Thank you 8-bit Music Theory. Chords: Major or Minor, sometimes 5ths / 4ths. I don't think in terms of 9ths / 13ths - but it's where the bass note is in relation to the chord inversion. Dissonance is intended - never accidental. Composition driven by how it feels. Close spacing of intervals derived from hardware limitations - but I still use this technique as it compartmentalizes instrument specific frequencies over the harmonic spectrum - everything has its' place. I try not to over-think it.
Thank you David. You are doing what I dream of doing. I love ambient music, and I'm going to make ambient music just for the love of it. Thanks for what you do. You're a hero.
I remember how proud i was for owning donkeykong country 1 & 2 17 years ago. I remember how the nintendo service told me that the snes could do ‘’CD quality’’ audio, i was astonished about that.
even better when you realize THAT HE DID SOMETHING THAT WAS ACTUALLY ALMOST IMPOSSIBLE ON THE SUPER NINTENDO the waveforms don't like constant drones, BUT HE DID IT ANYWAY at least that's my understanding
That was a very good explanation. You would not believe how hard it can be to explain constants some orchestra players. I make use of this in all of my music, as I love the way different chords illuminate the main melodic pattern. It's like life progressing, with the circumstances changing.
When I was a kid Blockbuster was running a game competition for DKC2 and everyone was blown away by all the tricks this little kid knew. I was taking out people 10 years older than me. I won the competition and got a bunch of marvel trading cards.
After school today I saw this in my sub box and was watching it. My friend was next to me, and at 2:58 he asked me with the most confused voice “wait, WHAT did he just say?”
@@doooouge1136 "Cm9 Abmaj7(#11) vamp" just means that this *fancy chord* and *another fancy chord* can be *a musical thing that repeats throughout the whole track that sounds REALLY good* (vamp).
This is awesome; so great that you also focus on the less conventional melodically-driven pieces, but also these terrific soundscapes and what makes them special. Still always get chills when I listen to Aquatic Ambiance.
I find myself watching all of your videos twice a year. And i needed to come back here and just thank you. This video REALLY helped me write an ambient 2 chord vamp on a synth pad
Thank you so much for this video! It inspired a piece of music I just wrote tonight. Your channel has been so crucial to my development as a composer, I can't stress enough how lovely it is to have someone break down music analysis while presenting it so concisely and clearly with visual and aural aids. You're awesome and many of us are grateful for your content, keep it up!
That B-flat Add2 voicing is straight out of the Steely Dan playbook. It's most prominent (with more colors at times) on Peg from Aja. It's one of my favorite kind chords to play, too!
You touched on something that has always grabbed my attention when it comes to compositions, something that I call "contextual justification" because I have no other name for it. I'm wondering if it has a name. For example, when trying to figure out a chord while learning a piano piece, sometimes you'll get the chord right, but it will sound wrong. Chords with "forbidden" or ugly intervals that, on their own, are quite unpleasant to listen to. However, when the surrounding music gives each of the notes in the chord a "justification" for being there, it suddenly sounds pleasant and harmonious, constants being a simple example of how this can be achieved. Does this concept have an official music theory name?
I think I know what you mean, crunchy, tense jazz chords which - played in isolation, sound harsh and unusable. But in context, can sound like "home" or "longing". It feels like it has a lot to do with voice leading - probably not the term you're looking for, but it must be about how the leading tone and inner voices build *toward* something crunchy/"ugly" - they "prepare" you for the sound. And when you finally reach it, it's justified and feels right, as you say.
yeah I agree here. Either voice leading can make the ugly intervals sound good in context by adding tension or being in close proximity to a note in the previous chord, or sometimes reinforcing the crunchy note can make it feel nice. As adam neely would say, repetition legitimizes.
YES! Like you, I eat up that inverted V voicing - that exact same voicing. God in heaven it's just so beautiful. As it happens, no single piece of music has influenced anything I write more than "Aquatic Ambience." I constantly find myself inverting V chords to avoid committing to a particular direction, and to make transitioning to a root iii sound like a "circle of fifths" maneuver. And whenever I use a pad sound - whether it's front and center, or cleverly in the background - just by instinct, I find myself using smooth voice leading for it. Nothing is better for grounding the whole piece. No matter what chaos I toss in elsewhere, even rhythmic chaos, the techniques I picked up from that freaking game provide an immovable center of gravity that makes everything make sense. Holy hell, I'm so glad this video exists. I only just found you, but...I had to smash that subscribe button. I HAD to!
I think covering the great soundtrack behind this series was very "Wise" of you. And I love how keep everything simple and don't get caught up in all the complicated "(Jungle) Hijinks" of music theory. You K. Rool man!
Khryberos if you think about it too much, then you'll be in (Torchlight) Trouble. He broke down David Wise's ambiance into 4 simple steps. If you just focus on the steps, and use the transcriptions as guidelines, it won't look like such a (forest) Frenzy
As a self-taught musician who's still learning the ropes and loving every minute of it, I don't understand the technical elements behind much of what this video is conveying. But, I do appreciate it very much and I've watched it twice trying to glean as much out of it as I may. I prefer more aggressive music such as EPIC, cinematic, and orchestral compositions, but I have recently come to love ambient music like that which is spacey, cosmic, and creates the sense that one is journeying through space and time. Learning more about chord progressions -- making them smoother and less jarring -- is what you've explained in great detail and exactly what I've needed. Thanks!
Thank you for covering DKC, one of my favorite series. And the attention Aquatic Ambiance and Stickerbrush Symphony are, I feel, especially deserved. These songs are truly magical, and the first time I heard them I was breathless.
awesome video!!! really appreciate having the sheet music on screen, and especially the discussion of the stacked intervals. different way of thinking about harmony than i have in the past, very cool!!
Thanks for this! I have been a long admirer of David Wise's work so it is great to see it analysed like this. Not only that but I have been wanting to write an ambient music album for a while and honestly I have picked up some great tips from this video! Thank you so much!
This video is so amazing and really brings together so much of what I like about really well crafted ambient music. Thank you, thank you, thank you for making videos that go deep like this!
This was very educating. I have subbed. I've never been able to read music or wrap my head around music theory until I've discovered your channel, and now I love to think about the reasoning behind compositions rather than just 'hearing' it. Gives a totally new perspective on enjoying music and the subtleties between different artists' styles.
It feels like you're reading my mind sometimes. I was just planning on getting into ambient music and I had nowhere to start, and now you've given me everything I need to start exploring the genre! Thank you!
Love your intuitive analysis of the compositions...puts some structure and words to things I'm occasionally doing with improvisation and giving composition some more context...😌🎶🙏
man, i'm so glad you covered this!!) i was looking for this topic among your videos yesterday when i saw that Disasterpeace video because one of the tracks there sounded almost exactly like Aquatic Ambience and here you are - making a video out of that too! I'm learning so much from watching these, so thank you!)
I love the Donkey Kong Country soundtracks, particularly the original. I grew up playing that game like mad at my grandparents. I still remember the moment I finally beat the game with a visiting cousin. Such great times! Nice analysis! This is definitely some solid tips for those just getting into ambience. Funnily enough, examples of the rules "being broken" are in the tunes you posted. A couple of things can be potentially misleading if taken at face value. It's not simply that "we've heard Ab∆7 for so long that it just works." That would imply that even a sustained voicing would work, which it could if treated well, but more importantly... the 11th/4th is temporary. That's a part that a lot of people don't stress when it comes to these "11th" and "Add4" chords with arpeggios/ostinatos. A lot of examples that work are examples of notes being temporary. b9th intervals are mostly shunned in beginner courses to avoid students playing sustained dissonances on extended chords. Jazz school is a little more intense about it, but that's also because a lot of Jazz is improvised compared to through-composed pieces that can easily manage the intervals in a pleasing way. There are so many b9 intervals in Classical pieces (and the 4th on Major chords pops up in a lot of earlier Jazz before Lydian became the go to). One of my favorite examples if Brahms' Cello Sonata. Homey comes straight in with a C∆/B with a b9 between the B and C. Not a b16/#15, a straight up b9 and it's in the lowest notes. Talk about some rub! And that leads to the next point, which is that way too many educators don't stress tension and release. b9 intervals work excellently for this. This is why, in Jazz, so many cats are hip to the 7(b9) extensions, because it's at a point of tension and release. If it works there, it can work elsewhere. This is also what's happening in the Stickerbrush Symphony piece. Tension and release. Of course, hearing it time and time again helps desensitize our ears, but the play between B and C is just tension and release. Just check out any Classical piece in minor and there is a good chance you'll hear a b6 on a minor chord. On every single chord you mentioned one of the two tones will be a chord tone. F∆ = B to C, #4 to 5 G∆ = C to B, 4 to 3 E- = C to B, b6 to 5 So it's also really important to be aware of the tension and release factors as well as the temporal nature of music. We're totally fine with hearing loads of dissonance as long as it resolves (or doesn't in a clever way). Oh, and that Bb2/D... such a sick quartal voicing! Keep it up, 8-Bit!
I LOVED this video. If I wasn't broke as a joke and in debt right now, then I would absolutely support you financially. You always put out stellar content, man.
This is really a brilliant discussion. I'm not aware of many formalised resources which establish 'rules' for this genre, but in one short video, you've done just that. Bravo!
I've been in love with ambient music before I even knew what ambient music was. Excellent choice in tunes. DKC has always been dear to my heart from childhood. This video is so educational and and only rekindles my love for music. Thank you so much for making this and all your others, too.
@@Starlightbooper It was likely sarcasm. "I have a strange feeling, I'm not sure why" is the base of their comment. They're just poking a bit of fun at how he speaks about David wise a lot.
Oh wow I had no idea you did a video on dk country 2! Awesome! I really love the ethereal atmosphere created by these tracks which is so contrasting to the rest of the soundtrack (which is sublime btw).
I feel like dynamics are really important for getting a really nice soothing ambient sound. You can see the arpeggiated parts or even the chords having various dynamics, crescendos, etc.
The DKC games are some of my childhood favorites. Or at least the first one is. I actually sadly never played 2 or 3 until much more recently but I love them all. But the original holds a special place in my heart nostalgia-wise, and the music probably has a lot to do with that. David Wise is, frankly, a musical genius. If I had to say one other song from the games that came to mind as relevant to this video would be In a Snow-Bound Land from DKC2. Kinda sad that one didn't come up, but still a really well-made video that explains things really well, even to my admittedly basic understanding of music theory and composition! ...Though one counterpoint I might find interesting to explore is the other level themes in the games, because... I can't describe it and it's probably really dumb, but even the other songs with more strong direction and progression instead of just the ambient chord progressions still have a really strong sense of these composition tips behind them too somewhat. Like, they still have that ambient style even if they're more focused and have full resolution and progression. And it'd be cool to see what makes them work that way.
I always get the feeling that people think that, under any circumstances, avoid a natural fourth and major third in the same chord. Especially when I was studying Jazz I got that feeling. However, I actually really like the sound of an add11-chord, IF the fourth is placed underneath the third, creating a major seventh interval instead. It isn't that often heard, but I think it's a unique and really tasteful sound. I thought of this when you mentioned the "forbidden 11th", it feels like people tend to overlook the possibility of an other voicing in that case. :) In any case, as you mentioned, in the right context, taboo intervals can very much sound great too.
I've always thought that if chords with tritones in them (like dominant 7ths and diminished chords) can sound good, then literally any other interval can sound good given the proper contextualization.
I just want to say that I really appreciate what you do. Your attention and description of music theory invigorates my attention towards scoring, especially in some of my favorite video games. I admit my knowledge of chords beyond 7ths is very minimal, so I always feel like I learn something when I watch one of your videos. Keep doing this kind of stuff please. It really makes a difference in some peoples lives, more than you may imagine.
On Fool on the Hill by The Beatles, McCartney is playing D6 and then changes the bass chord to B, without changing any note, making the chord Bm7, and it's just beautiful! It's on "they can see that he's just a fool" part.
Jonny Kaine I think the harpsichord is great craftmanship , with them 2 keyboards , multiple sets of strings , manual transposer. The modern piano is like a Massive tank beside , I'd still rather play harpsichords for the variety and richness of tones.
Great video! I think another thing why David Wise's is such a remarkable composer is his choice of voices/instruments & also the mix. You could take the same progression with the same notation and if you don't know how to do voicing/expression like he does it wouldn't come close to capturing the vibe. Personally choosing/creating the right instruments/textures for a song is another animal in itself.
I can't help but imagine the smug satisfaction achieved by using the same pedal lick throughout every chord regardless of the riff's harmonic relationship (or apparent lack thereof) to the chord. The feeling of "I don't care if it's dissonant, and neither do you," because the our brains are so pressed to contextualize melodic material. love it
This episode hits home for me. I love this game and was there as a kid when it debuted. I'm a musician and when I revisited this game after many years the soundtrack really stuck out. Thank you.
Having been a massive Dave Wise fan for years, getting an analysis of Aquatic Ambience, Stickerbrush Symphony AND Forest Interlude IN THE SAME VIDEO gave me a total nerdgasm. Thanks for that!
I've been writing ambient alot of ambient music this time around and this is exactly what I've been doing! Nice Job! Also making use of clusters and quartal/quintal voicings can produce some very nice results
The DKC series was my introduction to ambient music, and in a game series that can be downright challenging, the ambient music serves as an absolute delight that you can't get enough of it.
Thank you 8-bit Music Theory. Chords: Major or Minor, sometimes 5ths / 4ths. I don't think in terms of 9ths / 13ths - but it's where the bass note is in relation to the chord inversion. Dissonance is intended - never accidental. Composition driven by how it feels. Close spacing of intervals derived from hardware limitations - but I still use this technique as it compartmentalizes instrument specific frequencies over the harmonic spectrum - everything has its' place. I try not to over-think it.
No way. Is this the real David Wise?
@@howard_blast yes.
Thank you David. You are doing what I dream of doing. I love ambient music, and I'm going to make ambient music just for the love of it. Thanks for what you do. You're a hero.
I aspire to make music as well as you, big fan!
So cool to see you here! I work in game audio now because of Aquatic Ambiance, so thank you.
the aquatic ambiance theme gave me some seriously surreal dreams as a child
baack then, video game music was soo emotional :) sometimes we played just games for the music ;D
thats the reason i love videogame music:)
I still listen to it when I want to relax.
Good music to get high to
My name used to be Donkey Kong, but then I took an arrow to the knee. Now they call me Diddy.
"Use smooth voice leading."
*Donkey Kong vocalizes*
very smooth voice
i was searching for this comment
They’re finally here, our DK crew
C O C O N U T C R E A M P I E
LOL
@@tysonasaurus6392 DK Country, 2 and 3 are undeniable in the group of the best games ever! :)
"A lot of rules can be broken" he said while glitching Mario Kart 64.
"Where we're going, we won't need roads" ::uses a chord voicing with a minor ninth in it::
High quality, worth-more-than-money-can-buy musical analyses on beautiful video game music pieces.
*_WONDERFUL!_*
David Wise was a wise man indeed.
Still is.
Carpaccio Yeah
I remember how proud i was for owning donkeykong country 1 & 2 17 years ago.
I remember how the nintendo service told me that the snes could do ‘’CD quality’’ audio, i was astonished about that.
Favorite VG composer
David Wise's stuff is always the best
He”s above you.
even better when you realize THAT HE DID SOMETHING THAT WAS ACTUALLY ALMOST IMPOSSIBLE ON THE SUPER NINTENDO
the waveforms don't like constant drones, BUT HE DID IT ANYWAY
at least that's my understanding
That was a very good explanation. You would not believe how hard it can be to explain constants some orchestra players. I make use of this in all of my music, as I love the way different chords illuminate the main melodic pattern. It's like life progressing, with the circumstances changing.
1:17 Oh boy, there was a hidden cave? Now I have to get out my old Nintendo again - Thanks for that :/
Alrota Music hahaha yeah I was watching the gameplay too
rofl I said the same thing. I never knew that cave was there
When I was a kid Blockbuster was running a game competition for DKC2 and everyone was blown away by all the tricks this little kid knew. I was taking out people 10 years older than me. I won the competition and got a bunch of marvel trading cards.
This is one of your best videos yet :D
agreed, dkc 4 lyfe
Totally agree! I almost felt hypnotized after watching this
Damn, makes me wanna save if for a special moment. Hahahah DK is love. As its soundtrack.
I agree maybe the best because the topic has never really been touched upon before!
After school today I saw this in my sub box and was watching it. My friend was next to me, and at 2:58 he asked me with the most confused voice “wait, WHAT did he just say?”
ya he lost me there too
yknow it's just one of those vamps
@@doooouge1136 "Cm9 Abmaj7(#11) vamp" just means that this *fancy chord* and *another fancy chord* can be *a musical thing that repeats throughout the whole track that sounds REALLY good* (vamp).
This is awesome; so great that you also focus on the less conventional melodically-driven pieces, but also these terrific soundscapes and what makes them special. Still always get chills when I listen to Aquatic Ambiance.
THICC chord extensions
Gotta lay that harmony on THICC
I just started writing some ambient chiptune pieces of my own and this video is a godsend. Great advice and a lot to think about!
Mortistar
I find myself watching all of your videos twice a year. And i needed to come back here and just thank you. This video REALLY helped me write an ambient 2 chord vamp on a synth pad
Tip #1 1:46
Tip #2 3:29
Tip #3 5:59
Tip #4 7:22
Thanks so much for this review it's awesome!!!
Amazing analysis! Aquatic Ambience is the only on that triggered my memory from the game. Love those flute sounds. Loved the breakdown
Thank you so much for this video! It inspired a piece of music I just wrote tonight. Your channel has been so crucial to my development as a composer, I can't stress enough how lovely it is to have someone break down music analysis while presenting it so concisely and clearly with visual and aural aids. You're awesome and many of us are grateful for your content, keep it up!
That B-flat Add2 voicing is straight out of the Steely Dan playbook. It's most prominent (with more colors at times) on Peg from Aja. It's one of my favorite kind chords to play, too!
jaxvon that's awesome
You touched on something that has always grabbed my attention when it comes to compositions, something that I call "contextual justification" because I have no other name for it. I'm wondering if it has a name.
For example, when trying to figure out a chord while learning a piano piece, sometimes you'll get the chord right, but it will sound wrong. Chords with "forbidden" or ugly intervals that, on their own, are quite unpleasant to listen to. However, when the surrounding music gives each of the notes in the chord a "justification" for being there, it suddenly sounds pleasant and harmonious, constants being a simple example of how this can be achieved.
Does this concept have an official music theory name?
Hmmm. If it does have a name I'm not sure what it is. Contextual Justification sounds good to me!
PiercingSight dont know of a specific term but another one you could use is relative meaning.
I think I know what you mean, crunchy, tense jazz chords which - played in isolation, sound harsh and unusable. But in context, can sound like "home" or "longing". It feels like it has a lot to do with voice leading - probably not the term you're looking for, but it must be about how the leading tone and inner voices build *toward* something crunchy/"ugly" - they "prepare" you for the sound. And when you finally reach it, it's justified and feels right, as you say.
Contextual Justification. If it's not the official name, it should be!
yeah I agree here. Either voice leading can make the ugly intervals sound good in context by adding tension or being in close proximity to a note in the previous chord, or sometimes reinforcing the crunchy note can make it feel nice. As adam neely would say, repetition legitimizes.
So interesting and helpful! I love your series :D
YES! Like you, I eat up that inverted V voicing - that exact same voicing. God in heaven it's just so beautiful. As it happens, no single piece of music has influenced anything I write more than "Aquatic Ambience." I constantly find myself inverting V chords to avoid committing to a particular direction, and to make transitioning to a root iii sound like a "circle of fifths" maneuver. And whenever I use a pad sound - whether it's front and center, or cleverly in the background - just by instinct, I find myself using smooth voice leading for it. Nothing is better for grounding the whole piece. No matter what chaos I toss in elsewhere, even rhythmic chaos, the techniques I picked up from that freaking game provide an immovable center of gravity that makes everything make sense.
Holy hell, I'm so glad this video exists. I only just found you, but...I had to smash that subscribe button. I HAD to!
Man! What'a channel. Just discovered it yesterday and I am freaking out on how awesome your analysis are. A big hug from Brazil
I think covering the great soundtrack behind this series was very "Wise" of you. And I love how keep everything simple and don't get caught up in all the complicated "(Jungle) Hijinks" of music theory. You K. Rool man!
Aha. Have a like for the puns.
The puns are strong with this one.
You get a like for the way you worked in the title of Jungle Hijinks alone.
*this* was "uncomplicated"?? I loved it, don't get me wrong, but holy cow it was information-dense...
Khryberos if you think about it too much, then you'll be in (Torchlight) Trouble. He broke down David Wise's ambiance into 4 simple steps. If you just focus on the steps, and use the transcriptions as guidelines, it won't look like such a (forest) Frenzy
That may have been the most jarring choice for outro music after a video about ambient music!
Dude your videos are the best..... blending my two favorite passions..... well done!
As a self-taught musician who's still learning the ropes and loving every minute of it, I don't understand the technical elements behind much of what this video is conveying. But, I do appreciate it very much and I've watched it twice trying to glean as much out of it as I may. I prefer more aggressive music such as EPIC, cinematic, and orchestral compositions, but I have recently come to love ambient music like that which is spacey, cosmic, and creates the sense that one is journeying through space and time. Learning more about chord progressions -- making them smoother and less jarring -- is what you've explained in great detail and exactly what I've needed. Thanks!
It's not often that you find a video as good as this! Holy God I'm blown away!!!
I know almost nothing about music theory and I still watched this video
Thank you for covering DKC, one of my favorite series. And the attention Aquatic Ambiance and Stickerbrush Symphony are, I feel, especially deserved. These songs are truly magical, and the first time I heard them I was breathless.
I have no idea what im watching but its so well explained, I can't look away
This has helped me to understand some of the stuff that I love about the music I write. Absolutely invaluable
One of my new fav channels 👌🏽
awesome video!!! really appreciate having the sheet music on screen, and especially the discussion of the stacked intervals. different way of thinking about harmony than i have in the past, very cool!!
6:49 Ah, my favorite chord progression! Thanks for showing me! I’ll add it to my collection!
One of the best analytic video I've seen on the master of ambient, Sir Wise! Hope to watch some more of your great content.
i always geek out when i see there's a new vid by you, and i'm never disappointed. insightful work, as always!
This has to be my favourite channel HANDS DOWN! Thank you for the great content, there’s nothing better than music and video games :)
Thanks for this! I have been a long admirer of David Wise's work so it is great to see it analysed like this. Not only that but I have been wanting to write an ambient music album for a while and honestly I have picked up some great tips from this video! Thank you so much!
This video is so amazing and really brings together so much of what I like about really well crafted ambient music. Thank you, thank you, thank you for making videos that go deep like this!
those ledger lines tho
Nobody:
David Wise:
__
__
__
__
__
_ •
It’s really nice. First time i stumble upon the channel and it helped me understand music theory a little more.
I may patron you my dude
This was very educating. I have subbed. I've never been able to read music or wrap my head around music theory until I've discovered your channel, and now I love to think about the reasoning behind compositions rather than just 'hearing' it. Gives a totally new perspective on enjoying music and the subtleties between different artists' styles.
I could watch this video all day everyday! Your analysis and subsequent explanations are amazing.
This is by far my favorite channel of recent. Great stuff!
I'm in love with your analyses.
It feels like you're reading my mind sometimes. I was just planning on getting into ambient music and I had nowhere to start, and now you've given me everything I need to start exploring the genre! Thank you!
Love your intuitive analysis of the compositions...puts some structure and words to things I'm occasionally doing with improvisation and giving composition some more context...😌🎶🙏
Your tutorial came to me via algorithm and it got it right. Superb content packed 11 minutes. Thank you. I'm gonna check out your other tuts now.
Possibly my favourite video of yours yet. Great stuff.
man, i'm so glad you covered this!!) i was looking for this topic among your videos yesterday when i saw that Disasterpeace video because one of the tracks there sounded almost exactly like Aquatic Ambience and here you are - making a video out of that too! I'm learning so much from watching these, so thank you!)
I love the Donkey Kong Country soundtracks, particularly the original. I grew up playing that game like mad at my grandparents. I still remember the moment I finally beat the game with a visiting cousin. Such great times!
Nice analysis! This is definitely some solid tips for those just getting into ambience. Funnily enough, examples of the rules "being broken" are in the tunes you posted.
A couple of things can be potentially misleading if taken at face value. It's not simply that "we've heard Ab∆7 for so long that it just works." That would imply that even a sustained voicing would work, which it could if treated well, but more importantly... the 11th/4th is temporary. That's a part that a lot of people don't stress when it comes to these "11th" and "Add4" chords with arpeggios/ostinatos. A lot of examples that work are examples of notes being temporary.
b9th intervals are mostly shunned in beginner courses to avoid students playing sustained dissonances on extended chords. Jazz school is a little more intense about it, but that's also because a lot of Jazz is improvised compared to through-composed pieces that can easily manage the intervals in a pleasing way. There are so many b9 intervals in Classical pieces (and the 4th on Major chords pops up in a lot of earlier Jazz before Lydian became the go to).
One of my favorite examples if Brahms' Cello Sonata. Homey comes straight in with a C∆/B with a b9 between the B and C. Not a b16/#15, a straight up b9 and it's in the lowest notes. Talk about some rub!
And that leads to the next point, which is that way too many educators don't stress tension and release. b9 intervals work excellently for this. This is why, in Jazz, so many cats are hip to the 7(b9) extensions, because it's at a point of tension and release. If it works there, it can work elsewhere.
This is also what's happening in the Stickerbrush Symphony piece. Tension and release. Of course, hearing it time and time again helps desensitize our ears, but the play between B and C is just tension and release. Just check out any Classical piece in minor and there is a good chance you'll hear a b6 on a minor chord. On every single chord you mentioned one of the two tones will be a chord tone.
F∆ = B to C, #4 to 5
G∆ = C to B, 4 to 3
E- = C to B, b6 to 5
So it's also really important to be aware of the tension and release factors as well as the temporal nature of music. We're totally fine with hearing loads of dissonance as long as it resolves (or doesn't in a clever way).
Oh, and that Bb2/D... such a sick quartal voicing!
Keep it up, 8-Bit!
Been waiting for this! Thank you. Was worth the wait!
I LOVED this video. If I wasn't broke as a joke and in debt right now, then I would absolutely support you financially. You always put out stellar content, man.
This is really a brilliant discussion. I'm not aware of many formalised resources which establish 'rules' for this genre, but in one short video, you've done just that. Bravo!
I've been in love with ambient music before I even knew what ambient music was. Excellent choice in tunes. DKC has always been dear to my heart from childhood. This video is so educational and and only rekindles my love for music. Thank you so much for making this and all your others, too.
Your videos are the best! So easy to follow and implement. I'd gladly donate to your Patreon for more content like this!
Excellent video! Love the high-quality examples. David Wise really was a pioneer in video game music.
I have a strange feeling you love David Wise's ambient music. Not sure why.
who doesn't?
How can you not be sure why?, just listen to the donkey kong country soundtracks and come back after that..
@@Starlightbooper It was likely sarcasm. "I have a strange feeling, I'm not sure why" is the base of their comment. They're just poking a bit of fun at how he speaks about David wise a lot.
Instantly subscribed
Where has this channel been all my life?
Great vid. David Wise is awesome.
Oh wow I had no idea you did a video on dk country 2! Awesome! I really love the ethereal atmosphere created by these tracks which is so contrasting to the rest of the soundtrack (which is sublime btw).
I feel like dynamics are really important for getting a really nice soothing ambient sound. You can see the arpeggiated parts or even the chords having various dynamics, crescendos, etc.
The DKC games are some of my childhood favorites. Or at least the first one is. I actually sadly never played 2 or 3 until much more recently but I love them all. But the original holds a special place in my heart nostalgia-wise, and the music probably has a lot to do with that. David Wise is, frankly, a musical genius. If I had to say one other song from the games that came to mind as relevant to this video would be In a Snow-Bound Land from DKC2. Kinda sad that one didn't come up, but still a really well-made video that explains things really well, even to my admittedly basic understanding of music theory and composition! ...Though one counterpoint I might find interesting to explore is the other level themes in the games, because... I can't describe it and it's probably really dumb, but even the other songs with more strong direction and progression instead of just the ambient chord progressions still have a really strong sense of these composition tips behind them too somewhat. Like, they still have that ambient style even if they're more focused and have full resolution and progression. And it'd be cool to see what makes them work that way.
This video is downright amazing. I hope I am able to apply something I learned. Will watch again and again!
you are such a good youtuber! love what you do so much man
I don't think I've ever had ambient music and its basic principles explained to me so well. Thank you!
I always get the feeling that people think that, under any circumstances, avoid a natural fourth and major third in the same chord. Especially when I was studying Jazz I got that feeling. However, I actually really like the sound of an add11-chord, IF the fourth is placed underneath the third, creating a major seventh interval instead. It isn't that often heard, but I think it's a unique and really tasteful sound. I thought of this when you mentioned the "forbidden 11th", it feels like people tend to overlook the possibility of an other voicing in that case. :)
In any case, as you mentioned, in the right context, taboo intervals can very much sound great too.
Herbie Hancock will use that sound at times (the sus chord with 3 above the 4). It really is a cool chord.
William Doran Yes I suppose that's a better name for it! The chord really brings out the major tonality.
I've always thought that if chords with tritones in them (like dominant 7ths and diminished chords) can sound good, then literally any other interval can sound good given the proper contextualization.
I want to continue thumbs upping this forever, if I could, please.
Wise's three example tunes in this video are my all time favorites!
Dudeeee your channel is so good! I'm learning so much, thank you!
Awesome explanations. Never seen such a good analysis of David Wise's work!
I just want to say that I really appreciate what you do. Your attention and description of music theory invigorates my attention towards scoring, especially in some of my favorite video games. I admit my knowledge of chords beyond 7ths is very minimal, so I always feel like I learn something when I watch one of your videos. Keep doing this kind of stuff please. It really makes a difference in some peoples lives, more than you may imagine.
Your analyses are great! Love this channel!
Instantly-fucking-subscribed.
Incredible video, very insightful! Looking forward to more like this from you.
I love this channel!
On Fool on the Hill by The Beatles, McCartney is playing D6 and then changes the bass chord to B, without changing any note, making the chord Bm7, and it's just beautiful! It's on "they can see that he's just a fool" part.
this has helped me better understand why these songs have impacted me to this day as a producer, thank you for creating this vid .
Donkey Kong Country 2 has the best music of any game, I think. There's never a bad spot. Never a misstep. It's just heaven level to level.
that's like 16-bit Music Theory :^ >
Soy Milk Any music theory really , Listen Bach 8 bit , it seems like it's MADE for that ^^
@@LeVezz makes sense. Bach wrote a lot of music for harpsichord which is a kind of "lo-fi" instrument in a way.
Jonny Kaine I think the harpsichord is great craftmanship , with them 2 keyboards , multiple sets of strings , manual transposer. The modern piano is like a Massive tank beside , I'd still rather play harpsichords for the variety and richness of tones.
Ambient is one of my favorite genres. Thanks for this analysis. :)
Haze Anderson anything worth listening to in that genre?
Late reply but check out Broken Soul Jamboree by Tipper
Love these videos! Has really helped me out in my AP Music theory class. Thanks for making these and i wish you the best of success in the future ^.^
Great video! I think another thing why David Wise's is such a remarkable composer is his choice of voices/instruments & also the mix. You could take the same progression with the same notation and if you don't know how to do voicing/expression like he does it wouldn't come close to capturing the vibe. Personally choosing/creating the right instruments/textures for a song is another animal in itself.
I can't help but imagine the smug satisfaction achieved by using the same pedal lick throughout every chord regardless of the riff's harmonic relationship (or apparent lack thereof) to the chord. The feeling of "I don't care if it's dissonant, and neither do you," because the our brains are so pressed to contextualize melodic material. love it
omg I've never been happier to click on a "recommended for you" link. this is so amazing..
I learned so much about music theory in your videos, so i improved the style of my own soundtracks for my game. I am very thankfully!
Donkey Kong Country 2 is my favorite OST of all time by far. Formal training or not, David Wise's music is truly master class.
Nice. Featured my top 3 songs from this series! Then again, I really like ambient music. Now I just understand why a little better!
im so glad i subscribed to this channel!! these tips are rly cool and useful
This episode hits home for me. I love this game and was there as a kid when it debuted. I'm a musician and when I revisited this game after many years the soundtrack really stuck out. Thank you.
The intro to Aquatic Ambience is objectively the best piece of VGM ambient music ever created.
I'm writing music specifically for a Minecraft mod, and This really helps me with ambient chords. Thank you so much.
Great analysis and content as usual man. Props!
Awesome video. I LOVED DKC's ambient as a kid so seeing it broken down like this nearly brings a tear to my eye. 😂 Keep up the good work.
Having been a massive Dave Wise fan for years, getting an analysis of Aquatic Ambience, Stickerbrush Symphony AND Forest Interlude IN THE SAME VIDEO gave me a total nerdgasm. Thanks for that!
I've been writing ambient alot of ambient music this time around and this is exactly what I've been doing! Nice Job! Also making use of clusters and quartal/quintal voicings can produce some very nice results
The DKC series was my introduction to ambient music, and in a game series that can be downright challenging, the ambient music serves as an absolute delight that you can't get enough of it.
Perfect timing! You always seem to know just what i'm looking for
This channel is simply amazing, thank you very much.
Yes! This is what I needed, Thank you!!