Because I know how much you like Tim Henson content...

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@rsm

Please explain to me, objectively, using musical theory, how the chords behind their wanking make any sense or have any coherence whatsoever

If you can find any kind of repeating idea or motif in the chords behind it, I'd really like to know
 
Dissonance.

"As the ear becomes acclimatized to a sonority within a particular context, the sonority will gradually become 'emancipated' from that context and seek a new one. The emancipation of the dominant-quality dissonances has followed this pattern, with the dominant seventh developing in status from a contrapuntal note in the sixteenth century to a quasi-consonant harmonic note in the early nineteenth. By the later nineteenth century the higher numbered dominant-quality dissonances had also achieved harmonic status, with resolution delayed or omitted completely. The greater autonomy of the dominant-quality dissonance contributed significantly to the weakening of traditional tonal function within a purely diatonic context.[2]"



https://en.wikipedia.org/wiki/Arnold_Schoenberg


not all music that creates tension releases tension
 
rsm said:
Dissonance.

"As the ear becomes acclimatized to a sonority within a particular context, the sonority will gradually become 'emancipated' from that context and seek a new one. The emancipation of the dominant-quality dissonances has followed this pattern, with the dominant seventh developing in status from a contrapuntal note in the sixteenth century to a quasi-consonant harmonic note in the early nineteenth. By the later nineteenth century the higher numbered dominant-quality dissonances had also achieved harmonic status, with resolution delayed or omitted completely. The greater autonomy of the dominant-quality dissonance contributed significantly to the weakening of traditional tonal function within a purely diatonic context.[2]"



https://en.wikipedia.org/wiki/Arnold_Schoenberg
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Dissonance is not an idea or motif in and of itself, its a tool used to create tension before resolving it. Try again using the actual chords.
 
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rsm said:
Dissonance when central, may not release tension.
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Sure, though that still doesn't make it a motif or idea. It's about on par with saying "the song is mostly in A minor". Not an idea, just a harmonic device.
 
7704A said:
Sure, though that still doesn't make it a motif or idea. It's about on par with saying "the song is mostly in A minor". Not an idea, just a harmonic device.
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Dissonance can be a theme; tension does not have to be released. It seems many are looking for more common patterns, resolution ("goes somewhere"), etc., when it's not a necessity?

seems someone has already done analysis:

 
rsm said:
Dissonance can be a theme; tension does not have to be released. It seems many are looking for more common patterns, resolution ("goes somewhere"), etc., when it's not a necessity?
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A theme in the same sense that minor or major are ("sounds sad", "sounds happy", "sounds clashy", etc). Not exactly a musical motif or anything (which needn't resolve either...). Dissonance could be used as part of an idea or motif, or even be used exclusively in an idea (e.g., a string of dissonant notes/chords, single dissonant chord, etc). Just saying "dissonance" though isn't really picking out a motif without further details. Also, at least for myself, "resolution" is not the same as "goes somewhere".
 
To put a finer point on things, I'm looking for musical development, a narrative. I don't care if it's exclusively using dissonance, if it resolves or not, if it's written atmospherically or melodically, just say something. I'll give the video you linked a watch (thanks for that), though based on this discussion so far I don't have high hopes.
 
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7704A said:
To put a finer point on things, I'm looking for musical development, a narrative. I don't care if it's exclusively using dissonance, if it resolves or not, if it's written atmospherically or melodically, just say something. I'll give the video you linked a watch (thanks for that), though based on this discussion so far I don't have high hopes.
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I'm not missing cohesion in the chord structure as was commented above; the analysis I posted provides a good description of the chords/pattern/key IMO, it seems simple and elegant IMO, I'm not missing sense or coherence? The dissonance is generated by the lead lines, both melodic and rhythmic; not the underlying chords.

Perhaps there are better examples of Polyphia songs that irritate so many?
 
DanTravis62 said:
@rsm

Please explain to me, objectively, using musical theory, how the chords behind their wanking make any sense or have any coherence whatsoever

If you can find any kind of repeating idea or motif in the chords behind it, I'd really like to know
Click to expand...
Actually its a standard I-VI-V chord progression in Em with a VI-V phrase turnaround, a generic Latin music flat V changeup thrown in here and there, couple other rando chords thrown in around a sort of bridge, but the basic I-VI-V motif repeats over and over start to finish. Very much a salsa influenced progression and nearly identical to that "Havana" tune by Camila Cabello (Havana is in G)



Fire it up and blow a bunch of Em pentatonic stuff over it, don't forget to pedal off of the flat V on the changes, you'll hear it immediately. Better yet crank up than Havana tune and do the same in Gm without the other guitar distraction. We do Havana in our stripped down acoustic gigs and its wankers paradise :ROFLMAO:

Good bad or ugly, as insanely wankified that song is, the actual underlying chord progression is the ONLY repeating motif with any cohesiveness, objectively, from a music theory standpoint.
 
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* velcro-fly * said:
Actually its a standard I-VI-V chord progression in Em with a VI-V phrase turnaround, a generic Latin music flat V changeup thrown in here and there, couple other rando chords thrown in around a sort of bridge, but the basic I-VI-V motif repeats over and over start to finish. Very much a salsa influenced progression and nearly identical to that "Havana" tune by Camila Cabello (Havana is in G)



Fire it up and blow a bunch of Em pentatonic stuff over it, don't forget to pedal off of the flat V on the changes, you'll hear it immediately. Better yet crank up than Havana tune and do the same in Gm without the other guitar distraction. We do Havana in our stripped down acoustic gigs and its wankers paradise :ROFLMAO:

Good bad or ugly, as insanely wankified that song is, the actual underlying chord progression is the ONLY repeating motif with any cohesiveness, objectively, from a music theory standpoint.
Click to expand...

It's basically "Smooth" by Santana.

:cool:
 
* velcro-fly * said:
Actually its a standard I-VI-V chord progression in Em with a VI-V phrase turnaround, a generic Latin music flat V changeup thrown in here and there, couple other rando chords thrown in around a sort of bridge, but the basic I-VI-V motif repeats over and over start to finish. Very much a salsa influenced progression and nearly identical to that "Havana" tune by Camila Cabello (Havana is in G)



Fire it up and blow a bunch of Em pentatonic stuff over it, don't forget to pedal off of the flat V on the changes, you'll hear it immediately. Better yet crank up than Havana tune and do the same in Gm without the other guitar distraction. We do Havana in our stripped down acoustic gigs and its wankers paradise :ROFLMAO:

Good bad or ugly, as insanely wankified that song is, the actual underlying chord progression is the ONLY repeating motif with any cohesiveness, objectively, from a music theory standpoint.
Click to expand...


Thank you!!! That's what I was getting at ?

This is why it sounds like go nowhere, do nothing, nothing-music

Because it's literally just like what I (and many others) do to practice guitar - pick a stupidly simple chord progression and wank around
 
* velcro-fly * said:
Keeping it on the same page for reference haha

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The thing is, the Santana song, as annoying as it is, has a "direction" - it has motion

Things happen, it evolves, starts, stops (kind of), the lyrics and timbre change slightly

The Polyphia song has literally nothing, it just sounds like someone made a minor I V IV in fruity loops and got gacked out on adderall and added midi guitar pro improvisation on top

It's BARELY art, even in the most loose sense, because it's so incomprehensibly lazy, music-writing wise
 
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DanTravis62 said:
Thank you!!! That's what I was getting at ?

This is why it sounds like go nowhere, do nothing, nothing-music

Because it's literally just like what I (and many others) do to practice guitar - pick a stupidly simple chord progression and wank around
Click to expand...

The only difference is that Santana for example turned that go nowhere, do nothing progression into an actual Billboard #1 hit (that song is a drill bit to the ears, at least mine)

All I'm saying is that to answer your question, there is actual structure from a music theory standpoint happening, but the rest of it pretty taxing to get through
 
ChuggNorris said:
Listen, the US is not where you base your moral standings on. Like one of the last if I'm being honest.

I used to say faggot when I was a strapping young lad. And now that I'm still a strapping young lad, I don't use it anymore. I was going through an Eminem phase at the time, middle school, as a minority whatever, it was my ghetto phase. And everyone said faggot.

I learned through life that some of the nicest people have been gay. Some of my family is gay as a 3$ bill. The people who have wronged me, fucked me over, and caused any issues for me, unless they were closet they were straight. I just became conscious of the fact it is a slur. And much how I don't call my black friends the that certain word, I don't label gay people the other word, and I'm all about anarchy and uprising. Making gay people the enemy in mainstream is so weird and off track that it's dillusional. And in America it's used as another polarization to divide masses under a corrupt government.

It's a nasty word really, it doesnt even roll off the tongue in a pleasant way when you say it. But really at the end of the day it's about just being a decent human being. Who gives a shit what an American friend doesn't have a problem with. If you were gay, or your close friend was gay and somebody tosses the word faggot around, I would hope you'd find a small amount of decency within you to defend them. And I'm not all about pride this pride that, it's another American holiday promoting division, sanctioned by those that want everyone fighting within their class systems. A government will always rule a divided mass... as you can see in America.

So we may think its totally cool to draw a swastika on the wall.... because it wasn't always linked to a holocaust.... but that event fucked the symbol up indefinitely for further use socially right? Hard to deny that. Draw a swastika up in public with people watching and see what happens...

Now just imagine it's the same for certain slurs. Maybe the word fag started as a cigarette butt and ended up faggot and somehow got linked to being gay..now it's permanently linked same as the symbol and an event. As a decent person you should probably at least recognize that type of scenery. Or not. It's whatever really but I think back to myself throwing around slurs like that as a teen and I cringe all over. Character development alone should prevent you from using unattractive words linked to social hate, whether you agree with it or not.

Thanks for coming to my Ted Talk ✂?
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See this is the problem when the 20 year olds want to feel like they are doing something virtuous and lecture the older people, they aren’t even lived or educated enough to know what they are talking about.

“Faggot” isn’t a morphing of the term fag from a cigarette. It is a bundle of sticks wrapped together. So you can see it’s quite funny how the term was applied to men sleeping together and cigarettes in a packet.

You sounded good the other day with the Herbert demo. Maybe more of that, less of the lecturing.
 
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