Hearing people talk about music theory is like listening to a conversation in a foreign language where you think you get some words but you are probably misinterpreting the whole thing.
Basically the tritone interval is notoriously dissonant (eg. C to F#). Going from C major straight to F# major would sound like a non sequitur. He shows that you can use just one intermediate chord to make it sound right all of a sudden.
You're exactly right! Music Theory IS a language. Just like mathematics, like someone else mentioned. It's no different than learning to speak any other language. Music Theory isn't a rule book. It's a dictionary.
@@kelvinnueveanimeguitar1983 C Db/B Gb/Bb E||----------------------|--------------------|| B||--5--------6--------|--7----------------|| G||--5--------6--------|--6----------------|| D||--5--------6--------|--4----------------|| A||--3--------x--------|--x----------------|| E||------------7--------|--6----------------||
Před 3 lety+317
1. take a dominant chord (V) and isolate only the third and the seventh 2. move the third half a step up ; and the seventh half a step down - you get the I chord (without the fifth) - very common way of resolving the voices 3. now do the opposite: resolve the third half a step down ; and the seventh half a step up. Now you get the bV chord (tritone), also no fifth. (that's the basic reason why this works so well: the two most important notes of the chord are resolving by half steps. You can alway omit the root and the fifth without any major consequences to the harmonic understanding of the chord change. Or you can distribute them in a way that seems adequate, provided you use that half-step voice leading in the 3rd and 7th)
ive only recently gotten into listening to jazz, and know (embarrassingly) almost no music theory despite how long ive played an instrument - where do i start learning what these transcriptions mean and most importantly add them to my musical arsenal? it's like an itch that's been harder to ignore whenever i hear a part of a song or piece that gives musicians the stank face but i cant pin down what makes that one chord or chord progression so good nor catch what chord it is
There is a great, of not thee jazz theory book by Mark Levine. It does dive pretty hard pretty fast but has everything. A basic theory book might be needed before then.
Well, from my perspective at least, I got the "stank face" feeling without having really known much music theory (although I know a lot more today), just listened to a lot of jazz (and music in general). It's not really a theory thing, it's more when you hear something unusual that sounds really cool to you, and I'm pretty sure this is the same reason most musicians get it. When you listen to enough music you just automatically pick up on patterns of melodies and chords (even if you can't name or transcribe them), and you will be able to tell if someone is doing something crazy or unusual, and it's often exciting when it happens. People call it the "stank face", but to me it always looks like (for myself and others) a kinda scrunched up like "whaaaat" kinda face, because people do it when they're trying to understand what the musician is doing (kind of how your face scrunches up when you're deeply thinking about something). To be clear, I've been making music for 10 years (although I've only known music theory almost at all for the past few), so I don't know how much that experience contributes to how I perceive it. I do think if you just listen to a ton of music you will eventually gain the same appreciation, although I can't really recommend getting into playing instruments/making music enough. I won't say it will make your life better or enrich it or shit like that, but I can say it is extremely fun once you get over the initial hurdles.
I love these brief snip's that make you rationale your ideas, I've done this sort of thing for a while, but now without knowing what it's called, you make me realise I must start my progressions with this function so I have more room to move the melody. Thank you.
Even in block chords this modulation sounds so cool. The fun part is making shapes with the modulation with arpeggios, motives, layering with several tone colors through multiple instruments. I have got to mess around with this!
@@Dlroper95 Tritone of C is Gb. Modulation technique used is to find the dominant chord of Gb, which is Db7. This chord has: Db, F, Ab, Cb. So from C, you can walk the C down a half step, C up a half step, E up a half step, and G up a half step. That makes a Db7/Cb. The Cb will continue down another half step when forming the Gb, which is a nice voice path.
This came in my recommended a little less than a week ago and I'm in love with this. I've been trying to play all the transcripts on my piano since I started watching. Especially the jazz. It's my favorite style
Nice! So basically just a V - I to the tritone, but using inversions to get nice voice leading in the bass. Love the transcribed snippets btw, keep em comming please :)
@@justgivemeanumber8215 In this case he is modulating to the tritone, so from C major to F# major, and the V - I is from the V of F# (C#7) to the I (F#). The nice voice leading is accomplished by putting the 7 of the C#7 (the B) in the bass, and the 3 of the F# major (the A#) in the bass, which gives a nicely descending bassline of C -> B -> A#.
@@justgivemeanumber8215 Just another way of saying that he's modulating to the key on the #4 (the new root is one tritone away from the original root).
to simplify It, he just uses the secondary dominant of the main key, but instead of resolving It to I he resolves It to bV which is the I of the key that the secondary dominant is taken from.
For Nerds only: play a dom7 chord a half step above the tonic and resolve it functionally. Also you can substitute the IV chord for a dim7 chord and resolve it up by a half step.
I often have to think about music this way. Sometimes, I'll think of chords in a different key or pivot key, or even a modal key in order to properly modulate.
@@BettyAlexandriaPride you can get help for over modulating Betty..hey ..I'm inspired..my next naturally inspired song is going to be ..overmodulating Betty..wait for it on video ..yo my sister in music and modulation..
Hmm....is it really a neapolitan chord? because it is actually a 7th chord... i would rather say its an augmented chord on the lowered second level of the scale, with a seventh in the base
Thanks for your comments! Wouldn't that just be a Neapolitan 7th in 3rd inversion though? I'm taking this from 1) the fact that the term "Neapolitan 6th" implies that the "Neapolitan" applies for the bII chord independent of its figuration as a 1st inversion chord (what's being referred to as containing the augmented 6th), and 2) and that the addition of the 7th is a fairly commonplace extension of the Neapolitan chord.
@@josebuencamino it's a Neapolitan chord, they don't know what they're saying. An augmented 6th is also more common in minor mode (yet again) and is typically built on VI. You are very correct.
Ah yes, how I like to think about this prestige modulation is by raising the minor chord tritone with c and db, then key change back to c, creating a loop of modulation. I don’t understand.
Tritone isn't that the thing that was trying to destroy the world in the Transformers movie... tried the the chords but my foot tap always seems to go its own way naturally....
I like watching this stuff and thinking about how awesome it is and full well knowing I have no desire to put forth the effort to understand something so seemingly complex. I took music theory 1 and read a music theory book but this stuff is clearly far advanced, or perhaps I didn't retain enough info from the book/course
It's really not though. If you understand why the dominant resolves to a tonic, then you understand about 90% of what he does here. All he's doing is saying, OK my target tonic is a tritone away so the intermediary chord is going to be the dominant of *that* (in this case Db7). It's not complex at all.
I was expecting some ingenius Jacob Collier style modulation to a tritone and what I got is what I've used today on my harmony test for my admission into conservatory.
@@keithwigley1256 admissiom, not permission. To be honest I'm not certain what exact word I was looking for in the first place, but I thought admission was pretty close.
@@vigokovacic3488 its okay..and all the best with your modulating tritone.. I am in process of downloading some to play when next with girlfriend ,glass of wine dim lights and a tritone..all the best vigo
Me at 10 seconds: Are his hands extremely small or am I tripping? Me at 27 seconds: Oh ok it's just the angle, carry on! Regardless of the nonsense humor-- seeing that excitement explode over something so small is so great. Really warm vibes here.
This is a common resolution in jazz. The V7 chord (in this case, G7) is substituted by using the tritone sub of Db7, and resolves down to C by a half step. Jazz players attempt to play chords horizontally rather than vertically, which makes the song and the improvisation flow that much better......
It's like a C to F/A motion except the C7 (3rd inversion) just becomes C#7. You can go down this pattern forever. So the bass can go stepwise down with 3rd inv. 7ths and 1st inv. triads.
Just remember as they talk about all this jargon some of the most beautiful songs in the world were written by people who knew about this musical theory stuff and couldn't tell you about dominant notes etc, but boy did they have command of real music. Learning all this jargon is no different than learning syntax of language and present perfect etc etc. Just because you can spout if off and break down sentences etc does not mean you can write a sonnet like Shakespeare.
I like your funny words magic man. Seriously how do I get into music theory? I've been playing piano for almost 2 years but I know nothing except scales lmao
Can I ask which software is used to notate the chord in the corner. Is this done automatically, or was it manually added chord-by-chord in post from the score?
It took me way too long to figure this out. Starting from the second row of the transcription, it goes: C major to a tritone substitution: Db7. We have now modulated to the key of Gbmaj. Therefore the Db7 resolves to Gb (the new I chord). Then to Abm (II chord). Back to Gb (I chord). Gb to G11 is another tritone substitution. We have modulated back to the key of Cmaj. Therefore the G11 resolves to C6 (the new I chord). Then to Dmsus4 (II chord). Back to Cadd9 (I chord).
Try this tritone modulation from A major to D sharp major. A Major, B Major, G sharp Major, G Minor, D sharp Major, how does it sound, would you consider this a smooth modulation?
In case anyone is confused you can think of this as just a 5-1 progression. Db to Gb and then G to C. All the other chords are just him just playing around in that key.
Numerals all with respect to C
Big respect to C. Gotta be one of my favourite notes fr ‼️🙏
I can C that
That’s *C* ool
can you explain the G11 it's over an F 5th
@@realraven2000
Hi, he's creating a downward scalar movement in the bass. :)
Hearing people talk about music theory is like listening to a conversation in a foreign language where you think you get some words but you are probably misinterpreting the whole thing.
I think it's kind of like math. If you don't learn the basics first, everything will seem very complicated. It builds on itself.
Basically the tritone interval is notoriously dissonant (eg. C to F#). Going from C major straight to F# major would sound like a non sequitur. He shows that you can use just one intermediate chord to make it sound right all of a sudden.
You're not alone. Im a musician and I didn't understand most of it.
@@diabl2master I understood some of your words.
You're exactly right! Music Theory IS a language. Just like mathematics, like someone else mentioned. It's no different than learning to speak any other language. Music Theory isn't a rule book. It's a dictionary.
Just yesterday i was looking at chopin's nocturne op9. no2 he just modulates like that.. its amazing
Ah now that you mention it, I know which part you’re referencing!
@@dm_hater8388 which part
@@derekpintozzi2498 bar 13ish I think 🤔
when it transitions from the B Section back into the melody / A Section I think
@@joshelboompiano yep
youtube lowkey wants me to learn music theory.
lmao same
@S9P6 because it's complicated and they can get the most amount of ads on you
low... key? :) ba-dumm tssss
Why not
Do it. It's awesome
I don't understand a single thing which means I still have so much to learn lol
It is not really complicated, if u are in c: play a Db chord with Cb in the bass and u are done modulating
same lol
It's a neapolitan chord. bII
I can understand it in piano sense but in guitar I just don't know where my fingers will go
@@kelvinnueveanimeguitar1983
C Db/B Gb/Bb
E||----------------------|--------------------||
B||--5--------6--------|--7----------------||
G||--5--------6--------|--6----------------||
D||--5--------6--------|--4----------------||
A||--3--------x--------|--x----------------||
E||------------7--------|--6----------------||
1. take a dominant chord (V) and isolate only the third and the seventh
2. move the third half a step up ; and the seventh half a step down - you get the I chord (without the fifth) - very common way of resolving the voices
3. now do the opposite: resolve the third half a step down ; and the seventh half a step up. Now you get the bV chord (tritone), also no fifth.
(that's the basic reason why this works so well: the two most important notes of the chord are resolving by half steps. You can alway omit the root and the fifth without any major consequences to the harmonic understanding of the chord change. Or you can distribute them in a way that seems adequate, provided you use that half-step voice leading in the 3rd and 7th)
Br é bom
if you had written this in Italian..
Anyway, wow, thanks
as a guitarist i know all about dropping the deadweight perfect fifth and playing 7th chords on just 3 strings like 1-3-7
THANKS A FFFING LOT
Ok yeah I got it now
I don’t got it lol
ive only recently gotten into listening to jazz, and know (embarrassingly) almost no music theory despite how long ive played an instrument - where do i start learning what these transcriptions mean and most importantly add them to my musical arsenal? it's like an itch that's been harder to ignore whenever i hear a part of a song or piece that gives musicians the stank face but i cant pin down what makes that one chord or chord progression so good nor catch what chord it is
There is a great, of not thee jazz theory book by Mark Levine. It does dive pretty hard pretty fast but has everything. A basic theory book might be needed before then.
Well, from my perspective at least, I got the "stank face" feeling without having really known much music theory (although I know a lot more today), just listened to a lot of jazz (and music in general). It's not really a theory thing, it's more when you hear something unusual that sounds really cool to you, and I'm pretty sure this is the same reason most musicians get it.
When you listen to enough music you just automatically pick up on patterns of melodies and chords (even if you can't name or transcribe them), and you will be able to tell if someone is doing something crazy or unusual, and it's often exciting when it happens. People call it the "stank face", but to me it always looks like (for myself and others) a kinda scrunched up like "whaaaat" kinda face, because people do it when they're trying to understand what the musician is doing (kind of how your face scrunches up when you're deeply thinking about something).
To be clear, I've been making music for 10 years (although I've only known music theory almost at all for the past few), so I don't know how much that experience contributes to how I perceive it. I do think if you just listen to a ton of music you will eventually gain the same appreciation, although I can't really recommend getting into playing instruments/making music enough. I won't say it will make your life better or enrich it or shit like that, but I can say it is extremely fun once you get over the initial hurdles.
I got a lot of help from the Music Matters youtube channel. czcams.com/channels/8yI8P7Zi3yYTsypera-IQg.html
Dont do it! It will cause your arsenal to bleed!
Major scale, chords and inversions are the place to start.
I love these brief snip's that make you rationale your ideas, I've done this sort of thing for a while, but now without knowing what it's called, you make me realise I must start my progressions with this function so I have more room to move the melody. Thank you.
Most of the time I find myself being the musical equivalent of ‘so, you’re saying the wrist bone connected to the, arm bone’ 😳
“The red thing’s connected to my…wristwatch - uh oh”
Dont know whats going on but its good
Even in block chords this modulation sounds so cool. The fun part is making shapes with the modulation with arpeggios, motives, layering with several tone colors through multiple instruments. I have got to mess around with this!
0:26 Loving that tritone extension
In other words, use a secondary dominant of V7/bV after a I chord and make it into third inversion to get a chromatic descent in the bass
what he said
Exactly. Pretty simple once you get it.
When you put it that way it's like he just made it more complicated than it needed to be lol
Can you explain a little more? I almost understand but I need a little more help.
@@Dlroper95 Tritone of C is Gb. Modulation technique used is to find the dominant chord of Gb, which is Db7. This chord has: Db, F, Ab, Cb.
So from C, you can walk the C down a half step, C up a half step, E up a half step, and G up a half step. That makes a Db7/Cb. The Cb will continue down another half step when forming the Gb, which is a nice voice path.
This came in my recommended a little less than a week ago and I'm in love with this. I've been trying to play all the transcripts on my piano since I started watching. Especially the jazz. It's my favorite style
Nice! So basically just a V - I to the tritone, but using inversions to get nice voice leading in the bass. Love the transcribed snippets btw, keep em comming please :)
Sorry, what is the tritone for here? Are we using it to modulate to a different key here?
@@justgivemeanumber8215 In this case he is modulating to the tritone, so from C major to F# major, and the V - I is from the V of F# (C#7) to the I (F#). The nice voice leading is accomplished by putting the 7 of the C#7 (the B) in the bass, and the 3 of the F# major (the A#) in the bass, which gives a nicely descending bassline of C -> B -> A#.
@@justgivemeanumber8215 Just another way of saying that he's modulating to the key on the #4 (the new root is one tritone away from the original root).
to simplify It, he just uses the secondary dominant of the main key, but instead of resolving It to I he resolves It to bV which is the I of the key that the secondary dominant is taken from.
omg thanks, the realization just hit me lmaoo
For Nerds only:
play a dom7 chord a half step above the tonic and resolve it functionally. Also you can substitute the IV chord for a dim7 chord and resolve it up by a half step.
Aahh..so thats where I was going wrong..was using dim 8 ...and then resolving it with only a quarter step up ..thanks , will sleep better now..?
Does sound like dome kind of bodily surgery...did you once work in an operating theatre (hospital)
Do you mean a gin and tonic..?
I often have to think about music this way. Sometimes, I'll think of chords in a different key or pivot key, or even a modal key in order to properly modulate.
@@BettyAlexandriaPride you can get help for over modulating Betty..hey ..I'm inspired..my next naturally inspired song is going to be ..overmodulating Betty..wait for it on video ..yo my sister in music and modulation..
I'm glad there's finally a video about this specific method of tritone modulation.
That bII is what's called a neapolitan chord, and it allows you to do all kinds of funky things functionally c:
more common in minor mode tho, but yeah very handy
Hmm....is it really a neapolitan chord? because it is actually a 7th chord... i would rather say its an augmented chord on the lowered second level of the scale, with a seventh in the base
It’s not a Neapolitan. You could describe it as an augmented 6th chord with the augmented 6th inverted
Thanks for your comments! Wouldn't that just be a Neapolitan 7th in 3rd inversion though? I'm taking this from 1) the fact that the term "Neapolitan 6th" implies that the "Neapolitan" applies for the bII chord independent of its figuration as a 1st inversion chord (what's being referred to as containing the augmented 6th), and 2) and that the addition of the 7th is a fairly commonplace extension of the Neapolitan chord.
@@josebuencamino it's a Neapolitan chord, they don't know what they're saying. An augmented 6th is also more common in minor mode (yet again) and is typically built on VI. You are very correct.
It's basically the same as dropping a trembo 4th by 8 chordal beps, and stranting the remaining cladding by a tonar 7th, I think.
unclear instructions, got the high C down to a middle J and accidently microshifted the whole thing to a 13/4 with quintuplet subdivisions.
This just makes sense, finally a clear explanation!
0:11 literally the who wants to be a millionaire theme
@Marie, Yes the Harmony, But i guess the Millionare theme was a combo power chords and single notes played on a cheap casio :'D
I just keep getting recommended this videos, and even though I don't really understand them I watch them anyway.
I remember seeing this on CZcams in a video that was over an hour. I've been trying to find this so thank you.
I love when people flow between scales and foreign chords
you're the best for transcribing this kind of stuff. thanks a lot!
what a gift to be able to see all that so vividly
Tritone substitution, tritone substitution, TRITONE SUBSTITUTION!!! Oh, now we're back in C.
Beautiful!
ahh yes the words. I understand what it means. Then there's some chords or something right yes naturally uh huh very intriguing indeed.
Incredible tonality!
Knew about tritone subs but this is such a neat twist on em!
I hate how amazing this is
bro thank GOD the C note exists
music never fails to excite me
Very nice trick, thanks!
quickest explanation I've ever seen of this cool
First video I saw by you!
I've been doing this a lot on my piano pieces. Never really thought about it, and now I feel like i'm a god
Ah yes, how I like to think about this prestige modulation is by raising the minor chord tritone with c and db, then key change back to c, creating a loop of modulation.
I don’t understand.
I thought I understood the basics of music theory. This video laughed at my face... I have a long way to go.
It's only while getting hit by a ninja that you realise you're sick in a paper bag
this is so cool
I hope one day I would be as good as you Jacob
I've no idea what he is talking about and I can barely play the piano but this video was recommended to me
I thought this was gonna be a ted talk about a guy on life support and his experience and thought on humanity
No idea what I just watched
It looked like he was in court by the thumbnail
Tritone isn't that the thing that was trying to destroy the world in the Transformers movie... tried the the chords but my foot tap always seems to go its own way naturally....
I thought it was the thing ganondorf tried to use to conquer hyrule.
This was a high value 31 seconds
As a result of previous viewing, on first reading, I thought this said he was modulating a ringtone.
I think, I'm starting to be his fan
Subscribing to this holy cow
playing piano.. IN A GIANT JACKET... how can you
he can modulate my tritone any day
Nice
sounds like all i need!
God ? You don't seem to want much in life..
@@keithwigley1256 i’m going to choose to believe you picked up what i meant
I like watching this stuff and thinking about how awesome it is and full well knowing I have no desire to put forth the effort to understand something so seemingly complex. I took music theory 1 and read a music theory book but this stuff is clearly far advanced, or perhaps I didn't retain enough info from the book/course
It's really not though. If you understand why the dominant resolves to a tonic, then you understand about 90% of what he does here. All he's doing is saying, OK my target tonic is a tritone away so the intermediary chord is going to be the dominant of *that* (in this case Db7). It's not complex at all.
I was expecting some ingenius Jacob Collier style modulation to a tritone and what I got is what I've used today on my harmony test for my admission into conservatory.
So why do you have to ask permission from your parents to go into the conservatory ? Isn't this some kind of child abuse ..
@@keithwigley1256 admissiom, not permission. To be honest I'm not certain what exact word I was looking for in the first place, but I thought admission was pretty close.
@@vigokovacic3488 its okay..and all the best with your modulating tritone.. I am in process of downloading some to play when next with girlfriend ,glass of wine dim lights and a tritone..all the best vigo
Me at 10 seconds: Are his hands extremely small or am I tripping?
Me at 27 seconds: Oh ok it's just the angle, carry on!
Regardless of the nonsense humor-- seeing that excitement explode over something so small is so great.
Really warm vibes here.
This is a common resolution in jazz. The V7 chord (in this case, G7) is substituted by using the tritone sub of Db7, and resolves down to C by a half step. Jazz players attempt to play chords horizontally rather than vertically, which makes the song and the improvisation flow that much better......
It's like a C to F/A motion except the C7 (3rd inversion) just becomes C#7. You can go down this pattern forever. So the bass can go stepwise down with 3rd inv. 7ths and 1st inv. triads.
This also works with all dominant 7ths major triad upper structures
That has pi incorporated into it
I got finger cramps just listening to it
I remember when I had my first beer
title should be jacob collier dabs
I totally understand how it works.
Okno
Just remember as they talk about all this jargon some of the most beautiful songs in the world were written by people who knew about this musical theory stuff and couldn't tell you about dominant notes etc, but boy did they have command of real music. Learning all this jargon is no different than learning syntax of language and present perfect etc etc. Just because you can spout if off and break down sentences etc does not mean you can write a sonnet like Shakespeare.
I have no idea what is happening but it sounds significant
They ate resolving by half steps
I like your funny words magic man.
Seriously how do I get into music theory? I've been playing piano for almost 2 years but I know nothing except scales lmao
Probably a good theory book would be the way to go. But, for more reading on this particular chord:
en.wikipedia.org/wiki/Neapolitan_chord
@@bryansweeney3077 thank you for your help, have a great day!
check out these channels: Rick Beato, Sean Daniel, Signals Music Studio, MusicTheoryForGuitar & Creativeguitarstudio
@@galantreentrant thanks a lot
i like his hair
Cool, play wonderwall
Can I ask which software is used to notate the chord in the corner. Is this done automatically, or was it manually added chord-by-chord in post from the score?
why am i here i don't even play
0:27 the gestures sold the concept
Thanks! A bit confusing though all the times in the transciption where C flat is notated as B natural.
Superliminal's soundtrack in a nutshell
(Which slaps, btw)
It’s called omnibus in classical music!
It took me way too long to figure this out. Starting from the second row of the transcription, it goes: C major to a tritone substitution: Db7. We have now modulated to the key of Gbmaj. Therefore the Db7 resolves to Gb (the new I chord). Then to Abm (II chord). Back to Gb (I chord). Gb to G11 is another tritone substitution. We have modulated back to the key of Cmaj. Therefore the G11 resolves to C6 (the new I chord). Then to Dmsus4 (II chord). Back to Cadd9 (I chord).
of course
I understand, but I'm still confused
Oh.
cool, now lets see him write a decent song
I'm so tired of all this "genius" thing going on about this guy. He's not even known for music he's known for theory bullshit no one gets
@@camilledeveyrinas8165 He's clearly very smart but honestly I find him incredibly obnoxious.
Jacob Collier needs to stop giving away all the secrets
Not actually.
Try this tritone modulation from A major to D sharp major.
A Major, B Major, G sharp Major, G Minor, D sharp Major, how does it sound, would you consider this a smooth modulation?
"You can identify a genius just by looking at his hair."
- Einstein
Humm ..but what if they are waring a wig...
@@keithwigley1256 Then he's Mozart!
Is that what they call tritone substitution in jazz? Ie in a 2-5-1 replace the 5 with a chord thats 3 steps lower before resolving to the root
i dont think this is tritone sub
Originally read that as "mutilating a tritone"
I have absolutely no clue what he’s saying but it seems really interesting
its overly complicated for nothing.
also an awesome tritone sub whilst staying within the key. Am- Gm- F#11- Fmaj
I clicked the video just because of his hair
I didn't know he was that much famuos
In case anyone is confused you can think of this as just a 5-1 progression. Db to Gb and then G to C. All the other chords are just him just playing around in that key.
So V/IV in the tritone key.
i don't understand a thing about what he just did but very cool
Ah yes, photosynthesizing the TriForce. It's elementary really.
where you can see this clearly is in: un sospiro (I think). I just love that part. btw is the last part.
Yo yo
okay
Ohhh, so that’s how you do it 🙄 🙄 😳
This is common in Church choral music
Was it at Berklee?