I’m a self taught hack on piano and guitar . A long time ago I sold pianos . The teacher at the music store was a great musician she could nail complex classical works. One day she said to me “ I so admire how you play “ this puzzled me because she was so much better then me she said “ you can sit down at a piano and express yourself I can’t do that I can only play the printed page . I think the best musicians have a foot in both worlds the know the theory but they are not a slave to it they are free with it.
I couldn’t agree more. i hated music theory and doing my classical grades. i am so grateful now for the knowledge i have of music theory and i love learning more. but i also spend 90% of my time now improvising and composing its awesome
I've been doing music for a living for 20 years... and have only just started theory this year.. But I am absolutely loving it. So to read this comment was awesome thank you
I really enjoyed seeing Adam laugh at the end of his 21/8 Isn't She Lovely. The importance of making music that's weird, or silly, just for your own amusement is something I picked up from a Ben Levin video not too long ago. I've been having more fun with my instrument since I stopped only trying to play things that "sound good". It's great to see Adam having fun too.
Now I need a meme for "Remember the Name" , but with the relevant percentage swing. This is ten percent Swing Twenty percent Swing Fifteen percent concentrated power of Swing Five percent Swing Fifty percent Swing One Hundred percent reason to remember the Swing
I see another explanation for the D7alt/Ebmaj7 cadence: the D7 would naturally resolve into G. G minor is a substitution for Ebmaj7, so the two chords are quite equivalent. So the D7alt/Eb cadence sounds pretty much like D7alt/Gm7.
I'll try for a similar explanation. Some songs have 4 beats per measure with each beat broken into 3 eighth-notes. 4*3= 12 eighth-notes per measure. Two measures of this would give you 8 beats. (24 eighth-notes). Subtract a beat and you get 24-3=21. So it's two measures but the second measure ends a beat early.
I was pretty sure Jamaican reggae groups in the 70s sometimes played in 60% swing, but I never realized that's the same as quintuplet swing. I always learn something from these videos
He mentioned the Idim7, which I agree it relates. But I also feel like it has a Hawaiian steel guitar sound, too. Especially with a really affected portamento.
Another “giant steps” as a jazz musician is donna lee ;) never really liked giant steps and charlie parker was one of my favorite musicians so i did that one instead back in highschool
Hey Adam, it's me again! Thank you for answering my question on quintuplets! Ever since you reviewed my bass solo in the last "VIEWER CRITIQUES," I was concerned that my bass solo wasn't an authentic quintuplet swing. I can now classify my solo either an "over-swung" or an "80% swing" quintuplet solo! 'till next time!
11:20 There's a song by TTNG called "26 is dancier than 4" where the outro riff is in 26/8, and it's a compound of 5+5+5+5+6. The sky's the limit in my opinion!
Never watched this channel before. I really enjoy the fact that you just jump in assuming an automatic musical literacy with your audience. No time to talk down to the audience when there are valuable insights to be shared and good points to be made. 💯
there's a steve swallow interview with john scofield in which swallow, says that, Getz, i think "wouldn't have known what a g7 chord was if you showed it to him" & there's a great discussion of how the old-time swing players were totally kick-ass ear-trained.
it used to be standard for virtuosos composing ("improvising") their own concerto cadenzas! As a CM who loves jazz, please believe not all of us are degenerates 😭
@@RP-cn8si lmao you're good. At least I'd say so. I am not good at improvising myself and I'm also not a classical musician, so I can't really judge. The idea of a classical musician being a good improvisor is really intriguing to me though.
@@dudeman5303 haha, appreciate it. I suppose I can give a little of insight, as someone trained in the industry- In classical music, we are trained not to 'create' but rather "creatively interpret." Even within the confines of a few measures, there are an infinite ways to play and convey your own music, through nuance and deliberation. The point is to analyze how each note fits into the whole composition, and communicate what you feel the piece's "journey" is, so to speak. So if you have a set groove in a jazz chart, and you have x choruses to solo on- your creation is still "driven/confined" by the groove. In classical music, you have months to prep a piece we already know note-for-note, but the point is we don't know how YOU'RE gonna play it. Articulation, emphasis, rubato, dynamics, personal interpretation. Hope that makes some sense :)
Watching Erroll Garner play "Misty," after learning from you that he didn't read, made me think of Marian McPartland. All those episodes of "Piano Jazz" on public radio, able to play every famous and obscure jazz standard her guests suggested, not to mention thousands of gigs over her life, and yet she regularly confessed on the show that she couldn't really read music. I'm repeatedly stunned by the memory jazz musicians have for their repertoire. -Tom
I have a question for a Q&A. When composing music, we put a lot of thought into the chords, notes, melodies, and textures we use to convey certain emotions. But we don't do the same thing when it comes to an equally important musical element: rhythm. Apart from maybe using a slower of faster tempo, we don't really use rhythm to convey emotional elements. Why is that? How can we use rhythm to convey emotion?
We do though, but it’s not as much as an emotional thing as a “stylistic” and “locational” thing, certain rhythms evoke certain areas and locations as well as the musical style, I’d bet my money that you can recognize the rhythm that is used by basically every pop producer when they want to enphasize a “tropical” feel
That brief interlude was the best visual clip explaining swing and feel I have ever seen. I wish I had that when I was in music classes, especially jazz.
There's actually a misty chord in Jacob Collier's 'Once You'. It's cool. The voicing is sort of mimicking Jacob's singing, so when he sings: "Some bo-dy," you can hear the same D/Eb voicing to Ebmaj7. It's cool stuff, I dig the sound.
Of romantic violin, for romantic piano must be Campanella by Liszt. Fun fact: Originally Campanella was composed by Paganini and arranged for piano by Liszt.
@@joaquinnapan3237 honestly liszt probably has like 3 pieces that can be said to be the Giant Steps of classical piano, and Chopin's Etude op. 25 no. 11 could too
Good to see the Idim7 to Imaj7 idea getting some more widespread love. Definitely an underutilized progression. "Pure Imagination," "Corcovado," and "If I Should Lose You" all have that included in their stock changes.
Paganini never performed the caprices, he dedicated them "to the artists" and they're his first published works. He must have intended them to be technical essays for future generations
My formal musical education stopped in my brass band (cornet) playing years as a teenager (many moons ago). You've done a lot to reinvigorate my interest in theory having spent most of my musical life since then as a lazy ass guitarist. Thank you.
Now I have to look up whether Dire Straits "Your Latest Trick" uses that diminished seventh - resolved to the one chord thing, because that was what immediately came into my head hearing that progression.
That’s the chord in the third bar of “The Most Beautiful Girl in the World”. || F | F/C | E/F | C | F | C | F | Abmi6 | Gmi11 | •/. | C7 | •/. | Ami | D7 | Gmi | C7 || ••• I learned it from an old sheet, that just had the piano arrangement (no chords written in).
The misty chord is one of my favorite sounds. I often think of it as a minor major 7 flat 5, but another way of looking at it is a common tone diminished on that EbM7 with a 9th added.
It took me a while to get into your channel because it’s a bit over my head half of the time. But this Q&A alone has opened so many doors for me - thank you sincerely. Much much much appreciated.
Don't get confused. The "Mistyc chord" or "Prometheus chord" (if you prefer) is still "invented" by Alexander Scriabin. It is interpreted as a quartal hexachord consisting of an augmented fourth, diminished fourth, augmented fourth and two perfect fourths. However, the chord may be spelled in a variety of ways, and it is related to other pitch collections, such as being a hexatonic subset of the overtone series, lacking the perfect fifth.
As someone who grew up learning piano and cello "classically" improv was just something I was never taught, but it hasn't prevented me from improvising alone and putting that into composition :)
Question for the next Q&A: What do you think about pretending you're playing in another, "easier" key? I've been teaching myself bass for the last 6 months, I've played the trumpet for almost 20 years now and I'm "fluent" in every key on the trumpet. I can improvise stuff, I immediately connect the notes I hear with the fingering/lip setting/air pressure and whatnot required to play it, it literally becomes one and the same thing in my mind when playing. On the bass the story is a bit different. If a song is in C, F, G etc. I've got the notes memorised solidly enough to improvise in that key. However, I just tried jamming to a song in Ab minor and struggled to find the notes in real time. When I play higher up on the fretboard and just pretend that I'm in, say, A minor, move everything a half step and ignore the fret markings it's easy peasy, then I've got the shapes of the scale down and can arpeggiate chords and all that. Is this how bassists/guitar players/etc think about keys in general? Do you think in terms of scale degrees or chord colours mainly? Or do you actually think in Ab minor and know each note in absolute terms? Because on trumpet you're kind of forced to do the latter and only with lots of practice you get a glimpse of the former, when you have your fingerings down. Whereas on string instruments you could in principle approach it from both directions. I have a feeling the "correct" approach would be not to shift keys mentally, but to use solfege or think about scale degrees first and foremost, which I've never really come across in orchestras and wind bands. What are your thoughts? What are the pros/cons of the two approaches moving forward?
Yes visual versions of scale degrees works well on bass you can use the info you already have to ground it in ways that can be communicated to other players (Notes) but if you’re not reading for the music you’re playing, if you know how it looks/sounds you’re there. Articulation is the next challenge and reading/memorized note placement won’t help that, that’s just repetition and careful listening
I've been playing bass for eight years. I never think in terms of steps when I'm playing. Its more in terms of shapes and patterns that guide me in recognizing the actual notes on the fretboard. Like Adam mentioned in the video. I myself cannot read a single note of sheet music. But I know my instrument and I am developing an ever increasing knowledge of music theory to help me. That's really what it's all about. Theory knowledge, application, memorization, repetition.
hi, long time listener, first time caller- i never realised what a sheer joy just listening to Adam perform solo on bass would be. If there was a BASS solo channel of Adam running through shit like that for practice or performance i would smash that sub button hard.
So I was daydreaming about a polytonal composition that would be like a couple struggling with their different lifestyles/views, so at the beggining would be a very dissonant set of keys, and eventually they find a common ground and start seeing how close together they are. What would be the best two keys that at the start would sound very dissonant but that you can actually find a common ground to eventually harmonize in one key?
Adam references Meshuggah: that's a first and I love it. Adam doesn't like Clowncore: unsubscribed. Adam once wore nail polish: maybe I'll stay around. Adam has a djent preset on his pedal: OK I'm interested now.
With Adam I don’t know if his comment means he likes or dislikes Clowncore. My guess is he thinks it’s cool it exists but isn’t answering whether he likes it or not
Speaking of percentages of swing, I've been listening to a lot of Tirolean and Bavarian music lately, and they have this style of playing where a 2/4 march will be not quite 2/4 and not quite 6/8, so it has this brilliant rhythmic tension, in what would otherwise be a fairly straight forward and tonal march. I love it so much!
I'm a music theory dummy, have no self confidence, and generally hate everything that I make. How do I transcend this barrier and put my ideas, no matter how basic, or generally uninteresting, into the world without crippling anxiety, or complete loathing? This question is brought to you by way too much to drink on election night.
You just MAKE. Everyone has to suck before they're bad, be bad before they're okay, be okay before they're good, etc. You just keep making. A lot of composers hated certain works of theirs, but they finished them because it needed to be finished. Also remember that you're your own worst critic; what you hear as subpar, others may find enchanting. Self-confidence is also a myth, so work on accepting yourself as you are. Self-love and confidence comes after that basis of self-acceptance. You are who you are. You see things how you see things. And that is how it will be. The comfort that comes in that is what creates confidence. I would also recommend looking up theory classes because it can be helpful!
I like the word "allegedly" when you said paganini sold his soul to the devil. Like, if we are to believe the headlines, if it's not just clickbait, i heard a rumor that paganini sold his soul to the devil
i friggin love the Misty jazz standard, my trio added it to our repertoire because i had it in my own custom playlist of rehearsal material and the guitar decided to adopt it into the set list when he basically had carte blanche over the material that we covered in our set list, he said it was too complicated chord structure for him to get under his fingers on the fretboard, and so he extrapolated outwardly to presume that it would also be difficult for me as a sax player, and yet, that isn't the case at all, i friggin love playing Misty in the key that it is originally arranged in
"they are absolutely disgusting" i don't know if adam was tearing them down or giving them some ironic stankfaced compliment but honestly i listen to music that's terrible on purpose so this is basically an endorsement
62.5% swing sure is close to "golden ratio" % swing... When I was first exposed to swing percentages, that was the first thing I tried, expecting the DAW's midi playback would unfurl it like a celestial nautilus shell and enlighten me with groove. I was disappointed.
Jacob Collier *might* actually know who Adam Neely is. Once in an #IHarmU stream for donations (doing the start of the pandemic) there was one part where people in the chat got to choose someone for him to collab with. A bunch of people asked for Adam Neely. Jacob Collier did say he was a cool dude or something, but didn't have his number. But yea I agree, Adam Neely & Jacob Collier collab : )
This is a really great video. Since these vids started, they've consistently gotten better, and I think at this point you are officially one of The Dudes who Actually Really Know What They're Talking About, and I'm sincerely impressed w the body of knowledge you've acquired and transmitted over the years. Way to go Neely.
As a purely visual person, I wish to god I could understand how these Particular String of Beautiful Sounds Actually Have A Name. Either way, I love what you do. It gives me a deeper appreciation for all the gorgeous music that inspires my art and gets me boppin.
Mark Guiliana is a master of swing when it comes to groove based drumming, the way he improvises syncopation/rubato/swing on the fly and catches you by surprise is unique.
I just wanna say, as I clicked on this video I realized I’ve been watching this channel since, oh, sophomore year of high school, when I really decided to be a music major, and now I’m a college freshmen watching this and it’s nice to really be able to “get” some of this now. Plus you know, I feel like I’ve just come a long way since then. Anyway.
I like that, coming from Adam, clowncore being "absolutely disgusting" has about a 50/50 chance of being a compliment or an isult
80% sure it's a complement
but then you add in the fact that adam is a music freak so the odds turn into a 66% chance
He said in an earlier q&a that his favorite modern composer was Louis Cole so it's safe to assume that it means a good thing
It's definitely both.
@@LeakyJAZZ quintuplet 4-1 swing?
"Can a X chord resolve to Y?" Yes.
*_J A Z Z_*
😅
For any chords X and Y, as long as they are not "related" (parallel, relative, etc), usually the voices can easily lead, hence a "resolution".
@The bro who doesn't lift: “an” X chord.
And if it sounds good to you, then yeah, play it.
420 likes
@@ishi_gho9695 nice.
Whiplash 2: “Woah, he’s at a 62.5 percent swing!”
you win the internet! made my day... thanks!
That *Is* my tempo!
Not quite my swing percentage
Give me... 100% swing!
Hilarious!
I’m a self taught hack on piano and guitar . A long time ago I sold pianos . The teacher at the music store was a great musician she could nail complex classical works. One day she said to me “ I so admire how you play “ this puzzled me because she was so much better then me she said “ you can sit down at a piano and express yourself I can’t do that I can only play the printed page . I think the best musicians have a foot in both worlds the know the theory but they are not a slave to it they are free with it.
Very well put! I'm a classical musician but am working on composing my own music
Well said
I couldn’t agree more. i hated music theory and doing my classical grades. i am so grateful now for the knowledge i have of music theory and i love learning more. but i also spend 90% of my time now improvising and composing its awesome
@@pauldalton2004 Every kid hates music theory, and every adult who would like to compose music wish they had paid more attention to it.
I've been doing music for a living for 20 years... and have only just started theory this year.. But I am absolutely loving it. So to read this comment was awesome thank you
I don’t know what the hell you’re talking about Adam but it sounds cool keep it up bro
same
Same. I really love watching his videos even though I understand almost nothing.
@@RexTorres oof. I will be honest, it gets 10x cooler when you DO understand it.
Same but with a little understanding
89%of people here lmao
7:09 - “Classical” musicians could improvise well into the late Romantic period in the 20th Century. I blame Schoenberg for being a dork.
schoenberg was a hip dork tho
that jacob collier clip has so much meme potential I can hear simon come running already
it definitely has some big yass energy
I just can't get over the fact that he's got no shoes or socks on, but the interviewer has both.
Simon Fransman I summon you
@@Zack_Taylor Hate it. So punchable,.
Lol
This whole channel is just a big 'I like your funny words, magic man'
Damn the 21/8 Isn’t She Lovely needs to be its own thing
Ахахах понимаю!)
Very interesting, it sent me off searching for what I then figured out to be And Justice For All. (Just the first three notes though)
Yeah it sounds really good
Right? I was yes more please.
I think it'd be easier to understand as 7/4 using triplets
Improvisation is a required skill for at least one type of classical musician: the organist.
Yeah, but organists aren't actually human, they're octopus-Riverdancer hybrids.
We can’t all be Davy Jones
@@eruantien9932 You made me belly-laugh! I learned organ to Grade 4 when I was at school, and it's my ambition to become The Irish Cthulhu one day.
@@macronencer Irish Cthulhu! I cant with this whole thread 😂😂
The amount of coffee inside that real book is incredible.
Adam's price to show that book in a video is dropping a full mug of coffee over it.
This makes reading it easier, when the mere touch of the pages makes you wakeful.
In fact, caffeine-laced books could be a thing.
@@Dowlphin I’ll stick with my cocaine scrolls, thanks
There are passages in the realbook written in invisible ink, that can only be revealed through coffee stains. Its where adam gets his jazz knowledge
@@markop.1994 That made me laugh. Thanks! 😄
I really enjoyed seeing Adam laugh at the end of his 21/8 Isn't She Lovely. The importance of making music that's weird, or silly, just for your own amusement is something I picked up from a Ben Levin video not too long ago. I've been having more fun with my instrument since I stopped only trying to play things that "sound good". It's great to see Adam having fun too.
Now I need a meme for "Remember the Name" , but with the relevant percentage swing.
This is ten percent Swing
Twenty percent Swing
Fifteen percent concentrated power of Swing
Five percent Swing
Fifty percent Swing
One Hundred percent reason to remember the Swing
This gave me an actual real life laugh on a dark day. Thanks
Oh my god xD
"The chords actually dont sound that complicated"
*chords sounds complicated
hahaha
Nah they don't they sound beautiful
@@jccanizal6410 they sound beautiful and complicated
@@JustinLe yeah they kinda sound sentimental with a hint of nihilism in it
😂
the 80% swing percentage one reeeeaaaally does it for me.
Patreon?
If you tone it a little down to 75% you'll get your normal bossa nova clave :D
I really dug it also.
Thought this was an election joke
I like the 100% swing. Very straight forward.
"very good, you actually made me use 10% of my swing. This next time I won't go so easy on you"
People who can play Giant Steps have that big Licc energy.
Licc Aura
Lol
HAHAHHAHA
I had a drummer who fell into the 80% swing model, but only because he'd lose the first beat after 20 or so measures ...
Comparing Giant Steps to Paganini was a much more similar comparison than I first thought
I see another explanation for the D7alt/Ebmaj7 cadence: the D7 would naturally resolve into G. G minor is a substitution for Ebmaj7, so the two chords are quite equivalent. So the D7alt/Eb cadence sounds pretty much like D7alt/Gm7.
11:18 as a layman I don’t understand a word, but I like that version of “Isn’t she lovely” you played for demonstration
I'll try for a similar explanation. Some songs have 4 beats per measure with each beat broken into 3 eighth-notes. 4*3= 12 eighth-notes per measure.
Two measures of this would give you 8 beats. (24 eighth-notes). Subtract a beat and you get 24-3=21.
So it's two measures but the second measure ends a beat early.
Flute solo no.1 for macrotonal flute
11:38 When Adam explained 21/8, his explanation was kinda groovin
I think in the jayz video he mentions how any speech over a beat starts to sound in time. You should check it out
“Made up of” is in sink exactly
@@5hyguy42 why not in the basin?
@@garrybobbyphogeson721 umm yeah I guess i could have said in time.
@@5hyguy42 or in sync
I was pretty sure Jamaican reggae groups in the 70s sometimes played in 60% swing, but I never realized that's the same as quintuplet swing. I always learn something from these videos
ve heard that on a lot of burning spear and culture songs! I kept thinking “is this straight or swing?” 🤣🤣🤣
“Misty” chord - Also found at the end of Norah Jones’ version of “Nearness of You.” :)
Lots of Jobim as well. Great way to delay the resolution.
He mentioned the Idim7, which I agree it relates. But I also feel like it has a Hawaiian steel guitar sound, too. Especially with a really affected portamento.
Richard Rodgers - the hills (F6) are alive with the sound of music (E/F)
@@hilmijaidin1156 yes MT cats use this device as commonly as jazz players use a backdoor ii V
Yes 🙌🏽💗💗
When it comes to metal, "disgusting" can be the greatest compliment.
This is the perfect timing. Just came home from school and now I got an awesome video to watch while eating. Thanks Adam 👍
But which timing is it?
oof that's a total mood
Another “giant steps” as a jazz musician is donna lee ;) never really liked giant steps and charlie parker was one of my favorite musicians so i did that one instead back in highschool
Hey Adam, it's me again!
Thank you for answering my question on quintuplets!
Ever since you reviewed my bass solo in the last "VIEWER CRITIQUES," I was concerned that my bass solo wasn't an authentic quintuplet swing.
I can now classify my solo either an "over-swung" or an "80% swing" quintuplet solo!
'till next time!
Adam's TH-cam camera presents is so natural. It's awesome. Nothing is forced. Just an awesome musician sharing what he knows best.
11:20 There's a song by TTNG called "26 is dancier than 4" where the outro riff is in 26/8, and it's a compound of 5+5+5+5+6. The sky's the limit in my opinion!
Scriabin: ah yes. So Misty. Love
when i saw the video at my notifications i initially thought it said "the mystic chord" lol. i liked it anyway
😂😂😂
Glad I'm not the only one that thought of Scriabin when he played it on the piano
Yeah I thought it was a weird nickname for the mystic chord but nope I was wrong lol JAZZ AGAIN
The mistic cord is used on jazz too
That moment when you swing so hard you're playing backwards.
That Misty Chord is so good! Definitely using that.
Never watched this channel before. I really enjoy the fact that you just jump in assuming an automatic musical literacy with your audience. No time to talk down to the audience when there are valuable insights to be shared and good points to be made. 💯
there's a steve swallow interview with john scofield in which swallow, says that, Getz, i think "wouldn't have known what a g7 chord was if you showed it to him" & there's a great discussion of how the old-time swing players were totally kick-ass ear-trained.
"Why are many classical musicians unwilling to learn how to improvise?" This was the basis of my divorce to my first wife.
Are you serious???
it used to be standard for virtuosos composing ("improvising") their own concerto cadenzas! As a CM who loves jazz, please believe not all of us are degenerates 😭
@@RP-cn8si lmao you're good. At least I'd say so. I am not good at improvising myself and I'm also not a classical musician, so I can't really judge. The idea of a classical musician being a good improvisor is really intriguing to me though.
@@dudeman5303 haha, appreciate it. I suppose I can give a little of insight, as someone trained in the industry- In classical music, we are trained not to 'create' but rather "creatively interpret." Even within the confines of a few measures, there are an infinite ways to play and convey your own music, through nuance and deliberation. The point is to analyze how each note fits into the whole composition, and communicate what you feel the piece's "journey" is, so to speak. So if you have a set groove in a jazz chart, and you have x choruses to solo on- your creation is still "driven/confined" by the groove. In classical music, you have months to prep a piece we already know note-for-note, but the point is we don't know how YOU'RE gonna play it. Articulation, emphasis, rubato, dynamics, personal interpretation. Hope that makes some sense :)
@@dudeman5303 Well, no, I was being flippant. It was a joke really.
"[Clown Core] are disgusting." UNSUBSC-- well I guess you're right. But that's part of their appeal.
Сто процентов?)
I think he meant it as a compliment
I think he meant disgusting as in sick, gnarly, radical.
For some reason I really appreciate the fact you used "[]" to quote correctly.
he said louis cole was his favorite contemporary composer in his last q+a, so
Watching Erroll Garner play "Misty," after learning from you that he didn't read, made me think of Marian McPartland. All those episodes of "Piano Jazz" on public radio, able to play every famous and obscure jazz standard her guests suggested, not to mention thousands of gigs over her life, and yet she regularly confessed on the show that she couldn't really read music. I'm repeatedly stunned by the memory jazz musicians have for their repertoire. -Tom
That "Isn't she lovely" actually did it for me. Kinda dope.
I have a question for a Q&A. When composing music, we put a lot of thought into the chords, notes, melodies, and textures we use to convey certain emotions. But we don't do the same thing when it comes to an equally important musical element: rhythm. Apart from maybe using a slower of faster tempo, we don't really use rhythm to convey emotional elements. Why is that? How can we use rhythm to convey emotion?
We do though, but it’s not as much as an emotional thing as a “stylistic” and “locational” thing, certain rhythms evoke certain areas and locations as well as the musical style, I’d bet my money that you can recognize the rhythm that is used by basically every pop producer when they want to enphasize a “tropical” feel
Rhythm isn't used to convey emotion? News to me
Speak for yourself. Listen to autechre.
who is we
What about reggae riddim
Man I’ve missed watching this. Good to see you’re still posting. :)
That brief interlude was the best visual clip explaining swing and feel I have ever seen. I wish I had that when I was in music classes, especially jazz.
Never thought I'd see Meshuggah in an Adam Neely video.
He also referenced Demiurge in his 9/8 video
Just casually snapping out polyrythms on your fingers is so damn baller.
I'm glad you included that Hilary Hahn Pag 24 clip - I'm not generally a fan of classical music but that performance is phenomenal
The 3 measure of Var. III in Tchaikovsky's "rococo variations" maybe contains a misty chord!
There's actually a misty chord in Jacob Collier's 'Once You'. It's cool. The voicing is sort of mimicking Jacob's singing, so when he sings: "Some bo-dy," you can hear the same D/Eb voicing to Ebmaj7. It's cool stuff, I dig the sound.
Love how your explanations of the chords aren't limited by genre. Going from talking about chopin to meshugga, I subscribed
Paganini really is the giant steps of classical music, huh.
Of romantic violin, for romantic piano must be Campanella by Liszt.
Fun fact: Originally Campanella was composed by Paganini and arranged for piano by Liszt.
ye the paganini caprices have a bit of memeish quality for classical musicians (not as a big a meme as giant steps tho)
I stopped reading after Pagan.
(And started listening.)
@@joaquinnapan3237 honestly liszt probably has like 3 pieces that can be said to be the Giant Steps of classical piano, and Chopin's Etude op. 25 no. 11 could too
@@yonatanbeer3475 Throw in Rachmaninoff's piano concerto #3
The Ageless Adam Neely. We know what deal he made with the devil 😈 at the crossroads! Lookin good man!
10:30 adam's drop tips
wrong channel
@@ismailfardane3207 skiptracing pfp 👍👍👍👍
Good to see the Idim7 to Imaj7 idea getting some more widespread love. Definitely an underutilized progression. "Pure Imagination," "Corcovado," and "If I Should Lose You" all have that included in their stock changes.
You can see the pride in his eyes as he *totally* pulls off snapping those polyrhythms in one take
Paganini never performed the caprices, he dedicated them "to the artists" and they're his first published works. He must have intended them to be technical essays for future generations
4:08 Also sounds similar to the whole tone scale
*6 tone equal temperament
Makes sense as the whole tone scale is essentialy 6 tone equal temperament
@@Plandigo that makes sense
And dorian
@@arcioko2142 True, i thought it kinda sounds like a mode of the major scale but couldn't quite tell wich one
As a kid I remember seeing Errol Garner perform at the Pittsburgh Arts Festival many times. I was fascinated by his style, but also his grunting.
The last time I watched a q&n from Adam i had the outro song in my head for 2 whole days.
My formal musical education stopped in my brass band (cornet) playing years as a teenager (many moons ago). You've done a lot to reinvigorate my interest in theory having spent most of my musical life since then as a lazy ass guitarist. Thank you.
Now I have to look up whether Dire Straits "Your Latest Trick" uses that diminished seventh - resolved to the one chord thing, because that was what immediately came into my head hearing that progression.
That’s the chord in the third bar of “The Most Beautiful Girl in the World”. || F | F/C | E/F | C | F | C | F | Abmi6 | Gmi11 | •/. | C7 | •/. | Ami | D7 | Gmi | C7 || ••• I learned it from an old sheet, that just had the piano arrangement (no chords written in).
6:27 ah yes, a death metal swing beat
The misty chord is one of my favorite sounds. I often think of it as a minor major 7 flat 5, but another way of looking at it is a common tone diminished on that EbM7 with a 9th added.
Thanks! 🙏🏻
Always enjoy these Q&As.
woah, you and a few other people got here WAY early
How tf is your comment 7 hrs ago?
It took me a while to get into your channel because it’s a bit over my head half of the time. But this Q&A alone has opened so many doors for me - thank you sincerely. Much much much appreciated.
Don't get confused. The "Mistyc chord" or "Prometheus chord" (if you prefer) is still "invented" by Alexander Scriabin. It is interpreted as a quartal hexachord consisting of an augmented fourth, diminished fourth, augmented fourth and two perfect fourths. However, the chord may be spelled in a variety of ways, and it is related to other pitch collections, such as being a hexatonic subset of the overtone series, lacking the perfect fifth.
As someone who grew up learning piano and cello "classically" improv was just something I was never taught, but it hasn't prevented me from improvising alone and putting that into composition :)
Question for the next Q&A:
What do you think about pretending you're playing in another, "easier" key? I've been teaching myself bass for the last 6 months, I've played the trumpet for almost 20 years now and I'm "fluent" in every key on the trumpet. I can improvise stuff, I immediately connect the notes I hear with the fingering/lip setting/air pressure and whatnot required to play it, it literally becomes one and the same thing in my mind when playing.
On the bass the story is a bit different. If a song is in C, F, G etc. I've got the notes memorised solidly enough to improvise in that key. However, I just tried jamming to a song in Ab minor and struggled to find the notes in real time. When I play higher up on the fretboard and just pretend that I'm in, say, A minor, move everything a half step and ignore the fret markings it's easy peasy, then I've got the shapes of the scale down and can arpeggiate chords and all that.
Is this how bassists/guitar players/etc think about keys in general? Do you think in terms of scale degrees or chord colours mainly? Or do you actually think in Ab minor and know each note in absolute terms? Because on trumpet you're kind of forced to do the latter and only with lots of practice you get a glimpse of the former, when you have your fingerings down. Whereas on string instruments you could in principle approach it from both directions. I have a feeling the "correct" approach would be not to shift keys mentally, but to use solfege or think about scale degrees first and foremost, which I've never really come across in orchestras and wind bands. What are your thoughts? What are the pros/cons of the two approaches moving forward?
Yes visual versions of scale degrees works well on bass you can use the info you already have to ground it in ways that can be communicated to other players (Notes) but if you’re not reading for the music you’re playing, if you know how it looks/sounds you’re there. Articulation is the next challenge and reading/memorized note placement won’t help that, that’s just repetition and careful listening
I've been playing bass for eight years. I never think in terms of steps when I'm playing. Its more in terms of shapes and patterns that guide me in recognizing the actual notes on the fretboard. Like Adam mentioned in the video.
I myself cannot read a single note of sheet music. But I know my instrument and I am developing an ever increasing knowledge of music theory to help me. That's really what it's all about. Theory knowledge, application, memorization, repetition.
I love the 62.5% swing. It has this aggressiveness to it that can let out my frustration. Just needs a heavy drum sound to go with.
Clowncore is one of those "This is exactly what I wanted to hear" bands but I 100% get dismissing them as disgusting.
I'm like 73.225% sure he means it in a good way.
hi, long time listener, first time caller- i never realised what a sheer joy just listening to Adam perform solo on bass would be. If there was a BASS solo channel of Adam running through shit like that for practice or performance i would smash that sub button hard.
So I was daydreaming about a polytonal composition that would be like a couple struggling with their different lifestyles/views, so at the beggining would be a very dissonant set of keys, and eventually they find a common ground and start seeing how close together they are.
What would be the best two keys that at the start would sound very dissonant but that you can actually find a common ground to eventually harmonize in one key?
Fun fact: If you stack thirds in G harmonic minor, you get E♭-G-B♭-D-F♯-A. I guess that's E♭maj7♯9♯11. Maybe that was how he came up with it.
I like how your honest thumbnail makes me click into this video to hear how it sounds like and then I stayed till the end because of the content.
Adam references Meshuggah: that's a first and I love it.
Adam doesn't like Clowncore: unsubscribed.
Adam once wore nail polish: maybe I'll stay around.
Adam has a djent preset on his pedal: OK I'm interested now.
With Adam I don’t know if his comment means he likes or dislikes Clowncore. My guess is he thinks it’s cool it exists but isn’t answering whether he likes it or not
@@snowfloofcathug I think that's only just occurred to me. He said it so deadpan I believed him.
Speaking of percentages of swing, I've been listening to a lot of Tirolean and Bavarian music lately, and they have this style of playing where a 2/4 march will be not quite 2/4 and not quite 6/8, so it has this brilliant rhythmic tension, in what would otherwise be a fairly straight forward and tonal march. I love it so much!
I'm a music theory dummy, have no self confidence, and generally hate everything that I make. How do I transcend this barrier and put my ideas, no matter how basic, or generally uninteresting, into the world without crippling anxiety, or complete loathing?
This question is brought to you by way too much to drink on election night.
Gosh same man
You just MAKE. Everyone has to suck before they're bad, be bad before they're okay, be okay before they're good, etc. You just keep making. A lot of composers hated certain works of theirs, but they finished them because it needed to be finished. Also remember that you're your own worst critic; what you hear as subpar, others may find enchanting. Self-confidence is also a myth, so work on accepting yourself as you are. Self-love and confidence comes after that basis of self-acceptance. You are who you are. You see things how you see things. And that is how it will be. The comfort that comes in that is what creates confidence.
I would also recommend looking up theory classes because it can be helpful!
Erroll Garner (composer of Misty) actually does this a lot in the "Ready Take One" recording, although it's more of a diminished sound.
I like the word "allegedly" when you said paganini sold his soul to the devil. Like, if we are to believe the headlines, if it's not just clickbait, i heard a rumor that paganini sold his soul to the devil
So much love for giving exposure to the great Erroll Garner - My favourite pianist of all time - pure unadulterated joy in how he plays
I love jazzy resolutions. Such beautiful voices. I'm getting better at separating each of the voices and then hearing them simultaneously
Adam if you’re still looking for DCI shows, then I would recommend 1996 Phantom Regiment.
i friggin love the Misty jazz standard, my trio added it to our repertoire because i had it in my own custom playlist of rehearsal material and the guitar decided to adopt it into the set list when he basically had carte blanche over the material that we covered in our set list, he said it was too complicated chord structure for him to get under his fingers on the fretboard, and so he extrapolated outwardly to presume that it would also be difficult for me as a sax player, and yet, that isn't the case at all, i friggin love playing Misty in the key that it is originally arranged in
7 seconds ago?? I guess ill post before watching the video then
That 5/32 note swing is probably the most...authentic(?) swing sound that I've heard. When I played jazz, that was how I think we felt things.
"they are absolutely disgusting"
i don't know if adam was tearing them down or giving them some ironic stankfaced compliment but honestly i listen to music that's terrible on purpose so this is basically an endorsement
You explanation of swing percentage just changed my life. Thank you.
62.5% swing sure is close to "golden ratio" % swing... When I was first exposed to swing percentages, that was the first thing I tried, expecting the DAW's midi playback would unfurl it like a celestial nautilus shell and enlighten me with groove. I was disappointed.
62.5% swing + (A=432Hz) = ｐｅａｋ ｒｅｓｏｎａｎｃｅ
OMMGG your little laugh playing isn’t she lovely 😭💕💕 made me instantly smile
Okay, okay, here's an idea: Adam Neely & Jacob Collier collab.
You have funny jokes.
Not going to happen
@@aarnimustakallio7769 Just out of morbid curiosity, why do you believe that?
Jacob Collier, Bill Wurtz, Jack Stratton and Louis Cole collab.
Jacob Collier *might* actually know who Adam Neely is.
Once in an #IHarmU stream for donations (doing the start of the pandemic) there was one part where people in the chat got to choose someone for him to collab with. A bunch of people asked for Adam Neely. Jacob Collier did say he was a cool dude or something, but didn't have his number.
But yea I agree, Adam Neely & Jacob Collier collab : )
Adam and Davie504 collab.. Perhaps a bass battle
This is a really great video. Since these vids started, they've consistently gotten better, and I think at this point you are officially one of The Dudes who Actually Really Know What They're Talking About, and I'm sincerely impressed w the body of knowledge you've acquired and transmitted over the years. Way to go Neely.
10:30 This motion was brought to you by Linus from LTT.
Linus Drop Tips
As a purely visual person, I wish to god I could understand how these Particular String of Beautiful Sounds Actually Have A Name. Either way, I love what you do. It gives me a deeper appreciation for all the gorgeous music that inspires my art and gets me boppin.
Adam: "Absolutely disgusting"
Me: I'll take that as a compliment ;)
Hi Louis Cole;)
Adam, you're great at explaining theory and application. You could be a terrific music professor if that's in your radar.
2:08 this man so casually did this, i get lost counting one tempo lmao
Mark Guiliana is a master of swing when it comes to groove based drumming, the way he improvises syncopation/rubato/swing on the fly and catches you by surprise is unique.
Laptop dies...
Everyone: *Awkwardly giving applause*
I just wanna say, as I clicked on this video I realized I’ve been watching this channel since, oh, sophomore year of high school, when I really decided to be a music major, and now I’m a college freshmen watching this and it’s nice to really be able to “get” some of this now. Plus you know, I feel like I’ve just come a long way since then. Anyway.
2:20 Ah, yes. Bill Murray's cell phone ringtone in Lost In Translation.