"My thanks is like volcano" True, and real

Sweet, now that was a deep dive 😎♫ Riff connoisseurs, remember Omar isn't just a guitarist - he's _composing_ and _producing_ - so with each riff, he's also composing the drum parts, bass parts, etc... For example, the crash cymbal emphasizes the "opening" riff, while the "closing" part is driven by tom fills and dynamic swells.

I love the Mars Volta but never bothered with any of their solo stuff. I'll definitely be checking Lopez's solo stuff now.

@JordanPeacock

2 жыл бұрын

All 40 albums or so..... so so much great stuff

@writingalias4401

2 жыл бұрын

se dice bisonte, no bufalo

@writingalias4401

2 жыл бұрын

Rapid Fire Tollbooth

@sawyeratkinson

Жыл бұрын

I can remember going for drives in jersey listening to whatever I was and old money was an album I remember getting lost to round the pine barrens. Ended up coming back thru hammonton...ah to be young dumb and lost again

@patrickmcgever2736

11 ай бұрын

Xenophanes, Solar Gambling, and El Grupo Nuevo are musts.

Harmony moving around one continous note (like all the things you are at 2:53) is one of my favorite things to hear in music. Leprous' The Valley has a whole section built up on revolving chords, but a repeated pedal note and I love it so much.

@MetalNoah778

2 жыл бұрын

Ooh you should listen to Language by The Contortionist if you haven't already

@jonajon91

2 жыл бұрын

@@MetalNoah778 It's definitely got its moments, but it never really did too much for me, I think it's the dull vocal delivery.

That Hiatus Kaiyote Choose your Weapon shirt is amazing, great video too

Fuck yeah man so glad to see more Mars Volta / ORL content!

great record. thanks for sharing your analytical powers on the Omar-Cinematic-Universe.

I think the rest of the arrangement adds a lot to the slipperiness here too, especially the drums. Like right out of the gate I'm hearing a really strong 4/4 + 7/8 + 9/8 + 4/4 phrasing, with the "flip" at the end of bar two being compelling enough that I was a little surprised when you brought up a transcription in straight 4/4 right after. Obviously that phrasing exists in the guitar riff by itself but the accents from everything else really bring it to the forefront and give the riff more that slippery lurching feel than a more basic backbeat would've had. The first note after the count in also sounding like the 'a' of 4 also helps, it just makes your frame of reference that much less steady so the almost immediate illusion of a meter change is even more effective. TLDR: Using syncopation to make something sound more complicated than it really is can make your music slippery.

I absolutely love this channel. You’re the best, my man!

@metalmusictheory5401

2 жыл бұрын

Thank you! I love you too

Really well done!!!!!

Definitely my favorite solo album from him.Great analysis

Great video (I like these short ones) about a really underrated album -- I think a lot of Omar's solo stuff gets neglected because of how insanely good TMV is. Sort of a side topic, but when discussing musical qualia, I think what you identify as 'pitch against chord' is actually best formalized in terms of intervals. If you like unnecessary detail, there's plenty detail to be had when you inspect these intervals in relation to the harmonic series. This can test a person's patience to do, but I find that often it really reveals a lot of insight into what these 'meanings' actually are. After all, we get a strong subjective sense of changing qualia in your example (the G# in "All the Things You Are"), but can it be made objective? Yes, it can. First off, I would not look at just the G#, but of the E-G# major third interval. Against the E major chord, which has a standard 'harmonic series representation' of 4:5:6, it's pretty cut and dry that these two notes represent a 5/4 ratio. You can think of them as the fourth and fifth harmonics of some much lower E root note. But what about when the E-G# appears in the C7#5 chord? It's trickier because this chord doesn't have a convenient harmonic series representation. If you were to look at the C-E major third, it seems to be a 5/4 major third. The C-G# augmented fifth, on the other hand, is closest to an 8/5 ratio. And unlike the 5/4 C-E major third, whose root note is a C, if you try to fit a 8/5 C-G# augmented fifth on the harmonic series, the root note seems like it should be G#. In the C7#5 chord, the E and G# are now trying to reference difference harmonic series-es. In some sense they no longer act like an interval with each other (if you try to fit them together with these interval ratios, the best you can do is 32/25, which has way too much harmonic entropy for the ear to pick up easily). Furthermore, the C-G# interval retains its harmonic 'meaning' in the subsequent F minor chord (though now the G# is spelled as an Ab). F minor's traditional harmonic series representation is as 10:12:15, and if you move the Ab up an octave, you can see that its 24/15 representation reduces down to the 8/5 (though the root note for the whole harmonic series is actually a Db - minor chords are weird like that). Overall, you can see the whole journey of these musical intervals spelled out with precision. On the first chord, we're presented with an unambiguous interval. The second chord breaks apart the integrity of the interval, using its constituent notes in two conflicting intervals. The final chord chooses one of the intervals and clarifies it. On the surface this runs parallel to the narrative of 'stability, tension, and release' that is Western music theory's bread and butter, but the harmonic series analysis is way, way, more descriptive.

@metalmusictheory5401

Жыл бұрын

Really interesting way of thinking about it that wasn't on my radar at all, but I love how it tells a familiar story! Kind of like a "sound of the word" vs "meaning of the word" (analogous to harmonic syntax) interpretation

This is some non-Newtonian awesomeness, hah nice.

great content, keep it up

Infinite Jest on the bookshelf!

sick shirt

That tie-in with English language is kinda interesting. In my language, you can technically shift around elements of a sentence almost willy nilly to accent whatever you deem to be the core of the information. There are ways to do it well and ways to do it badly, of course, and you can lose meaning, if youre not careful about not going too extreme with it. With this riff I did feel some slipperiness, but it was not particularly extreme. Since youve mentioned it, I really love All The Things You Are as played/arranged by Brad Mehldau, when it comes to slipperiness, though. The intro section just feels like it is trying to sabotage steady pulse and feels like it keeps progressing too fast here, too slow there, never giving you a steady ground to nail the next piano key press... and then it settles.

Hiatus Kaiyote is required listening

What's the slipperiest riff you know? I think a better word than 'grabbing' would be 'grasping', given its dual connotations: gripping an object, and understanding a concept. For me, a concept is slippery if it's easily misunderstood or misused, and a musical phrase is slippery if you think you can predict where it's going to go but then it throws you off (in a way that's different to, say, an abrupt break or transition).

Could you do a riff analysis of something from Archspire?

Please review some Ion Dissonance. Maybe "Ill will", I can't get what they do rhythmically between the guitars and the drums, it's brutal.

@metalmusictheory5401

2 жыл бұрын

Just talked about them a little in a rapid fire riffs video (#6)-will definitely do something more in depth, but as a starting point I think my Dillinger Escape Plan video might be relevant to their sections that sound like they're off the grid!

@guidoretro

2 жыл бұрын

@@metalmusictheory5401 Awesome! I watched the DEP video, I guess that's what ID is doing there, they are going of grid and coming together at the end of the pattern. I'll check the rapid fire series, thanks :)

@guidoretro

2 жыл бұрын

Correction: I was refering to the song "after everything that's happened, what did you expect", not "Ill will". I mixed the names.

HOW COULD I HAVE MJSSED THIS WTF

Slippery music theory

I'm 10 seconds in and I had to hit the like button. Not fair to an Old Timer like me. (Should have been quicker)

what is the guitar on the left. i want it lmao

@metalmusictheory5401

Жыл бұрын

haha one of a kind cheap Ibanez RG that I painted myself, my first electric guitar and still maybe my favorite!