Hey all! I go quite far off the deep end towards the end of this lecture, but it was all in service of proving my last point. If you stick it out, you see why I start rambling about things that might on the surface appear to be "too far out there," but are in reality a means of understanding some fundamentals of music perception. Hope you enjoy! Thanks to Ableton for having me! Loop was such an amazing experience.
hey adam, some priest once said "if you study about faith it immediately vanishes, but if you study it more, it comes back!". I think this is the level you're on the theory/tech side of music in relation to magic! congrats!
Musical metaphors (rhythm, hamony, balance, contrast....) are used in art and architecture to convey the ideas through comparison and co-relation. BTW your talk was amazing as always.
The level of understanding is high, the connections the different people/scientists and you are incredible and do wonders for the study of not just music theory but the science behind it which most people dont delve into
@@deveyous6614 I think you mean gabber. And it is also written "*)" before the corrective footnote. The asterisk at the end is the indicator of the presence of a footnote.
Legit the only reason I kind of like speedcore is because they play around with tempos so fast to the point some drum hits start sounding like tones and these can be used to great effect.
Small addition to the part where he talks about the gap in perception between rhythm and pitch. The same happens with visuals, that's why a slideshow is perceived as individual images but a movie (24 frames per second or more) is perceived as movement.
42:23 "technically speaking, when you speed up a pitch, it's not going to turn into light" HOWEVER, once it's past the eardrum or retina, it DOES become the same thing - and that's almost certainly why our experience of them is comparable.
00:00 Part 1 : Intro (Synaesthesia; Newton's Optics and his use of music as a metaphor for colours and their relations) 07:25 Part 2 : Pitch and rhythm are the same thing (Pitch=rhythm; Human perception of pitch and rhythm) 11:50 Part 3 : How to polyrhythm (Practical guide) 22:00 Part 4 : Polyrhythm and harmony are the same thing (Live demonstration) 29:40 Part 5 : "It gets crazy" : the relation with the visible light spectrum 38:15 Part 6 : "The harmony of the spheres" : the relation with the planets 41:25 Part 7 : Contextualizing the previous points and conclusion (Equal temperament vs just intonation; Sound, a compression wave vs light, an electromagnetic wave; Metaphors expand perception)
I felt a little enlightenment after watching this. I mean, I knew almost all things he was talking about, but I never thought of them combined, and it blows my mind
Neely is completely brilliant. Really interesting talk - as always, he comes up with awesome stuff to ruminate and research further. Mind blown. Thank you!
This comes from E being the lowest note on a standardly tuned bass and guitar. The typical blue schema figure can really only played at ease with open strings... but it is of course a nice 'coincidence'
My mind was already blown by how Adam created a chord out of a sped up Polyrhythm. But once he explained how sound could be expressed in colors... I was like "HOLY SHIT" we are getting to a new era of art.
@@-RXB- Yeah, so many things have already existed, the challenge is to occupy our minds wisely. In that sense, lectures like this one help to bring that enlightening material back into mass consciousness.
My technology teacher who was formerly a music teacher told me to check this out because we often have a lot of conversations about music theory (as I want to go into music further). So I started it, picked up a paper and pencil and started taking notes on this. I can wholeheartedly say this changed my outlook on music and art entirely for the better. This stuff is so amazing. Adam Neely never disappoints.
Dude this. This. This is incredible. I began writing an essay on color and sound and the color wheel and circle of fifths and how they're related years ago. Exciting to hear someone actually present it so well. Excited for more videos like this. I mean in subjects like these.
Adam neely if your reading this... great job! This was educational, entertaining and thought provoking all at the same time. Im glad your not just exploring the same old music theory subjects the same way everyone else seems to be doing. Your pushing the boundaries and im looking forward to seeing what you come out with next.
25 minute mark is when everything he mentioned makes sense and blows your freaking mind! This guys gonna go down in music history as a genius some day.
Did he consider it is more about the theme of hot-and-cold (fire and ice) than about ratios? (Several of the posters he showed are quite obivous there.)
Kinda makes sense doesn't it? The colors of action movies are heavily saturated so you can't really have multiple colors because they would clash just like a distorted guitar sounds bad when you play seventh chords
That 2:3 time signature is present on A LOT of folklore/traditional music. From the aztecs, mayans, native americans.. its incredible. It always evokes a feeling of conenction to the earth… at least for me.
2 against 3 is kinda the simplest expression of an even thing against an odd thing. But it's such a simple ratio....it works. We can feel it easily. It's both complex and primal. 2 against 3, in whatever permutation, has always resonated with my own mind. It makes sense that it would be deeply embedded in musical traditions all over the world. It communicates a lot with a little.
@@avedic you are completely right. Thanks for presenting it on that context. It makes so much sense. The rational and the irrational, the even with the uneven, perfectly balance dance that evokes to the root of humans spiritual connection with the all, with the one.
It's low key adorable how Adam is a little uncomfortable and unsteady early in this talk. He's SO authoritative and at ease on his own YT videos....or playing on stage in his bands. But just standing on stage....talking....to a lot of people....is different. The feedback is different. The audience often doesn't realize the role they play in the feedback loop. Adam def gets into the swing of things, but initially he's clearly a bit off balance and feeling a little stage fright. But he nailed the talk overall. This was a very insightful lecture....it hit on a lot of stuff I find fascinating and truly mysterious about not only music...but reality.
DUDE! Adam Neely you are an actual musical genius. You are breaking down walls that have existed for a century in music and i think thats pretty rad lol. Keep it up yo!
You just explained the title of Rick Beato's series: "Everything's music". Well fucking done, marvelous! You just gave me a nice introduction to teach to people who want to know the fundamentals of music... Thank you very much and keep up the good work!
Part 5 = mind blown! I actually knew that colors must have some harmony between them but could never figure it out, and all that "visual-art-color-lessons" actually never helped; though I always felt theres some unknown but exact relationships going on, having strong musical-like feeling in it. I used it a lot, fine-tuning colors in some own abstract amateur artwork, and had same feeling at time as fine-tuning pitches of drum sets in EDM projects. It makes so much sense now
So technically, your entire talk here is a polyrhythm. What chords will it make if you speed it up? Speed it it up more and what colors will it make? Food for thought :)
And this is where all my worlds collide, as a graphic designer, photographer and music enthusiast. Colour theory is usually taught superficially. Pretty much like when you learn a scale. You learn where the grades are, the simple relationships and that when you put one or more together you can create a harmony. But my instincts always told me that there was deeper connection or relationship between hues. Thank you Adam to put this forward.
I plan on analyzing artwork from now on by color, rhythm, pitch and harmony and creating music based off of it, whether it be atonal or arhythmic or microtonal, and I'm more excited than I've been about anything in a while and I wanna thank you, Adam, for sharing this with me and reminding me that there are still things to be done, that with critical thinking we can break any boundaries. This is the push I needed, super inspiring and groundbreaking, and I'm so excited to see where it goes. I hope creative thinkers everywhere can learn to apply this information to their lives and seek new ideas, be reminded that there is still so much to be explored
Fast polyrhythms turn into musical keys reminds me of Ken Wheeler's theory of "hard light" what happens when we goto higher frequencies than gamma/cosmic rays. ;) Electrical universe theory.
Awesome video. In the analogy between sound and colour I wish he showed colour as a temporal phenomenon (i.e. a video of colour), not as a static one (i.e. paintings). Rhythm is temporal, pitch is temporal, light is temporal. Would've been cool hear melodies and simultaneously see the corresponding colour changes; or build a chord and simultaneously see how the colour changes as you add more colours
I think he ran out of time - I mean, I don't know what he planned to present, but I saw him look over at one point, looked like someone gave him the "you're outta time" signal and he super sped up after that and skipped what seemed like alot of stuff he might have done more with. I was bummed, cause I was wanting to juice every bit out possible - such a great lecture - maybe he can just do it straight for youtube - the whole schmear, without having someone else involved who needs to move things along.
+Darklord_slayer Adam's Extreme Jazz Fusion Reharmonisation video. It was originally a comment left on a video by either Dirty Loops or Knower, can't remember which.
Wow Adam, congratulations! This will sound weird, but I feel a sense of pride for you, not exactly as a parent would for a child, but for a fellow person that I get to know through his videos and witness the progress in his achievements. It is such a moving sentiment I can say. Keep it up!
Hey Adam. You're the best. I am thrilled to know someone with such a high-level grasp of music, musicality and musicianship also has a working grasp of the difference between "stuff" waving and "fields" waving. As a physicist who loves music, but doesn't have "the gift" of music, I am thrilled that - to some degree - you represent the other side of that coin.
There was nothing to calculate, only a few numbers thrown in there. One X and one Y somewhere and I have to agree that definition was not very clear, and that's all?
ApiolJoe So that really awesome lecture we both watched. It leaves me wanting to explore those connections Newton made between pitch and colour. I also found the idea between polyrhythms and chords to be absolutely fascinating, in terms of its compositional potential. It opened some doors in my mind, that I didn’t know were there. If I end up exploring that on my own; it’s going to mean delving into the math. That thats even exciting to me is props to Adam Neely’s teaching/lecturing abilities; wish he had been a teacher when I was in college (I generally hate math). Thats what I meant by “did Adam Neely just make math cool”. Sorry you misunderstood. Peace ✌️
Very interesting. I noticed you didn't mention Olivier Messian, who was known to have synesthesia too, and who wrote a lot about it. If I remember correctly, he even associated very complex sets of colours to his "limited transposition modes" (sorry I'm french !). Anyway, this was a great presentation, clear, fun and profound.
Well, it's not something hard to do. The bigger problem is to define how you're going to draw the image. I mean, you can do it pixel by pixel, each pixel based on each note (or chord), but it would be very chaotic, not meaning much for someone looking at it. You could do a group of pixels, like in a column, that changes color base ond the notes, and it might present better results. Or perhaps you can use some method of even distribution, like perlin noise, to make it seem more natural. Anyway, it may not present a good visual result ^^
I wonder if, in the same way that we have chord progressions, we can also have rhythmic progressions, with polyrhythms resolving to other polyrhythms. And from there, we could use these rhythmic chords to metrically modulate, in the same way we would use chords to modulate to a new key.
I took a 20th century styles composition class in 1971. The instructor was a Julliard grad at 16 with a masters. He lectured on modal writing' atonal or serial writing and made us read Cage's book on silence bla bla bla. One day he spent 2 hrs in lecture about this very topic. We were all sent home with the same color sequence with the same assignment to write a piece 12 bars long using the color sequence. We spent the next class session looking at an over head projection while the pieces were played on the piano and laughed our asses off. When he played mine one of the other students accused me of being color blind. Best class I took there.
Adam Neely you described difficult concepts with great depth. It is the intersection of music, physics,and color theory.Thanks for 9pening my mind to seeing more of the complex beauty of our world!
22.00 - "everything is rhythm" Adam probably hasn't thought of it this way but he essentially summed up a very important spiritual realisation - the manifest universe exists because of pulsation. Matter and its variety is the way it is because of varying rates of pulsation. In the very fundamental sense, EVERYTHING is INDEED, RHYTHM! Also, really cool class, thanks for sharing! Imma go and start practicing now :D
I worked out colors for my students in regards to diatonic harmony some years back. It basically went like this: I, IV and V are the primary colors. I is red because red is the strongest color in the spectrum. IV is yellow because Lydian, the fourth mode is the lightest or brightest mode and V is blue because the blues is largely based on dominant chords. The iiim triad shares notes of both I and V so is therefore the purple chord which works well because purple is the color of mystery and Phrygian is a pretty mysterious sounding mode. That makes the vim triad orange, the color of fire which I think works well for the minor relative. Since we nearly never deal with viidim triads, I combined IV (yellow) and V7 (blue) for the iim chord which shares notes from both of those chords. Green works well for the iim because green is the color of nature and the dorian mode is the most natural minor scale in terms of harmony, in the sense that it can extend all the way out through the scale in alternating minor and major thirds, allowing you to land on and treat any note in the dorian mode as a chord tone. Tertiary colors can be found in 7th chords. I is red, iiim is purple so Imaj7 is magenta. The iim is green and and the IV is yellow so the iim7 is chartruese, the color of Mountain Dew. I don't know how to account for that. By the same logic, the iiim7 would be indigo, the IVmaj7 would be goldenrod (American cheese colored) the V7 is already blue because of our avoidance of the viidim triad, the vim7 is vermilion, the color of tomatoes. To close the loop, the viim7b5 is turquoise. It works out so that weak changes represent non-harmonious color combinations and strong changes represent harmonious color combinations. Great compositional tool. Please visit my channel!
Thank you for this. I have several forms of synesthesia. I remember these experiences going all the way back to age 4. Thanks for connecting all of this into a cohesive narrative. I feel like you were speaking to me. Brilliant talk.
it is hard to feel when you count in english numbers because your seven is two syllables. I count polyrhythms in indian rhythmic solfege to get it internalized/feel it. If your mouth is doing something music isn't it will always feel weird
Absolutely mind boggling theories. This video opened many doors in my head when I saw it the first time. Now, many months later I get to understand what I really is about. A book that illuminated the whole bpm and pitch thing to me was „mathemagical music production“. It breaches those gaps which were left open by this video. I really recommend reading this when you are searching for some kind of „higher“ harmony working with your daw.
Would be cool to create some a software that reads color data and turns it into musical pitch and then use it together with an eye tracker to play the harmonies of the colors seen based on what you are looking at and where on it you are looking. This way you could have music the same you have art, where the impression of it is based on where your eyes focus.
seriously! However, as Adam mentioned VERY quickly at the end, there are disputes as to what specific Hz equal which specific pitches - because of the purity or lack of purity of the intervals - when he talked about JUST temperment vs. EQUAL temperment. And so different musical artists could literally tweak something like that to have slightly different pitches and perhaps more or less dissonance would be heard due to that. As it stands, in modern ears, we're sadly all VERY accustomed to hearing most things slightly out of tune due to EQUAL temperment, and so our musical world is a little more noisy and less pure sounding than it was when we sorta recognized you can't just take an octave and equally divide each note's distance from each other within that.
@@Nootathotep Doubt. It's more likely TH-cam's audio compression. I've heard people blast high frequencies out of chromebook speakers and a full classroom can hear it, minus the teacher due to age, so I doubt you need quality speakers.
This was fascinating and spurred great idea about music literally inspired/ interpreted by paintings colour schemes with corresponding pitches rather than just aesthetically or emotionally. Love the connections between rythym and pitch also. Thanks
A wonderful presentation except for one thing -- Issac Newton work in Optics was in 1666. Adam demonstrates the correlations between musical pitch and visible light based on A = 440 Hz which was not the standard until 1926
Glad to have waited the end of the video where Adam made himself clear about the relationship between sound and light. I have to say : that doesn't really work, although I'd love to see a real connection between pitches and colors. I understand that, mathematically, you can represent a sound as a color and vice versa, but that doesn't seem to be a "wired" connection. Orange and Blue can't be consonant because they are a 5th apart. There's a slightly different blue that is actually a tritone and that's supposed to be dissonant. So how can two notes, one highly consonant and one dissonant, in relation to a root, be so slightly different in color? Same for other intervals. Some things might make sense but there's no CONSISTENCY (sorry to use capslock but that's the keyword). I am fascinated by this topic and if I knew how to program an algorithm to input paintings or pictures and output sound according to all the tiny shifts of colors I would do it, just out of sheer curiosity, but I am afraid (sure) that it would be actual cacophony.
Staying up late nights thinking lead me to figure out the way you did the grid with the numbers for the polyrhythm before I watched this, I thought no one else figured that out
Holly hell, I've been wondering why I am so obsessed with bands that use polyrythem. When you showed the pen and paper method, I realize that I used to snap and drum polyrythmic beats everyday in school during class. Like an obsession, I can't sit still if I'm not doing it. Cool to know why I love Tool so much.
Hey all! I go quite far off the deep end towards the end of this lecture, but it was all in service of proving my last point. If you stick it out, you see why I start rambling about things that might on the surface appear to be "too far out there," but are in reality a means of understanding some fundamentals of music perception. Hope you enjoy!
Thanks to Ableton for having me! Loop was such an amazing experience.
hey adam, some priest once said "if you study about faith it immediately vanishes, but if you study it more, it comes back!". I think this is the level you're on the theory/tech side of music in relation to magic! congrats!
I love you
Musical metaphors (rhythm, hamony, balance, contrast....) are used in art and architecture to convey the ideas through comparison and co-relation. BTW your talk was amazing as always.
All part of studying harmonics and resonance. It's everything.
The level of understanding is high, the connections the different people/scientists and you are incredible and do wonders for the study of not just music theory but the science behind it which most people dont delve into
Adam: but what if we go beyond visible spectrum?
Audience: * dies from radiation poisoning *
Fucking Gamma radiation
Deveyous of course, gabba radiation
@@Victor-dg6wm *ABBA Radiation
@@deveyous6614 I think you mean gabber.
And it is also written "*)" before the corrective footnote. The asterisk at the end is the indicator of the presence of a footnote.
"It's beautiful!!" (Face melts)
Pro tip: Make sure the painting and the vocals are in the same key.
Just - what a great comment :D
lol
Pro tip: make sure the orbit of the earth and the rhythms are in the same key
LMFAO
dam
under 10 Hz: rhythm
10-20 Hz: helicopter
over 20 Hz: pitch
over 20000 hz: colour
@@xeonlw
bat: hm?
What is helicopter pitch then?
Pithm?
Legit the only reason I kind of like speedcore is because they play around with tempos so fast to the point some drum hits start sounding like tones and these can be used to great effect.
Small addition to the part where he talks about the gap in perception between rhythm and pitch. The same happens with visuals, that's why a slideshow is perceived as individual images but a movie (24 frames per second or more) is perceived as movement.
Car tire spinning 🏎️
Pro tip: Make sure the harmony and polyrhythm match the album cover artwork colours.
the other way around please, we're musicians here :p
@@thr0ne1997 Actually some of us here are both. …but yes, the music usually comes first. 😉
42:23 "technically speaking, when you speed up a pitch, it's not going to turn into light"
HOWEVER, once it's past the eardrum or retina, it DOES become the same thing - and that's almost certainly why our experience of them is comparable.
*lick plays*
Adam Neely: EHEH EHEHE EHEHEHEHE
Adam laughing to himself during that transition was hilarious
xD
The audience didn't laught at the lick :(
Unfortunately the lick is a Jazz Meme and not a musician meme.
They seemed to get the 440 Hz one though.
heh heh
or at futurama
'what key are we in?'
'look, just throw me a fourth, we're in f okay'
passes yellow paint
00:00 Part 1 : Intro (Synaesthesia; Newton's Optics and his use of music as a metaphor for colours and their relations)
07:25 Part 2 : Pitch and rhythm are the same thing (Pitch=rhythm; Human perception of pitch and rhythm)
11:50 Part 3 : How to polyrhythm (Practical guide)
22:00 Part 4 : Polyrhythm and harmony are the same thing (Live demonstration)
29:40 Part 5 : "It gets crazy" : the relation with the visible light spectrum
38:15 Part 6 : "The harmony of the spheres" : the relation with the planets
41:25 Part 7 : Contextualizing the previous points and conclusion (Equal temperament vs just intonation; Sound, a compression wave vs light, an electromagnetic wave; Metaphors expand perception)
Thanks for this
And tnx for this! Good to know I didn't do it only for myself
Music + adam neely = mind blown
So good I had to watch it twice!
Adam + Neely = Adam Neely
adam Neely = Vsauce of music
I felt a little enlightenment after watching this. I mean, I knew almost all things he was talking about, but I never thought of them combined, and it blows my mind
Neely is completely brilliant. Really interesting talk - as always, he comes up with awesome stuff to ruminate and research further. Mind blown. Thank you!
finally someone I can I agree with. Just a genius this guy is, isn't?
Dude... the most common key in the genre of “Blues” is literally blue
Really?
I'm blue dabadeedabada... dabadeedabada... dabadeedabada... dabadee _DA BA DAH..._
This comes from E being the lowest note on a standardly tuned bass and guitar. The typical blue schema figure can really only played at ease with open strings... but it is of course a nice 'coincidence'
That was honestly one of the coolest lectures I've ever seen
My mind was already blown by how Adam created a chord out of a sped up Polyrhythm.
But once he explained how sound could be expressed in colors... I was like "HOLY SHIT" we are getting to a new era of art.
EpicZEVEN not really anthing news
But we do have more theoretical knowledge.
Nothing new. He is simple stolen (in a good way) from Hofstadter. Read the book Godel, Escher and Bach: An Eternal Golden Braid. This is an old idea.
@@-RXB- Yeah, so many things have already existed, the challenge is to occupy our minds wisely. In that sense, lectures like this one help to bring that enlightening material back into mass consciousness.
30:37 - A little dig at the A = 432Hz crowd! haha!
pythagoras is in that crowd
i thought the same thing lmao
My technology teacher who was formerly a music teacher told me to check this out because we often have a lot of conversations about music theory (as I want to go into music further). So I started it, picked up a paper and pencil and started taking notes on this. I can wholeheartedly say this changed my outlook on music and art entirely for the better. This stuff is so amazing. Adam Neely never disappoints.
Dude this. This. This is incredible. I began writing an essay on color and sound and the color wheel and circle of fifths and how they're related years ago. Exciting to hear someone actually present it so well. Excited for more videos like this. I mean in subjects like these.
"A is 440 hz, let me be clear about that..."
*Chuckles*
Audience has no clue...
Jorge Allen nice little A:432 roast...
DESTRUCTION 100
I think they do. They are attending a lecture on music theory.
432 people just died that moment 😂
Can someone explain to us peasants?
EDIT: Nevermind, I just noticed that there is a recommended video where he talks about this 432hz thing.
Adam in his own meme world :
"I'm just feeling it maaan ! *chuckles* "
Idk about the rest of you but I still think the lick is absolutely hilarious
Why
The lick resembles more than just the lick itself, and it is hilarious
Coincidence is hilarious to me
It fucking sucks
Repetition is hell; but-home.
Adam neely if your reading this... great job! This was educational, entertaining and thought provoking all at the same time. Im glad your not just exploring the same old music theory subjects the same way everyone else seems to be doing. Your pushing the boundaries and im looking forward to seeing what you come out with next.
25 minute mark is when everything he mentioned makes sense and blows your freaking mind! This guys gonna go down in music history as a genius some day.
well, he's not the one who found all of that out, soo...
Action movies color grade in power chords. Lol
Is Smells Like Teen Spirit a Marvel franchised movie ? That's left for us to answer...
@@Charlyfromthenuclearcity oh my HAHHAHA
Did he consider it is more about the theme of hot-and-cold (fire and ice) than about ratios? (Several of the posters he showed are quite obivous there.)
Action movies are the Ramones.
Kinda makes sense doesn't it? The colors of action movies are heavily saturated so you can't really have multiple colors because they would clash just like a distorted guitar sounds bad when you play seventh chords
That 2:3 time signature is present on A LOT of folklore/traditional music. From the aztecs, mayans, native americans.. its incredible. It always evokes a feeling of conenction to the earth… at least for me.
2 against 3 is kinda the simplest expression of an even thing against an odd thing.
But it's such a simple ratio....it works. We can feel it easily.
It's both complex and primal.
2 against 3, in whatever permutation, has always resonated with my own mind. It makes sense that it would be deeply embedded in musical traditions all over the world. It communicates a lot with a little.
@@avedic you are completely right. Thanks for presenting it on that context. It makes so much sense. The rational and the irrational, the even with the uneven, perfectly balance dance that evokes to the root of humans spiritual connection with the all, with the one.
Blissfully grace or Gracefully bliss realization
It's low key adorable how Adam is a little uncomfortable and unsteady early in this talk.
He's SO authoritative and at ease on his own YT videos....or playing on stage in his bands.
But just standing on stage....talking....to a lot of people....is different. The feedback is different. The audience often doesn't realize the role they play in the feedback loop. Adam def gets into the swing of things, but initially he's clearly a bit off balance and feeling a little stage fright.
But he nailed the talk overall. This was a very insightful lecture....it hit on a lot of stuff I find fascinating and truly mysterious about not only music...but reality.
DUDE! Adam Neely you are an actual musical genius. You are breaking down walls that have existed for a century in music and i think thats pretty rad lol. Keep it up yo!
I think what he's doing - which is just as brilliant - is making this school of thought more accessible and popular. You go girl.
You just explained the title of Rick Beato's series: "Everything's music". Well fucking done, marvelous! You just gave me a nice introduction to teach to people who want to know the fundamentals of music... Thank you very much and keep up the good work!
This is literally mindblowing.
Part 5 = mind blown! I actually knew that colors must have some harmony between them but could never figure it out, and all that "visual-art-color-lessons" actually never helped; though I always felt theres some unknown but exact relationships going on, having strong musical-like feeling in it. I used it a lot, fine-tuning colors in some own abstract amateur artwork, and had same feeling at time as fine-tuning pitches of drum sets in EDM projects. It makes so much sense now
So technically, your entire talk here is a polyrhythm. What chords will it make if you speed it up? Speed it it up more and what colors will it make? Food for thought :)
This talk has literally changed how I understand my world. Thanks so much Adam.
10:06 - What happens between 10Hz and 20Hz?
Answer: Death metal drumming.
very true.
Hot For Teacher
and now metal bass
Morbid Angel double kicks
Incredible... you’ve opened multiple doors of perception. What is the equivalent of a TH-cam standing ovation, because I applaud you, Sir Adam Neely.
Great performance! I was in the room at Loop 2017. I expected nothing and was really flashed by this presentation. Very inspiring!
And this is where all my worlds collide, as a graphic designer, photographer and music enthusiast. Colour theory is usually taught superficially. Pretty much like when you learn a scale. You learn where the grades are, the simple relationships and that when you put one or more together you can create a harmony. But my instincts always told me that there was deeper connection or relationship between hues. Thank you Adam to put this forward.
Adam the madman you've done it again
I plan on analyzing artwork from now on by color, rhythm, pitch and harmony and creating music based off of it, whether it be atonal or arhythmic or microtonal, and I'm more excited than I've been about anything in a while and I wanna thank you, Adam, for sharing this with me and reminding me that there are still things to be done, that with critical thinking we can break any boundaries. This is the push I needed, super inspiring and groundbreaking, and I'm so excited to see where it goes. I hope creative thinkers everywhere can learn to apply this information to their lives and seek new ideas, be reminded that there is still so much to be explored
“If you want to find the secrets of the universe, think in terms of energy, frequency and vibration.”
Tesla
Fast polyrhythms turn into musical keys reminds me of Ken Wheeler's theory of "hard light" what happens when we goto higher frequencies than gamma/cosmic rays. ;)
Electrical universe theory.
The concepts of energy, frequency and vibration have a lot of overlap. You could also add motion to that lineup.
gOoD fReQuEnCiEs OnLy
He’s a god damn genuine genius
Seriously worth the whole watch through even for non music writers
Awesome video. In the analogy between sound and colour I wish he showed colour as a temporal phenomenon (i.e. a video of colour), not as a static one (i.e. paintings). Rhythm is temporal, pitch is temporal, light is temporal. Would've been cool hear melodies and simultaneously see the corresponding colour changes; or build a chord and simultaneously see how the colour changes as you add more colours
Yeah, a painting is like a chord. A movie is more like a song 😊🎥🎶
I think he ran out of time - I mean, I don't know what he planned to present, but I saw him look over at one point, looked like someone gave him the "you're outta time" signal and he super sped up after that and skipped what seemed like alot of stuff he might have done more with. I was bummed, cause I was wanting to juice every bit out possible - such a great lecture - maybe he can just do it straight for youtube - the whole schmear, without having someone else involved who needs to move things along.
Pro tip: Make sure the synth and the vocals are in the same key.
What is that meme from I see it everywhere but haven't actually found the source.
Edit: I just checked, Mr. Apple is right, it's the Reharmonization video.
+Darklord_slayer Adam's Extreme Jazz Fusion Reharmonisation video. It was originally a comment left on a video by either Dirty Loops or Knower, can't remember which.
Mister Apple Knower
Nero/Skrillex - Promises (cover by KNOWER)
Wow Adam, congratulations! This will sound weird, but I feel a sense of pride for you, not exactly as a parent would for a child, but for a fellow person that I get to know through his videos and witness the progress in his achievements. It is such a moving sentiment I can say. Keep it up!
24:48 Tomas Haake be like "challenge accepted"
Ahah, quite true.
Nice profile picture btw !
According to Adam's explanation Tomas Haake may sound as a minor second interval
Hey Adam. You're the best. I am thrilled to know someone with such a high-level grasp of music, musicality and musicianship also has a working grasp of the difference between "stuff" waving and "fields" waving.
As a physicist who loves music, but doesn't have "the gift" of music, I am thrilled that - to some degree - you represent the other side of that coin.
Never mind music theory, did Adam Neely just make math cool?!? Mind blowing lecture!
huh, this was like the bottom of basic difficulty in maths...
ApiolJoe Maybe I’m not very good at maths 😉
There was nothing to calculate, only a few numbers thrown in there. One X and one Y somewhere and I have to agree that definition was not very clear, and that's all?
ApiolJoe So that really awesome lecture we both watched. It leaves me wanting to explore those connections Newton made between pitch and colour. I also found the idea between polyrhythms and chords to be absolutely fascinating, in terms of its compositional potential. It opened some doors in my mind, that I didn’t know were there. If I end up exploring that on my own; it’s going to mean delving into the math. That thats even exciting to me is props to Adam Neely’s teaching/lecturing abilities; wish he had been a teacher when I was in college (I generally hate math). Thats what I meant by “did Adam Neely just make math cool”. Sorry you misunderstood. Peace ✌️
If that's what you meant then I indeed misunderstood you :) And yes, this was very interesting in many regards!
Have a good day.
Adam Neely is a REALLY good teacher. To explain complex problems with SUCH easy that it SOUNDS easy is amazing.
I've been saying this for years: music is rhythm and rhythm only
Mind blown. I understood 1/4 of this talk but listened to it all the way through, because it was so fascinating.
Pro tip: Make sure the colors in your painting are in the SAME KEY
Well this is what coloristics is all about
It's called complementary colours
r/woooosh
@@notvelleda redditor
24:30 blew my mind away. Brilliant talk.
Very interesting. I noticed you didn't mention Olivier Messian, who was known to have synesthesia too, and who wrote a lot about it. If I remember correctly, he even associated very complex sets of colours to his "limited transposition modes" (sorry I'm french !). Anyway, this was a great presentation, clear, fun and profound.
I could be wrong but I believe he did talk a bit about Messian in one of his vids about synesthesia on his channel.
This is one of best music theory lesson I've ever seen. What a trip music is folks!?
Now i really want a programm that turns musical pieces into paintings...
I used to have one that turned images into sound, I'm certain there's a piece of freeware that can do what you're looking for.
Well, it's not something hard to do. The bigger problem is to define how you're going to draw the image. I mean, you can do it pixel by pixel, each pixel based on each note (or chord), but it would be very chaotic, not meaning much for someone looking at it. You could do a group of pixels, like in a column, that changes color base ond the notes, and it might present better results. Or perhaps you can use some method of even distribution, like perlin noise, to make it seem more natural. Anyway, it may not present a good visual result ^^
I think the name is harsh noise or something, but theres a freeware vst that lets you draw something and decides the sound based off that
th-cam.com/video/QFZBTYFTeto/w-d-xo.html
How about a visualizor that is controlled by midi data of songs
I wish you had three hours, this one of the most beautiful concepts I've come across in years. Well done!
Pro tip: make sure the polyrhythms and the Isaac Newton are in the same key.
I'm only half way through and I'm already seriously loving it!
I wonder if, in the same way that we have chord progressions, we can also have rhythmic progressions, with polyrhythms resolving to other polyrhythms. And from there, we could use these rhythmic chords to metrically modulate, in the same way we would use chords to modulate to a new key.
Mad, mad props Adam Neely.
Totally worth the time.
Seeing the Picasso painting I thought : "Well, why didn't he even mention Kandins... Oh there you are."
The most eye-opening talk on music I have ever seen.
Adam Neely, nice!!
When will the other talks be released? I’m really looking forward to the one from Tennyson.
did you just say 'tennyson' 'talk'
??
I need to see this :O
Yeah, i think they did some kind of interview where they look at their tracks and perform live afterwards.
I need that!
We uploaded the Tennyson talk today - enjoy! th-cam.com/video/KMRm9cpjm_w/w-d-xo.html
I took a 20th century styles composition class in 1971. The instructor was a Julliard grad at 16 with a masters. He lectured on modal writing' atonal or serial writing and made us read Cage's book on silence bla bla bla. One day he spent 2 hrs in lecture about this very topic. We were all sent home with the same color sequence with the same assignment to write a piece 12 bars long using the color sequence. We spent the next class session looking at an over head projection while the pieces were played on the piano and laughed our asses off. When he played mine one of the other students accused me of being color blind. Best class I took there.
i could watch adam just talk for days
Adam Neely you described difficult concepts with great depth. It is the intersection of music, physics,and color theory.Thanks for 9pening my mind to seeing more of the complex beauty of our world!
God I enjoyed every second of this.
This makes me want to study beyond what I considered my horizons to be.
22.00 - "everything is rhythm" Adam probably hasn't thought of it this way but he essentially summed up a very important spiritual realisation - the manifest universe exists because of pulsation. Matter and its variety is the way it is because of varying rates of pulsation. In the very fundamental sense, EVERYTHING is INDEED, RHYTHM! Also, really cool class, thanks for sharing! Imma go and start practicing now :D
L I C C
he licc
but he also
slicc
@@KingBlonde T H E L I C C
HE HAS EARNED A SPACE IN MY PLAYLIST. THIS WAS FFFFFFOOOOOOOOOODDDD!!!!!
Really interesting, thanks !
Extremely pleased of having stumbled upon this video
Also, is that Ben Levin in the front row?
Akshit Jha I thought the same thing! Probably not, but it would be cool.
yes
HAHAHAHAHA!
No that's just me but I'm flattered 😊
lucky
Maybe the most inspiring video I have ever seen.... Building a nice starting point to explore new ideas... Thank you
Was there a Q and A at the end? Any chance that video will be posted?
This has got to be one of the best.
if this were a room full of jazz students, the audience would crack up each time there is a new part when
"the lick" plays
I worked out colors for my students in regards to diatonic harmony some years back. It basically went like this: I, IV and V are the primary colors. I is red because red is the strongest color in the spectrum. IV is yellow because Lydian, the fourth mode is the lightest or brightest mode and V is blue because the blues is largely based on dominant chords. The iiim triad shares notes of both I and V so is therefore the purple chord which works well because purple is the color of mystery and Phrygian is a pretty mysterious sounding mode. That makes the vim triad orange, the color of fire which I think works well for the minor relative. Since we nearly never deal with viidim triads, I combined IV (yellow) and V7 (blue) for the iim chord which shares notes from both of those chords. Green works well for the iim because green is the color of nature and the dorian mode is the most natural minor scale in terms of harmony, in the sense that it can extend all the way out through the scale in alternating minor and major thirds, allowing you to land on and treat any note in the dorian mode as a chord tone.
Tertiary colors can be found in 7th chords. I is red, iiim is purple so Imaj7 is magenta. The iim is green and and the IV is yellow so the iim7 is chartruese, the color of Mountain Dew. I don't know how to account for that. By the same logic, the iiim7 would be indigo, the IVmaj7 would be goldenrod (American cheese colored) the V7 is already blue because of our avoidance of the viidim triad, the vim7 is vermilion, the color of tomatoes. To close the loop, the viim7b5 is turquoise.
It works out so that weak changes represent non-harmonious color combinations and strong changes represent harmonious color combinations. Great compositional tool.
Please visit my channel!
I've never seen Adams legs before
So awesome to see Adam on the Ableton channel!
Those were the fastest 45 mins of my life! :o
Thank you for this. I have several forms of synesthesia. I remember these experiences going all the way back to age 4. Thanks for connecting all of this into a cohesive narrative. I feel like you were speaking to me. Brilliant talk.
it is hard to feel when you count in english numbers because your seven is two syllables. I count polyrhythms in indian rhythmic solfege to get it internalized/feel it. If your mouth is doing something music isn't it will always feel weird
Half the seven when you speak it. It's what jazz heads tend to do, so one, two, three, four, five, six, sev etc, makes life easier when counting.
Absolutely mind boggling theories. This video opened many doors in my head when I saw it the first time. Now, many months later I get to understand what I really is about. A book that illuminated the whole bpm and pitch thing to me was „mathemagical music production“. It breaches those gaps which were left open by this video. I really recommend reading this when you are searching for some kind of „higher“ harmony working with your daw.
Would be cool to create some a software that reads color data and turns it into musical pitch and then use it together with an eye tracker to play the harmonies of the colors seen based on what you are looking at and where on it you are looking. This way you could have music the same you have art, where the impression of it is based on where your eyes focus.
seriously! However, as Adam mentioned VERY quickly at the end, there are disputes as to what specific Hz equal which specific pitches - because of the purity or lack of purity of the intervals - when he talked about JUST temperment vs. EQUAL temperment. And so different musical artists could literally tweak something like that to have slightly different pitches and perhaps more or less dissonance would be heard due to that. As it stands, in modern ears, we're sadly all VERY accustomed to hearing most things slightly out of tune due to EQUAL temperment, and so our musical world is a little more noisy and less pure sounding than it was when we sorta recognized you can't just take an octave and equally divide each note's distance from each other within that.
this is honestly the only smart and interesting video ableton has ever put out thanks adam.
The day I realized my hearing had fallen below 15khz
or your headphones
@@Nootathotep Doubt. It's more likely TH-cam's audio compression. I've heard people blast high frequencies out of chromebook speakers and a full classroom can hear it, minus the teacher due to age, so I doubt you need quality speakers.
This was fascinating and spurred great idea about music literally inspired/ interpreted by paintings colour schemes with corresponding pitches rather than just aesthetically or emotionally. Love the connections between rythym and pitch also. Thanks
take a shot everytime adam says "juxtaposition" in one of his videos
Excellent, i look forward to next episodes of this branch.
A wonderful presentation except for one thing -- Issac Newton work in Optics was in 1666. Adam demonstrates the correlations between musical pitch and visible light based on A = 440 Hz which was not the standard until 1926
This is wonderful! Got stuck watching this and couldn't leave! Well done!
Glad to have waited the end of the video where Adam made himself clear about the relationship between sound and light.
I have to say : that doesn't really work, although I'd love to see a real connection between pitches and colors. I understand that, mathematically, you can represent a sound as a color and vice versa, but that doesn't seem to be a "wired" connection.
Orange and Blue can't be consonant because they are a 5th apart. There's a slightly different blue that is actually a tritone and that's supposed to be dissonant. So how can two notes, one highly consonant and one dissonant, in relation to a root, be so slightly different in color?
Same for other intervals. Some things might make sense but there's no CONSISTENCY (sorry to use capslock but that's the keyword).
I am fascinated by this topic and if I knew how to program an algorithm to input paintings or pictures and output sound according to all the tiny shifts of colors I would do it, just out of sheer curiosity, but I am afraid (sure) that it would be actual cacophony.
Probably the most interesting 'lecture' I've ever watched. Am hooked!
Staying up late nights thinking lead me to figure out the way you did the grid with the numbers for the polyrhythm before I watched this, I thought no one else figured that out
Polo 10k use that kind of critical thinking and create breakthroughs like this on your own man, never take the gift of knowledge for granted.
Absolutely in love with the concepts covered in this video and especially the way u presented them, thanks for expanding my horizons once again.
Now I really want to know if there's any physiological link between 20:20 vision and the human hearing range 20Hz:20kHz
Holly hell, I've been wondering why I am so obsessed with bands that use polyrythem. When you showed the pen and paper method, I realize that I used to snap and drum polyrythmic beats everyday in school during class. Like an obsession, I can't sit still if I'm not doing it. Cool to know why I love Tool so much.
DAYUM