Kevin: Give me G, C major it goes up a half step. Isaac: we're flyyiinnggg
[Rossini's Semiramide]
Umu: Okay, this is a collaboration,
U: under SM station between a solo artist named D.ear and an NCT member named Jaehyun.
U: The song was composed, written, and produced by D.ear,
U: and D.ear's the one with a higher voice and he starts off the song and
U: Jaehyun is the one who has the kind of darker, deeper voice.
Charlotte: Kewl, so tht's the one i'm gna like
C: essentially it is what you're telling me. Cool.
C: I thought we're gonna go into like a folk song.
Peyton: Ooh!
P: Wow, I thought it was going to be a minor song.
P: not gonna lie.
Jarod: I love all you could hear is like the breath and I like like the mouth sound that comes with the words.
J: So it just is very intimate,
J: sound.
Isaac: This piano line, I'm liking it. Kevin: Yeah, man, too often, it feels like
K: Nice. I: Ahh!
K: Nice. I: shooketh
Stephen: He's got a beautiful voice. Emiel: Yeah. S: I like his tone.
E: I like the harmony.
Henry: I love this.
Charlotte: This is like hauntingly beautiful. Peyton: Yeah.
Kevin: Give me G, C major, it goes up a half step. Isaac: (singing) We're flying.
James: Aww,
J: that's a cool effect on that, I guess- what is it? Yeah. Yes, it is a guitar.
Henry: This is very different.
Elizabeth: You know what it sounds like? it sounds like the intro to Fruits Basket.
Jarod: I love how intimate the song feels. Katie: Mhm.
K: I was expecting something upbeat for some reason.
Stephen: Dude I like the vocal harmonies too, that's really beautiful. Emiel: Yeah.
S: like their meshing really well E: Their timbres fit together really nicely. S: Aw yeah.
Kevin: See you go to different chords, but you're still in the same key, like that's that's an art.
Stephen: I feel like if there is like a build, it's more like kind of subtle, and gradual. Emiel: Yeah.
Kevin: Nice, ooh.
K: Deceptive af.
K: Woah!
K: They even change up the instrumentation, imagine that!
Stephen: I like the rhythmic motive that goes like (singing)
Emiel: Yeah. S: Yeah.
S: It's cool because it's like - it leads on I feel like to the next beat or phrase really really well. E: Yeah.
Kevin: You can hear the attack point on the piano, but it's still soft. That's such a cool effect.
Elizabeth: There we go. Henry Ahh! E: Now it resolves, okay.
E: So he's having an internal monologue where he's like, maybe I did? Yes!
Kevin: God can't can't get enough that A major
or V/ii.
K: Another song that ends with magical 7th land.
K: Nice.
K: I guess he wants to try again with me and I'll give him a chance. I: Wow.
Henry: I thought it was great. I thought it was nice.
Umu: What about it specifically did you think was nice musically or harmonically?
H: I was like focusing pretty hard
H: on like what's happening right now, trying to like do an analysis in my head almost of like where is it going?
H: I definitely like had some weird like applied chords to other key areas like some chromatic mediants
H: some half-step...
H: like I don't want to necessarily
H: pigeonhole this specific thing, but it definitely was like
H: using V chords as bridges to other key areas that were like half steps away. I thought that was cool.
H: Some flat-ii action going on.
Elizabeth: E-Neapolitan, that's my favorite chord.
Hugo: I loved it. James: I liked the chord structures. H: Yeah.
J: Just the added notes in the, in the chord progressions.
H: I felt like you said they had nice effects on the guitar
H: it was all very smooth but not by any means un-complexed and their voices just worked so
H: well together and I think that for me it was really is that it was well written for their voices working together.
J: Yeah. H: And that really was just the instrumentation matched their voices
H: so it was just oh, oh.
J: I was wondering in the beginning you had this you had this weird combination with it was just the piano. It's just the voice,
H: Uh-huh. J: Piano was not hard pan left, but it was pretty left. Yeah, and then the boys was centered
J: so it kind of left the hole in the right and nothing really filled it along the way, H: Yeah
J: throughout the entire, um, um, uh...
J: what is this called? Music video! And uh,
J: yeah, so I wonder what the what the idea was behind that when they were mixing it.
Peyton: I thought that like like it kinda jumped along in like a good way, you know
P: and they use a lot of like passing motions every now and then after that you kind of get lulled into like (singing)
P: like there's like always that little like woo
P: but like very well strategically placed right at the moments when you're like finally in a groove and then they just ah
P: you thought we're, thought we're gonna just keep doing that. Did you? Ah, gotcha.
Charlotte: I thought it was like one of those though that like you could sit here and be like oh
C: these are all the things that they made it interesting, but it's just
C: beautiful in it's like own way, then it kind of just stands alone
C: and so I think it's just one of those that like you hear and it's purely enjoyable because it's beautiful in its own simplistic way.
Katie: (singing) Mmm tonic~
K: (signing) Where's it gonna go~ (sings from B to C) Yeah it just goes up a half step.
Jarod: Ooh.
Katie: It worked really well.
K: It was super smooth and good to listen to but a lot of really nice like little
K: jazzy bits. I liked a lot of the tonicizations, major seventh.
K: A lot of the times the vocals actually sing the seventh of the chord which made it seem dissonant,
K: but actually it was just like a seventh chord.
J: It was cool because I felt like the timbres of their voices very much created this musical handshake
J: because it's like you had like the low and the high but yet at the same time
J: close enough that they kind of, it blends together and just like it fits and it works
J: 'cause it's like whenever you hit that next key area you get that new voice that helps
J: shepherd that journey and just like it's like a little mini relay race where it's just like, you know man, here's the stick, he goes
J: thanks.
J: Here it is again.
J: Thank you, sir (laughs)
J: There's this little like cue but like calm and it just flows. K: Mhm.
J: You know, it's just like very much like a buttery transition which is like
K: Buttery! J: Super thick.
Isaac: I thought it was really well done if you noticed that like in the beginning, D.ear when he sings he has a very soft
I: soft I don't know ASMR voice, I guess in the way they mix either
I: it's either the way they mix it or the way he sings, the way it was presented, it sounded very
I: captivating and then having the soft piano just with that you're just so,
I: I don't know. You always want to like dive in deeper and as soon as it hits later
I: which- it changes to the other vocalist
I: When he sings, he has a- he definitely has a very, more punchier voice like heavy accent like a softer accent
I: but with a
I: noticeable accent but then the beats like the, the instrumentation changes
I: so instead of the piano you have a softer hitting bass and it really
I: complements- Kevin: percussion I: yeah the percussion, and it's very nice because it's like the the harmony between
I: the instrument and vocal line just complements each other so well.
K: When they started when they sang together in the bridge, I suddenly thought of something so like in classical music
K: you know you want to focus on thirds and sixths whenever like voices are singing the harmony, but then
K: but then like there's kind of Simon and Garfunkel thing where they add a couple of fourths and fifths along with it
K: so there's got a little bit of there's a little bit of harshness
K: but but when it meets again in the third land, it's just so it's so
K: satisfying. This is what they do. There are a couple of parallel fourths in there and you're like
K: oh what and then what we have but but the way they meet, the two voices meet is just so nice.
K: Also, I feel like I've said this in some other reaction, but whenever the vocal line has a major seventh like (singing)
K: that's just one of the most killer interval as you can sing.
I: Agreed.
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