Jacob Collier: Masterclass en NEMPLA - Parte 4 de 5

so actually this is a minor and so that's for sense sharp but because the ear is hearing that as a fifth being upwards you can stretch it so I stretched it I stretched the first one [Music] and by that time I'm in another place you know so it's very it's very intelligently done it wasn't up rough it was very well calculated I'm very clever but but just to show you this but basically there are four chords that take you from E to G hi what are our coordinates can I share I'm than me I saw something here I saw May or something and and the way that I get away with it is by using just intonation but using intonation from the harmonic series and stretching it to my advantage okay so yes so some of the voice leading areas just like insane like I said it's like it's quite gnarly it's quite gnarly but if you get into it so can I find a really juicy one that's a good one so so yeah that's a new note and then another look that's it so it's funny cause like you know I'm recording my room and I normally I leave the door open and my family is just like what is he singing like my mom my mom is like are you trying to sing in tune as I [Applause] anyway it was worth it cuz G Hoff sharp is a champion key it has to be said and actually just very quickly for the end because the end the end of the song is very reassuring I went back down vitally very cleverly so [Applause] [Music] [Music] and then voila when she major again back here [Music] move I'm Rebecca G you know so again like you know you what you watch the video you listen to it you don't think like what's going on with the tuning you just think like okay we're home we're going home because it's really important to not think that the point of this is this is the crazy technical stuff it's not the point of this is the feeling I get when I give in G half shop and then when I go down to G is absolutely wonderful and that's why I do it there's no I don't I'm not trying to prove some technical thing here I'm I'm just trying to make it feel the way I want it to feel and so it's just it's very important to the last points very important to make that clear because I think a lot of people in like when the the negative harmony video went out I was like wow you know this guy's crazy and and it's it's funny because I you know when I was a kid I wasn't I wasn't the virtuoso a kid I was the kid who had all the ears but I didn't have any chops at all none no chops poor Jacob I couldn't you know I could hear I could hear everything I could hear the harmonies but I couldn't play the stuff cuz it I could you know having not study classical music and so I did I just didn't have the technique so still to this day my technique is very patchy like there are lots of things that I'd like to be able to achieve that I can't but I've got a way of playing things that works for me and most of all I can hear I can cover not all of it my my process of learning is always that my hands are trying to catch up with my ears on my mind yeah so it's it's weird now because I kind of represent a generation of like chops people which is very very strange I can't tell you because for you know for most of my life I was the person who understood it but but going little bit of and executing the stuff like you know my mind's always been very fast but my hands having not been trained have I've always just been clambering to try and catch up and so you know that that negative how many video went out I never once took a fall like man Jacob like studied really intensely as a kid and like he's got all these crazy chops and and you know I did immerse myself in musical theory concepts but I hated theory as a kid it was horrible it was like the thing I least wanted to do is sit down and talk about Roman numerals and all this stuff and and really you know it took me to personally want to learn about music theory for myself you know like I was I was trying to find a way to get this chord more exciting right so it's like that's exciting or that's exciting and then I thought well there must be more so there is [Music] and like okay so this note C sharp in C major so well no one's talking about that so I have to make my own word for it you know so this is why I came out my shot and I am now like I said me but yeah so this is this is why I came up with the super Lydian thing yeah because this is a shop this is like a shop 15 and then this is like a sharp 999 something yeah so yeah [Music] and you're in see you're still in seat so that wasn't Dada yeah yeah um anyway this you know this these sounds like look at the difference between this sound and this sound super in sailor so yeah so this is C D G B D yeah and then this one listen for yeah so so for me this is major and minor my yeah minor is is fourths [Music] it's a Samana and then see majors this [Music] you know F F in a C major Lydian oh this really crazy sounds and honestly like I didn't know why jazz people weren't talking about it because jazz we were all about like let's get the most extensions you know and all these guys are chords like but no one was doing that no one was doing that which I didn't show didn't understand to make all the sense in the world that's g FB g sulfa see chippy see also beefy was the same as with yeah so doji [Music] yeah so get this weird sounds unlike but you know [Music] makes all the sense this example is not that this example is just that in jazz this court doesn't exist but because it has an f-sharp and it is a this is g7 but a beast [Music] see my shorter but just that sound since when was that Oh a chord like no one did yes unless they unless they you know you could validate it it's like oh it's like a second who don't occurs d7 but it like Norma Singh dives know about a chord this amazing sounds and that Britain was all over this man Benjamin Britten the composer from from he was all over the most amazing sounds you know like this kind of sound like an injustice does exist you know it's like okay you know 1111 chord or something but that is a sound yeah that sound is for me was a lot more interesting than like which is like a jazzy chord you know like you know but you know just sunny you get like yeah so you get these jazz Cadence's ins and you got like like very good very good yeah baby girl [Applause] [Music] like now we're talking is this colorful like this cord that is no name there's no name for that cause and I've spoken to Herbie Hancock about this funnily enough hurry because there's a tune that Wayne Shorter thought to her be called don't follow the crowd [Music] right I'm Dyess [Music] that quarters is a major 7 sharp 5 a major 7 and that is going there so major 705 using being used as a dominant chord like this is interesting stuff and if this is like crazy theoretical for a second and scary is manic because basically what I'm saying is that you can treat you can take sounds like a triad try these three notes a major try this one of the most commonly used hours we have and you can stick that try it any way you want and it's a strong sound so you know yeah yeah so that that suddenly becomes a valid cadence because when you when you do arranging all that really matters is that you illustrate the cadence correctly you know where am I where do I begin and where do I end and then it's just to do with finding the right way to get there so you know yeah I'm going to D flat and I can go and then they let me into jazz school you know and and then and then I can also go which is the negative version of that the Playgirl cadence yeah so you know in jazz you have this thing just to go over the negative how anything for a second so so three six two five one you guys know about this no sex no sale no kin wm8 oh yeah yeah very very good yeah okay and that's fantastic and [Music] absolutely novel you can have great from of that there's there's a thing that folk musicians often do oh you're the folk thing is though if you're in a key like this then going like it's just so lovely and that's called a play your cadence so yeah play begins and so this is G major my go you see soiled or so but then if we go [Music] yeah FF CG mean far thought you saw yeah so suddenly that is as valid as like is like Diwali oh yeah and you can you can off see you can stretch that really far you can go you know like that's you know three six two four seven three six two five one okay yeah so let me get uh so this is G where G major and this is C sharp minor 7 F sharp 7 B minor 7 Eve 7 a minor seven D seven - this is normal what so in negative harmony how many steps was that one two three four five six seven yeah so f sharp suddenly I can even go from even one more so sorry yeah so uh so actually I just realized that this is C sharp is our starting point so C sharp we can go to get to G or we can go by almost cedar which is so do you guys know about this did the circle of fifths so C sharp F sharp B e a d g yeah or C sharp what D flat E flat E flat B flat FC g yeah so this is the perfect one and this is the this is the plague all those dudes using major cause is oh no is that right now's the wrong way [Music] yes sir [Music] it's really a heartwarming you know like [Music] so it's a bluesy it's focused bluesy you were going up in fifths I was going on C sharp F sharp yeah so C top aid flat or D flat a flat D flat B flat so I'm gonna move down in fourth okay that's in the end dip or listen in the purpose instead of up in fourth yeah so so what what negative harmony is negative negative harmony is a term coined by my name's Steve Coleman who is a very famous jazz educator who's very important in the 80s for jazz education he has sort of founded and represented a lot of very very crazy music theory concepts and brought them to the fore and one of the things that he says a lot is this thing about polarity and symmetry idea you see my video so symmetry is one of the most important things to the whole of humanity we've always loved symmetry we've always tried to seek it and it's very very interesting to think about something being balanced so in harmony there are lots of ways you could achieve this and Steve Coleman unearthed an amazing book called a theory of harmony which is by Ernest Levy and Ernst levy talks about polarity in harmony in with classical composition yeah yeah the book is about how do you achieve Cadence's wait wait how could one invert Cadence's to give the same amount of gravity to the key center but from the opposite direction so that there are lots of different ways in which you can do this Ernst levy talks about this one axis there are lots of different axes that are possible one possible axis is between the between 1 & 5 over here so if you're in C major you can flip every single note over this axis this is what negative harmony is in terms of Ernst levy so so what you have in in C major so if I if I if this is the axis the axis is actually like which is buying the middle of a flat Annie because that's halfway between CNG so we're in C major and imagine this as a mirror and every single note is going to go over the mirror and reveal the inverted cadence but with the same gravity because reflections maintain gravity but they changed the the chord so this is what unsub is trying to achieve here so for example at C so the most obvious way to get to see is g7 yeah so g7 being this chord you could also do this one further G 7 g7 traditionally is there so what we're gonna do is we're gonna rotate every note over the actors don't worry if this sounds crazy because I can't explain it so G becomes C because the axis is G to C so G becomes c b:c becomes a flat because if you flip it over you get there okay so we have C and a flat and then D okay becomes F get them far and F becomes D so what was this has becomes this said I'm for Moines okay now we know we know this sound this is it's kind of like f minus 6 so C major and either we go like this we go to this yeah or we go like this yeah and everyone knows that feeling everyone knows family knows next time it's very sweet right yes yeah well if you take it and on a purely tonal basis like we're in this ski and we're flipping it over this key Center then yes you were changed axis if you're an E flat then yeah B flat seven becomes a flat minus X so this this concept is is originally a melodic concept so if you take C major and flip it over the axis you get which is what earns Liv equals c- major and what it is is it's F it's a F Phrygian descending from F because every interval is inverted so tone tone semitone tone tone semitone becomes tone tone tone tone tone tone so anyway so this is on sleepers idea is that you know you can have yeah [Music] this this is inverted and becomes this and you know you can do like happy birthday now becomes though what is it [Music] yeah basically yeah yeah then yeah becomes or whatever happens to be so so you know you get this weird other other melody and in jazz improvisation it's really interesting if you invert the chord changes to a song and then you blow over those changes and then it gets crazy because it's like but they arrive at the same place and as I said before it's like the arrival is so crucial that you can almost do anything to arrive in a place and so what negative harmony gave me was basically another another method of arriving in a place you know so so so everything everything perfect like so becomes plague and everything major becomes mine

Channel: Nempla Música

Views: 61,084

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Id: lAryhcM9av0

Length: 19min 18sec (1158 seconds)

Published: Fri Jul 19 2019