Thank you for the comments. It means a lot to be part of a community. I am learning the steel guitar. I play piano and sing. I like country music. I have thyroid cancer that is no longer operable. Yuck.
Pink Floyd's “Money” is a perfect example of unusual measures. The song's bouncy bassline leads the band on a great 7/4 time signature that gives “Money” an unmistakable swagger, and a great jazzy feel.
Not a lot of people do such videos these days, YT has changed now. Rick, your appreciation towards artistry and craftmanship helps a lot in understanding music in its actual form. Peace
Gentle Giant were masters of jumping from one musical theme to another seamlessly, including full arrangement changes, and in a manner that made sense, once one got the hang of it.
I guess "In a Glass House" has almost all of these surprise elements combined. A lot of changes in time signature, keys, tempo, instrumentation, and also great metaphors... and all that flows just naturally. Such a great underrated band!
I like how he was incorporating these principles in the editing of the video. Hard cuts, flipped images, comedic cuts right as the song was about to give a payoff in the phrase, changing voice dynamics and then surprising us back in (the subscribe portion). The efforts are noticed and appreciated my friend.
He's especially amazing for doing this so well when he's not earning any money from these types of videos. Every single one of them get demonitized like 12 times even though it's definitely fair use. We love you Rick.
@@brians7749 Funny, Tom Sawyer is one of the few songs Peart didn't write, at least not by himself. He got the idea from a poem written by a member of the band Max Webster, who were close friends with Rush.
The Beatles had lots of musical surprises from 'that chord' that begins a Hard days night, the use of sitar, the many tape loops and weird effects on Sgt. Peppers, the baseline on Come together and much of Ringo's inventive drumming. In fact they must be the most surprising group of all time!
All of these are reasons why Between the Buried and Me are such an incredible band - they incorporate so many of these musical surprises into their songs, and they do it so naturally. One minute you're listening to high octane metal, then whirls into a few bars of jangly ragtime, a nylon-string acoustic classical section, then more metal...
There is no one else that can break music down so technically yet make it so simple and understandable that ANYONE who looks at your videos walks away feeling like they have a new understanding and appreciation for they own inherent love of music.... there is always an "AHA" moment in every video you do... damn, I wish I was your neighbour... I would be the peskiest student!
I've always thought that Strawberry Fields was one of the most unusual and greatest songs ever written. It's nice to finally hear someone talk about it. Of course it would be Rick.
The key changes in Stevie's songs are so tasteful. #6 is such an overlooked thing in music, even changes vocal technique or orchestration in a single phrase can make such a huge impact. Also glad to see Kendrick on here. The man is a genius and he see's genius (like Miles Davis did in his Second Great Quintet).
@@jont4638 his in house producers have said repeatedly in interviews that he gives most of the ideas for his productions by curating samples, melodies and chord changes, sometimes in an MJ like fashion. He's an avid fan of most music, from jazz to different forms of EDM
Here's one that I'll call the "repurposed riff". In Supertramp's Crime of the Century, the track goes silent at about 2 minutes, then a repeated piano riff starts up. Since it's coming in from silence, the listener hears the first note as the first beat of the bar. It repeats a few times, and then a drum beat pops in and reveals that the piano had started at the *2nd beat* of the bar. It completely redefines the piano element, turning it from a homely little chant to a plaintive refrain in a newly funky arrangement. It's a wonderful surprise!
It was spine-tingling to see Crime of the Century live with the rear-projected prison bars growing from a distant dot in space to completely fill the screen over a couple of minutes. (this was pretty damn cool in 1976!🤣)
What it tells me is that there are ultimately no limits on how we can use the musical devices to express ourselves. We can play with everything. Great video, thank you!
Excellent video Rick!! I am missing one that surprises me the most: the song starts with one instrument only, performing a kind of loop that makes you feel the downbeat and the upbeat are on certain positions and then, when the band gets in, you noticed that the accents are absolutely NOT where you were thinking...
That's kind of the MO of 70's prog rock, with it's borrowing of different genres of musical styles. Traffic's "Low Spark of High Heeled Boys" is also a great example.
In the song 'I'm Your Captain Closer to Home' (Grand Funk Railroad), it goes from a smooth pop song to a section with waves and beautiful boat alarm noises. Definitely my pick.
Paul Simon's "Still Crazy After All These Years" features a musical change that I had never seen before, or after. It modulates/changes keys DURING the verse. The last verse starts in G and ends in A.
That part of the Sting interview definitely stuck with me. Adding surprise to a song is so much more constructive than telling the client/bandmate that their song is cliche. So glad to see you expand on that thread.
When Rick talked about changing style, I immediately thought of Lookin Out My Back Door by CCR. The transition from full time to half time swing right at the end of the song is one of my favorites.
I love love LOVE the inclusion of Sarah Mclachlan's head-voice harmony in the chorus of Possession. It's easily one of my favorite bits of vocal harmony that I can even think of, and it made me feel like I'm not crazy. When she performs the song solo, that harmony isn't in there, which bums me out, because that bit of harmony is the "eye of the duck" for that track, IMO.
Picking this up in the Sting interview. This is something about his music that has fascinated me. This IS music for me. So cool to see you explore this, as a huge validation for my taste and composition.
Zeppelin's 'Since I've Been Loving You' has a few great surprises. What starts off sounding like a standard minor blues goes to some interesting places in the turnaround of each 'verse'. And then the introduction of the C7 in the last verse and the move to the Ab on the last turnaround. Just magical.
And the constant "erk erk...erk erk..." from Bonham's bass drum pedal because someone couldn't bother their arse spending a couple of quid on a can of 3-in-1 oil...
Probably my favorite Zep tune! Listen real close at the beginning. It's so quite you can hear the base pedal squeak. Something that particular pedal is known for too.
My first video of yours I’ve ever watched and I’m so completely impressed. Your range of examples is incredible. You don’t try overshadowing the greats but pay homage. I love it!
Rick's hand motions and finger-pointing while listening to songs is what I'm here for... also this video is a perfect example of Rick sharing his genius to make the rest of us smile
Surprise is everything. Keeps the listener from getting bored and walking away. The greatest surprise is coming up with the most beautiful and original melody. Everything else is just layers. Great job as always Mr. Beato. Love how you break everything down…
Sting is a genius when writing music. In his recent album, the song 'Rushing water,' he sings with a inverted 6th harmony in the verse, then uses the raised 3rd in the chorus. (inverted 6th = the main vocal and the lowered harmony a 3rd interval spaced)
I admire Sting’s surprises and see him as a genius as well, as heard in the song you mentioned. My one wish on “Rushing Water” is this: I wish it was “about something.” Nearly every other song in his vast library is about “something.” This one is one of his (or maybe his only) “nothing songs.”
Talk Talk was good at coming up with surprises, which made them a lot more interesting than many of their 80's "synth pop" peers. They used key changes frequently, as well as changes in dynamics, tempo, and effects.
Yes, they already were very creative when they still did synth pop! Their evolution into pioneers of post rock with their last two albums is a whole new level of surprise in the world of music of course
It's less of an early-song change, but one thing I love when songs do is they change the lyrics of the second chorus, or on the second chorus they add 2 more bars with additional lyrics. It's an underrated way to make a song feel like it has progressed between part 1 and 2.
This one of my top favorite topics you covered so far Rick! And that says a lot as I have watched almost all your videos. Thank you for sharing your knowledge and love of music.
Carry On My Wayward Son is a good candidate, you don't expect the rocking riff after hearing the chorus acapella. Also, I love it when they switch to a different beat in the middle of the song in hip hop, like A Million and One Questions by Jay-Z.
From my recent album recording experience, one idea really knocked my socks off - it's the silence, where the song is 'supposed to end', and then comeback with dynamic change and solo. Bold as Love is a good example of that. Overall, I cannot emphasise how important it is to leave spaces, it does so many things - give a break for a listener to digest what was there before, increase feeling of space in a song and when the sound comes back, it always hits harder.
Very educational video Rick! I learned alot. Funny thing is when I play out I do alot of those things. Especially dynamics. I learned this in playing Bluegrass Music. You lay back on the guitar when people are soloing. 👍👍👏👏🎶🎶🎶🎶
My favorite change of style in a song is in Van Halen's "I'm the One" when they go from a nonstop onslaught of metal / punk / shred into a totally subdued doo-wop a cappella break for ~20 seconds then right back into frantic metal / punk / shred.
I was listening to I'm the One just yesterday, remembering how we were blown away and delighted by that doo-wop break as kids back in '78, and how it sounds just as fresh today. There are many reasons VH were overnight sensations, but that's a good example of their creativity and fun that nobody else had going on.
You are one of a kind!. The way you express what you feel about the songs connects perfectly with the audiance. And the most important thing for me is that I understand you though I'm not a fluent English speaker!
The mid section of 10cc’s “I’m Not In Love” comes to mind. Big Boys Don’t Cry… Al Stewart’s two big hits, “Year Of The Cat” and “Time Passages” also have some pleasent key and tempo changes. Dark Side Of The Moon is full of them, key changes and all. Of course both Al Stewart and Pink Floyd worked with the great Alan Parsons on these projects so he is definitely part of the genius equation. Nice use of Sarah, Rick! The “Possession” video was my intro to her and I became fairly obsessed for a few years. She’s yet another amazing artist I would love to see you do an analytical video of or an interview with.
I immediately thought of The Dark Side of the Moon as well. One track in particular is Time. Most notably the tape effects (alarm clocks) that introduce the track, the "heartbeat" played by Waters on his muted bass strings, the roto-toms Mason plays during the intro, the vocal harmonies between Gilmour, Wright, and the backup singers, I could go on lol.
Parsons is simply a Sonic Wizard. His fingerprints are all over the music which has shaped several generations. I can't imagine how my music or mixing would be without him 😎🎛
i love that rick posts all these videos of spotify top ten lists, and he turns out liking a lot of new music, although he calls the video a 'rant', but i stopped being the old man yelling 'get off my lawn you kids' when i turned fifty, five years ago, so i like new pop and dance and other music. there is actually a LOT Of really obscure and amazing trap music that is exquisite, from Rickyxsan to Ekali to TroiBoy and so on, that music is JUST as meticulous in its production as is any jazz or fusion song is in its note choices
I've been listening to Blinded by the Light again by Manfred Mann it still hits me like it did when I was a teenager in the 70s. So many surprises in one song especially when "chop sticks" is used as a transition. It's even more spectacular listening with good quality headphones.
The song you highlighted some time back, Never Going to Let You Go, by Sergio Mendes, truly fits in the category of constant change. Modulations all over the place and simply beautiful chord sequences. So glad you pointed that song out to me in your The Most COMPLEX Pop Song Ever Made video. Listen to it frequently.
The break in Owner of a Lonely Heart is definitely a surprise. Also, Band on the Run has an unusual three part structure. Skating Away on the Thin Ice of a New Day has a flute, an accordion, and a glockenspiel in it. Crosstown Traffic has a kazoo in it
I was thinking Band on the Run as well. Another Paul M song similar fashion is Uncle Albert. Sting has a version of “I’m So Happy that I Can’t Stop Crying” that has a very unusual rhythm/time- also a surprise change of key last verse.
I just love your videos Rick. You are the master of this type of breakdown on KRplus. I see many copy cats, but nobody comes even close to your level of knowledge, production, and charisma.
0:42 I just love that genuine love and excitment Rick feels even when he is listening to a song he has heard a million times before. Also, to have such a broad knowledge of music theory and production is one thing, but being able to perfectly air drum to anything is the cherry on top for me :p
New Order's bass standing out to drive the lead melody in so many of their songs... that was such a new, unexpected thing to hear. Some of the deeper tracks off Low-Life and Brotherhood cause goosebumps.
@@woz3018 kind of an extreme example but I'm stuck on San Francisco by I Hate Sex, if you can tolerate screamo lol. Instrumental like an old Modest Mouse but all nasty screams.
A song I've always loved for its change at the chorus is tegan and Sara's "the con" becuz it picks up & it always gives me goosebumps. Awesome keyboard accenting too.
The great Tony Rice once said in an interview (with Happy Trauma if I recall) that he tries to surprise the listener's ear with his soloing. I always thought that was a perfect explanation of his playing. Within the bluegrass genre there are some amazing players but Tony Rice always had a way of throwing in a random note here and there that made your ears perk up and head turn a little. It was what really made him special in my opinion.
You are absofreakinglutely amazing! Thank you for all you do. Life is better with a Rick Beato episode a day. Still catching up and re-watching some of my favorites.
Some other surprises I like: when a song suddenly jumps into a completely different style (ex, the end of Led Zeppelin's "The Ocean" when it goes into the 12/8 section - this song also has multiple switches between 4/4 and 7/8 and the sudden dynamic change with the vocal interlude); when a rock & roll song adds a phrase or more from a well known jazz standard or classical piece (ex, ELO's version of "Roll Over Beethoven" that includes a bit of Beethoven's 5th Symphony); when a song sounds like it's in an odd meter but is really just 4/4 (ex, the intro to Led Zeppelin's "The Rover"); when an artist does something in a totally surprising style - and they nail it (ex, Stevie Ray Vaughn's "Stang's Swang"). I also love it when there are little, subtle things that you don't really hear until you've listened to the song many times.
The most powerful thing about Sting's songs is that the verses are often bass/guitar lead and vocals, with no easily discernible chord structure, then BANG! a super-catchy chorus. "Fortress" is a perfect example of that, as are "Message in a Bottle" and "Walking on the Moon".
Great vid Rick! I would throw in virtually everything that Burt Bacharach wrote as part of this discussion, he's the master of surprise. A personal favourite of mine however, is Sting's 'Sister Moon' where the bridge goes off in a direction you don't see coming that makes the song breath and flourish-pure genius!
Breaks! Really underrated "surprise", but can sound great (maybe "sound" isn't the best word since it is actually silence), especially if they occur at unexpected places. It can be really cool when the whole orchestra or band stops at the same time and then restarts as one. I'm a huge fan of breaks (in music and at work and in life in general, lol).
The “Nothing is Real” melody from Strawberry Fields is genius in that the music echos/conveys the intent of the lyrics. It gives us a dreamlike psychedelic shift to go with the narrative. Lennon, the other genius in that band (who I can’t listen to for whatever ever reason).
One of my favorite changes is the subtle grammatical change that happens in Lyin' Eyes by Eagles. The song establishes a pattern of verses sung in third person (ex. SHE gets up and pours HERSELF a strong one) with the chorus in the second person (YOU can't hide YOUR lyin' eyes). Of course, one could also view the chorus as, poetically, being in the third person too. "You can't hide your lying eye's" could really just be a more poetic way of saying one can't hide one's lying eyes. But then, in the last verse, it suddenly changes to second person (YOU sure know how to arrange things). The emotional change in person reveals that the singer/narrator is not just an impartial observer, but a previous victim of her deceitful ways.
united in the grief made me cry the first time i listened to it, but i couldn't exactply point why. But this video made me realise how it incorpores the surprise aspect in a way i've never heard before i. It's just surprise after surprise, in the most overwhelming positive way. But at the same time i didn't enjoyed it as much after my first listening, like rewatching a show or a movie and knowing all the plot twists. It was a one time musical experience that i wish i could whipe my memory off so i could listen to it for the first time, again.
I always thought that Dido song "thank you" or whatever it's called had one of the most surprising turns. It goes from this really dark and gloomy start to this bright uplifting section right at the first chorus and it's a different song from then on. I don't love the song, but that's definitely a cool choice.
Another technique to mention - more applicable to longer songs and epics is to bring back an earlier theme but played differently (louder, slower, different instruments). Sometimes combining 2 or more earlier themes to show how they interact. It's amazing how the same notes can have a different meaning or emotional effect when played on a different instrument.
Dance on a Volcano being revisited during Los Endos, which actually revisits the whole of the album is simply amazing and makes "Trick of the tail" one of my favorite all time albums.
Man, it is so g-damn pleasant to watch your videos. Even for a long time beginner guitarrist, it's very well set up to be as comprehensible as possible. Awesome content! You're still gonna have soooooo many more followers, Rick!! Music is your thing, and you do this KRplus stuff almost as well as you do music, so please keep at it! Hugs from Brazil!
I've been a professional musician and singer for 55 years and I learnt a lot from this video. Some things are just taken for granted, yet your explanation made a heck of a difference. Thank you!
One of the simplest devices yet very effective: sudden unexpected silence that leaves you hanging at the edge of your seat (massive tension, delayed resolution). Someone once said Metallica's 'Sad but true' contains the heaviest bar of silence ever recorded..haha. Also related would be a big change in texture /orchestration in a section of a song, like having a verse that's only drums or drums and bass underneath the vocals (suddenly dropping out all the guitars, pads etc)
I remember listening to The Look by Roxette for the first time. About 3 minutes in the song suddenly stops and you're like wtf - only for it to commence a couple of seconds later into something even more intense. Excellent stuff.
I really love the beginning of "Lessons in love" from Level 42. Those almost dark chords followed by the rather happy chord progression. Another kind of surprise are completely silent parts that just stay for 1/4 note or so.
You just summarized the most of details I always loved about music and wasn't able to put down in words. I remember how it was when I first listened to Progressive Metal. Everything changed. Thank you for this list, awesome work!
Great video. You open my mind to new creativity. Also loved the odd time signature video. More like this please. Listening and playing to Thom Yorke a lot now - a master of enigmatic lyrics. Enjoying Suspirum with the line “this is the waltz thinking about our bodies”
YES! ThunderCat! Rick you need to do an interview with ThunderCat or analyze some of his music. I would really love to hear you pick your brain on his music. It’s so chaotic at times, super funky, and beautiful. It also feels like he doesn’t think twice about any of it as if he’s not putting that much into it. He just blows me away.
@@GVike I know, this is the reason why I choose this song. I like the opening chord, the Bridge (when i´m home...) and the solo part played on the cembalo by George Martin.
In 63 years of music lessons, learning, listening, practicing, playing and performing, this has got to be the most impressive nine minutes of music education I've have ever had the joy to soak up. My Eternal gratitude. Rick is a teaching, musical education and appreciation genius. May millions enrich him by buying his excellent music learning materials. In 20 years when music academics wonder why music suddenly become richer and more amazing someone will have to point them in the right direction to appreciate Rick's exceptional work.
One of the best videos ever in a never ending topic. We could be talking about fantastic surprises all day here. And if there’s someone who never fails to surprise me, it’s definitely Rick!
This is a great example of someone finding a unique niche, then using it to be successful. (I'd consider you to be very successful, Rick!) You have this broad musical knowledge, excellent technical playing skills, and you like to analyze things, so you've put the things together to create your own niche, where you talk about "What makes this song good?" Or "What makes this song unique?" Or whatever. Then you can make videos or do live performances where you get to point out these things to people, maybe play a little to show off your mad playing skills, and even take questions from the audience. You are good at putting it all together, and you're a natural performer. Good job, Rick! You could also teach people how to be successful in life, by simply figuring out their skills and capitalizing on them in some way. It's not a bad set of skills to have! You have certainly made it work for you! Keep it up! (I subscribed a looooong time ago!). 👍 Think about that, Rick. You might even get another book out of that idea.
I remember when you interviewed Brian May and he talked about the fact that old rock had secrets that made songs intriguing and durable. A good companion to this might be Top Songs with lyrics that have multiple interpretations or that we don't fully understand that make them intriguing.
Lyrics that leave you wondering can grab your attention and inspire curiosity! But sometimes a song that is crystal clear in its message can also really resonate with people. One time I saw Bonnie Raitt in concert at an outdoor venue, people are going to concessions or the bar, you hear conversations going on, even during some of the songs, not surprising given that thousands of people were there. But when she started on I Can't Make You Love Me every conversation stopped and you could have heard a pin drop. You can hear such pain in her voice that everyone can relate to. That's powerful respect to an artist there.
@@nathangreer8219 Actually the ending guitar solo on HC should be in the recent thread about best guitar solos because it's right up there with the very best!
![‘최악'이라는 말로는 담을 수 없는.. 78년생들의 지독한 야유회 (feat. 배성재, 매직박, 슈카월드) [라면꼰대5] EP.22](http://i.ytimg.com/vi/xPeUXL6v8ns/mqdefault.jpg)
I have cancer and on my bucket list is to be a musician. You and your channel are my inspiration every day. What a surprise.
I hope you fully recover...what genre of music do you want to play?
Wanna have a couple of guitar lesson?
Thank you for the comments. It means a lot to be part of a community. I am learning the steel guitar. I play piano and sing. I like country music. I have thyroid cancer that is no longer operable. Yuck.
@@antonylinteau3408 Could you give me advice about writing songs?
@@bryanhaynes5421 ohh man hope music provides you relief …
Bohemian Rhapsody is full of flat-out startling changes.
That's what a Rhapsody is. Different pieces all put together into one piece.
Bohemian Rhapsody - obvious example of time changes, melodic variations and stylistic shifts all in one song. Rick you Rock.
Another one would be Paranoid Android
And enigmatic metaphors as well :P
Pink Floyd's “Money” is a perfect example of unusual measures. The song's bouncy bassline leads the band on a great 7/4 time signature that gives “Money” an unmistakable swagger, and a great jazzy feel.
@@hom2fu
Then it surprises you again when it changes to 4/4 time.
Live and let die
I NEVER thought we'd hear Kendrick Lamar on the channel. I'd love to hear you demonstrate how rap doesn't have to mean a 2 chord loop
Living on a prayer key change is the most impressive and memorable. Dudes knew their theory. You can disagree, but you'd be wrong.
@@NeesyPlaysGuitar Irrelevant
Nothing wrong with a 2 cord loop if it’s got the vibe
@@rorykoehler9018 thank you
@@rorykoehler9018 if it's the only thing used in literally thousands of songs, then it's a problem.
Not a lot of people do such videos these days, YT has changed now. Rick, your appreciation towards artistry and craftmanship helps a lot in understanding music in its actual form.
Peace
Thank you 🙏🏻
@@gazzzza what's up with that ironic laugh?
Wow Rick responded!!!
@@Cestariarts some internet wierdo
true
John Lennon, Rush and Kendrick Lamar in the same list is a surprise too, but a welcome one
I’ll continue watching Rick’s career with great interest.
thank you, Chancellor ;D
Gentle Giant were masters of jumping from one musical theme to another seamlessly, including full arrangement changes, and in a manner that made sense, once one got the hang of it.
I guess "In a Glass House" has almost all of these surprise elements combined. A lot of changes in time signature, keys, tempo, instrumentation, and also great metaphors... and all that flows just naturally. Such a great underrated band!
I like how he was incorporating these principles in the editing of the video. Hard cuts, flipped images, comedic cuts right as the song was about to give a payoff in the phrase, changing voice dynamics and then surprising us back in (the subscribe portion). The efforts are noticed and appreciated my friend.
Rick, teaching music and the love of music is your true calling in life. What you have created on this channel is beautiful.
And he was a track star too!
Hear, hear! 🍻
And now he’s rich and wealthy
He's especially amazing for doing this so well when he's not earning any money from these types of videos. Every single one of them get demonitized like 12 times even though it's definitely fair use.
We love you Rick.
True that
Excellent choice using Spirit of Radio. That song uses almost every item in your list!
Bingo!
And the lyric is all about experiencing music, via radio, which used to be a looser, more surprising medium.
True! I was thinking of this song for genre change where it suddenly has a reggae verse.
Facts.
@@brians7749 Funny, Tom Sawyer is one of the few songs Peart didn't write, at least not by himself. He got the idea from a poem written by a member of the band Max Webster, who were close friends with Rush.
basically any rush song as well lol
The Beatles had lots of musical surprises from 'that chord' that begins a Hard days night, the use of sitar, the many tape loops and weird effects on Sgt. Peppers, the baseline on Come together and much of Ringo's inventive drumming. In fact they must be the most surprising group of all time!
Overrated
@@11-inch that must be why they're Rick's favorite band!
@@11-inch You obviously didn't live through the 60s
@@11-inch Listen to Strawberry Fields Forever. The subtle but unintentional key change is one of the greatest surprises.
@@11-inch damned and dismissed with a word - and that’s not the intended target.
All of these are reasons why Between the Buried and Me are such an incredible band - they incorporate so many of these musical surprises into their songs, and they do it so naturally. One minute you're listening to high octane metal, then whirls into a few bars of jangly ragtime, a nylon-string acoustic classical section, then more metal...
There is no one else that can break music down so technically yet make it so simple and understandable that ANYONE who looks at your videos walks away feeling like they have a new understanding and appreciation for they own inherent love of music.... there is always an "AHA" moment in every video you do... damn, I wish I was your neighbour... I would be the peskiest student!
When it comes to changes in tempo we cannot ignore Dexy’s Midnight Runners - Come on Eileen 👌
I've always thought that Strawberry Fields was one of the most unusual and greatest songs ever written. It's nice to finally hear someone talk about it. Of course it would be Rick.
I think that Lennon was in the middlebof an Acids trip when he put all these fantastic chords in place
The key changes in Stevie's songs are so tasteful.
#6 is such an overlooked thing in music, even changes vocal technique or orchestration in a single phrase can make such a huge impact.
Also glad to see Kendrick on here. The man is a genius and he see's genius (like Miles Davis did in his Second Great Quintet).
I wonder how much of Kendrick is Kendrick though? He's not playing the instruments and he's not "writing" what they have to play.
@@jont4638 his in house producers have said repeatedly in interviews that he gives most of the ideas for his productions by curating samples, melodies and chord changes, sometimes in an MJ like fashion. He's an avid fan of most music, from jazz to different forms of EDM
Here's one that I'll call the "repurposed riff". In Supertramp's Crime of the Century, the track goes silent at about 2 minutes, then a repeated piano riff starts up. Since it's coming in from silence, the listener hears the first note as the first beat of the bar. It repeats a few times, and then a drum beat pops in and reveals that the piano had started at the *2nd beat* of the bar. It completely redefines the piano element, turning it from a homely little chant to a plaintive refrain in a newly funky arrangement. It's a wonderful surprise!
Great observation and description!🎵
That part gives me the chills every time!
Like when the bass comes in on "From Now On" in the second half of the song too :D
It was spine-tingling to see Crime of the Century live with the rear-projected prison bars growing from a distant dot in space to completely fill the screen over a couple of minutes. (this was pretty damn cool in 1976!🤣)
The beat from the intro track on Muse's Absolution gets crazy turned around when the band comes in on Apocalypse Please
Just love the way Rick's head and hand movements and his facial expressions show his love of the joy of musical invention and mastery.
Those moves on Rush song are sooo funny!
What it tells me is that there are ultimately no limits on how we can use the musical devices to express ourselves. We can play with everything. Great video, thank you!
Excellent video Rick!! I am missing one that surprises me the most: the song starts with one instrument only, performing a kind of loop that makes you feel the downbeat and the upbeat are on certain positions and then, when the band gets in, you noticed that the accents are absolutely NOT where you were thinking...
Glad you mentioned it. There are songs like that...even in contemporary pop
Pretty Poison by 12 Stones is one of my favorite examples of this.
Exhibit A: Since You're Gone by the Cars.
1979, Smashing Pumpkins
U2 - Twilight is a great example
I'd want to add "Roundabout" by Yes as another great example of surprises throughout the song. Sublime, and it never gets old.
Yup, absolutely fabulous tune.
Love that one!
Well, any Yes tune could fit here really
A rhapsody
That's kind of the MO of 70's prog rock, with it's borrowing of different genres of musical styles. Traffic's "Low Spark of High Heeled Boys" is also a great example.
In the song 'I'm Your Captain Closer to Home' (Grand Funk Railroad), it goes from a smooth pop song to a section with waves and beautiful boat alarm noises. Definitely my pick.
'Supper's Ready' by Genesis ( from the Foxtrot 1972 album ) is full of great changes, style, tempo, etc...
Paul Simon's "Still Crazy After All These Years" features a musical change that I had never seen before, or after. It modulates/changes keys DURING the verse.
The last verse starts in G and ends in A.
That part of the Sting interview definitely stuck with me. Adding surprise to a song is so much more constructive than telling the client/bandmate that their song is cliche. So glad to see you expand on that thread.
Yes, it seems in writing we often forget and keep striving for the opposite: steady grooves, hook lines, etc
When Rick talked about changing style, I immediately thought of Lookin Out My Back Door by CCR. The transition from full time to half time swing right at the end of the song is one of my favorites.
Nice.
Midnight special is another example of CCR. Begins with a rubato-ish ballad, then shuffle chorus and then becomes straight 4/4.
I love love LOVE the inclusion of Sarah Mclachlan's head-voice harmony in the chorus of Possession. It's easily one of my favorite bits of vocal harmony that I can even think of, and it made me feel like I'm not crazy. When she performs the song solo, that harmony isn't in there, which bums me out, because that bit of harmony is the "eye of the duck" for that track, IMO.
In fact it's an amazing example of "Eye of the Duck" in music really.
OMG how very true. I still listen to just that part every so often. Just chillingly gorgeous.
Picking this up in the Sting interview. This is something about his music that has fascinated me. This IS music for me. So cool to see you explore this, as a huge validation for my taste and composition.
Zeppelin's 'Since I've Been Loving You' has a few great surprises. What starts off sounding like a standard minor blues goes to some interesting places in the turnaround of each 'verse'. And then the introduction of the C7 in the last verse and the move to the Ab on the last turnaround. Just magical.
Not to mention the incredible dynamics. Which I should have mentioned!
Agreed! The hook of that song is one of the best in music history!
And the constant "erk erk...erk erk..." from Bonham's bass drum pedal because someone couldn't bother their arse spending a couple of quid on a can of 3-in-1 oil...
Probably my favorite Zep tune!
Listen real close at the beginning. It's so quite you can hear the base pedal squeak. Something that particular pedal is known for too.
Yes, and "Fool in the Rain" is another example with the breakout samba in the middle.
Another classic example of changing styles is Bohemian Rhapsody. Rock ballad, opera, hard rock, acapella section all in one.
Celestial voices, best chord progression ever written.. absolutely beautiful
My first video of yours I’ve ever watched and I’m so completely impressed. Your range of examples is incredible. You don’t try overshadowing the greats but pay homage. I love it!
One of the great things about "Spirit of Radio" is how Alex does a call back to his intro "chaotic" playing on the outro of the song. Pure genius.
Rick's hand motions and finger-pointing while listening to songs is what I'm here for... also this video is a perfect example of Rick sharing his genius to make the rest of us smile
Surprise is everything. Keeps the listener from getting bored and walking away. The greatest surprise is coming up with the most beautiful and original melody. Everything else is just layers. Great job as always Mr. Beato. Love how you break everything down…
Sting is a genius when writing music. In his recent album, the song 'Rushing water,' he sings with a inverted 6th harmony in the verse, then uses the raised 3rd in the chorus. (inverted 6th = the main vocal and the lowered harmony a 3rd interval spaced)
I admire Sting’s surprises and see him as a genius as well, as heard in the song you mentioned. My one wish on “Rushing Water” is this: I wish it was “about something.” Nearly every other song in his vast library is about “something.” This one is one of his (or maybe his only) “nothing songs.”
Talk Talk was good at coming up with surprises, which made them a lot more interesting than many of their 80's "synth pop" peers. They used key changes frequently, as well as changes in dynamics, tempo, and effects.
Yes, they already were very creative when they still did synth pop! Their evolution into pioneers of post rock with their last two albums is a whole new level of surprise in the world of music of course
I wonder if Rick has heard “Spirit of Eden”. Bloody great album.
I have wondered if Rick is even familiar with them -- it would seem to be a band more than worth covering -- in a class by themselves.
They were so brilliant and innovative, but also so listenable.
Agree, one of my all time favourite bands and I was born after they stopped recording. Hope they keep getting the recognition they deserve.
It's less of an early-song change, but one thing I love when songs do is they change the lyrics of the second chorus, or on the second chorus they add 2 more bars with additional lyrics. It's an underrated way to make a song feel like it has progressed between part 1 and 2.
Loved hearing these songs again - this time focusing on what actually happens with the chord changes. You're a great teacher!!
This one of my top favorite topics you covered so far Rick! And that says a lot as I have watched almost all your videos. Thank you for sharing your knowledge and love of music.
Carry On My Wayward Son is a good candidate, you don't expect the rocking riff after hearing the chorus acapella. Also, I love it when they switch to a different beat in the middle of the song in hip hop, like A Million and One Questions by Jay-Z.
Good shout, such a tune
From my recent album recording experience, one idea really knocked my socks off - it's the silence, where the song is 'supposed to end', and then comeback with dynamic change and solo. Bold as Love is a good example of that. Overall, I cannot emphasise how important it is to leave spaces, it does so many things - give a break for a listener to digest what was there before, increase feeling of space in a song and when the sound comes back, it always hits harder.
Brian May made a sage comment about not learning new things to play but learning what not to play.
My college band did this a lot.
The stops as well as the room to breathe are as important as any notes you may play.
Status Quo used this to great effect
Keep that in mind next time you listen to David Gilmour's guitar playing. Leaving space for the music to breathe.
Glad you mentioned Kendrick Lamar's song. It still amazes me that such a dynamic song is the opener of a mainstream hip-hop album. Totally genius
Very educational video Rick! I learned alot. Funny thing is when I play out I do alot of those things. Especially dynamics. I learned this in playing Bluegrass Music. You lay back on the guitar when people are soloing. 👍👍👏👏🎶🎶🎶🎶
My favorite change of style in a song is in Van Halen's "I'm the One" when they go from a nonstop onslaught of metal / punk / shred into a totally subdued doo-wop a cappella break for ~20 seconds then right back into frantic metal / punk / shred.
I was listening to I'm the One just yesterday, remembering how we were blown away and delighted by that doo-wop break as kids back in '78, and how it sounds just as fresh today. There are many reasons VH were overnight sensations, but that's a good example of their creativity and fun that nobody else had going on.
Rick, you are a brilliant teacher and this video perfectly demonstrates the need for examples when teaching musical ideas! Thank you🙏
& this is just a brief synopsis of what's out there.
You are one of a kind!.
The way you express what you feel about the songs connects perfectly with the audiance. And the most important thing for me is that I understand you though I'm not a fluent English speaker!
It's far beyond just a love of music, it's a love of people and of Life Itself that leaps off a Rick Beato video. Priceless. Deep Gratitude.
The mid section of 10cc’s “I’m Not In Love” comes to mind. Big Boys Don’t Cry…
Al Stewart’s two big hits, “Year Of The Cat” and “Time Passages” also have some pleasent key and tempo changes.
Dark Side Of The Moon is full of them, key changes and all. Of course both Al Stewart and Pink Floyd worked with the great Alan Parsons on these projects so he is definitely part of the genius equation.
Nice use of Sarah, Rick! The “Possession” video was my intro to her and I became fairly obsessed for a few years. She’s yet another amazing artist I would love to see you do an analytical video of or an interview with.
10cc's "Clockwork Creep" loaded with surprises too
I immediately thought of The Dark Side of the Moon as well. One track in particular is Time. Most notably the tape effects (alarm clocks) that introduce the track, the "heartbeat" played by Waters on his muted bass strings, the roto-toms Mason plays during the intro, the vocal harmonies between Gilmour, Wright, and the backup singers, I could go on lol.
10cc were masters of all of these mentioned surprises
"Time Passages" is such a sweet song with great dynamics... it's an entire journey.
Parsons is simply a Sonic Wizard. His fingerprints are all over the music which has shaped several generations. I can't imagine how my music or mixing would be without him 😎🎛
I never thought I'd see Rick talk about the chord structure of a Kendrick song, but he fits here.
i love that rick posts all these videos of spotify top ten lists, and he turns out liking a lot of new music, although he calls the video a 'rant', but i stopped being the old man yelling 'get off my lawn you kids' when i turned fifty, five years ago, so i like new pop and dance and other music. there is actually a LOT Of really obscure and amazing trap music that is exquisite, from Rickyxsan to Ekali to TroiBoy and so on, that music is JUST as meticulous in its production as is any jazz or fusion song is in its note choices
Love what you do to help us see the spectrum with a wonderful flow of clarity from your being, what a joy you have. Cheers
I've been listening to Blinded by the Light again by Manfred Mann it still hits me like it did when I was a teenager in the 70s. So many surprises in one song especially when "chop sticks" is used as a transition. It's even more spectacular listening with good quality headphones.
MM's version is good but The Boss's original beats it, IMO.
Fuck Bruce’s version is way fuckin better
I like the lyrics 'wrapped up like a douche' Surprised the out of me
Springsteen ‘s only number one song…..by Manfred Mann
The song you highlighted some time back, Never Going to Let You Go, by Sergio Mendes, truly fits in the category of constant change. Modulations all over the place and simply beautiful chord sequences. So glad you pointed that song out to me in your The Most COMPLEX Pop Song Ever Made video. Listen to it frequently.
The break in Owner of a Lonely Heart is definitely a surprise. Also, Band on the Run has an unusual three part structure. Skating Away on the Thin Ice of a New Day has a flute, an accordion, and a glockenspiel in it. Crosstown Traffic has a kazoo in it
I was thinking Band on the Run as well. Another Paul M song similar fashion is Uncle Albert. Sting has a version of “I’m So Happy that I Can’t Stop Crying” that has a very unusual rhythm/time- also a surprise change of key last verse.
For me, the best part Owner of a Lonely Heart break is the rise to get back to the main progression.
Even My Sharona had a surprising break in it.
@@marctheriault Agreed
seems like a good place to mention David Essex - "Rock On" which is almost nothing but vocal and electric bass, save a short orchestral break
Zappa is just smirking in heaven. Every chord and beat from his catalouge was a surprise.
I just love your videos Rick. You are the master of this type of breakdown on KRplus. I see many copy cats, but nobody comes even close to your level of knowledge, production, and charisma.
0:42 I just love that genuine love and excitment Rick feels even when he is listening to a song he has heard a million times before. Also, to have such a broad knowledge of music theory and production is one thing, but being able to perfectly air drum to anything is the cherry on top for me :p
New Order's bass standing out to drive the lead melody in so many of their songs... that was such a new, unexpected thing to hear. Some of the deeper tracks off Low-Life and Brotherhood cause goosebumps.
I've always thought of contrast as being the key to great music. You're calling it surprise and highlighting many ways to do so perfectly.
All of these are some of my favorite songs too lol fantastic examples
right! Like harsh vocals/smooth instrumental and vice versa
@@woz3018 kind of an extreme example but I'm stuck on San Francisco by I Hate Sex, if you can tolerate screamo lol. Instrumental like an old Modest Mouse but all nasty screams.
A song I've always loved for its change at the chorus is tegan and Sara's "the con" becuz it picks up & it always gives me goosebumps. Awesome keyboard accenting too.
My personal favorite twist has to be the change of style in "(Don't Fear) The Reaper" by Blue Oysters Cult.
One of the greatest rock songs in history. Nothing has ever sounded remotely close to it.
More cowbell?
More COWBELL?
Amazing example
I got a fever and the only prescription is more Cowbell!!!
We've lost so much since the Loudness Wars started Dynamics used to play a much larger role in the art of music.
The great Tony Rice once said in an interview (with Happy Trauma if I recall) that he tries to surprise the listener's ear with his soloing. I always thought that was a perfect explanation of his playing. Within the bluegrass genre there are some amazing players but Tony Rice always had a way of throwing in a random note here and there that made your ears perk up and head turn a little. It was what really made him special in my opinion.
You are absofreakinglutely amazing! Thank you for all you do. Life is better with a Rick Beato episode a day. Still catching up and re-watching some of my favorites.
Some other surprises I like: when a song suddenly jumps into a completely different style (ex, the end of Led Zeppelin's "The Ocean" when it goes into the 12/8 section - this song also has multiple switches between 4/4 and 7/8 and the sudden dynamic change with the vocal interlude); when a rock & roll song adds a phrase or more from a well known jazz standard or classical piece (ex, ELO's version of "Roll Over Beethoven" that includes a bit of Beethoven's 5th Symphony); when a song sounds like it's in an odd meter but is really just 4/4 (ex, the intro to Led Zeppelin's "The Rover"); when an artist does something in a totally surprising style - and they nail it (ex, Stevie Ray Vaughn's "Stang's Swang"). I also love it when there are little, subtle things that you don't really hear until you've listened to the song many times.
In the 2112 Overture by Rush, they suddenly quote *that* phrase from Tchaikovsky's 1812 Overture. Got to love that!
Paul McCartney - Uncle Albert/Admiral Halsey
the reggae section in spirit of the radio used to trick me into thinking it was a new song
Speaking of Sting, a great example is If I Built This Fortress. What a beautiful, odd walk up to the chorus.
The most powerful thing about Sting's songs is that the verses are often bass/guitar lead and vocals, with no easily discernible chord structure, then BANG! a super-catchy chorus. "Fortress" is a perfect example of that, as are "Message in a Bottle" and "Walking on the Moon".
"Fortress Around Your Heart"
I do recall Sting wanted to explore something more jazz when he started solo...
@@GVike makes sense - there's a jazzy feel to several of the songs on that first solo album.
Great vid Rick! I would throw in virtually everything that Burt Bacharach wrote as part of this discussion, he's the master of surprise. A personal favourite of mine however, is Sting's 'Sister Moon' where the bridge goes off in a direction you don't see coming that makes the song breath and flourish-pure genius!
Paul’s « Live & let die » there are 4 songs in one. Every changes you describe here on your video is in that one song. Masterpiece
Breaks! Really underrated "surprise", but can sound great (maybe "sound" isn't the best word since it is actually silence), especially if they occur at unexpected places. It can be really cool when the whole orchestra or band stops at the same time and then restarts as one. I'm a huge fan of breaks (in music and at work and in life in general, lol).
The “Nothing is Real” melody from Strawberry Fields is genius in that the music echos/conveys the intent of the lyrics. It gives us a dreamlike psychedelic shift to go with the narrative.
Lennon, the other genius in that band (who I can’t listen to for whatever ever reason).
One of my favorite changes is the subtle grammatical change that happens in Lyin' Eyes by Eagles. The song establishes a pattern of verses sung in third person (ex. SHE gets up and pours HERSELF a strong one) with the chorus in the second person (YOU can't hide YOUR lyin' eyes). Of course, one could also view the chorus as, poetically, being in the third person too. "You can't hide your lying eye's" could really just be a more poetic way of saying one can't hide one's lying eyes.
But then, in the last verse, it suddenly changes to second person (YOU sure know how to arrange things). The emotional change in person reveals that the singer/narrator is not just an impartial observer, but a previous victim of her deceitful ways.
Thank you. One of my all time favourite songs and lyrics!
united in the grief made me cry the first time i listened to it, but i couldn't exactply point why. But this video made me realise how it incorpores the surprise aspect in a way i've never heard before i. It's just surprise after surprise, in the most overwhelming positive way. But at the same time i didn't enjoyed it as much after my first listening, like rewatching a show or a movie and knowing all the plot twists. It was a one time musical experience that i wish i could whipe my memory off so i could listen to it for the first time, again.
I always thought that Dido song "thank you" or whatever it's called had one of the most surprising turns. It goes from this really dark and gloomy start to this bright uplifting section right at the first chorus and it's a different song from then on. I don't love the song, but that's definitely a cool choice.
Another technique to mention - more applicable to longer songs and epics is to bring back an earlier theme but played differently (louder, slower, different instruments). Sometimes combining 2 or more earlier themes to show how they interact. It's amazing how the same notes can have a different meaning or emotional effect when played on a different instrument.
Dance on a Volcano being revisited during Los Endos, which actually revisits the whole of the album is simply amazing and makes "Trick of the tail" one of my favorite all time albums.
That's called variation
blackstar!!
That idea appear on both Tommy and Quadrophenia by The Who. There's like a riff in some songs. As well with The Wall.
Neal Morse Band does this over and over, all over the place on Similitude of a Dream, and the followup The Great Adventure
Man, it is so g-damn pleasant to watch your videos. Even for a long time beginner guitarrist, it's very well set up to be as comprehensible as possible. Awesome content! You're still gonna have soooooo many more followers, Rick!! Music is your thing, and you do this KRplus stuff almost as well as you do music, so please keep at it! Hugs from Brazil!
Great video Rick!
Always insightful in your breakdowns on how the ingredients come together to make music happen.
I've been a professional musician and singer for 55 years and I learnt a lot from this video. Some things are just taken for granted, yet your explanation made a heck of a difference. Thank you!
One of the simplest devices yet very effective: sudden unexpected silence that leaves you hanging at the edge of your seat (massive tension, delayed resolution). Someone once said Metallica's 'Sad but true' contains the heaviest bar of silence ever recorded..haha. Also related would be a big change in texture /orchestration in a section of a song, like having a verse that's only drums or drums and bass underneath the vocals (suddenly dropping out all the guitars, pads etc)
Or REM's "Everybody Hurts" - and they even give the rest an extra beat to heighten the effect.
I really like the silence that lets the reverb resonate in Good Vibrations, between the second episode and the retro-refrain
“This is America” by Donald Glover.
I remember listening to The Look by Roxette for the first time. About 3 minutes in the song suddenly stops and you're like wtf - only for it to commence a couple of seconds later into something even more intense. Excellent stuff.
SRV - Couldn't Stand the Weather is the most clever example of this as you have different count in every silence
I’ve always loved Amen Corner by Opeth, the way the first two minutes changes up seamlessly to the point the track really starts motoring.
I really love the beginning of "Lessons in love" from Level 42. Those almost dark chords followed by the rather happy chord progression. Another kind of surprise are completely silent parts that just stay for 1/4 note or so.
You just summarized the most of details I always loved about music and wasn't able to put down in words. I remember how it was when I first listened to Progressive Metal. Everything changed. Thank you for this list, awesome work!
One of my favs you've done. Listening before it becomes demonetized. 😀
Great video. You open my mind to new creativity. Also loved the odd time signature video. More like this please. Listening and playing to Thom Yorke a lot now - a master of enigmatic lyrics. Enjoying Suspirum with the line “this is the waltz thinking about our bodies”
I like the sudden pause when everything stops for just a beat or measure. I can't think of an example right now. Love your Your Tube channel!!!!!
The element of surprise can make a good song great.
YES! ThunderCat! Rick you need to do an interview with ThunderCat or analyze some of his music. I would really love to hear you pick your brain on his music. It’s so chaotic at times, super funky, and beautiful. It also feels like he doesn’t think twice about any of it as if he’s not putting that much into it. He just blows me away.
There's not a more amazing example of using key changes to create surprise than After the Love Has Gone (EW&F). A MASTERPIECE!
he did a video on that song last year I think
It’s the positive attitude. I really appreciate the positive outlook!
The opening chord of a Hard days night is one of my favorites.
That took forever for people to figure out... turns out even George Martin played a part in it.
@@GVike I know, this is the reason why I choose this song. I like the opening chord, the Bridge (when i´m home...) and the solo part played on the cembalo by George Martin.
I'm not a musician, but I nearly always learn something here. You help me be a better listener. 🙏
In 63 years of music lessons, learning, listening, practicing, playing and performing, this has got to be the most impressive nine minutes of music education I've have ever had the joy to soak up. My Eternal gratitude. Rick is a teaching, musical education and appreciation genius. May millions enrich him by buying his excellent music learning materials.
In 20 years when music academics wonder why music suddenly become richer and more amazing someone will have to point them in the right direction to appreciate Rick's exceptional work.
One of the best videos ever in a never ending topic. We could be talking about fantastic surprises all day here. And if there’s someone who never fails to surprise me, it’s definitely Rick!
This is a great example of someone finding a unique niche, then using it to be successful. (I'd consider you to be very successful, Rick!)
You have this broad musical knowledge, excellent technical playing skills, and you like to analyze things, so you've put the things together to create your own niche, where you talk about "What makes this song good?" Or "What makes this song unique?" Or whatever. Then you can make videos or do live performances where you get to point out these things to people, maybe play a little to show off your mad playing skills, and even take questions from the audience.
You are good at putting it all together, and you're a natural performer.
Good job, Rick!
You could also teach people how to be successful in life, by simply figuring out their skills and capitalizing on them in some way.
It's not a bad set of skills to have! You have certainly made it work for you! Keep it up!
(I subscribed a looooong time ago!). 👍
Think about that, Rick. You might even get another book out of that idea.
Jeff, maybe you should write that book!
I remember when you interviewed Brian May and he talked about the fact that old rock had secrets that made songs intriguing and durable. A good companion to this might be Top Songs with lyrics that have multiple interpretations or that we don't fully understand that make them intriguing.
Lyrics that leave you wondering can grab your attention and inspire curiosity! But sometimes a song that is crystal clear in its message can also really resonate with people. One time I saw Bonnie Raitt in concert at an outdoor venue, people are going to concessions or the bar, you hear conversations going on, even during some of the songs, not surprising given that thousands of people were there. But when she started on I Can't Make You Love Me every conversation stopped and you could have heard a pin drop. You can hear such pain in her voice that everyone can relate to. That's powerful respect to an artist there.
My votes: Hotel California, or perhaps "In the Air Tonight" Phil Collins. We talked about these endlessly in the 80's...
@@nathangreer8219 Actually the ending guitar solo on HC should be in the recent thread about best guitar solos because it's right up there with the very best!
@@nathangreer8219 I'm *still* thinking about "In the Air Tonight" and it's 2022.
like RUNNING UP THAT HILL 😉🎶
Marvin, Welch & Farrar mastered the adding vocal harmonizing. A Thousand Conversations, being a good example. Love it!!
Pure gold. Definitely a video to watch from time to time.
"A Day In The Life", one of my favorite songs uses most of these surprises. It changes keys, tempo, singers, and melody
I love the change /bridge in Karma Police. Also Portishead, The Rip has a pretty cool change in it as well.
1. sudden change in dynamics
2. modulation (change keys)
3. multiple changes in keys
4. sudden change in style
5. change time signature
6. change of vocal texture
7. borrowed chord
8. rhythmic unrest
9. change tempo
10. odd melodic shape
11. unusual sound
12. enigmatic metaphors
13. combining multiple surprises
Watching this video reminds me why I loved Pop Psych so much back in the late 60s. Now that music style was loaded with surprises.
!