The art of her sitting outside the key for a portion of the solo is to communicate the uncomfortable tension of a terrible relationship. It's designed to make the educated music listeners just uncomfortable enough before the release of being able to communicate with a long lost love. It would be much easier to listen again and open your mind than to blindly post mean comments under the mask of the Internet. Good luck on your musical journey.
If you really want to know - It's a tonality based on Gb major, whose relative minor is Eb. She is playing Eb min maj7 arpeggios, which would sound good if the song was really in minor, but it's not. She opens with an E to F tremolo, which clashes in all sorts of ways. Gb - b7 to 7 which is so awful in a pop tune, especially since she is in the same range as the piano. over B - 4 to #4, which is a suspension missing the resolution and a 1/2 clash to the 5 (F#). She finally plays Ab-Bb, 1-9, which sounds good, and then plunges into hell with d and e tremolo- #4 and #5 over major which implies a lydian augmented sound over major, or in other words, a middle schooler in the wrong key. She finally gets applause when she resolves her ill-placed Bb+ chord to Eb- bluesy stuff, gets cheers, and then goes back to the same pattern. In theory, treating a major harmony like its relative minor might have worked, but not in practice. She indulged in the outside notes at the expense of musicality (intentional =/= artistic) and brought anything she built crashing to the ground by repeating the same opening pattern. I love how she's mid-phrase at the end when the singer comes in and there's a b9 interval- the most dissonant you can get. It would have been better to use chord tones to create a context for which she could go out and use color tones. Playing out of time, key and style all at once adds confusion - not the conveyance of confusion - as her message is unclear.
⦁ GREAT! You rock it! You perform so nicely. I leave a like. Eager to watch the next video of you. I wish you visit my channel. Your advice’s welcome. Stay blessed… Love
Dude, I am one of your biggest fans, but it was wicked flat. Then it would slip back into this dissonance and timbre. And what the fuck was that sax doing besides insulting your vocals? Damn dude.
What the hell was that? Vocals nice but the sax is classic Berklee approach. Taking it out means cool and hip? I don't know about that, Goodness Sorry.
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Amazing! Good Singer. Good Job!
Greetings from Brazil
you really have a blessed gift! congrats
Raw emotion.
so beautiful.
4:17 - 4:23 best part of sax
Amazing!!
Wow ,,,,wow,,,,nice voice,,,,,,,,,hello.......))))
I found him!! ❤️
Wow, 1:17
what the fuck is she doing with her saxofone
The art of her sitting outside the key for a portion of the solo is to communicate the uncomfortable tension of a terrible relationship. It's designed to make the educated music listeners just uncomfortable enough before the release of being able to communicate with a long lost love. It would be much easier to listen again and open your mind than to blindly post mean comments under the mask of the Internet. Good luck on your musical journey.
Eric Michael Krop wow thanks for reply my comment, i really love your voice but i dont like the saxo
Eric Michael Krop and the saxo really annoy me
Eric Michael Krop sorry
If you really want to know - It's a tonality based on Gb major, whose relative minor is Eb. She is playing Eb min maj7 arpeggios, which would sound good if the song was really in minor, but it's not.
She opens with an E to F tremolo, which clashes in all sorts of ways. Gb - b7 to 7 which is so awful in a pop tune, especially since she is in the same range as the piano. over B - 4 to #4, which is a suspension missing the resolution and a 1/2 clash to the 5 (F#).
She finally plays Ab-Bb, 1-9, which sounds good, and then plunges into hell with d and e tremolo- #4 and #5 over major which implies a lydian augmented sound over major, or in other words, a middle schooler in the wrong key.
She finally gets applause when she resolves her ill-placed Bb+ chord to Eb- bluesy stuff, gets cheers, and then goes back to the same pattern.
In theory, treating a major harmony like its relative minor might have worked, but not in practice. She indulged in the outside notes at the expense of musicality (intentional =/= artistic) and brought anything she built crashing to the ground by repeating the same opening pattern. I love how she's mid-phrase at the end when the singer comes in and there's a b9 interval- the most dissonant you can get.
It would have been better to use chord tones to create a context for which she could go out and use color tones. Playing out of time, key and style all at once adds confusion - not the conveyance of confusion - as her message is unclear.
You were great Eric, but unfortunately the sax was all over the place and didn't work.
⦁ GREAT! You rock it! You perform so nicely. I leave a like. Eager to watch the next video of you. I wish you visit my channel. Your advice’s welcome. Stay blessed… Love
I think the sax part was fucking cool. Girl knows what she's doing.
Dude, I am one of your biggest fans, but it was wicked flat. Then it would slip back into this dissonance and timbre. And what the fuck was that sax doing besides insulting your vocals? Damn dude.
What the hell was that? Vocals nice but the sax is classic Berklee approach. Taking it out means cool and hip? I don't know about that, Goodness Sorry.
not you're best performens