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Mancini and More - Behind the Score (Episode 12) (Patreon)

Published:
2022-02-02 20:55:07
Imported:
2026-06
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Videos

Content

Private Vimeo Link: https://vimeo.com/672969360/ec665cd554

In this edition of the Behind the Score series, I'm taking you through a few classic tracks by Henry Mancini. Along the way, we're discussing extended tertian (triadic) harmonies and how our approaches to consonance and dissonance is affected by these enigmatic chords. I hope you enjoy!

I've also received some feedback that some of these episodes are a bit advanced. So, I'll be sprinkling in some more introductory level videos in the coming months.

Files

Previews only

Mancini and More - Behind the Score - Episode 12

This is "Mancini and More - Behind the Score - Episode 12" by Doug Helvering on Vimeo, the home for high quality videos and the people who love them.

Comments

Dan Noyes

Boy, am I looking forward to this!!!! I advocate the idea that the TV Themes of the '50's and early '60's is some of the greatest music written - Nelson Riddle (The Untouchables), Henri Rene and Bob Russell (Wagon Train), Fred Steiner (Perry Mason) and many more. The feeling that the original versions convey is an American big band sound that simply does not exit anywhere else at any time... Although the Brits tried with their James Bond music in the early '60's - Thank you so much for this

JiriK

enjoyed the closing thoughts

doughelvering

Thanks to Arrow for alerting me to the fact that my notation audio wasn't coming through. I am re-uploading a new and improved video tonight.

Glen Tucker

Just watch the behind the score I really enjoyed it I enjoyed the music breakdown and I agree about the closing comments you made about you enjoy the math of the music and all of the connection with that I feel 100% the same way 🤙🤙🎸🎸 when I play music I see the chord name in my minds eye but play by colors so I really like the math of it helps with get back when go get lost lol

doughelvering

I have replaced the original video to fix some audio issues. Thanks.

FallingLeaf

That was great, really enjoyed that even if it did stretch my brain cells quite a bit, it's good they're getting some exercise. Lovely to see your joy and enthusiasm when you were talking about the chords and tertian extensions in the wine and roses piece. What a lovely piece of music. Megan's horn anecdote gave me quite a chuckle.

Peter Tutak

Thanks for the great lecture, Doug, and no need to apologize for being late on this episode. You have a hell of a lot going on. The stacked 7ths discussion was great, but analyzing the function of the B half dim with the E floating on it as extended third function, and then the following tritone substitution was just, I don't know...revelatory. (This stuff for me is, with apologies to Jon Anderson, 'the revealing science of God'.) I'm listening to that particular section for the *third* time through, and I'm actually (I think) finally understanding it (sitting at the piano at the same time, pausing, hammering it out, going back to the vid, etc). I love this stuff, and I appreciate the pains you take to shine light on it. Now I can take these devices and add them to my toolkit when I write, or at least better understand just what the hell I'm doing when I stumble into them unintentionally (i.e. working from chord 'shapes' in a passage rather than intentionally crafting the harmony from the inside out to achieve a particular result, like Mancini or Korngold or...). Wonderful lecture. Thanks again !

Steve Carroll

really well done, Doug. I liked the way you approached the jazz harmony stuff from a classical lens.

Douglas Graham

Thank you. It is amazing to hear all that is going on in relationships of notes and how that affects us as listeners. I’ve got about zero understanding of music theory, but you made this extremely complex aspect of music understandable to me. Looking forward to more theory.

Jeff Norman

That part in bars 21 and 22 of "Days of Wine and Roses" is so sweet! The chords themselves are cool enough but...the second two just repeat the first two, a whole step down! E, G, B-flat, D, and A in 21 turn to D, F, A-flat, C, and G in 22. Similarly, A, G, B natural, and C-sharp in 21 turn to G, F, A natural, and B natural in 22...with the added spice in 22 of an E on top... Lovely stuff!

Jeff Norman

"what the hell is that E doing there?" in bar 29 of DoW&R? I like your explanation but...couldn't it also be considered a 13th chord built on G but with B in the bass instead? A G chord would follow from the circle of fifths of the preceding chords (Am7 and Dm7)... (Of course a B half-dim 7 is the same notes as a G(dominant)9 with its root removed, so...)

Kathy Ratino

ELP does the Peter Gunn theme! It's absolutely fantastic.