1:54 "There are really two traditions of bossa nova: bossa nova as it's performed by Brazilians, and then bossa nova as it's performed by Americans as propagated through American jazz schools." Actually, there's a third tradition: bossa nova as it's performed by Japanese musicians. I don't have the musical vocabulary to describe how it's different, but I can tell it has a distinct sound.
Francesco W. As an English speaker who learned Italian in school, I agree. I immediately see that and think of “quotidiano“ then translate that to English
@@wanderfra42 And that's why we, french, italian and spanish people especially, sound so weird using those formal-sounding words in the middle of our broken english sentences when we actually just project and "translate" our own words haha
"It's just music." That is so true. I learned that lesson on 9/11. I was in a toxic jobbing band at the time. The name dropping about how great all these other local players were, rubbing our noses in it, combined with the constant dagger looks and "stink eye" over every little minor detail that wasn't perfect, particularly with guys who were subbing or an add on to that evening's gig who were sight reading poorly written charts was bad enough. The leader playing the victim after the gig as if he'll never get another call because the tenor player went a little out on a standard during dinner set, all the anal BS, was simply destroyed when I saw those buildings collapse. I quit some weeks after as I was doing a lot of soul searching, trying to figure out what was so important about music that people make a federal case out of being human. And it struck me, I was miserable because music had turned into this horrible habit like an addicting drug that players would feel so much pressure to be perfect that they constantly self-flagellated as a perverse means of comfort. I forgot why I fell in love with playing music in the first place. When I was a kid, it was fun and it gave me joy...simply. So, I bailed and looked for something else. I ended up playing with a bar band with people I knew that had an absolute blast on stage every single night. The audiences loved it, I could wear jeans, sneakers and a T shirt and the kicker, I was making comparable money without the sweaty tux, the load ins where I had to navigate the labyrinthian downtown hotel loading docks and kitchens, nor did I have to put up with the bullshit. I was smiling again and playing better than ever. At the end of the night bandmates patted each other on the back and during the gig if there was a clusterfuck, everybody had a good chuckle over it. It's not the end of the world. We're not performing surgery and we're not rushing into a building trying to find living humans that was destroyed by terrorists. It's just music.
All my music books that I’ve learned music from look like they could fall apart at any minute. Most of them are falling apart. They’re not for sitting on bookshelves you know.
The future of music is probably just a 15 minute vinyl record of Adam talking Jazz theory while playing some piano every once in a while. Don't tell me you wouldn't buy it...
I read somewhere that the portuguese / brazilian ao sound is kind of a nasal n sound with a hint of a g at the end, so joao would sound almost like the english name john, but much spicier of course. Is this correct?
as a very amateur producer - i do feel that learning keyboards is hella important to the process of producing. Being able to at least shred out the melody or chord without clicking over and over and moving the note helps so much with production
As a not so amateur producer I can say you're 100% correct. Personally I've always had a very basic music theory understanding that I bought to music production but honestly thought it was all too hard for me, so I dived right into the production and engineering side of music. 15 years and 5 releases later I decided that not knowing theory and having any instrumental skills is what's holding me back, so now I'm working on that side of things. So I'm learning and honestly it's been a really good decision! In a way I'm glad I've done it this way around, it means I've grown as an artist and understand what I'm striving for in my sound. So learning more theory improves the way I can create "my sound" and having better instrumental skills means getting ideas down becomes quicker. You spend less time noodling around the piano roll/midi controller, although do not underestimate the power of noodling. It's amazing how much you can come up with just knowing basic intervals and noodling about! If you add great production on top of that then it can end in some grea results. Keep on creating!
Adam's response to the question of whether music belongs to its creator or the audience is very very good. He nailed it. Music is indeed a shared language; it is a link between composer and audience. We indeed interdepend on each other through music
So about the girl from Ipanema As a brazilian, we mostly know the version from Vinicius de Moraes, that is played on f major so I guess that the real book took it from there
Jobim did indeed write and perform it in F. There's also the art on the walls of the old Veloso bar--now called Garota de Ipanema--where they used to sit and watch the girl who inspired the song, which is Jobim's handwritten sheet (in F).
4:50 I'm working on my B.Mus in Commercial Music at a state university, and our program has the option to focus on eng/prod or comp/arr instead of instrumental performance; all the students still need to play at least one instrument and/or sing, as well as be involved in at least one performing ensemble, but instrumental performance doesn't necessarily have to be the primary focus. I find this to be an effective balance for training well-rounded and versatile musicians.
Adam, I do have to take the time to write an enthusiastic comment. Your videos are among the top things to be found on youtube. They are never boring, always very, very interresting. The Q&A, the music-critics, the insight into the life of a profi musician in NY, etc. etc. - simply phantastic! I am saying this with a strong background of "hating" most of the youtube things, especially tutorials which are in most cases inefficient sources - far too much talking in most of them, so there are better (more efficient ways) to explore the respective topic. This doe NOT apply to YOUR videos - they are never boring, always imformative, concise and clear. Thank you so much!!!
Another thing that’s notable when discussing the different feels of different keys, even in 12TET is the keys we are used to hearing by instrument; for example we are used to hearing guitars in G major/E minor or C major/A minor so we can make things sound a bit less expected by using other keys; some are less strange like switching to F major or D major, but using something like F minor on a guitar can sound strange, especially with the open strings that will often sneak in there adding in some hidden dissonance. Similarly, we’re used to hearing violins in variations of G, D, A, and E, banjos in G, etc.
Not to mention the guitar itself is far from perfect 12EDO. Adam went over this himself while playing the True Temperament guitar with Paul Davids (is that his name?)
Guitarist here. I absolutely *love* experimenting with open strings on chords that wouldn't normally have them. For example: (In drop D tuning) 1-3-5 Dm with open D, B, and E. Or Bm7 (started on the A string), but instead of playing it barred, you let the G and E strings ring. I don't know what it is about that maj 2 AND min 2 together that sounds so surprisingly nice, but it does.
Partly because most people do not have perfect pitch, but also just in general I really question this notion that different keys have different feels, especially in a culture that regularly uses a 12 tone tempered system of music. The main way playing a piece in a different key matters is if by transposing a piece up or down too far from it's 'normal' key you are pushing a particular instrument(s), including a human voice, too close to it's technical limit for making a clean, clear note, or just significantly changing it's timbre. As a piano player I don't worry too much about that for most songs but if I played French horn or saxophone I'd be concerned about it more often. Wind and certain string instruments are made in a variety of keys for just that reason. Of course on piano if a certain piece reaches the upper and/or lower limits of the keyboard in certain parts then it matters more where you are 'starting' because that will determine what that very high part or low part sounds like. But once again that is because of the technical limits of an 88 key piano: the very high notes get kind of 'flat' and cold sounding and the very low notes get kind of 'rumbly' or boomy, less distinct. So that melodic line or chord when played at those fringes will have a different emotional impact or effect because of the mechanical nature of the instrument and the sound it produces. Not because A major is "strong and noble" whereas C sharp major is "yearning or reflective". Another way it could matter is if by transposing a piece up or down, in other words playing it in a different key, you are simply taking a melody or arrangement that works better in a certain pitch range and putting it in too high or low of a new pitch range for it to have the same subjective effect. In other words it's the particular song and instrumentation that works better in a certain area of pitch range. Change it slightly and it might not matter. Transpose it five whole steps and you might have big problems. You wouldn't expect to hear Frank Sinatra singing up in the area of that guy in Air Supply or Rush, or vice versa. And it would not be just the fact that Sinatra had been crooning in E before he switched keys and the rock bands had been wailing away in B before they switched keys that would make things drastically different. It would be what the particular melodies and instrumental parts of those songs demanded in terms of pitch/octave range, and changing the timbre of all the instruments extending into those new ranges. Plus the learned cultural baggage of not being used to hearing singers we already know well, singing outside of their accustomed range and style. It would not be because E major as a key is "easy and swinging" whereas B major is "athletic or hard rocking". Any key can conjure up anything if the right piece is played in it. As musicians we may get used to certain styles of music normally played in certain keys, like some of the flat keys for horn arrangements in Stax or old R&B. So because of the the technical nature of the instruments used, those songs were and are normally played in those keys and we associate them with certain things or subjective feelings or memories. It is not because the key of E flat itself conjures up the Mississippi Delta. So if every day we hear the opening to 'Also Sprach Zarathrusta' because it's the sound our computer makes when we turn it on, and one night we hear a local school band or orchestra play it transposed up a step and we think "that sounds different", and like most people we are not blessed with perfect pitch, it's because we are so use to hearing it on a regular basis that we notice the difference, which I guess would be considered a form of relative pitch. If we think it sounds better the old way that's because we are used to it. Maybe those low opening tones don't have quite as much heft raised up a step. If as the piece develops we notice those high woodwinds sound a bit shrill here or there, that might be because in the new transposed key, up a step from what the composer intended, some of the instruments just don't sound quite as lovely pushed to the edge. Not because of some mystical reason that one key has certain characteristics and another key has other characteristics. And just because I have no idea when to stop, if you played the opening to Beethoven's Moonlight Sonata in D minor instead of C sharp minor like it should be, no one would notice the difference. Except for piano tuners, people with perfect pitch, and maybe some classical musicians or aficionados who had just recently heard it or were practising it themselves. Even though C sharp minor is the key of pensive melancholy tinged with a sense of profundity and D minor is clearly the key of rowing in a rented boat on a Sunday afternoon or smoking a spliff in Jamaica. Thanks for listening to my rant, I really enjoyed writing it lol. 😊
I'm having an existential crisis thinking about matter and how inconsequential us and the matter around us are in the grand scheme of things. Usually I would enjoy this video, but today I'm feeling like music is one of many distractions to stop us from thinking the thoughts I'm thinking right now. :)
I grew up listening to The Girl From Ipanema record. When my guitar teacher tried to teach it to me in F im like, no thank you and I learned off of the record
isn't playing Sul G, playing on the G string only, kind like you want a particular color? the notes are there on other strings too but it really does sound differently and werstern composers have asked for specifically that.
You're right, I guess. I am currently working out a lot of TOOL-songs on bass, and I find that subsituting a note on a different string (same octave, though) to make quite a difference ind "colour".
Yeah , and there's a lot of bass works that rely on switching between fingers, nails, slaps, picks, teeth, tapping, fretting, thumb, double thumb, fretting with thumb(s), striking with percussive objects strapped to all fingers except the thumb!!! all to make the difference in tone, and a few other things. Although the examples Adam gave, I felt, is that those tones are assigned to specific inharmonics and notes of a given modes that remain consistent... I think
Reminds me of Jamerson, where people learn his basslines in the regular rock bass style of playing, in that 'box' usually centred around the 5th to 7th frets, and using alternating finger plucking. It never sounds quite right. Once you learn to use one finger in first position with a lot of open strings, Jamerson lines come alive. It all flows together in the way that he played it, unlike the more stilted sound you get from the more standard approach.
1:53, as a brazilian, yes, Db for "Garota de Ipanema" ("Girl from Ipanema") feels way more natural and like "home" to me, I always felt that something was different when listening to english version of this song, not necessarily because of the different language, but something always felt off and I couldn't really put my finger on to why it was and never really looked much into it, but now it makes sense, it was always because of these two versions being in different keys, that makes sense!
1:32 "Almost every trained jazz musician I know is intimately familiar with the Girl from Ipanema..." Well heck, she really gets around. [dodges tomatoes] [Sorry I'm forever 12]
Yes, I have known of her music for very long yet I paused the video right after Adam mentioned her and went to listen to Temptation just because haha now Im back for the rest of the video
@@dougdrazga4461 I went to the Montreal Jazz Festival and saw her play with Edmar Castaneda with my girlfriend. Hearing a duet arrangement of Place To Be as a second encore performance was something I'll never forget.
Excellent fusion recommendations! It's such an underrated genre now. Herbie Hancock has to be the most musically intelligent human being I have ever heard.
The version of "Girl from Ipanema" from the Jobim album "The Composer of Desafinado Plays" is in F Major. That's where the Real Book key comes from. This version predated the Getz/Gilberto by about a year. Later, on Jobim's album "Tide," there's another arrangement of it in F Major. I think it's safe to say that Jobim originally wrote it in F Major and preferred that key, and the adjustment to Db was probably to suit Joao/Astrud Gilberto's range. Triste, on the other hand, was originally written in A Major, but always appears in Bb. This would be more of a "convenience" move, I think.
Hey Adam! A couple of curiosities about Bossa Nova and Garota de Ipanema.... Garota de Ipanema was written in 1962 by Tom Jobim with lyrics by Vinicius de Moraes in F, the original key from The Real Book. João Gilberto and Stan Getz changed the key to Db for the album Other interesting fact: Bossa Nova is originated from Samba, as it absorbed Jazz influence... although it's never described by their own musicians as an Artistical Movement but rather a Samba Style, since it was developed organically with no Manifesto or proper set of rules. So even though there is no doubt that Bossa Nova has Jazz on its roots, composers such as Carlos Lyra insist on calling it Samba, not Jazz. Regardless that 1962 Bossa Nova's show at the Carnegie Hall was considered the introduction of the style to the US public, the US Jazz absorbed later great influence back from Bossa Nova when in 1967 Frank Sinatra invited Tom Jobim for an Album, looking for ways of innovating Jazz - that was being taken over by the Rock in the radio stations. But to be honest I did more of a Historical background research over the subject and never developed any analysis over what technically was brought as Bossa Novas' fresh elements to Jazz, besides the "João Gilberto's batida". BONUS interesting fact: Frank Sinatra & Tom Jobim's recording of "Garota de Ipanema" is in F I would like to take this opportunity to say that I really enjoy your channel's content...it is always very educative and fun to watch:)
For those interested in fusion: check out Japanese band called Casiopea. Mint Jams here on TH-cam is, for me, some of the best fusion-style music out there.
At 2:39 minutes: You've nailed it: 100 percent. It's just music -- which takes a back seat to the real salient and genius things in life. Certain things are more important than others unless you are engaged in the *business* of music -- to make a living -- then -- it may move the needle.
5:42 Another really important factor is how low you want your sub bass to be. F is quite low at around 45hz whereas C is at about 60hz So low keys usually have a darker deeper vibe
I’d say the “Death of the Author” argument is mostly about asking, “who determines what the music means?” the same way that the question applies to literature. I really liked your way of fracturing the dichotomy between creator and listener, acknowledging that neither will draw meaning from the music in a vacuum, thereby also fracturing the idea of authority over the work’s meaning. It cannot be centered in any entity. It will always come from a matrix that includes creator, work, listener and the surrounding semiotic network that informs each person in individual ways
If you as a musician want to be really sure your audience "gets you" the way you see it - don't be vague, go full Rage Against the Machine. An incredibly difficult band to misinterpret.
Omg you NEED to listen to "The Black Saint And The Sinner Lady" jazz is more of an "oh that's cool" thing for me (More about the theory I guess) but I would actually listen to this album.
I don't understand most of what you're talking about but I'm trying to learn. I appreciate you taking your time to make these videos. Music is awesome.
Some day I will get lots of instruments. Right now MuseScore is working for me. Don't have much monies for them right now. Will keep that in mind, learning an actual instrument would be dope.
Question for the next Q+A: how often do you change strings for different genres? For jazz I like the “few days old but not DEAD” while for funk and many others I prefer newer strings.
Hello Adam Neely, I love your TH-cam channel, thank you for being such a responsible influencer. I have a question, why does EVERY national anthem around the world use western tuning? They even go so far as to incorporate classical european features as much as possible...
For your next Q & A: Is music composition something worth studying in college? I have really found a passion in writing music (usually jazz) but I worry I won’t find a career. If you answer this, thanks for the answer. Your videos are one of the reasons I still enjoy pursuing music.
re: Timbre and "feeling" of keys... I read an academic article in a music journal that one of the reasons for Beethoven's emphasis on C minor in his most dramatic works was due to the resonance of the key of C on his Cristofori piano. The number of strings with sympathetic vibrations to C and its intervals simply made the key louder, and so easier for him to hear. By the same token, we'll often find music for violin composed in keys related to the open strings (G D A E), because they "feel" more powerful in those relations. This may have been true earlier in the 17th and 18th centuries, when the great makers like Stradivari and Guarneri actually "tuned" the resonant frequencies of their instruments to those pitches; a trait that gets a bit lost when we moved concert pitch to 440 and started writing in Eb to accommodate vocal ranges. But if you want a good bit of musical woo, look up theories on music and the humors, going back to Zarlino and before him. They were obsessed with how modes impacted a person's mood and character. Wacky stuff, considering no two theorists agreed, and they weren't even completely settled on the names of the modes until the 1600s.
OMG 7:24 "Heavy Weather"! This was the ONLY album I had when I moved to NYC in the mid 80s. I got to listen to it for 6 weeks (ok there was radio, MTV, and U68). This was because everything was being shipped Internationally which took 6 weeks to arrive. Coming from the UK so anything electrical needed to be bought, so I got a record player. It would have been ridiculous to re-buy my record collection, but I found this album in the basement of the apartment. Coming from the UK I'd never heard of "Weather Report". I got to know that album VERY VERY well. This is like the question "What single album would like bring to a desert island?" Except I had no choice ... I was given this album ... honestly it was a great intro to moving NYC. PS If you're wondering, there are MANY MANY very well known American bands, tracks, and "famous songs" that simply DID NOT make it outside the USA, but there again I can list a lot of UK ones that never made it to the USA either. It's a somewhat musical culture difference between even the UK and USA (which most people think must be similar), and it's amusing when people say to me "you MUST known such-and-such"! It's even more amusing when I listen to their fabulous track, and I'm not impressed, but it seems to me that a lot of music is appreciated nostalgically, such as when the track was experienced in that 67 Chevy driving with your friends (or partner) and all those feelings have been attributed to the track they love. Of course, in my 50s hearing it for the first time ... that nostalgia just isn't there.
Whereas other genres are rollercoaster ride of emotions, jazz for me is a safari. Riding along familiar roads yet full of little surprises. Enjoying the ride, and going on it again and again to find different things. The subsets that focus on technical mastery or boundary-breaking seem more like sports and "art", so while I love them and appreciate them, not my top priority. Absolutely love the educational/intellectual approaches too but I just keep going back to the "same" 500 variations of Misty out there when I am in the mood for jazz. :) Thank you for all that you do and share! Was hoping to see you guys in LA in Jan but couldn't make it. Maybe next time!
Adam: "e/pi polyrhythm." Me, only half-attentive: "Conlan Nancarrow." So, apparently I do remember stuff I watch from your videos. Great video (as always), Adam!
Adam, when I finish watching your videos, specifically Q&As, I feel like I’ve got enjoyable homeworks to do, for example listening to the albums you recommend!
Re: non-instrumental majors in schools, don't most schools still require that everybody learn piano? At my school (UofAZ), everybody had to do a year of piano, and education and composition majors had to do two.
Bilmuri did an interesting thing I'd never heard before at the end of his song THEMURIWITHHUMANHAIR; it was I think a bass boost? It's hard for me to explain but I think that's right.
A few questions for your next CORONAVIRUS Q&A: - Here in spain we are in quarantine, i play guitar and would like to start playing piano. Any book you recommend with a good system to learn and an easy introduction to reading music? - How do you think it will/has affected the quarantine? Will you be focusing in practicing, in new projects, composing or developing the current ones? - Tatoh or TheViper? Cheers and stay safe
Surprised to hear mahavishnu orchestra mentioned on here, literally never met anyone who knows them. That's my favorite album of theirs, birds of fire, really good music
yeah, i know it’s just a 1 year comment but only now i’ve heard about it (actually from november 2021) but not from this video lol they are pretty cool
Hey Adam, I was considering Todd In The Shadows and the opinions on the concept of genre that he expressed in his Old Town Road video. Your thoughts? Do we even still need genres? Are the lines between them blurring more these days? Thanks and keep up the great vids.
I think we are entering a world of musical exploration. I did a whole college final on this last semester. I mean we have trap music which is trance and rap combine into one genre. Blues became rock and rock split into punk, alternative and metal. Pop music does this thing where every few years there is a hit trend. Like I reemember there was a time where vintage was hot and we got songs like Dear Future Husband, which had this doowop vibe.
It's funny, you echoed my sentiments exactly on Hiromi demonstrating the fun of a modern sound to jazz, except for me I first got it from that live session Louis Cole and Domi did. In fact, you introduced me to both Knower and Hiromi so many thanks Adam, I'm really liking the album Brain where Kung Fu World Champion is from.
re: keys having different feelings despite 12 tet system; I feel this pop up in metal music a lot. While lower tunings can often make things sound 'heavier', higher (or less low I guess) tunings can sound much more energetic in comparison.
Doesn't have much to do with keys thought. You can be in the same key but an octave lower and get the "heavier" sound. This is more just a pitch thing than a key thing.
Britton Stanaland It’s reliant on cultural contexts, but if discordant ratios are present then we have a natural emotional aversion that influences our opinions of such songs to sadder/angrier/uncertain emotions.
@@WilliamElliottHinson Pitch and key are directly linked though. I agree with the core of what you're saying, that obviously dropping anything in any key down an octave or two is going to achieve a similar effect, but it's still true that once you're already in a lower octave lowering the key itself can change the color even further.
Question for your next Q+A :- What makes a good bassline?? I was watching one of your Q+As and you said your favourite bassline was from "once in my life" by Stevie wonder, I looked for it, and found it cool and a bit unusual for me..... But does it serve the song in a way I don't see?? Love your videos keep up the good work
About the difference in feeling between different keys : depending on how high or low it is, a tune/melody/cadenza will feel differently. This of course depends on the instrument on which you play it, and its timbre and ambitus. On the piano, there is a difference in what works or not in G or in Db for example, and you won't play in Db as in G "but a tritone higher"
I’m gonna be honest I rly don’t have a clue what he’s saying most of the time but it’s interesting
Learn music theory!
@@epyonsystem1869 i knew nothing about music theory before finding this channel. ive never found anything more interesting than this stuff
Me too. :D
I find that w/ lots of videos. That or else I forget it five minutes later....lol.
Theory Nurd...
1:54 "There are really two traditions of bossa nova: bossa nova as it's performed by Brazilians, and then bossa nova as it's performed by Americans as propagated through American jazz schools." Actually, there's a third tradition: bossa nova as it's performed by Japanese musicians. I don't have the musical vocabulary to describe how it's different, but I can tell it has a distinct sound.
N i n t e n d o
“But are you _The Girl from Ipanema_ bossa nova, _chirp_ from Minecraft bossa nova, or Rhythm Heaven Fever bossa nova?”
tends to be very classical-inspired
Fascinating, any recommended examples?
@@joelwhite2361 Fly me to the moon from the evangelion soundtrack
The future of Pop will be Bass-Boosted Neo-Soul! The Liccer has spoken!
Do, Re, Mi, Fa, Sol, La, Si
@@arturoc4242 is this some kind of joke
It already came and went though
That's already Charli XCX
Please, no "hard r"; use "Licca" here.
“What will be pop music in a year”
It’s backyardigans music.
Bossa Nova baby! Noir!
or sea shanties :D
Words you wouldn't use in your -daily speech- _quotidian vernacular_
Ah, most of the times strange English words are Latin words derivations, from an Italian point of view it's much easier to understand the latter xD
Francesco W. As an English speaker who learned Italian in school, I agree. I immediately see that and think of “quotidiano“ then translate that to English
@@wanderfra42 And that's why we, french, italian and spanish people especially, sound so weird using those formal-sounding words in the middle of our broken english sentences when we actually just project and "translate" our own words haha
@@stephaneruhlmann3262 Ahah, so true!
@@stephaneruhlmann3262 As a fellow baguette, I too enjoy complex words with Latin origins.
"It's just music." That is so true. I learned that lesson on 9/11. I was in a toxic jobbing band at the time. The name dropping about how great all these other local players were, rubbing our noses in it, combined with the constant dagger looks and "stink eye" over every little minor detail that wasn't perfect, particularly with guys who were subbing or an add on to that evening's gig who were sight reading poorly written charts was bad enough. The leader playing the victim after the gig as if he'll never get another call because the tenor player went a little out on a standard during dinner set, all the anal BS, was simply destroyed when I saw those buildings collapse. I quit some weeks after as I was doing a lot of soul searching, trying to figure out what was so important about music that people make a federal case out of being human. And it struck me, I was miserable because music had turned into this horrible habit like an addicting drug that players would feel so much pressure to be perfect that they constantly self-flagellated as a perverse means of comfort. I forgot why I fell in love with playing music in the first place. When I was a kid, it was fun and it gave me joy...simply. So, I bailed and looked for something else. I ended up playing with a bar band with people I knew that had an absolute blast on stage every single night. The audiences loved it, I could wear jeans, sneakers and a T shirt and the kicker, I was making comparable money without the sweaty tux, the load ins where I had to navigate the labyrinthian downtown hotel loading docks and kitchens, nor did I have to put up with the bullshit. I was smiling again and playing better than ever. At the end of the night bandmates patted each other on the back and during the gig if there was a clusterfuck, everybody had a good chuckle over it. It's not the end of the world. We're not performing surgery and we're not rushing into a building trying to find living humans that was destroyed by terrorists. It's just music.
Happy for ya
*has an old book that looks like it could crumble apart at any minute* Adam: “YEET”
what, you don’t pour coffee on your real book like a true jazz musician?
First sign of a noob is that his real book is pristine so when you get a new real book, be sure to distress it.
All my music books that I’ve learned music from look like they could fall apart at any minute. Most of them are falling apart. They’re not for sitting on bookshelves you know.
The future of music is probably just a 15 minute vinyl record of Adam talking Jazz theory while playing some piano every once in a while.
Don't tell me you wouldn't buy it...
User Unknown I wouldn’t buy it. There. I said it.
Why would you say something so controversial, yet so brave?
🅱️🦊
No it would be a podcast or a talk thing
... i'd download it.
1:43
Me: why is that real book so worn down?
1:50: Ah...
That and his coffee ad 😂
I laughed so hard
Adam, be honest, did you sweeten the sound of the Real Book hitting the wall in post for comic effect?
th-cam.com/video/dD0e5e6wI_A/w-d-xo.htmlm32s
That's why
Cawfee
"yao" is the worse pronunciation I've ever heard of my name. Love it.
How do you pronounce it?
@@allisonbishop is it hoao?
Isn't it pronounced something closer to "zhwow?"
I read somewhere that the portuguese / brazilian ao sound is kind of a nasal n sound with a hint of a g at the end, so joao would sound almost like the english name john, but much spicier of course. Is this correct?
Jeremy Smith Brazil here. That’s correct sir!
When the Coronavirus cancels your gigs and you have to resort to a super fast Instagram Q&A
KaeM TRI-PO-LET
Maybe he can make more of them then, he do get money from ads?
i literally cant read sᴜᴘᴇʀ ғᴀsᴛ ɪɴsᴛᴀɢʀᴀᴍ ǫ&ᴀ in a speaking voice it has to be in triplets
@@otterbread8200 Well... Me neither, what kind of spell has that thing
Yep. The virus can really get the BASS out of our lives any time now.
I'm glad a musical genius like Adam fully recommends Hiromi. I had the misfortune of arguing with a music snob who dismissed her as a non-jazz hotdog.
TBF if Hiromi were a hotdog I would definitely put some spicy mustard on it and shove it down my throat.
@@tz4601 bro what
@@aerchys4779 I mean he's a bit confused, but he got the spirit
1:49 That pronunciation of João Gilberto was just atrocious, I loved it.
Yao-Gill-Berto instead of zhoo-uh-oh zhil-berto
João Gilbertos Chinese cousin Yao Gilberto
I loved it, it had big slav enegry
Native English speakers can't pronounce the sound "ão"
just...não
as a very amateur producer - i do feel that learning keyboards is hella important to the process of producing. Being able to at least shred out the melody or chord without clicking over and over and moving the note helps so much with production
As a not so amateur producer I can say you're 100% correct. Personally I've always had a very basic music theory understanding that I bought to music production but honestly thought it was all too hard for me, so I dived right into the production and engineering side of music.
15 years and 5 releases later I decided that not knowing theory and having any instrumental skills is what's holding me back, so now I'm working on that side of things. So I'm learning and honestly it's been a really good decision!
In a way I'm glad I've done it this way around, it means I've grown as an artist and understand what I'm striving for in my sound. So learning more theory improves the way I can create "my sound" and having better instrumental skills means getting ideas down becomes quicker. You spend less time noodling around the piano roll/midi controller, although do not underestimate the power of noodling. It's amazing how much you can come up with just knowing basic intervals and noodling about! If you add great production on top of that then it can end in some grea results.
Keep on creating!
It HAS to be a Real Book, look at those coffee stains! That proves it!
The more coffee stains it has, the real-er it is.
Crusted porn magazines are the realest.
Adam's response to the question of whether music belongs to its creator or the audience is very very good. He nailed it. Music is indeed a shared language; it is a link between composer and audience. We indeed interdepend on each other through music
So about the girl from Ipanema
As a brazilian, we mostly know the version from Vinicius de Moraes, that is played on f major so I guess that the real book took it from there
Jobim did indeed write and perform it in F. There's also the art on the walls of the old Veloso bar--now called Garota de Ipanema--where they used to sit and watch the girl who inspired the song, which is Jobim's handwritten sheet (in F).
4:50 I'm working on my B.Mus in Commercial Music at a state university, and our program has the option to focus on eng/prod or comp/arr instead of instrumental performance; all the students still need to play at least one instrument and/or sing, as well as be involved in at least one performing ensemble, but instrumental performance doesn't necessarily have to be the primary focus. I find this to be an effective balance for training well-rounded and versatile musicians.
*Ah, yes. The calm bass voice that everyone needs right now.*
I think he’s more of a low baritone
Friendly reminder that speaking voice does not equate to singing voice :)
Well seriously, I´ve been having some bad corona-anxiety this whole evening. This video got me into a so much better mood. Thanks dear Adam!
“Noir” is the perfect name for the vibe.
I love how in the ending Adam's voice is panned right and he himself is on the right side of the video. Great attention to detail
Pretty sure he just has a good mic
bong bing boom bap pow bang zip zap zoop pop bang has nothing to do with that, he did not change his position
@@Liniluslp what's with the bong bing boom bap pow bang zip zap zoop pop bang
I only ever understand 10% of the words spoken in Adam Neely's videos yet I return every time
1:01
Lo-fi instrumental makers: "WRITE THAT DOWN"
Haha, after I heard it, the chords kept on repeating in my head as a lowfi beat 😂
just saved this video gonna try in the stu😭😭
Adam, I do have to take the time to write an enthusiastic comment. Your videos are among the top things to be found on youtube. They are never boring, always very, very interresting. The Q&A, the music-critics, the insight into the life of a profi musician in NY, etc. etc. - simply phantastic! I am saying this with a strong background of "hating" most of the youtube things, especially tutorials which are in most cases inefficient sources - far too much talking in most of them, so there are better (more efficient ways) to explore the respective topic. This doe NOT apply to YOUR videos - they are never boring, always imformative, concise and clear. Thank you so much!!!
Another thing that’s notable when discussing the different feels of different keys, even in 12TET is the keys we are used to hearing by instrument; for example we are used to hearing guitars in G major/E minor or C major/A minor so we can make things sound a bit less expected by using other keys; some are less strange like switching to F major or D major, but using something like F minor on a guitar can sound strange, especially with the open strings that will often sneak in there adding in some hidden dissonance. Similarly, we’re used to hearing violins in variations of G, D, A, and E, banjos in G, etc.
very true! in piano the key shapes a lot of how you approach your chord voicings and what melodies fall naturally into your hand
Not to mention the guitar itself is far from perfect 12EDO. Adam went over this himself while playing the True Temperament guitar with Paul Davids (is that his name?)
Yes, true, yes, and yes that's his name.
Guitarist here. I absolutely *love* experimenting with open strings on chords that wouldn't normally have them. For example: (In drop D tuning) 1-3-5 Dm with open D, B, and E. Or Bm7 (started on the A string), but instead of playing it barred, you let the G and E strings ring. I don't know what it is about that maj 2 AND min 2 together that sounds so surprisingly nice, but it does.
Partly because most people do not have perfect pitch, but also just in general I really question this notion that different keys have different feels, especially in a culture that regularly uses a 12 tone tempered system of music. The main way playing a piece in a different key matters is if by transposing a piece up or down too far from it's 'normal' key you are pushing a particular instrument(s), including a human voice, too close to it's technical limit for making a clean, clear note, or just significantly changing it's timbre. As a piano player I don't worry too much about that for most songs but if I played French horn or saxophone I'd be concerned about it more often. Wind and certain string instruments are made in a variety of keys for just that reason. Of course on piano if a certain piece reaches the upper and/or lower limits of the keyboard in certain parts then it matters more where you are 'starting' because that will determine what that very high part or low part sounds like. But once again that is because of the technical limits of an 88 key piano: the very high notes get kind of 'flat' and cold sounding and the very low notes get kind of 'rumbly' or boomy, less distinct. So that melodic line or chord when played at those fringes will have a different emotional impact or effect because of the mechanical nature of the instrument and the sound it produces. Not because A major is "strong and noble" whereas C sharp major is "yearning or reflective".
Another way it could matter is if by transposing a piece up or down, in other words playing it in a different key, you are simply taking a melody or arrangement that works better in a certain pitch range and putting it in too high or low of a new pitch range for it to have the same subjective effect. In other words it's the particular song and instrumentation that works better in a certain area of pitch range. Change it slightly and it might not matter. Transpose it five whole steps and you might have big problems. You wouldn't expect to hear Frank Sinatra singing up in the area of that guy in Air Supply or Rush, or vice versa. And it would not be just the fact that Sinatra had been crooning in E before he switched keys and the rock bands had been wailing away in B before they switched keys that would make things drastically different. It would be what the particular melodies and instrumental parts of those songs demanded in terms of pitch/octave range, and changing the timbre of all the instruments extending into those new ranges. Plus the learned cultural baggage of not being used to hearing singers we already know well, singing outside of their accustomed range and style. It would not be because E major as a key is "easy and swinging" whereas B major is "athletic or hard rocking". Any key can conjure up anything if the right piece is played in it.
As musicians we may get used to certain styles of music normally played in certain keys, like some of the flat keys for horn arrangements in Stax or old R&B. So because of the the technical nature of the instruments used, those songs were and are normally played in those keys and we associate them with certain things or subjective feelings or memories. It is not because the key of E flat itself conjures up the Mississippi Delta.
So if every day we hear the opening to 'Also Sprach Zarathrusta' because it's the sound our computer makes when we turn it on, and one night we hear a local school band or orchestra play it transposed up a step and we think "that sounds different", and like most people we are not blessed with perfect pitch, it's because we are so use to hearing it on a regular basis that we notice the difference, which I guess would be considered a form of relative pitch. If we think it sounds better the old way that's because we are used to it. Maybe those low opening tones don't have quite as much heft raised up a step. If as the piece develops we notice those high woodwinds sound a bit shrill here or there, that might be because in the new transposed key, up a step from what the composer intended, some of the instruments just don't sound quite as lovely pushed to the edge. Not because of some mystical reason that one key has certain characteristics and another key has other characteristics.
And just because I have no idea when to stop, if you played the opening to Beethoven's Moonlight Sonata in D minor instead of C sharp minor like it should be, no one would notice the difference. Except for piano tuners, people with perfect pitch, and maybe some classical musicians or aficionados who had just recently heard it or were practising it themselves. Even though C sharp minor is the key of pensive melancholy tinged with a sense of profundity and D minor is clearly the key of rowing in a rented boat on a Sunday afternoon or smoking a spliff in Jamaica.
Thanks for listening to my rant, I really enjoyed writing it lol. 😊
I'm having an existential crisis thinking about matter and how inconsequential us and the matter around us are in the grand scheme of things. Usually I would enjoy this video, but today I'm feeling like music is one of many distractions to stop us from thinking the thoughts I'm thinking right now. :)
I grew up listening to The Girl From Ipanema record. When my guitar teacher tried to teach it to me in F im like, no thank you and I learned off of the record
my respect
Whose record?
When I learned it in Brasil 40 years ago, I was taught it in F, or fa.
I love these q and a's. Adam always recommends the best music. It always reminds me that I should listen to more music outside of my comfort zone
Thank god for him introducing me to Hiromi. Love her music.
isn't playing Sul G, playing on the G string only, kind like you want a particular color?
the notes are there on other strings too but it really does sound differently and werstern composers have asked for specifically that.
You're right, I guess. I am currently working out a lot of TOOL-songs on bass, and I find that subsituting a note on a different string (same octave, though) to make quite a difference ind "colour".
Yeah , and there's a lot of bass works that rely on switching between fingers, nails, slaps, picks, teeth, tapping, fretting, thumb, double thumb, fretting with thumb(s), striking with percussive objects strapped to all fingers except the thumb!!! all to make the difference in tone, and a few other things. Although the examples Adam gave, I felt, is that those tones are assigned to specific inharmonics and notes of a given modes that remain consistent... I think
hey op where's your username
Reminds me of Jamerson, where people learn his basslines in the regular rock bass style of playing, in that 'box' usually centred around the 5th to 7th frets, and using alternating finger plucking. It never sounds quite right. Once you learn to use one finger in first position with a lot of open strings, Jamerson lines come alive. It all flows together in the way that he played it, unlike the more stilted sound you get from the more standard approach.
Lo-fi n o i r - beats to relax / study to
1:53, as a brazilian, yes, Db for "Garota de Ipanema" ("Girl from Ipanema") feels way more natural and like "home" to me, I always felt that something was different when listening to english version of this song, not necessarily because of the different language, but something always felt off and I couldn't really put my finger on to why it was and never really looked much into it, but now it makes sense, it was always because of these two versions being in different keys, that makes sense!
(brasileiro aqui) cara eu sempre acho que ela em fá é mais natural, sempre ouvi a do Vinícius de Moraes mas ¯\_(ツ)_/¯
olha que coisa mais linda, mais cheia de graça
I can't tell how many times I came to Adam's channel just get motivation to keep writing music. +1 today
Neely: Bossa nova is basically jazz
Jobim: Hold my berimbau
_capoeira jazz intensifies_
And his pronunciation of João Gilberto... lol
@@felippebueno6046 _cries in chega de saudade_
Felippe Bueno “Ião” x)
I'm brazilian and I don't know Bossa Nova and _never even heard of_ "Capoeira Jazz".
I feel a little ashamed.
Why do I like to listen to you - You are open, modest, knowledgeable and a person with a spine - a rare combination these days
1:32 "Almost every trained jazz musician I know is intimately familiar with the Girl from Ipanema..." Well heck, she really gets around. [dodges tomatoes] [Sorry I'm forever 12]
Speak for yourself. I smile, but she just doesn't see.
if only that were true
I'm glad you do not have ads. So refreshing to see you still stick with your educational content and no ads are ever interrupting.
Huge hiromi fan, glad to hear you like her too.
She's tremendous. She really feels the music. I'd love for her to come stateside once Mr. Covid decides to leave.
Yes, I have known of her music for very long yet I paused the video right after Adam mentioned her and went to listen to Temptation just because haha now Im back for the rest of the video
@@dougdrazga4461 I went to the Montreal Jazz Festival and saw her play with Edmar Castaneda with my girlfriend. Hearing a duet arrangement of Place To Be as a second encore performance was something I'll never forget.
Adam, thank you so much for leading me to a wonderful new discovery for me, and that is Hiromi. Astonishing.
I understand nothing about music theory but I like these spicy chords
Excellent fusion recommendations! It's such an underrated genre now. Herbie Hancock has to be the most musically intelligent human being I have ever heard.
This channel has some good music.
The version of "Girl from Ipanema" from the Jobim album "The Composer of Desafinado Plays" is in F Major. That's where the Real Book key comes from. This version predated the Getz/Gilberto by about a year. Later, on Jobim's album "Tide," there's another arrangement of it in F Major.
I think it's safe to say that Jobim originally wrote it in F Major and preferred that key, and the adjustment to Db was probably to suit Joao/Astrud Gilberto's range.
Triste, on the other hand, was originally written in A Major, but always appears in Bb. This would be more of a "convenience" move, I think.
Hey Adam! A couple of curiosities about Bossa Nova and Garota de Ipanema....
Garota de Ipanema was written in 1962 by Tom Jobim with lyrics by Vinicius de Moraes in F, the original key from The Real Book. João Gilberto and Stan Getz changed the key to Db for the album
Other interesting fact: Bossa Nova is originated from Samba, as it absorbed Jazz influence... although it's never described by their own musicians as an Artistical Movement but rather a Samba Style, since it was developed organically with no Manifesto or proper set of rules. So even though there is no doubt that Bossa Nova has Jazz on its roots, composers such as Carlos Lyra insist on calling it Samba, not Jazz.
Regardless that 1962 Bossa Nova's show at the Carnegie Hall was considered the introduction of the style to the US public, the US Jazz absorbed later great influence back from Bossa Nova when in 1967 Frank Sinatra invited Tom Jobim for an Album, looking for ways of innovating Jazz - that was being taken over by the Rock in the radio stations. But to be honest I did more of a Historical background research over the subject and never developed any analysis over what technically was brought as Bossa Novas' fresh elements to Jazz, besides the "João Gilberto's batida".
BONUS interesting fact: Frank Sinatra & Tom Jobim's recording of "Garota de Ipanema" is in F
I would like to take this opportunity to say that I really enjoy your channel's content...it is always very educative and fun to watch:)
4:29 Hit the nail on the head. Welcome to the world of hyperpop, Adam! (Possible video topic?👀)
For those interested in fusion: check out Japanese band called Casiopea. Mint Jams here on TH-cam is, for me, some of the best fusion-style music out there.
I was just talking about the beauty of Flood. The tight incredible groove and Herbie making crazy noises on the synth..just so awesome
I’m freaked out because I just got done writing a song where the solo section starts with these EXACT two chords
Gonna be a lot more songs with those chords after this video, lmao.
Where?
@@dazednconfused41 indeed
So good to hear about Bossa Nova these days! Great insight.
Cheers from Brazil!
You made this whole video just so you could say “mingusian”
At 2:39 minutes: You've nailed it: 100 percent. It's just music -- which takes a back seat to the real salient and genius things in life. Certain things are more important than others unless you are engaged in the *business* of music -- to make a living -- then -- it may move the needle.
4:29 can't wait to listen to some deep fried music
Babs likes cartoons and I like your handle 😁👍👍
I like my music like potato chips.
*D E E P F R I E D*
isnt that just noise music?
100gecs
Charli XCX
Thanks for these videos. Your passion for music culture is infectious and I love the perspective you provide!
1:46
I didn't expect "the real book" to actually be titled "the real book"
Dude you are literally everywhere.
Are you new?
@@marciamakesmusic no, just been seeing him in places where you wouldn't normally see him
@@drcks wasn't replying to you
you didn't know that?
5:42
Another really important factor is how low you want your sub bass to be.
F is quite low at around 45hz whereas C is at about 60hz
So low keys usually have a darker deeper vibe
I have mild synesthesia and G is sky blue! It's like one of my favorite note colors next to D, which is deep ocean blue.
I’d say the “Death of the Author” argument is mostly about asking, “who determines what the music means?” the same way that the question applies to literature. I really liked your way of fracturing the dichotomy between creator and listener, acknowledging that neither will draw meaning from the music in a vacuum, thereby also fracturing the idea of authority over the work’s meaning. It cannot be centered in any entity. It will always come from a matrix that includes creator, work, listener and the surrounding semiotic network that informs each person in individual ways
If you as a musician want to be really sure your audience "gets you" the way you see it - don't be vague, go full Rage Against the Machine. An incredibly difficult band to misinterpret.
Omg you NEED to listen to "The Black Saint And The Sinner Lady" jazz is more of an "oh that's cool" thing for me (More about the theory I guess) but I would actually listen to this album.
I don't understand most of what you're talking about but I'm trying to learn.
I appreciate you taking your time to make these videos.
Music is awesome.
Some day I will get lots of instruments.
Right now MuseScore is working for me.
Don't have much monies for them right now.
Will keep that in mind, learning an actual instrument would be dope.
For your next Q&A:
What is the most beautiful minor chord progression you ever heard?
Question for the next Q+A: how often do you change strings for different genres? For jazz I like the “few days old but not DEAD” while for funk and many others I prefer newer strings.
Hello Adam Neely, I love your TH-cam channel, thank you for being such a responsible influencer. I have a question, why does EVERY national anthem around the world use western tuning? They even go so far as to incorporate classical european features as much as possible...
For your next Q & A:
Is music composition something worth studying in college? I have really found a passion in writing music (usually jazz) but I worry I won’t find a career. If you answer this, thanks for the answer. Your videos are one of the reasons I still enjoy pursuing music.
i've heard "disney" used as a mild slur before, too
re: Timbre and "feeling" of keys... I read an academic article in a music journal that one of the reasons for Beethoven's emphasis on C minor in his most dramatic works was due to the resonance of the key of C on his Cristofori piano. The number of strings with sympathetic vibrations to C and its intervals simply made the key louder, and so easier for him to hear. By the same token, we'll often find music for violin composed in keys related to the open strings (G D A E), because they "feel" more powerful in those relations. This may have been true earlier in the 17th and 18th centuries, when the great makers like Stradivari and Guarneri actually "tuned" the resonant frequencies of their instruments to those pitches; a trait that gets a bit lost when we moved concert pitch to 440 and started writing in Eb to accommodate vocal ranges.
But if you want a good bit of musical woo, look up theories on music and the humors, going back to Zarlino and before him. They were obsessed with how modes impacted a person's mood and character. Wacky stuff, considering no two theorists agreed, and they weren't even completely settled on the names of the modes until the 1600s.
8:01 I heard g is brown and my brain broke
I love hearing what colours notes are for other folks with synesthesia, though, it's so interesting
Everything is on a red-blue spectrum for me and it depends on the chords too
G has always always been green to me
@@DanielBoonelight me too
OMG 7:24 "Heavy Weather"! This was the ONLY album I had when I moved to NYC in the mid 80s. I got to listen to it for 6 weeks (ok there was radio, MTV, and U68).
This was because everything was being shipped Internationally which took 6 weeks to arrive. Coming from the UK so anything electrical needed to be bought, so I got a record player. It would have been ridiculous to re-buy my record collection, but I found this album in the basement of the apartment. Coming from the UK I'd never heard of "Weather Report". I got to know that album VERY VERY well.
This is like the question "What single album would like bring to a desert island?"
Except I had no choice ... I was given this album ... honestly it was a great intro to moving NYC.
PS If you're wondering, there are MANY MANY very well known American bands, tracks, and "famous songs" that simply DID NOT make it outside the USA, but there again I can list a lot of UK ones that never made it to the USA either. It's a somewhat musical culture difference between even the UK and USA (which most people think must be similar), and it's amusing when people say to me "you MUST known such-and-such"! It's even more amusing when I listen to their fabulous track, and I'm not impressed, but it seems to me that a lot of music is appreciated nostalgically, such as when the track was experienced in that 67 Chevy driving with your friends (or partner) and all those feelings have been attributed to the track they love. Of course, in my 50s hearing it for the first time ... that nostalgia just isn't there.
SAMMY RAE IS AN ABSOLUTE QUEEN
thank you for coming to my ted talk
IF SHE BREA- **gets shot in the chest**
... I don't even know what this reference is from lol
Whereas other genres are rollercoaster ride of emotions, jazz for me is a safari.
Riding along familiar roads yet full of little surprises. Enjoying the ride, and going on it again and again to find different things.
The subsets that focus on technical mastery or boundary-breaking seem more like sports and "art", so while I love them and appreciate them, not my top priority.
Absolutely love the educational/intellectual approaches too but I just keep going back to the "same" 500 variations of Misty out there when I am in the mood for jazz. :)
Thank you for all that you do and share! Was hoping to see you guys in LA in Jan but couldn't make it. Maybe next time!
If G is brown what is the chord in the painting behind you?
If I were to guess, it would be Gdim
*Gee*
@@saulo4302 I always imagined G to be green....buts that's just G. (that was bad, i'll see myself out)
@@Edgelordess
... what?
Adam your explanations are awesome! Your education was not wasted, and your talent is wonderful. Keep up the good work!
Adam: "e/pi polyrhythm."
Me, only half-attentive: "Conlan Nancarrow."
So, apparently I do remember stuff I watch from your videos.
Great video (as always), Adam!
Adam, when I finish watching your videos, specifically Q&As, I feel like I’ve got enjoyable homeworks to do, for example listening to the albums you recommend!
Re: non-instrumental majors in schools, don't most schools still require that everybody learn piano? At my school (UofAZ), everybody had to do a year of piano, and education and composition majors had to do two.
it's very visual, so it helps a lot when learning harmony because it's easier to see the chords evolving rather than just conceptualizing them
Always smiling through the *bass* ups thank you Adam ❤️
Bilmuri did an interesting thing I'd never heard before at the end of his song THEMURIWITHHUMANHAIR; it was I think a bass boost? It's hard for me to explain but I think that's right.
A few questions for your next CORONAVIRUS Q&A:
- Here in spain we are in quarantine, i play guitar and would like to start playing piano. Any book you recommend with a good system to learn and an easy introduction to reading music?
- How do you think it will/has affected the quarantine? Will you be focusing in practicing, in new projects, composing or developing the current ones?
- Tatoh or TheViper?
Cheers and stay safe
I think that was the weirdest pronunciation of João I've ever heard haha. I love your QAs
Man these videos help me so much with understanding music theory, and half of this is all new to me cus I dont rly listen to jazz
Surprised to hear mahavishnu orchestra mentioned on here, literally never met anyone who knows them. That's my favorite album of theirs, birds of fire, really good music
yeah, i know it’s just a 1 year comment but only now i’ve heard about it (actually from november 2021) but not from this video lol they are pretty cool
learnt and started thinking out the box in so many ways just for this Vid. Thanks Adam.
Hey Adam,
I was considering Todd In The Shadows and the opinions on the concept of genre that he expressed in his Old Town Road video. Your thoughts? Do we even still need genres? Are the lines between them blurring more these days? Thanks and keep up the great vids.
I think we are entering a world of musical exploration. I did a whole college final on this last semester. I mean we have trap music which is trance and rap combine into one genre. Blues became rock and rock split into punk, alternative and metal. Pop music does this thing where every few years there is a hit trend. Like I reemember there was a time where vintage was hot and we got songs like Dear Future Husband, which had this doowop vibe.
Yes my question made it!! I'm glad you love Hiromi Adam :-)
Keep up the great videos!
How did you watch this 2 days ago?
@@s00per_bluper P A T R E O N
@@s00per_bluper I'm on of his Patreon supporters and we get early access.
It's funny, you echoed my sentiments exactly on Hiromi demonstrating the fun of a modern sound to jazz, except for me I first got it from that live session Louis Cole and Domi did.
In fact, you introduced me to both Knower and Hiromi so many thanks Adam, I'm really liking the album Brain where Kung Fu World Champion is from.
re: keys having different feelings despite 12 tet system; I feel this pop up in metal music a lot. While lower tunings can often make things sound 'heavier', higher (or less low I guess) tunings can sound much more energetic in comparison.
Doesn't have much to do with keys thought. You can be in the same key but an octave lower and get the "heavier" sound. This is more just a pitch thing than a key thing.
Britton Stanaland It’s reliant on cultural contexts, but if discordant ratios are present then we have a natural emotional aversion that influences our opinions of such songs to sadder/angrier/uncertain emotions.
@@WilliamElliottHinson Pitch and key are directly linked though. I agree with the core of what you're saying, that obviously dropping anything in any key down an octave or two is going to achieve a similar effect, but it's still true that once you're already in a lower octave lowering the key itself can change the color even further.
Working on a backing track with these chords. So fun to improvise over.
1:50 "Yao Guberto"
He tried xD
Ri demais hahahahah
an attempt was made
Dude u gotta make an essential listening playlist for jazz in every decade for quarantined boys
"Don't take it too seriously. It's just music." Adam Neely - 2020
I can't fathom why anyone would downvote this great content. Thank you Adam
6:00 downtuning in djent and metal in general changes the feel
Doubt it
@@Jay-uv5xg don't, it does...riffs written for d standard sound very different in e or eb
Man your videos are the best thing on the internet ngl
I love how his calm demeanor bleeds into his memification.
Question for your next Q+A :-
What makes a good bassline??
I was watching one of your Q+As and you said your favourite bassline was from "once in my life" by Stevie wonder, I looked for it, and found it cool and a bit unusual for me..... But does it serve the song in a way I don't see??
Love your videos keep up the good work
For some reason my phone decided to turn up the volume right when Neely said B A S S B O O S T E D S O U N D
Tom Wait’s “This One’s From The Heart” is that Fm9 to Db7(#11) magic. And noir is the perfect description for it. Love it.
Adam: “Welcome to the superfast Instagram q&a”
Also Adam: Plays everything without looking
Big Vinheteiro vibes
Babs likes cartoons Ye and super delicious chords
the coffee doesn't fix the wrong changes lol
About the difference in feeling between different keys : depending on how high or low it is, a tune/melody/cadenza will feel differently. This of course depends on the instrument on which you play it, and its timbre and ambitus. On the piano, there is a difference in what works or not in G or in Db for example, and you won't play in Db as in G "but a tritone higher"
4:30 adam i feel like you've possibly already answered a question about 100 Gecs
Glad to see you're working from home