Yo! Cool progression, here's my take. Not really seeing this one so much in functional harmony terms but more so based on common tone modulation and voice leading. The Dma13 to Ebi7 works for me due to the CT's of Gb(F#) and Db(C#) between both chords. Whenever chords share common tones this is a good way of incorporating non-diatonic harmony without it sounding weird (since the common tunes act like a kind of glue / foundational material). Also, shifting to that Ebmi7 chord works nicely with the voice leading as the leaps are relatively subtle (only a few pitches had to move due to the CT relationship). Same thing with the Bmi9 chord which also shares a C# in it (and an F# too if its voiced fully). Actually, the F#Mi chord also shares F#'s and C#s, so we could say the whole theme here is just pivoting around those two pitches. I suspect that the shift to the F note at the end was meant to build tension and work as a turn around. For instance, F#mi and extended versions of D Major chords are basically the same thing since F#Mi can be contained WITHIN the structure of that sound (E.g, DMa7 is spelt D-F#-A-C# and F#mi is spelt F#-A-C#, the F#-A-C# is just the upper structure of a Dma7 chord). The significance of that is that, if you just have a turn around from F#mi to DMa13, that's not going to be that strong or clear a cadence, so moving to that F as a temporary tension serves that. My take aways from this are 1) Common Tones are a good tool for introducing non-diatonic harmony to a progression and 2) Unifying structures are an important compositional trick for making the incoherent, coherent.
@@TrevorWongMusic No problem! Hope you are staying safe. I did have a quick question if you see this^^ when I originally worked this out I though the bmii and bmvi were coming from the D phrygian scale but after doing some research I came to the conclusion that it doesn't work like that because in D phyrgian the second would be Ebmaj7 and the sixth would be Bbmaj7, do you think that's correct or is there something I am missing? I got the information form this website www.thejazzpianosite.com/jazz-piano-lessons/jazz-chords/borrowed-chords/
@@LetsTalkAboutMathRock Yeah I think that's right that it's not D Phrygian for those same reasons. I'm not really hearing a Phrygian aesthetic, but maybe still could be that if the vocal melody somehow uses that scale but is just harmonized unusually. I think it would be interesting to transcribe the vocal melody to see how it relates to the chords as that might more clues into the harmony. Usually with modal interchange stuff I kinda just view those chord choices as things that temporarily alter the overall sound but not necessarily shift the tonality to a completely new scale basis. Like a "modal inflection" kinda thing.
The bii and bvi are probably just there because of Eb and Bb being tension notes in the key of D, but you could think it as borrowing the bii from the D Byzantine scale and the bvi from the D Lydian #2 scale but probably safe to assume they weren't going for that.
I always love these chords and am excited to try them out, but then look at the diagram and see there is an extra fret between the middle two fingers. This is why Spock is the ultimate Emo as years of vulcan salutes prepared him for Ebm7.
Chord progression 1 is in F# minor (ending on the tonic minmaj7 (F#m/F) Chord progression 2 is in its relative major - A. Ebm7 and Bbm7 are, like you say, there as chromatic passing tones to add tension and interest Just my 2p
Huh, interesting. I always perceive the Dma13 as a IV (so the progression is IV-IV/bV-ii-vi-vi/bvi), to my ears the entire thing sound to rest on A major / F# minor. And that actually seems to make more sense to me since that Ebm7 kinda has some quality of the B major chord, which makes it sounds like the more relaxed version of the more familiar IV-II (or I-VI if we take Dmaj13 as the root). And the F#m-F#m/F reminds me a lot of stairway to heaven intro which is a vi-vi/bvi if I'm not mistaken. We do agree that it's a really cool progression, though. Very satisfying use of chromatics.
your videos have helped me a lot! i have trouble learning chords, like they just don’t stick with me. is there a way/process to learning chords effectively?
That's what I thought, the same for the Bbm chord but I did some research and I wasn't sure if it was right or not so I left it out 👍 Thanks for your input!
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A step-by-step system for beginner's to master the essentials of math rock chords, chord progressions, and strumming patterns 👉bit.ly/4cTncst
Because it’s Delta Sleep, duh. Thanks for introducing me to them, by the way
idk how Delta Sleep does it every time, they're just damn good
This is eerie. I was just playing this progression like 5 minutes ago, trying to figure out the theory.
glad to be your personal mind reader 😉
Yo! Cool progression, here's my take. Not really seeing this one so much in functional harmony terms but more so based on common tone modulation and voice leading. The Dma13 to Ebi7 works for me due to the CT's of Gb(F#) and Db(C#) between both chords. Whenever chords share common tones this is a good way of incorporating non-diatonic harmony without it sounding weird (since the common tunes act like a kind of glue / foundational material). Also, shifting to that Ebmi7 chord works nicely with the voice leading as the leaps are relatively subtle (only a few pitches had to move due to the CT relationship). Same thing with the Bmi9 chord which also shares a C# in it (and an F# too if its voiced fully). Actually, the F#Mi chord also shares F#'s and C#s, so we could say the whole theme here is just pivoting around those two pitches. I suspect that the shift to the F note at the end was meant to build tension and work as a turn around. For instance, F#mi and extended versions of D Major chords are basically the same thing since F#Mi can be contained WITHIN the structure of that sound (E.g, DMa7 is spelt D-F#-A-C# and F#mi is spelt F#-A-C#, the F#-A-C# is just the upper structure of a Dma7 chord). The significance of that is that, if you just have a turn around from F#mi to DMa13, that's not going to be that strong or clear a cadence, so moving to that F as a temporary tension serves that. My take aways from this are 1) Common Tones are a good tool for introducing non-diatonic harmony to a progression and 2) Unifying structures are an important compositional trick for making the incoherent, coherent.
I did this analysis for progression #1 but I'd say the same CT pivoting thing applies to progression #2. Really seems like the key note is Db/C#
Hey Trevor! Glad to have your input, and thanks for taking the time to go into such detail! Appreciate it 👍
@@LetsTalkAboutMathRock Ya no problem! Cool video, and thanks for offering up a cool sample for analysis
@@TrevorWongMusic No problem! Hope you are staying safe. I did have a quick question if you see this^^ when I originally worked this out I though the bmii and bmvi were coming from the D phrygian scale but after doing some research I came to the conclusion that it doesn't work like that because in D phyrgian the second would be Ebmaj7 and the sixth would be Bbmaj7, do you think that's correct or is there something I am missing? I got the information form this website www.thejazzpianosite.com/jazz-piano-lessons/jazz-chords/borrowed-chords/
@@LetsTalkAboutMathRock Yeah I think that's right that it's not D Phrygian for those same reasons. I'm not really hearing a Phrygian aesthetic, but maybe still could be that if the vocal melody somehow uses that scale but is just harmonized unusually. I think it would be interesting to transcribe the vocal melody to see how it relates to the chords as that might more clues into the harmony. Usually with modal interchange stuff I kinda just view those chord choices as things that temporarily alter the overall sound but not necessarily shift the tonality to a completely new scale basis. Like a "modal inflection" kinda thing.
I love the fact that you nail the tone everytime. Good stuff Steve!
Wow, great work, Steve. This is one of my favorite parts of the album
No problem! It's one of mint too!
i love this band thanks for.making vids about them you have no idea how hyped i got when i noticed their albums on your shelf
More delta sleep please!
Just awesome chord progression!! Thanks for the analysis!!
No worries!
My favorite song by delta sleep.
The bii and bvi are probably just there because of Eb and Bb being tension notes in the key of D, but you could think it as borrowing the bii from the D Byzantine scale and the bvi from the D Lydian #2 scale but probably safe to assume they weren't going for that.
Def not thinking about byzantine or Lydian #2 scales lol
I always love these chords and am excited to try them out, but then look at the diagram and see there is an extra fret between the middle two fingers. This is why Spock is the ultimate Emo as years of vulcan salutes prepared him for Ebm7.
Guess it's just a mistake, in the intro he plays a normal Ebm7 without the 2nd on the D string.
Damn Steve you are a legend mate, good work!
I love Delta Sleep!
Chord progression 1 is in F# minor (ending on the tonic minmaj7 (F#m/F)
Chord progression 2 is in its relative major - A. Ebm7 and Bbm7 are, like you say, there as chromatic passing tones to add tension and interest
Just my 2p
Also Ebm7b5 is diatonic to F# melodic minor so maybe the Ebm7(nat 5) is modal interchange based on that.
Hello! Thanks for your take, that works too. It would be a Ebm7b5 in that case 👍
Do one for Medicine by Tiny Moving Parts!!!
Huh, interesting. I always perceive the Dma13 as a IV (so the progression is IV-IV/bV-ii-vi-vi/bvi), to my ears the entire thing sound to rest on A major / F# minor. And that actually seems to make more sense to me since that Ebm7 kinda has some quality of the B major chord, which makes it sounds like the more relaxed version of the more familiar IV-II (or I-VI if we take Dmaj13 as the root). And the F#m-F#m/F reminds me a lot of stairway to heaven intro which is a vi-vi/bvi if I'm not mistaken. We do agree that it's a really cool progression, though. Very satisfying use of chromatics.
your videos have helped me a lot! i have trouble learning chords, like they just don’t stick with me. is there a way/process to learning chords effectively?
I honestly can’t tell anyone how I started listening to delta sleep. I literally do know how I found them bc they aren’t super super popular
Thanks for the video! Have you heard of Marmalade Butcher? They're insane!
First thing that comes to mind when hearing Delta Sleep is the Ocean
Twin galaxies is a concept album about the world underwater, so if youre listening to songs from that album, its because of their songwriting!
same, probably because of the album cover of twin galaxies
More delta sleep!
cover the whole album please
Wait, why is that cord box Ebm7? Aren't the notes E, F#, D and G?
I was analyzing it in terms of flattened notes, if it was in terms of sharps: D#(1), F#(3), C#(7)
please try looking into Murphy Radio band
Awesome stuff (: but thinking about chords on a fretboard makes my piano player head explode. Maybe put a pentagram next to the chord tab?
Steve, what string gauge do you use?
9 - 42, depends on the guitar though, sometimes I'll use 10s 👍
Bands to listen to that are math rock? I am new to the genre, really
Faraquet’s View From This Tower, Don Caballero’s American Don, Delta Sleep’s Twin Galaxy
What tune they use?
can u do SUFTA
The Ebm7 chords comes from the phrygian scale of D
That's what I thought, the same for the Bbm chord but I did some research and I wasn't sure if it was right or not so I left it out 👍
Thanks for your input!
What makes this song great
Could you do dream thang?
Perhaps 👍
I like the song but the name delta sleep makes me thing the band would be post rock/doomgaze/post black rather than math rock
They are more post-progressive rock than math rock.