Elizabeth: Some interesting rhythmic things.
Henry: Oooh!
H: Accent on two, blank one. That's hip.
E: Ooh! There we go, there's some chromaticism.
H: Yeah, here we go, fuck yeah! That's really good.
[Rossini's Semiramide]
Umu: First we'll be reacting to a B-side track called Pierrot Smiles at Us from IU's 2014 album called "Flower Bookmark".
U: The song is actually a remake of the 1990 song sung by Kim Wan-sun.
U: This is composed by the songwriter Son Mu-hyeon and then for IU's song it is arranged by Lee Jong Hun.
U: Basically, it's arranged to sound more modern.
U: So first, we're gonna listen to about one minute of the original 1990 song and then we'll listen to her remake and talk about it.
James: Okay, sweet.
Hugo: Un, deux, trois.
J: Oh my god, it's so '90s.
J: Oh, this is awesome.
H: That slap bass.
J: The drum that just instantly dies.
J: No... H: No reverb at all.
Emiel: Yeah, I mean it sounds like pretty cool for its time. Stephen: Yeah.
S: No, definitely, it's just funny. I guess listening to it now.
Henry: Oh my god. Elizabeth: When the synthesizer's there at the end of all the phrases.
H: It's so cheesy. E: Very... H: It's so dated.
H: You know what it's hard for me to analyze this 'cause it's so dated, it's so funny.
H: I want to be able to take it at face value, but like... I find that very hard.
Stephen: Bass line's pretty sick,
S: like the slap bass.
Emiel: Back before they could actually just, plug it in on the midi. S: Yeah.
Umu: Okay, so I just want you to get the taste of it get the taste of the melody, of the
U: instrumentation, and now we can move on to the more modern, E: Oh cool.
U: and definitely more kind of out version of it and so in the end, we'll compare the two versions.
Elizabeth: So I noticed this when you were showing me the list of pieces we were gonna react to. Pierrot
E: is the character in French comedies like a clown and
E: actually Schoenberg did like a little song thing where he set some poems about Pierrot to
E: 12 tone atonal music. I don't know if they were inspired by that... Henry: Woah.
E: I'll be curious. H: It's like Petrushka.
E: Well, it's like well, this is actually one of Schoenberg's most performed pieces, Pierrot Lunaire, the song cycle. H: Wow.
E: So I'm wondering if there will be any like inspiration taken from that or whether it was more taken from the character, Pierrot.
Kevin: Pierrot Smiles at Us and I smile at IU!
Fiona: Ah, her hair is so pretty, it makes me want to chop it all off.
F: We worked so hard for this.
F: Get me with those claps, uh uh.
Elizabeth: See these motives not exist in the other one. Henry: Yes. E: I like the acoustic piano instead of just the synthesizer.
Isaac: Minor triad. Kevin: It sounds like a sad joke type of--yeah.
K: It's a sad joke, that's what it sounds like.
K: So like the sad clown's smiling.
Peyton: I like the keyboard's sound. Charotte: Yeah.
P: and I can tell it's real drums. And a real bassist.
P: man,
P: gotta love it.
Elizabeth: Yeah, she's replacing what was synthesizer in the
E: other video with her voice, Henry: Yeah, E: which I think is just so much more effective.
E: Definitely more updated for a modern ear.
Peyton: I also really dig it like when vocalists like, Charlotte: (singing along)
P: they sing with the instruments
C: It's interesting that she's outlining the bass with her voice too.
Lindsey: It was weird because this whole thing
L: it's like it's like it's like minor but it does not sound minor at all like it is,
L: 'cause if you try to like sing the tonic arpeggio, it sounds wrong if you do a major.
Henry: Yo
H: This is actually very good. I really like this.
Kevin: It's so off beat, this song is just, not literally off beat, but it just feels so off the beaten path.
K: The road less traveled.
Stephen: Got the electric piano like Rhodes too, that's nice.
Emiel: It definitely got its own vibe. for sure. S: Yeah.
S: Nice and mellow.
Kevin: Bluesy and it's for the word pierrot.
K: Ah, it's so good. (singing) Pierrot~ The melancholy, you know, you just feel it.
Isaac: Ohh
K: Key change up a whole step.
Elizabeth: Ooh I like the inclusion of the voices like a synth sound.
Henry: Yeah, the sort of like- sweeping harmony.
E: Some interesting rhythmic things.
H: Ooh~
H: Accent on two, blank one. That's hip.
E: Ooh! There we go, there's some chromaticism.
H: Yeah, here we go fuck yeah, that's really good (laughs).
Peyton: She got kind of like a soft like airy timbre to her voice whenever she's doing like a lot of the chorus and verse stuff.
Kevin: Oh the instrumentation is different.
K: It's like yeah, it goes two times slower.
K: Man this is like not lazy songwriting and the world needs more of this.
Fiona: I really enjoy her voice. Lindsey: Yeah. Well she I mean she's amazing.
Kevin: Plenty of, uh-
K: It's not even a clean half-diminshed. There are like little dirty notes in there.
Elizabeth: That was like when they're singing smiling clown right, that's when we get the chromaticism.
Henry: Mhm.
Peyton: Is this like the fifth time she's repeating? Charlotte: I know! (grunts)
Fiona: They like added cool keyboard stuff, so I forgive them. Lindsey: Yeah.
Henry: Ooh! Man this pianist is going for it. Also it's like very very mellow piano sound. It's not overly synthed.
Kevin: Oof! Oh it gets worse and worse in a good, well it gets nastier and nastier, which is wonderful.
Elizabeth: Oh, here we go just voice.
E: That's really clever because they've repeated the same thing over and over and they've changed it textually so--
Henry: Yeah, the last out chorus. Wow, everything about that was really good.
E: Yeah, I really liked that.
H: I thought that was excellent. E: Yeah.
Kevin: It ended like, it sounds like it ends in F minor because of the bluesy note. Isaac: Yeah. K: What in the world?
I: It was interesting. K: What in the world is this? I just got teleported somewhere.
K: The inside of a sad clown Pierrot. That sounds kind of disgusting.
K: But more like the spiritual inside.
I: The balance was just so nice 'cause like it you listened to the beginning where you hear the claps and it's not something that's
I: just like (claps loudly)
I: in your face, it's just softly in the background, but it's not too forefront. Just not too far back
I: just the right amount and then also the way they evolve the beats like by having it's like
I: in syncopation so like away from the downbeats and then later if you're gonna like start moving on you hit it hit every bar
I: just to show we're moving somewhere,
I: and usually that what happens there is you see you modulate or you just pick up the tempo or you move into the chorus or
I: something new, and I thought was really nicely done.
K: You know, this song makes me realize that we need more electric keyboard, that good old electric keyboard sound in-
K: in Kpop, we need more of that because it's awesome, especially when it's mixed like that,
K: we can hear in a different spot of the ear and then you know later on you hear it riffing and sometimes they're like
K: there's like a lot of dissonance but it always works 'cause that's the jazz life.
Fiona: Um, I really like her voice this one really repetitive but it keeps it fresh and I love like how they have keyboard
F: they have
F: piano and the drums and her vocals and then the other vocals she has that she probably did with herself.
F: It just sounds really uniform and like a really good gel.
F: Also, I made a little champagne or like a wine goblet out of a wrapper.
Lindsey: I liked everything that Fiona said and I also liked how they were just kind of like some subtle interjections going on in the background,
L: I thought was cool how like the key was kind of ambiguous because it was definitely minor, but it did not feel like
L: it was minor at all. Like it definitely had a happier more major kind of feel.
Katie: It was really fun to listen to and analyze 'cause it's very very jazzy.
K: We heard a lot of like the common chord progressions that you hear in jazz like two-five-one's,
K: there's some re-harm in there. The way that I would explain it is it's like
K: when you take a melody that usually has like an expected harmonization to it. So like twinkle twinkle like (singing) twinkle twinkle little star and you think
K: one-four-one-five-one.
K: But like a reharmonization is taking the notes in
K: the melody and
K: making the harmonic texture still work with whatever note it is but having it be like a completely different chord
K: so if you have like scale degree five in the melody, you could do like a one chord
K: you could do a three chord. You could do a five chord you could do
K: uh, what is it? Like a six chord that and the five is the like seventh of the chord so you can like reharmonize it to make it sound really like weird to the ear.
K: But it still works because it still works with the melody.
Jarod: Mhm in the case of this being a cover, you know, it's like people of people who know the original song will know
J: how it kind of works and when you hear this kind of spiced up version like it'll still sound similar
J: but it'll it'll have a whole new set of colors to it.
Umu: Yeah, so did you feel like this was a successful remake of the original song?
Henry: Oh my god, so much so. Elizabeth: Yeah, brings it back into the 21st century.
H: I feel like a lot of it was texture for me. E: Yes. H: Texture and
H: like you said the different motivic development and where it was all placed. It's easy for those kinds of things to get lost
H: and I'm glad that this obviously took great care to preserve some of the character from the original
H: that we didn't quite get from the original. E: Yeah.
Hugo: I thought there were definitely some points were, it was mainly the voice melody,
H: that was the same, there were like hints here and there like they faded a little bit of a slap bass,
H: but it was nowhere near like the 90s like (singing). The claps were different, more chromaticism.
James: It's a good trailing away from the original um, Hugo: Yeah.
J: in terms of interpretation, the influences in the music. H: Yeah. J: The styles are almost completely different
J: I would they, I would say, not they. Yeah, it's a it's a good
J: modern
J: interpretation, do I dare say but I I think I like the original a little bit more.
H: I think I do too.
Henry: Freaking band was really good, real-
H: Okay, real talented drummer
H: like obviously a very experienced studio drummer,
H: really good bassist, really tasteful bass playing, grooved before technique, grooved before volume,
H: which is important. Pianist's voicings were really good.
H: They definitely complemented the vocalist and then once the vocalist was repeating the same thing over and over again,
H: he really like was testifying up in his right hand. That was awesome.
H: The drummer took a lot of liberties with his filling at the end,
H: but just in terms of like things that pop music does in terms of
H: composition to just kind of like make it groove more and just kind of break it up and keep the audience engaged,
H: using a lot of chromaticism. It's really cool.
H: I know a lot of it is like the character of what the song is about which you mentioned and also filling and
H: leaving one blank so that you kind of feel you step in a bit of a pothole
H: that's really cool kind of like making your audience think twice about what you're doing is how to keep them engaged.
H: So good shit, I thought that was excellent. Elizabeth: I definitely think whoever wrote the song has heard of Schoenberg
E: and knows that
E: Pierrot Lunaire is like a big Schoenberg piece because it was clear that
E: that there were some funky chromaticism in there and some funky text painting on
E: they said clown. You definitely would not expect there to be in pop music
E: so there's probably some inspiration taken from atonal music there. H: They had a lot of chromatic sequences that functioned as turnarounds
H: they sidestepped into like a different key area and then function back by like half-step motion into where it was before.
H: Very cool very hip.
Umu: Hello everyone. Welcome to our channel if you're new. I'm the channel runner and producer of this series.
U: Thanks for watching this video. If you enjoyed it, don't forget to subscribe.
U: Also,
U: if you're curious to see what else we're going to react to in the future,
U: go ahead and check the description for a bunch of links that I have to playlists and schedules. Also,
U: please check our Patreon
U: if you want to support us. Patrons to get access to unedited full-length reaction videos,
U: access to exclusive content, as well as early access to all the videos posted on here and more.
U: So, thank you so much, and I hope you have a wonderful day.
For more infomation >> Места размещения в новом интерфейсе Google Ads - Duration: 1:00. 
For more infomation >> Dance Moms: Dance Digest - "Wishbone" (Season 4) | Lifetime - Duration: 5:03. 
For more infomation >> Jason Kennedy And Giuliana Rancic Talk About Co-Hosting E! News As Dear Friends | TODAY - Duration: 3:34. 
For more infomation >> Megyn Kelly TODAY Discusses Asia Argento Allegedly Paying Off Her Accuser | Megyn Kelly TODAY - Duration: 10:13. 
For more infomation >> John David Washington's Words About His Mom Pauletta Washington Are So Powerful | TODAY - Duration: 2:21. 
For more infomation >> Woman dies from apparent alligator attack on Hilton Head Island in South Carolina - Duration: 2:07. 
For more infomation >> Hilton Head, SC police investigate alligator-related death - Duration: 2:59. 
For more infomation >> Monday Night Football Preseason 2018 - Duration: 2:14. 
For more infomation >> After Months of Trashing Trump, John Brennan Had This to Say About Him - Duration: 5:33. 
For more infomation >> One dead, one hurt in plane crash at 7th Street/Deer Valley, officials say - Duration: 1:22. 
For more infomation >> 1 dead in plane crash near Deer Valley Airport - Story - Duration: 0:59. 
For more infomation >> KitSound x J.KAS - Duration: 7:15. 
For more infomation >> FD: 1 dead, 1 rushed to hospital after plane crashes on Phoenix - Duration: 2:23. 
Không có nhận xét nào:
Đăng nhận xét