Guitar Teacher REACTS: Khruangbin "August 10" @ Villain | Pitchfork Live

oh yeah [Music] [Music] pretty sure i've never hit that chord in my life ladies and gentlemen michael palmisano here and as you can see behind me we have rock climbing walls that are supposed to be going up in the drywall for christmas yes that's right rock climbing walls my wife wants me to install in the drywall in our finished basement inside for christmas this comes after yesterday where i got a cord of wood delivered which by the way is incredibly difficult to find not just christmas trees right now but cords of seasoned hardwood not green stuff delivered to your house it is very difficult and of course it took me a week and what happens the day it gets delivered snowstorm so moved probably a couple thousand pounds worth of wood yesterday and now i have to install a rock climbing wall inside in the drywall in my finished basement but i get an email from daniel knight he says michael just found your youtube channel digging your videos definitely going to check out the courses the way you like down to break down the videos goes on say he's a huge dead fan loves the cornell stuff he's ready for the dew i know we're all ready for the do he goes if you haven't heard of crang bin you might want to dive into them as they're phenomenal and mark is a very dynamic player um and he shares a link with me and wants me to do a song august 12th um there have been a thousand requests for karangan easy uh we've listened to a bunch of pieces of tracks on the tuesday night lives dozens of requests for karangbin on the website i mean literally probably a thousand on youtube they're everywhere so i figured you know what it's time to do a proper video now in all in all full transparency some of the tunes that i've heard little snippets of i've digged and some haven't done anything for me because it's that spacey drenched in reverb ambient thing and that style music i don't normally listen to but i do dig like just bass and drums locked in and so from what i've heard that's you know kind of what this is all about um but from a guitar playing standpoint like the super reverb all the crazy stuff that's just something i've never really gotten into but here we go this is krang bin let's go down 745 hold on full screen love time stamps love time stamps here we go guys i just i'm editing the video and i realized that i actually hit the link for august 10 not august 12 in the youtube time stamp uh of course they have different songs two days apart in august uh so please forgive me i'm not gonna redo because as you guys know uh then it wouldn't be genuine so i'm inserting this little edit so you know that uh i realized i um kind of screwed the pooch on this one anyhow hope you enjoy cheers [Music] tourettes [Music] so [Applause] [Music] [Applause] [Music] [Music] all right so i again like i mentioned before him i really dig just the bass and drums just like whenever i get together with the new band and i happen to be playing drums and i'm not like a good drummer or anything but i i do love to play drums um i always just try to sync in with the bass player just doing just the hi-hat kick and just the clicks just the rim shots right and so like i totally dig the reggae-ish vibe even though it's not a one-drop um just that's happening between the bass and drums so what is happening uh again if you're new to this channel we do broad strokes essentially this is a one to a five in b minor so you got b minor [Music] you also get b minor and f sharp minor and what the bass is doing is pedaling around this one flat three to four kind of groove right it's all that root flat three four and then you can push through the five to get to the next one but it's really about kind of sussing out sus meaning suspending the third the minor third right so b d e over here you have b a uh i'm sorry f sharp a and b so again one flat three four one flat three four and now the guitar player is going back and forth between doing like some ambient kind of chord structures and little melody lines but it's so drenched in reverb that it's more about the texture than it is like an ear worm that's hooking you in so far let's see where it goes that's good [Music] i love that little run though [Music] [Music] now that's cool right there so you think you're going you'd think you'd be hammering that that b major i'm sorry that b minor right root flat three but he's hitting that c sharp in here so what that is is that's the fifth of the f sharp you're playing over and what this really does is illustrate once and for all that we are actually in b minor aeolian right this note gives away that d major is really our tonic so d is one b minor is six so that's relative major and minor because if you just look at you have b minor and f sharp it's unclear you know what key you're in with just those two chords if you had two minor chords back to back like f sharp and e right you would know that's a three and that's two right and then d would be one which is what i'm assuming this is but if we if we had b and we had f sharp but then we also had say a c sharp minor then we're like oh well this is a this is a different story then we know we're clearly an a here so that's cool that really led the ear in that [Music] all right so you have you have that call it of course call it a bridge whatever it is you're going to your relative major again classic songwriting uh technique here you're in your relative minor and then you go to your relative majors it goes right to d so one i'm gonna speak in terms of d now one [Music] five two [Music] one right five over [Music] the left so we got d a e minor d a and then it goes to your actual five so your five of b your f sharp which pulls back to your tonic center of b minor so you're just you're just playing a standard uh you're playing a standard relative minor to a relative major this is completely diatonic and it's just groove it's groove and texture it's just groove and texture and just the way they kind of dance and the vibe and like the screens behind them that's like the whole thing [Music] that was a slick little thing [Music] i love that when again you're thinking you're going to stick to b minor right and play that d and b that root and minor third but he really seems to have a commitment to playing that nine there right that's c sharp really gives it that cleaner flare really establishes that you know there's more going on here than [Music] just sorry [Music] [Music] yeah you know it's just it's a little more interesting whenever you accentuate that nine in minor progressions it just brightens it up and i love the little little trills he's [Music] doing and and the and and all those all those up strokes right right again it's like it's like i don't know do you call it like lo-fi reggae sort of i don't know um but definitely just the way that he's doing that it's a it's a reggae vibe it's certainly a reggae-style baseline but it's not a one drop right it's not that right um it's cool [Music] [Music] he's got some cool stuff happening in [Music] [Applause] [Music] here he you know he's also really showcasing that a a lot even in the rhythm parts where he's going down here to this little piece of it's just a and e like from b and all these little things in here you know that landing on a choosing that c sharp a lot which is the third of a is and even going to that relative major and minor part where really even though d is one the way he plays it is like a is one it kind of wants to resolve to a yeah i don't know i didn't pull out again um it's it's cool [Music] vibrato see that's what i mean like right there he's thinking a all day check this check [Applause] [Music] right wait for it oh sorry this is an a major triad he just went across [Music] it's very very cool it's it's it's got a modal vibe to it because like again you're playing over b minor and f sharp minor now f sharp minor if you look at the top piece of it you lift up your pinky here in pattern two what this is f sharp minor seven f sharp minor seven is in fact a major [Music] an a major triad over f sharp so i go all over about this stuff in my courses but you can focus on just the top major triad the a major over this f sharp and it gives it that seventhness it gives it that modal kind of thing and you see him do it here in a linear line so again they're but when you get to that f sharp you [Music] [Applause] know right it really just it brings it out of the oh i'm only an f-sharp neighborhood you know that's that's really the thing about modal or just extended playing and i'm using those terms very lightly that screws people up is because your ear always gets caught to the base you know that tonic center but you can choose to play the upper triad you can choose to accentuate and sell the other parts of the harmony and it's usually connected to another triad like another piece which you can anchor onto and you can clearly see him doing this here so again it's it's it's it's it's it's in b minor right it's all diatonic but and it goes to your relative major there in the in the bridge of course whatever you call that but it's the commitment to a that is really shining through and that's what gives it that floaty floaty vibe you know that you know with all the reverb and the saturation matched with you know the reggae bass and like the straight four on the floor but like you know with the click drums that really it gives it that ethereal floaty just you know that's the sound [Applause] and that's it just one more time i know i'm driving this home but just that that's the key takeaway here see that everywhere everywhere he's hanging everywhere right there that is a piece of a major the c sharp and a that's a is a everywhere while she's locking down the b minor and f sharp minor that's that's the trick that's the trick and again where do we go when we come out of here now this is i guess we called truly the bridge now we're going to not the relative major so not d where are we going to a right a so we're really selling that that a mixo-ish vibe it goes to a let me make sure i got it right before i start talking again and there you have it this again you guys know i preach this all the time when you when you hear something and you're like man what is that that's cool drop drop it drop everything figure out what it is so you have it forever again the bridge goes to a e minor f sharp minor [Music] and then to d and right there you hear it i'm gonna play it again you go back you hear it and you're like okay that's that's the tonic but that's not what we're selling we're not it's not what we're selling we're selling that we're selling you know b aeolian versus a mixolydian over f sharp that's that's the brush we're painting with but every now and again you get that d you can look you can see he's he's doing it right now he's playing a little piece of that d and it's just for a moment it brightens up and your ear hears it and you're like wait a minute wait a minute wait a minute i i thought i thought i knew what was happening listen for it listen for it [Music] you hear what i'm saying [Music] [Music] [Applause] [Music] let me point something out here to you so those of you that have gigged a lot you know what i'm about to say when she comes out of the break she's dancing with it the drums cuts out he's letting it shimmer right and she's got the groove in an instant she loses it stops dancing and loses the groove watch for it i love watching people's internal subdivisions that's why i always pick up on this stuff because when you watch people move you see how they're actually feeling it inside right and if you're the drummer and the other guitar player that's what you're watching to see when someone's coming in you're not listening as much as you're watching them right because the body is going to tell you when they're going to come in now watch this she stops moving and then a minute later she misses this little beat a second later what [Music] see dead giveaway and now what no what now what happens when you're in the scenario because this happens all the time if you gig a lot usually usually you give a little give a little bat of the head and you know you leave a little space for the drummer to come in with the heartbeat snare [Music] yeah see especially in a band like this where the guitar player is doing ambient not pushing rhythm across the room sounds right it's really all on the drummer and you see he comes back in watch his little head bob he's like i got you i got you i got you no one's gonna notice i got you i i live for this stuff [Music] [Applause] [Music] hey [Music] digging it out [Music] i love that look she knows it [Music] he's opened the hi-hat like you know every four times or so so you feel like you're getting towards the end of the song you see her looking around [Music] baseline in unison [Music] [Laughter] then you shimmer away yeah so that's that's it you know that's my key takeaway um it is for for on the rhythm side um it is that reggae-ish groove uh with kind of like a lo-fi um you know drummer never leaves the three-piece with the click um but the drummer is so deep in the pocket it's just absurd it's perfect right um harmony wise you know it is in the key of b minor which is natural its relative major is uh d major um and it goes from its one to a five so b minor to f sharp minor but the the emphasis uh on the upper harmony is the a major triad uh most of the sounds that you're hearing the spaciness you're getting is by accentuating the a the a triad over that f sharp so you're making the sound of that a minor seven you're just doing it by focusing on the a and he's doing that in the rhythm part he's doing it in the melody parts um and that sound combined with you know the swimming and drenched in verb and delay and everything else that's on it creates that super ambient just shimmering in the in the stratosphere sound and then of course when it goes to the chorus and the bridge if you can call them that it does play off that relative major but again it's still even though it never leaves key it still plays hard to the a really hard to the a and every now and again it gives you the d right and the d is the tonic center overall and when you hear it you're like whoa wait a minute your ears like whoa i thought i knew where one was i thought we were in a minor thing and then you hear it you're like well that must be off but that's actually the true harmonic center so for all intensive purposes you know it's in b minor but the flavor is f sharp minor because uh f sharp minor seven because you're accentuating that a in it i don't really know what else to say these are the these the fun things you can do if you understand uh how triads work in in seventh chords uh how modes work and it's really not that complicated it's all diatonic and look there they are i guess it's time to go anyway if you'd love to learn more about that i have a link to all my courses over at guitargate on my website i go all through this step by step slow not not rushed like this like a reaction video and of course it supports this channel and everything free on youtube and i'd love to be your online teacher and again thanks for liking subscribing uh dropping links in the comments and i'll see you guys real soon cheers

Channel: Michael Palmisano

Views: 194,640

Keywords: guitar, guitar lesson, prs guitars, paul reed smith, improvisation, music theory, guitar scales, Guitargate, Khruangbin @ Villain | Pitchfork Live, khruangbin reaction, khruangbin guitar lesson, khruangbin villain, khruangbin august 10, khruangbin august 10 reaction, khruangbin august 10 live, khraungbin, khruangbin august 10 guitar lesson, music reaction, reaction lesson, guitar parenting, guitar teacher

Id: wf9JtrgAoHg

Length: 28min 53sec (1733 seconds)

Published: Sat Dec 19 2020