Kevin: Love, love love!
Umu: Now you'll be reacting to a solo artist named Eddie Kim. 'Coffee and Tea' was composed in
2017 by Eddy Kim, and features Solar, from the girl group Mamamoo. Henry: Cool
Umu: This is a song about the similarities and differences of a couple who just started a relationship.
Hugo: Oh The man, Eddy Kim, resembles coffee, and the woman, Solar, represents tea.
Elizabeth: That's such a thing.
James: What's a thing? Elizabeth: I am a coffee person, and I've only dated tea people.
Yeah. James: Wow. Umu: But yeah, this is supposed to give off like a cozy feeling for winter.
It technically isn't, you know,
like, "winter!" But like I was like, 'Coffee and Tea', that would be a nice winter song.
Hugo: Coffee or tea James?I
James: I don't like either, actually.
Hugo: Ah, well.
Okay. I am surrounded by people who can't decide. That's fine.
Oh. Oh. Oh, wow.
I love the guitar. People just started throwing sh*t, so that kind of threw me off for a hot second.
Henry: I already like this a lot.
It's cute.
Elizabeth: Oh, the whistle.
James: Yeah, the whistle's nice. Elizabeth: Oh, my God.
James: It's very cute. Elizabeth: That is quintessential. James: I'm cozy. I'm so cozy right now.
Stephen: I like to hook they have in the lyric. Like the melody--how it starts out.
It draws you in.
James: Ohhh..
Elizabeth: And it's in a different key.
Of course.
James: Oh!
Henry: That was a super cool turnaround, this little pre-chorus section we're in. Very cool modulation.
Kevin: Ahh!
That's great--the leap upwards. You don't expect it.
Yass!
James: Gotta love the secondary dominance, man.
Kevin: You know,
love, love, love.
Henry: It's like kind of in C, also kind of in A.
Emiel: Yeah
Henry: But it's got that same like, one ,three, six.
Kevin: What happend? They didn't change key. Isaac: Yeah.
Kevin: What was that?
Oh, I know. I know. The chorus is in C major, the verse is in A major. And so you get a high A major whistle
versus a low C major whistle, and your brain is like, aaugh!
Stephen: Hmm!
Love is more difficult than coffee names. Amen, I agree with that.
All coffee tastes the same to me.
Seiji: Oh, I definitely disagree with that.
Kevin: Nice.
Nice.
See, they just did another way to go back to A major.
They're constantly subverting our expectations.
James: Ooh, okay.
Hugo: Ooh! Brass. Dig it.
Henry: Hey!
It went from E7 to D minor. That is 2 in C. That's cool.
That's a really nice brass sound.
Whoa!
Hugo: Also, they're both so cute, and it like, kills me. Like, they're both so attractive.
Ugh!
James: Calm down.
Henry: He's beautiful. Just want to point out. He is beautiful.
Hugo: That was so cute! James: Yeah.
Hugo: God, it was so cute. Oh, their voices together were great. James: Yeah, they worked well. They were laid-back.
It didn't seem like it was much effort for either of them.
But I mean, that's just the range of the song. Hugo: Yeah, it was not a very pitchy
song. They were never like, James: (singing)
Hugo: They were never going like, up.
James: Yeah. Hugo: Which was good, because it wouldn't have fit the song if they had, so it was good.
James: All right, If you ever want to write a love song, all you need to do is just put in a bunch of secondary dominance,
Hugo: Really, honestly... James: and then just a bunch of sequences as well, and then you're fine.
James: Love that. Elizabeth: It was cute.
James: Love that.
Love that.
And I liked that there was a lot of interplay, like back and forth between minor and major. We would arrive
at like a minor cadence, and then there would be silence, and the whistle would come in and it would just like tonicize major
again.
It was just like this back and forth Elizabeth: Yeah.
James: between that, and I thought that was really nice. And there was some cool modal mixture, as well.
Elizabeth: So what modal mixture is, is when you're in a major key, you can borrow certain chords from the minor key.
So if you're in C major,
you can borrow chords from C minor.
So like, the six chord in major is a minor chord
but if you are in C minor,
the six chord is a major chord. So you just take that major six chord from the minor key and you translate it into
the major key, so it adds a really interesting color to a key, and it
confuses your sense of tonic, James: Yeah, it does. Elizabeth: which can be very effective, because you expect to hear
a minor triad James: A minor six. Elizabeth: when you reached the sixth chord in a progression, but if it's major, then it really makes you
think, and you're like, oh, I don't really know where we are.
So a lot of people really like to use it, and It's pretty prominent in pop songs.
Henry: I really liked that.
Emiel: Yeah, that was cool. It had its own vibe. Henry: I thought it was really, really nice.
The thing that I think I appreciated the most about it was that
nothing about it was contrived. All of its elements were very basic and done very well. And a lot of times when something is
complex, it's not complex because it's hard, it's complex because it's deceptively easy.
I thought just the guitar was very simple, and the little acoustic bass was nice.
Very subtle horns
in the last third of the song. Their voices worked really well together. Music video was really cool,
very saturated with different color filters,
which I thought was kind of nice, that sort of gave it a little bit of a whimsical vibe.
Kevin: All right. That was a good one.
Umu: Yeah. What do you think musically created such a warm feeling?
Isaac: The nine chords. Nine and seven chords. So that dee da dee da dum, dah dee dah (singing)
So it's augmented;
augmented 7 plus
minor...minor 9th.
Kevin: Wait, what? Isaac: isn't it? Dee da dee da da, da dee da dee (singing)
Kevin: I thought it's just an applied... isaac: Is it applied? Kevin: It's like,
sev, five, three...
No, oh, sh*t. Isaac: Oh, I was thinking of... Kevin: five, three, one
Isaac: Wait. I thought it was like, dee da, dee da da
Kevin: Oh, no. But like... Isaac: Where were you thinking?
Kevin: But the chords change in between. Isaac: Yes. Kevin: Da, da, da, da; that's the secondary dominant, and then the daa is the resolution
Isaac: That's true.
Look, if we do Schenkerian analysis, which, look that up--good luck wrapping your head around that one.
If we do some Schenker stuff, you can say that there is an implied augmented five, seven.
Isaac: I was thinking of it this way, I didn't think of it... Kevin: Actually, you're right. No, you're right. That's why that chord progression never gets old,
I think. Isaaac: Yes. Kevin: Because there's always an implied James Bond chord in there.
Isaac: (singing) Kevin: Yeah!
Isaac: The use of seven chords, just the way you play around with the inversions--you go up a scale, and then it comes down with
a seven chord. It was very interesting, because
you go with the minor seven, but then it just modulates. Kevin: Um, hmm. Isaac: And it's interesting, it's like
the transition is smooth because of the way the whistle is blown. Because it's not
completely centered on the key, so it kind of just floats around and hovers between
like the quarter tuning between
the quarter steps, the quarter step tuning. Kevin: Probably, yeah. That's from the whistle sound, yeah. Isaac: Kind of, cuz when you whistle, you sing,
it's hard to calculate what pitch it is. Kevin: Uh, huh. Isaac: I don't know, for me, for relative, it's difficult.
Kevin: Sure, sure. Isaac: So for some reason, it's so easy for them to just like have two notes just sit this close
Kevin: Yes! Isaac: and then
just move up, and move up the whole entire key with it. And it's just, it's so fascinating how they do that.
Kevin: I think under the wrong hands the subject of coffee and tea, and like, oh,
this is us, could be really cheeky and almost corny, and Isaac: Yeah. Kevin: too playful, if you know what I mean.
We've heard songs where like, they go a little too far with the cutesy, but this song becomes something you just,
very relaxing and smooth, and I feel like the musical idea
originated at the same time as the lyrics. Isaac: Yeah Kevin: You feel like everything is working today. Like they have their own purposes,
it's not like one is bending over to serve the other, so.
Stephen: Would you rather have coffee or would you rather have tea?
Seiji: Uh, it depends. Depends how much homework I have, I think. Stephen: Yeah. Well, probably like just the vibe, the fact that it's kind of happy-go-lucky,
very cute-sounding. When I think of Christmas music, I think of you know, cute, kind of
cheesy, corny, not to say that this was necessarily like cheesy or corny or anything like that,
but like I think it fits with the vibes very well.
Seiji: Yeah, and what better time to fall in love than at Christmas time?
Stephen: Awww! Seiji: You know? What better time? Expensive time, Stephen: Yeah, very. Seiji: but what better time?
Hello, everyone,
I'm Umu, and I'm the channel runner of React to the K. I really hope you enjoyed watching this video. If you're curious about the videos that
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Bye