What's that thing?

Alright, I have one - what sort of harmonization technique is the guy doing with his voice?

 

I can not really figure out what the ascending strings starting at ~30sec. are doing. when it get's higher it seems to get more dissonant and effect-like sounding, but it's hard for me to tell what excactly is happening. Does anyone know?

 

That is what I mean, so it is the same chord type applied to different root notes?

 

I haven't tested this with piano to confirm, but this is my gut reaction if I had to recreate this on the fly with little time to waste: Sounds like the pattern is established around ~0:28. Then up an 8ve with planing 3rds. Then up another 8ve with additional planing harmony with woodwinds added. I have a feeling this is octatonic based, but again, I haven't tested it.

 

Bill Wurtz wrote a comment on one of his other shorter videos (

), responding to someone asking what the harmonies were. He wrote:

"wait = Gbsus2maj7 over Bb
ing = Absus2 over C
for = Absus4 over C
(you)
dumb = Dbmaj7 over F
stupid = F# over B
fuck = A add 2

hope that helps"

In response to how he comes up with the harmonies, he just wrote:
"got the melody first, then found the chords. i tried to really go based on the emotion of the original dialogue. there's a thousand chords that work for any given note so i tried to go with the original emotional intent of the person speaking"

I don't know if that helps, but it's always good to hear it straight from the source

 

Cool..... just had a listen. I could only spend a few minutes writing it out so it is only a "gist", but Casey is right in that mostly it is 3rds, but it seems to morph into a whole tone/aug minted type sound towards the end. I am attaching my very rough sketch of it and mp3 from Sibelius



The audio of this can be heard here

 

Thank you guys Funny, just yesterday evening I gave it a try again with fresh ears and also noticed it must be augmented triads in strings in the end of the run, moving up the c whole tone scale Makes sense because the whole cue has this augmented vibe. Just wanted to share this with you, but Doug was faster Thank your for your effort!

 

Douglas, can you tell us about your transcribe process? You just listen and write this down? Its quite impressive to be able to transcribe such a line.

 

Hi Doug,
Thanks for this, can you pls explain why the time sigs changes are so important, I kinda hear vlns figures played straight with bass syncopation. Thought it would be a lot more basic. Maybe it is for many. Im still learning...appreciate your time

 

It probably is more simple. Did this in like 5 min. The thing was to focus on the strings I had to ignore this really loud (like the elephant in your photo) horn rips, and drums. So basically I was just hearing little chunks and simply am using the signatures like comas in a sentence.

If I listened back to what the others groups are doing than, I bet those are what are defining the meter, and the changes in the contour are giving the syncopation.

Take what I did with a grain of salt --- meaning most likely not what the real score looks like. Also, I was not too concerned because when listening, people don't hear bar lines. It's just a visual tool

 

Umm.... someday I might post about this, but this example; nothing special at all in regards to process.

Well, a couple of plucks at the piano, but yes...Singing what you hear back is very helpful. It took me about 2 minutes to notate on pencil and paper
the line, and then I just typed it in, with shortcuts on Sibelius.

Thanks for the kind words. But if I can do it, anyone can. I was always the worst at this in music school, and I had to work at it.
Now I really enjoy it. It does not take discipline for me, as it is (well you like the music) fun.
You can see the transcription I did of Mike's piece in the other thread.

 

Excellent that explains a lot. Thank you v very much.
Huh!? I am the elephant! That idiot next to me is a tourist!