When it comes to the latin music and the tumpa/Tumpa or dembow, I wish you could look some videos made by "El chombo". He is a famous Latin urban producer and he explain that very openly. Spoiler alert... it's in Spanish. Oh... and Greetings from Costa Rica 🇨🇷

I didn’t know that you gamed Adam!

Also, Mozart didn't finish his requiem.

I came to the comment section to make a note about the African references for latin beats and rythms and just saw this. Well, onto the rest of the video. :)

I think you are wrong. Dembow has the same base rhythm that many other latinamerican rhythms. The first part of the clave has kind of the same division based on 3+3+2. So does the milonga from argentina. That, plus a common kick on every down beat is basically the dembow. It also became extremely popular with reggaeton, which originally used resources from other latinamerican rhythms of various countries, plus a strong downbeat from reggae (excluding the obvious chord rhythm on every "and")

Underated

I never felt those to be evil, but ominous, strong and just generally badass hahaha

So basically wario

😈 🍝😈🤌

@@diedie865 thats romanian

How did you know!! All the basic yummy tastiness

That's what first came to my mind! LOL

the knee appalling tan chord ???

No way, it's mozzarella, tomatoes and basil, obviously ;^)

*pushes up glasses* akshewaly the three flavors are German, French, and Italian

And Blonde Redhead

So true

Don't forget about Lady Gaga!

The Elf Man uses chromatic mediants out the ass

“Unused for 100 years.” Grant Kirkope would like to know your location

C'est la vie

ABBA used the Napoleon chord in their hit Waterloo.

Did you mean Neapolitan? Did I miss Napolean as a different chord somewhere (It's not in the transcript)?

@@Pacvalham it's just a joke 😁 Napoleon and Neapolitan are semi-frequently mistaken for each other in America.

LastI I heard, the Napoleon chord had fallen out of use during a severe Russian winter

Well, Adam can make that true

its just a link to this video

@@dasheroo1229 lmao

"A wolf at the door" - Radiohead

@@GezbianGaming Damn right

Atom Heart Mother by Pink Floyd sounds like it might be in there somewhere!

Of course the Beatles have done this. I wanna see something the Beatles haven’t done

Gangsta's Paradise by Coolio or am I off track?

it's called inclusive counting, and was the commin way to count up to the midiaval time... same reason why Easter Sunday is the Third day after Good Friday for instant. Also it goes hand in hand with the missing Zero.

As a spanish speaker, this gets easier to understand when octave=8th

"Off by one"... General Kenobi! But seriously, that is exactly what indexing issues are usually in computer science (though with comp sci, you traditionally start counting at 0), and they are so common that the joke of "Off by one"/"Obi-wan" is worn out a bit.

I belive Octave is a borrowing and in English really should be the Eighth, and Seventh, I've been taught that. It's: secunda, tertia, quarta, quinta, sexta, septa and octava. This is in Russian, but comes from Latin I believe.

this mfer doesn't know about the number zero

"That" -- Adam Neely

"Adam Neely" -Roel Bakker

I like what you did there because you DID quote him on that!

@@giovelascomusic ""Adam Neely" -Roel Bakker" - SushiBushi

Adam " Joe Rogan " Neely

You guys kinda have something similar with the tritone sub, but it doesn’t resolve to the V but instead replaces it.

The Neapolitan also points to iv along with i, because you get the dim3 (aug6) usually in the soprano (Db, B, C). Since the aug6 goes to V, it makes C act as sol, pointing to f. I think it’s less popular in Jazz because we often have the D flat chord in root position in the VI-V-i progression, and the idea of pointing to both i and iv simultaneously isn’t really considered.

The only functional difference between tonal jazz and tonal W European Music (WEM) was the Neopolitan chord. Specifically the inversion and that in WEM it had the inversion (weird spelling of the 7th) and then the "requirement" to go to the V chord before resolution. Are there any other examples I might have missed?

In wave by tom jobim the b section ends with a ii V to the napolitan followed by the V of the original key

@@pedrogheventer2566 cool! But that is still not the same as the bII7 going directly to the "real" V7 then resolving like in the classical progression which is (I believe) what Adam was saying doesn't happen (especially with the inversions) in Jazz.

Jhon Williams and his Harry Potter score, it's basically the most famous use of it in these times.

​@@javiermedina5313Is that a Welsh John Williams?

yes, in italian "ottava" means litteraly 8th

its weird how they act as if non diatonic notes dont exist by calling it that though

i mean you are kinda right lol

It does carry some philosophical similarities, especially in looking at brutalism not in a semi-pop consciousness as "just a big concrete block" but more as "look at this extremely sturdy architecture contextualized by the serene environment around it" in the idealized form from its creators.

And I'd like to add, the so-called odd or mixed meters ... the way to rationalize them that I learned was: Cuba, Panama and occasionally Honolulu. Cu-ba stands for the short beat, divided by 2, Pa-na-ma stands for the long beat the a ratio of 3/2. Ho-no-lu-lu sometimes can be used for a 2x2 double beat, instead of Cuba-Cuba. All syllables are spoken rhythmically with the same length, ta-ta-ta-ta ... those are the 8ths or 16th. This way it became quite easy for me to play, clap, and dance those rhythms.

@@Zawiedek We do the same thing in music education. Instead of counting 1-2-3 1-2 etc., we use common words for kids to get the feel of it. E.g. names Δήμητρα-Τάκης, or places Τρίκαλα-Ξάνθη and so on and so forth.

@@thatotherted3555 I think so ... I listened to it andi hear a quite slow stomping rhythm of 2 and 3, not absolutely sure how it starts, I guess it's boom-chack, boom-umpf-chack ... or cu-ba, pa-na-ma ... the subdivisions on each beat often seem to be triads, very fast 1-2-3s on each beat. That's how I hear it, don't know if it helps you.

Holy moly that's a Greek name you've got there

@@charliecampbell6851 Well, me and OP are Greek. Why shouldn't we have?

Didn't Mozart's requiem been writen by someone else (the final parts of it, actually)?

It's not true. I think he used major chord at the end or even plagal cadence.

@@tfossgh no I’m pretty sure it’s just lacrimosa which wasn’t finished by him but the rest of the requiem was

​@@doormantdarner7815everything after lacrimosa is not by him

Let’s make this the next “repetition legitimises”

@@CarlosERamos-ey1lj Adam singing "el mundo" to a dembow rhythm gave me reasons to live this week Let’s make this the next “repetition legitimises”

off by one error- OBOE :)

Moving from compsci to construction was... interesting for me.

"There are 2 hard problems in computer science: cache invalidation, naming things, and off-by-1 errors."

Bingo. Specifically: do you start counting at zero (0-indexed) or at one (1-indexed)? In European classical theory, we're 1-indexed, which feels a little strange since all notes are relative to others - the idea that you're at note "1" relative to where you started, but you're still on the same note? That causes a conflict when you say that two notes are "a fourth apart" or "a difference of a fourth" even though you're finding the difference between the 1 and the 4. Only in this system does four minus one equal four. :-D If we were designing a musical system from scratch, we could solve that by 0-indexing instead of 1-indexing - so C-F would be a third, and the distance between those notes would reasonably be "a difference of a third" because 3 - 0 = 3.

Ah yes, the Obiwan error.

Oh that's where i heard it already. But i think i've heard it in other italian songs too

This is one of my favorite puns!!

🙌🙌🙌

Ta ta ta ta tá

Great part of the world.

Thanks for the contribution, hermano. Greetings from Brazil!

Bruh it's literally from Shabba Ranks "dem bow" riddim. This sort of beat has existed worldwide but the particular form popular in Reggaeton/modern Latin pop is directly taken from Jamaican dancehall.

Agreed 100%

beautiful comment

This is amazingly profound and gets you thinking. We consider 0 as 1 in many cases even through out basic life. When really its 1st degree to the 8th degree counting from the 1 at the start instead of the 0. In the beginning with no sound you could say its 0 through as a way to represent the absence of sound but iy gets complicated. However we see it practiced where in any countries/cultures will count the starting age of birth, the Zeroth years, as the First year for newborns. When you think about where zero comes from with math maybe you can consider zero by itself as a mute or maybe as we consider rests. With popular stringed instruments though where you'd see more tablature/numbered notation the first note of a set of strings on that instrument would be the open notes or zeros on that instrument. In a musical sense using clefs and musical notation we should really see it as 1 through 7 or the 7-set as many interpret it and consider every set of 7 bellow or above it apart of a set of octaves. Where the first note is the last note of a set like a fencepost. The fenceposts can be fixed upon where you put them too either within the set or maybe outside it when talking about key changes that land on notes not within that set. The fencing would be really the 2-7 or 6 notes used in that traditional sense and interchangeable as being set up as the fencepost too. Also really you can see it as a 2(1 repeat) system and 6(single contained))system set of notes if you really wanted to use it in a contained way. When all of the notes just belong to sets of the same notes but higher or lower it can look like that at second glance even. Same argument can be made for Pentatonic Scales with 1 and 4 but there is an issue because its really 6 notes being use 2(1 repeat) system to 4(single) system notes. The fence analogy you used was really thought provoking thank you for commenting. Maybe I am being too speculative by going that far. Even if math and music are somewhat linked is not like music will follow directly after math and all the equations that pertain to math because its hard to factor human error like having your instrument out of tune or relying on different systems which math can't easily explain in integer numbers.

wait i'm confused by the 20 foot gap part, i legitimately don't get how a 20 foot gap needs 3 10 foot fences

@@djadj_ two pieces but three posts. It's like how one interval involves two notes, one at either end of it

Williams Harry Potter: excuse me?

There are three big errors in programming: use-after-free and off-by-one.

@@EduRenesto very nice

Yeah, my favourite chord progression is the venerable I-IV-0.

@@zethkarrade lol

Sure. Is zero positive?

Or a great band name!

We Czechs certainly are! My last name may be German, but I'm Lostak through & through.

In fact, we Czechs are SUCH Prague-heads that we equate Dvořák with RUSH.

They aren't totally prog, though. I mean, they Czech themselves before they wrech themselves.

Well only people from Prague. Rest of the country lowkey hates the capital 😂

Hahahaha that’s some next level punnage

Take A Bow - briefly.

Starlight, in the bridge: A(bII) -> D#(V) -> G#(I) Also in the verses of Stockholm Syndrome (Eb -> Asus) Probably somewhere else too but that's all that comes to mind.

My thoughts exactly!

@@mysterioussquid906 If the bII is in root position it's not a Neapolitan. The eighteenth-century Neapolitan chord is always in first inversion, and has very specific voice-leading. If it doesn't work like the eighteenth-century chord, why use the eighteenth-century name? Just call it a bII or Phrygian II.

Don't know for sure, but Space Dementia sounds like it might.

so the classical off-by-one error is so ingrained in our music system that we even have an off-by-two when talking about inversions of intervals? amazing.

I play chess, and the 8th line of the board from white's point of view is the 1st from black's, white's seventh is black's second, 6th and 3rd, 5th and 4th

no mannacc a maronn

Yep

Sì

Maybe it's somewhat like the difference between a circular linked list and a linear linked list? In the circular one the 7th node points back to the first, but in the linear one the 7th node points to a unique 8th node. The circular version views the octave in isolation, as a standalone grouping of notes, while the linear version views the octave as a part of an ordering of all notes. I think both are equally valid interpretations, but as a pianist, I'm more apt to go with the 8 note octave instead of the 7 note version. I think that a note can be the start of one octave and the end of another.

@@gabrieldoon Love that interpretation.

The two hardest things about programming: 0: Data validation 1: Naming things 2: Oboes (Off-by-one-errors; did this just circularly link back to music?)

Can also be called a fencepost error (as in: if you have a fence that's 10 units long, it actually has 11 posts).

@@Pacvalham It's because the oboes always seem to be off by one note... Oh how I miss being in a wind ensemble

Ooh, that'd be neat.

True! He died after the first 8 bars of the Lacrimosa. The famous completion of the Requiem was done by Süßmayr, who had been a student of Salieri's and later Mozart's (in the last year or two of his life). He orchestrated most of the Requiem and wrote many of the movements himself (supposedly with some reference to Mozart's notes and discussions they'd had before his death, though it's unclear to what extent), but for the last two movements, he just reused the first two movements written by Mozart with a different text, and Mozart did finish the second movement with a power chord. So in that sense, the Requiem (or at least the commonly played version of it) does end on a power chord, which was written by Mozart himself but not originally intended to end the whole work. Of possible prurient interest is that Wolfgang and Constanze Mozart's last son was also named Franz Xaver, and there have been rumours that Süßmayr may have fathered him, but of course there's no real evidence for that.

Every time I have to play Mozart's Requiem it's really frustrating. The beginning/middle is so good (especially as a trombonist, I sometimes get to play the fantastic duet in the Tuba Mirum with the bass), but then the piece just gets more tediously difficult and not as satisfying to play. Amazing until the Lacrimosa, though. :-(

I came here to look for this comment.

You can also find it in "La Cathedral de Strasbourg" by Focus. But classical music was a heavy influence on them

They used it in exit music too, with sawtooth bass, what a moment

@@alexanderbayramov2626 you sure?

@@enkita8234 when bass drops it goes like Bm - C# - F# - G - G - C - F# - F# (that's a sketch of progression ofc) And that C - F# is kinda neapolitan IIb -> V in b minor, ofc it isn't C/E -> F#, but in my opinion that neapolitan vibe is here

@@alexanderbayramov2626 good to know, I think I always used a C# diminuished instead of that C 😂

But if you count the repeated final note you actually do get 15 and 22, 8 + 7 =15 For example, from C3 to C4(included) you get 8, then add seven notes (D E F G A B C) and land on C5: 15 notes

@@francescobelluzzi9890 you’re right, i was probably drunk

@@DemiDemiGlace ahahah sadly I wasn’t!

That's an Ab/C in Gm, so it looks like a Neapolitan, but doesn't resolve like one. So a better way to explain it would probably be a tritone substitution for the predominant.

Great tune though! My piano teacher showed it to me last week :)

@@stephen6691 It in fact does resolve like a Neapolitan chord. The progression is Ab/C D7/C Gm/Bb. It also uses the Ab major at another point of the progression where it isn't really a Neapolitan chord. But the first time it is used, it is an actual Neapolitan chord.

@@MaggaraMarine Neapolitan would never resolve to D7/C, at least not in classical music. It would usually resolve to a G/D, maybe directly to a D7, but never D7/C. The voiceleading in this example is all different from a classical Neapolitan resolution; the Ab and Eb are tendency tones that should move downwards by step to G and D, which they don't do here.

That's the Sergei Rachmaninoff influence in Matt's playing!

I was thinking that, or the verse of Stockholm Syndrome, but would need to check. Also Space Oddity by Bowie?

Literally learning that song rn! It’s such a challenge for someone like me who isn’t really a pianist omgggg

As soon as Adam said "It's not really used in modern pop" I immediately thought of Muse. They seem like the only contemporary pop rock band that would fuck with a Neapolitan chord.

@@unic0de-yvr their style sometimes feels like really heavely inspired by classical composers

Huh? Human footsteps are in 4/4? Heartbeats in 3/4? What are you talking about? It says more about HOW you abstract and assimilate such things rather than their essence.

@@dang5874 @thebeattrustee ok, i think of foot steps as 3/3 and heartbeat as a dotted 4/4 rhythm? When you walk its L, R, L then R, L, R. And the heart beats go bum-bum *rest* bum-bum.

Tango is very much influenced by Italian folk songs and classical music, and of course the tasty, powerful sound of those cadences goes along perfectly with the drama present in tango.

@@julianrodriguezf Indeed!

It's also like the first chords in Debussy's "La Mer"

If you listen closely they keep the tonic in the bass. So it's not really a Neapolitan.

It's simply a bII chord in that case. The Neapolitan chord behaves in a very specific way. In this case, it's kind of a "deceptive resolution" (I'm using that term very liberally here). You are kind of expecting it to end on the tonic, but it ends a half step above the tonic instead. I would guess Muse got this idea from Ravel's Bolero that ends in a pretty similar way, though in Bolero it goes back to the tonic, whereas in Take a Bow, it just ends on the bII. This kind of a "deceptive resolution" is also pretty common in blues. In that case, the rhythm is pretty much always "one, two and". The chords in the key of C would be C6/9 Db6/9 C6/9. But I'm pretty sure Muse uses the Neapolitan chord in at least one of their songs. I guess Starlight might count. The chords in the bridge are C#m F#7 D#7 G#m A E A D#7. This is a half-cadence in G#m, and the A major chord would be the Neapolitan chord in root position. But I'm pretty sure I have heard them use the Neapolitan chord in some other song too.

@@MaggaraMarine Stockholm Syndrome's got it in the verses, Eb(bII) -> Asus -> A(V)

@@MaggaraMarine "the Neapolitan chord in root position." No such thing. In the eighteenth century, this chord is always in first inversion, and with very specific voice-leading. If it doesn't work like the eighteenth-century chord, why use the eighteenth-century name? Just call it a bII or a Phrygian II.

I like that idea, definitely sounds about right. A pop song with neopolitan chords would sound cheesy, and a jazz song with them wouldn't be "sophisticated" enough.

you can put extensions on it

Imagine contrapuntal rock/metal

Nice thing is "Gruntilda's Lair" is based on the piece "Teddy Bear's Picnic" by composer John Walter Bratton. Video Game Music from the 90s were usually made by composers with a deep foot in Classical knowledge :P

I think its used in the shia LaBeouf song

FFVI - Figaro Castle

Zelda Theme

Ya was thinking it may appear in some prog works. Correct: it appears most noticeably at about the 1:55 point in the tune.

Cool, I was wondering which track it was in 😎

big Bon Iver vibes

I getting a love lies bleeding vibe.

It's a great song, but I feel like it leans heavy on some classical influences. Like calling out Muse, when they're just fanboying Rachmaninoff.

I agree :)

I was thinking maybe Hello by Lionel Ritchie too, but I am not sure if it strictly counts.

I thought so too. I never appreciated that song fully until I heard it live. I was blown away.

gg

"You say European music theory is oppressive and racist yet made your entire life and career around it... curious." -TPUSA

Looked through the comments for this - for me this is very much a "Could It Be Magic"-flavor. Yes, of course Manilow got it from Chopin, but Still.

Also, Donna Summers redid Could It Be Magic, disco style with the chord.

@@YvonRatte Whatt?!??! Gotta check THAT out!

checked it out. Terrific as expected

Popular during the Romantic period. It sure seems he was referencing the Rachmaninoff Prelude in C minor in his example.

OMG. I need more sleep. I was going to write about how that chord really isn't a Neopolitan chord... but you're not talking about a Neopolitan chord. Why did I spend so much time thinking about that!?

Because repetition legitimizes of course!

Because repetition legitimizes of course!

Because repetition legitimizes of course!