F#m7, E iv, VI, i, VII At least, that’s how I hear it. Anyone else got a different approach to it?

[@chadscarborough7517]

I actually hear "Get Lucky" in B Dorian, but I have a bias that means I tend to hear the first chord in a loop as tonic. Other people have other biases. I have a friend who has a bias toward hearing everything in major keys. The fact that we can hear the same progression in different ways says more about us than it does about the progression, I think

[@MaggaraMarine]

I think that's actually a great example of an ambiguous loop. I can kind of hear it both ways. I originally heard it in B Dorian, but I can now also hear it in F#m. I think the "first chord doesn't have to be the tonic" would be easier to demonstrate with a progression that does have stronger resolutions built into it. I remember that someone called "Viva La Vida" by Coldplay "Db Lydian" (it was actually in some music theory article that I read), when in reality it's just a basic IV V I vi in Ab major. And that's not an ambiguous progression in any way. There are no strong resolutions to the Db chord, but there's a V - I resolution in Ab major.

[@cjklz]

Yeah, o.k, I just hope this doesn't lead to brain damage. I composed a 4 chord loop ones, little did I know it was good enough. I will dig in to my old tapes one day and think of this video.

[@teemusid]

The lunatic is in the RAM......

[@nir1man]

In where is my mind you actually can name the chords E -Is the 1 chord C#m is 6 G# is 5 of C#m ,but they switched it And A is the 4 chord

[@Brianmann76]

Anyone know the Phillip Tagg book he's referring to?

[@BellsCuriosityShop]

Everyday Tonality

[@sethhanna3734]

You should do an analysis of Walk Me Home by Pink

[@uhoh3258]

Did you... did you just draw navi when you said “unhelpful”):

[@TheGoodGoodMan]

Thanks

[@Mar345]

You have to do a song analysis of Vincent by Don McLean

[@mayday777]

Many people talk about microtonal music but is there macrotonal?

[@CharlieBeggs]

Couldn't you figure out the key of Great Gig in the Sky by looking at the other instruments and melodies?

[@LafayetteSunsetMusic]

8:32 the nights by avicii

[@zachary4670]

1:27 ...this is the basic logic behind quantum physics

[@isaacphilip7874]

Ostinato💜💜

[@SoloArdo]

Why do you recommend a hip hop course to learn progressions from rock bands?

[@RickBeckman]

+1 for Battletoads!

[@fatfatat444albertkagan]

If you play musical instruments that rely on single-note harmonies (like the Bass Guitar), then you'll start to get a feel for the pattern and not just the chord names.

[@nathanmcknight187]

Ha. The authentic cadence... born in the big bang, once thought to be the most common particle in the universe. So, does that make chord loops dark matter?

[@katerinakallitsis5751]

I just realized he is left handed

[@InchyBraHead]

Hey, I’ve been watching your videos for a while now and I wanted to ask if you’d be down to critique my band’s music? Just need a fresh set of ears that understands composition and music theory. I know it’s a lot to ask, but you never know until you do.

[@puselabber3417]

Ok.... So did anyone else slow this/or any of the other videos down to 0.75 or 0.50?

[@seemsfamiliar]

Dang I thought this was going to be a video about Reich):

[@SulfuricDonut]

Heh... Interrupting cow :)

[@planepantsgames1791]

I find I can acclimate myself to almost any chord loop. Pop should pick a different one to shove down our gaping maws

[@tridentremixes5449]

*i VI III VII intensifies*

[@jcat2_086]

Great gig in the sky? Creep? Have you been watching bluecoats

[@tombuur]

I am out of here. As a doctor I can’t listen to people who don’t breathe at all. It alerts me too much.

[@Kuroi733]

Idk.. all I heard from all this is "Because it sounds good" but with extra steps to make it sound more theoretical

[@Viviantoga]

no Duck??????

[@yourpalisal]

Hey! Listen! 4 disgruntled fairies disliked because the drawing for "unhelpful" 😂. I absolutely love your videos so I'll look the other way. ✨

[@lukeluca2666]

can you explain me what is that drawing? :(

[@yourpalisal]

@@lukeluca2666 it's Navi the fairy from a Zelda game.

[@robertlinke2666]

unhelpfull, draws Navi. nice

[@swissarmyknight4306]

Aka, "how to usefully analyze Nirvana songs" Good job.

[@bluetannery1527]

because four chord loops are dope as shit!

[@ALoonwolf]

All the hours spent wasting your time on this could simply be spent putting random chords together and simply discover what sounds good and produces interesting music.

[@BruceCarroll]

Too fast! Too fast!