Tries to emulate The Beatles

>tries to emulate The Beatles
>puts out two albums that are better than anything they've ever done

damn...

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i shit better album covers than that

Well the artists did DIY it

Not really

lmfao no you don't you fucking loser

Be triggered my friend. And watch this! Beach Boys AND pic related are also better!

How is it better?

Much more musically advanced while having that accessibility of a bright pop rock sound.

>musically advanced
How so?

Nope I lied. Just thought that sounded right. I actually have no understanding of basic musicality, and I thought I could shit out a convincing enough reason. Im a hack. Beatles r number one dud

Yeah Olivia Tremor Control are rather simple musically. Most of their songs don't go beyond 3 or 4 chord changes. The Beatles compositions are way more complex and "musically advanced".

Beatles were very generic. OTC is more complex because they create tension in a way that the Beatles can't. They take the Beatles formula and do more.

>generic
How so?
>create tension
what do you mean?

>"Hey Paul!"
>"Wot John?"
>"Should we play in C Major, or G Major this time?"
>"F Major!"
>"Ye foken madman!"
Beatles have progressions that resolve quickly, and very generic percussion.

>"Hey Bill!"
>"Yeah Will?"
>"What chord should we play after C?"
>"Obviously G."
>"Great! Then I'll add some random tape gibberish to distract from our repetitive, derivative songs!"
ooops you didn't answer the questions. Try again?

artistic endeavors dive deeper than that and i feel bad for both of you

OTC uses percussion to create tension often. Do you know what a diminished chord is? Because Paul and John sure as hell didn't.

> random tape gibberish to distract from our repetitive, derivative songs

Tomorrow Never Knows?

Why? I love both bands.

>Did do it yourself it

>Do you know what a diminished chord is? Because Paul and John sure as hell didn't.
icce.rug.nl/~soundscapes/DATABASES/AWP/htae.shtml

The verse is a fairly traditional eight measures long, though its phraseology contains some subtle internal patterning. The overall structure is 2 + 2 + 4, AAB, but the B section is itself subdivided into its own AAB, though the durations are halved down to 1 + 1 + 2.
Next note The harmonic structure of the verse opens up to V after flirting in the second half with the relative minor, e. According the "stricter" theorists who argue that the home key isn't officially established until both I and V have been exposed, this verse doesn't establish G Major until its very ending:

|G | C |G | C |
G: I IV I IV
e: VI

|f# B |f# B |e a |C D |
ii* V ii* V i
G: vi ii IV V

[Figure 96.2]

Next note The chord on f# in measures 5 and 6 (indicated by *) is a so-called "half-diminished" seventh; i.e. the triad itself is diminished (F# - A - C) but the seventh (E) is minor. I "grep" in vain, through all the preceding notes in this series, to find another use in a Beatles' song of this somewhat jazzy chord type.

stop posting anytime

>dude the Beatles are good because chord progressions
>implying any rock or pop music is even close to interesting on a theoretical level
The Beatles are shit, admit it

go be intellectually dishonest elsewhere if it's not discussion you're interested in, you sad prune.

>one HALF diminished chord in whole discography
He literally just decided to move a finger while playing an f#

nah dude I'm not the dude you replied to, was my first post itt

icce.rug.nl/~soundscapes/DATABASES/AWP/m4.shtml

Verse
Next note The verse is only six measures but is formally doubled up only at the beginning of the song. It's really one long phrase in terms of its melodic arch though it can be decomposed into a series of rhetorically short phrases of uneven length; yet another similarity with "Yesterday":

|F |b-flat |E-flat |B-diminished 7 |
I iv7 VII (added 6th) vii-of-V

|C B-dim |C |
V vii-of-V V

[Figure 82.2]

Next note The melodic action in this verse has a much higher than average number of non-linear jumps in it, especially for McCartney. These tend to follow the chord outlines and serve to draw one's attention to the harmonic movement that belies the tune.
Next note The manner in which the optimistic clean opening in the Major key so quickly turns minor ("spring time turning to autumn", to paraphrase a different bard) becomes, through repetition, another subtle hook element of the song. Paul had played a similar trick back in "Yesterday" with the relative minor key, but the use of the parallel minor here is, in my humble opinion, more piquant.
Next note The progression from iv -» VII threatens to follow 'round the minor key circle of fifths, but the pattern is quickly broken with the dip down to the diminished seventh chord that eventually sets up the cadence on V. The switch over to placing B-natural in the bassline in place of D for the last two iterations of this diminished seventh chord has a neat elegant feel to it.

Kek, classicalfag inbound.

Their discography is 90% generic Major key Beatles.

icce.rug.nl/~soundscapes/DATABASES/AWP/wisf.shtml

The tune is built primarily out of triadic (bugle call-like) riffs and chromatic (half step-wise) runs.
Next note The harmony is almost clunkily straightforward on the one hand, yet as consequence of the chromaticism of the tune, we also find a strong showing from "added note chords" (e.g. V13), "secondary chords" (e.g. V-of-whatever), and harmonizing of chromatic bassline motion.
Next note Grammatically speaking, I believe the diminished chord of the final verse phrase (on the words "want" / "need me") is one we confront for the first time in a Beatles' song. Yes, we've seen diminished chords before, but they functioned as VII-based dominant surrogates; see the refrain of "Strawberry Fields Forever" as an example. The one we have here functions as a surrogate sub-dominant, built on the raised second degree of the scale:

Db - -
Bb -» Ab
G -» F
E -» F
D-flat: #ii-dim7 I6/3

[Figure 114.1]

Next note The salient different between the so-called subdominant diminished seventh and its dominant counterpart is that in the former, one of the voice voices is sustained when the chord resolves whereas, in the latter, all four voices make a move.

>Their discography is 90% generic Major key Beatles.
See:
>The manner in which the optimistic clean opening in the Major key so quickly turns minor ("spring time turning to autumn", to paraphrase a different bard) becomes, through repetition, another subtle hook element of the song. Paul had played a similar trick back in "Yesterday" with the relative minor key, but the use of the parallel minor here is, in my humble opinion, more piquant.

Nah, I'm just being realistic here.

The Beatles' music doesn't take any theoretical chances, and it doesn't need to, it's fucking pop. All these retards saying that the Beatles are good because they used slightly unconventional chord progressions are missing the point, no amount of theoretical analysis can make their music any better, because pop has shit all to do with music and all to do with image, emotions, artistry, and other extramusical ideas.

Really, it just means that the Beatles' music is so popular that it's a safe topic to write a paper or essay about.

Ya got 3 out of 200+ songs.

Pop and rock musicians Don't use three fucking instruments to play one chord triad

Note you said there were NONE. Nice backpedlaing btw. Here's some more. Show me some OTC songs with diminished chords.

icce.rug.nl/~soundscapes/DATABASES/AWP/sff.shtml

The metrical phrasing of the refrain is made somewhat indeterminate by the interpolation at one point of a fore-shortened half-measure, (on the words, "nothing to get"), and at another point of a single measure in 6/8 (on the words, "Strawberry Fields for ..."), with the eighth-note pulse holding constant. There is also the fact that the vocal part starts up in the middle of the first measure, giving a feel that the actual downbeat for the section is at the start of the second measure, (on the word "down"):

|B-flat |- |f |- |
B-flat: I v

** half **
** measure **
|D-dim |- |E-flat F |G |
vii-of-IV IV V V-of-ii

** 6/8 **
|E-flat |B-flat |
IV I

[Figure 105.2]

Next note The refrain is the most tonally ambiguous and roundabout of the sections. The v chord of the home key is presented in the minor mode, a diminished chord sets up an excursion toward either IV or ii, there's an unrequited second flirtation with ii, and ultimately, a plagal cadence.
Next note If you want to get really fussy about detailed differences among the several repeats of this refrain you'll note how in the first refrain the diminished chord in the fifth measure is presented with G in the bass as a V9-of-ii, and the penultimate measure interpolates a c-minor ii chord in between the E-flat and B-flat chords.

Well evidently they do

> it's fucking pop
Then you shouldn't be criticizing it for not taking harmonic chances, should you?

Well, I'm not.

So they still failed then

It was obviously an over exaggeration. It's just that OTC frequently does interesting things in their music, where the Beatles typically don't.

mang i just like the music

You did here and

Geetar plays a chord itself

Except you haven't stated anything interesting in OTC's music and I have stated lots of interesting musical moments, compositionally.

I don't think you even understand theory, do you?

icce.rug.nl/~soundscapes/DATABASES/AWP/b4.shtml

The tight interweaving of the three-part vocal harmony makes it difficult to speak of a definitive "tune" here. What sticks out are the triadic leaps made as if in sympathy for the arpeggios in the accompaniment, and the alternately twisty or oscillating melismas that turn up in the inner voices or the top voice toward the phrase endings.
Next note Standard chords used here include i, ii (half diminished as it usually is in a minor key), IV (in Major form as occurs in the so-called melodic minor mode), V, and VI.
Next note Unusual chords used here are the "Neapolitan" flat-II chord (D-Major in context of a c# minor home key), and the diminished seventh chord built on d which, according the poetic license of chromatic harmony, can enharmonically morph on you to resolve to as many as eight different places; in this song John exploits at least two of those alternatives.

I don't like the Beatles for other reasons, I'm not criticizing it for not taking harmonic chances, that would be stupid.

What other reasons?

i did just now lmao

>The Beatles are shit, admit it
I SHALL NOT

I don't know the theory of
>paste muh internet paragraph
Beatles don't take chances, where OTC does more musically interesting things, like more drawn out chord progressions, use of odd percussion, use of other production techniques that keep things unique.

I love OTC but even they themselves would disagree with your opinion, how do you compare a song as catchy as Courtyard to a song as catchy as Help! which came out decades ago...? Sure it's fair to compare all music against each other (gamelan music v. monk throat singing when?) but nah, the beatles (and beach boys) definitely set the standard for the vibe and sound OTC were going for

Yeah, and naturally music after the Beatles is going to be more complex, and it's autistic to hold on to some falsity that nothing can be better than them.

>I don't know theory
You obviously don't.
>OTC does more musically interesting things, like more drawn out chord progressions, use of odd percussion, use of other production techniques that keep things unique
The Beatles did all those things. OTC literally got their ideas from The Beatles.

I've loved OTC since 1999 btw and I've seen them live three times.

>Yeah, and naturally music after the Beatles is going to be more complex
By this logic, there are many batter artists than OTC, since they were making music almost 20 years ago now
>it's autistic to hold on to some falsity that nothing can be better than them.
Quote us where we said that

He's actually providing evidence, while you continue to throw a string of buzzwords together in your pathetic "argument". Trust me when I say that all actual musicians despise pretentious losers like you who pretend to be educated on music. I have absolutely nothing against OTC, by the way.

Look at it this way. Listen to I Have Been Floated and ask "Would the Beatles have done that?" And I'm no expert, but I understand basic theory, I'm not just pulling shit out of my ass to impress some fag on Sup Forums.

It's why I put Pretty. Odd. It's way more musically diverse than the Beatles, it came out in '05 for fucks sake. It's retarded to say otherwise.

>I Have Been Floated and ask "Would the Beatles have done that?"
Yes of course
>I'm not just pulling shit out of my ass to impress some fag on Sup Forums.
Yes you are. Because the fact remains that OTC only put out two fantastic albums, but The Beatles put out at least six fantastic albums.
>It's way more musically diverse than the Beatles
What Beatles albums have you even heard?

I assume most people here don't play instruments, so I'm not going to type paragraphs about fucking chord phrasing.

I've been playing instruments for as long as you've been alive. So feel free to type them out.

>inb4 you pretend to have an excuse not to

>six fantastic albums
Really? Sgt. Peppers and Revolver are up there but six? No way.

Rubber Soul, Magical Mystery Tour, White Album, Abbey Road

No I won't. And you haven't been playing for over 13 years, das impossibl xD lmao! Cmon. I'm only here because of the usual "someone's better than the Beatles" trigger.

>And you haven't been playing for over 13 years
So you are only 13?

This is an 18+ board.

>Contrarian Beatlefag suspicion confirmed
Like, if I wanted to just outright win I'd have just said The Doors are obviously better, but I'm trying to stay occupied here.

>didn't catch rhetoric xD lmao
wew

as do many artists

You realize how much music you could be working on instead of shitposting on mu?

Obviously not user, I don't know theory! Here's some vague buzzwords: Beatles uninspired pop formula chord format xD lmao

OK thanks. It's been enjoyable.

...

Only bredending :DDD

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The Doors fucking suck

>emotions
>extramusical ideas
hahahaha oh wow