Jess, Bach, Mozart discussed on Switched On Pop

Switched On Pop
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Feel that right? And I'm not gonna get too deep into the theory here. We're just going to say that, when you hear this, I think you hear musical logic. Well, yeah, this is like when I studied classical music with you in school. One of the very first things you learn about is the fundamental sort of structure of harmony, and the way in which cords want to move into each other. Exactly. And this is the sort of, like underlying. All of classical harmony is this meta superstructure. Yeah. So fifths are distance between two notes. So we move from our I note g and the cord based around that note to our second note, and our second chord, c. Away from a fifth below g exactly. So that is like a really important relationship in classical music, moving from a note that a fifth below and what we do after that is we take that new note. See go to remove a fifth below that to happens after that Charlie fifth below that to be flat v below that. And that's where in the morning edition deemed the progression stops, but we could keep going right? Yeah. We could go on where it's to a flat. And now I feel like I'm actually quizzing. Back in your music, fifty five final shouts out to professor Arleen coal. We love you sorry, a flat goes down to deflate and fifth below. Deflate is g flat and then a fifth below that is c flat, but will rename it as be major because that's a little nicer. And if it below that is easier that a D, And now where we truly after d major right back to where you were right back to Jean. It's a very complicated way of spelling music, you, like basically go through seven different letters, and you just do so obnoxious, permutations until you eventually get back to where you started. Yeah. I don't know why you have to say, call it obnoxious that seems comedic using when you first learned it, and then you learn to spell in funny ways. But the point being that there's this sort of wild underlying mathematics, where if you start one place you keep going down five. Eventually you end up back where you started totally. This is one of the fundamental properties of western tonal harmony is that this this circle of unlike undergirds so much. And whether we're aware of that or not, whether we have taken music, fifty five that is like present somewhere in our collective consciousness. Certainly. If we've heard classical music after morning edition, listen to Bach or Mozart, specially earlier classical music. And baroque music you're going to hear these things. It's embedded in this stuff. And so you just associated to classical music. Right. There's like callous examples, but I'm just going to pull out one of my favorites. Here's a nice circle of v progression. From Bach's Brandenburg concerto, number five, I movement in d major, what's have listened jam? So every time it switches between the flute and the violin. You can hear. It's moving from one fifth chord to another fifth cart. An ember learning the going through the cycles of fifth was away of drawing composition. So he'll longer and longer and longer. It's absolutely. It's a way of like moving from one harm onic place to another. Yeah. You can also serve as a bridge or a harmonic highway if you. So, yeah, has this feeling of movement, and which kind of makes sense if we're I think about how that applies in the morning edition theme song. I am sort of waking up and slowly rising. And so this thing is kind of, like moving me along. Yeah. Okay. I love that. So it's giving you this energy and momentum and it's also reaching back. I mean, literally when you hear circle Fiszman, especially in this context, a generation later Beethoven, Mozart would look back to that sound, and they would call it this delay onto go like the old old school. That's an old like literally even in, you know, the, the eighteenth century that was being called old school. Yeah. So now it's like firmly got that association like this is old. This is venerated. This is serious. So it's like you know, I think it's a good thing for news program to say, like, hey, we're going to be we're going to be like. Reliable. We've been around since the fifteen hundred essentially, and you can trust us, we know what we're doing okay. Now at the same time, let's move to the complete opposite end of the equation. Because there's things that at least nineteen Seventy-nine would sound very modern, and that gets us back to smooth Jess. Okay. So we're going from era dish in into contemporary newsworthy. Yes. But newsworthy nineteen seventy I didn't. Okay. But I do have an ulterior motive here because I want to understand the influence of smooth jazz here, and maybe in doing so give some credit to smooth jazz, exonerate expiate bring smooth jazz back into the light even putting off this discussion for a long time because I keep hearing like inclinations of smooth jazz coming back, especially into some like LA. Hip hop stuff, one hundred percent and you've been, like, whole lot. Yes, it's time, you know, and the derision in your voice, when you first said two words, smooth and jazz. It was palpable, right? NPR public radio news, smooth jazz guitar. Smooth jazz guitar spruce, droves guitar I think it's it is a cultural trope, smooth jazz bad. Yeah. So we're going to you're going to start going to be our Guinea pig for hopefully, a culture wide movement of re reclaiming Jess. Barbecue me? Okay. So when you think, you know this theme, let's play it one more time. I

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