The Hunchback of Notre Dame Did NOT Have To Go THIS Hard

Indexado: 2026-05-18

[00:00:00]If you've used Tik Tok or Instagram like literally ever, you've probably come across this sound.

[00:00:11]>> I'll have one day.

[00:00:18]>> What comes next? Now, if you know the original, you probably know the ending to the song. But if you've only ever heard this on TikTok, you might expect this.

[00:00:26]And one day out.

[00:00:41]Okay. First of all, well, if that's the only version you've ever heard, then how old are you? How old am I? But also, why do people feel like these go together so well? In this video, we're going to talk about why this entire song feels so insanely powerful and why I actually think that its original ending has the most impact, bar none. Okay, first of all, we listen to this again because there's a weird thing going on here where it's like uh almost doesn't work.

[00:01:07]Check this out.

[00:01:18]Did we I feel like the How to Train Your Dragon portion is like at least a few cents sharp. It feels off, but that's not nearly as bad as it gets because these two pieces are in completely different keys. And when we listen to I can't even believe somebody made this.

[00:01:37]This is the original key >> and how to train your dragon is not in this key.

[00:01:43]>> And watch this.

[00:01:52]>> Oh man. And here's the thing that blew my mind. You scroll through the comments of this and there's one comment that even mentions the fact that this is not in the right key. Here's one that's actually interesting. So this is in the original key of out there, but they changed how to train your dragon to match and they did it really well.

[00:02:19]>> But of course, that's not the original key of How to Train Your Dragon, right?

[00:02:22]Test drive. Let's find this.

[00:02:25]Yeah. Yeah. Yeah. Okay. So, they're a half step apart. Out There ends in E flat. the the big moment in uh How to Train Your Dragon is an E. So, they're a half step apart. So, you got to do something. You got to make them match.

[00:02:36]And it's like the first one kind of got close and the second one didn't even try and then this one actually gets it right. Okay. So, what we got to talk about is the actual the actual song, >> right? So, those of you who remember who remember the song obviously will know it starts with Claude Froolo singing the the minor thing basically telling Quasimoto like no you need to no you're you're if you ever go out there that's going to be a huge problem right and the whole beginning of the song is in this C sharp minor it's super dark and while the part I want to focus on is of course the the the second half of the song what I think is really interesting is when we shift out of the initial part into Quasimoto entering the sort of the the classic Disney Alan Manin I want song, right? We move from that that C sharp minor in a very interesting direction. I just want you to check this out. So this is the ending. We're wrapping up the that part of the song >> and you'll Ooh, that's important right there.

[00:03:46]I love that transition for a number of reasons. First of all, let's listen to what happens in C# minor right before there.

[00:03:56]We hear that phrase, which of course is very important because we're about to hear it again, but the whole the whole thing changes. There's a key change and something really interesting happens. We go from C sharp minor and by the way, that phrase right there because we use that's the fifth of C#arp minor and the third and we use the the the fourth and the flat six. Now because we do that we're telling ourselves that we are in C#arp natural minor. Now the reason that that's that is I think is a really nice choice for this particular part of the songs because this natural minor is extremely dark. Listen to this.

[00:04:38]If we were to make this C# sharp Dorian, right, using that that naturally occurring sixth degree of the major scale and not the flat 6 that occurs in the natural minor scale, that's a much brighter minor sound.

[00:04:58]Even though, yeah, it's still minor, that note gives it so much more brightness. But when we make that note flat, that's about as dark as as as minor can be, right? C#arp natural minor. So what's really interesting there's the ending. But now that is such a great transition because we keep the top note. The top note was the minor third of C# sharp minor, but it becomes the major third of C major.

[00:05:40]And check out what we do there. We go from minor to major, which of course indicates to us that we're going to go somewhere brighter. However, it is brighter while we move the root down by a half step. So, we have two things happening simultaneously. At the same time, we're brightening up the mood and we're saying, "Hey, we're going to enter this part of the song that's now going to be a lot more hopeful and a lot more wishful, right? But it remains almost a a humble wish, almost a it's a very innocent. He's like, "Yeah, yeah, no, no. I'm I'm I'm ugly. I I belong in here." but he really really wants to spend a day out there. And so I think there's something beautiful about moving from that C#arp minor to the C major because it it opens up it kind of points us in a hopeful direction but with the root motion going down a half step. It keeps us grounded in this sort of quiet resolve. when you understand some of the stuff. This is what kind of why I make these videos to help you understand some of the stuff that I'm hearing because when you understand this stuff, it makes it so much more fun to listen to. And that's like the whole point of building something to kind of help you guys get even that much further into it. That's why I built the better piano system. And I just wanted to let you know that I I just I recently added like over a hundred videos to it. It is constantly growing. I'm not done with it. I'm going to add a bunch more stuff to it, but right now it's over 300 videos. and it'll take you from even if you've never played the piano before or if you have some experience, you know, if maybe you took lessons when you were younger, wherever you're at, it'll help you get from there to wherever you want to go because the whole system is designed to give you all the tools that you will need to learn how to play anything you want. I start out by getting you playing immediately without reading any music or even covering any music theory. I just want you to play beautiful music as quickly as possible. That's where we start. And from there, we take it to all kinds of cool places. There are so many cool things in there. There's like a whole chord progressions cheat code guide. There are full walkthroughs of of some classical pieces which I'm going to be adding a bunch more. But right now, because of the fact that I'm still building it, it's like over 50% off. So, if you want to grab that, uh there's a link in the description down below. And you guys, that is how I support the channel. I I don't take sponsors on this channel, and that's because I wanted to create something that I made for you so that it might actually be relevant and and and useful, something that you can can get a lot out of. And that's that's the whole point of this channel and that's the whole point of the Better Piano System. So, if you're interested in that, click the link in the description down below. It does a ton to help me out and I can't tell you how much I appreciate your support. So, thank you. Thank you. Thank you. And uh yeah, let's keep going.

[00:08:21]>> Still that quiet resolve. This is a really interesting movement.

[00:08:27]for the histories they show me.

[00:08:30]All my life I memorize their faces.

[00:08:34]Knowing them as they will never know me starting to >> All my life I wonder how it feels to pass a day not above them.

[00:08:45]A part of them living in the sun.

[00:08:57]So what is going on in there in that beginning that makes that so powerful?

[00:09:01]Well, as we can see, we have, like we mentioned, the beginning that already gives us this sort of sweetness to it. There's like a sentimentality. It's it's hopeful, but it still has this sadness to it. We start in C major. Okay. Now, the first movement we make after playing around with the C to F minor, C, right? All that stuff. We go to E minor, which is an interesting choice. I love that motion going to the three. But then, of course, we get now we're starting to build. We get the the five chord over D.

[00:09:42]And then as we move on, we now start building up our momentum when we move to the four chord.

[00:10:10]Ah, what a chorus. That first note of the chorus is man our ninth using the ninth. It's so simple but it's but the way that it's phrased is just so beautiful. We get this big five chord and then it jumps all the way down almost a full octave down to the third.

[00:10:35]Now I don't know. I feel like that's so interesting. It's an interesting choice in terms of how to direct the melody because it follows this desire. I want to I want to be out there. Out there out there out there. It it almost matches how you might say that.

[00:10:56]See how that works? in the sun.

[00:11:00]Give me one day of >> very simple chords, but the tail we get to hear to hope forever.

[00:11:11]>> What a brilliant turnaround. I'm calling that a turnaround because that kind of is what it does. Um, so look at what's happening there. So we have we go from our four five almost like we're going to go back to the one chord which is kind of what we've been doing, right? But that's not what we do. We go to E flat to A flat to B flat.

[00:11:44]It almost creates this like that classic epic sound like the super heroic sound that we hear all the time.

[00:11:53]Flat 6, flat 7, one. So that brings us back to Here's our That's 36 five.

[00:12:22]All I ask is one flat to hold forever.

[00:12:29]Right back where they get our what I >> go around again. 3 6 1.

[00:12:50]Now we're going to pick up the tempo.

[00:12:52]Now we have a bridge where they go to the among the millers and the weavers and their wives through the gable.

[00:12:59]>> But now it gets interesting. Check this out.

[00:13:05]Heatless.

[00:13:07]>> All right. Wait, wait, wait, wait, wait, wait, wait, wait, >> wait. Okay, so what happened there? So we went to the bridge. I'm calling it the bridge. That's kind of what it feels like.

[00:13:17]I love the uh inclusion here of we're playing F, but we we get this the G over the F. And what that does is it turns the F major chord into an F Lydian chord by using the sharp four.

[00:13:34]So when we combine F major and we lay G major on top of it, we get that we get that sort of F Lydian sound. So it's a very nice sound. It's a nice sound because it's very hopeful. It's very like wondrous. And I think that this bridge really kind of picks up the tempo, really starts getting into that sort of wondrous territory.

[00:13:56]And then we do the same thing, but we go up a minor third from F to A flat.

[00:14:07]Oh, I love that movement down to the F minor because it's kind of the same thing, right? F minor to A flat major. Almost the exact same thing. So, and that sets us up. It sets us up. You guys know what's coming next.

[00:14:31]>> In their skin, I treure every key change that you guys don't understand. Okay, maybe you do. I'm going to help you understand. This is so nuts because the way that we're changing key here is oh man, it's so exciting because we come off of this beautiful uh the bridge that just builds up this momentum and it builds up this like the whole thing feels more and more and more hopeful, right? Which is perfect for what this song is trying to convey.

[00:15:03]Minor 4 major 1. It's a minor four chord to the one chord, but it's slightly disguised a little bit because we just came off of a flat to the F minor. And then when we go to the one, we're going to the one, but we are making it over the five chord.

[00:15:19]Five not chord note. But when we put it over the fifth, what we do is we give you this big resolution, but it's not done. It's very clear to us that like we're not something's still not home. We still have to resolve something. So even though it feels triumphant and it feels grounded, that fifth in the bass lets us sort of keep this. There's still hanging. There's something hanging still. And I think that's so great for this moment.

[00:15:51]And then the key change. This is such a sick key change. Look at the melody structure.

[00:16:00]We hide it in and amongst this big fanfare moment that sounds like church bells ringing, which is so fitting for the location obviously, but like oh man. And then it all it is is a five chord. It really just is that simple. It's setting up the new key with a five, which as I've said before in this channel, you can go to any key from any key with a five chord.

[00:16:27]If you just throw the five chord of the new key in front of it, your ear will be like, "Yeah, sure. That sounds great. It literally doesn't matter where you go."

[00:16:33]That's what's so cool about that. That's what we're doing here. But the way that it's constructed, going from the one chord over the five, but now to the the big five chord of the new key, but it doesn't almost doesn't really feel like that until we let it resolve.

[00:16:52]This is one of the one of the best key changes ever written, I think. Every instant out there strolling by the sand out there like same exact there's our cool turn and then >> very standard simple harmony beautifully orchestrated.

[00:17:24]This is where we get to. Now we're in the Tik Tok mash up show, but listen to this.

[00:17:33]I won't care. I'll have spent one day out.

[00:17:58]That is that is so I got to be HONEST THAT IS SO MUCH BETTER THAN THE MASHUP.

[00:18:04]Now I love the how to train your dragon score. I've made a video about it. It's like one of the greatest themes ever.

[00:18:10]Dual themes actually. That was what the video was about. John Powell wrote a masterpiece in the How to Train Your Dragon theme, but so so different than what this piece is all about, right?

[00:18:23]This song is written in a particular harmonic vibe, I guess, whatever. They don't really go together now, for the sake of the sound. Yeah. Is it epic?

[00:18:31]Yeah, of course it's epic. Like, I love it. It's There's nothing wrong with it when they get the key right. But when we hear this in its original format with the ending that Alan Min wrote, I mean, it's just it packs such a punch because what do we get back with this ending? We get back the thing that got us into this theme in the first place from the minor section into the major section. We get that back and we It's been a sort of thematic element throughout. It was in the intro, it was in the interlude before the bridge and now here it is at the ending.

[00:19:04]I mean, it it's so thematically perfect.

[00:19:07]So, while mashing them up like that is sick. I I'm I like it, but the original is better, right? Because it is just such an incredibly written tune. I have a seven-month old daughter, so this stuff has been kind of top of mind for me, thinking about all the things, you know, from my childhood that we're going to show her. So, that's kind of why I've been on a little bit of this kick. But, hey, um there's some great Alan Min material in a lot of old Disney movies, and I would love to cover it if that's something you guys are interested in.

[00:19:32]So, let me know in the comments below.

[00:19:34]Thank you so much for watching this video.