Ju Young: Dude, this group's vocals! Jason: *claps*
Ju Young: Oh we gonna listen to Pentagon again?
Umu: Yes, so this is actually Pentagon's most recent comeback
Ju: Ooooh Umu: In which their company asked us to make a video for!
Ju: Oh o-okay. Umu: Yeah. Ju: Okay
Jason: That's pretty fire. Ju: Alrright
Umu: Pentagon has consistently been expanding their musical spectrum with themes of dream, youth, love and memory
And with Daisy, they sing about the heartbreak one feels after a break-up
Umu: The lyrics (Jamal: harsh) use "The daisy", (Rafael: relatable, tho)
the white flower of hope" as a metaphor for love and progress
with a focus on an ambivalent meaning that describes how one will eventually get burned by that love
U: Fake love may bring pain and sorrow, but just how a daisy blossoms again every spring
U: It is the everlasting daisy, a.k.a love, that will heal the burn
U: This song is composed by Nathan, and two Pentagon members: Hui and Wooseok
Kevin: That's really nice because daisy symbolises innocence,
and so we can already know that the love is a very innocent type
K: Instead of like
THORNS
Cloud: Guys, I wore white today, look at me go. Umu: Yeahh
Henry: I WORE BLACK
Raffi: 3. Sam: 3, 2, 1
Sam: Ohhh
Henry: I like the instant harmony, too. That's nice.
Now it's gone
Sam: It kind of has that ballad chord structure
but it's also upbeat. R: Mhhm
Kevin: It's a sunny song on a rainy night, which is interesting
Jamal: Ayyy Rafael: Wow that's really dark.
"I hope for your unhappy ending"
Jason: Wow the vocalist are fantastic.
Ju: Woooo
WOOOOOOO
Kevin: Wow, there's a C# and D clash going on.
It's very subtle.
Ju: Dude, this group's vocals are just dead on.
Jason: That was good! Ju: What?
Henry: I like this prechorus.
H: YES.
Rafael: About to be phat beat drop.
Jamal: yeah
H: Ahhhh, wreck me.
WRECK ME AHAHA
J: Ohhhhhhhhohoho
Rafael: that is so epic J: The explosions scenes?
C'mon, lets get it!
H: Ah, so nice.
H: Bridge
Ju: Break it down. Mm. Mm. M.
Ju: Oh my God.
Jason: Wow. They're really riding on this- Ju: What is going-
Jason: They're really riding on the seventh chords there
Rafael: Wow.
Jason: Ohh the electric guitar solo in the back. Ju: Mmh
Jason: That just brings it to another dimension
Kevin: Woooooo
Grows on me everytime.
K: Ohoh WOW.
Ohoh...oh tiny text.
Jason: Wow that's pretty profund.
Jason: Oh my God.
Jason: Yeah and that like reverb guitar.
Jason: Incredible. Ju: yeah this is just DOPE man. Jason: Alright
*the start of GWSN 'Wonderboy, The Aerialist' starts to play*
Jason: I was a very big fan of that
Umu: Have either of you experienced a terrible break up? Rafael: Not like this
J: Probably not like THAT
Umu: How do you feel the pain and darkness was conveyed through the song?
Like, what musical techniques were used?
R: It was really epic. I don't know, when you're really sad I feel like it feels like all of you is feeling that sadness.
It's like a grand feeling, not a great kind of grand feeling, just like a lot of feelings.
J: I like how it started with like, a guitar I feel like mainly the same in a major tonality
J: And then as the scenes errupted I felt like the harmony opened up.
Owen: I liked that one section with the descending bassline
O: That got out of the 4 chords, I think it was.. what was it?
O: Like 1, 5 of 6, 6, then minor 4. K: Yeah. O: Yeah
O: When the bass is walking down chromatically it went to like 6, flat 6, 5,
sharp 4 I guess and then minor 4, yeah
O: But that was, that was cool. I liked that.
J: I liked the harmonic choices because I felt like they were very intentional with the progression of the scenes
J: Rather than just being like: we have this and we have this
J: I felt like there was a clear like, trajectory. Or like clearer than what I'm used to seeing.
H: They demonstrated a good understanding of how modal mixture affects your ears as far as emotions go
H: It's a very traditional, I think, thinking of modal mixture.
H: So F major to A major.
H: That's.. uhh that's... what is that?
*vocalizing*
H: *sings* It does feel like this is tonic.
H: That's major 3. That's that Puff the magic dragon sound, isn't it?
H: So they use modal mixture and they use other instances of stuff that sounds like that throughout the song
H: So much so, that I think it loses the whole subverting your expectations thing
H: And it really milks on that feeling of like *plays melody*
H: To like give you that sense of heartbreak and bitter sweetness
H: Which, I guess, it's too much of a good thing
and you hear so so much that it's like uhh really great. But I feel like,
when I was listening to this song the whole time through I was thinking: "This is a great, great example for listening to modal mixture"
H: Because it happens a LOT. It's repeated a lot and like, their singing is very very clear so you can absolutely hear it
Ju: *claps* Modal Mixture! For all yalls that don't know what it is.
It's basically when you're borrowing from the parallel key.
Which is why modal mixture is also called modal borrowing,
cause you're like borrowing from the parallel key
Ju: So parallel key!
You know that there's the major and minor scales.
You know that major is happy and minor is sad
So parallel key is a major and minor scale but then they both have the same tonic
So for example like C major and C minor, they're parallel keys because they have the same tonic C
So in this song, what made it really interesting was the modal mixture that was going on
Cause it starts off in F major , and then once you get to that flat 5 it goes to F minor
And why I liked it so much is because it makes the song so much more interesting
and you get that emotional pull
Like that they're hesitating and stuff
Damn, theory is like really making sense now
WOOO
Henry: I think it's really smartly composed, I think it's super smart. It was definitely super purposeful
Like, their song structure was really satisfying.
It was really satisfied with the first chorus, prechorus was really nice it wasn't just demonstrates typical prechorus percussion*
The bridge was a nice depature and I thought their use of modal mixture was really tasteful,
actually, really tasteful
H: I do wish there was a key change though. That would've been lit.
Cloud: I was waiting for a key change at the last chorus. Cause like, my ear was like "Oh we're going to get a key change now"
Henry: Yeah! C: Since the first chorus, and then I was like "No no, not yet. It's not time yet."
H: Specially with all the modal mixture? You're setting yourself up for a key change like
C: That's what I'm- Cause your ear wants it. It's like "Oh we are gonna go up? We're gonna move?"
C: I was in a good mood for this kind of music today. I was like-
like I would play this in the car and just kind of mellow out
K: I really really enjoyed it.
K: I heard this chord progression before.
K: There's something very cozy about this chord progression and it's awesome. Umu: TO THE PIANO! K: To the piano
K: So, what I love about the post-chorus is you know you have this
K: Right? Repeats infinite times
but within that repetition something very cool is happening.
K: Which is the- well, what I would call the left hand chord. But the harmonies,
K: First of all, you got the 6 (chord). You know that plays
K: Very jolly, very, very merry. And a little, a little- there's like a little warmer tone than a regular major
K: But then it gets interesting
K: Except you don't hear it because the C
It doesn't that clashy because on the piano I'm hitting the notes.
K: But with the softer textures of the song, somehow this doesn't sound as abrasive.
So you have this little clash going on
Which is technically that, but like softer once again
And so there's this tension. And then it resolves.
So now the D is alined, but then, it finally comes back home by finally having the melody
hit that note that we were desiring all this time
So the whole thing is like:
Harmonies- hit that note or *moves left hand down an octave*
And then it resolves. But then...
Right? But see in music theory, this note might seem like the same note
but when the harmonies had it, it was a C sharp And when the melody had it, it was a D flat
K: Yeah, I like that clash. I liked it, there was a..
yeah very satisfying - musically satisfying arc every time I hear that post chorus.
Jason: First of all they were like super proficient.
Their voices were so like on and pitch wise they were like super great
Jason: And something that I thought too that was kind of tasteful was-
cause it's about kind of like heartbreak
and how love kind of burns everything in it's path, even though it is the driving force of living
and why we do things.
Jason: So I thought it was kind of cool just kind of having those like- the modal mixture.
Like these minor chords
and specially since they were like really deep kind of minor 7 chordy-vibes
They show like the pain within the joy
Ju: Oh yeah. Jason: of love, so I thought that was pretty cool
Raffi: It surprised me at the beginning because -
I don't know if this is a false archetype with the voice but
R: When I think of pain, I think of backing off. Umu: Mhh. R: But this was very strong. Umu: Mhh
R: So, I think it almost is on the side of anger with pain than heartbreak with pain.
That's what I get just from listening to the voice.
R: But there was a lot of contrast throughout the piece so, I think
there's a even amount of distribution with the emotion.
S: Yeah, I wanna sort of follow-up on that comment about contrast
S: Because with these moments of anger and power
there were these moments of falsetto and lightness
S: Not necessarily anger but of almost contemplation or
reminiscing or going back to a simpler time. S: That's the tone I sort of got.
S: I just touched my microphone. U: YEAH.
R: Tap-tap-tap S: You're just gonna hear: Comments comments comments *imitates white noise*
S: There were this moments of softness to go along with these moments of power
and that contrast, I think,
S: Allowed us to appreciate the power more, in my opinion
Ju: They just embellished everything so well with their voices. Jason: Yeah.
Ju: Like when you talked about that little riff that the dude did (T/N: Yanan)
Jason: Yeah, I clapped. I had to. Ju: Yeah. Jason: I'm going to do it again.
Ju: Damnnn. Jason: Cause I thought that was really good. Ju: oh my god wait
Ju: this made me soo happy
Jason: See, now that's another thing that's really cool that I felt about this was that this is about such a really dark topic
Js: Specially when you see like the ending which I thought was
like cinematic-ally very, very good the way that they did that.
J: And specially with like their writing.
This is that type of song that it uses a specific progression that kind of teeters totters between major and minor Ju: teeter totters
Jason: ExCusE mE. Ju: Sorry.
Jason: You're making fun of me? Ju: I want tatter tots now.
Jason: Yeah no, it's kind of like going back and forth between major and - well it's a modal mixture
it's kind of like, you know, it gives you a taste of the parallel
Ju: It just gives like different colors and textures. Jason: Yeah it gives different colors and textures
and that like in this one is exactly what you need
Jason: It's a dark topic but you get a taste from every emotion
because the texture - the mixture that it's added in
Jason: and by the end it's just like you're happy
that you went through that experience, it was just like a lot.
It was cool.
*Daisy is playing*