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How Pink Floyd used the Miles Davis chord
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As soon as he started with the connection to Miles, I started to hear that bit in the Jazz. Itās amazing how much deeper these kind of connections make pop & rock music!
Lots of people get stuck in the Waters vs Gilmour debate – who is the true soul of pink floyd.
What people fail to understand is that they are complements, not substitutes. Roger is a master lyricist and story teller, and he is the type of person to take isolated great pieces of music and turn it into a cohesive masterpiece of an album. David writes music that makes you feel what the lyrics are trying to say, and his solos take you to a different plane of existence.
Separate they can produce genius albums like The Division Bell or The Final Cut, but it takes both of them to make a masterpiece like Animals.
And yet, Animals is not the same level as DSOTM or WYWH, because they lacked the soul of the group: Rick Wright. His keyboards tied Watersā energy and Gilmourās emotions together. The melody served as a stage for Waters and Gilmour to shine on, and the jazzy undertones took the music to another level of complexity, which is why it is hard to resist being open mouthed in awe when listening to them.
Or possibly they’re just totally overrated?
ā@Paul HaynesSomeone with that pfp has no business calling anything overrated š¤£
@Paul HaynesOr, more likely, you don’t understand anything about music?
I totally agree that Rick Wright was the soul of the group, but I’d urge you to re-listen to Animals. He is ALL over that album. His organ playing absolutely carries Pigs and Sheep!! So much great synth work on that album too. It’s probably my favorite Floyd album and his fingerprints are all over it. The only Pink Floyd album he wasn’t on was The Final Cut afaik
Mason and Gilmour have confessed that Rick Wright was the soul of Pink Floyd. I think they definitely meant it
More videos of Pink Floyd plsš¤©šš
I think Breathe was also inspired by Dolphins by Fred Neil
Maybe a little but that uses a D7sus4 chord, whilst Breathe has #9ths and #7ths. Neither are found in dolphins. Both are wonderfully atmospheric pieces though š
Absolutely beautiful, so skin crawlingly beautiful.
I’d say more heart string pulling ā¤
Again, I canāt help but hear the chord right before Em as a D7b9ā¦ What do you call a D7b9 with a D# in the bass? š
Lmao its just the 4th inversion of d7b9 chord
It’s also a D#dim7 just like it says.
“Normally you go G, B7 Em”. I’m getting massive “Paul McCartney – Another Day” vibes from that!
I still own this documentary on DVD. It’s called Classic Albums: Pink Floyd – The Making of ‘The Dark Side of the Moon’ (2003)
Any great band is somewhat more than the sum of it’s individual parts. It would sound strange saying a guy in as successful a band as Pink Floyd is under-appreciated. But this is a perfect example of how Rick Wright contributed musically to make the final ‘product’ that much better! With all the publicized drama between Waters and Gilmore he sometimes gets overlooked.
Another great example of a Wright idea is that chord in Us And Them. You know the chord: “Us and them…(chord change) and after all…” It’s the kind of musical element Roger Waters didn’t come up with on his own, no matter how great his lyrics are. That’s what collaboration is all about.
I hear but one chord when you play the miles Davis track????
Man I love this stuff. Why can’t my feed be all these kinds of things? Question…
D# (1) – F (m3) – C (bb7) – Eb (root octave)
So no flat fifth here… could this be heard as a regular Dm6 chord?
Yes it is but the dominant function makes it not sound like a min6 chord. This is just a B major chord in first inversion (the dominant of E) with a suspension that resolves to the B inside the tonic chord of E minor. Hope this makes sense
@Alessandro Pradella Ok very interesting. If it’s a first inversion B, I’m only seeing D# (maj 3) as a chord tone. What am I missing here? āš»
@btkenobi2 F is sharp because of the key, C is the suspension of B, so D# F# B.
C is a suspension because it’s prepared in the previous chord and then resolves naturally to B in the next barš
+1 for more Floyd videos! I love how Wright snuck jazz chords into rock songs. Also, isn’t that the ‘Hendrix’ chord? Interesting how it sounds so different in another context. A quick analysis of the chord would have been good. I think the sharp 9 is the same note as the minor 3rd, so you get both the major and minor 3rd at once, which gives it the bluesy feel. I’m terrible at music theory so that could be totally wrong.
It is the Hendrix chord yeah! I think a big thing that changes the context is the Hendrix uses it as the tonic chord, whereas here it is being used as a dominant chord š
@David Bennett Piano that makes sense, thanks for confirming and keep up the great work on this channel! š
Thatās a Hendrix chord built off the 5th of the first chord, or a Hendrix chord built off the flat seventh of the final chord depending on how you look at it.
Tutorial please šš
More jazz piano š
A trumpet can play chords?
Rick brought a level of theoretical musicianship to the band that I donāt think any of the other guys possessed
**Gilmour is an amazing guitarist but Rick had more chordal/compositional knowledge
Gilmour always improvised solos live. That’s what I loved about him. He never played anything the same way twice. To do that you needed some music theory, whether academic or learned by ear, doesn’t matter.
Absolutely love Rick Wright, a brilliant man with an angelic voice.
And waters says it’s his work š¤
Richard Wrightā¦.the core of Pink Floyd