i think a good way to reword your description of "tenderness" for major key sad songs, is a longing, you long for the happiness that the major key brings, but its not there

I don't know jack about what you're talking about, but it resembles the sound of Fiona Apple's first album.

let’s not forget barbie girl

7:4 is so hard to stay on beat. This is really talent

This is how I find out Chad Kroeger is married to Avril Lavigne?

Wirting on the walls by Underoath is just all diferent stuff the whole song and works exelent

Meshuggah - Combustion. The whole song is confusing, not only the intro.

It’s very Fiona Apple /Tori Amos reminiscent for me! Loving Miss Willow

Deja Vu....very first song I thought of. Urban legend has it that even the rest of CSNY was confused by the Graham Nash song.

and all of the music was crappy... the charts are corporate fodder

Irrespective of how well I can connect to modern pop music I find the idea of the last talented people were the ones from a previous generation laughable. I can't imagine how anyone can believe that creativity and talent ended with their generation.

Fallin’ is my go to song when I teach 6/8, I had no idea I was being so basic. Thanks for giving me some new choices!

It's posible, if you can play the hi-hat with your left foot

The slower minor mode section of Holst’s Jupiter always stuck me as regal and majestic.

We need a new Tool album!

I think the Tetrus theme is more angry than happy..

Oasis should have released those songs as cover, singing the same lyric. Then they would have been admired their talent of arrangement or vocal style.

major chords by themselves are happy. but all combined together to make a song that isnt upbeat and doesnt have any energy to it, it makes the song sound sad even though its composed with happy chords. the same goes for minor chords but they make the song happy when the song is upbeat and has energy. thats my perspective.

All 24 songs on Eurovision this year was in the minor key I think.

Her whole album Empathogen is genius.

But those minor 7th chords do have a major tonality component to them. For example, the Bm7 chord uses B D F# A. D F# A, of course, is a D major chord. If that chord progression was minor chords only, without the 7ths, it would not have the same feel to it. That major tonality would be gone, taking the more positive "vibes" with it, I should think.

They were also the first big group to write most of there own original material. Before them, most groups played music that was written by professional song writers. They also inspired countless other people to say "I can do that" to become musicians and start bands (not to mention the whole British Invasion)

I'm a composer but I would like to think, The major and minor chords may not indicate happy or sad but it indicates the facial expression of anyone who listens. A lot of the "happy" minor songs you gave sounds more like a confident/arrogant, sexy vibes. Sure it sounds happy but anyone listening to those may dance happily with a frowning face like imagine this face 😤😤😤 while nodding up and down with the beat. Even the singers in the music video didn't smile. A major happy song would almost guarantee the listener to smile and dance. Same goes with a happy major songs. The listeners will have the tendency to smile in aww or cry tears of joy because instead of it sounding genuinly sad, it also sounded like it's beautiful, cute, sweet or having that triamphant closure feelings to it, making you just want to look at the bright side and accept what happened. A minor sad song would almost guarantee the listener to feel they couldn't accept the situation and should feel frustrated.

mike posner cannot sing what in god's name is that song i do not remember it at all i was spared

Good vid. The complexity of how you can use keys is wonderful, particularly in how they resolve and how you can be happy or sad in a state of resolution or lack of it. Phrygian sounds unresolved, but there's something... aristocratic about it. Like you're in this ponderously formal, deeply compromised place. Lydian sounds like you're on uppers, but it depends on the texture and pace of the song as much as anything. We don't talk about Locrian.

Does the major "With or Without You" by U2 sound happy?

It seems to me it's a bit of a stretch to present melody lines using slides or glissandos as examples of microtonality in the sense of: an intentional deviation from 12tet to a system of non-standard tuning like 24tet. Just because a slide note happens to pass a tone that you could describe as a quarter tone does not automatically mean a departure from 12tet was intended. After all, a truly seamless slide not only touches semitones and quarter tones but also an infinite number of tones in between so it would be hard to pin it down as a choice for 24tet or any other specific non standard tuning. More convincing examples of intended deviations from regular intervals are the blue notes you present at 3:51. Blue notes are clearly intended to deviate from the notes the standard tuning offers. But even there I would still say you should distinguish between actual intended microtonality on the one hand and means of expression like blue notes, glissandos etc. on the other. And for the example at 5:27: i'm not sure if that is a convincing example of an intended quarter tone. String bends (especially on a bass) may just happen to only reach a quarter tone above the starting tone because it is too hard to bend the string far enough to reach a semi tone up within the time available for it. So instead of consciously aiming for that quarter tone it may just be an example of signalling the intention as it were, to play the half tone even though it doesn't actually reach that tone. It is interesting to notice how our ears play tricks on us when confronted with such cases. If you play opera arias at half speed (do this for example with kzfaq.info/get/bejne/j9tymKWb1rG3d4U.htmlfeature=shared&t=155 ) all those beautiful vibrato notes that to the ear appear to be firmly rooted within the 12tet sound of the aria actually sound widely off key when played at a lower speed. But no one would accuse Mozart (or Dianea Damreau) of being microtonalists 🙂

I would love a video explaining why certain keys are said to be sadder (or darker) than others. If the same song in a different key uses the exact same rhythms and intervals, how does the mood supposedly change?

Was that first song the Touch The Sky sample?

Perfect example of minor key songs that are happy is basically every song on Inhuman Rampage by Dragonforce

I was surprised to fin most of my favorites throughout the years in this vid! Its amazing when you hear a refreshing metre among the 4/4s haha

I never noticed how hard the drums go in that Mario Kart race end music before.

BJORK MENTIONED ❗️‼️

And so it goes by Billy Joel is a perfect sad major chord song

Another 7/4 example is Subsonica - Discolabirinto 😻 kzfaq.info/get/bejne/aM6DaJR5sL3LmH0.html enjoy 💕

Im so tired of this guys videos being so full of misinformation

kzfaq.info/get/bejne/aZefmadqsM2mhn0.htmlsi=fZtmYHHkZDl7f4Mp Here's Polish rock song with chord progression very similiar to Pachebel's Canon

taylor swift take notes

After the Kendrick vs Drake stuff recently, that thumbnail is WILD 😂 Ffs, it even has the format of the drake meme 🤣

I dont get it at ALL

Rap doesn’t count

I love minors 😀

Within you without you is literally the only song on Sgt. Peppers that I have skipped over.....since I first heard it at 5 years old. Always loved Tomorrow never knows though.

I heard you refer to Korobeiniki as Tertris theme and was so confused for a second lol

touch the sky

tolerate it should have made it!! its in a complex time signature

both The Day I Tried To Live and Limo Wreck by Soundgarden are in 15/8.

Lonely Lullaby by Owl City is in a major key, and it’s definitely a sad song. On the other hand, the Bad Piggies theme is primarily minor, but it sounds fun and goofy.

Make a vocaloid army

"Sing a song for me, one from let it be." - Be Here Now, refrence to Let it be, a beatles album.