WEBVTT
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Let's break down right in two by Tool.
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One of the greatest songs on Ten Thousand Days.
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Uh one of the best songs in their catalog.
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It's so epic.
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He's really saying a lot here.
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Maynard's saying a lot here.
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And uh one of the best Tool lyrics is is in this song, which we'll get to.
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And uh yeah, there's just so much to say.
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We'll start with Adam Jones and the main riff.
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Okay, so the song is an 11-4 time signature.
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And I love that it's in 11-4 because it's like it's like the best number that's like that you divide right in two, right?
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It has to do with the lyrics.
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I'm gonna use an acoustic guitar for this breakdown so we can really get to the bare bones of the song so you can see what's going on here.
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So the main riff goes like this.
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So a lot of the riffs in the song are like an extension of that or a variation of that.
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All the variations are centered around this chord progression, and this is the chord progression.
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It's D.
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It's in the key of D minor, like a lot of tool songs are.
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That's the deep and dark six chord, okay.
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That's uh B flat, okay.
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There's the four, a nice plane.
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I love the four, and then that's the seven, okay?
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So it's minor one to six to four to seven.
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Now here's what's going on here.
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Adam isn't just he's not just doing this.
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Right?
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He's adding the ninth.
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Watch.
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To the last three chords out of the four chords in the chord progression.
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Watch.
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That's just the perfect fifth, very holy, very grand interval.
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And then right there.
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So we're playing B flat, but up top he's playing a C.
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So the ninth sounds very celestial.
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It's it sounds beautiful.
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It's a beautiful color, okay?
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Same with the four chord, he's adding, he's playing a G, but he's adding an A on top.
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It's the major ninth.
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Beautiful color, look.
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That's nice because he's playing the root up top, but the root in this context with his chord is the major ninth as well.
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So he's adding these major ninths to each of these chords, and uh it really just adds to the vibe of the song.
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It makes it feel like very it makes the riff like just more legendary, man.
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It fits like the whole Eden vibe, right?
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They're plenty in this holy garden.
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One last thing I want to touch base on with the riff is uh That's the tool note right there.
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That's the minor second, the flat second.
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That is like, you know, 46 and 2.
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It's everywhere in tool songs, that's the minor second.
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I love how Adam adds it so gently in this rip.
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Woo! Beautiful.
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Okay, so then Maynard comes in.
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Oh, let's talk about Justin.
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So And then when Adam goes, and then Justin goes, he's doing harmonics on the bass, and then he's like and he's using a whammy pedal to go.
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And that's just an octave apart.
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And speaking of the major ninth, he's reaching up to the major ninth too.
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Right?
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That's the key of the song, that's D, and then same thing, just an octave apart.
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That's the major ninth.
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And that's the fifth.
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That's the fifth right there.
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So they're like, both Adam and Justin are both playing the major ninth and the perfect fifth in like in their own kind of way.
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They're like dancing with each other, right?
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It's beautiful.
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Real quick, just popping in to announce that the breakdown room is now live.
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It's my new private community that I'm super pumped about.
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I'm gonna be going live twice a month to do song breakdowns.
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I'll have exclusive tutorials and behind-the-scenes content that's only gonna be available inside the private community.
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Members can suggest songs, vote on songs, and they can also share their music with each other and give each other respectful and encouraging feedback on their songs.
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I'm super excited about this thing I'm working on, so definitely check it out.
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Hit the link below or just go to school.com slash dambaracuda.
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And school is spelled S K-O-O-L.
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So school.com slash Dambarracuda.
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I'll see you inside.
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Maynard comes in with Angels on the Sideline.
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Just outlining the minor scale.
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Puzzled and amused.
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Why did father give these humans free well?
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Now they're all confused.
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But it just flows so beautifully over the chords.
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Angels on the sideline.
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Puzzled and amused.
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Look at that.
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It's actually in the chord that he's playing.
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Why did Father give these humans free will?
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Love that.
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Free will.
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Singing the singing the root over the six free will.
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Now they're all confused.
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Now we get to like the next flow of Maynard's melody.
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Don't these talking monkeys?
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Love that minor six.
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He's singing that haunting note.
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Don't these talking monkeys know that Eden has enough to go around?
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Great line.
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Don't these talking monkeys know that Eden has enough to go around?
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I love the picture that he's painting here, like angels on the sideline, just observing these humans destroying each other, right?
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Angels on the sideline, puzzled and amused.
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Why did Father give these humans free will?
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Now they're all confused.
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Don't these talking monkeys know that Eden has enough to go around?
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Plenty in this holy garden, silly monkeys, where there's one, you're bound to divide it.
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Right into So he was ascending up the minor scale, right?
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He's like And then ends up in the octave.
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And he goes on the side.
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Right.
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Octave up.
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Right in two.
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He like made his way up the octave, right?
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So he's ascending, right?
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Telling a story, a melodic story in conjunction with the lyrics.
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So now we go to the B riff, and that's the I love the vibe of this riff.
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Like if you were listening really closely, he has like three guitars going on here.
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One is like slightly more distort, he's got like clean, it's all blended in.
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It's such a beautiful texture.
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I used to think it was.
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And then I was like, oh, he's doing this.
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But no, he's doing the minor third to the root back down to the minor third.
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That's the seven to the four.
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I love that.
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And this is also an 11 to 4.
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Boom, boom, boom, boom, boom.
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Boom, boom, boom, boom.
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Boom, boom, boom, grunk, grunk, gum.
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I love how they make it feel so natural, right?
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Angel, angel, angel is on the sideline.
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I love that.
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Like Adam does a variation.
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He doesn't just go back to going you know for the second verse, right?
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He adds these harmonics.
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Great, great touch.
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And Maynard does a little slight variation.
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He goes, Angels on the sideline.
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Beautiful.
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That's also the major ninth.
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Angels on my sideline.
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It's like very melancholic.
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It's great.
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Baffled and confused.
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Father, bless them all with reason, and this is what they choose.
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This is what they choose.
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Monkey kill, monkey, killing, monkey over pieces of the ground.
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Silly monkeys give them thumbs, they forge a blade.
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And when there's one, they're bound to divide it.
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Right into that.
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It's like insane what Justin's doing over this.
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Who would think to make their bass part that, right?
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And the texture of what he's doing.
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He's got like I think he has like tremolo and definitely like some delay and whatever else he has going on here.
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He always has like such a like a perfectly sculpted tone.
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And the part extends right into that note is crucial.
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He's like That's the first time we hear the major third.
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Now Maynard adds this sometimes in songs, right?
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Like in Vicarious.
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Vicarious Le I Levana.
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Or in the patient, when he goes, Bye now, the major third in the context of a minor key like really sticks out.
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Right in Danny answers.
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It's like stairway to heaven, right?
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Sugar dun dun dun.
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Monkey killing, monkey, killin, monkey, or pieces of the ground.
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It's so hard to sing and play the same time.
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Silly monkeys give them thumbs, they make a club to beat their brother down.
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And here comes one of the greatest lyrics.
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But listen to the variation that Adam's doing.
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Watch.
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How they survive so despite it is a mistake.
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And then he goes back to the main riff.
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Isn't that so nice?
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Like he's like combining the different variations, right?
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So he's like.
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Now that's so cool because he he's playing the minor second, like the tool note there, but before he went, and that's the major ninth.
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So it's like adding these different colors, like chromatic colors, right?
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We got the major ninth and the first leg, and then when he does the second leg, he does the my he ends with a minor ninth or the minor second.
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By the way, the ninth is just the second, but an octave up.
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So the major ninth is the major second, the minor ninth is the minor second.
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So one more time, it's like how they survive so misguided as a Mr.
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Rey.
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Look at Mr.
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Rey.
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Again, singing the major third there, the happy note, like the in the vicarious.
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Sounds like you're falling.
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Mr.
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Rey.
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Back to the main ref.
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And then one of the best tool lyrics.
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Repugnant is a creature who would squander the ability to lift in heaven conscious of his fleeting time here.
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God damn, Repugnant is a creature who would squander the ability to lift in night of heaven conscious of his fleeting time here.
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Like it's a gorgeously phrased and just like super well written.
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Like to me, it's like such a poetic way of saying it's disgusting for someone to not realize like how beautiful like their existence is and how like lucky they are to be here and everything.
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You know?
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Repugnant is a creature who would squander the ability.
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It's like deny like the miracle of their existence or something, right?
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Like squander the ability to lift an eye to heaven conscious of his fleeting time here.
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Like only here for a short while, squeeze the hell out of it, that kind of thing.
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But instead, we're so caught up in like me, me, me, my, mine, mine, mine, and taking everything and like just fighting for everything.
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Like, you gotta divide it all right in two, right?
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And just the phrasing of it, repugnant is a creature who would squander thee.
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He's always doing the same.
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He does the major third, the happy note again.
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Jumps down to the minor third.
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So he's he's singing the major third and the minor third and like the perfect fourth.
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Like all that chromaticism.
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He's hitting these like three notes like in the melody at different times.
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It's so beautiful.
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But again, it's so colorful over the chords.
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Like he's playing, he's singing the same notes.
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But it's all over different chords.
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Revoltant is a creature who would squander the ability to listen.
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They also do another magical thing here.
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They play another chord.
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New chord! F again, add nine.
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He's playing a G over this F, so But that's the first time they play this chord, and it's right during that magical line.
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Pugnant is a creature who would squander the ability to listen.
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Beautiful.
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And then divide.
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I love that note.
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He's like singing the major third of the four chord.
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But he's singing like the major six of D.
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So it's like Dorian, that's like the opening the door to Dorian right there.
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Major four chord.
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It sounds like relief.
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It sounds it sounds gorgeous.
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Like there's so much beauty there.
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Gotta divide it off It almost sounds like you're peering through like cobwebs, right?
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Like sun, like sunlight crashing through cobwebs.
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Again, same note.
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But he like meets Adam, right?
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Because Adam's doing this, and he's going.
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It's such a great moment, like when the vocal and the guitar, like he eventually meets the guitar right there.
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So the song is going along.
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Danny Carey does some incredible stuff with Tablo work and his pads.
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Justin's doing his Justin thing, and then Adam is mainly playing around like that's just the minor seventh to the root, very tool.
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And then and it's just scrolling, ticket, ticket, ticket.
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He's he's like he's like he's doing like cool, like ticket, ticket, ticket, like kind of like ticks and leeches kind of ticket, ticket, ticket, digging, ticket.
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They're having their moment and then Now if you ever need a reference for the minor seventh, if you ever like really want to learn the minor seventh, use right into this riff as the example.
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This is the monkey riff.
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This is like the A riff, like that for like the heavy part of the song, like the second half, this is like the A riff, and then Adam does like a lot of variations on this.
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So he's like again, also 11-4.
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It's like so syncopated, like off-beat emphasis.
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And then those last two notes are not syncopated.
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Very, very awesome, Rev.
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It's so simple, it's so jungly.
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I feel like we're like going like turbo speed through like the jungle here.
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And he has a variation of watch.
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And then watch this.
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There's that tool note, right?
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He's doing that, but I knocked him down in the variation of this monkey rip.
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And then you got the fight over na na na.
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What's he saying here?
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I got the lyrics.
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Fight till they die over sun.
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Over sky.
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Fight till they die over sea.
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Over air.
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He's just doing two notes.
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No, he's doing three notes.
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Again, root, minor seventh down to the fifth.
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And then if you hear like when Adam comes in, I don't know how other Tool fans know this, but when he goes, when his guitar enters, it sounds like Timmy from uh like Timmy from uh South Park.
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That moment is incredible.
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It's in the it's like towards the end of this section.
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Fight till they die overwards, polarizing, and that's when it explodes into I love that that riff is so sick.
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He's just adding like the palmution boom.
00:18:31.119 --> 00:18:32.240
Tick-a-tick-a tick-it dong.
00:18:32.400 --> 00:18:33.519
Tick-a-tick-a tick-it dong.
00:18:33.759 --> 00:18:36.400
Just those 16th notes palmution right there.
00:18:38.559 --> 00:18:42.400
But yeah, when the guitar enters, it's like, it's like, it's like, it's like timmer.
00:18:52.880 --> 00:18:53.359
I love it.
00:18:53.519 --> 00:18:55.599
It's like, I feel like there's like reverb in that top note.
00:18:55.759 --> 00:18:57.279
It's it sounds so like flung.
00:18:57.359 --> 00:19:16.400
It's like and then and then again, just like minor seventh to the root.
00:19:16.480 --> 00:19:17.920
It's so jungly, it's so intense.
00:19:18.000 --> 00:19:20.960
Danny Carey and Justin are like hammering it down.
00:19:21.039 --> 00:19:23.359
Like, it's such they such great tones.
00:19:23.519 --> 00:19:28.720
Like the production of 10,000 Days is like it's like freaking amazing.
00:19:29.119 --> 00:19:30.960
Everything is so clean, right?
00:19:31.200 --> 00:19:33.039
But the tones are like so dialed in.
00:19:33.119 --> 00:19:36.640
Like Danny's drums sound incredibly tribal and powerful.
00:19:37.039 --> 00:19:40.559
Um it's like more hi-fi than lateralis.
00:19:40.880 --> 00:19:43.680
And Justin is like his bass tones are just incredible on the album.
00:19:43.839 --> 00:19:48.000
So Adam starts sneaking in that minor second again, that tool note, right?
00:19:48.240 --> 00:19:49.039
He does that watch.
00:19:53.359 --> 00:19:54.400
And it sounds kind of weird.
00:19:54.720 --> 00:19:57.519
I mean, I'm playing on an acoustic right now, but I'm doing pinch harmonics.
00:19:57.599 --> 00:20:00.799
That's how he's getting that cool, like, like those overtones.
00:20:00.960 --> 00:20:02.640
He's like, he's not just going.
00:20:04.559 --> 00:20:05.279
He's like.
00:20:09.759 --> 00:20:11.839
Sounds way better on the electric.
00:20:12.240 --> 00:20:13.599
But that I love that riff, right?
00:20:13.680 --> 00:20:29.119
It sounds like 46 and 2, and then it sounds like the end of 46 and 2, the and then right?
00:20:29.359 --> 00:20:32.000
Sounds just like it, it's the same notes, just like different order, obviously.
00:20:32.079 --> 00:20:34.880
And this is in 11-4, that's in uh 4-4, I believe.
00:20:39.359 --> 00:21:10.079
I love that, and then um the rhythm that they keep smacking, that uh Danny and Justin keep smacking down on the drums and bass is every time I play the open, every time I play the palm muted, that's like the rhythm of the So it's like it's kind of hard to do, but that's the rhythm that they're doing.
00:21:10.160 --> 00:21:19.359
And then Adam goes into And the best way to like play that over over the music is to just count like the the eighth note.
00:21:26.480 --> 00:21:31.519
And then when it goes the crazy angels styline.
00:21:31.920 --> 00:21:33.440
He's still playing this.
00:21:34.160 --> 00:21:37.359
Listen to that, Adam's still playing, he doesn't just go like angels.
00:21:39.920 --> 00:21:42.079
It's crazy, it's like more intricate than that, right?
00:21:42.160 --> 00:21:44.160
Like Justin's hand handling it there.
00:21:45.279 --> 00:21:53.279
Like Justin's handling like the chords that need to be there for Maynard to he's singing it so it sounds like nice and colorful, like the chord progression, right?
00:21:53.359 --> 00:22:03.200
But Adam's like Angel's tidal Along with patience and reason.
00:22:03.359 --> 00:22:04.000
I love that.
00:22:04.240 --> 00:22:10.319
Angels on the sideline again, benched along with patience and reason.
00:22:10.559 --> 00:22:11.039
Right?
00:22:11.200 --> 00:22:18.400
And then and then in the second half, you hear Adam go, so it's like benched along with patience and reason.
00:22:19.359 --> 00:22:23.279
And then he goes, Angels on the sideline again.
00:22:26.960 --> 00:22:30.480
And then he goes, wondering when it's took a war away.
00:22:34.400 --> 00:22:35.680
I love the variation.
00:22:35.759 --> 00:22:39.279
Like Adam is like every every member's part is like intricate.
00:22:39.359 --> 00:22:43.200
And it's not just like we do this four times, we do this four times, we do this eight times.
00:22:43.440 --> 00:22:48.079
Like it's they're like intertwined and they're intermoving, they're always moving, it's breathing.
00:22:48.319 --> 00:22:49.039
It's so awesome.
00:22:49.359 --> 00:22:52.559
Angels on the sideline again.
00:22:54.240 --> 00:22:57.279
Wondering when is tug of war win.
00:23:02.400 --> 00:23:03.680
And now we get like the chords.
00:23:03.839 --> 00:23:05.359
Gotta divide it.
00:23:13.759 --> 00:23:18.160
And then Maynard just explodes with the perfect fifth, right?
00:23:18.319 --> 00:23:19.599
That's like classic main.
00:23:25.440 --> 00:23:33.759
The perfect fifth is like such a great note to scream or yell because it's like so intense, it's so pure, like that's like the Star Wars interval.
00:23:35.680 --> 00:23:36.240
Right?
00:23:36.480 --> 00:23:42.559
So he's like, I love the it's so epic.
00:23:45.440 --> 00:23:49.519
And then right into like to hold the fourth there.
00:23:50.240 --> 00:23:53.039
Oh, it's like we're gonna charge up, and he does.
00:23:54.799 --> 00:23:57.119
And it was so beautiful over the chords, right?
00:24:07.279 --> 00:24:08.160
I love this.
00:24:09.440 --> 00:24:14.400
That's when they go to the F again, that like uh uh rare chord, right?
00:24:14.559 --> 00:24:18.880
And and look, he just plays this once, so it's like right and two.
00:24:24.400 --> 00:24:25.839
As it's dying.
00:24:26.799 --> 00:24:28.160
Right and two.
00:24:40.240 --> 00:24:42.880
And I love it when he goes right in two.
00:24:43.440 --> 00:24:45.119
He's also hitting the fifth there.
00:24:46.480 --> 00:24:49.119
And it's like the same register too, he's just singing it differently.
00:24:49.200 --> 00:24:51.759
He's not yelling at it, he's saying, Right in two.
00:24:54.480 --> 00:24:55.440
So many.
00:24:57.119 --> 00:24:58.240
Oh my god.
00:25:03.200 --> 00:25:08.559
Such an epic song, and of course, you're gonna have a whole masterclass on what Danny's doing and what Justin's doing.
00:25:08.720 --> 00:25:11.119
But thanks so much for tuning into this breakdown of Ride and 2.
00:25:11.200 --> 00:25:14.880
And if you're interested in the private community, the breakdown room, definitely check that out.
00:25:15.119 --> 00:25:19.359
Hit the link in the description below, and I'll see you guys in the next episode.
00:00:00.160 --> 00:00:02.399
Let's break down right in two by Tool.
00:00:02.479 --> 00:00:05.120
One of the greatest songs on Ten Thousand Days.
00:00:05.200 --> 00:00:07.200
Uh one of the best songs in their catalog.
00:00:07.440 --> 00:00:08.240
It's so epic.
00:00:08.640 --> 00:00:09.919
He's really saying a lot here.
00:00:10.080 --> 00:00:11.599
Maynard's saying a lot here.
00:00:11.919 --> 00:00:15.359
And uh one of the best Tool lyrics is is in this song, which we'll get to.
00:00:15.839 --> 00:00:17.519
And uh yeah, there's just so much to say.
00:00:17.600 --> 00:00:19.519
We'll start with Adam Jones and the main riff.
00:00:19.600 --> 00:00:22.320
Okay, so the song is an 11-4 time signature.
00:00:22.719 --> 00:00:28.559
And I love that it's in 11-4 because it's like it's like the best number that's like that you divide right in two, right?
00:00:28.640 --> 00:00:29.920
It has to do with the lyrics.
00:00:30.000 --> 00:00:35.119
I'm gonna use an acoustic guitar for this breakdown so we can really get to the bare bones of the song so you can see what's going on here.
00:00:35.439 --> 00:00:37.119
So the main riff goes like this.
00:00:49.439 --> 00:00:53.920
So a lot of the riffs in the song are like an extension of that or a variation of that.
00:00:54.079 --> 00:00:58.000
All the variations are centered around this chord progression, and this is the chord progression.
00:00:58.079 --> 00:00:58.640
It's D.
00:00:58.880 --> 00:01:02.000
It's in the key of D minor, like a lot of tool songs are.
00:01:03.520 --> 00:01:05.840
That's the deep and dark six chord, okay.
00:01:05.920 --> 00:01:08.079
That's uh B flat, okay.
00:01:08.879 --> 00:01:10.799
There's the four, a nice plane.
00:01:10.879 --> 00:01:15.040
I love the four, and then that's the seven, okay?
00:01:15.200 --> 00:01:19.760
So it's minor one to six to four to seven.
00:01:19.920 --> 00:01:21.040
Now here's what's going on here.
00:01:21.200 --> 00:01:23.760
Adam isn't just he's not just doing this.
00:01:28.959 --> 00:01:29.439
Right?
00:01:29.599 --> 00:01:31.120
He's adding the ninth.
00:01:31.359 --> 00:01:31.920
Watch.
00:01:32.159 --> 00:01:35.439
To the last three chords out of the four chords in the chord progression.
00:01:35.519 --> 00:01:36.079
Watch.
00:01:36.640 --> 00:01:41.519
That's just the perfect fifth, very holy, very grand interval.
00:01:42.480 --> 00:01:45.040
And then right there.
00:01:45.680 --> 00:01:48.719
So we're playing B flat, but up top he's playing a C.
00:01:48.879 --> 00:01:51.920
So the ninth sounds very celestial.
00:01:52.000 --> 00:01:53.599
It's it sounds beautiful.
00:01:53.840 --> 00:01:56.000
It's a beautiful color, okay?
00:01:56.719 --> 00:02:01.599
Same with the four chord, he's adding, he's playing a G, but he's adding an A on top.
00:02:01.680 --> 00:02:03.120
It's the major ninth.
00:02:03.760 --> 00:02:05.359
Beautiful color, look.
00:02:06.079 --> 00:02:11.759
That's nice because he's playing the root up top, but the root in this context with his chord is the major ninth as well.
00:02:12.000 --> 00:02:19.759
So he's adding these major ninths to each of these chords, and uh it really just adds to the vibe of the song.
00:02:19.840 --> 00:02:23.759
It makes it feel like very it makes the riff like just more legendary, man.
00:02:29.199 --> 00:02:31.439
It fits like the whole Eden vibe, right?
00:02:31.520 --> 00:02:33.120
They're plenty in this holy garden.
00:02:33.199 --> 00:02:43.680
One last thing I want to touch base on with the riff is uh That's the tool note right there.
00:02:43.759 --> 00:02:46.319
That's the minor second, the flat second.
00:02:47.280 --> 00:02:49.599
That is like, you know, 46 and 2.
00:02:53.199 --> 00:02:55.520
It's everywhere in tool songs, that's the minor second.
00:02:55.680 --> 00:02:58.639
I love how Adam adds it so gently in this rip.
00:03:02.479 --> 00:03:04.639
Woo! Beautiful.
00:03:04.800 --> 00:03:06.240
Okay, so then Maynard comes in.
00:03:06.319 --> 00:03:07.599
Oh, let's talk about Justin.
00:03:07.680 --> 00:03:24.080
So And then when Adam goes, and then Justin goes, he's doing harmonics on the bass, and then he's like and he's using a whammy pedal to go.
00:03:27.199 --> 00:03:29.039
And that's just an octave apart.
00:03:30.400 --> 00:03:33.840
And speaking of the major ninth, he's reaching up to the major ninth too.
00:03:34.719 --> 00:03:35.039
Right?
00:03:35.120 --> 00:03:39.120
That's the key of the song, that's D, and then same thing, just an octave apart.
00:03:39.199 --> 00:03:40.080
That's the major ninth.
00:03:40.479 --> 00:03:41.680
And that's the fifth.
00:03:43.120 --> 00:03:44.560
That's the fifth right there.
00:03:45.199 --> 00:03:52.879
So they're like, both Adam and Justin are both playing the major ninth and the perfect fifth in like in their own kind of way.
00:03:52.960 --> 00:03:54.400
They're like dancing with each other, right?
00:03:54.479 --> 00:03:55.039
It's beautiful.
00:03:55.199 --> 00:03:58.879
Real quick, just popping in to announce that the breakdown room is now live.
00:03:59.039 --> 00:04:01.439
It's my new private community that I'm super pumped about.
00:04:01.520 --> 00:04:04.639
I'm gonna be going live twice a month to do song breakdowns.
00:04:04.719 --> 00:04:09.919
I'll have exclusive tutorials and behind-the-scenes content that's only gonna be available inside the private community.
00:04:10.319 --> 00:04:17.279
Members can suggest songs, vote on songs, and they can also share their music with each other and give each other respectful and encouraging feedback on their songs.
00:04:17.519 --> 00:04:20.079
I'm super excited about this thing I'm working on, so definitely check it out.
00:04:20.319 --> 00:04:24.399
Hit the link below or just go to school.com slash dambaracuda.
00:04:24.480 --> 00:04:26.879
And school is spelled S K-O-O-L.
00:04:27.199 --> 00:04:30.079
So school.com slash Dambarracuda.
00:04:30.240 --> 00:04:30.879
I'll see you inside.
00:04:31.120 --> 00:04:34.959
Maynard comes in with Angels on the Sideline.
00:04:35.439 --> 00:04:37.680
Just outlining the minor scale.
00:04:38.000 --> 00:04:39.759
Puzzled and amused.
00:04:40.560 --> 00:04:44.160
Why did father give these humans free well?
00:04:45.040 --> 00:04:47.279
Now they're all confused.
00:04:48.000 --> 00:04:50.639
But it just flows so beautifully over the chords.
00:04:50.959 --> 00:04:53.680
Angels on the sideline.
00:04:56.639 --> 00:04:58.639
Puzzled and amused.
00:04:59.680 --> 00:05:00.079
Look at that.
00:05:01.519 --> 00:05:03.439
It's actually in the chord that he's playing.
00:05:04.959 --> 00:05:08.800
Why did Father give these humans free will?
00:05:09.600 --> 00:05:10.399
Love that.
00:05:10.639 --> 00:05:11.519
Free will.
00:05:11.680 --> 00:05:15.439
Singing the singing the root over the six free will.
00:05:17.120 --> 00:05:19.120
Now they're all confused.
00:05:22.959 --> 00:05:27.120
Now we get to like the next flow of Maynard's melody.
00:05:27.360 --> 00:05:29.040
Don't these talking monkeys?
00:05:29.360 --> 00:05:30.319
Love that minor six.
00:05:30.399 --> 00:05:31.680
He's singing that haunting note.
00:05:31.839 --> 00:05:37.680
Don't these talking monkeys know that Eden has enough to go around?
00:05:38.639 --> 00:05:39.360
Great line.
00:05:39.519 --> 00:05:43.439
Don't these talking monkeys know that Eden has enough to go around?
00:05:43.600 --> 00:05:51.040
I love the picture that he's painting here, like angels on the sideline, just observing these humans destroying each other, right?
00:05:51.439 --> 00:05:53.920
Angels on the sideline, puzzled and amused.
00:05:54.319 --> 00:05:56.560
Why did Father give these humans free will?
00:05:56.720 --> 00:05:57.839
Now they're all confused.
00:05:58.399 --> 00:06:01.519
Don't these talking monkeys know that Eden has enough to go around?
00:06:01.920 --> 00:06:07.519
Plenty in this holy garden, silly monkeys, where there's one, you're bound to divide it.
00:06:07.839 --> 00:06:18.319
Right into So he was ascending up the minor scale, right?
00:06:18.399 --> 00:06:27.839
He's like And then ends up in the octave.
00:06:28.000 --> 00:06:29.439
And he goes on the side.
00:06:29.680 --> 00:06:29.839
Right.
00:06:30.079 --> 00:06:30.879
Octave up.
00:06:31.040 --> 00:06:32.399
Right in two.
00:06:32.800 --> 00:06:34.800
He like made his way up the octave, right?
00:06:34.879 --> 00:06:36.079
So he's ascending, right?
00:06:36.319 --> 00:06:39.920
Telling a story, a melodic story in conjunction with the lyrics.
00:06:40.079 --> 00:06:46.000
So now we go to the B riff, and that's the I love the vibe of this riff.
00:06:46.160 --> 00:06:50.319
Like if you were listening really closely, he has like three guitars going on here.
00:06:50.399 --> 00:06:54.240
One is like slightly more distort, he's got like clean, it's all blended in.
00:06:54.319 --> 00:06:55.839
It's such a beautiful texture.
00:06:56.000 --> 00:06:57.199
I used to think it was.
00:07:01.519 --> 00:07:03.519
And then I was like, oh, he's doing this.
00:07:05.680 --> 00:07:10.560
But no, he's doing the minor third to the root back down to the minor third.
00:07:15.199 --> 00:07:16.879
That's the seven to the four.
00:07:16.959 --> 00:07:17.600
I love that.
00:07:18.959 --> 00:07:20.720
And this is also an 11 to 4.
00:07:20.879 --> 00:07:22.879
Boom, boom, boom, boom, boom.
00:07:23.199 --> 00:07:24.480
Boom, boom, boom, boom.
00:07:24.720 --> 00:07:27.120
Boom, boom, boom, grunk, grunk, gum.
00:07:27.600 --> 00:07:29.600
I love how they make it feel so natural, right?
00:07:29.759 --> 00:07:33.600
Angel, angel, angel is on the sideline.
00:07:37.040 --> 00:07:37.680
I love that.
00:07:37.759 --> 00:07:38.959
Like Adam does a variation.
00:07:39.040 --> 00:07:44.560
He doesn't just go back to going you know for the second verse, right?
00:07:44.720 --> 00:07:46.959
He adds these harmonics.
00:07:53.600 --> 00:07:55.439
Great, great touch.
00:07:58.720 --> 00:08:00.639
And Maynard does a little slight variation.
00:08:00.720 --> 00:08:03.839
He goes, Angels on the sideline.
00:08:04.319 --> 00:08:04.800
Beautiful.
00:08:04.879 --> 00:08:06.560
That's also the major ninth.
00:08:08.639 --> 00:08:11.199
Angels on my sideline.
00:08:12.560 --> 00:08:14.079
It's like very melancholic.
00:08:14.240 --> 00:08:14.720
It's great.
00:08:14.959 --> 00:08:16.399
Baffled and confused.
00:08:16.639 --> 00:08:20.079
Father, bless them all with reason, and this is what they choose.
00:08:20.399 --> 00:08:22.319
This is what they choose.
00:08:23.199 --> 00:08:29.600
Monkey kill, monkey, killing, monkey over pieces of the ground.
00:08:33.759 --> 00:08:37.600
Silly monkeys give them thumbs, they forge a blade.
00:08:37.840 --> 00:08:41.279
And when there's one, they're bound to divide it.
00:08:41.600 --> 00:08:50.639
Right into that.
00:08:55.440 --> 00:08:57.840
It's like insane what Justin's doing over this.
00:08:58.000 --> 00:09:00.559
Who would think to make their bass part that, right?
00:09:00.639 --> 00:09:01.840
And the texture of what he's doing.
00:09:01.919 --> 00:09:06.559
He's got like I think he has like tremolo and definitely like some delay and whatever else he has going on here.
00:09:06.720 --> 00:09:09.600
He always has like such a like a perfectly sculpted tone.
00:09:09.759 --> 00:09:20.080
And the part extends right into that note is crucial.
00:09:20.159 --> 00:09:29.840
He's like That's the first time we hear the major third.
00:09:30.000 --> 00:09:32.480
Now Maynard adds this sometimes in songs, right?
00:09:32.559 --> 00:09:33.840
Like in Vicarious.
00:09:34.159 --> 00:09:36.799
Vicarious Le I Levana.
00:09:40.559 --> 00:09:49.600
Or in the patient, when he goes, Bye now, the major third in the context of a minor key like really sticks out.
00:09:49.840 --> 00:09:58.720
Right in Danny answers.
00:09:58.799 --> 00:10:00.080
It's like stairway to heaven, right?
00:10:00.240 --> 00:10:01.440
Sugar dun dun dun.
00:10:01.679 --> 00:10:08.000
Monkey killing, monkey, killin, monkey, or pieces of the ground.
00:10:09.120 --> 00:10:11.200
It's so hard to sing and play the same time.
00:10:12.399 --> 00:10:16.960
Silly monkeys give them thumbs, they make a club to beat their brother down.
00:10:17.120 --> 00:10:19.039
And here comes one of the greatest lyrics.
00:10:19.360 --> 00:10:21.279
But listen to the variation that Adam's doing.
00:10:21.360 --> 00:10:21.679
Watch.
00:10:21.919 --> 00:10:26.960
How they survive so despite it is a mistake.
00:10:28.720 --> 00:10:31.120
And then he goes back to the main riff.
00:10:32.159 --> 00:10:33.200
Isn't that so nice?
00:10:33.279 --> 00:10:35.840
Like he's like combining the different variations, right?
00:10:36.000 --> 00:10:36.799
So he's like.
00:10:47.200 --> 00:10:55.919
Now that's so cool because he he's playing the minor second, like the tool note there, but before he went, and that's the major ninth.
00:10:56.000 --> 00:10:59.440
So it's like adding these different colors, like chromatic colors, right?
00:10:59.519 --> 00:11:07.039
We got the major ninth and the first leg, and then when he does the second leg, he does the my he ends with a minor ninth or the minor second.
00:11:10.559 --> 00:11:13.519
By the way, the ninth is just the second, but an octave up.
00:11:13.600 --> 00:11:16.879
So the major ninth is the major second, the minor ninth is the minor second.
00:11:16.960 --> 00:11:22.799
So one more time, it's like how they survive so misguided as a Mr.
00:11:23.039 --> 00:11:23.600
Rey.
00:11:23.759 --> 00:11:24.799
Look at Mr.
00:11:25.120 --> 00:11:25.759
Rey.
00:11:26.320 --> 00:11:32.639
Again, singing the major third there, the happy note, like the in the vicarious.
00:11:35.440 --> 00:11:36.879
Sounds like you're falling.
00:11:37.279 --> 00:11:37.600
Mr.
00:11:38.000 --> 00:11:38.559
Rey.
00:11:40.559 --> 00:11:41.600
Back to the main ref.
00:11:44.320 --> 00:11:46.000
And then one of the best tool lyrics.
00:11:46.159 --> 00:11:57.440
Repugnant is a creature who would squander the ability to lift in heaven conscious of his fleeting time here.
00:11:58.799 --> 00:12:08.720
God damn, Repugnant is a creature who would squander the ability to lift in night of heaven conscious of his fleeting time here.
00:12:09.279 --> 00:12:12.960
Like it's a gorgeously phrased and just like super well written.
00:12:13.039 --> 00:12:22.799
Like to me, it's like such a poetic way of saying it's disgusting for someone to not realize like how beautiful like their existence is and how like lucky they are to be here and everything.
00:12:22.879 --> 00:12:23.120
You know?
00:12:23.440 --> 00:12:26.080
Repugnant is a creature who would squander the ability.
00:12:26.399 --> 00:12:29.440
It's like deny like the miracle of their existence or something, right?
00:12:29.600 --> 00:12:34.480
Like squander the ability to lift an eye to heaven conscious of his fleeting time here.
00:12:34.559 --> 00:12:38.559
Like only here for a short while, squeeze the hell out of it, that kind of thing.
00:12:38.720 --> 00:12:45.120
But instead, we're so caught up in like me, me, me, my, mine, mine, mine, and taking everything and like just fighting for everything.
00:12:45.200 --> 00:12:47.279
Like, you gotta divide it all right in two, right?
00:12:47.440 --> 00:12:53.200
And just the phrasing of it, repugnant is a creature who would squander thee.
00:12:53.360 --> 00:12:54.639
He's always doing the same.
00:13:00.559 --> 00:13:03.120
He does the major third, the happy note again.
00:13:07.200 --> 00:13:08.720
Jumps down to the minor third.
00:13:08.799 --> 00:13:12.159
So he's he's singing the major third and the minor third and like the perfect fourth.
00:13:12.240 --> 00:13:13.360
Like all that chromaticism.
00:13:14.159 --> 00:13:17.279
He's hitting these like three notes like in the melody at different times.
00:13:17.440 --> 00:13:18.159
It's so beautiful.
00:13:18.320 --> 00:13:20.320
But again, it's so colorful over the chords.
00:13:20.399 --> 00:13:22.240
Like he's playing, he's singing the same notes.
00:13:24.240 --> 00:13:26.000
But it's all over different chords.
00:13:26.240 --> 00:13:32.480
Revoltant is a creature who would squander the ability to listen.
00:13:35.120 --> 00:13:36.720
They also do another magical thing here.
00:13:36.799 --> 00:13:38.159
They play another chord.
00:13:38.399 --> 00:13:41.279
New chord! F again, add nine.
00:13:41.360 --> 00:13:47.440
He's playing a G over this F, so But that's the first time they play this chord, and it's right during that magical line.
00:13:47.679 --> 00:13:52.159
Pugnant is a creature who would squander the ability to listen.
00:13:59.200 --> 00:14:00.399
Beautiful.
00:14:01.039 --> 00:14:04.000
And then divide.
00:14:07.840 --> 00:14:09.120
I love that note.
00:14:10.080 --> 00:14:13.840
He's like singing the major third of the four chord.
00:14:14.080 --> 00:14:16.960
But he's singing like the major six of D.
00:14:17.279 --> 00:14:21.360
So it's like Dorian, that's like the opening the door to Dorian right there.
00:14:21.919 --> 00:14:23.120
Major four chord.
00:14:23.200 --> 00:14:24.240
It sounds like relief.
00:14:24.320 --> 00:14:26.080
It sounds it sounds gorgeous.
00:14:26.159 --> 00:14:27.600
Like there's so much beauty there.
00:14:27.919 --> 00:14:35.039
Gotta divide it off It almost sounds like you're peering through like cobwebs, right?
00:14:35.120 --> 00:14:38.720
Like sun, like sunlight crashing through cobwebs.
00:14:59.360 --> 00:15:00.720
Again, same note.
00:15:01.519 --> 00:15:03.279
But he like meets Adam, right?
00:15:03.360 --> 00:15:06.080
Because Adam's doing this, and he's going.
00:15:09.039 --> 00:15:14.399
It's such a great moment, like when the vocal and the guitar, like he eventually meets the guitar right there.
00:15:24.159 --> 00:15:25.600
So the song is going along.
00:15:25.759 --> 00:15:30.159
Danny Carey does some incredible stuff with Tablo work and his pads.
00:15:30.399 --> 00:15:40.159
Justin's doing his Justin thing, and then Adam is mainly playing around like that's just the minor seventh to the root, very tool.
00:15:41.840 --> 00:15:44.559
And then and it's just scrolling, ticket, ticket, ticket.
00:15:44.639 --> 00:15:51.120
He's he's like he's like he's doing like cool, like ticket, ticket, ticket, like kind of like ticks and leeches kind of ticket, ticket, ticket, digging, ticket.
00:15:53.519 --> 00:16:09.679
They're having their moment and then Now if you ever need a reference for the minor seventh, if you ever like really want to learn the minor seventh, use right into this riff as the example.
00:16:09.840 --> 00:16:11.039
This is the monkey riff.
00:16:11.279 --> 00:16:19.120
This is like the A riff, like that for like the heavy part of the song, like the second half, this is like the A riff, and then Adam does like a lot of variations on this.
00:16:19.200 --> 00:16:24.000
So he's like again, also 11-4.
00:16:30.000 --> 00:16:32.720
It's like so syncopated, like off-beat emphasis.
00:16:38.480 --> 00:16:40.879
And then those last two notes are not syncopated.
00:16:41.360 --> 00:16:42.799
Very, very awesome, Rev.
00:16:42.960 --> 00:16:44.559
It's so simple, it's so jungly.
00:16:44.879 --> 00:16:49.120
I feel like we're like going like turbo speed through like the jungle here.
00:16:52.399 --> 00:16:53.840
And he has a variation of watch.
00:16:55.279 --> 00:16:59.039
And then watch this.
00:17:00.480 --> 00:17:02.799
There's that tool note, right?
00:17:07.599 --> 00:17:11.519
He's doing that, but I knocked him down in the variation of this monkey rip.
00:17:21.519 --> 00:17:25.200
And then you got the fight over na na na.
00:17:25.440 --> 00:17:26.079
What's he saying here?
00:17:26.160 --> 00:17:26.799
I got the lyrics.
00:17:26.880 --> 00:17:28.720
Fight till they die over sun.
00:17:29.359 --> 00:17:30.480
Over sky.
00:17:30.960 --> 00:17:34.400
Fight till they die over sea.
00:17:34.799 --> 00:17:35.839
Over air.
00:17:36.480 --> 00:17:38.880
He's just doing two notes.
00:17:39.759 --> 00:17:41.359
No, he's doing three notes.
00:17:48.079 --> 00:17:51.440
Again, root, minor seventh down to the fifth.
00:17:55.359 --> 00:18:07.759
And then if you hear like when Adam comes in, I don't know how other Tool fans know this, but when he goes, when his guitar enters, it sounds like Timmy from uh like Timmy from uh South Park.
00:18:08.240 --> 00:18:09.680
That moment is incredible.
00:18:09.920 --> 00:18:11.920
It's in the it's like towards the end of this section.
00:18:12.160 --> 00:18:28.960
Fight till they die overwards, polarizing, and that's when it explodes into I love that that riff is so sick.
00:18:29.039 --> 00:18:30.880
He's just adding like the palmution boom.
00:18:31.119 --> 00:18:32.240
Tick-a-tick-a tick-it dong.
00:18:32.400 --> 00:18:33.519
Tick-a-tick-a tick-it dong.
00:18:33.759 --> 00:18:36.400
Just those 16th notes palmution right there.
00:18:38.559 --> 00:18:42.400
But yeah, when the guitar enters, it's like, it's like, it's like, it's like timmer.
00:18:52.880 --> 00:18:53.359
I love it.
00:18:53.519 --> 00:18:55.599
It's like, I feel like there's like reverb in that top note.
00:18:55.759 --> 00:18:57.279
It's it sounds so like flung.
00:18:57.359 --> 00:19:16.400
It's like and then and then again, just like minor seventh to the root.
00:19:16.480 --> 00:19:17.920
It's so jungly, it's so intense.
00:19:18.000 --> 00:19:20.960
Danny Carey and Justin are like hammering it down.
00:19:21.039 --> 00:19:23.359
Like, it's such they such great tones.
00:19:23.519 --> 00:19:28.720
Like the production of 10,000 Days is like it's like freaking amazing.
00:19:29.119 --> 00:19:30.960
Everything is so clean, right?
00:19:31.200 --> 00:19:33.039
But the tones are like so dialed in.
00:19:33.119 --> 00:19:36.640
Like Danny's drums sound incredibly tribal and powerful.
00:19:37.039 --> 00:19:40.559
Um it's like more hi-fi than lateralis.
00:19:40.880 --> 00:19:43.680
And Justin is like his bass tones are just incredible on the album.
00:19:43.839 --> 00:19:48.000
So Adam starts sneaking in that minor second again, that tool note, right?
00:19:48.240 --> 00:19:49.039
He does that watch.
00:19:53.359 --> 00:19:54.400
And it sounds kind of weird.
00:19:54.720 --> 00:19:57.519
I mean, I'm playing on an acoustic right now, but I'm doing pinch harmonics.
00:19:57.599 --> 00:20:00.799
That's how he's getting that cool, like, like those overtones.
00:20:00.960 --> 00:20:02.640
He's like, he's not just going.
00:20:04.559 --> 00:20:05.279
He's like.
00:20:09.759 --> 00:20:11.839
Sounds way better on the electric.
00:20:12.240 --> 00:20:13.599
But that I love that riff, right?
00:20:13.680 --> 00:20:29.119
It sounds like 46 and 2, and then it sounds like the end of 46 and 2, the and then right?
00:20:29.359 --> 00:20:32.000
Sounds just like it, it's the same notes, just like different order, obviously.
00:20:32.079 --> 00:20:34.880
And this is in 11-4, that's in uh 4-4, I believe.
00:20:39.359 --> 00:21:10.079
I love that, and then um the rhythm that they keep smacking, that uh Danny and Justin keep smacking down on the drums and bass is every time I play the open, every time I play the palm muted, that's like the rhythm of the So it's like it's kind of hard to do, but that's the rhythm that they're doing.
00:21:10.160 --> 00:21:19.359
And then Adam goes into And the best way to like play that over over the music is to just count like the the eighth note.
00:21:26.480 --> 00:21:31.519
And then when it goes the crazy angels styline.
00:21:31.920 --> 00:21:33.440
He's still playing this.
00:21:34.160 --> 00:21:37.359
Listen to that, Adam's still playing, he doesn't just go like angels.
00:21:39.920 --> 00:21:42.079
It's crazy, it's like more intricate than that, right?
00:21:42.160 --> 00:21:44.160
Like Justin's hand handling it there.
00:21:45.279 --> 00:21:53.279
Like Justin's handling like the chords that need to be there for Maynard to he's singing it so it sounds like nice and colorful, like the chord progression, right?
00:21:53.359 --> 00:22:03.200
But Adam's like Angel's tidal Along with patience and reason.
00:22:03.359 --> 00:22:04.000
I love that.
00:22:04.240 --> 00:22:10.319
Angels on the sideline again, benched along with patience and reason.
00:22:10.559 --> 00:22:11.039
Right?
00:22:11.200 --> 00:22:18.400
And then and then in the second half, you hear Adam go, so it's like benched along with patience and reason.
00:22:19.359 --> 00:22:23.279
And then he goes, Angels on the sideline again.
00:22:26.960 --> 00:22:30.480
And then he goes, wondering when it's took a war away.
00:22:34.400 --> 00:22:35.680
I love the variation.
00:22:35.759 --> 00:22:39.279
Like Adam is like every every member's part is like intricate.
00:22:39.359 --> 00:22:43.200
And it's not just like we do this four times, we do this four times, we do this eight times.
00:22:43.440 --> 00:22:48.079
Like it's they're like intertwined and they're intermoving, they're always moving, it's breathing.
00:22:48.319 --> 00:22:49.039
It's so awesome.
00:22:49.359 --> 00:22:52.559
Angels on the sideline again.
00:22:54.240 --> 00:22:57.279
Wondering when is tug of war win.
00:23:02.400 --> 00:23:03.680
And now we get like the chords.
00:23:03.839 --> 00:23:05.359
Gotta divide it.
00:23:13.759 --> 00:23:18.160
And then Maynard just explodes with the perfect fifth, right?
00:23:18.319 --> 00:23:19.599
That's like classic main.
00:23:25.440 --> 00:23:33.759
The perfect fifth is like such a great note to scream or yell because it's like so intense, it's so pure, like that's like the Star Wars interval.
00:23:35.680 --> 00:23:36.240
Right?
00:23:36.480 --> 00:23:42.559
So he's like, I love the it's so epic.
00:23:45.440 --> 00:23:49.519
And then right into like to hold the fourth there.
00:23:50.240 --> 00:23:53.039
Oh, it's like we're gonna charge up, and he does.
00:23:54.799 --> 00:23:57.119
And it was so beautiful over the chords, right?
00:24:07.279 --> 00:24:08.160
I love this.
00:24:09.440 --> 00:24:14.400
That's when they go to the F again, that like uh uh rare chord, right?
00:24:14.559 --> 00:24:18.880
And and look, he just plays this once, so it's like right and two.
00:24:24.400 --> 00:24:25.839
As it's dying.
00:24:26.799 --> 00:24:28.160
Right and two.
00:24:40.240 --> 00:24:42.880
And I love it when he goes right in two.
00:24:43.440 --> 00:24:45.119
He's also hitting the fifth there.
00:24:46.480 --> 00:24:49.119
And it's like the same register too, he's just singing it differently.
00:24:49.200 --> 00:24:51.759
He's not yelling at it, he's saying, Right in two.
00:24:54.480 --> 00:24:55.440
So many.
00:24:57.119 --> 00:24:58.240
Oh my god.
00:25:03.200 --> 00:25:08.559
Such an epic song, and of course, you're gonna have a whole masterclass on what Danny's doing and what Justin's doing.
00:25:08.720 --> 00:25:11.119
But thanks so much for tuning into this breakdown of Ride and 2.
00:25:11.200 --> 00:25:14.880
And if you're interested in the private community, the breakdown room, definitely check that out.
00:25:15.119 --> 00:25:19.359
Hit the link in the description below, and I'll see you guys in the next episode.
