What normal people think musicians say: So, make sure you play this part perfectly...... What musicians actually say: *gotta remember the goung goung goung*
Honestly its more credit of how much of a good drummer he is. He makes sure he's always on time and prepared. No matter what happens because he prepares for the unexpected. 10/10
What I like about his performances, is the fact he can play so well and in the pocket. Not necessarily complicated all the time, he plays what's needed.
@@-arche-7926 What gave you the impression that they played four minutes of pop at the end there? It's been a while since I've turned on a radio but I'd be surprised if Katy Perry is doing much instrumental minimalist jazz improvisation these days.
Talking over a drum solo: HEY, HOW'VE YOU BEEN?! Talking over a bass solo: Hey, how are ya? Talking over a violin concerto: Hey, where's the bath- *dirty glares from patrons*
Grace Kelly really eats up the stage. She is a really great frontman for the band, it's hard to take your eyes off of her. I'm definitely going to see her play when im in the area with my friend.
I think the audience almost begins to hear Phrygian Dominant with the way that Grace solos, which almost always wants to point back to I, regardless to how long it's played.
Some violin cadenzas go on for huge amounts of time and still manage to give a sense of resolution at the end, I guess historically we’ve kinda evolved to keep tonic much longer when there is just a soloist playing
For me (presuming I’ve had time to settle into the key), V7’s are a lot more like having to pee. Holding it longer just intensifies my desire for the release. ...maybe that’s why they call it “going #1”
This reminds me how wonderful of a moment a gig can be. So many gigs we play as professional musicians can feel so hollow and soul draining. Thank you for reminding me of why I do what I do.
@@the_original_Bilb_Ono You know this part of the brain you're using to judge someone whose first language isn't English? Shut that down and use it to read, it'll get easier =)
Long sentences look weird to native English speakers. Also, I believe the verb time (?) You used is kind of unusual, but i don't know if i could do better haha
Thanks for sharing this experience. So many bands think “oh, we just go on stage and do our thing.” So many bands don’t plan. This is a group of professionals who plan, then know what they’re doing, carry it to the stage, and have fun with it. This video reminds me why I got into music in the first place. Fantastic video.
Me, wondering for the whole video whether either of these guys is Dutch: "I think these guys might be Dutch." * looks at names * "But I'm not sure" 19:37 : "The Dutch have a system" Me: "AHA!"
@@eliasschneeberger1337That's because Yiddish it's closely related. To me it seems more intelligible than some Swiss-german dialects. But 'to carry' would usually be translated with "tragen". "Schleppen" is used for draging something annoyingly heavy. And it can also mean to tug, e.g. a tugboat is a "Schlepper", which can also mean someone who gets people across boarders illegally ... there are also "abschleppen, anschleppen, verschleppen und Schleppe" with a multitude of specific meanings ... isn't German fun? :-)
I would genuinely kill to see Adam play a 6 string bass, just to see what he could come up with, I know he's not a flashy player and more focuses on groove and composition, but I think he could do some incredible things.
Christopher Haney in traditional western music theory, specifically within diatonic music (i.e. according to the rules which govern 99% of the music you and I would probably hear most of the time), music is usually organised into ‘keys’ (or ‘modes’ or ‘tonalities’). This means that a certain note is taken as the base starting point or ‘root’, and a diatonic scale of 7 distinct notes is built from that root (the specific, usually predefined pattern of tones and semitones which results in this scale determines whether the scale is major, minor, or other). Therefore, when we have music written in any diatonic key or keys, we can refer to any note within that music by its relationship to the root note of that key. Typically this is done by the use of Roman numerals between 1 (I) and 7 (VII). Put more clearly: if the music is in a key, we can write out the 7-note diatonic scale that represents that key and give each successive note in the scale (or ‘degree’) a number going up from 1 to 7. For example in C major we have the 7-note diatonic scale of C (I) - D (II) - E (III) - F (IV) - G (V) - A (VI) - B (VII). Within diatonic music, harmony is essentially derived from triads. Triads are chords of three notes and in diatonic music they always follow the same structural pattern of ‘note, up two degrees, up two degrees’. For example, looking at the example key of C major I’ve written out above, we can use this formula to determine the basic triad of any degree of the C major scale. For example, the triad of C within C major is C (I), up two to E (III), up two to G (V); the triad of G within C major is G (V), B (VII), D (II). We can therefore refer to any basic triadic chord within any diatonic key by saying ‘the II chord’ or ‘the VI chord’, etc., which circumvents having to work out the specific note name of the chord within the specific key we are in at any point. This is useful also because often in music we want to refer to a chord in terms of its function in or relationship to the surrounding music, and a Roman numeral name immediately informs us of a chord’s function and relationship, whereas a note name does not innately do this (although if we know the key signature then we can work out what any named chord’s function and relationship is by comparison with the key signature - but using Roman numerals does exactly the same thing innately, i.e. without any need for any working out). I’ve talked about basic triadic chords, but we can also expand any basic triad into a number of different ‘7th’ chords by just adding another ‘up two degrees’ to the end of the chord. The more proper way of describing this method of constructing diatonic chords is to say that we stack thirds. The reason for this is that when we go ‘up two degrees’ from any note in the chord to get to the next note in the chord, we are creating an interval of a third. (If you go up one degree from any note, the interval is a second; if you go up three degrees from any note, the interval is a fourth; etc.) Depending on which degree of the scale you start on (and on what type of scale you’re in), going up a third will create either a major or a minor third. In C major, going up a third from C to E creates a major third, which is an interval of 4 semitones; going from E to G is a minor third, which is an interval of 3 semitones. By these examples we can also see that any major triad (e.g. the chord of C within C major) is constructed by stacking a minor third (E to G) on top of a major third (C to E). Still in C major, if we instead stack thirds from the third degree, E, we have just seen that E to G is a minor third. Going up a third from G to B, the interval is four semitones, which we know is a major third. Therefore, we can now see that any minor triad (e.g. the chord of E within C major) is a major third (G to B) stacked on top of a minor third (E to G). Finally, we can now discuss the types of 7th chords. There are four (main) types of 7th chords, because we can stack either a minor or major third on top of both a minor triad and a major triad. All the following examples assume the key is C major:- 1. A minor triad with a further minor third stacked on top is called a ‘minor 7th’ (e.g. E - G - B - D) 2. A major triad with a further major third stacked on top is called a ‘major 7th’ (e.g. C - E - G - B). 3. A major triad with a further minor third stacked on top is called a ‘dominant 7th’ (e.g. G - B - D - F) 4. A minor triad with a further major third stacked on top is called a ‘minor/major seventh’ (e.g. E - G - B - D#, or, C - Eb - G - B). Note that it is impossible to get this chord by sticking only to the diatonic notes of any one key: you have to sharpen or flatten one note of the chord (i.e. you have to use one non-diatonic note or ‘note from outside the key’ to achieve the correct pattern of minor and major thirds.) We call these 7th chords because if you take the root of any 7th chord as the first degree of that chord (I), then the following degrees of that chord in order are 3 (III), 5 (V), and 7 (VII). In other words, 7th chords are named as such because you create them by adding an interval of a seventh on top of the root of a triadic chord. For example, C major 7th is C (I), E (III), G (V), B (VII). Number 3, the dominant 7th, is denoted simply by adding a 7 to the end of a chord name. For example, in C major, the chord of G dominant 7th would be denoted as ‘G7’. In C major, the chord of G dominant 7th is also the chord which is naturally built by stacking diatonic thirds on top of G, i.e. by just keeping on ‘going up two degrees’ without altering any degrees of the scale, just like when you build up naturally from C you get a C major 7th chord and when you build up naturally from E you get an E minor 7th chord. FINALLY, we can therefore know from the previous example (because G is the fifth degree (V) of the scale/key of C major) that in any major key, the seventh chord which can be built by naturally stacking diatonic thirds on top of the fifth degree of the scale is a dominant 7th chord, and so we can refer to this chord within any major key as being **the V7 chord** : a dominant 7th chord built on the 5th degree of the scale/key. Edit: this last paragraph is just slightly misleading because to an extent I imply that ‘V7’ can only ever specifically refer to the dominant 7th chord built on the 5th degree of the scale *in a major key* . ‘V7’ actually refers to a dominant 7th built on the 5th degree of the scale *in any key* , it’s just that in a minor key (and in many keys/modes that are not major or minor), getting a V7 requires raising the third degree of the chord by a semitone from the natural note of whichever minor key you’re in, i.e. the V7 requires a non-diatonic note when you’re in a minor key, rather than being naturally built up like when you’re in a major key. Interestingly, this requirement is not an unusual one because raising the seventh degree of a minor key, i.e. raising the note of the V chord which you need to raise to make a V7 chord in that key (the seventh degree of any key can also be called the third degree of any V chord of the same key), is extremely commonly done within diatonic music. In fact, it is more unusual to find a V or V7 chord within a minor key in which the seventh degree of the key/scale (the third degree of the chord) *hasn’t* been raised. For example: let’s change from C major to C minor. The scale of C minor is C (I) - D (II) - Eb (III) - F (IV) - G (V) - Ab (VI) - Bb (VII). You can see there are now three flats in the scale, compared with the 0 flats/0 sharps of C major. One of these flats is the seventh degree of the scale, which is now Bb. Now, therefore, when we build up a seventh chord from the 5th degree of the scale (which is still G, like it is in C major) using the natural, unaltered, diatonic notes of the scale, instead of getting a G dominant 7th chord we get a G minor 7th chord: G (I) - Bb (III) - D (V) - F (VII). The only difference between this and the G dominant 7th is the third degree of the chord (or the seventh degree of the scale/key), Bb. If we simply raise the Bb to a B, the G minor 7th chord is now a G dominant 7th. Jesus Christ that took so long and I got so goddamn carried away. Sorry for the dissertation, but I hope that’s about as thorough an explanation of ‘V7’ as you’re likely to get (although there are even still some elements I’d like to go over, such as the extreme commonness of the V7 and how absolutely crucial its harmonic function is to all diatonic music, but I’ve already written far too much).
9:14 when it's ur birthday and u're playing a gig and u got such big musician balls that you play blind and go for a chord inversion bass movement cause u're the bass player and u know ur goddamn harmony and u know they're going for the IV and a second later u hear the melody and instantly know it's a chromatic movement. for whatever reason, this moment touched me. love ya adam.
The sheer amount of times I have seen the length of one of these vids and thought 'Yeah, I'll skip through this, not watch it all,' and you'd think I'd have learned by now that I always end up watching the whole thing and getting really into it. Damn you, and your well produced and edited vlogs, Neely!
Holy maccaroni, this editing is so on point! You kept me on the edge for 20+ mins straight... must have been so much work. You can tell from the video, how much fun you had playing this gig, and I for myself (and most other viewers i guess) had the fun of my life just watching musicians enjoying their craft. Thank you for all the content you create
If I could just tell you one thing Adam Neely is thank you. You've borderline almost given me something to live for when you helped me discover the wonders off jazz, strange rhythms, and strange harmonies. Life has much more color now. You've also helped push me to go to school for music.
I used to take occasional lessons from Grace when she used to live back in Boston some years ago. It’s really cool seeing how far she’s going and developing as a musician and singer along with playing sax.
@@lifeontheledgerlines8394 aw thanks for asking. It's going pretty well. Jazz Band is a lot more fun than in HS cause everyone is passionate and practices a lot, its challenging me and thats cool.
@@AndyChamberlainMusic Yeah, that's good to hear! I'll be off to college soon myself (not that soon, I'm a sophomore in HS right now) and I'm glad that you're doing well. And also that you're keeping up your music stuff even with your double major and all, that must be pretty hard to juggle.
@@lifeontheledgerlines8394 yep, I am still writing and stuff but the volume is so much lower. I havent posted a video in over a month now... but I am definitely working on stuff.
@@AndyChamberlainMusic Yeah, academics come first dude. Whatever works for you is good, we'll just wait for the notification bell to ring. Good to hear that you're doing well, and I hope you have a nice day!
18:58 How did they know she was going to resolve right there? She's been doing wacky stuff for 4 1/2 minutes. How was that the known lead-up to the resolution?
You can hear her about to go back to the I chord, her body is literally moving towards a downbeat on 1, and she's moved back into the center of the stage, where she was for most of the performance. She also turns her body to the drummer a bit, so the drummer can see her sax move downwards and onto 1. Basically, she says in a bunch of different ways: yo i'm going back to the tonic. Takes a bit of practice and a bit of experience, but it's an easy enough thing to pick up on.
After a certain amount of time playing with people who improvise, you start to pickup on body language, international signs for things, that sort of thing. So you can improvise with most anyone once you know what to look and listen for. That part she played at the end right before the resolve was a hand holder. It would be hard NOT to resolve on that note after hearing the way she walked down to it.
Was feeling super burnt out and started doubting whether or not I wanted to pursue music and this really lifted me. Thanks man. Oh, and happy birthday.
You will fell that way again, undoubtedly. It's a sad fact that when it come to pursuing ANY hobby as a career, but music is unfortunately very prone to creating these types of scenarios. Simply due to the insane over-saturation of the market now and there being SO MUCH available for musicians to produce on their own, and spread their music online for free, with no need for labels. So, what does all of this mean for you? PLAY IN PUBLIC AS MUCH AS POSSIBLE. BE EXTRAORDINARILY KIND TO EVERYBODY YOU MEET, EVEN OUTSIDE OF MUSIC, BUT ESPECIALLY THOSE WHEN YOU'RE MEETING IN THE CONTEXT OF MUSIC. This will help you in so many different ways down the road. Ways that aren't even remotely apparent when it occurs. But I've experienced and seen it multiple times. Getting your name out in real life will work fucking wonders for your career and chance of success overall.
You and the drummer's styles match nicely. It's not hard to imagine you guys were in music school together. I'm not talking about locking in. It's a similar musical attitude. Really very nice.
That's the first time I'm truly seeing how much work goes into preparing a Jazz show - I was astounded by the amount of preparation required from the supporting players, working to give the soloist an environment to shine in (and grab all the attention from the audience)
She's amazing! The band tears it up nicely. Your gig vlogs are extremely valuable in terms of educating youngsters of how it really looks like to do this circuit. Not that diffrent from how we do it where I live ;) Keep up the great work!
0:54 “So Grace Kelly is this great sax player” Hell yeah she is! Reason I clicked the video. (Love you as well, Adam…) 19:36 “Now that we’re down south in Maryland” Adam you’re the best
Honestly, this is one great synergy, please keep playing in this formation, drums so neat, piano, voice and sax fitting smoothly on top, would be a shame to let go!
Turns out Adam's video production and editing skills are also top notch. Wow. Those cuts from backstage prep to onstage performance and back are so good. The way the video cuts in footage of the story Grace tells about the trip to the gig is so smooth and intuitive to watch. Multiple camera angles woven together of the gig, too. This is a cut above any other gig vlog I've seen.
Back when I was studying sax, we had a masterclass with the late great Phil Woods, and he shlepped this really young girl along... she must have been like 15 or 16, and I didn't know her, but she was with Phil Woods, so there must have been something about her. Well, I soon found out what it was... kid could PLAY! You know when somebody is just tuning their instrument, and you can already tell, wow, this is something special! Great sound... not something you usually hear from teen sax players, even if they might be pressing all the right keys really fast. Well, that kid was Grace Kelly. Nice to see her randomly popping up in my subscriptions.
Damn that was just an amazing Gig. Grace Kelly just had such an amazing charisma and showmanship to her. And how the 3 of you followed along with her escapades. Simply amazing
Grace Kelly is a just fucking incredible, I am surprised I haven't heard of her before. The power from her voice was so unexpected, killer show from everyone involved.
It's so impressive that they can just pick up and fill in for a gig for such a wonderful artist who improvises a lot and like nail it no problem. I filled in just playing covers in a bar and it was the most stressful (but fun) thing I've ever done and I was in complete control of the music.
Wished Adam had worn the same outfit as grace.
Prince Luci would have been difficult to share
@@xander1052 I don't know which one of these two comments is better
@@xander1052 ahhahhahh
@yarn rav No kinkshaming.
we all do
What normal people think musicians say:
So, make sure you play this part perfectly......
What musicians actually say:
*gotta remember the goung goung goung*
Qiaoxuan loh never forget the “dug dug dug pah! Dug pah pah pah chik!”
Just read this as it was said in the video
The goung goung goung is essential
@@nenissaK me too! goung goung
When I used to play in that town orchestra the conductor only communicated melody through dadadadadad adadad dadada
"those thoughtful bastards"
"they didn't even tell me the key for happy birthday"
lmao that was gold
he still accompanied his own happy birthday song though
D. always D
oops I mean G. start on D
It hink Happy Birthday SHOULD start on B. (As also H is(?)/was(?) B for some germanic/nordic/slavic countries)
@@therealpepeu In Hungary B flat is called "B" and B is "H"
How do you resist hitting the root for 4 minutes?! That's like musician edging.
Except some people dont like edging...
Oh jeez
That fucking word
Try changing chords in a drone metal song. THATS edging.
hahaahahaha
5:53 Took me a second to realize this was a song title and not some passive aggressive statement
bro same
bro same
Bro same
bro same
Bro same
Does this make all the notes she played... grace notes?
Those kinda puns are hanging offenses in some places, sir.
Stop
Yes
sixtynice
i guess it's because i'm a dad, and this is a total dad joke, but i laughed so hard at this...
Can we give a shout out to Philipe who knows the set like the back of his hand, spontaneous monologues and all?
Sean McKean yeah I have to imagine he’s done it a lot. It was incredibly impressive
Honestly its more credit of how much of a good drummer he is. He makes sure he's always on time and prepared. No matter what happens because he prepares for the unexpected. 10/10
Therapist: Long V7 isn't real, it can't hurt you
Long V7:
14:21
17:54
15:23 sometimes I just forget how good of a bass player Adam Neely is and then this happens
Jesus that loooow note sank me through the floor.
He's a bass god. This is just his human form.
What I like about his performances, is the fact he can play so well and in the pocket. Not necessarily complicated all the time, he plays what's needed.
FINALLY THE CROWD DONT TALK AT A BASS SOLO
@@joshjbradburn complicated = cringe
vibe and you have the perfect song
15:30 rare footage of the audience actually cheering the bassist
Joe Dart would like to know your location
it is only very rarely observed out in the wild
Ahahahah, nice one
I think people who dig jazz generally appreciate all the instruments and players more than the general public
"Music is all about....loading cars."
As a musician, I relate way too much to that statement.
You can say that again!
Tour Tetris
There are few things as satisfying as a well-packed trunk
Jesus it must take some powerful lungs to switch back and forth from singing to sax with no rest
And moving thst much on stage... great physical condition
That's what no smoking and good physical condition gives you. freedom
@@blazbohinc4964 sure not smoking and good physical condition are good but to do what she does she obv just has strong/big lungs
@@trackmaniaIIDX She probably does it a lot. The skill builds over time. Additionally, you can do breathing exercises to help
PUMPLE mate i have strong lungs and it helps with fuck all
Happy birthday to....
*B A S S*
Also the V7 chord was so close to 4:33, I'm sad
Yeppp
Wait why? What a so important about 4:33?
@@bgl1335 Check the song 4'33''
It was so close to 4:32, but I'm afraid that Grace wasn't tuned to the resonance of her chakras...
okay, no one else like this post. It’s at 433.
“HAAAAPpy birthdayyyy tooooooo-“
*B A S S*
is bass meant to be read like the outro
thatsthejoke.jpg
Davie504 approves
I take some slight solace in the fact that even professional musicians can’t quite get to sing happy birthday all in the same key
100% intentional. Grace was all over the place, lol
Beethoven (and Beyonce) would be so proud of the dominant prolongation.
Patrick Murray lol this came from the video about all the single ladies
When it finally resolves some dude in the audience physically can't hold in the YEEARH
Now that's my Metal Band song name right there...
came for the Beethoven mention
Somebody make an Adam Neely *_bass face_* compilation. The world demands it.
When you stay on one chord longer than most songs entire length
Just goes to show you can have 4+ minutes of music be interesting without even changing chords.
@@BigDaddyWes pops still boring.
@@-arche-7926 why be so negative?
@@BigDaddyWes My favourite case-in-point, Sunn 0)))
@@-arche-7926 What gave you the impression that they played four minutes of pop at the end there? It's been a while since I've turned on a radio but I'd be surprised if Katy Perry is doing much instrumental minimalist jazz improvisation these days.
5:03 I love how while Grace was so into it, Adam was just
*boing boing boing boing*
Requisite Sting bounce.
Pro tip: make sure all the vocalists are in the same key when singing happy birthday
Where's the fun in that? XD
*can you feel the love tonight intensifies*
Stephen Donovan Multi-tonal Happy Birthday
My lord, is that legal?..
i’m pretty sure happy birthday is the one song you actually are meant to play in all keys at once, not just all 12 but microtonal ones as well
I'm a simple man.
I see a gig vlog, I click.
no one really cares
@@ricardogaideski7102 I do. I do a lot.
I do.
I raise you this
I see Adam Neely posting a new video, I click
@@ricardogaideski7102 Your name is literally a short form of "no one"... So you really care, I take it?
Talking over a drum solo: HEY, HOW'VE YOU BEEN?!
Talking over a bass solo: Hey, how are ya?
Talking over a violin concerto: Hey, where's the bath- *dirty glares from patrons*
Talking over a bass solo:
get it cause the bass never gets a solo
Talking over a violin concerto: ah, ah, GET OF-
Patrons: *Nodding so as not to disturb soloist*
Grace Kelly really eats up the stage. She is a really great frontman for the band, it's hard to take your eyes off of her. I'm definitely going to see her play when im in the area with my friend.
Partially because that booty always shaking
@@nanayawberko3212 wow. really? Not because of her musical talents? Shame on you!!!
Gabriel Harrison He did say "partially" 🤷🏾♂️
@@nanayawberko3212 def not that. she has a crazy stage presence
How long can you play a V7 before the audience starts to hear it as tonic?
I think the audience almost begins to hear Phrygian Dominant with the way that Grace solos, which almost always wants to point back to I, regardless to how long it's played.
@@lumensnn I notice that, no more tension just flamenco scales hahahaha
Some violin cadenzas go on for huge amounts of time and still manage to give a sense of resolution at the end, I guess historically we’ve kinda evolved to keep tonic much longer when there is just a soloist playing
I skipped right to the end so I had no idea what key we were in so I was hearing it as a tonic until I went back and got context
For me (presuming I’ve had time to settle into the key), V7’s are a lot more like having to pee. Holding it longer just intensifies my desire for the release.
...maybe that’s why they call it “going #1”
This reminds me how wonderful of a moment a gig can be. So many gigs we play as professional musicians can feel so hollow and soul draining. Thank you for reminding me of why I do what I do.
omg her sound is *_unbelievably_* good
also: awesome gig, fantastic editing, excellent schlep
Truly outstanding schlep.
hold your HORSES! *me trying desperately to hold my hoers*
agreed
nah
Agreed, the editing was really good!
He's literally the first person in history to have done something during "happy birthday to you" on his birthday
Lol What? Your comment is written in an unnecessarily strange way. I think I know what you're trying to say though.
I mean, he is a bassist.
@@the_original_Bilb_Ono You know this part of the brain you're using to judge someone whose first language isn't English? Shut that down and use it to read, it'll get easier =)
@@launder0 I mean sure, English isn't my first language, but what did I write in my comment that isn't "standard" English and made it "weird"?
Long sentences look weird to native English speakers. Also, I believe the verb time (?) You used is kind of unusual, but i don't know if i could do better haha
14:05 what kind of breath control? I can't even tell she's shuffling, her tone is so clean what the hell
Oh damn. I didn't even realise. What the hell. Does she practice playing while jogging up mountains?
Circular breathing I believe she was able to keep it even longer up
@@DaveYognaut she posts practice videos on Instagram sometimes, she basically does actual exercise while playing bari
Thanks for sharing this experience. So many bands think “oh, we just go on stage and do our thing.” So many bands don’t plan. This is a group of professionals who plan, then know what they’re doing, carry it to the stage, and have fun with it. This video reminds me why I got into music in the first place. Fantastic video.
Me, wondering for the whole video whether either of these guys is Dutch: "I think these guys might be Dutch." * looks at names * "But I'm not sure"
19:37 : "The Dutch have a system"
Me: "AHA!"
It's true though, we can tetris like crazy when it comes to packing cars XD
Ben jij Dutch? Kan het niet echt zien aan je naam hahah
Ik dacht precies dat toen ik dat vage accent hoorde. Hah ik wist het nice!
15:17 love how she snuck in an extra "happy birthday to you" in there!
I think I now found my favourite word. Schlep. So satisfying
And holy shit Adam, this editing man! So good!
Well carrying in german is also called "schleppen".
@@eliasschneeberger1337That's because Yiddish it's closely related. To me it seems more intelligible than some Swiss-german dialects. But 'to carry' would usually be translated with "tragen". "Schleppen" is used for draging something annoyingly heavy. And it can also mean to tug, e.g. a tugboat is a "Schlepper", which can also mean someone who gets people across boarders illegally ... there are also "abschleppen, anschleppen, verschleppen und Schleppe" with a multitude of specific meanings ... isn't German fun? :-)
@@SamGamgee8012 Well as german is my mothertounge I actually know the differences.
As a musician, you don't get paid to play, you get paid to schlep your gear.
"Schmuck" is more satisfying IMO
Happy birthday Adam, I wish you can now afford a 6 strings guitar.
As apposed to 5? That's a banjo friend.
@@Guitarisforgrins As opposed the the 4 string one he normally plays.
Checkmate bassists
*_Flashbacks to 7-string days_*
I would genuinely kill to see Adam play a 6 string bass, just to see what he could come up with, I know he's not a flashy player and more focuses on groove and composition, but I think he could do some incredible things.
Me: has no idea what a V7 chord is
Also me: thoroughly enjoys this video
Christopher Haney in traditional western music theory, specifically within diatonic music (i.e. according to the rules which govern 99% of the music you and I would probably hear most of the time), music is usually organised into ‘keys’ (or ‘modes’ or ‘tonalities’). This means that a certain note is taken as the base starting point or ‘root’, and a diatonic scale of 7 distinct notes is built from that root (the specific, usually predefined pattern of tones and semitones which results in this scale determines whether the scale is major, minor, or other).
Therefore, when we have music written in any diatonic key or keys, we can refer to any note within that music by its relationship to the root note of that key. Typically this is done by the use of Roman numerals between 1 (I) and 7 (VII). Put more clearly: if the music is in a key, we can write out the 7-note diatonic scale that represents that key and give each successive note in the scale (or ‘degree’) a number going up from 1 to 7.
For example in C major we have the 7-note diatonic scale of C (I) - D (II) - E (III) - F (IV) - G (V) - A (VI) - B (VII).
Within diatonic music, harmony is essentially derived from triads. Triads are chords of three notes and in diatonic music they always follow the same structural pattern of ‘note, up two degrees, up two degrees’. For example, looking at the example key of C major I’ve written out above, we can use this formula to determine the basic triad of any degree of the C major scale. For example, the triad of C within C major is C (I), up two to E (III), up two to G (V); the triad of G within C major is G (V), B (VII), D (II).
We can therefore refer to any basic triadic chord within any diatonic key by saying ‘the II chord’ or ‘the VI chord’, etc., which circumvents having to work out the specific note name of the chord within the specific key we are in at any point. This is useful also because often in music we want to refer to a chord in terms of its function in or relationship to the surrounding music, and a Roman numeral name immediately informs us of a chord’s function and relationship, whereas a note name does not innately do this (although if we know the key signature then we can work out what any named chord’s function and relationship is by comparison with the key signature - but using Roman numerals does exactly the same thing innately, i.e. without any need for any working out).
I’ve talked about basic triadic chords, but we can also expand any basic triad into a number of different ‘7th’ chords by just adding another ‘up two degrees’ to the end of the chord. The more proper way of describing this method of constructing diatonic chords is to say that we stack thirds. The reason for this is that when we go ‘up two degrees’ from any note in the chord to get to the next note in the chord, we are creating an interval of a third. (If you go up one degree from any note, the interval is a second; if you go up three degrees from any note, the interval is a fourth; etc.) Depending on which degree of the scale you start on (and on what type of scale you’re in), going up a third will create either a major or a minor third. In C major, going up a third from C to E creates a major third, which is an interval of 4 semitones; going from E to G is a minor third, which is an interval of 3 semitones. By these examples we can also see that any major triad (e.g. the chord of C within C major) is constructed by stacking a minor third (E to G) on top of a major third (C to E). Still in C major, if we instead stack thirds from the third degree, E, we have just seen that E to G is a minor third. Going up a third from G to B, the interval is four semitones, which we know is a major third. Therefore, we can now see that any minor triad (e.g. the chord of E within C major) is a major third (G to B) stacked on top of a minor third (E to G).
Finally, we can now discuss the types of 7th chords. There are four (main) types of 7th chords, because we can stack either a minor or major third on top of both a minor triad and a major triad. All the following examples assume the key is C major:-
1. A minor triad with a further minor third stacked on top is called a ‘minor 7th’ (e.g. E - G - B - D)
2. A major triad with a further major third stacked on top is called a ‘major 7th’ (e.g. C - E - G - B).
3. A major triad with a further minor third stacked on top is called a ‘dominant 7th’ (e.g. G - B - D - F)
4. A minor triad with a further major third stacked on top is called a ‘minor/major seventh’ (e.g. E - G - B - D#, or, C - Eb - G - B). Note that it is impossible to get this chord by sticking only to the diatonic notes of any one key: you have to sharpen or flatten one note of the chord (i.e. you have to use one non-diatonic note or ‘note from outside the key’ to achieve the correct pattern of minor and major thirds.)
We call these 7th chords because if you take the root of any 7th chord as the first degree of that chord (I), then the following degrees of that chord in order are 3 (III), 5 (V), and 7 (VII). In other words, 7th chords are named as such because you create them by adding an interval of a seventh on top of the root of a triadic chord. For example, C major 7th is C (I), E (III), G (V), B (VII).
Number 3, the dominant 7th, is denoted simply by adding a 7 to the end of a chord name. For example, in C major, the chord of G dominant 7th would be denoted as ‘G7’. In C major, the chord of G dominant 7th is also the chord which is naturally built by stacking diatonic thirds on top of G, i.e. by just keeping on ‘going up two degrees’ without altering any degrees of the scale, just like when you build up naturally from C you get a C major 7th chord and when you build up naturally from E you get an E minor 7th chord.
FINALLY, we can therefore know from the previous example (because G is the fifth degree (V) of the scale/key of C major) that in any major key, the seventh chord which can be built by naturally stacking diatonic thirds on top of the fifth degree of the scale is a dominant 7th chord, and so we can refer to this chord within any major key as being **the V7 chord** : a dominant 7th chord built on the 5th degree of the scale/key.
Edit: this last paragraph is just slightly misleading because to an extent I imply that ‘V7’ can only ever specifically refer to the dominant 7th chord built on the 5th degree of the scale *in a major key* . ‘V7’ actually refers to a dominant 7th built on the 5th degree of the scale *in any key* , it’s just that in a minor key (and in many keys/modes that are not major or minor), getting a V7 requires raising the third degree of the chord by a semitone from the natural note of whichever minor key you’re in, i.e. the V7 requires a non-diatonic note when you’re in a minor key, rather than being naturally built up like when you’re in a major key. Interestingly, this requirement is not an unusual one because raising the seventh degree of a minor key, i.e. raising the note of the V chord which you need to raise to make a V7 chord in that key (the seventh degree of any key can also be called the third degree of any V chord of the same key), is extremely commonly done within diatonic music. In fact, it is more unusual to find a V or V7 chord within a minor key in which the seventh degree of the key/scale (the third degree of the chord) *hasn’t* been raised.
For example: let’s change from C major to C minor. The scale of C minor is C (I) - D (II) - Eb (III) - F (IV) - G (V) - Ab (VI) - Bb (VII). You can see there are now three flats in the scale, compared with the 0 flats/0 sharps of C major. One of these flats is the seventh degree of the scale, which is now Bb.
Now, therefore, when we build up a seventh chord from the 5th degree of the scale (which is still G, like it is in C major) using the natural, unaltered, diatonic notes of the scale, instead of getting a G dominant 7th chord we get a G minor 7th chord: G (I) - Bb (III) - D (V) - F (VII). The only difference between this and the G dominant 7th is the third degree of the chord (or the seventh degree of the scale/key), Bb. If we simply raise the Bb to a B, the G minor 7th chord is now a G dominant 7th.
Jesus Christ that took so long and I got so goddamn carried away. Sorry for the dissertation, but I hope that’s about as thorough an explanation of ‘V7’ as you’re likely to get (although there are even still some elements I’d like to go over, such as the extreme commonness of the V7 and how absolutely crucial its harmonic function is to all diatonic music, but I’ve already written far too much).
@@joshburns1777 I appreciate the explanation!!
@@joshburns1777 That's some great effort there. Mad respect.
@@joshburns1777 I feel shame to read that for free
Thanks man
@@joshburns1777 Me seeing the comment thinking "that's a quick read"...then I clicked "show more"
I would happily sit through a 45 minute Adam solo.
Musicans in cars drinking coffee and unloading instruments
this is would watch. oh wait just did.
YES PLEASE
>50% of time spent being a performing musician...then there’s the waiting LOL
@@fivebyfivesound And the printing/copying of music for those who don't use iPads lmao
Yea, I'd watch that for at least 20 minutes and 37 seconds at least.
It was hilarious when you turned around the "people start talking 30 seconds after (a bass solo starts)". 😂
Good group chemistry
kudos to the drummer for keeping the V7 going by himself for a bit
sometimes you gotta take one for the team :)
@@flipwazabe Nou, wat gezellig allemaal
Adam Demonstrates the importance of good posture with preventative and therapeutic exercises such as chin tucks, to remedy nerd neck 11:59
9:14 when it's ur birthday and u're playing a gig and u got such big musician balls that you play blind and go for a chord inversion bass movement cause u're the bass player and u know ur goddamn harmony and u know they're going for the IV and a second later u hear the melody and instantly know it's a chromatic movement.
for whatever reason, this moment touched me. love ya adam.
underrated comment
The sheer amount of times I have seen the length of one of these vids and thought 'Yeah, I'll skip through this, not watch it all,' and you'd think I'd have learned by now that I always end up watching the whole thing and getting really into it.
Damn you, and your well produced and edited vlogs, Neely!
Holy maccaroni, this editing is so on point! You kept me on the edge for 20+ mins straight... must have been so much work.
You can tell from the video, how much fun you had playing this gig, and I for myself (and most other viewers i guess) had the fun of my life just watching musicians enjoying their craft.
Thank you for all the content you create
If I could just tell you one thing Adam Neely is thank you. You've borderline almost given me something to live for when you helped me discover the wonders off jazz, strange rhythms, and strange harmonies. Life has much more color now. You've also helped push me to go to school for music.
Good luck. Go do what most of us didnt have the courage to do
Good luck. Rooting for you.
jazz is the bomb
@@ioioire4684 DEFGECD
Coming back to the 1 chord at the end felt like I'd been floating the whole time and just hadn't realized
I used to take occasional lessons from Grace when she used to live back in Boston some years ago. It’s really cool seeing how far she’s going and developing as a musician and singer along with playing sax.
Aw I didn't even know it was BASS's birthday! Well, happy belated birthday BASS.
Hey, how's college going for you, champ? Love your stuff as always.
@@lifeontheledgerlines8394 aw thanks for asking. It's going pretty well. Jazz Band is a lot more fun than in HS cause everyone is passionate and practices a lot, its challenging me and thats cool.
@@AndyChamberlainMusic Yeah, that's good to hear! I'll be off to college soon myself (not that soon, I'm a sophomore in HS right now) and I'm glad that you're doing well. And also that you're keeping up your music stuff even with your double major and all, that must be pretty hard to juggle.
@@lifeontheledgerlines8394 yep, I am still writing and stuff but the volume is so much lower. I havent posted a video in over a month now... but I am definitely working on stuff.
@@AndyChamberlainMusic Yeah, academics come first dude. Whatever works for you is good, we'll just wait for the notification bell to ring. Good to hear that you're doing well, and I hope you have a nice day!
5:17 practically head banging while playing sax 0_o
Leo P intensifies
go look up her duet with leo p
I would call that a saturday night live house band type song
th-cam.com/video/50vL1uAXn7s/w-d-xo.html
Check out Caleb canatheviphth for real wind instrument headbanging
I do love your bombastic pop gigs, but when are you going to post some sweet sweet Brooklyn post bop action?
yeah i would love to see more about the modern jazz scene in New York
Carlo Garella If only Adam was a part of that scene. Sadly, it doesn’t seem like he is.
@@noahv8671 new series, adam neely-infiltration
@@Dudeguy217 METAL GEAR NEELY
Yeah, not to say Adam couldn't 'hang' with that scene, but it doesn't seem like he is stylistically going for with his music right now...
18:58 How did they know she was going to resolve right there? She's been doing wacky stuff for 4 1/2 minutes. How was that the known lead-up to the resolution?
That's a common blues phrase, but they were probably also paying attention to her body language.
You can hear her about to go back to the I chord, her body is literally moving towards a downbeat on 1, and she's moved back into the center of the stage, where she was for most of the performance. She also turns her body to the drummer a bit, so the drummer can see her sax move downwards and onto 1. Basically, she says in a bunch of different ways: yo i'm going back to the tonic. Takes a bit of practice and a bit of experience, but it's an easy enough thing to pick up on.
After a certain amount of time playing with people who improvise, you start to pickup on body language, international signs for things, that sort of thing. So you can improvise with most anyone once you know what to look and listen for. That part she played at the end right before the resolve was a hand holder. It would be hard NOT to resolve on that note after hearing the way she walked down to it.
Feel mah dude
most likely they planned that line she played to be the ending cue
That was a super sick bass fill at the end
I'm watching without headphones, which pretty much equates to watching without Adam
Yeah I can't hear him at all :*(
Or watching TTT without Sharky and Palp
Hahaha so true
I'm watching without smartphone, which pretty much equates to watching in appropriate quality.
Lol
Finally a modern alto sax player that doesn’t sound like every single other modern alto sax player
Are you sure about that chief?
Caleb Congdon yup
This ain’t alto.
She seems to take a lot from John Zorn, though.
@@MrCatchi She played alto and soprano
A 20-minute video from Adam? Yes, please. 🙌🙌
FOR THE LOVE OF GOD, PLEASE GO BACK TO THE ROOT.
Confirmed: V7 tension grows exponentially.
I can't believe how good your gig vlogs are, editing is excellent and the whole thing is just very inspiring, thank you Adam.
Was feeling super burnt out and started doubting whether or not I wanted to pursue music and this really lifted me. Thanks man.
Oh, and happy birthday.
You will fell that way again, undoubtedly. It's a sad fact that when it come to pursuing ANY hobby as a career, but music is unfortunately very prone to creating these types of scenarios. Simply due to the insane over-saturation of the market now and there being SO MUCH available for musicians to produce on their own, and spread their music online for free, with no need for labels.
So, what does all of this mean for you? PLAY IN PUBLIC AS MUCH AS POSSIBLE. BE EXTRAORDINARILY KIND TO EVERYBODY YOU MEET, EVEN OUTSIDE OF MUSIC, BUT ESPECIALLY THOSE WHEN YOU'RE MEETING IN THE CONTEXT OF MUSIC. This will help you in so many different ways down the road. Ways that aren't even remotely apparent when it occurs. But I've experienced and seen it multiple times. Getting your name out in real life will work fucking wonders for your career and chance of success overall.
@@JohnDoe-zq1ho Thanks man, taking this to heart. Means a lot.
You and the drummer's styles match nicely. It's not hard to imagine you guys were in music school together. I'm not talking about locking in. It's a similar musical attitude. Really very nice.
the reason he cut the "you" off at the end was that it lasted over 4 minutes and didn't think we could handle that much power
"i like to schlap the bash" - Sean Connery
Man, you've really figured this video editing thing out, huh.
Ha! That’s my gas station diner in good old Middletown, DE. Great playing guys!
someone mentioning de, and neely noticing it? WE ARE GROWING
We've found the fifth Delawarian of all time!
Very cool gig. But mildly disappointed this show wasn't with the reanimated corpse of Grace Kelly the actress.
Performance via Ouija Board.
I at least wanted to see a man with a metal helmet being pinged by firearms.
The only problem is she can't sing and play at the same time, cause she does both so goddamn well!
"Left or Right?"
"Sports mode."
After all those years this might still be your best gig vlog. Not only the gig itself was great and super fun, but the editing is just perfect.
The crowd cheering at exactly 4:20 through the V7 chord really gets me (18:42)
pothead :)
9:35 hahaha So sweet of them tho
edit: Happy birthday! 😀
Is nobody gonna mention how fire Grace Kelly actually is?
Dude yes she is SO GOOD
That's the first time I'm truly seeing how much work goes into preparing a Jazz show - I was astounded by the amount of preparation required from the supporting players, working to give the soloist an environment to shine in (and grab all the attention from the audience)
This is basically a heist movie, but it’s a set. Genius.
A really really long V7 makes the last held tonic note of the song by the sax even more satisfying!
She's amazing! The band tears it up nicely. Your gig vlogs are extremely valuable in terms of educating youngsters of how it really looks like to do this circuit. Not that diffrent from how we do it where I live ;) Keep up the great work!
That must've been an awesome gig. She's a great performer & musician and with that backing band, wow.
Your AV sync skills are on point. Awesome vid mr. Neely
So Awesome! We used to play miss you back in the day. I love dropping back in after the break down after the kick...BASS!
this was great btw all the little "musician's inside jokes" and moments, great songs too, very very enjoyable gig vlog !!
0:54 “So Grace Kelly is this great sax player”
Hell yeah she is! Reason I clicked the video. (Love you as well, Adam…)
19:36 “Now that we’re down south in Maryland” Adam you’re the best
Honestly, this is one great synergy, please keep playing in this formation, drums so neat, piano, voice and sax fitting smoothly on top, would be a shame to let go!
Turns out Adam's video production and editing skills are also top notch. Wow. Those cuts from backstage prep to onstage performance and back are so good. The way the video cuts in footage of the story Grace tells about the trip to the gig is so smooth and intuitive to watch. Multiple camera angles woven together of the gig, too.
This is a cut above any other gig vlog I've seen.
literally at 4 minutes i was like "PLEASE RESOLVE THE CHORD, I NEED CLOSURE !!!!"
2:14 with the Andrew Huang edits
which one?
@@Rouleaux the little montage of zoomy gear shots. It reminded me of Andrew Huangs sequences of the same description.
My bass player always makes the bass face - it's an instant like for me
Aw dang, you were practically in my back yard and I didn't know about it!
Same. I'm on Bestgate. So madddd
Back when I was studying sax, we had a masterclass with the late great Phil Woods, and he shlepped this really young girl along... she must have been like 15 or 16, and I didn't know her, but she was with Phil Woods, so there must have been something about her. Well, I soon found out what it was... kid could PLAY! You know when somebody is just tuning their instrument, and you can already tell, wow, this is something special! Great sound... not something you usually hear from teen sax players, even if they might be pressing all the right keys really fast. Well, that kid was Grace Kelly. Nice to see her randomly popping up in my subscriptions.
This is one of the few vlogs I've ever watched with a great amount of replay value, great video and performance Adam!!
Also Happy Birthday! :3
I like how Adam often taps his foot in double time. Helps to break down more complex rhythms.
Wow that was one of the best examples I've ever seen of self-expression and conversation through music, thanks for sharing !
Damn that was just an amazing Gig. Grace Kelly just had such an amazing charisma and showmanship to her. And how the 3 of you followed along with her escapades. Simply amazing
The way she plays her instrument with her ENTIRE being is so truly magical to watch.
This video makes me want to have social life.
Also, happy birthday, Adam 💜
Play an instrument?
This hits different a year later
@@berg5714 omg it's been a year wow
I remember watching it like few weeks ago 🙃
3:19
Totally bangin’ keyboard solo, wish we could hear more of that somewhere
We have the same word in german: "schleppen" which has the same meaning.
"Ich schleppe die Gitarre" - "I am schlepping the guitar"
Pfaeff Makes sense, since yiddish has german and hebraic roots
Man your video editing has gotten so crazy good Adam
Damn, here energy is intoxicating. What a fantastic musician and band. Jazz really is alive and well.
Grace Kelly is a just fucking incredible, I am surprised I haven't heard of her before. The power from her voice was so unexpected, killer show from everyone involved.
This is my favourite gig vlog
Happy birthday
Man a tight rhythm section is EVERYTHING listen to how full all that sounds
Really beautiful I loved the juxtaposition of the planning beforehand and the live playing.
It's so impressive that they can just pick up and fill in for a gig for such a wonderful artist who improvises a lot and like nail it no problem. I filled in just playing covers in a bar and it was the most stressful (but fun) thing I've ever done and I was in complete control of the music.
I just had to laugh at the, "HEY, HOW'VE YOU BEEN" heh