So mostly wrong and whenever sounding remotely correct you have to combine multiple seperate predictions into one ? Yeah don't insult Adam like that, not cool bro.
My problem with the “fuck theory” crowd, is that there is always some theoretical framework that can “explain” what you did. Knowing theory can expedite your writing process. Just the first chapter of the Persichetti book instills that notion when discussing intervallic relationship. Theory isn’t a limitation unless you want it to be one. It is a set of tools to help you find the sounds you are seeking more efficiently.
So true. It allows you to explain that cool lick you just came up with or how to crate what you're haring in your head faster. What's the worst that can happen by studying some theory? You learn something? Besides, there's always the old adage "learn the rules and then throw them out" but at least in that scenario you still know the rules.
personally i find it fucking hilarious, these are the same dumbass people who complain of a lack of gigs. You don't get the job if you have zero understanding of the work
I can’t remember who said it originally (it may have even been Adam Neely) but some great advice I nabbed from somewhere for my students: I’ve never met anyone who regretted sitting down and learning music theory. The way I usually explain it to my students is “learn how the rules work first so you can EFFECTIVELY break them rather than going in entirely blind”.
I compare it to this: Can you write a novel without understanding story structure and grammar, yes you could. It could even be a terrific novel. But if you understand grammar and proper ways of making your story more effective using narratives devices it will expedite and streamline the process. In the end, if you're writing music or a story, you're using grammar and theory whether you know it or not. In my opinion, it's better to have a better understanding of how to achieve those things quickly and effectively.
David Bowie fits the bill a little bit better than the Rolling Stones. He also was an avant-garde figure that was on the forefront of new developments in pop music for decades.
@@JerehmiaBoaz Yes! I thought of him as well. Bowie's musical career was extremely diverse; his last album, Blackstar, had hip hop and jazz influences, despite him being famous for glam/classical rock back in the 70s. The Outside album was cool as hell, too. Love him and will always recommend 🤘🏾😔🤘🏾
Damn, hearing Adam talk about livestreams becoming more popular in the future turned out to be an incredibly accurate prediction, especially looking back at this video during COVID times.
For the next QNA: I’m a drummer who dabbles in other instruments, and have seen my rhythmic knowledge carry over seamlessly to instruments like guitar and piano. Are there any benefits that a student of rhythm (like a drummer) could gain from studying subjects like melody and harmony? Is knowledge of rhythm the exclusive skill set that we can all benefit from, or are there more?
I have only recently discovered Sideways' channel and have seen Adam commenting his videos. Like less than an hour after they're made public :) Amazing content, by the way! Risking to sound cheesy I'll say I've already found some ideas quite inspiring or helpful at the very least.
For the next Q&A: Do you think the world of music theory has room to grow? Not necessarily refining currently outlined concepts, but discovering completely new function out of "non-functional harmony." I've been thinking of this ever since you discussed Ben Johnston's String Quartets. They seem strangely functional, but in a way completely uncharted, and they remind me of the harmony of Gregorian chant, which leads me to think there may be a whole realm of harmonic possibilities we haven't even begun to explore... Interesting thoughts :)
I think the challenge lies in making these weird music theory concepts into something enjoyable, like im the interestelar soundtrack the Cooper theme has a major melody and the second time is in minor, and it's a concept something kinda unexplored.
FWIW, you don't come across as smug, to me. You do a good job of emoting the respect you have for the knowledge you've earned, and for the pursuit of more new knowledge. This is important, and probably the main reason I enjoy your videos.
In relation to the Band Leader question: I played drums in a band where the whole process, from songwriting to what gigs we played to how we recorded, etc, was completely democratic. Individual members would bring in song ideas or riffs or whatever. If any one member wasn't digging it, then we would throw that idea out and move on. Everyone had input. Anyone could suggest changes. Nothing was finalized until everyone was satisfied. Ultimately, every song we put on stage was something we could be proud of. It was completely satisfying from a creative standpoint, especially for someone like me who as the drummer was also a multi-instrumentalist. The downside to this arrangement, though, was that our songwriting process was excruciatingly long. We worked for almost a year before we had enough material for the stage. We played together for something like 5 years and managed to write about 15 pieces of original music. We compensated for this by limiting our sets to 30 minutes, meaning we never moved beyond the realm of featured act. We only booked shows every couple of months. The upshot of all this is that this completely organic, all-for-one, leaderless band could only exist as a side gig. A completely satisfying, extremely rare, entirely unprofitable side gig. It was the project that made our other gigs, where we were hired guns, palatable. It was the experiment that proved what we already knew: if you want to get anywhere, somebody has to be driving.
Adam, you are not smug. I promise you that. In fact, I see you as extremely humble. You are knowledgeable and thoughtful - maybe these are intimidating to people? If you attempt to soften your smugness, you will lose your edge. You are a music-teaching-blade. Blades must be sharp, and if you lose your edge you will be dull and dangerous. Anyway, I truly love your videos and they mean so much to me. Thank you from the bottom of my heart .
The way you seem to have gotten healthier is encouraging to me. I soaked in your videos like crazy when this one came out, but i was generally a lot less healthy, and seeing that we’ve both healthed up a bit in retrospect makes me feel good. Obviously has nothing to do with the subject matter of your videos, but I’m comforted by the thought.
I've watched a handful of your videos and I don't think you're smug. You're an educated man sharing your expertise, and there's nothing wrong with having confidence in your abilities and in yourself. Keep on keeping on.
after seeing the thumbnail and how hot adam looks with hair, i thought "i wonder if others have mentioned this already?". turns out: yep, right at the topmost comment, lol
your channel is the first one to approach music with this much of an intellectual approach. I honestly think that your dont suck at music have been very nice to the applicants (?), and not at all smug. I'm don't even play an instrument and I find your stuff so fucking good man, cheers and keep doing you.
It's half-dead/half-alive (well not really) but Adam - my phonon quantum biology rants are now official Professor research science! haha. th-cam.com/video/dYcGICipoBs/w-d-xo.html and the book books.google.com/books?id=4fwwDwAAQBAJ&pg=PA319&lpg=PA319&dq=spinor+acoustic&source=bl&ots=b-ecx1hOmB&sig=jsZhBEYYXpMpoRpRDWXJYarPjrQ&hl=en&sa=X&ved=0ahUKEwj4h6PHj5PZAhUMKqwKHQVOBmQQ6AEINTAC#v=onepage&q=spinor%20acoustic&f=true this is the genre of nonwestern trance-meditation as spin1/2 macroquantum coherence phonon energy. This book offers an essential introduction to the notions of sound wave topology, duality, coherence and wave-mixing, which constitute the emerging new science of sound. It includes general principles and specific examples that illuminate new non-conventional forms of sound (sound topology), unconventional quantum-like behavior of phonons (duality), radical linear and nonlinear phenomena associated with loss and its control (coherence), and exquisite effects that emerge from the interaction of sound with other physical and biological waves (wave mixing). ....The coherent conversion of sound into other types of waves as well as the sound-induced non-conventional topology of elastic, electronic, spin and biological waves are presented in the case of media exhibiting elasto-electronic, photo-elastic, magneto-elastic effects and biological mechano-transduction.
Thanks for your videos. Can you help explain what I'm doing? In Ableton, I built a midi effect rack with 'Chord' on every chromatic step. For every natural note, I used minor (or min11). For every sharp/flat note, I used Major (or Maj7). For the most part, it sounds interesting to my ears. Is there a name for this sort of scaling? Thanks.
On putting yourself out there: Examine your intention. WHY you want to put yourself out there is key. Connecting with other musicians? Teaching? Getting feedback? Building a business? Fun? Make sure that your intention is authentic to you.
whenever someone asks about how to get inspiration for writing music, I usually go with the idea of "the spirit of play" -- The idea of play is deeply connected with discovery and creativity. You play around on the keyboard or bass or whatever and however to puzzle things out and discover things that fit what you are trying to do. Knowledge and expertise makes this easier. Eventually you stumble across something that suits your fancy, and off you go. you can use very simple materials, and slowly twist them to into shape.
Hey, Adam! For your next Q&A: Do you have any tips on developing a thicker skin as a musician? When I watch masterclasses or your viewer critiques, I think of what a useful learning opportunity those could be, but I also know I'd never perform or submit anything due to fear. Even when critiques are 100% valid and worded kindly, even knowing that mistakes are crucial to learning or everyone screws up or it's nothing personal, I feel myself getting defensive, and I fixate. Any insight? (To clarify, it's not stage fright. I've never had much trouble with an actual performance. The feedback part is my issue.)
I seldom comment on TH-cam videos, but I like the idea of reminding decent content creators that their work is greatly appreciated. There are thousands more of us silently cheering you on Adam, great work.
If you explore the "wtf ever you want" school of music theory, that you will eventually want to figure out a way to explain what you're doing and a system to teach others to play like you. When you reach this point, you will think it through, realize that you are about to revolutionize music theory....then after doing so, realize that you have just reinvented conventional music theory. Exactly the way it has been since Johann Sebastian Bach. At least, that was my experience. Then you realize that you should just learn music theory in a humble way. To quote some comedian I hear in the 80's, " You are a unique individual....just like EVERYONE ELSE!".
The most practical and useful knowledge on your channel is in your how to not suck at music vids imo. Even if you tweak, please keep it brutal and honest!
15:50 let's say the drummer gets foot poisoning an hour before the gig, it is the band leader's job to find a sub to take care of bass-drum, or opening/closing hi-hats, make sure they are in sync, etc. Also, it is the band leader's job to figure out, how does one get one's foot poisened. Etc.
Adam you have become one of many people that I try to learn from in what I like to call my guitar journey. Having said that most of the people that I learn from teach in a entreating way making it fun to learn. I have said this on some of your videos that when you get to talking theory you can make the neck of a electric guitar go limp. I watch your videos because I know right away if a person can help me get better or waste my time. You answered my question on why learning from you is like doing cardio and not not like lifting weights. You do come off as smug, blunt, and stringht to the point when teaching. If you only want to hear someone say how good you are doing go find a cheerleader. Sometimes you have to do the not so much fun things to make you better at doing what you love. Now Adam I say "some times confidence can tip toe over the line into arrogance, so don't be that guy". I think you come off that way to a lot of people but I will continue to watch and learn from your videos.
On the subject of releasing unfinished music to the public. One successful producer that I follow has put into perspective what a really bad idea that is. The problem that can result is, that you never finish the music. The reason is mental, and thus somewhat complicated, but basically you get mental satisfaction from the feedback you get from releasing a piece of music - the craving of that satisfaction will help you finish the music; unless you release it before it's done and tap into that dopamine before it's really time. So unless you have really amazing discipline already about finishing your music, it's better not to release tracks until they are in a completed form.
You describe yourself as smug at around 13:00, but from my vantage point, you're displaying a well-founded confidence in the knowledge you're imparting, such as your "music theory = 18th century European musical æsthetics" video. I appreciate the content.
I just love how you stick to your own advices in all your videos and your music ( of what i have seen so far ). I have come to really enjoy your analytic perspective. I really think sitting with you in a bar and having some good old german beers would make a great time ;)
Hey Adam. Short-ish question: What is your take on bass parts that pretty much double the guitar part, only an octave lower? This style is often used in metal genres and the like and I wonder if using the bassist as a "human suboctaver" is really the best way to write the bass part for those genres, or just lazy part writing.
Tomasz Mazurek depends on the part. If we're playing a chuggy riff or a very powerful "chorus" hook type riff, doubling the guitar lends power to that part. For other riffs where there is space to fill, the bassist can find something to move between the parts of the riff that are there. Or maybe the melody is very busy and the bass sounds better locked into the drum pattern playing roots. One thing that helped me was a producer talking about how the bass player in a band was playing this super fancy bass lick behind a regular riff for a chorus, and it just killed the vocal. It sounded like a mash of parts, not a chorus. Likewise, in the bridge after the chorus, the bassist was just playing roots and sustaining them while everyone else was following an 8th note pulsing rhythm to build back to the verse. It took away the drive and push of the part, it sounded lame. It's all about context, intent, and judgement. Do what's best for the song. That cool riff may have taken 2 hours to nail, but if it makes the song sound off or takes away from the energy, maybe not worth it.
adam you took the words right out of my mouth on your talk about genres and art. christ i never knew how to put it down on words but i agree with you so much
I have used 8/4 once - it was in the "slow part" of a composition that's all at one fast tempo - I used it because the rhythm was divided into 3+5, and a bar line in the middle of that would have been misleading.
My blog philosophy of sound as music meditation ecoechoinvasives.blogspot.com - and so th-cam.com/video/dYcGICipoBs/w-d-xo.html the secret of sound is now official! However quantum mechanics allows this system to be a superposition of states, we can be in 0 and the 1 state at the same time....it may react with the rest of the Universe and become unstable and it's going to lose the superposition of states that is in....I'm going to be in one of the two states I was in and that's it. And that's called decoherence so it's very difficult to stabilize those superposition of states. It's even more difficult when you have many qubits ....you have more interactions and less stability and more chances of decoherence. In quantum computers, to stabilize those qubits, what people do, they need to cool those qubits at cryogenic temperatures, these are very very low temperatures, near absolute zero. That requires a massive amount of energy and power and cooling system around these quantum computing chip. Our invention or our technology is saying, "We do not need quantum object to create superposition of states. And we found a system that does that, and it's based on a phononic structure that basically supports sound waves instead of electronic waves or quantum waves. And what happens, so we do not need a quantum system, so we don't have the problem of quantum decoherence. So we can avoid that drawback, by working with a quantum analog and our systems are acoustic quantum analogs of qubits. We call them Phi-Bits. So they exhibit the same capabilities of having superposition of states but they do not have the drawback of decoherence. They are stable. The Tech Foundation funds research that will not be funded by traditional federal sources, for instances, so we had to demonstrate that places like the National Science Foundation would not fund the research because it's too out there, out of the paradigm, it's too revolutionary for them to fund....we have three years of research, we have to demonstrates a set of phi-bits, to operate a well-known quantum algorithm...so have a tabletop system operating....Reciprocity of fundamental frequency transmission coefficient (FFTC) is now investigated. Since the geometry is symmetric with respect to its center at f from A to B with two opposite values of v is equivalent to comparing FFTCs from A to B and B to A at f with a single value of v.
Adam, you honestly don't come across as smug in your videos. Yeah, I can kinda sorta see why someone totally new to your stuff might infer that...but having followed your channel for a good year now, I definitely see that you approach every question and critique in, as you rightly put it, _good faith._ You listen and give advice in a charitable manner.
I am a bit ashamed to admit, I am a musician who is a bit of an ignorant anomaly; I can neither read music nor audiate musical pieces. Everything I have learned has been by ear. Compound this with the fact I am a left handed musician that cannot play left hand instruments (for example, I play a right hand guitar flipped reverse). A lot of people take issue with not being able to follow along easily when jamming in a practice session. Have you encountered many musicians who deal with this situation? At any rate, I have learned a lot from your channel in the last two weeks, so much has 'clicked' with me watching your explanations on all things music, though most music theory has just completely gone over my head prior. Thank you for this. You are greatly appreciated.
I've not considered this... Some testing is in order....I may have to attempt standing next to a mountain and chopping it down with the edge of my hand.
Why don't you just learn how to read sheet music? Its really not that hard to learn, and it is never too late to learn it. It won't take you much time either if you are dedicated to learn it.
I've always had difficulty with comprehension of notation, even 31 years into playing music, not for lack of trying, of course. I would love to find something that just makes it vibe properly. I have no idea why it has never taken hold in an understandable language, so to speak.
Maybe don’t learn guitar sheet music, but at least start with basic rhythm notation and single note melodies, like a lead sheet. Then learn chord names (and associate them with chords you already know, just put labels on them) and learn to play from a chart. Even if you don’t play from charts in ensembles, being able to think in a more structured way like that will allow you to understand the group. You hear them playing changes or whatever, and you could imagine what the structure of the (invisible) chart would be, if someone notated your jam session. While you’re doing this, at least learn to play with a metronome. I have played with quite a few amateurs who did not have predictable rhythm. They claimed it was free and flowing, but I think they just didn’t have the capability. It’s not a talent, it’s a skill. Most people learn as kids marching around a preschool classroom (look up Eurithmics to see what I mean) but it can be learned later by kids who got “left behind”. Bottom line, metronome, rhythm, rhythm notation, and chord progressions. This is all you need in order to play in groups.
I think you have keep the "do whatever you what" sentiment in mind at all times. It's like the musical equivalent of "The only thing I can be perfectly sure about, is that there is nothing I can be perfectly sure about" it's about humility, no matter how much you know about music a baby would do things to the instrument you could have never dreamed about
Hey Adam, I often hear the phrase "It's never done, it's just released" from my mentors in software development. In terms of music, do you think this is applicable? How do you know when a composition is complete?
You hear similar sentiments about poetry and I'm pretty sure I've heard Adam say the same thing about music. It seems to be a pretty common idea for any creative endeavor. "Done" is where you stop messing with it so you can mess with something else.
With regard to the theory question, I think some of the most interesting musical ideas can come from disregarding typical music theory ideas. You see this a lot in hip-hop as well as many experimental genres.
Once again, thoroughly enjoyed your Q&A. This is a personal observation, I would consider music, like any other art-form to be a conversation, and no truly satisfying conversation has you saying what the other person wants to hear. It is by its very definition a selfish endeavour, a communication of ones personal world view in ones chosen medium. "Language" is finite and yet it still produces Mozart to Motorhead; Chaucer to Dr Seuss; Rubens to Pollock; Brunelleschi to Foster. I would argue that we are lucky that we are far enough through the conversation to understand that there is a pattern and yet not far enough through that we can truly discern it. Keep inspiring !
If you speak to someone, you can say whatever words you want, in whatever order you want. Hey, you can even mix up letters and create new words if you feel like it. But you're not going to be able to communicate much to the other person unless you only want to convey a feeling of confusion and chaos (which might be a valid aim). Same goes with music. What do you want to communicate?
So I stumbled across BABYMETAL's Gimme Chocolate while perusing TH-cam and was shocked and confused as most are. But like many people who eventually become BABYMETAL fans, trying to figure out why I liked what I liked led me down an internet fox hole that led me to the 50+ subgenres of metal (who knew?), Dream Theater's Dance of Eternity (which BABYMETAL one upped in their Tales of the Destinies), which led to research into complex time signatures, which led to you and your complexity video! Now you respond to a question about learning from genres you don't like. As a yoot, I considered going pro (trumpet) before giving it up for other callings. Never bothered with music theory, but went into a variety of analytical fields, so now, watching your videos on music theory, they are absolutely fascinating and helping me understand the music I like and why BABYMETAL seems to be a neurobiological virus (Snowcrash) for a surprising number of brains coming out of all music backgrounds from classical/jazz (mine) to pop and metal.
Hey, man! Do you think you could make a video on "Coltrane changes" in relation to other common song structures? I think that would be really cool! Thanks!
I really like the last point you made about bands not being a democracy because it also applies, to some degree, to amateur or hobby bands. There usually is a defacto leader of a band. Who that is, is rarely explicitly decided upon. Instead, as far as my experience goes, there are members who care more about what happens in a band than others, who have a creative vision of where a project is going. These people become sort of the "Alpha" of a band. They do most of the work in terms of time spent on the details that make a project good, and creating an overall pleasing outward appearance. The other members are more of a resource pool to that decision maker because everyone knows someone that can do something. To me, a band leader in an amateur band doesn't have to be responsible for songwriting or producing but is usually more of the driving force of a band.
Adam, I have heard that Metallica's late bassist Cliff Burton, who significantly contributed to the first three and even the fourth of their albums, was classicly trained. I was wondering if you could watch some of his bass solos or listen to some instrumentals like Orion and Call of Ktulu and talk about where exactly his classical training and influence show up. Thanks btw I enjoyed the first question on power chords
Classically trained doesn't specifically mean he played double bass. If you want to see one of his inspirations I recommend giving ol' Jaco Pastorius a listen, especially his song Teen Town.
Hey Adam, It always looks like you use the same Fender bass. Do you have a bigger collection? I know a lot of guitarists have no limit when it comes to gear but what do you think about that? Do you use a couple basses all the time or do you buy new ones frequently? One bass can't cover every need right? Thanks!
There are a couple old videos on this channel that feature the 7 string bass. Actually, one of Adam's first hit videos was recorded with the 7 string. I wanna know if there's more though, too.
"We can forgive a man for making a useful thing as long as he does not admire it. The only excuse for making a useless thing is that one admires it intensely. All art is quite useless." - Oscar Wilde Talking about how art is selfish reminded me of that.
In relation with the "F*** theory, do whatever you want!" comment in this video I wonder what Adam, or anyone, thinks of the term "non-idiomatic music" and it's relevance.
Does NIM strictly refer to free improvisation, or noisemusic also? If both, then I guess NIM was what got me into music, and hearing artists like The Microphones and Death Grips use those nice sounds I liked in interesting, catchy pop songs was what made me start learning recording, playing instruments and making music
@icedpony - I define NIM as an attempt to create music that isn't attached to any known genre. Or, in more rare cases, a style that hasn't been defined yet. Personally, I only use the term while teaching. It's relevant when introducing the idea of attempting to play music not tied to any specific style. Especially to those who are new to the concept - and in a teaching environment. Then it's easy to use the term in the future and students understand what I mean. Attempt to play genre-free. Though I don't use it as a label to existing music.
On the subject of notating rhythm... One of my favorite examples of odd subdivions is Granny by Dave Matthews band. The whole song is in common time, but the only way to make sense of it is to divide 2 measures of 4 into one measure of 3, one of 2, and another in 3 for the intro and any repetition of it
I LOVE every minute of how to not suck. Even IF Adam gives advice I disagree with, I'm learning more about what I disagree with. Hopefully I like it after he changes it
In response to Alexander Burns' question at 7:06 I'd like to point out a youtube video I recently saw and it's called "Musician explains one concept in 5 levels of difficulty ft. Jacob Collier & Herbie Hancock | WIRED". The message it contains is that harmony can be regarded as "a way home" and when you seem to drown in the endless possibilities of composition, it's helpful to think of harmony emotionally and as a narrative you want to tell your listener. As Adam pointed out in his video about emotional ear training, it's useful to keep in mind the emotional effect of chords. Maybe that helps; at least it did help my understanding.
For your next Q+A perhaps: I'm curious of your thoughts/opinions on three things - 1) The music scene in Philadelphia 2) Playing bass with a pick 3) Geddy Lee Thx
Hey Adam :) Question for your next Q&A: I am a piano player and I lately taught some youngsters (about 15 years old) some music theory. The main goal was to understand how chords are related and to enable them to interpret chord signs (like Dmaj7#11). This is the way I went about this: I first explained how the major and minor scales are defined, so they could find them by counting full steps and half steps. Then I explained that that leads to the existence of pairs of major and minor scales that use the same notes, a.k.a parallel scales. Then we went on to how to build chords. I told them it's the first, third and fifth note in the scale that make up the basic chord, and how this leads to the major chord being built of major + minor third and the minor chord vice versa. Then we started building cadences: stacking thirds on each note (degree) of the scale, using only notes from the scale. I told them we can leave out the 7th degree (of the major scale) for now, since it does not end up being a major or minor chord. I also explained the classical terms (tonic, subdominant, dominant and the parallels, using the previously explained concept of parallel scales). I also explained how for minor keys, the dominant is usually played in major, although following the rules I had previously explained, it would be minor. This is my first question: I told them it just evolved to be like that and played two minor cadences (one using a minor dominant, and one using a major dominant), so they could hear it for themselves. How would you explain this anomaly to students learning music theory? Then I went on to show them how the circle of fifths can be used as a shortcut to determine both scales and cadences. I explained how you can find the accidentals of a scale: For sharps in a major scale, start at G and go right until you reach the root of the scale you want to know. For each note you pass, sharpen the note below. For flats in a major scale, start at F and go left until you reach the root of the scale you want to know. For each note you pass, add the flattened note that's left to it in the circle of fifths (like 'looking ahead' in the circle of fifths). One guy wanted to have something more consistent to the way it is done on the sharp side, so I told them it's also possible to flatten the fourth note above instead. Then I explained how to find cadences in the circle of fifths: It's just a block of six chords (in a circle of fifths with major keys on the outer, and minor keys on the inner side), with the root in the center, again with the anomaly of usually having a major dominant in a minor key. Then we went on to complex chords, using the method of stacking thirds (i.e. always leaving out one note of the scale and adding the next one). Here comes my second question: The notes for the basic numbers (7,9,11,13) without any sharps or flats (or maj-prefix) come from the mixolydian scale. Explaining modes to them would go too far at this point, so I said it's coming from the major scale, with the exception of 7, which is is the minor seventh by default. Is there any explanation to this other than "it historically evolved like that" ? Then I explained how these basic numbers can have sharps or flats (pretty straightforward), and how to build other chords like sus4 and sus2, diminished, augmented. What do you think about this concept? How do you structure this when teaching?
To me that's actually pretty useful to set "do whatever you want" as a rule. And it helps me a lot to know that some famous music theorist said that. Because due to my story, especially during my childhood and teenage years, I tend to make music for others and not for me. Things are better today, but I sometimes still struggle. So, yeah, I look for that kind of validation, or else I can't really do whatever I want in music.
I listen to all genres (no joke; my current music collection spans across all genres and includes around 100k songs, all of which are ontologically categorized). I kind of have to; I'm a composer. But just to be perfectly honest; I personally believe that there is no such thing as a genre that I don't like. So far I always used the following wisdom to guide me: "if you don't like a music genre you just haven't listened to the right songs from the genre so keep looking". Thus far I haven't come across a music genre that I genuinely hated (yes, not even Polka). I am also not a fan of live streaming how I write and produce my music. It's really boring and I don't like showing people my secret weapons LOL.
So you are telling me that you know all the about 80 sides of Metal? (Genres,Sub-Genres etc) All the about 250 sides of Electronic music? (Genres,Sub-Genres etc) And all the other kinds of music out there?
Dude! You're the least "Smug" individual I've seen here in TH-cam. Tyler Larson...now there's a smug SOB! (Love ya Tyler!). You're in-depth responses are fantastic. I feel you are genuinely trying to convey useful information that really helps your listeners. Keep it up young man!
Regarding the guy who says there are "no rules, play whatever the f×÷k u want..." post-modern drivvle. The ridiculous statement that "there are no rules" is actually a very strict rule. If this nonsense were even mildly true, then we would all be master musicians creating masterpieces at all times, since there is no standard. Great channel Adam.
But the rules are always changing because of someone that broke the rules and created something new... It's always been like that... Or are we still singing gregorian chants to this day?
1. You look better with hair.
2. You're not smug, you're confident.
3. That little piano riff sounds so familiar. Where have I heard that...
Its the licc
@@cmingus2044 is it what is written on his teeshirt? (i've just started reading music ..)
@melow Yeah it’s the lick. You really don’t want to know the significance of that phrase though.
William Bangle I think he meant it as a joke.
@@cmingus2044 here for the username
"I think the landscape - and you can quote me on this - is going to shift more and more toward live streaming" Nostradamus-level foresight here, Adam.
Ah yes, Adam from the early hair period
So mostly wrong and whenever sounding remotely correct you have to combine multiple seperate predictions into one ? Yeah don't insult Adam like that, not cool bro.
PROTIP : Make sure the cat and the LICC are in the SAME KEY!
Grand Maître des Marionnettes Cats are in the key of E.
And don't forget curtains... we don't want them off key, do we?
you mean the C A T T and the L I C C ????
S Y N C H R O N I Z E M E N T
Maxi García there's no Z in it, not round these parts lol
thegreatgambeeno and the licc is in the key of C (at least the one on the shirt is)
My problem with the “fuck theory” crowd, is that there is always some theoretical framework that can “explain” what you did. Knowing theory can expedite your writing process. Just the first chapter of the Persichetti book instills that notion when discussing intervallic relationship.
Theory isn’t a limitation unless you want it to be one. It is a set of tools to help you find the sounds you are seeking more efficiently.
So true. It allows you to explain that cool lick you just came up with or how to crate what you're haring in your head faster. What's the worst that can happen by studying some theory? You learn something? Besides, there's always the old adage "learn the rules and then throw them out" but at least in that scenario you still know the rules.
Theory is descriptive, not prescriptive. This is something that the "fuck theory" crowd fails to understand.
personally i find it fucking hilarious, these are the same dumbass people who complain of a lack of gigs. You don't get the job if you have zero understanding of the work
I can’t remember who said it originally (it may have even been Adam Neely) but some great advice I nabbed from somewhere for my students: I’ve never met anyone who regretted sitting down and learning music theory. The way I usually explain it to my students is “learn how the rules work first so you can EFFECTIVELY break them rather than going in entirely blind”.
I compare it to this: Can you write a novel without understanding story structure and grammar, yes you could. It could even be a terrific novel. But if you understand grammar and proper ways of making your story more effective using narratives devices it will expedite and streamline the process. In the end, if you're writing music or a story, you're using grammar and theory whether you know it or not. In my opinion, it's better to have a better understanding of how to achieve those things quickly and effectively.
Now I’m sad I’ll probably never get to hear a Rolling Stones trap album
I like the optimism of how you still included that "probably"
David Bowie fits the bill a little bit better than the Rolling Stones. He also was an avant-garde figure that was on the forefront of new developments in pop music for decades.
Cher has been around since the middle ages and has a hit in every decade since then
@@JerehmiaBoaz Yes! I thought of him as well. Bowie's musical career was extremely diverse; his last album, Blackstar, had hip hop and jazz influences, despite him being famous for glam/classical rock back in the 70s. The Outside album was cool as hell, too. Love him and will always recommend 🤘🏾😔🤘🏾
@@benjiusofficial 110 points for that
Damn, hearing Adam talk about livestreams becoming more popular in the future turned out to be an incredibly accurate prediction, especially looking back at this video during COVID times.
You are so healthy to all of this toxic internet!
shir itzhaki An eloquent way of saying it
WHAT WOULD MILES DAVIS DO?
you got your next shirt concept
For the next QNA: I’m a drummer who dabbles in other instruments, and have seen my rhythmic knowledge carry over seamlessly to instruments like guitar and piano. Are there any benefits that a student of rhythm (like a drummer) could gain from studying subjects like melody and harmony? Is knowledge of rhythm the exclusive skill set that we can all benefit from, or are there more?
music theory twitch stream confirmed?
Sideways Yo, I didn't know you watched Adam Neely, cool
I have only recently discovered Sideways' channel and have seen Adam commenting his videos.
Like less than an hour after they're made public :)
Amazing content, by the way! Risking to sound cheesy I'll say I've already found some ideas quite inspiring or helpful at the very least.
D.fly exactly.
Gonna third this appreciation, you're a fantastic dude
Oh shoot it's Sideways
"Hey dude, what's the clock?"
"What would Miles Davies do?"
"Wow dude, thanks!"
So mindblowing to me that at 0:59 as Adam layers more and more harmonies into the sine wave the more I start to hear a lower octave of the root note
For the next Q&A:
Do you think the world of music theory has room to grow? Not necessarily refining currently outlined concepts, but discovering completely new function out of "non-functional harmony."
I've been thinking of this ever since you discussed Ben Johnston's String Quartets. They seem strangely functional, but in a way completely uncharted, and they remind me of the harmony of Gregorian chant, which leads me to think there may be a whole realm of harmonic possibilities we haven't even begun to explore...
Interesting thoughts :)
I think the challenge lies in making these weird music theory concepts into something enjoyable, like im the interestelar soundtrack the Cooper theme has a major melody and the second time is in minor, and it's a concept something kinda unexplored.
FWIW, you don't come across as smug, to me.
You do a good job of emoting the respect you have for the knowledge you've earned, and for the pursuit of more new knowledge.
This is important, and probably the main reason I enjoy your videos.
In relation to the Band Leader question:
I played drums in a band where the whole process, from songwriting to what gigs we played to how we recorded, etc, was completely democratic. Individual members would bring in song ideas or riffs or whatever. If any one member wasn't digging it, then we would throw that idea out and move on. Everyone had input. Anyone could suggest changes. Nothing was finalized until everyone was satisfied. Ultimately, every song we put on stage was something we could be proud of. It was completely satisfying from a creative standpoint, especially for someone like me who as the drummer was also a multi-instrumentalist.
The downside to this arrangement, though, was that our songwriting process was excruciatingly long. We worked for almost a year before we had enough material for the stage. We played together for something like 5 years and managed to write about 15 pieces of original music. We compensated for this by limiting our sets to 30 minutes, meaning we never moved beyond the realm of featured act. We only booked shows every couple of months.
The upshot of all this is that this completely organic, all-for-one, leaderless band could only exist as a side gig. A completely satisfying, extremely rare, entirely unprofitable side gig. It was the project that made our other gigs, where we were hired guns, palatable.
It was the experiment that proved what we already knew: if you want to get anywhere, somebody has to be driving.
Adam, you are not smug. I promise you that. In fact, I see you as extremely humble. You are knowledgeable and thoughtful - maybe these are intimidating to people? If you attempt to soften your smugness, you will lose your edge. You are a music-teaching-blade. Blades must be sharp, and if you lose your edge you will be dull and dangerous.
Anyway, I truly love your videos and they mean so much to me. Thank you from the bottom of my heart .
Adam made me love Mondays.
Yeah!! You're right!!
Purple Sage I don’t like, mondaAAaaaAAys
"It's going to shift more and more towards livestreaming." The foresight on this guy...
Literally burst out laughing when he said it 😂 my girlfriend was very confused though
Three years later Adam's comment about livestreaming being the future is 100% right. Covid pretty much made sure of that
The way you seem to have gotten healthier is encouraging to me. I soaked in your videos like crazy when this one came out, but i was generally a lot less healthy, and seeing that we’ve both healthed up a bit in retrospect makes me feel good. Obviously has nothing to do with the subject matter of your videos, but I’m comforted by the thought.
Loving the hair.
me too
I've watched a handful of your videos and I don't think you're smug. You're an educated man sharing your expertise, and there's nothing wrong with having confidence in your abilities and in yourself. Keep on keeping on.
If you keep your hair resolution up the internet might start calling you Daddy Neely.
I think (D)Adam rolls off the tongue as well
*s l a p m e d a d d y n e e l y*
Black turtle-neck, black beret, dark glasses and bongo drums would round out the "Daddy-O" look
after seeing the thumbnail and how hot adam looks with hair, i thought "i wonder if others have mentioned this already?". turns out: yep, right at the topmost comment, lol
I’d call him that no matter what
your channel is the first one to approach music with this much of an intellectual approach. I honestly think that your dont suck at music have been very nice to the applicants (?), and not at all smug. I'm don't even play an instrument and I find your stuff so fucking good man, cheers and keep doing you.
I'm not going to mention the cat even though it's licking the licc...
ajadrew you already did
you failed at the one thing you wanted to do.
It's half-dead/half-alive (well not really) but Adam - my phonon quantum biology rants are now official Professor research science! haha. th-cam.com/video/dYcGICipoBs/w-d-xo.html and the book books.google.com/books?id=4fwwDwAAQBAJ&pg=PA319&lpg=PA319&dq=spinor+acoustic&source=bl&ots=b-ecx1hOmB&sig=jsZhBEYYXpMpoRpRDWXJYarPjrQ&hl=en&sa=X&ved=0ahUKEwj4h6PHj5PZAhUMKqwKHQVOBmQQ6AEINTAC#v=onepage&q=spinor%20acoustic&f=true this is the genre of nonwestern trance-meditation as spin1/2 macroquantum coherence phonon energy. This book offers an essential introduction to the notions of sound wave topology, duality, coherence and wave-mixing, which constitute the emerging new science of sound. It includes general principles and specific examples that illuminate new non-conventional forms of sound (sound topology), unconventional quantum-like behavior of phonons (duality), radical linear and nonlinear phenomena associated with loss and its control (coherence), and exquisite effects that emerge from the interaction of sound with other physical and biological waves (wave mixing). ....The coherent conversion of sound into other types of waves as well as the sound-induced non-conventional topology of elastic, electronic, spin and biological waves are presented in the case of media exhibiting elasto-electronic, photo-elastic, magneto-elastic effects and biological mechano-transduction.
Thanks for your videos. Can you help explain what I'm doing? In Ableton, I built a midi effect rack with 'Chord' on every chromatic step. For every natural note, I used minor (or min11). For every sharp/flat note, I used Major (or Maj7). For the most part, it sounds interesting to my ears. Is there a name for this sort of scaling? Thanks.
On putting yourself out there: Examine your intention. WHY you want to put yourself out there is key.
Connecting with other musicians? Teaching? Getting feedback? Building a business? Fun?
Make sure that your intention is authentic to you.
Jacob Colier's writing streams are not boring at all
felix deckers well that's also Jacob Collier so
He’s a freak of nature. Doesn’t count.
whenever someone asks about how to get inspiration for writing music, I usually go with the idea of "the spirit of play" -- The idea of play is deeply connected with discovery and creativity. You play around on the keyboard or bass or whatever and however to puzzle things out and discover things that fit what you are trying to do. Knowledge and expertise makes this easier. Eventually you stumble across something that suits your fancy, and off you go. you can use very simple materials, and slowly twist them to into shape.
Hey, Adam! For your next Q&A:
Do you have any tips on developing a thicker skin as a musician? When I watch masterclasses or your viewer critiques, I think of what a useful learning opportunity those could be, but I also know I'd never perform or submit anything due to fear. Even when critiques are 100% valid and worded kindly, even knowing that mistakes are crucial to learning or everyone screws up or it's nothing personal, I feel myself getting defensive, and I fixate. Any insight?
(To clarify, it's not stage fright. I've never had much trouble with an actual performance. The feedback part is my issue.)
I seldom comment on TH-cam videos, but I like the idea of reminding decent content creators that their work is greatly appreciated. There are thousands more of us silently cheering you on Adam, great work.
If you explore the "wtf ever you want" school of music theory, that you will eventually want to figure out a way to explain what you're doing and a system to teach others to play like you. When you reach this point, you will think it through, realize that you are about to revolutionize music theory....then after doing so, realize that you have just reinvented conventional music theory. Exactly the way it has been since Johann Sebastian Bach. At least, that was my experience. Then you realize that you should just learn music theory in a humble way. To quote some comedian I hear in the 80's, " You are a unique individual....just like EVERYONE ELSE!".
You won't necessarily come up with the "same" theory
The most practical and useful knowledge on your channel is in your how to not suck at music vids imo. Even if you tweak, please keep it brutal and honest!
You look waaay better with hair dude!
I don't see you as coming off smug - I see you as confident in your knowledgeability. Thanks for the vids - I have learned much.
LICC content I subscribed for.
15:50 let's say the drummer gets foot poisoning an hour before the gig, it is the band leader's job to find a sub to take care of bass-drum, or opening/closing hi-hats, make sure they are in sync, etc. Also, it is the band leader's job to figure out, how does one get one's foot poisened. Etc.
Step your curtain game up Neely
😂
Adam you have become one of many people that I try to learn from in what I like to call my guitar journey. Having said that most of the people that I learn from teach in a entreating way making it fun to learn. I have said this on some of your videos that when you get to talking theory you can make the neck of a electric guitar go limp. I watch your videos because I know right away if a person can help me get better or waste my time. You answered my question on why learning from you is like doing cardio and not not like lifting weights. You do come off as smug, blunt, and stringht to the point when teaching. If you only want to hear someone say how good you are doing go find a cheerleader. Sometimes you have to do the not so much fun things to make you better at doing what you love. Now Adam I say "some times confidence can tip toe over the line into arrogance, so don't be that guy". I think you come off that way to a lot of people but I will continue to watch and learn from your videos.
Looks like Adam from 5 year old videos 😌
Lol I believe that’s where I left my comment
Are you from Don Bosco Bandel??
On the subject of releasing unfinished music to the public. One successful producer that I follow has put into perspective what a really bad idea that is. The problem that can result is, that you never finish the music. The reason is mental, and thus somewhat complicated, but basically you get mental satisfaction from the feedback you get from releasing a piece of music - the craving of that satisfaction will help you finish the music; unless you release it before it's done and tap into that dopamine before it's really time. So unless you have really amazing discipline already about finishing your music, it's better not to release tracks until they are in a completed form.
HAIR ???
Morris Minor when I subscribed there was no hair. I quit!
Morris Minor what's that
You describe yourself as smug at around 13:00, but from my vantage point, you're displaying a well-founded confidence in the knowledge you're imparting, such as your "music theory = 18th century European musical æsthetics" video. I appreciate the content.
3:50 I write all the music I use in my videos. ADAM NEELY CREATED THE LICK CONFIRMED
I just love how you stick to your own advices in all your videos and your music ( of what i have seen so far ). I have come to really enjoy your analytic perspective.
I really think sitting with you in a bar and having some good old german beers would make a great time ;)
Hey Adam. Short-ish question:
What is your take on bass parts that pretty much double the guitar part, only an octave lower? This style is often used in metal genres and the like and I wonder if using the bassist as a "human suboctaver" is really the best way to write the bass part for those genres, or just lazy part writing.
Tomasz Mazurek depends on the part. If we're playing a chuggy riff or a very powerful "chorus" hook type riff, doubling the guitar lends power to that part. For other riffs where there is space to fill, the bassist can find something to move between the parts of the riff that are there. Or maybe the melody is very busy and the bass sounds better locked into the drum pattern playing roots. One thing that helped me was a producer talking about how the bass player in a band was playing this super fancy bass lick behind a regular riff for a chorus, and it just killed the vocal. It sounded like a mash of parts, not a chorus. Likewise, in the bridge after the chorus, the bassist was just playing roots and sustaining them while everyone else was following an 8th note pulsing rhythm to build back to the verse. It took away the drive and push of the part, it sounded lame.
It's all about context, intent, and judgement. Do what's best for the song. That cool riff may have taken 2 hours to nail, but if it makes the song sound off or takes away from the energy, maybe not worth it.
Tomasz Mazurek It's often lazy writing, I mean listen to Black sabbath bass lines, thats how bass for metal should be
Gusti are there any particular songs you would recommend checking out for that type of thing?
Geezer was playing the same thing, but he really locked in with Bill; Sweet Leaf is a good example of this unity.
Gusti _ Have you heard Children of the Grave? Most of the riffs has the bass doubling it. It's powerful sounding.
adam you took the words right out of my mouth on your talk about genres and art. christ i never knew how to put it down on words but i agree with you so much
I have something for the next Q&A: Is there any practical reason to use time signatures like 8/4?
I have used 8/4 once - it was in the "slow part" of a composition that's all at one fast tempo - I used it because the rhythm was divided into 3+5, and a bar line in the middle of that would have been misleading.
Listen to the intro to Arithmophobia by Animals as Leaders. It seems like it’s in 4 but the guitar dictates the phrasing is in 8/4.
I dont know much about music, but your scientific and critical thinking approach is refreshing to listen to.
Are you generally interested in philosophy or only when it applies to music?
Fabian Fernandez philosophy applies to basically everything so. Prolly both
My blog philosophy of sound as music meditation ecoechoinvasives.blogspot.com - and so th-cam.com/video/dYcGICipoBs/w-d-xo.html the secret of sound is now official! However quantum mechanics allows this system to be a superposition of states, we can be in 0 and the 1 state at the same time....it may react with the rest of the Universe and become unstable and it's going to lose the superposition of states that is in....I'm going to be in one of the two states I was in and that's it. And that's called decoherence so it's very difficult to stabilize those superposition of states. It's even more difficult when you have many qubits ....you have more interactions and less stability and more chances of decoherence. In quantum computers, to stabilize those qubits, what people do, they need to cool those qubits at cryogenic temperatures, these are very very low temperatures, near absolute zero. That requires a massive amount of energy and power and cooling system around these quantum computing chip. Our invention or our technology is saying, "We do not need quantum object to create superposition of states. And we found a system that does that, and it's based on a phononic structure that basically supports sound waves instead of electronic waves or quantum waves. And what happens, so we do not need a quantum system, so we don't have the problem of quantum decoherence. So we can avoid that drawback, by working with a quantum analog and our systems are acoustic quantum analogs of qubits. We call them Phi-Bits. So they exhibit the same capabilities of having superposition of states but they do not have the drawback of decoherence. They are stable. The Tech Foundation funds research that will not be funded by traditional federal sources, for instances, so we had to demonstrate that places like the National Science Foundation would not fund the research because it's too out there, out of the paradigm, it's too revolutionary for them to fund....we have three years of research, we have to demonstrates a set of phi-bits, to operate a well-known quantum algorithm...so have a tabletop system operating....Reciprocity of fundamental frequency transmission coefficient (FFTC) is now investigated. Since the geometry is symmetric with respect to its center at f from A to B with two opposite values of v is equivalent to comparing FFTCs from A to B and B to A at f with a single value of v.
Adam, you honestly don't come across as smug in your videos.
Yeah, I can kinda sorta see why someone totally new to your stuff might infer that...but having followed your channel for a good year now, I definitely see that you approach every question and critique in, as you rightly put it, _good faith._ You listen and give advice in a charitable manner.
*L I C C*
Kami Lee G E T I T ?
E X T R A L I C C
I liked this comment, but then I saw that it previously was at 69 likes and so I took my like back.
bremsnix Degenerate.
My boy
i like your manner of expression. it's very fluid and concise. you have a calm and reassuring energy.
I am a bit ashamed to admit, I am a musician who is a bit of an ignorant anomaly; I can neither read music nor audiate musical pieces. Everything I have learned has been by ear. Compound this with the fact I am a left handed musician that cannot play left hand instruments (for example, I play a right hand guitar flipped reverse). A lot of people take issue with not being able to follow along easily when jamming in a practice session. Have you encountered many musicians who deal with this situation? At any rate, I have learned a lot from your channel in the last two weeks, so much has 'clicked' with me watching your explanations on all things music, though most music theory has just completely gone over my head prior. Thank you for this. You are greatly appreciated.
Are you sure you're not Jimi Hendrix reincarnated?
I've not considered this... Some testing is in order....I may have to attempt standing next to a mountain and chopping it down with the edge of my hand.
Why don't you just learn how to read sheet music? Its really not that hard to learn, and it is never too late to learn it. It won't take you much time either if you are dedicated to learn it.
I've always had difficulty with comprehension of notation, even 31 years into playing music, not for lack of trying, of course. I would love to find something that just makes it vibe properly. I have no idea why it has never taken hold in an understandable language, so to speak.
Maybe don’t learn guitar sheet music, but at least start with basic rhythm notation and single note melodies, like a lead sheet.
Then learn chord names (and associate them with chords you already know, just put labels on them) and learn to play from a chart. Even if you don’t play from charts in ensembles, being able to think in a more structured way like that will allow you to understand the group. You hear them playing changes or whatever, and you could imagine what the structure of the (invisible) chart would be, if someone notated your jam session.
While you’re doing this, at least learn to play with a metronome. I have played with quite a few amateurs who did not have predictable rhythm. They claimed it was free and flowing, but I think they just didn’t have the capability.
It’s not a talent, it’s a skill. Most people learn as kids marching around a preschool classroom (look up Eurithmics to see what I mean) but it can be learned later by kids who got “left behind”.
Bottom line, metronome, rhythm, rhythm notation, and chord progressions. This is all you need in order to play in groups.
This such an insane channel, the content is one of the best I've ever seen, this deserves much more attention.
I just saw that massive youtube collaboration video. What did you think of the dingwall bass and the fanned frets?
Miles Davis would change those god D%#@ CURTAINS!!!!!!! :/
I think you have keep the "do whatever you what" sentiment in mind at all times. It's like the musical equivalent of "The only thing I can be perfectly sure about, is that there is nothing I can be perfectly sure about"
it's about humility, no matter how much you know about music a baby would do things to the instrument you could have never dreamed about
Hey Adam, I often hear the phrase "It's never done, it's just released" from my mentors in software development. In terms of music, do you think this is applicable? How do you know when a composition is complete?
Native Abearican every person ever will answer that differently. You may as well watch a "top 10" video. Everyone is different.
Sure that's perfectly reasonable, although I disagree with the "watch a top 10 video" sentiment. I'm asking for his opinion anyway.
You hear similar sentiments about poetry and I'm pretty sure I've heard Adam say the same thing about music.
It seems to be a pretty common idea for any creative endeavor. "Done" is where you stop messing with it so you can mess with something else.
The mix is never finished, just abandoned.
he speaked about smth like that: th-cam.com/video/vPPbdVl8X_4/w-d-xo.html
With regard to the theory question, I think some of the most interesting musical ideas can come from disregarding typical music theory ideas. You see this a lot in hip-hop as well as many experimental genres.
Why not do music?
All it takes is just one thing
Adam Neely: BASS!
Once again, thoroughly enjoyed your Q&A.
This is a personal observation, I would consider music, like any other art-form to be a conversation, and no truly satisfying conversation has you saying what the other person wants to hear. It is by its very definition a selfish endeavour, a communication of ones personal world view in ones chosen medium.
"Language" is finite and yet it still produces Mozart to Motorhead; Chaucer to Dr Seuss; Rubens to Pollock; Brunelleschi to Foster. I would argue that we are lucky that we are far enough through the conversation to understand that there is a pattern and yet not far enough through that we can truly discern it.
Keep inspiring !
Deadmau5 does a lot of live streaming on twitch which is super entertaining. Hell listen to tracks when people submit them which is interesting.
If you speak to someone, you can say whatever words you want, in whatever order you want. Hey, you can even mix up letters and create new words if you feel like it. But you're not going to be able to communicate much to the other person unless you only want to convey a feeling of confusion and chaos (which might be a valid aim). Same goes with music. What do you want to communicate?
I instantly liked the video after first 28 seconds.
MAN THIS MIXTAPE IS SO SICK!!!! best thing of 2018 for sure
Hey, own your smug! I like it!
Michele Boland agreed, he actually has the talent and knowledge to back up his smugness lol
Man i love your perspective and approach to what you do. Thank you for making the content you make
So I stumbled across BABYMETAL's Gimme Chocolate while perusing TH-cam and was shocked and confused as most are. But like many people who eventually become BABYMETAL fans, trying to figure out why I liked what I liked led me down an internet fox hole that led me to the 50+ subgenres of metal (who knew?), Dream Theater's Dance of Eternity (which BABYMETAL one upped in their Tales of the Destinies), which led to research into complex time signatures, which led to you and your complexity video! Now you respond to a question about learning from genres you don't like. As a yoot, I considered going pro (trumpet) before giving it up for other callings. Never bothered with music theory, but went into a variety of analytical fields, so now, watching your videos on music theory, they are absolutely fascinating and helping me understand the music I like and why BABYMETAL seems to be a neurobiological virus (Snowcrash) for a surprising number of brains coming out of all music backgrounds from classical/jazz (mine) to pop and metal.
My favorite part was the bit about getting to know yourself through music. Hell yeah!
Hey, man! Do you think you could make a video on "Coltrane changes" in relation to other common song structures? I think that would be really cool! Thanks!
I really like the last point you made about bands not being a democracy because it also applies, to some degree, to amateur or hobby bands. There usually is a defacto leader of a band. Who that is, is rarely explicitly decided upon. Instead, as far as my experience goes, there are members who care more about what happens in a band than others, who have a creative vision of where a project is going. These people become sort of the "Alpha" of a band. They do most of the work in terms of time spent on the details that make a project good, and creating an overall pleasing outward appearance. The other members are more of a resource pool to that decision maker because everyone knows someone that can do something. To me, a band leader in an amateur band doesn't have to be responsible for songwriting or producing but is usually more of the driving force of a band.
Adam, I have heard that Metallica's late bassist Cliff Burton, who significantly contributed to the first three and even the fourth of their albums, was classicly trained. I was wondering if you could watch some of his bass solos or listen to some instrumentals like Orion and Call of Ktulu and talk about where exactly his classical training and influence show up. Thanks btw I enjoyed the first question on power chords
Classically trained doesn't specifically mean he played double bass. If you want to see one of his inspirations I recommend giving ol' Jaco Pastorius a listen, especially his song Teen Town.
I'm glad one of your videos popped up in my recommends feed. Benn enjoying your channel ever since. Keep up the great work Adam.
Hey Adam,
It always looks like you use the same Fender bass. Do you have a bigger collection? I know a lot of guitarists have no limit when it comes to gear but what do you think about that? Do you use a couple basses all the time or do you buy new ones frequently? One bass can't cover every need right?
Thanks!
There are a couple old videos on this channel that feature the 7 string bass. Actually, one of Adam's first hit videos was recorded with the 7 string. I wanna know if there's more though, too.
But is he on a never ending quest for SPICY TOAN like so many others? Can one bass truly cover the entire TOAN ZONE?
"We can forgive a man for making a useful thing as long as he does not admire it. The only excuse for making a useless thing is that one admires it intensely. All art is quite useless." - Oscar Wilde
Talking about how art is selfish reminded me of that.
In relation with the "F*** theory, do whatever you want!" comment in this video I wonder what Adam, or anyone, thinks of the term "non-idiomatic music" and it's relevance.
Does NIM strictly refer to free improvisation, or noisemusic also? If both, then I guess NIM was what got me into music, and hearing artists like The Microphones and Death Grips use those nice sounds I liked in interesting, catchy pop songs was what made me start learning recording, playing instruments and making music
Not Right Music what would miles davis do?
Miles Davis would do a bunch of coke
Just looked up thse bands, nice stuff, never heard of it.
@icedpony - I define NIM as an attempt to create music that isn't attached to any known genre. Or, in more rare cases, a style that hasn't been defined yet.
Personally, I only use the term while teaching. It's relevant when introducing the idea of attempting to play music not tied to any specific style. Especially to those who are new to the concept - and in a teaching environment. Then it's easy to use the term in the future and students understand what I mean. Attempt to play genre-free. Though I don't use it as a label to existing music.
On the subject of notating rhythm...
One of my favorite examples of odd subdivions is Granny by Dave Matthews band. The whole song is in common time, but the only way to make sense of it is to divide 2 measures of 4 into one measure of 3, one of 2, and another in 3 for the intro and any repetition of it
"It's going to be an interesting transition to the live streaming model"
Turns out we just needed a pandemic 😂
I LOVE every minute of how to not suck. Even IF Adam gives advice I disagree with, I'm learning more about what I disagree with. Hopefully I like it after he changes it
HEY ADAM. . .
Are those T shirts available in different colors? Your subliminal message of "buy one" is working.
Where can I get one?
Rashy Doxx there's a link in the description!
Kaytee ... Thanks. Why didn't I think of that?
Adam. I am very excited that there are strong and smart persons like you. I resonate with your thoughts a lot and it is fucking awesome.
who would’ve thought that 3 years later adam’s prediction of musicians doing more live streaming would be so on the nose?
"music is going to move to livestream" and yet again, Adam predicts the future
hello Adam with hair
In response to Alexander Burns' question at 7:06 I'd like to point out a youtube video I recently saw and it's called "Musician explains one concept in 5 levels of difficulty ft. Jacob Collier & Herbie Hancock | WIRED". The message it contains is that harmony can be regarded as "a way home" and when you seem to drown in the endless possibilities of composition, it's helpful to think of harmony emotionally and as a narrative you want to tell your listener. As Adam pointed out in his video about emotional ear training, it's useful to keep in mind the emotional effect of chords. Maybe that helps; at least it did help my understanding.
*l i c c*
Eh? London Institure for Contemporary Christianity?
You're a great book salesman. I have bought several books because of you and I have been thrilled with all them. Thanks.
He has hair cause his gf wants him to have hair.
thats pretty much how it works
Hair currently a few feet long.
Did anyone see that seinfeld episode where elaine dates a guy with a shaved head, asks him to grow his hair out, a d he realizes hes going bald.
Adam Neely And damn she's got good taste. You look great! :D
For your next Q+A perhaps:
I'm curious of your thoughts/opinions on three things -
1) The music scene in Philadelphia
2) Playing bass with a pick
3) Geddy Lee
Thx
What would Miles Davis do?
“the landscape will shift more and more towards live-streaming”
um guys i feel like he knew
Why you don't are a important musician?
Hey Adam :) Question for your next Q&A:
I am a piano player and I lately taught some youngsters (about 15 years old) some music theory.
The main goal was to understand how chords are related and to enable them to interpret chord signs (like Dmaj7#11).
This is the way I went about this:
I first explained how the major and minor scales are defined, so they could find them by counting full steps and half steps.
Then I explained that that leads to the existence of pairs of major and minor scales that use the same notes, a.k.a parallel scales.
Then we went on to how to build chords. I told them it's the first, third and fifth note in the scale that make up the basic chord,
and how this leads to the major chord being built of major + minor third and the minor chord vice versa.
Then we started building cadences: stacking thirds on each note (degree) of the scale, using only notes from the scale.
I told them we can leave out the 7th degree (of the major scale) for now, since it does not end up being a major or minor chord.
I also explained the classical terms (tonic, subdominant, dominant and the parallels, using the previously explained concept of parallel scales).
I also explained how for minor keys, the dominant is usually played in major, although following the rules I had previously explained, it would be minor.
This is my first question: I told them it just evolved to be like that and played two minor cadences (one using a minor dominant, and one using a major dominant), so they could hear it for themselves. How would you explain this anomaly to students learning music theory?
Then I went on to show them how the circle of fifths can be used as a shortcut to determine both scales and cadences.
I explained how you can find the accidentals of a scale:
For sharps in a major scale, start at G and go right until you reach the root of the scale you want to know. For each note you pass, sharpen the note below.
For flats in a major scale, start at F and go left until you reach the root of the scale you want to know.
For each note you pass, add the flattened note that's left to it in the circle of fifths (like 'looking ahead' in the circle of fifths).
One guy wanted to have something more consistent to the way it is done on the sharp side, so I told them it's also possible to flatten the fourth note above instead.
Then I explained how to find cadences in the circle of fifths:
It's just a block of six chords (in a circle of fifths with major keys on the outer, and minor keys on the inner side), with the root in the center,
again with the anomaly of usually having a major dominant in a minor key.
Then we went on to complex chords, using the method of stacking thirds (i.e. always leaving out one note of the scale and adding the next one).
Here comes my second question: The notes for the basic numbers (7,9,11,13) without any sharps or flats (or maj-prefix) come from the mixolydian scale.
Explaining modes to them would go too far at this point, so I said it's coming from the major scale, with the exception of 7, which is is the minor seventh by default.
Is there any explanation to this other than "it historically evolved like that" ?
Then I explained how these basic numbers can have sharps or flats (pretty straightforward), and how to build other chords like sus4 and sus2, diminished, augmented.
What do you think about this concept? How do you structure this when teaching?
This has become a pretty long comment... if this is too long to be read out at a Q+A, I'd be very happy, too, if you just comment here ;)
Love all your vids but it really bugs me that "the lick" on your shirt is in a different key than "the lick" that started this video!
Jeff Costello transposed?
Excellent teacher. Sees the student and the path!
Much love.
why is your head a hexagon
HoshiHearts RetroGaming More like a shield.
HoshiHearts RetroGaming *when you copy shit from a previous video*
133211 You yup
To me that's actually pretty useful to set "do whatever you want" as a rule. And it helps me a lot to know that some famous music theorist said that.
Because due to my story, especially during my childhood and teenage years, I tend to make music for others and not for me. Things are better today, but I sometimes still struggle.
So, yeah, I look for that kind of validation, or else I can't really do whatever I want in music.
I listen to all genres (no joke; my current music collection spans across all genres and includes around 100k songs, all of which are ontologically categorized). I kind of have to; I'm a composer.
But just to be perfectly honest; I personally believe that there is no such thing as a genre that I don't like. So far I always used the following wisdom to guide me: "if you don't like a music genre you just haven't listened to the right songs from the genre so keep looking". Thus far I haven't come across a music genre that I genuinely hated (yes, not even Polka).
I am also not a fan of live streaming how I write and produce my music. It's really boring and I don't like showing people my secret weapons LOL.
So you are telling me that you know all the about 80 sides of Metal? (Genres,Sub-Genres etc) All the about 250 sides of Electronic music? (Genres,Sub-Genres etc) And all the other kinds of music out there?
Dude! You're the least "Smug" individual I've seen here in TH-cam. Tyler Larson...now there's a smug SOB! (Love ya Tyler!). You're in-depth responses are fantastic. I feel you are genuinely trying to convey useful information that really helps your listeners. Keep it up young man!
Regarding the guy who says there are "no rules, play whatever the f×÷k u want..." post-modern drivvle. The ridiculous statement that "there are no rules" is actually a very strict rule. If this nonsense were even mildly true, then we would all be master musicians creating masterpieces at all times, since there is no standard.
Great channel Adam.
But the rules are always changing because of someone that broke the rules and created something new... It's always been like that... Or are we still singing gregorian chants to this day?
Xavier Smith i love your irony lol