Understanding Hotel California | Chi tiết thông tin về sheet hotel california chính xác nhất

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Trên một xa lộ sa mạc tối tăm, gió mát trên tóc tôi, mùi colitas nồng ấm bốc lên trong không khí … Vậy là bắt đầu một trong những hành trình mất phương hướng nổi tiếng nhất trong lịch sử nhạc rock, nhưng chính xác thì Hotel California đã xoay sở như thế nào để khiến bạn cảm thấy lạc lõng đến vậy ? Nó có rất nhiều thủ thuật trong tay áo của nó, từ sự thống trị chưa được giải quyết cho đến các mô típ thất thủ cho đến một màn độc tấu guitar không bao giờ thực sự kết thúc. Nhưng đừng lo lắng: Bạn có thể kiểm tra bất kỳ lúc nào bạn muốn. Patreon: Danh sách gửi thư: Facebook: Twitter: Instagram: Email: 12tonevideos@gmail.com Cuối cùng: Hotel California (phiên bản trực tiếp): Video hài hòa chức năng: Video thống lĩnh thứ cấp: Video điều chế tương đối: video Comfortably Numb: Kịch bản: NGUỒN: Rất cảm ơn những người ủng hộ Patreon cấp độ vàng của chúng tôi: Susan Jones Jill Jones Ron Jones Howard Levine Elaine Pratt Ken Arnold Gabi Ghita Kaylor Hodges Brian Etheringge Mark Yachnin William (Bill) Boston Nicolas Mendoza Josh King Gene Lushtak Khristofor Saraga Tom Anton Smyk Michael Hutcheson Mitchell Fund David Roulston Dale Các nhà sư Và cũng xin cảm ơn Henry Reich, Eugene Bulkin, Logan Jones, Abram Thiessen, Anna Work, Oliver, Dialup Salesman, Jc Bq, Adam Neely, Justin Donnell, nico, David Zahara, Michael Fieseler, Rick Lees, Ben LaRose, rhandhom1 , Harold Gonzales, Marc Himmelberger, Chris Borland, thợ nề đen, Dutreuilh Oliver, Dakota Williams, Olivia Andersson, Nick Olman, Joey Strandquist, Daniel Gilchrist, Billy roberts, Elliot Burke, Alex Atanasya n, Davis Sprague, Amlor, StarsServant, Steven Kapor, Dave Mayer, Thomás, Greg Borenstein, Tim S., David Tocknell, Elias Simon, Justin Bronstein, Justin Aungst, Alex, Jerry D. Brown, Christopher Wright, Paul Quine, Anamol Pundle, blalo’u, Adil Abdulla, Lauren S., Fabian, Josiah R. Hazel, Ohad Lutzky, Bate Goiko, Jon White, Eivind Vatshaug, Bryan Rider, Kurtis Commanda, Sam, James A. Thornton, Jacob Friend, Benjamin Cooper , Kevin, Joe Galetti, Josiah Scott, Ed Hurtley, Liam Mac Aoidh, SocialScout, John Bejarano, David Barker, Gerhard Blab, saywookiee64, CodenaCrow, Nikolay Semyonov và Pawel Sit! Sự hỗ trợ của bạn giúp làm cho 12tone tốt hơn nữa! Ngoài ra, cảm ơn Jareth Arnold và Jade Tan-Holmes đã đọc lại kịch bản để đảm bảo rằng tất cả điều này đều có ý nghĩa, hy vọng! .

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Understanding Hotel California
Understanding Hotel California

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Understanding Hotel California.

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45 bình luận trong “Understanding Hotel California | Chi tiết thông tin về sheet hotel california chính xác nhất

  1. Some extra thoughts:

    1) I didn't really get into it in the video, but I wanted to briefly mention why the Andalusian Cadence works so well here: Basically, it has your standard dominant-resolution structure but in a way that breaks with traditional practices, replacing the functional-harmony approach of using subdominant chords with a more straightforward descending figure. In effect, it's recognizable but doesn't quite play by the rules we're used to.

    2) Speaking of which, those unresolved dominants, pointing at places that they don't actually go to? Yeah, that's metaphorically significant. I don't think I need to explain why.

    3) Sorry if you thought this was a lyrical analysis? I mean, I generally argue that the title format works because it's not my fault if you assume the only way to understand a song is through its lyrics, but in this particular case I concede that there's an above-average risk of confusion. shrug

    4) Since people always complain when I don't talk about melodies, one of the reasons I think the chorus is in D is because the melody is a walk from G down to D, including a big 4-3 resolution in the first two bars.

  2. 1:38 sometimes the instrument informs your decisions and leads you to new ideas you otherwise wouldn't have thought of, kinda having something similar happening learning a second language.

  3. Your analysis is kooky. Maybe you should play more often. When you dissect a frog and are marveled, you're spending too much time with dead frogs.

  4. There's also an embedded descending chromatic hexachord in the verse, which I think makes the un-resolving dominants OK, and holds together the sequence. B A# An G# Gn F# Gn F# in the bass if you alternate root position and 1st inversion.

  5. Whenever I get to feel this way
    Try to find new words to say
    I think about the bad old days
    We used to know
    Nights of winter turn me cold
    Fears of dying, getting old
    We ran the race, the race was won
    By running slowly
    Could be soon we'll cease to sound
    Slowly upstairs, faster down
    Then to revisit stony grounds
    We used to know
    Remembering mornings, shillings spent
    Made no sense to leave the bed
    The bad old days they came and went
    Giving way to fruitful years
    Saving up the birds in hand
    While in the bush the others land
    Take what we can before the man
    Says it's time to go
    Each to his own way I'll go mine
    Best of luck with what you find
    But for your own sake remember times
    We used to know.

  6. There is a big danger with functional analysis. If you start to internalise what is supposed to fit according to the rules (which do make sense btw because they are ultimately traceable to the harmonic series which is objective and part of nature) then you start to write 'by numbers', not by listening. It's like you could compose on paper in complete silence, someone could read what you wrote down in complete silence and say, 'Hey that's good/not good.' In fact, I remember learning harmony/composition this way. You should be able to choose notes yourself according to a subjective aesthetic (which will probably have a close relationship to externally imposed 'rules' anyway). That way you will be actually selecting your sounds according to, well, how they sound. People with no musical schooling do it this way and some of them do pretty well artistically. Thing is that the 'rules' method can turn a lot of reasonably academic people with maybe a level low of creativity into mediocre practitioners. Without the schooling you have to engage with the world of sound and notice things for yourself. For example, schooled people will often ignore the whole element of timbre as it's not 'quantifiable', not written down, but unschooled people will often focus on that first.

  7. just because there's a V chord doesn't mean it has to resolve: it can go to any other chord in the chord scale

  8. It keeps the same chord progressions like the beginning it only changes to the welcome to the hotel California even the guitar solo fits over the beginning guitar chords

  9. It's my understanding that Hotel California was an instrumental that Felder wrote. I thinks that's why it's such an interesting song because the basic melody and chord changes had to stand on their own. Of course the lyrics are great too.

  10. The ears have no rules. We've tried to lay out the rules, but doesn't always make sense on paper.
    Degree of difficulty is not purportionate to sonic Greatness."

  11. Analization depends if you're coming from a secular, or Christian perspective. The latter is more truthful. Hotel California is about the church of Satan. "You can check out any time you want but you can never leave." Once you sell your soul, satan owns you. The eagles had to be Satanists to achieve stardom. Its required in the entertainment biz. Anton L. was on their album cover. Any time a rock song mentions a hotel, its a code for satanic church. Don't worship guitar players. Worship Jesus. John 14:6

  12. Well, this COULD have been an interesting video if the guy making the delivery could have kept it that way instead of acting a great deal on the foolish side and talking a hundred miles an hour. I made it through a couple minutes til I had to leave.

  13. "Even though it's not where we expect to go, its a pretty solid resolution" so we don't go home, but find ourselves somewhere else that's still comfortable….. like a hotel 🤔

  14. Do (A Whiter Shade Of Pale). I thought it was really neat the way it goes from a sad, remorse tone. Then it transits over to a feeling of hope, and accomplishment. The music tells that it was not really an accident. She knew exactly where she was going. I know there has to be some cool things happening there in the music, because it really "rings" those feeling through. I want to hear you take it apart.

  15. I have just starting to learn the song's intro.
    I think the composer is just using the principles below.
    He is descending the notes of the chromatic scale starting from B and makes sure:
    a)That the chords that will be created will contain those notes in the same exact order.
    b)That the notes and chords will belong to the melodic minor scale of Bm.
    (We are trying to avoid to use the notes E# and F if we choose that scale for improvisation).

    So the NOTES are:
    B-A#-A-G#-G-F# and for the closing E, back to F# and back to the original B note.
    (from V chord to I chord for the ending.Pretty popular closing from classical music until now days)

    Now the basic CHORDS that contain the above notes in the exact order are:
    Bm-F#-A-E-G-D-Em- and back to F# and Bm for the ending.
    All notes and chords belong to the melodic minor scale.
    And instead of using the basic chords you can use a sus chord to sound more rocky, a 7th to sound more flashy etc.
    It's easier to find what the composer is doing if you play inversions of the chords so you can understand how he is descending the piano keybed and also that moving from one chord to another they have to share a common note.
    Bm to F# share a common note,F# to A share a common note and so on, until chord E comes to help to close the phrase.

    Hey dude you are talking way to fast.English is not my native language so it is really hard to follow what you are saying 🙁

  16. I also hear something going on with the first four chords. The F# to C# and the A to G# make a really pleasing sounding, call and response, type melody. I'm a pretty novice theorist but I find that voice leading to be really pleasing in this particular progression.

  17. You should entitle it understanding Hotel California's music because dude you have not much at all about the lyrical message (only a cursory mention of the last line and how it is consistent with the lack of an ending to the song). I was expecting you to be considering the lyrics, which are sublime too (though terrifying).

  18. I remember I watched this video so long ago and understanding it well because I was well versed in music theory and piano, but rewatching it now as a bassist makes so much difference and I feel like I understand it completely and then some.

  19. Fun fact. The hotel does exist is somewhere in Baja California Sur (a Mexico state) and it holds the legend of a death woman who invites the hotel guests to drink some bar cups

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