Hey, and thanks for the comments! I just wanted to say that some comments posted on this video seem to have been removed by YT's auto filtering machine learning squirrels without my knowledge/action or *more annoyingly for me* without showing in the "held for review* tab. If you commented, didn't delete the comment and it doesn't show up here you could try reposting it below this one and hopefully it should work. (Try to avoid links if you can as the squirrels don't seem to like them) My apologies (especially @In Horama whose comment I have a notification for but doesn't show up), and I'll see if there's anything I could try to help the situation for future videos (although I sadly think there isn't :/)
Excellent work! When you first demonstrated the chromatic falling from tonic to dominant, I immediately thought of Purcell's "When I am Laid in Earth" from Dido and Aeneas. Beautiful, haunting melody. I'm not quite ready to put my own improvisations out there, but thank you for sharing yours.
Ab-so-lu-te-ly! Haunting is exactly the word :-) Ha! I'm very happy that someone recognized it so fast ;-) Cheers, keep improvising, and don't hesitate to put them on TH-cam whenever you feel ready; The world needs more improvised music
You're very welcome! Again, this video is also for me to test some sound/editing/etc.. things for later videos with more complicated topics, but the very simple descending bass is still a great thing to keep in mind; My improvisation teacher never showed us much theory at all actually (although he knew all of it perfectly); His modus operandi was mostly to rework our little impros on the spot much better than we could do so we would be motivated and go work at home ourselves ;-0
The piece at 11:30 is a piece by Henry purcel called “when I am layed in earth” (I think) also I love this video so much and it’s really helped me in my composing so thanks a million for making it
Thanks dude! Very helpful. The way you built the improvisation up little by little from the 3rds gave me an "ah ha" moment. I LOVE that Buxtehude chaconne too, it's on my list of pieces to learn, but a little bit out of my grasp at the moment-- it's harder than it sounds. Robert De Visee's passacaile has a lot of chromatic descending bass stuff too-- thats a bit more at my skill level ;) It's funny because when I first started learning about this music someone told me they don't do chromatic stuff in Baroque, but clearly they do, it's just less overt than in other styles.
You're more than welcome! It's great to know that the incremental building helps; I'll definitely keep it in mind for future videos. The Buxtehude Chaconne is very nice but each transposition usually greatly increases the difficulty of the piece; The passacaille by De Visee is really beautiful too; and don't be afraid to steal any other bass line that you like, to improvise upon (it doesn't *have* to be chromatic). Don't worry about what people tell you :-) If you want to do something chromatic; do it! Whether it is "correct" or not has less importance than whether it works and sound good or not. Besides, although it's not my favorite Bach piece, you could always show them this: th-cam.com/video/6JXSfaAvafM/w-d-xo.html On another note; I've looked at you channel and I wanted to tell you I really like the way you are playing! Also I love your synth (I hope it's a synthetizer and not a very sophisticated audio interface or I'll look like an idiot :-). It's worth noting that synthetizers are (in my opinion) *fantastic* for baroque improvisation; don't hesitate to use a synthetized sound to improvise; The reason is that you can pick something that's a bit like an organ (no decay until you lift the finger) but more "attack" than an organ. The long held notes are great to help you hear the chords, but attack is important for the rhythms too. Arpegiators are also fantastic tools to learn more about chords; I should do a full video on this one of these times. That's why -as painful as it way to play with my finger on the very small ipad screen- I had fun doing this: th-cam.com/video/Pl8TTOv5OLc/w-d-xo.html Thanks again for the comment!
@@Borogrove Thanks! I will upload more pieces soon... I've been playing seriously (not just plunking out chords and melodies for the purpose of writing) for a little more than a year, and I'm finally happy enough with my playing to share it. I wrote some baroque inspired keyboard pieces too, but stupidly made them a little too hard to play through without making a mistake. As for the synthesizers, I have been writing electronic dance music for many years, and in the last few years started getting disillusioned with it and the amount of fakery surrounding it (people buying packs of pre-canned midi melodies, DJs getting the acclaim for music that someone else made, fans not knowing what you're even doing on stage, etc...) So I decided to try and improve the musicality of my own music and try to make it more interesting to people with higher musical standards. I asked myself "what is a song I really like that is also totally different than what I make?" and I decided that was "the lark ascending" by Ralph Vaughan Williams... that song sent me on a journey through classical music and I eventually landed on baroque music. Baroque music evokes this kind of "spooky" transcendent feeling that I am also trying to evoke in my own music, and has a kind of clever simplicity that I think can translate to electronic dance music. So I've been trying to learn everything I can about baroque (and renaissance) music so I can bring it back to electronic dance music and try to class up its reputation and increase the value of it to people who aren't already electronic music fans. I haven't really succeeded yet, my attempts so far sound really cheesy, but I'm doing a lot of experimenting, and I still have a lot to learn. You are right about synths, and I do have a nice harpsichord-like synth patch I made with extended sustain for exactly the reasons you said-- something in between an organ and a harpsichord with more expression possibilities is the ultimate sound imo. Expression is one of the things I'm trying to bring over to electronic music, and synthesizers have nearly limitless possibilities for expression. That ipad improv you did was really cool with the detuning synth sound. did the fact that the sound detunes inform your note choices? I think its totally in the spirit of baroque music to use synthesizers, since it seems like they were always trying to push the envelope of their time, and many baroque pieces are written with the instruments up to the discretion of the people playing the parts. Biber has pieces that are basically just exploring sound design on the violin. Not to mention an organ is an acoustic synthesizer in a way.
I totally understand what you mean! Also with respect to the "spooky" feeling in baroque music; especially if with English baroque composers (eg. Dowland, Purcell, Tallis) -> There is an unmistakable "haunting" sound of the english baroque that I just *love* and sadly I find that these composers are a little bit less played than more well known counterparts. You mention "people with higher musical standards". Don't trust these people too much :-) In fact, don't trust anyone at all, just do the music you love and the rest will come. I personally love a lot of electronic music, and I think that it's an *extremely* worthy goal to try to bring the so-called "early music" and electronic music fans together. As you say, an organ is definitely an acoustic synth ;-) That said for some reason the hardest part might be to get some of the "classical" people to listen to more electronic genres. One of the things I love most about electronic music is that it's very closely linked to improvisation. Even if sometimes the music is pre-stored (eg. sequencers etc..), some form of improvisation is usually performed live! Furthermore, I think it becomes apparent to anyone who starts improvising that having new sounds is a fantastic source of creativity and a way to get un-stuck when nothing is coming to mind. That's also one reason why I wish more people would improvise since it would encourage them to see instruments as tools to create cool sounds rather than super serious things you have to impress your neighbors. The ipad improv was me fooling around, the main limiting factor is that the screen is very hard to play haha ;-0. Detuning is always a very interesting thing to play with, and it certainly changes the way you play even if it's unconscious most of the time. For instance, if you have a sound which has a slow attack, you'll probably play slower, bigger, and more meditative and reflective chords to really take advantage of this. (Fast parts would probably sound very choppy). Sounds out of tune are always very useful. When I was younger I had a midi-keyboard hooked up to a computer and one of the most simple and useful sounds is simple a few oscillators that are slightly detuned. Interestingly.. this idea is *nothing new at all*! People were already playing around with detuning long ago with organs, see for instance: th-cam.com/video/7viQNYJ4sac/w-d-xo.htmlm (
Could you do a video on how to improvise like bach? Not just general counterpoint but how to get the specific "Bach sound". I try improvising and rhythmically it is good but it just doesn't sound quite right. You seem to able to get that sound when improvising such as 23:46
that's true btw, these chromatic explorations sound like Bach to me too! Try to find unusual sounds with melodic minor scale, melodies around descending dim7 chords, neapolitan chord
Hello! Thank you for your help , I really aprecciate it , it would be So good if improvisation would be included in classical music education. I started to practice improvisation this year after 14 years of learning several pieces and following the average method of music education. I would like to ask: do you teach at university? I would like to continue my MA degree abroad. Thank you for your response! Anna
I just came up with an improve exercise. Only move stepwise in both the bass and melody, no leaps. I've tried it using the c major scale and I think its helping me concentrate on harmonizing the melodies instead of thinking about making leaps
Yes! That's a great exercise. Generally limiting yourself is a great way to work. A similar exercise that I might want to cover fully at some point help with working on intuitive harmony without thinking about rules too much: "Improvise in 3 voice chords (ex, 2 notes in the RH and 1 in the LH) as follows: Play a chord. Listen to it. Move *exactly one* of your three notes to another note which gets you to a different chord and play this one. Listen to the new chord. Did you make the move you wanted? How does it sound? Is it interesting?"
@@erik878 :-) Don't hesitate to work on a piece as well if you have a bit of time; it can be really helpful for impro too; I usually find that I improvise a lot better after working on a piece than before. Apart from the warm up effect there's also some subconscious stealing of ideas and patterns that occurs hehe ;-) Cheers! Live free and improvise ;-)
Bonjour, Je réecris mon commentaire puisqu'il a disparu et j'en profite pour le faire dans ma langue maternelle puisque c'est plus simple pour moi. Merci beaucoup pour la vidéo, j'ai du pain sur la planche. Les ressources pratiques sont rares contrairement aux traités théoriques et c'est donc un grand service que vous rendez aux musiciens comme moi. Merci d'avoir pris le temps d'éditer la vidéo en rajoutant les partitions et quelques commentaire humoristiques :) cela apporte une valeur ajoutée certaine au tout. Le son entre le piano et la voix est bien réglé c'est nickel de ce côté la. "The next "tips" video I post will be about short "mechanical" patterns in baroque music and how to use and improvise with them." Très bonne idée, toujours dans la lignée du savoir pratique, je suis impatient de découvrir ce prochain "cours" ! Enfin, étant donné votre aisance pour les improvisations de qualité, je suis curieux de savoir si vous avez déjà quitté le sentier de l'improvisation pour composer ? - Un musicien reconnaissant, qui vous remercie -
Merci beaucoup pour les commentaires et encore toute mes excuses pour la mystérieuse disparition! En effet, je pense que les ressources pratiques sont beaucoup trop rares! En plus il est aussi possible d'avoir aussi une "théorie pratique" qui consiste en l'adaptation de règles lourdes en approximations plus simples qui sont plus faciles à garder en l'esprit en temps réel. La prochaine video tuto que je veux poster sur les "patterns" en fait un peu partie; L'idee sera de "factoriser" le problème en groupant les notes que l'on joue dans des "patterns" ce qui nous permet de ne penser qu'à l'endroit ou l'on joue le pattern et non à toutes les notes qui le composent. Malheureusement, j'ai toujours été trop fainéant pour composer semi sérieusement :-0 mais c'est quelque chose sur lequel je veux travailler dans le futur; Il y a plusieurs impros que je pourrais (devrais!) retravailler en pièces écrites.. Merci encore, et à bientôt :-)
Hahaha :-) It took me waaaaay to long to understand this comment; but it's both hilarious and totally right! With some of the temperaments chromatic descents might be "dangerous". Valloti would probably work reasonably well, but still (although the unequal temperaments also add interest to the chromatic descents since they're not invariant by transposition on the keyboard anymore, as in the equal temperament).
Aie, oui je comprends! Mettre des videos en français risque de poser le problème inverse, mais par contre j'avais eu l’idée de faire des livestreams ou les gens pourraient poser des questions etc.. dans cette hypothèse je prends bien sur toutes les questions dans toutes les langues que je parle :-) (N’hésite pas a m'envoyer des questions par mail si tu veux) et je peux répondre en français + traduire en anglais en temps reel pour que tt le monde comprenne ;-) En attendant, il y a la possibilité d'utiliser les sous-titres en français (Qui sont d'ailleurs précis de manière terrifiante pour des sous titres automatique, comme je viens de le remarquer; bien sur il reste quelques erreurs mais Google comprends les notes de musique anglaise par example (C, D,, B, etc..)! ) Pour les activer: 1. Dans le mini-player de YT on peut appuyer sur (c) ou sur la touche sous-titre en bas a droite 2. Changer la langue dans les settings en bas a droite juste a cote du bouton sous-titres J’espère que ça aide un peu quand même! Si il y a des choses peu claires, je réponds aussi volontiers a des questions en français ;-)
Are you ever gonna tell us what notes to play or are you just gonna ramble word vomit for 30 minutes? Literally give me the scale degrees you’re playing of the bass line. Save me some time please.
This is amazing! It's like my brain has no theory to think about. I love it. Thank you.
Hey, and thanks for the comments! I just wanted to say that some comments posted on this video seem to have been removed by YT's auto filtering machine learning squirrels without my knowledge/action or *more annoyingly for me* without showing in the "held for review* tab.
If you commented, didn't delete the comment and it doesn't show up here you could try reposting it below this one and hopefully it should work. (Try to avoid links if you can as the squirrels don't seem to like them)
My apologies (especially @In Horama whose comment I have a notification for but doesn't show up), and I'll see if there's anything I could try to help the situation for future videos (although I sadly think there isn't :/)
thank you.
One of the descending bass of this kind is also to be heard in Couperin, "la Muse Plantine" 19ème ordre Livre III, thanks for sharing all this !!!
Ohhh, that's a great example; Merci Julien!
Awesome
Excellent work! When you first demonstrated the chromatic falling from tonic to dominant, I immediately thought of Purcell's "When I am Laid in Earth" from Dido and Aeneas. Beautiful, haunting melody.
I'm not quite ready to put my own improvisations out there, but thank you for sharing yours.
Ab-so-lu-te-ly!
Haunting is exactly the word :-)
Ha! I'm very happy that someone recognized it so fast ;-)
Cheers, keep improvising, and don't hesitate to put them on TH-cam whenever you feel ready; The world needs more improvised music
That's really useful! Thank you for making this video
Makes me wanna try to practice this as well
You're very welcome!
Again, this video is also for me to test some sound/editing/etc.. things for later videos with more complicated topics, but the very simple descending bass is still a great thing to keep in mind;
My improvisation teacher never showed us much theory at all actually (although he knew all of it perfectly); His modus operandi was mostly to rework our little impros on the spot much better than we could do so we would be motivated and go work at home ourselves ;-0
@@Borogrove Aye, i see.
I would love to hear a full improv on this bass from you btw, this stuffi s good
The piece at 11:30 is a piece by Henry purcel called “when I am layed in earth” (I think) also I love this video so much and it’s really helped me in my composing so thanks a million for making it
Great video. Will try it out. Thank you so much for sharing.
You're very welcome!
Thanks dude! Very helpful. The way you built the improvisation up little by little from the 3rds gave me an "ah ha" moment. I LOVE that Buxtehude chaconne too, it's on my list of pieces to learn, but a little bit out of my grasp at the moment-- it's harder than it sounds. Robert De Visee's passacaile has a lot of chromatic descending bass stuff too-- thats a bit more at my skill level ;) It's funny because when I first started learning about this music someone told me they don't do chromatic stuff in Baroque, but clearly they do, it's just less overt than in other styles.
You're more than welcome!
It's great to know that the incremental building helps; I'll definitely keep it in mind for future videos.
The Buxtehude Chaconne is very nice but each transposition usually greatly increases the difficulty of the piece; The passacaille by De Visee is really beautiful too; and don't be afraid to steal any other bass line that you like, to improvise upon (it doesn't *have* to be chromatic).
Don't worry about what people tell you :-) If you want to do something chromatic; do it! Whether it is "correct" or not has less importance than whether it works and sound good or not.
Besides, although it's not my favorite Bach piece, you could always show them this:
th-cam.com/video/6JXSfaAvafM/w-d-xo.html
On another note; I've looked at you channel and I wanted to tell you I really like the way you are playing! Also I love your synth (I hope it's a synthetizer and not a very sophisticated audio interface or I'll look like an idiot :-). It's worth noting that synthetizers are (in my opinion) *fantastic* for baroque improvisation; don't hesitate to use a synthetized sound to improvise; The reason is that you can pick something that's a bit like an organ (no decay until you lift the finger) but more "attack" than an organ. The long held notes are great to help you hear the chords, but attack is important for the rhythms too.
Arpegiators are also fantastic tools to learn more about chords; I should do a full video on this one of these times.
That's why -as painful as it way to play with my finger on the very small ipad screen- I had fun doing this: th-cam.com/video/Pl8TTOv5OLc/w-d-xo.html
Thanks again for the comment!
@@Borogrove Thanks! I will upload more pieces soon... I've been playing seriously (not just plunking out chords and melodies for the purpose of writing) for a little more than a year, and I'm finally happy enough with my playing to share it. I wrote some baroque inspired keyboard pieces too, but stupidly made them a little too hard to play through without making a mistake. As for the synthesizers, I have been writing electronic dance music for many years, and in the last few years started getting disillusioned with it and the amount of fakery surrounding it (people buying packs of pre-canned midi melodies, DJs getting the acclaim for music that someone else made, fans not knowing what you're even doing on stage, etc...) So I decided to try and improve the musicality of my own music and try to make it more interesting to people with higher musical standards. I asked myself "what is a song I really like that is also totally different than what I make?" and I decided that was "the lark ascending" by Ralph Vaughan Williams... that song sent me on a journey through classical music and I eventually landed on baroque music. Baroque music evokes this kind of "spooky" transcendent feeling that I am also trying to evoke in my own music, and has a kind of clever simplicity that I think can translate to electronic dance music. So I've been trying to learn everything I can about baroque (and renaissance) music so I can bring it back to electronic dance music and try to class up its reputation and increase the value of it to people who aren't already electronic music fans. I haven't really succeeded yet, my attempts so far sound really cheesy, but I'm doing a lot of experimenting, and I still have a lot to learn.
You are right about synths, and I do have a nice harpsichord-like synth patch I made with extended sustain for exactly the reasons you said-- something in between an organ and a harpsichord with more expression possibilities is the ultimate sound imo. Expression is one of the things I'm trying to bring over to electronic music, and synthesizers have nearly limitless possibilities for expression. That ipad improv you did was really cool with the detuning synth sound. did the fact that the sound detunes inform your note choices? I think its totally in the spirit of baroque music to use synthesizers, since it seems like they were always trying to push the envelope of their time, and many baroque pieces are written with the instruments up to the discretion of the people playing the parts. Biber has pieces that are basically just exploring sound design on the violin. Not to mention an organ is an acoustic synthesizer in a way.
I totally understand what you mean! Also with respect to the "spooky" feeling in baroque music; especially if with English baroque composers (eg. Dowland, Purcell, Tallis) -> There is an unmistakable "haunting" sound of the english baroque that I just *love* and sadly I find that these composers are a little bit less played than more well known counterparts.
You mention "people with higher musical standards". Don't trust these people too much :-) In fact, don't trust anyone at all, just do the music you love and the rest will come. I personally love a lot of electronic music, and I think that it's an *extremely* worthy goal to try to bring the so-called "early music" and electronic music fans together. As you say, an organ is definitely an acoustic synth ;-)
That said for some reason the hardest part might be to get some of the "classical" people to listen to more electronic genres. One of the things I love most about electronic music is that it's very closely linked to improvisation. Even if sometimes the music is pre-stored (eg. sequencers etc..), some form of improvisation is usually performed live! Furthermore, I think it becomes apparent to anyone who starts improvising that having new sounds is a fantastic source of creativity and a way to get un-stuck when nothing is coming to mind. That's also one reason why I wish more people would improvise since it would encourage them to see instruments as tools to create cool sounds rather than super serious things you have to impress your neighbors.
The ipad improv was me fooling around, the main limiting factor is that the screen is very hard to play haha ;-0. Detuning is always a very interesting thing to play with, and it certainly changes the way you play even if it's unconscious most of the time. For instance, if you have a sound which has a slow attack, you'll probably play slower, bigger, and more meditative and reflective chords to really take advantage of this. (Fast parts would probably sound very choppy). Sounds out of tune are always very useful. When I was younger I had a midi-keyboard hooked up to a computer and one of the most simple and useful sounds is simple a few oscillators that are slightly detuned. Interestingly.. this idea is *nothing new at all*! People were already playing around with detuning long ago with organs, see for instance:
th-cam.com/video/7viQNYJ4sac/w-d-xo.htmlm (
Could you do a video on how to improvise like bach? Not just general counterpoint but how to get the specific "Bach sound". I try improvising and rhythmically it is good but it just doesn't sound quite right. You seem to able to get that sound when improvising such as 23:46
that's true btw, these chromatic explorations sound like Bach to me too!
Try to find unusual sounds with melodic minor scale, melodies around descending dim7 chords, neapolitan chord
Thanks man. I'll be playind Dido's Lament in 12 keys on my guitar in open position for a bit till melody's occur to me.
Fantastic video. Do you have any reading recommendations relating to baroque musical structures (in English or French)? Merci.
Hello!
Thank you for your help , I really aprecciate it , it would be So good if improvisation would be included in classical music education. I started to practice improvisation this year after 14 years of learning several pieces and following the average method of music education.
I would like to ask: do you teach at university? I would like to continue my MA degree abroad.
Thank you for your response!
Anna
I just came up with an improve exercise. Only move stepwise in both the bass and melody, no leaps. I've tried it using the c major scale and I think its helping me concentrate on harmonizing the melodies instead of thinking about making leaps
I guess another exercise could be you can do leaps in the right hand but not the left
Yes! That's a great exercise. Generally limiting yourself is a great way to work.
A similar exercise that I might want to cover fully at some point help with working on intuitive harmony without thinking about rules too much:
"Improvise in 3 voice chords (ex, 2 notes in the RH and 1 in the LH) as follows: Play a chord. Listen to it. Move *exactly one* of your three notes to another note which gets you to a different chord and play this one. Listen to the new chord. Did you make the move you wanted? How does it sound? Is it interesting?"
@@Borogrove thanks I'll try that one, all I'm doing now days is trying to improvise when I'm at the piano
@@erik878 :-) Don't hesitate to work on a piece as well if you have a bit of time; it can be really helpful for impro too; I usually find that I improvise a lot better after working on a piece than before. Apart from the warm up effect there's also some subconscious stealing of ideas and patterns that occurs hehe ;-)
Cheers! Live free and improvise ;-)
THAAAAANKS
You're very welcome! This video is a small test for me for videos on other more unique topics later; so I'll be sure to post more ;-)
Did i see it right? It says the chaccone from 2nd violin partita is BWV1007? Isn't it sopposed to be 1004?
Bonjour,
Je réecris mon commentaire puisqu'il a disparu et j'en profite pour le faire dans ma langue maternelle puisque c'est plus simple pour moi.
Merci beaucoup pour la vidéo, j'ai du pain sur la planche.
Les ressources pratiques sont rares contrairement aux traités théoriques et c'est donc un grand service que vous rendez aux musiciens comme moi.
Merci d'avoir pris le temps d'éditer la vidéo en rajoutant les partitions et quelques commentaire humoristiques :) cela apporte une valeur ajoutée certaine au tout.
Le son entre le piano et la voix est bien réglé c'est nickel de ce côté la.
"The next "tips" video I post will be about short "mechanical" patterns in baroque music and how to use and improvise with them." Très bonne idée, toujours dans la lignée du savoir pratique, je suis impatient de découvrir ce prochain "cours" !
Enfin, étant donné votre aisance pour les improvisations de qualité, je suis curieux de savoir si vous avez déjà quitté le sentier de l'improvisation pour composer ?
- Un musicien reconnaissant, qui vous remercie -
Merci beaucoup pour les commentaires et encore toute mes excuses pour la mystérieuse disparition!
En effet, je pense que les ressources pratiques sont beaucoup trop rares! En plus il est aussi possible d'avoir aussi une "théorie pratique" qui consiste en l'adaptation de règles lourdes en approximations plus simples qui sont plus faciles à garder en l'esprit en temps réel.
La prochaine video tuto que je veux poster sur les "patterns" en fait un peu partie; L'idee sera de "factoriser" le problème en groupant les notes que l'on joue dans des "patterns" ce qui nous permet de ne penser qu'à l'endroit ou l'on joue le pattern et non à toutes les notes qui le composent.
Malheureusement, j'ai toujours été trop fainéant pour composer semi sérieusement :-0 mais c'est quelque chose sur lequel je veux travailler dans le futur; Il y a plusieurs impros que je pourrais (devrais!) retravailler en pièces écrites..
Merci encore, et à bientôt :-)
It is a great thing to play a bass line on descending scales, but not before you've learned to tuna harpsichord!
Hahaha :-)
It took me waaaaay to long to understand this comment; but it's both hilarious and totally right!
With some of the temperaments chromatic descents might be "dangerous". Valloti would probably work reasonably well, but still (although the unequal temperaments also add interest to the chromatic descents since they're not invariant by transposition on the keyboard anymore, as in the equal temperament).
14:35 Does anybody else hear the verse from the song "Wild world"?
I think some people call it the chromatic fourth
Aha I was not aware of this name, many thanks!
s'il vous plais faites des vidéos en français !!! par pitié vos conseilles ont l'air trop précieux mais je comprend rien :(
Aie, oui je comprends! Mettre des videos en français risque de poser le problème inverse, mais par contre j'avais eu l’idée de faire des livestreams ou les gens pourraient poser des questions etc.. dans cette hypothèse je prends bien sur toutes les questions dans toutes les langues que je parle :-) (N’hésite pas a m'envoyer des questions par mail si tu veux) et je peux répondre en français + traduire en anglais en temps reel pour que tt le monde comprenne ;-)
En attendant, il y a la possibilité d'utiliser les sous-titres en français (Qui sont d'ailleurs précis de manière terrifiante pour des sous titres automatique, comme je viens de le remarquer; bien sur il reste quelques erreurs mais Google comprends les notes de musique anglaise par example (C, D,, B, etc..)! )
Pour les activer:
1. Dans le mini-player de YT on peut appuyer sur (c) ou sur la touche sous-titre en bas a droite
2. Changer la langue dans les settings en bas a droite juste a cote du bouton sous-titres
J’espère que ça aide un peu quand même! Si il y a des choses peu claires, je réponds aussi volontiers a des questions en français ;-)
Apprends l'anglais, mon frère. C'est une langue incroyablement facile.
@@arnarleifsson7977 ben je comprend l'anglais de conversation basique mais dans le cadre d'un cours quel qu'il soit it's another story haha
:D
Even in your “too long didn’t read” you still didn’t say what the baseline is 💀 wow. If you had to put it in Roman numerals what would it be?
Are you ever gonna tell us what notes to play or are you just gonna ramble word vomit for 30 minutes? Literally give me the scale degrees you’re playing of the bass line. Save me some time please.