Alexander Wollheim yes yes

I think he says "A-men!" haha@@lucaslemonholm5492

@@LucDiGiuseppe yes

think of it as compound 7 time! so much easier to count if you view it as a metric modulation.

I just hear it as 7s immediately, the transcription is actually way over my head lmao

Plini + Jacob Collier collab??? Imagine...

Even the rest are quite simple, just group by three and you get 21=7 18=6 15=5

Manuel Campins simple in concept yes, simple in practice? For pros maybe ;)

but can you transcribe a figurative drum set falling down figurative stairs?

"Heck yeah" ?

thanks mate

You're correct. He actually says Amen and Jacob immediately responds with his own harmonized "Amen"

yuh

Jacob lip-syncs!

Oscar Elmholt Not if you want to indicate a Lydian function. The chord does not sound or behave like it has a diminished 5th, so it would be misleading and inaccurate to notate the #11 as a b5 just for perceived clarity.

I also think this would end up having both the 7ths in the chord which is not ideal. So it might end up being Gmaj13#11#5addb7 which doesn’t exactly roll off the tongue

it should be 2 against 5 and 2 against 3 (or 10 against 15 if that makes more sense in this context of 5)

I think it depends on how you count, but I feel the 3 against 5 by comparing the five-eighths pulse on the top staff to three-eighths pulse on the bottom staff. There are a total of 30 eighths in the phrase; the top staff has 6 pulses of 5 eighths, and the bottom staff has 10 pulses of 3 eighths, or dotted quarters.

Varra Dmaj7sus4 (D G A C#)

I N T E N S I F I E S

ja, mert nincs filhallásom, igaz-e?

Neil Bolima I’ve seen 23/16 before...

That is not a simple Gmaj13#11 chord. A Gmaj13#11 chord would have the following notes: G, B, D, F#, A, C# and E. The notes in the chord you are questioning are (from the bottom) G, E, F#, B, C#, Eb (D#), and F natural. The Eb and F natural do not belong in a Gmaj13#11 chord. I think the chord could be interpreted in many different ways depending on your choice of root. I gave it a #15 label with the root of E natural due to my personal experience in listening to Jacob's explanation on his method of building tertiary harmony. #15 is the same as b9, but if there is already a natural 9th (in this case, an F#), it wouldn't make sense to label it as a b9. Hope this helps.

Oh! Thanks for the response. I now see that I was ignoring the key signature, and that the upper stave is in bass clef, not treble. My mistake! Love your work, June. Thanks again.

:D

For me it's almost understandable if you think about bright and dark. Jacob has said he thinks of the clockwise direction of the circle of fifths as brighter and counterclockwise as darker. I.e Overtones as brighter, and undertones as darker. With this logic if you have an E fundamental and continually expand by fifths you have E ,B ,F# ,C#, G# ,D#, A#, E#, (F) . If you stack it into thirds you get E, G#, B, D#(Eb), F#, A#(ommited), C#, E# (F) . Jacob would define this chord as E super mega meta lydian. Or simply F#maj7 over Emajor 7. To me this makes sense because the F in the melody as the #15 on "Fly" then is literally flying off the scale/harmony and escaping in light. The nuance then is the G natural instead of a G# . Jackie Chan confusement status.

Remember to take into account the octave displacement between a b9 and #15. The 8 is an octave above the 1. The 15 is two octaves above the 1. Therefore, a #15 is NOT just a b9.

Dreaming Autumn June has perfect pitch and has interviewed with Jacob plenty of times? I doubt they're wrong

Some of the music on news networks are actually pretty compelling so I can't argue with you there. I didn't necessarily make that connection but I can see it so that might be part of the appeal to me.