Classical Musicians React: Baek Yerin (Ft. Car, the Garden) ‘I Don’t Know’

Classical Musicians React: Baek Yerin (Ft. Car, the Garden) ‘I Don’t Know’


Henry: Oh that was sooo cool, I feel like I just like shifted a dimension for that transition Umu: Now you’re acting to the solo artist-
Henry (from the beyond): Baek Yerin Umu: who used to be part of the girl group duo called 15&, which, Fiona you reacted to like two years-three years ago Fiona: Wow Umu: The song was originally released in 2017 on *YERIN’S SoundCloud so Car, The Garden is an artist featured on this track It got its official release on (H: Yerin’s) second solo album called “Our love is great” the lyrics explore the insecurities of a developing relationship She feels like she doesn’t know herself. So how can the other person ever truly know her this song is composed by Baek Yerin Car, the garden and guleum (cloud in korean) Nick: Dope. Stephen: All right, here we go
Seiji: this sounds deep Stephen: real stuff Seiji: Hmm All right Elizabeth: ooo I like the shaker Everything’s like slightly distorted a little bit. So as to sound old-timey Kevin: I like the beat a lot Isaac: This is so so so so so lo-fi hip-hop writing homework… studying… Kevin: looking at her cat… Elizabeth: She has a great voice
Owen: fantastic voice.
Elizabeth: whoa Owen: This is awesome.This is so super good. Stephen: Oh man that’s kind of cool cuz like Most ya know average listener probably won’t pick this up for like the *bass drum. It’s like skip it’s like delayed slightly Cloud: I have to say I really like the simplicity so far like you just felt like So nice Like open bass with some just like whole notes Cloud: and there’s the hits
Henry: yeah but there is a lot of this a couple of complex chords in the background, but they don’t have the focus it just Helps you vibe helps you vibe out Aron: Like do you hear that? Nick: Yeah,
Aron: it’s a heart. It’s a- Yeah, it’s the Harmony, that’s going over her voice. We’ve just got like a lot of major seconds in there. It sounds like or sevenths James: Mm-hmm. Very cool pitch manipulation Kevin: Wow, ooh a nice solo that’s classic Cloud: I love how like free and improv-y that sounds Kevin: That’s not lo-fi that’s not clear Owen: Did that sound out of tune to you or like microtonal the harmonies not that one the first was Elizabeth: That one?
Owen: yeah, it feels maybe it’s just Elizabeth: I think there’s like a tritone in there. So I think it’s a little crunchy It doesn’t sound microtonal to me Nick: This is unexpected Aron: They have a lot of like chromatic lower neighbor tones they kind of just sag a little bit and then come back up. We’re like, okay daniel: I feel like other voices are very close in register. I think this were so interesting Fiona: yeah they are She’s more like a conical sound and he’s more like a flat. She sounds like a French horn, he sounds like a trombone. Henry: That was so cool. I feel like I just like shifted a dimension for that transition That’s the only thing I can describe it.
Cloud:I feel like I’m swimming in honey right now. Henry: I feel like I just like had honey onto like Soft melted brie and just like folded it in and like you see the honey coming out on the Brie just like squishes. Oh That’s cool, that’s cool Oh, that’s very yeah. (Cloud: very thick) Yeah I meant for the transition but Henry: Okay, so
Cloud: I was like honey. It’s like a nice golden color Henry: cloud describes it as honey Which thinking honey made me remember this delicious treat I had a little last summer which was a Melted, brie or softened melted brie. Brie cheese with honey drizzled on top of hot, honey and Then like you would fold over the brie onto the honey and the honey would later oozee out from the size and anything the brie Would split and again on your spoon you put on a piece of bread and you eat it. It’s just like bwaaa So the reason why I I think it’s like brie cheese like what’s in the music is You stated this great cloud. There’s like it’s there’s a lot of simplicity as far as noise going on Cloud: thank you for giving me credit.
Henry: Yeah Henry: What do you say about the bass? Cloud: I love the bass is just like whole notes like they weren’t doing anything super fancy. Just like whole notes Henry: and they would ring out
Cloud: yeah they’d just let it rong. Cloud: there’s also the only instrument that wasn’t like Synthesized like you had like a full electric bass there versus the trumpet sound. that *sings line* dodododo like was very like a lot of them were transitioning and then even though the strings like that Look like that was pretty synthesized sounding so like having just such like a pure like electric bass sound I thought that was nice. Henry: The pitts came in at the section change, which is really interesting. Everything else. The base is like bum bum And then this you have I don’t forget the rhythm of it But it drives it a bit more at someone else singing his fallcetto is beautiful, by the way and then I love those upper harmonies that Get any sings Occasionally like she’ll put in something that it’s not just like an upper third I want to listen to it again and try to figure out what Cloud: and then they harmonize together There is like that that’s some honey right there.
Henry: That’s some brie with honey Owen: Like that that felt out of tune to me Elizabeth: I Think it’s just crunchy. I mean it could be that because they’re using like equal temperament in the like synthesized instruments It could just be that it’s not like just intonation So (right) it sounds like crunchy or to us cuz we always play with just intonation Yeah, so if you look at a piano Between the octave. There’s 12 different notes And each of those notes are exactly the same Distance apart when it comes to like wavelengths So every single half step in that chromatic scale is going to be the same distance from each other The problem is when you have a chord like a major chord Owen: Here is your major chord. (Yeah) C major chord right? And then if you were to go to just intonation Owen: See how the e Feels like it’s flat if your decision between them Elizabeth: So what you can hear in Equal temperament is there’s like kind of waves in the sound if you listen like really abstractly Like you can hear like this kind of happening in the sound whereas if it’s in Just it’s like it’s very perfectly stable. Yeah, super satisfied So like in an orchestra if we’re playing together Like the goal is to play with just intonation where everything sounds really stable and there’s no beats in the sound So like when I’m playing in a horn section, sometimes we’ll have to tune the chords so that they all sound perfectly together and Sometimes if you have like an equal temperament instrument like if you’re recording on a piano or in this song if they’re using like Synthesizers and they’re thinking about it in equal temperament something could sound out of tune but in fact it’s it’s just kind of the nature of equal temperament and Equal tempered instruments as opposed to like actually being out of tune. So that was kind of the debate we were having like is it out of tune of is it – *owen and her start speaking in sync* *continued discussion* yeah Seiji: yeah because they’re using a lot of color tones throughout it but it just seems like they’re not they’re not prepared and they’re not really resolved or They’re just I don’t know which one it is It’s just but I think what’s probably going on is that they ever try out going on in the pad and they have a bass line going on but the bass lines moving and in the chords moving and Then there’s a clash and then they resolve it. Stephen: I don’t know if it’s the thing though Well, no, I used to think like there’s definitely time for you can have dissing it and it sounds really cool. And lush but you just have to do it a certain way and sometimes if like if there’s certain intervals that are present, I feel like they With certain chord qualities, like don’t work as well to achieve that effect. Seiji: I think especially because Because it was it was going off of triads and seventh chords like cuz then diminish them you can use you can get away with more of that or if it was purely a tonal I could get away with a lot of that but The way it was set up with a bunch of major triads and suspended minor chords Then it doesn’t really you have to have to prepare it. (Yeah) Brianna: That was so nice.
James: So the the way the dissonance was approached. It’s like she set up the The chorus the melody if you will The beat very much stayed the same the whole time except the bridge, but the way the dissonance was approached It was very like under the radar sort of like oh, is there something wrong there? Like you can almost sort of hear it? It’s like very soft But as soon as you notice it It’s just boom gone the way like the the metaphor I’m seeing that as is like When you’re ending a new relationship with someone you both know like how it works You’ve been in one before, you know The protocol like honeymoon phase like yada yada yada you do the things to collect the dates you do all the stuff but as you’re meeting and getting to know this new person, you might like discover one thing where you’re like, oh, like you’ll have like a moment where like when you’re in like and Every day like you’re on like a date with them or whatever and you like ooh Yikes, or like you’ll have like a little moment You’re like oh shit like ooh, this was like something about my past, you know, like you’ll just have these like small moments. Really (Yikes), but then as soon as you realize that things just proceed on and just keep going and you figure it out but that was sort of what I saw the dissonance as Henry: BaKE UriNe