Basically it’s a mode. A mode is just where you start a scale on a different note in the scale. Each starting note has a name. Lydian is the 4th note of the scale
@@landonpeckham7752 ^ the 'normal' mode, Ionian, divides all 12 notes like: whole step (two notes, C to D) w half step (one note, like E to F) w w w h. Lydian shifts this so that the first note is on the 4th note. so it goes w w w h w w h.
Building on what people have already said, if you take the major scale of the V, then you've got the Lydian mode eg G major = C Lydian. What you end up with is the same as the major scale but with a sharp 4 (eg C major plus an F#). This #4 (aka #11) is the characteristic Lydian sound which you come across in chords like Maj7(#11). One way to play it is a D triad over a C triad or Maj7, because you get the F# from the D chord giving you that C Lydian #4 sound. Jacob is just extending the pattern, stacking E major on the D chord to give a sound which is like "D Lydian over C Lydian" which he calls C super-lydian, then add the F major to get C super-ultra Lydian, etc.
It's funny since he has said (rightly) elsewhere that there really are no wrong notes since it's all about context. Many years ago, a pianist friend of mine played me a chord and asked how it sounded. Well, it was definitely dissonant and pretty ugly sounding. He then played it in context -- turned out it was part of a contemporary gospel tune that I had already heard, and in the context of the progression, it sounded great and made sense. When you have a progression with relatively complex chords, the passing chords can be even more complex (dissonant/ugly/whatever) and sound very wrong on their own.
@@BassByTheBay Indeed, many pop songs have this when they use the (half) diminished chord. Very popular pop song cliché used in pop music from each era, but a rather dissonant sound on it's own for pop. Even going further, A major 7th chord, leaving out the 3rd and 5th, gives an inverted minor second interval, which is considered extremely dissonant, but notes balance out depending on their closest other notes within the voicing. Jacob would probably say a major 7th chord is strong because it's just 2 stacked 5ths (ie. CM7 = C E G B, where C-G and E-B are 2 stacked 5ths). What's funny though, this is not a modern concept at all. Bach argued at the start of it all that one should not think of chords, but think of separate melodic lines that line up here and there to create harmony and tension/resolve, with species counterpoint as the pinnacle, but not establishing a strong tonal centre, to have more room for "out-there-harmonies" Essentially, most of this is nothing more than going back a few 100 years to the start of music. full circle. Bach is also funny in that he used extremely strong rules not to close harmony, but to open it up more. Where modern educators tend to have rules, to be as traditional and straigh as possible, ugh :P
@@BassByTheBay And even in isolation, voicings as well as breaking a chord up rather than playing them all at once can also do the trick. Even instruments make a huge difference, and how low or high your voicing is. Too low it can get muddy and loses harmonic clarity, overtones start to confuse the ear, but too high and the dissonances can get aggressive in a different way. A pretty solid way of creating a chord that sounds subtle for how weird the notes are is to think of the lower part as consonant structuring, perfect 5ths and either thirds above the root give you a really sort of firm foundation to orient yourself, the higher up you go, the easier it is to justify color tones, in my experience. Then there's the relationships between each and every interval, creating some space with mostly consonant intervals before actually including a flat 2 can pretty much completely hide the dissonance, 4ths and 5ths are particularly open and clean sounding. You don't always wanna approach chords this way, of course, when it makes sense in a progression, it can actually be more effective to really lean into dissonance, and semitones and whole tones just sound so damn good. More open and consonant voicings have their place, but I tend to go for a really balanced voicing with a bit of everything.
I did this on a tune I wrote for Herb Pomeroy’s band at Berklee in 1988. I thought of it as stacked triads with each 5th being the new tonic. Herb said “it’s really beautiful the way you got around the overtone series.” I was on cloud nine for weeks after he said that.
Pulled one on Herb, erh? I played around with this idea little bit a long time ago, I was extending a Cmajor chord up into G Lydian. Adjacent voice leading justifies a lot of the weirdness, as Jacob has also insisted in other interviews. To me it's like generating a new DNA strand of harmony.
Ok, it's off-topic, but someone needs to say it, so i'll take one for the team: Why is he wearing a thick sweater and a thick jacket indoors? You'd think it's well below freezing in that room. Is it cause he's just incredibly cool?
All the books teach you what chords could go well together because they are often used in so many songs. But nobody stops you from playing around with chords and notes. Alot of people are overthinking music way too much instead of enjoying it. I see so many people going crazy with mixing and mastering their songs because they think it has to sound a certain way to make it popular. Just do your thing in music. If you like a distorted kick and bass, leave it in. If you like your hi hats to be louder than the rest of your song and you truly enjoy it that way, just leave it in. Don't change it because other people may not like it. It's your music, make whatever you want.
... and if you want to spend five figures on eurorack modules and use it to make completely random self-generating ambient background chirps, and the cost isn't a big deal to you, then go for it. Have a blast. What is life if you don't do what you enjoy?
It's a bit if a gray area, if you're making music for yourself and only yourself. Then sure do whatever you want because in the end all that matters is that you dig it. But as we can see with his current music, if you want to make music for others to enjoy. You need to make some compromises to your music so it's easier for the masses to consume by making it a tad more familiar sounding and predictable. It becomes a fine line of making music for musicians or music for the untrained ears. A true master musician is able to make amazing original music with hard limitations on complexity or going to far off the bend.
@@ryanm8485 Definitely. If you want an audience to like your music, you have to compose it to match the audience's preferences. Most people, however... are never going to have much of an audience or make any money from their music. It's usually a thing they do for the enjoyment of doing it. So they should do what they like, and if they're lucky, maybe others will like the same things. I don't think people should entirely ignore everything humans have learned about creating music, though. I just think some people have overly strict ideas about what music should be, and could stand to loosen up. The "rules" of music are really more like suggestions. It's typically still worth learning that stuff, because they're usually _good_ suggestions... but people shouldn't let themselves be limited by it. They should feel free to color outside the lines when they want to. If music isn't your day job, it shouldn't feel like work. The point is to play, explore, and have a good time.
It’s also worth noting that because so many people try to appeal to such a wide audience, then all music ends up sounding kinda the same, which is something you can plainly see, somebody makes something unique, some more people put their twist on it, then everybody starts doing the same thing, then people get bored of it and find something new.
@@sayan1667 That's kind of the point though. You learn what those who came before you did and how they limited themselves. It's up to you if you want to unrestrain yourself (to be different) or keep those limits (to match a desired style). We don't want classical musicians to go outside the bounds of classical. If they did they would stop being classical and start being neo-classical. Point is, it's all exactly as it's supposed to be.
I think what Jacob demonstrates here is a very interesting and rational extension of the conventional way of thinking about chords. Traditionally, music theory books analyse chords as "the root + some other notes", each of which is interpreted in relation to the root. According to this view, a chord is a collection of notes, each of which can be placed in different octaves: some inversions are stronger than others, but in essence the chord remains the same when you raise or lower any note (or set of notes) by an octave. As Barry Harris put it once: "There is nothing bigger than the octave." Jacob here draws attention to the fact that this is not entirely how our ears perceive chords, especially more complex ones. We tend to hear "chords within chords". Even in a simple Cmaj7, we can hear the E minor triad as a component. But these subchords are more easily picked up by our ears when they come in the form of a voicing we often hear anyway. The C# at the top works in this example because it is a meaningful (and familiar) note in relation to almost all of the "subchords" that are part of this voicing: it is (1) the 13th in an Em13, (2) the 11# in a Gmaj7/11#, (3) the 9th in a Bmin9, (4) the maj7 in a Dmaj7, and (5) the 5th in an F#min triad. Because C# works in the context of all of these chords, in our ears this combined effect overrides its "incompatibility" with the Cmaj7 (or Cmaj13/11#) at the bottom. We hear the C-bass at the bottom as an extra "flavour", so the chord may be notated as Em13/C. Conversely, the duplicating the C at the top sounds ill precisely because it is an avoid note in the upper structure "subchords" Em7, Gmaj7, and Bm7.
I just remembered that's what Ayako Shirasaki did in the intro of "In a Sentimental mood" in her album Falling Leaves. But with Dorian instead. Sometimes I consider the #1 as 15 and back to the 3 as 17 and so on, but I guess this makes more sense.
He explains this stuff so succinctly, it shows a profound understanding of everything he does. I used to dislike him purely out of envy but his greatness is to overwhelming to not appreciate
Take the notes of the scale but arrange them in this order: 1-3-5-7-2-4-6 (or 1-3-5-7-9-11-13, if that helps you visualize it) It’s a way to play every note of the scale without sounding like you’re sitting on the keys. In Lydian, by the way, this creates a Maj13(#11) chord
On a harmonic table keyboard, this sort of thing is incredibly easy to do. Just keep adding keys in a straight line. It's a hex grid where one axis is +3 semitones, one axis is +4 semitones, and one axis is +7. It makes scales a little weird, but chords become trivial.
I feel like he is a genius that has troubles explaining things because he does everything by feel without any words. Or its just me that doesnt understand anything
When you describe the chords feeling different, it feels to me when you try and key that fits in a lock the you switch to the right key which opens the door
OMG I DID THIS WHILE MESSING AROUND WITH MY PIANO WHEN I WAS 12 Edit: I don’t know if I played the exact same thing as him, but what he played instantly reminded me of what i did; I played a cmaj7 that turned into a dmaj7, then emaj7 and so on. That said, it is a couple of years ago now so I’m not totally sure, but I think it was something like that. Edit nr.2: I’m a drummer so I don’t know exactly what these piano chords and stuff are called so correct me if I’m wrong
im grateful for my music theory education because I can at least understand this at a BASIC level. but also my understanding of music theory lets me know just how much further ahead jacob is :sob:
Playing around with this and I realized that the dreaminess of the piano to Favorite things is because of the shift between Gmaj7/E and A maj7/F#, a minor version of this video's concept. So, favorite things is super dorian??!? The C and C# Jacob mentions is the G and G# difference between these two chords.
I was first playing with chords and I found Cmaj7 and then I was like "what's the next tone?" so I added D,then F#,then A and finally C#,and I was going on and on and I was wondering if I could create that Super Hyper Meta whatever Lydian with the help of some people
Видеоклипы
Textbooks: Lydian ends like this…
Jacob Collier: I disagree with this, and I’ve decided, that it keeps going.
Such a simple but powerful statement to question the status quo
Yes Jacob, sorry Jacob.
the people who wrote these book were jut people as well you know
Wow. It's like we watched the same video or something!
Not sure if that was supposed to be self-deprecating humour, but the rest of us should probably take it literally.
I didn't know what lydian was, but now I'm even further from knowing.
Basically it’s a mode. A mode is just where you start a scale on a different note in the scale. Each starting note has a name. Lydian is the 4th note of the scale
@@landonpeckham7752 ^ the 'normal' mode, Ionian, divides all 12 notes like: whole step (two notes, C to D) w half step (one note, like E to F) w w w h.
Lydian shifts this so that the first note is on the 4th note. so it goes w w w h w w h.
Building on what people have already said, if you take the major scale of the V, then you've got the Lydian mode eg G major = C Lydian. What you end up with is the same as the major scale but with a sharp 4 (eg C major plus an F#). This #4 (aka #11) is the characteristic Lydian sound which you come across in chords like Maj7(#11). One way to play it is a D triad over a C triad or Maj7, because you get the F# from the D chord giving you that C Lydian #4 sound. Jacob is just extending the pattern, stacking E major on the D chord to give a sound which is like "D Lydian over C Lydian" which he calls C super-lydian, then add the F major to get C super-ultra Lydian, etc.
Stupid me mistaking Lydian for locrian
It is augmented major. Like c major with f# instead of f.
So after all these years my dog has been playing super-ultra-hyper-mega-meta-lydian on the piano. Good boy!
Bad dog! Wrong key over there, under your back left paw!
Roflmao! Funniest comment I've read in a while! 🤣
😅😅😂😂
😆 👌
🤣🤣🤣🤣
"This is a big chord, man"
-That was a nice chord, man
-I know, dude, it really ties the song together.
Massive chord
Huge chord
This is a gargantuan collection of tones sounded together as a basis of harmony
Sounds like something Zaphod Beeblebrox would say
“a simple man just let’s the Lydian stop. a wise man simply decides no, it keeps going.” - Sun Tzu probably
Plz no war nor peace =
WHAT? HAHAHAHAHHA
"This is a big chord, man."-Abraham Lincoln
Lets
Textbooks: "lydian is like this"
Jacob: "well I disagree with this"
I feel weird listening to Jacob Collier say "correct me if i'm wrong"
It's funny since he has said (rightly) elsewhere that there really are no wrong notes since it's all about context.
Many years ago, a pianist friend of mine played me a chord and asked how it sounded. Well, it was definitely dissonant and pretty ugly sounding. He then played it in context -- turned out it was part of a contemporary gospel tune that I had already heard, and in the context of the progression, it sounded great and made sense.
When you have a progression with relatively complex chords, the passing chords can be even more complex (dissonant/ugly/whatever) and sound very wrong on their own.
@@BassByTheBay Indeed, many pop songs have this when they use the (half) diminished chord. Very popular pop song cliché used in pop music from each era, but a rather dissonant sound on it's own for pop. Even going further, A major 7th chord, leaving out the 3rd and 5th, gives an inverted minor second interval, which is considered extremely dissonant, but notes balance out depending on their closest other notes within the voicing. Jacob would probably say a major 7th chord is strong because it's just 2 stacked 5ths (ie. CM7 = C E G B, where C-G and E-B are 2 stacked 5ths).
What's funny though, this is not a modern concept at all. Bach argued at the start of it all that one should not think of chords, but think of separate melodic lines that line up here and there to create harmony and tension/resolve, with species counterpoint as the pinnacle, but not establishing a strong tonal centre, to have more room for "out-there-harmonies" Essentially, most of this is nothing more than going back a few 100 years to the start of music. full circle. Bach is also funny in that he used extremely strong rules not to close harmony, but to open it up more. Where modern educators tend to have rules, to be as traditional and straigh as possible, ugh :P
he might be wrong but but on a level i cant even be wrong let alone right
Bossa nova songs for instance have the weirdest chords ever, but they sound super chill in the songs.
@@BassByTheBay And even in isolation, voicings as well as breaking a chord up rather than playing them all at once can also do the trick.
Even instruments make a huge difference, and how low or high your voicing is. Too low it can get muddy and loses harmonic clarity, overtones start to confuse the ear, but too high and the dissonances can get aggressive in a different way.
A pretty solid way of creating a chord that sounds subtle for how weird the notes are is to think of the lower part as consonant structuring, perfect 5ths and either thirds above the root give you a really sort of firm foundation to orient yourself, the higher up you go, the easier it is to justify color tones, in my experience. Then there's the relationships between each and every interval, creating some space with mostly consonant intervals before actually including a flat 2 can pretty much completely hide the dissonance, 4ths and 5ths are particularly open and clean sounding.
You don't always wanna approach chords this way, of course, when it makes sense in a progression, it can actually be more effective to really lean into dissonance, and semitones and whole tones just sound so damn good. More open and consonant voicings have their place, but I tend to go for a really balanced voicing with a bit of everything.
It never gets old hearing him say Super-Ultra-Hyper-Mega-Meta-Lydian.
as a dude I honestly think I might fall for him.
aren't you the girl that made the Jacob Collier vid sickkk!
maybe
I did this on a tune I wrote for Herb Pomeroy’s band at Berklee in 1988. I thought of it as stacked triads with each 5th being the new tonic. Herb said “it’s really beautiful the way you got around the overtone series.” I was on cloud nine for weeks after he said that.
thats an awesome story, would love to hear more if youd be willing to share some
Pulled one on Herb, erh? I played around with this idea little bit a long time ago, I was extending a Cmajor chord up into G Lydian. Adjacent voice leading justifies a lot of the weirdness, as Jacob has also insisted in other interviews. To me it's like generating a new DNA strand of harmony.
Crib Notes do we need to justify our weirdness? 😁
@@kyletharaldson4681 Not always.
Ok, it's off-topic, but someone needs to say it, so i'll take one for the team: Why is he wearing a thick sweater and a thick jacket indoors? You'd think it's well below freezing in that room. Is it cause he's just incredibly cool?
It's to conceal the giant heatsink attached to his brain.
@@ephjaymusic perfect response
@@ephjaymusic XDDDDDDDDDDDDDDDDDDDD
@@ephjaymusic A coat around a heatsink seems like a bad idea
@@incredulouschordate it's a coat made from superconducting material.
"so uh, that's something" darn right it is
You call this "super-ultra-hyper-mega-meta-lydian," I simply call this "the soundtrack of Breath of the Wild."
I was looking for this comment, that's exactly it!
I also remembered it!
So that's why I like it so much
Ocarina of Time - Title Theme
TRUEEEE
Ah yes, my favorite type of music: hetero-modal multi-tonic poly-rhythmic neo-classical pseudo-jazz.
Well of course it's gonna be multi-tonic😂
Jreg but musical
Jazzerceles? I love that guy!
Hetero. Feels like the straight thing to do.
@@alyn.m hetero translates to different. Meaning different modes in this context.
I love how Jacob is so good at music that he can DECIDE things are incorrect
@BRUNO “Science isn’t about WHY, isn’t about WHY NOT!?” - Cave Johnson
shame his music sounds like ass
nice
I love Portal so much@@kreeperkiller4423
All the books teach you what chords could go well together because they are often used in so many songs.
But nobody stops you from playing around with chords and notes.
Alot of people are overthinking music way too much instead of enjoying it.
I see so many people going crazy with mixing and mastering their songs because they think it has to sound a certain way to make it popular.
Just do your thing in music. If you like a distorted kick and bass, leave it in. If you like your hi hats to be louder than the rest of your song and you truly enjoy it that way, just leave it in.
Don't change it because other people may not like it. It's your music, make whatever you want.
Totally agree. Also theres too many people boxing in their creativity cos they’re too afraid of people’s opinions.
... and if you want to spend five figures on eurorack modules and use it to make completely random self-generating ambient background chirps, and the cost isn't a big deal to you, then go for it. Have a blast. What is life if you don't do what you enjoy?
It's a bit if a gray area, if you're making music for yourself and only yourself. Then sure do whatever you want because in the end all that matters is that you dig it. But as we can see with his current music, if you want to make music for others to enjoy. You need to make some compromises to your music so it's easier for the masses to consume by making it a tad more familiar sounding and predictable. It becomes a fine line of making music for musicians or music for the untrained ears. A true master musician is able to make amazing original music with hard limitations on complexity or going to far off the bend.
@@ryanm8485 Definitely. If you want an audience to like your music, you have to compose it to match the audience's preferences.
Most people, however... are never going to have much of an audience or make any money from their music. It's usually a thing they do for the enjoyment of doing it. So they should do what they like, and if they're lucky, maybe others will like the same things.
I don't think people should entirely ignore everything humans have learned about creating music, though. I just think some people have overly strict ideas about what music should be, and could stand to loosen up. The "rules" of music are really more like suggestions. It's typically still worth learning that stuff, because they're usually _good_ suggestions... but people shouldn't let themselves be limited by it. They should feel free to color outside the lines when they want to.
If music isn't your day job, it shouldn't feel like work. The point is to play, explore, and have a good time.
It’s also worth noting that because so many people try to appeal to such a wide audience, then all music ends up sounding kinda the same, which is something you can plainly see, somebody makes something unique, some more people put their twist on it, then everybody starts doing the same thing, then people get bored of it and find something new.
everyday jacob be like "how do I explain this last trip I had about music"
This guy really out here gaming the algorithm with recycled Jacob Collier content
the worst part is i'd already seen the full video and i still clicked
Its(super ultra mega) meta af
"correct me if I'm wrong" Oh boy... you got to have some ears to do it
I was thinking of another anatomical part, but ears works, I suppose.
I guess..
He's being super-ultra-hyper-mega polite.
no one told you to stop, really, other than... all of you teachers
@@sayan1667 That's kind of the point though. You learn what those who came before you did and how they limited themselves. It's up to you if you want to unrestrain yourself (to be different) or keep those limits (to match a desired style). We don't want classical musicians to go outside the bounds of classical. If they did they would stop being classical and start being neo-classical.
Point is, it's all exactly as it's supposed to be.
@@lambdaman3228 oki doki
@@sayan1667 literature club
"no one told you to stop going, unless... some of your teachers"
How is he not 4 million degrees in that cardigan, parka, and fur scarf
It’s cold.
Lecture halls can get a different kinda cold so I don’t even blame him
Because he's cool.
He's british
Mentally ill people have issues with their temperature centers in their brains
I think what Jacob demonstrates here is a very interesting and rational extension of the conventional way of thinking about chords. Traditionally, music theory books analyse chords as "the root + some other notes", each of which is interpreted in relation to the root. According to this view, a chord is a collection of notes, each of which can be placed in different octaves: some inversions are stronger than others, but in essence the chord remains the same when you raise or lower any note (or set of notes) by an octave. As Barry Harris put it once: "There is nothing bigger than the octave." Jacob here draws attention to the fact that this is not entirely how our ears perceive chords, especially more complex ones. We tend to hear "chords within chords". Even in a simple Cmaj7, we can hear the E minor triad as a component. But these subchords are more easily picked up by our ears when they come in the form of a voicing we often hear anyway. The C# at the top works in this example because it is a meaningful (and familiar) note in relation to almost all of the "subchords" that are part of this voicing: it is (1) the 13th in an Em13, (2) the 11# in a Gmaj7/11#, (3) the 9th in a Bmin9, (4) the maj7 in a Dmaj7, and (5) the 5th in an F#min triad. Because C# works in the context of all of these chords, in our ears this combined effect overrides its "incompatibility" with the Cmaj7 (or Cmaj13/11#) at the bottom. We hear the C-bass at the bottom as an extra "flavour", so the chord may be notated as Em13/C. Conversely, the duplicating the C at the top sounds ill precisely because it is an avoid note in the upper structure "subchords" Em7, Gmaj7, and Bm7.
Thats some breath of the wild stuff
Exactly what I was thinking!
Similar to some of the chords used in the divine beast dungeons I think!
Pretty much every genius musical innovator: "No one told you to stop, really, other than... all your teachers..." 1:20
It's incredible! The music is moving forward!!!
I just remembered that's what Ayako Shirasaki did in the intro of "In a Sentimental mood" in her album Falling Leaves. But with Dorian instead.
Sometimes I consider the #1 as 15 and back to the 3 as 17 and so on, but I guess this makes more sense.
"No one told you to stop, really... other than all of your teachers" I find this sums up one aspect of modern education pretty well.
Jacob Collier: *revolutionizes musical theory*
Also, Jacob Collier: "So yeah, uh, that"s something"
"it's a big chord, man"
Even his own hair got goosebumps
He explains this stuff so succinctly, it shows a profound understanding of everything he does. I used to dislike him purely out of envy but his greatness is to overwhelming to not appreciate
Ok
"I Enjoy this" - Jacob Collier, 2021
I lost him when he said ‘play Lydian in thirds’
I think he meant that you should pick thirds (major thirds & minor thirds) from the lydian scale (you don't play the whole scale, but skip over notes)
Take the notes of the scale but arrange them in this order: 1-3-5-7-2-4-6 (or 1-3-5-7-9-11-13, if that helps you visualize it)
It’s a way to play every note of the scale without sounding like you’re sitting on the keys.
In Lydian, by the way, this creates a Maj13(#11) chord
@@Chris-mc2dt thanks
I lost him when he said "fourths and fifths" as I have no idea about music theory and this showed up in my recommended out of nowhere
On a harmonic table keyboard, this sort of thing is incredibly easy to do. Just keep adding keys in a straight line. It's a hex grid where one axis is +3 semitones, one axis is +4 semitones, and one axis is +7. It makes scales a little weird, but chords become trivial.
Eventually this will just loop all the way back to the Major scale.
Wait how
If you do every possible chord it's CMaj7 DMaj7 EMaj7 F#Maj7 AbMaj7 BbMaj7 but S T A C K E D
*the* major scale?
This just the BOTW soundtrack.
Lmao exactly my thoughts
1:42 literally
The Zelda games are indeed famous for their lydian themes in music. Part of what makes them so memorable.
@@cacaw_0 - I guess I never noticed that before. Thanks!
Exactly what I was thinking
“oh ya this sounds great”
even as a musician it just looks like he’s placing his hands on the keyboard and i can’t tell what the chords r
I've only played ocarina of time for like 30 min but I can definitely recognize this familiar sound
Bro I literally thought the same thing 😂
@@reunionxsos7545 same XD
"i disagree with this premise, ive decided to keep going" what a nice way to say imma do whatever the fuck i want
"So, uhh, that's something"
Yes that was indeed a thing
What?!... This chords have tons of explanations in all the harmony of the 1900.
I was saying the exact same thing the other day
RUclips: you are going to watch this video
Me: I'm not interested
RUclips: I wasn't asking
Genius, this sounds like pure Bill Evans voicings - and that's to say something.
I feel like he is a genius that has troubles explaining things because he does everything by feel without any words. Or its just me that doesnt understand anything
When you describe the chords feeling different, it feels to me when you try and key that fits in a lock the you switch to the right key which opens the door
OMG I DID THIS WHILE MESSING AROUND WITH MY PIANO WHEN I WAS 12
Edit: I don’t know if I played the exact same thing as him, but what he played instantly reminded me of what i did; I played a cmaj7 that turned into a dmaj7, then emaj7 and so on. That said, it is a couple of years ago now so I’m not totally sure, but I think it was something like that.
Edit nr.2: I’m a drummer so I don’t know exactly what these piano chords and stuff are called so correct me if I’m wrong
Stfu
@@northgeorgiahex6663 why should he?
You did this? As in what? I have a feeling you have no idea what he’s doing.
@@northgeorgiahex6663 indulge me
@@vincentphan1595 wtf are you talking about? I’m talking to the original poster.
those chords reminded me of the legend of zelda breath of the wild
You right
Textboooks: Lydian ends here
Jacob: and i took that personally
Playing CMaj7 and DMaj7 together as one big chord.
Then E and F# and so on
CMaj7 DMaj7 EMaj7 F#Maj7 GbMaj7 AbMaj7 BbMaj7 but S T A C K E D
I think?
Sometimes I pause to count the number of fingers he has.
0:19 that "ok" is so arrogant lol
im grateful for my music theory education because I can at least understand this at a BASIC level. but also my understanding of music theory lets me know just how much further ahead jacob is :sob:
I actually knew this - but i didn't know it's name! Now I do. Thanks Jacob!
I'm definitely going to use that!
even harmony itself takes lessons from jacob collier
Oof, that simple sequence of 5ths at 0:32 is so powerful
Sounds good bro burn that to a CD and lets go!!
Yeah ok, but has he heard of cosmic-herculean-titanic-super-ultra-hyper-mega-meta-lydian?
1:09 Hoping that Jacob Collier's the one who actually writes the music for Zelda Breath of the Wild
"Correct me if im wrong...". Of course master, let me try and get depressive lol hahahhaha
idk where this was filmed, but how british of the class to clap after a joke
i just want jacob to come out with an instrumental jazz album
Here for autism awareness month ❤️
Sounds like "devils of moko" jazz album, very colorful
I mean it makes sense, not even that complicated, it's just repeating the major/minor third pattern continuously instead of forcing it to C
That's something alright
The chords at 1:49 are giving me In a Silent Way (Miles Davis) vibes, around the 26 minute mark.
The wonderful thing about music, is that it's all theory
Was the Mister Rogers theme in Lydian? That's what this sound reminds me of
"Correct me if I'm wrong" can any of us mortals even dare!
This guy is something else
I heared a C#, but above all i think i did hear a C++ and even a Python slipping in there
Sounds like the noises you'll randomly hear while running around in Zelda: Breath of the Wild/Tears of the Kingdom
Playing around with this and I realized that the dreaminess of the piano to Favorite things is because of the shift between Gmaj7/E and A maj7/F#, a minor version of this video's concept. So, favorite things is super dorian??!? The C and C# Jacob mentions is the G and G# difference between these two chords.
Oh god some of that made SENSE.
Supah Ultrah Hyperr Megah Metah Lydiaaaaaahn
Kamehameha reference? Nice.
@@salsabilahmedshrestho960 nice indeed
@@AsrielKujo ooh look at that nice little quaver next to your name
@@phillipwalk3r verified musician momento
@@AsrielKujo yes
Ah, I get it. I don't think I've unlocked this part of jazz enjoyment yet. 😂
"I couldn't hear what he was saying but I heard what he was playing"
it is truly something
Perfect end: "That's "" SOMETHING ""
dude i just learned about the basic modes like 3 days ago whaaat
got woke 👀
"Correct me if i'm wrong"
*silence*
Ah yes. My final form.
sounds like something id hear in spirited away
"No one ever told you to stop... except one of your teachers."
*all of your teachers
These chords are very cold. You have to play them in a jacket with a fur hood.
I don’t know wtf he was talking about but he seems like he’d make a brilliant teacher with his calm nature 😂👌
nice words magic man
I was wearing the wrong headphones for this video.
Must be cold in there
I was first playing with chords and I found Cmaj7 and then I was like "what's the next tone?" so I added D,then F#,then A and finally C#,and I was going on and on and I was wondering if I could create that Super Hyper Meta whatever Lydian with the help of some people
"Textbooks say lydian ends there and begins again. I disagree so I decided that it keeps going"
Chad Collier
We all know that room is heated.
amazinfg
A guy younger than me is saying "here is why your textbooks and teachers are wrong". This dude is smart
sounds like a guy thinking out loud in his bedroom
I feel like Jacob doesn’t have enough fingers for the voicing in his head
That’s why he loves his harmonizer! It gives him 1 extra finger 😂😁🎤
I want him to talk about bio-digital jazz!
Jacob's audience understanding music theory is nothing new, but nonetheless awesome.
I think this was at a workshop or something similar, not a concert