Where did you come from, baby, dear? Out of the everywhere, into the here. Where did you get those eyes so blue? Out of the sky as I came through. What makes the light in them sparkle and spin? Some of the starry spikes left in. Where did you get that little tear? I found it waiting when I got here. What makes your forehead so smooth and high? A soft hand stroked it as I went by. What makes your cheek like a warm white rose? I saw something better than anyone knows. Whence that three-cornered smile of bliss? Three angels gave me at once a kiss. Where did you get this pearly ear? God spoke and it came out to hear. Where did you get those arms and hands? Love made itself into bonds and bands. Feet, whence did you come, you darling things? From the same box as the cherub's wings. How did they all just come to be you? God thought about me and so I grew. But how did you come to us, you dear? God thought about you and so I am here. End of poem. This recording is in the public domain. Baby by George MacDonald, read for LibriVox.org by Anna Roberts. Where did you come from, baby, dear? Out of the everywhere, into the here. Where did you get those eyes so blue? Out of the sky as I came through. What makes the light in them sparkle and spin? Some of the starry spikes left in. Where did you get that little tear? I found it waiting when I got here. What makes your forehead so smooth and high? A soft hand stroked it as I went by. What makes your cheek like a warm white rose? I saw something better than anyone knows. Whence that three-cornered smile of bliss? Three angels gave me at once a kiss. Where did you get this pearly ear? God spoke and it came out to hear. Where did you get those arms and hands? Love made itself into bonds and vans. Feet, whence did you come, you darling things? From the same box as the cherub's wings. How did they all just come to be you? God thought about me and so I grew. But how did you come to us, you dear? God thought about you and so I am here. End of poem. This recording is in the public domain. Baby by George MacDonald. Read for LibriVox.org by Carol Stripley. Where did you come from, baby dear? Out of the everywhere into the here. Where did you get those eyes so blue? Out of the sky as I came through. What makes the light in them sparkle and spin? Some of the starry spikes left in. Where did you get that little tear? I found it waiting when I got here. What makes your forehead so smooth and high? A soft hen stroked it as I went by. What makes your cheek like a warm white rose? I saw something better than anyone knows. Whence that three-cornered smile of bliss? Three angels gave me at once a kiss. Where did you get this pearly ear? God spoke and it came out to here. Where did you get those arms and hands? Love made itself into bonds and bands. Feet, whence did you come, you darling things? From the same box as the cherub's wings. How did they all just come to be you? God thought about me, and so I grew. But how did you come to us, you dear? God thought about you, and so I am here. End of poem. This recording is in the public domain. Baby by George MacDonald. Read for LibriVox.org by David Lawrence. Where did you come from, baby, dear? Out of the everywhere, into the here. Where did you get those eyes so blue? Out of the sky as I came through. What makes the light in them sparkle and spin? Some of the starry spikes left in. Where did you get that little tear? I found it waiting when I got here. What makes your forehead so smooth and high? A soft hen stroked it as I went by. What makes your cheek like a warm white rose? I saw something better than anyone knows. Whence that three-cornered smile of bliss? Three angels gave me at once a kiss. Where did you get this pearly ear? God spoke, and it came out to here. Where did you get those arms and hands? Love made itself into bonds and bands. Feet, whence did you come, you darling things? From the same box as the cherub's wings. How did they all just come to be you? God thought about me, and so I grew. But how did you come to us, you dear? God thought about you, and so I am here. End of poem. This recording is in the public domain. Baby by George MacDonald, read for LibriVox.org by Iswa in Belgium in February 2009. Where did you come from, baby, dear? Out of the everywhere into the hair. Where did you get those eyes so blue? Out of the sky as I came through. What makes the light in them sparkle and spin? Some of the starry spikes left in. Where did you get that little tear? I found it waiting when I got here. What makes your forehead so smooth and high? A soft hand stroked it as I went by. What makes your cheek like a warm white rose? I saw something better than anyone knows. Whence that three-corned smile of bliss, three angels gave me at once a kiss. Where did you get this pearly ear? God spoke, and it came out to here. Where did you get those arms and hands? Love made itself into bonds and bands. Feet, whence did you come, you darling things? From the same box as the cherub's wings. How did they all just come to be you? God thought about me, and so I grew. But how did you come to us, you dear? God thought about you, and so I am here. End of poem. This recording is in the public domain. Baby by George MacDonald. Read for LibreVox.org by Glenn Simonson and Kaya Simonson. Where did you come from, baby, dear? Out of the everywhere into the hair. Where did you get those eyes so blue? Out of the sky as I came through. What makes the light in them sparkle and spin? Some of the starry spikes left in. Where did you get that little tear? I found it waiting when I got here. What makes your forehead so smooth and high? A soft hand stroked it as I went by. What makes your cheek like a warm white rose? I saw something better than anyone knows. Whence that three-cornered smile of bliss? Three angels gave me at once a kiss. Where did you get this pearly ear? God spoke, and it came out to hear. Where did you get those arms and hands? Love made itself into bonds and bands. Feet, whence did you come, you darling things? From the same box as the cherub's wings. How did they all just come to be you? God thought about me, and so I grew. But how did you come to us, you dear? God thought about you, and so I am here. End of poem. This recording is in the public domain. Where did you come from, baby, dear? Out of the everywhere into the here. Where did you get those eyes so blue? Out of the sky as I came through. What makes the light in them sparkle and spin? Some of the starry spikes left in. Where did you get that little tear? I found it waiting when I got here. What makes your forehead so smooth and high? A soft hand stroked it as I went by. What makes your cheek like a warm white rose? I saw something better than anyone knows. Whence that three-cornered smile of bliss? Three angels gave me at once a kiss. Where did you get this pearly ear? God spoke and it came out to hear. Where did you get those arms and hands? God made itself into bonds and vans. Thief, whence did you come, you darling things, from the same box as the cherub's wings? How did they all just come to be you? God thought about me, and so I grew. But how did you come to us, you dear? God thought about you, and so I am here. End of poem. This recording is in the public domain. Baby, by George MacDonald. Read for LibriVox.org by Mark Smith. Where did you come from, baby dear? Out of the everywhere into the here. Where did you get those eyes so blue? Out of the sky as I came through. What makes the light in them sparkle and spin? Some of the starry spikes left in. Where did you get that little tear? I found it waiting when I got here. What makes your forehead so smooth and high? A soft hand stroked it as I went by. What makes your cheek like a warm white rose? I saw something better than anyone knows. Whence that three-cornered smile of bliss? Three angels gave me at once a kiss. Where did you get this pearly ear? God spoke, and it came out to here. Where did you get those arms and hands? Love made me into bonds and bands. Feet, whence did you come, you darling things? From the same box as the cherub's wings. How did they all just come to be you? God thought about me, and so I grew. But how did you come to us, you dear? God thought about you, and so I am here. And of poem, this recording is in the public domain. Baby by George MacDonald, read for livervox.org by Megan Kunkel. Where did you come from, baby, dear? Out of the everywhere into the here. Where did you get those eyes so blue? Out of the skies I came through. What makes the light in them sparkle and spin? Some of the starry spikes left in. Where did you get that little tear? I found it waiting when I got here. What makes your forehead so smooth and high? A soft hand stroked it as I went by. What makes your cheek like a warm white rose? I saw something better than anyone knows. Whence that three-cornered smile of bliss? Three angels gave me at once a kiss. Where did you get this pearly ear? God spoke, and it came out to here. Where did you get those arms and hands? Love made itself into bonds and bands. Feet, whence did you come, you darling things? From the same box as the cherub's wings. How did they all just come to be you? God thought about me, and so I grew. But how did you come to us, you dear? God thought about you, and so I am here. End of poem. This recording is in the public domain. Baby by George MacDonald, read for livervox.org by P.D. Rott. Where did you come from, baby, dear? Out of everywhere and to the here. Where did you get those eyes of so blue? Out of the sky as I came through. What makes a light in them sparkle and spin? Some of the starry spikes left in. Where did you get that little tear I found it? Waiting when I got here. What makes your forehead so smooth and high? A soft hand stroked it as I went by. What makes your cheek like a warm white rose? I saw something better than anyone knows. Whence the three-cornered smile of bliss Three angels gave me at once a kiss. Where did you get this pearly ear? God spoke, and it came out to here. Where did you get those arms and hands? Love made itself into bonds and vans. Feet, whence did you come, you darling things, From the same box as cherub's wings? How did they all just come to be you? God thought about me, and so I grew. But how did you come to us, you dear? God thought about you, and so I am here. And a poem. This recording is in the public domain. Made for LibriVox.org by P-Pats. Baby by George McDonald. Where did you come from, baby dear? Out of the everywhere into the here. Where did you get those eyes so blue? Out of the sky as I came through. What makes the light in them sparkle and spin? Some of the story spikes left in. Where did you get that little tear? I found it waiting when I got here. What makes your forehead so smooth and high? A soft hand stroked it as I went by. What makes your cheek like a warm white rose? I saw something better than anyone knows. Whence that three-cornered smile of bliss? Three angels gave me at once a kiss. Where did you get this pearly ear? God spoke, and it came out to here. Where did you get those arms and hands? Love made itself into bonds and bands. Feet. Whence did you come, you darling things, From the same box as the cherub's wings? How did they all just come to be you? God thought about me, and so I grew. But how did you come to us, you dear? God thought about you, and so I am here. End of poem. This recording is in the public domain. Baby by George McDonald. Read for Librebox.org by Tricia G. Where did you come from, baby dear? Out of the everywhere into the here. Where did you get those eyes so blue? Out of the sky as I came through. What makes the light in them sparkle and spin? Some of the starry spikes left in. Where did you get that little tear? I found it waiting when I got here. What makes your forehead so smooth and high? A soft hand stroked it as I went by. What makes your cheek like a warm white rose? I saw something better than anyone knows. Whence that three-cornered smile of bliss? Three angels gave me at once a kiss. Where did you get this pearly ear? God spoke, and it came out to hear. Where did you get those arms and hands? Love made itself into bonds and bands. Feet, whence did you come, you darling things? From the same box as the cherubes' wings. How did they all just come to be you? God thought about me, and so I grew. But how did you come to us, you dear? God thought about you, and so I am here. End of poem. This recording is in the public domain.


Hello, I'm Dilhit, Product Development Director at ProNails and I'm very happy to introduce to you our brand new LED UV gel range. We have created a very straightforward gel range which is easy to understand, easy to use, easy to choose from and will save you a whole lot of time in the salon. When I ask a professional nail stylist how do you choose your gels, I get answers like well I listen to my clients or I first look at my clients nails and then I decide which gel I'm going to use or I prefer to use a gel which I feel comfortable with. Basically, whether you realize it or not, as a professional nail stylist you choose your gel based on three simple things, your own personal experience level, the nail type of your client and the desired end result. This is an overview of the entire range of base gels, builder gels, camouflage gels and repair gels. These gels are both LED curable as well as UV curable and with very low heat sensation. Regardless of the viscosity, all these gels are nicely self-leveling and require minimal filing. The names of the new ProNails gels are very straightforward, they mention the function of the gel and the color on the nail. All base gels cure five fingers together in just 30 seconds in the light for maximum time saving. The base gels come in two viscosities, medium viscosity for beginning nail stylists and a low viscosity so a more runny gel for more experienced nail technicians. Two types of builder gels, flexibilder gels which are a deal for clients with flexible nails and people who use their hands a lot in daily life. Hardbuilder gels are great for clients who want longer nail extensions, in fact these gels are so strong that you can work very thinly to create a very nice natural look. Unfortunately not all your clients are blessed with perfect looking natural nails, but that's where you can make a huge difference. The ProNails camouflage gels come in different shades and with different covering intensities to suit all skin tones and nail problems. And with the repair gels you will repair them in no time, either an easy fix of a single damaged nail or a reinforcement of an entire set of weakened damaged nails. In the new ProNails LED UV gel range you find everything you need to create the beautiful nails that your customers deserve. These time saving gels are LED curable with very low heat sensation, they're easy to use, you can cure five fingers at one time and they require minimal filing. Do you want to save time in your salon then you should definitely check out our gel videos. I wish you great success in your beautiful profession of making your customers shine.


Welcome to Usability Research Methods. In this module, we'll go over three of the most common types of usability research methods, including what they are, when to use them, and what type of feedback they can provide. The three usability research methods you'll learn about today include card sort, wire frames, and prototyping. As a user experience designer, you have access to a wide range of different research methods. During development, your websites and applications benefit from you using a number of different methods to get critical feedback from your users. Card Sort Card Sort testing uses paper cards and is one of the earliest types of usability research methods. Written on each one is a topic, phrase, or word, and participants organize the cards into categories, which helps determine your design or evaluate your website's information architecture. This tool allows you to build a website structure, decide what to put on your home page, and label categories and navigation tools. You can purchase all inclusive kits containing everything to quickly create paper card sort prototypes. While paper is convenient and inexpensive, it isn't a realistic mock-up and the testing needs to be facilitated in person. Wire Frames A wire frame is a two-dimensional illustration of a page's interface. This type of research method is usually done during the middle stages of development. While it doesn't typically include any styling, color, or graphics, it does help establish relationships between templates and pages. It also allows you to clarify consistent ways to display types of information, prioritize content by determining size and location, and determine intended functionality. Wire Frame software is much easier to use than traditional desktop software and offers tools specific to UXD. It enables you to create accurate representations of your project. Prototypes Prototypes are draft versions of your project and may be one of the final methods used to gain specific feedback about a draft version of your project. They range from paper drawings to click-through on-screen mock-ups. Prototypes allow you to refine functions or activities, test usability and web page functions, and resolve questions about placement, buttons, and links. UXD prototypes using GUIs, graphical user interfaces, provide flexibility and a short learning curve. They're designed to create lifelike prototypes with features including browser-based access, built-in collaboration, static and dynamic interaction, and exporting and reporting tools. In the end, you must choose the usability research method that fits your requirements. You should consider affordability, where you are in your project's development, and the method's ability to meet your project's needs. You have completed usability research methods. Thank you for watching.


Everyone, this is Jason Zak from Nathaniel School of Music. In this tutorial we are going to learn how to identify, how to write down and how to hear all of our intervals using three melodic interval techniques or the three ways in which you hear melodic intervals.  So, the root is D-flat, everything you hear will be with respect to D-flat. For example, the 5th, the 3rd, the 2nd, the 4th, the 7th, the 6th and so on. Then you hear intervals with respect to each other, all of those are seconds with respect to each other or the 3rds, 3rds, 4ths, octaves, 7ths and what not. And you'll also hear intervals with respect to chords. So, if you take this chord, that'll form the 9th with respect to an E-flat minor or if you sing the same one, it'll form a different interval. So, to learn the three ways of detecting melodic intervals, we've chosen an incredible song by the Grammy Award-winning artist Lowe and the album is Bewitched, you should check it out, we're going to take the song from the start. So she's won the Grammy for best traditional pop vocal album, it's one of the best albums of 2023 and at the time of shooting this lesson, Feb 14th, Valentine's Day, this song is very fitting as a love song to celebrate the occasion. So, before we get started, it'll be great if you could consider heading over to our Patreon page for just $5 a month and getting yourself a copy of the notes and notation of this video, this lesson as well as pretty much everything we do on our YouTube and don't forget to hit that subscribe and ring the bell or watch the video and if you liked it, then hit the subscribe and ring the bell. Let's get cracking. So, using the song from the start, we're going to decipher all the types of melodic intervals using a strategy which I call as pitch freezing. Pitch freezing basically means like the old era of cassette tapes or any kind of tape mesh storage, even the CD era, you stop it and the most recent thing that you heard would be what you need to detect or identify or write down or call out or play or whatever it might be. So I call it pitch freezing. I'm going to freeze the pitches as I play the melody and we're going to look at each of those frozen pitches and a few interesting compositional observations about the song as to why the chord happened that way or more importantly, why the melodic note was chosen that way. So before we dive into the melodic components, let's look at the basics of the theory. You have the scale D flat major, it's D flat major again, it's five flats, all these black notes in addition to F and C, that's D flat major and the chord progression used for the song is E flat minor, A flat major and D flat major for the most part. So whenever the chords change, I'm going to walk you through those and I'll show you how the vocal melody also changes. So E flat minor is played in this amazing voicing which she does on the guitar. So that's E flat minor 9. So this is how I voiced it on the piano, root, 5th, then you have your minor 3rd, then you have your minor 7th and then the 9th should be E flat minor 9th. Second chord would be an A flat 13th. So you started with E flat minor 9th and then it goes into A. Just a slide, you could just slide that D flat down to C and you get yourself an A flat 13th. With a dominant 7th, not a major 13th, it's not, that's not the 7th we are referring to. So flat 7, major 3rd and that's the 13th. That's what gives you the 13th vibe, 13th is essentially a 6th but played alongside a 7th. It could be a flat 7 or a major 7th.  Okay so that, that's D flat major but it's voiced in this really, really clean voicing, major 7th voicing. So all the chords if you're playing it on the piano would be pretty clean with just three notes and then just move that down to C and then so that's pretty much all the chords in the song most of the chords. Okay so for this lesson not so much on the harmonic construction that was just a gist let's now dive into the melody. So I'm going to walk you through the tune line by line and as and when you know I find something or as and when you have to find something with me we're going to kind of pause and explore and explain what exactly is happening. First of all let's give ourselves the root. So for melodic ear training to happen if you want to figure out the notes with respect to the root is one way to do so. For example if you take a note like La that's a 5th, La that's a 3rd, La that's a 7th, Na that's a 6th, Re which is a 2nd and then the root. Okay so that's a walkthrough of the root, keep the root near you at all times so whenever in doubt try to keep that D flat resonating and sing it very important to detect for detection of intervals you have to sing it it's the best way to detect it. Okay so the way she starts is you see there's a strong prominence of that note F which forms some incredible intervals with respect to the chords but with respect to the root don't you know what's the root no there's a lot of these Fs so you need to know that the F is the 3rd with respect to the root but now the chords are coming into play so you could also visualize it with respect to the E flat minor chord don't you know so that F maybe the 3rd in the D flat major scale but it is the note which is making this E flat minor into an E flat minor 9th chord and she's singing even that that entire bar is literally notes of the chord yes they are part of the scale but when you're hearing it the root has changed so if you are an Indian classical trained musician also you might find that a bit awkward because usually the root will always be driving forward in this song it starts with the 2 minor 7th with that vocal line going and all the instrumentation also targeting that 9th and then the chords sneak into the next chord to a flat 13th don't you and the same F will continue to be the 3rd of the D flat major scale but with respect to E flat it was its 9th with respect to A flat it is its 13th because you know 1 2 3 4 5 6 13 is nothing but a 6 but then with alongside the dominant 7th don't you know so that F has two roles so to speak and it'll have a third role as I as I finish in the next sentence and that F lingers on even the next sentence which goes I get quiet when there's no one else and back to that prominent so almost every bar every chord change is starting with that F so that F becomes a kind of a pillar pillar point of the song so that's over the E flat minor 9th that's the A flat 13th it's a great use of just one note which has so many emotions because of the chord that is supporting that one note okay and what about the passing or the connecting notes the passing notes in music generally would be or she could have easily done don't you know she could have gone in stepwise motion but there are two ways musicians can go or reach the final eventual target tone you can do that either in stepwise diatonic stepwise motion or or what she's doing is there's a huge jump there there's a jump of a perfect fifth and before that there's a chromatic note which is actually a wrong note it's not even part of the D flat major scale but it just magically works so it the note gets hit before the chord onset so don't you know don't you so there's no other instrumentation happening so the value of the function of that note is to just slide just slide to the diatonic world don't you instead of doing don't you know this how that'll be rather boring don't you think or don't you know this how that's too diatonic which is also kind of boring so to make it rather interesting and not invade the chord she's singing it at the off beat she's not singing it at the land it's not don't you know no that'll be it's actually a wrong note so don't you know and even that's not part of the E flat minor triad it's big making itself as a ninth so how do we study that it's a chromatic pass or a slide to B flat don't you know and then a perfect fifth jump up and then when the word notice finishes don't you notice which also works in the other lines as well burning pain girl to do tada so this becomes a very familiar movement but it it's made more artistic or more creative with that chromatic note don't you know and now some interesting stuff happens with respect to that D flat major seven she uses a pattern like melodic construction okay and she plays it in a very interesting rhythm as well obviously so how do we study that I get quiet when there's no one so there we have built or your look you could visualize this as a melodic phrase which is four notes going down for diatonic notes I should say that means it's in the key of D flat major and to make that more interesting I get quiet when there's no one so it's interesting and familiar you know it catches you it hits you but it's not monotonous so that's the hallmark of a great melody which this one clearly is so the whole story and then the whole story repeats oh that a flat and then resolving to D flat me and you and awkward silence me and you and so all these are diatonic seconds with respect to each other see E flat is a second from F D flat's a second from E flat and D flat is a second from C albeit a minor second but with respect to the root if you go back to the root if you want to get it with respect to that D flat that would be three two one seven sometimes that can get very confusing because the root seems to have consistently changed so that's the main workflow of this lesson it's to show you when you're listening to an interval or a fragment or a piece of a melody what is your perspective is it the root of the scale is it the previous neighboring notes or is it the chord tone so in this one small discussion we've covered pretty much everything isn't it so we've done that chromatic passing a jump leaping to the F but that F contextually is part of the E flat minor ninth it's in that family or it's in that bed of notes so the sound of that F changes so a funny question I sometimes ask students is how do the white notes of the piano sound in comparison with the black notes I get this weird answer that people say the white notes sound a bit happier and all that and some people even use the word brighter which is weird because of the color so they are influenced by the color of the note or the actual sound of the note so all white notes and black notes are just notes they are just musical notes one of the 12 we have it's when they come together with each other that's when you can actually quantify or talk about a sound otherwise F is an F you could have other notes also coming maybe from a car horn or an auto horn so F the value of that note is based on the entire ecosystem see E flat minor ninth is a very warm sound this gives the more tense sound and back to home okay and then the second half of the verse it's sort of a a b c song writing structure so the a a line we finished me and you and awkward silence now don't you dare don't you dare beautiful there she goes B flat B flat there there's almost a somewhere over the rainbow interval where she sings way up high but that has a different context in the song way up high in somewhere over the rainbow it's 1 6 5 in from the start by low way she goes she creates B flat which is the 5 with respect to E flat and the 6 with respect to the D flat so that's almost a relative minor interval but if you consider B flat B flat A flat those are the somewhere over the rainbow notes but yet it doesn't sound like somewhere over the rainbow because the whole context has changed so we need to consistently visualize our intervals alongside the root of the song alongside each other when we along know them alongside each other we then have patterns and say oh that's familiar I heard that somewhere you know and rhythmically also she'll continue something like that don't you dare look let's analyze that that's the B line or the third line so don't you that's over any flat minor snide a flat 13 look at me okay look at me those are diet on it look at me look at me landing on the third of the F minor seventh chord that way so what's very interesting about that B flat chord is it's first of all I think a B flat augmented seventh in the song there may be even be they could also be a flat nine in there or something but they keep changing the color of that B flat chord B flat major and this particular note D is not part of the D flat major scale it's a minor second so why does that work well it's a it's some kind of a colorful dominant chord which is going to finally resolve so the melody line cannot be diatonic when the chord is is non-diatonic so there's a very interesting chord when she lands on that look at me that way now D what is that it sounds very stable but yet this note is a wrong note it's and she is now landing on that note so what happens is the B flat is giving D purpose don't you look at me that way if you put D with all the other D flat major chords it may sound pretty disturbing so we angle the chord either it's a chicken and egg situation either the note came first and she adjusted a chord or she used a chord it's a dominant chord for sure so it will resolve to the next part or the next sentence you play a B flat dominant or B flat major works even a B flat augmented will work you can color up that however you wish so that's the chord there and there's a note D and it is a minor second with respect to the root which I don't think I will ever know but I will know that it's a major third with respect to the B flat chord so another important strategy when you're listening to a note listening to a melody or a note at a time after freezing the pitch would be reference not only that note but reference it with respect to the lowest possible note which your eardrum is processing so if I do this what's the lowest note to that's a B flat so with respect to the B flat so we've done the a double a a b now let's do the C the last line of the verse I don't need reminders of how you don't feel the same or rather traditional ending because it ends with a dominant chord the five chord of the D flat major the very common chord to end a section in most songs whether it's jazz pop or whatever so don't you know I don't need reminders of how that's exactly as the a but she changes are changes it around to get the dominant now that's landing on the C which is the seventh with respect to D flat but the third with respect to a flat which is the dominant of the root so that will be your root is still D flat so there's all these things happening with respect to each other blah blah blah but with respect to the root is the is eventually where we are going to come to or all musicians will come to for the song to have a purpose you start from home do your business go out have fun play work but you come back home and sleep on the same bed hopefully which is good after a long day's work so now let's move into the B section you could call the earlier part is the a or the verse line or the main head some people call it in the B section it's very easy I'm not going to take too much time it's just a very recurring second interval as you're going to hear it'll make it very obvious I'll play it and then walk you through you see the melody is the same but the chords are making it sound very different and it continues just to make it a bit more obvious so that's a kind of a three line structure just with a kind of animated third line but they're all very similar to each other and very similar continuation okay so if we analyze that again the chords are pretty much the jazz standard chords two five one look at the melody that when I talk to you with respect to each other these are a major these are major seconds with each other with respect E flat to F but with respect to the chords the equation will change slightly that when I talk to you there's also a nice jump to you to you another perfect fifth jump so she definitely enjoys these perfect fifths these octave jumps that's what like I said earlier makes a great melody so there's this combination always of leap and steps you know leaps being fourths fifths octaves thirds and six which make it beautiful in combination with the stepwise motion and the stepwise motion would be diatonic or chromatic as well to have its own fun in the world of step motion so you can have many leaps you can anything from a third fourth fifth sixth seventh and octave is considered a leap or you can go beyond that and a step is always a second interval and it could be a major second or a minor second or it could be a chromatic second or a diatonic second depending on how you look at it okay coming back to the B section and it repeats but the chords change so it creates a very nice D flat major seventh sound with a nine there that E flat is a ninth with respect to D flat and then the word through it becomes a nice major sixth chord just because of the melody lines she continues that it's just pretty much that kind of influenced by somewhere over the rainbow right okay so moving on so we've covered so this is pretty much the B section but the B section has a little bit of variation let me walk you through that as well first of all what we learned through my heart is a different melody now she could have easily done but that would feel complete there's more to it that creates that more mysterious sound because she's ending on the ninth instead of the predictable root and then the whole motif continues but now the context of the chords change there's an F minor seventh that's a 2-5 immersed in that's a non-diatonic 2-5 but I'll explain how it neatly comes back diatonically she adds that G flat which makes it a very augmented sound that's the same as earlier but let's study that 2-3 in the D flat scale or with respect to F it would be minor seventh root that'll be a flat seven that's a sharp five or augmented fifth ending on the third and then okay we have one more incredible part to analyze and it just hit me also out of the blue because in modern pop music you don't hear a jazz-scat vocal solo so it was that's what drew me to this song and that's what you heard in the beginning also so let's just quickly walk through that and conclude the lesson with just one more thing maybe so let me walk you through the vocal scat solo it starts with that musical interlude what happened there that's F flat D flat C so it's step-wise motion going down so it ends on a very jazzy note but it moves down in a very predictable diatonic step-wise motion downward she likes that A she could have easily done again at the offbeat that A which is nowhere part of the scale it just works when she sings it that's a descending one and then you ascend ending on an E flat it's 5th chord tone very interesting jumps and leaps what's that that's a 5th with respect to each other in terms of chord context that's 5 octave or a perfect 4th with respect to each other then landing on the 3rd of the D flat let me play that for you intro D flat major again step-wise going back to E flat minor which is the 2 chord D flat G flat diatonicly up pretty traditional up but always focusing on the chord tones 5 of the E flat makes it a bit rememberable but not boring because it's climbing up and then climbing down and the chords are changing and now the magic comes that climb that's a huge jump it's almost impossible for me to sing this I definitely need some vocal lessons after this one let's break that down that's a jump from E flat to C which is the 7th flat and the 5th of the F minor 7 and then you have this beautiful diatonic jump so you think and then it goes away from the diatonic because of that B flat dominant chord and now she basically sings the B flat dominant 7th it's very difficult to do at least for me that's a B flat dominant 7th in an inversion it's not it's instead that's the lick there and it continues so so you can analyze those melodic notes as just being chord tones of the B flat dominant 7th what's happening there there's a B so makes it a flat 9 in there now I don't know how to sing that but what I think she's doing is she's creating a triplet there with that with that wrong note which is not part of the D flat scale somehow figures out a way to land so that's absolutely beautiful you should definitely listen to the original song and that scat vocal solo is incredible so let me just do that run one more time let's get that ending another huge jump it's a minor 6th jump you would call it so she's leaping down or leaping up and then stepping in that opposite direction so leap, step and come back to the next chord tone which is the 5th of the D flat major scale namely A flat major we call that the dominant so the whole solo I'll just slow it down and you can follow and before we conclude the ending is beautiful just the last 2 bars of the song let's just deal with that and then this lesson is done very unique set of notes there and she puts that B in the chord so what does that make this chord? it makes it A flat 9 and then resolves back to the root okay let's do that a which is part of the usual B section and there's also an augmented chord played by the rest of the band by the way she doesn't do but the other musicians are doing that and then the very ending but at that very last I know I've loved you the chord actually changes while she continues to sing that famous note F which has been lingering on for the whole song but the chord is different there's a flat 9 in there that's a 11 13th wow flat 9, 11 and 13 call that a 13 flat 9 also get away with this by playing maybe an an A augmented in the right hand and an A flat in the left hand the third part of this ending is the way does the A flat and the A are clashing with each other but it just sounds beautiful see how close they are so that was the outro and we've covered the verse, the A section, the B section the incredible vocal scat solo now the outro the intention of doing this was yes have a deep dive into from the start by Lowe a Grammy award winning artist you should listen to the entire album be witched but the main intention was to take a song which has great chords it has a lot of melodic movement not monotonous stuff like that there are songs like that if you actually play pop songs on the piano you'll realize that you might as well just replace all the singers in today's industry by rappers it would kind of work better I think because the singers are not really singing they are just singing one or two notes so it's a bit weird this is a very refreshing song which is why I wanted to share it considering it was released just about a year ago or less so the main intention I hope was to look at musical notes degrees, intervals from different perspectives what were the three perspectives again one with respect to the true root of the song D flat which we rarely did in this song I confess but then we've also looked at intervals with respect to each other stuff like that and then octave jumps things like that and then some chromatic note non-diatonic then we also looked at following the actual chord and how a simple note like can be so many things could also be that I would have liked that but it's not there in the song anyway happy learning have fun so if possible do consider heading over to our patreon you'll find my handwritten notes for this song I've transcribed the the melody, the chords, the voicing of the chords and so on we also have the staff notation for you which we built using mu score and the open source community it's an awesome place to be you can find the notation of pretty much any song some of it is not entirely right so we did a few tweaks so do check out the notation, the MIDI and my handwritten notes and before you sign off and hopefully watch another video on our channel it'll be great if you can hit that subscribe button and turn on the bell for regular notifications cheers and catch you in the next one


adventure, intrigue, mystery, romance, starring Humphrey Bogart and Lauren Bacall together in the sultry setting of Tropical Havana and the mysterious islands of the Caribbean. Once again, the magic names of Humphrey Bogart and Lauren Bacall bring you bold venture and a tale of mystery and intrigue. You won't regret this, Mr. Shannon. You'll see you won't. Mr. Shannon hardly ever regrets anything, do you, Slate? That's because I lead such a clean life.  Where else could you have found a hundred percent fellow like Slate here to take you all the way to Key West in his own boat? I know. Oh, how well I know. Oh, that reminds me. Be a passage money. You can pay me when I land you at Key West. When you do that, you'll get a bonus. Yeah, it's a nice plump bonus. Plump? That'll be nice.  Well, thank you. Thank you very much. Here, I got the money right here. I'll peel off any part of it. Just say when.  Huh? Oh, I am. Oh, oh, oh. You made a funny. Did you do that, sailor? Yes, she did. I've got $50,000 right here in my hand. Oh, piggy bank. And I'll just say when, Mr. Shannon. Well, if it makes you that happy, when? What did I tell you, Mr. Bullock? You've finally found an honest man.  It means a lot to you to get to Key West, doesn't it, Mr. Bullock? Oh, it does. Yes, it does. A man like me, I'm just not cut out for this excitement in Havana. I'm strictly a homebody. Carpet slippers, a pipe, the evening paper, but all of it in English. Something a man could hold on to. Yes. How much farther to your boat, Mr. Shannon? A couple of minutes. If you're that anxious, you could have taken a plane. One of the crackliners. I told you. I don't like all those people around me. I paid you enough, didn't I? I'm not paying you to ask silly, personal questions. You're being paid to... Now easy, Mr. Bullock. Slate doesn't like it when you go. Hey, watch your sailor. Hey, watch with you guys.  You could have. Keep the mouth polite, friend. Or we want us to ask a friendly direction. Mr. Shannon, look out. They're the men who... The men who... What do you know? It can still talk. All right, move it, my chick. Johnny'll be proud, won't he, my chick? Yeah, he'll be proud. Hey, you should have seen it, Johnny. You should have seen it. Relax. But Johnny, I think...  Turn off the record, Marchek. Yeah. Man doesn't eat anything but music like that. Sure, Johnny. Sure, Johnny. Tell me how Bullock died. The four slugs in the chest. Can you imagine that, Johnny? A little guy like that and it takes him four slugs. Who was driving? Him. Marchek. Him. I was driving, Johnny. I don't know about you, Marchek. I really don't. I said dolly drives. You were going to handle the gun, remember? Oh, what difference does it make? Sure, Johnny. What difference? I didn't mind. He took four slugs. You should have seen him. Marchek. Uh-huh. Next time you do like I say. Next time you'll do it my way, won't you, Marchek? Ah, sure I will. Sure you will.  It's the little things that annoy me. Take Bullock. He annoyed me. A bookkeeper who walks out with $50,000 shakes my faith. The money is incidental, Marchek. It's the annoyance of it. Gives me butterflies. That's Johnny. Johnny, when do we... Soon. Real soon. And when we get back to the States it'll be like old times, won't it? Running things from Havana is okay, Johnny, but I like the States. Like old times. When are we getting out of here? Sometime I'll whisper it in your ear gently, Marchek. Sure. There's no chance of a slip-up on Bullock, is there? Uh-uh. We were driving without lights. Nobody followed. That's right. It happened too fast even for the guy in a dame to have. What guy in dame? The ones at Bullock was talking for. What guy in dame? A Bullock came out of the hotel with a guy in a dame. What hotel? Called Shannon's Place. Get them. Bring them here. Sure, Johnny. Now turn on the music, Marchek. Uh-huh. Guy inside said you were outside. Said you were on the patio. Did he tell you to keep walking? I said you know where Slate Shannon is. Shannon is doing clever things to his boat. You'll find him down at the dock. Your name is Duval, huh? Who are you? You got in trouble a little while ago, didn't you? You walked with a man and he dropped dead from bullets. Look, don't make me repeat myself. Police, that's all. For a Cuban policeman, you've got quite an American lilt to your voice. Yeah, I go to all the American movies. Come on, sis. What are you talking about? Talking about, come on, with me, the police. I'm arresting you. It's a suspicion. Suspicion of what? Show me a bag. Come on, sis. I get experienced dragon people, too.  Why, why you're the man in the car. Yeah. You, you're gonna stop fighting or do I break the soft arm? Sailor. Slate, Slate, hurry. You did wrong, sis. What's the... Slate, he's got a gun. Okay, proper. Tell her to get the gun.  He's getting away. Yeah. You all right, Sailor? He's slugged you good, huh? Are you all right? Let's go inside. He was the man who shot Mr. Bullock. I noticed. Like you said, he slugged me good. I'll get you something. Hey, wait a minute. We've got company sitting over there. Yeah. Wonder what he wants. Good evening, senor LaSalle. Why, there's no chase, senor. Senorita, are you sad also, like me? Sad? See, this evening you were seen with a man who is lately murdered. That's why I am sad. You are under arrest, both of you. Make yourselves comfortable, senorita, senor. We have a saying in Havana. My jail is your jail. Hasn't changed a bit, has it, Slate? Still cozy. Yeah, our home away from home. Same leg broken on same chair. Same cigar burns on same desk. Same picture of LaSalle Jr. No, it's not the same. Junior's a big boy now. How Junior has shot up. Thank you. Don't mention it. How is Junior? Remarkable. He has known attendance at Yale. Bulla-bulla for him.  How long do we crook our pinkies at each other, LaSalle? I gave you the hoodlums gun. All you have to do is trace it. I'd get your bullocks murderer. I'd get this out of this coffee clutch. You and us. This we shall do, senor, to the tracing of the gun. However, there's also a matter of questions. I've already chosen my category. How about you, Slate? What's the question?  We were taking a walk. Bulla didn't get to finish it, that's all. There's a murderer of which you speak. You know him? You can describe him? He was American. He carried an American gun. He's got a cold right cross. What else is there to know about a man in the dark? I could think of something. The license number of the car. You jotted it down? I knew we forgot something, sailor. Next time I'll bring my ballpoint. Yeah, do that. Which brings us to the 64 peso question. Junior has written me of such. What business had senor Bulla with you? He hired me. He hired my boat. Take him to Key West. He was a simple little man. Still, he had almost $50,000 on him. Perhaps you will tell me why. Sure. Simple little man put their pennies in Christmas savings. You'd be surprised how it adds up. It could have been a good fee to take him to Key West. $50,000. Perhaps this hoodlum you speak of. Perhaps he had fear you would not share with him, eh? Hey, look, I told you what happened. We're in a snorkel, senor LaSalle. Everybody. Well, will you be glad I'm here, Shannon? You and the lady. Will you be glad?  A favor, senor. Just release Shannon and Duval. Because I ask you. Because I've got a writ that says you have to. Give it to me. It is in order. You are released. But walk carefully, navana, eh, senor? Senorita. Just like you say. Give my regards to Junior, huh? Let's get out of him. Yeah. I told you, the chief and me, we're just like that. I do favors for him, him for me. And you, for who else? Your benefactor, lovely man. He arranged it all. He's dying to meet you, too. Let's not keep him waiting, huh? He sounds like a doll. Shall we go, Slate? Not you, just me and Buster here. Now, look. I said go home, sailor. You take me to my benefactor, huh, Buster? I don't want to share him with anybody. Yeah? I brought Shannon.  Hey, Johnny. Yes, who is it? The lawyer with the guy. Tell the lawyer to go home. You heard him. Come on in, Shannon. Right in here. Here he is, Johnny. Hello, Shannon.  Hey, I've seen you. Your pictures. You're Johnny Rice. That's right. How many states do you want it in, Johnny? The original 13, seven more besides. You like music, Shannon? Sometimes. Try now. Listen. Pretty. Sure, it's pretty. You're going out to it, Shannon. Only because you know I'm in Havana. Whoever told you I knew that. Marcik. Uh-huh. Kill him. Johnny. I said... Yeah. Listen to me. Now throw him away, Marcik. Back to bold venture. Our stars Humphrey Bogart and Lauren Bacall. And the second act of our story. A man he come to a Shannon's place. Have plenty of money and anonymous face. This man so rich want to live in states. But dying gutter decree his face. The police they come and arrest Mr. Slate. Also Lady Sailor his fair lady of late. Then lawyer he come with rich riches. Lady Sailor come home but Mr. Slate disappears. Now Lady Sailor she beat her limb.  Does it show that much, King Moses? Maybe not to somebody else. But to King Moses it shows like it was in neon lights. Funny Slate never sees it. Mr. Slate sees but he does not believe. You are someone he has not known the like of ever before. He do not think himself worthy of you. That'll be the day. The day he underrates himself. Ah I know him longer than you Lady Sailor. Well then maybe you can tell me where he's been all night. Because you know him so well. I cannot in Havana there are many places. One goes because one has a design his heart also. Or what King? Or there is a design someone else's heart to please or to do harm. Slate can take care of himself. Yes but sometimes a man gets hurt taking care of himself. Sometimes. How could he have got hurt? We were in the police station. A lawyer named Harman came in with a writ. Slate went. Get me my coat King. You go someplace Lady Sailor? Yeah to see our lawyer. We got him for free yesterday. Maybe he'll tell me where he took Slate for free. Ah you understand Mr. Varl. It's been so long since a person as lovely as you walked in here. Mostly until you. Dregs. Unfortunate people with burdens. Ah. Mr. Harman where did you take Slate Shannon? Really now. Look Mr. Harman. I could go away and come back. Only then this office would be cluttered with half the police and Havana. Let me explain something to you Mr. Varl. I am a lawyer. I was hired to get you and Mr. Shannon out of jail. I succeeded quite well don't you think? Where did you take Slate? Here I was only half successful. I was supposed to deliver both of you. Where? You must realize I'm not going to say where or to whom or why. And may I make a suggestion? What? Should you bring the police here? I would lie. I would lie and say I dropped Slate Shannon in the middle of downtown Havana. In the street.  Beautiful.  Goodbye Mr. Varl. Wake up. Come on wake up Shannon. You're over being hurt. Wake up. Hey I know you.  I'm sorry I had to make it look good. How's your shoulder? You had to do that huh? You're wrong Marcek. I'm not over being hurt. Now there was a doctor here. He took the bullet out. Fixed you up at the sling. Here here's some pills. He said you'll live. Did he check with Johnny Rice? Is it okay with Johnny Rice if I live? Johnny thinks you're dead. He wouldn't have it any other way. Oh then you double crossed Johnny. That makes me owe you something. Like my life minus a pound of shoulder. You don't owe me a thing. Don't kid me Marcek. You don't do things like that to Johnny Rice. Not for nothing. You don't cross him. Bring me here and to this hole get me a doctor. Not for nothing. What's your fee? It'll surprise you. You want a bet? Tell me your fee then I'll go home because I've got a home. I work for the treasury. I get it.   See my credentials. Look at him go on look at him. You win. Surprises me. It always does. Every time. Yeah I know I saw the movie. We've wanted Johnny Rice a long time. We don't want to lose him in red tape. You're gonna help us get him. Am I? He's gonna make a run for the states tonight. We'll arrest him there. I'll recommend your book. Thanks.  Can she handle the bold venture? I'll leave her out of it or I don't play. All right. I'll go find somebody else. Hey come back Jack Armstrong. Sailor can handle the boat. Tell her to get it ready. Tell her to be on board about six o'clock. Sometime after dark three men will meet her. Me, Dolly and Johnny Rice. She'll take us to Key West. And you'll take Dolly and Rice all by yourself?  Don't pout Shannon you're going to. You'll hide below deck with a gun. I'll call out when I need you. Because I need you. See you later Marcek. Yeah. Mr. Slate. Mr. Slate. Hey where's Sailor King? What happened to you Mr. Slate? I'll tell you later where is she? In her room. Melting away from you Mr. Slate. Sailor. Slate, Slate. Where have you been? Why didn't you? And watch it. Your tears are getting my bandage wet. Hey, what's the matter with you Sailor? Your arm. Ah it's my shoulder. Used to have a bullet in it. Oh Slate. Cut it out will ya? Man spends a hard night getting shot. He likes to come home and see a girl with her hair combed and lipstick on. Looking nice. Look in the mirror. I'm sorry. Forget it. We're going to Key West. What are you talking about?  We're going to Key West to send us to get to dark. You'll be on the bold venture. Three men will meet you there. One named Johnny Rice and Marcek and Dolly. I'll be below deck. I'll have a gun. Come aboard. I'm Johnny Rice and your Sailor Deval. You sit over there. No. You're out the wheel of this tub. I'm your right hand man. Right beside you. Let's get moving. We wait for two more men. Marcek and Dolly? That's right. When Marcek paid me for this trip he said you, him and something named Dolly. How much did Marcek pay you for this trip? $300. He did well by it. I'll thank him again when he comes aboard. I'm afraid not. He's dead like your friend Slate. Dead. That's right. I caught Marcek placing a phone call transatlantic to the treasury boys. Can you imagine Marcek doing that? That's why he's dead. What about Dolly? He's packy Marcek to barium wherever he wants to barium. I'll meet Dolly in the States. Then there's going to be only you. And you. Let's go to Key West, Mr. Val. A beautiful night, isn't it? I haven't looked. Uh, do you mind if I get some coffee? Where do you get your coffee? Below on the galley. And who runs the boat while you're doing that? You. Just hold the wheel. Steady as she goes. All right. I've never run a boat before, but go ahead and bring me some too. Hurry back. I'm beginning to miss you already. Slate. Hey, what are you doing here? Where's Marcek? He's dead.  You mean you've been up there all alone with Rice and Dolly? No, only Johnny Rice came aboard. He's waiting for some coffee. I'll carry it to him on this gun. Be careful, Slate. Your arm. I don't worry about it. Quick with the coffee, Mr. Val. No coffee, Johnny. We're all out. Huh? Well, what do you know?  I should have figured that.  Yeah. I'm happy like this. Shoulders bleeding, huh? Drop the gun. Drop it. Thanks, Shannon.  Huh, Shannon? Did you hear what I told your boyfriend, Mr. Val? Slate. Slate, you're hurt. I'll take the hurt away from him in a little while. Get on this wheel. I'm sorry, sailor. I lost... Come on, get on the wheel. You know something? I forgot how to run a boat. If I took the wheel, this boat would go around in circles till we ran out of gas.  Slate can run the boat. That's a big coincidence. I forgot, too. What's on your mind, Slate? Pull my gun overboard and I'll see you get ashore. Where I want to go? Key West. You got my word for it. All right. That was my gun, Johnny. Now yours. Now I'll take the wheel. How much water, sailor? About seven feet. It won't be long now. I can see the lights on the coast. Take another sounding, sailor. Four. Better cut the motors. Now two. All right, Johnny, jump. Jump. That's right. I can't take the boat on the beach. You'll have to walk from here.  All right. Go along, Johnny. I'll find you, Slate. I'll find you now. Hey. What's the matter, Johnny? This beach. This water on the other side of it. Where am I? Go along, Johnny. How did I do, sailor? I don't know what you did. I told him I'd put him ashore on my part of the bargain. That sandbar is a mile from Key West, but it's part of Key West. The tide'll be in a half hour. He'll drown. Get on the ship to shore, phone sailor. Get the coast guard. Give him Johnny's position. If they hurry, they'll get him alive. I'm my nurse. Take it easy, Slate. I'm not a nurse. This is sailor. Water. Water. So help me, Slate. If I thought you had a fever. The room is spinning. Everything's going black. I've got no pulse. I'll go get you one. Oh, thanks, nurse. I'll be right back, baby. It's time for your 10 o'clock feeding. Why are you nurses always talking shop? Come here. Let go of me. Come here. Boy, you really have got a fever. And so our two stars, Humphrey Bogart and Lauren Bacall, have brought to a close our latest bold venture story. Special music was composed and conducted by David Rose. May we invite you to listen again next week at this time for another exciting adventure starring Humphrey Bogart and Lauren Bacall together in adventure.


Every single week Lady Eda does a great search brought to you by digikey. Thank you digikey and Lady Eda uses her Engineering skills for good and she's had to find things on digikey.com Lady Eda. What is this week's great search? Okay? So this was great search. I just talked about how I'm working on Keyboard design so let's go to the overhead real fast because we're gonna Split this off. It's good for me. We show this so this is a keyboard PCB people who make mechanical keyboards Each key has an RGB LED underneath it She looks like that and the RGB LEDs here are everlong RGB LEDs are not digital not smart You know neopixels dot stars. These are plain, you know one anode or one cathode and then RGB That's four pans total and they're driven by this chip here, which is the ISS ISS II S 31 FL 37 41 Which is a 351 39 by 9? LED matrix scanner driver PW driver so that this this will be able to control each of these LEDs And you can have up to 112 or so LEDs Analog LEDs controlled by this matrix driver, so you're probably wondering and here's here's the dev board that I've got for this chip the IS 31 FL IS 31 FL 37 41 That chip again here. This is a STM. Sorry this chip over here.  You don't need to route all the lines. You don't need all the night You just send data over one pin and you're done well, let's go to the computer and Let's do some math So the reason why we might want to use here here's just showing you the the matrix driver and how it works Why would you use a chip that costs $2 and then and I'll get LEDs instead of just neopixel LEDs altogether And there's nothing wrong with using neopixels go for it. They're totally cool However, neopixels cost, you know about ten cents apiece and if you do the math, let's say you have you know a hundred Keys on your keyboard and you're doing them with neopixels. So times ten cents apiece That's like the best price if you're getting, you know wheels and wheels of them. You're gonna get as low as 10 cents You're gonna spend $10 just on the LEDs, which isn't bad, right? If you have a very nice keyboard, you want one LED per key. However, once you get to these large quantities The price of analog LEDs, you know, you might be able to make it up, but even though you have an external driver so if you have 100 LEDs and Your analog LEDs cost four cents apiece, which will show some of them are even even less But let's say, you know large quantities four cents. Okay, four dollars, you know That's still a bit because you have to add in the two dollar Driver, but you're still ahead by four bucks. And if you're making a lot of these A lot of this product and you have a lot of LEDs You can see how once you get to like about 64 LEDs ish It starts to turn into, you know, you might be better off getting a driver chip Especially you can get all the LEDs driven by one chip, but you get one chip. It's two bucks. Yes, that's your Your setup cost within each individual LED is only two three four five cents Instead of 10 cents and and yeah for something that only has five LEDs I always go with dot stars and neopixels because they're so cheap and so easy But when I'm thinking about a keyboard design or something with a lot of LEDs on it I'm gonna use a driver like this. So that said we need to find a low-cost Analog RGB SMD LED, which is what this great search is all about. Let's find These little friends here RGB, right? And here's the thing There are basically Three kinds of RGB LEDs. You can have four pin common anode Four pin common cathode or six pin or each LED is individual These days I don't see as many RGB We do stock, you know RGB 50 50 Plain LEDs here, and you'll see that these do have Six pins on them because it's R G and B. There's three individual LEDs However, I don't see these in the smaller sizes. So just be aware Tends to be a common anode common cathode and this is kind of what I see more of these days In this case because of the way this is designed You know common anode is more popular and this is showing a common anode configuration But you could use it with common cathode as well. That said we'll probably look for a common anode design which means that See I think we have a couple common anode. Yeah, we have you know common anode LEDs You know there's a gigantic one, of course, but you'll see there's one positive There's four pads one positive one red minus one green minus one bead minus So you you can usually NPN transistors are a little stronger than you know P channel P NPN or PNP type Transistors, and that's why Common anodes a little bit Better a little bit better Insignificantly really but it is a little better So this is the driver chip again that we're using in case you're interested They are they're gonna have some in stocks shortly So let's look for RGB LED So we're gonna just search for RGB LED and don't forget there is the addressable LEDs These are the neopixels and dot stars and stuff good things. Here's like our favorite the jewel but We don't want that we want Discrete we want individual leds non-addressable analog Okay, so I told you about the configuration you can get Even we can get Common anode common cathode Independence or standard what standard I don't know but we're gonna actually ignore that for now. Let's just start with we just want active and Let's go with normally stocking because right now there's a lot of stuff that's not in stock so You know a lot of times I'm like I only want to get stuff in stock if I'm getting a replacement part or a one-off but because stocks are of Components are just so volatile right now. I'd rather see everything and then check what the lead times are it could be reasonable Usually LEDs are not I don't think it either are strongly affected by the silicon shortage because they're not complicated Transistor based Silicon made by TSMC. They're they're you know made more locally. They're made by smaller fabs. Okay So next question is do we want surface mount bottom entry right angle through hole? Well, I definitely don't want through hole In the future in case I don't want right angle or bottom entry although I might eventually look for a bottom entry one just because I want it to You know poke through the PCB underneath the each switch, so I'm gonna go with your surface mount So already only have like, you know 200 options available So the next thing is is that like everything else is kind of I don't really care again coming out of common cathode doesn't matter You know cut tape or tape and real I mean it's good I'm gonna eventually person keep tape and real because I'm gonna be using so many of these I do want to see the prices at a very large quantity. So about 50,000 is what I'm gonna put in for the prices and Then so what I did for fun, which was which is you know, sometimes my trick is I I sort downward by quantity So for example this LED it's a very small LED, but you can see it's got four pads This is a believe a common anode and there's two million in stock, which is which is pretty cool. This Happens to be a one by one Sized one millimeter by one millimeter LED, which is a little bit small. I want something a tiny bit bigger So I will show what the one millimeters are used for so if we go to the overhead real fast. So this is a Ultra I mean it looks like it looks like it's a texture, but it's actually your individual LEDs. These are One millimeter by one millimeter. I think LED is here. So they're used in LED panels Also, sometimes I see them on deaf boards as like micro indicators. They're super cute But this is a little bit too small for me. I want something a little bit bigger and a little bit brighter So let's go back to the Computer so for dimensions You know, I think I'm gonna go at least 1.4 squared 8 by 8 it's kind of big, but let's just do that. Okay, so we got rid of the ultra tiny ones and So this one is kind of need this actually a reverse amount one which I thought was kind of interesting but I actually I think I'm going to start with You know this size which you can see there's a couple options that are very similar in size I think this is one point This is three sorry this is One point six by one point six, which is you know a little you know, it's it's a bit bigger But it looks like there's a couple different standard sizes for this and in fact if you look at the Go here if we look at the Overhead so this grid this matrix grid these are this is that size and I can even tell by looking at it It's the same package. So this LED is similar to What was used on the eval board? This doesn't zoom in right Okay, so yeah, you can see these are these are a little rectangular. Okay, so let's go back to the computer So I ended up Decided to go with this and there's a couple things that I liked about this LED One it's nice and big looks like I can even hand solder at the other one Obviously it's picking place only this one I like how you can you I could I could debug, you know solder this pretty easily with a fine tip it has common anode connectivity and The LED milcandela is a really high so 630 Milcandela for each one is I zoom too much 630 milcandela each is is nice and bright. It means that even when I PWMing like it'll look really good You can do global current control so I can have a lot less current and still get a very bright light also sounds like it, you know, it says Mixed white. I wonder if this is Balanced so that when all the LEDs are on it kind of looks It kind of looks white and looks like these are bend as well. So This is a pretty nice LED and again. It's like five cents in quantity. So a good If I'm looking at making something with 60 LEDs like a 60% keyboard Adding these up and then including the driver chip could end up being a really Good option another nice thing about these LED drivers is you don't write the entire Number of LEDs at once and also happens over I squirts your SPI so you can use DNA and You can change individual LEDs You don't have to write the whole thing out which can speed up the system quite a bit because you're just you're just writing out Like set LED to X, you know or set this other LED to Y You don't have to write out the entire LED strip like you do with neopixels and dot stars So pretty cool. I like that. There's a couple options in this size as well, and there's 12,000 stocks So I'm digging it. This is the B38 G3 RGB from Harvard Tech. There's a lot of LED makers So it looks like a jelly bean part and I'm going to pick some of these up And then we'll probably see these in a couple weeks when I design them into my keyboard controller for exciting All right, that's a great church