I wouldn't recommend sleeping with a metronome. They aren't capable of emotions, making the lovemaking process much less pleasurable. 0/10 wouldn't metrobone
Wolarski - Every time I visited my Grandparents as a kid I would have irregular dreams and wake 30 seconds before my alarm went off. Now Im wondering if it was because of the clocks! Looks like im going clock shopping tomorrow.....For science. And for once, "Clock shopping" wont be a euphemism for something dirty 😁.
I'm still sleeping with one of these. Now I know what influenced my whole music career. My achievements are rather poor, so sleeping with a metronome is definitely not enough 😃
Leaving a metronome (or drum machine for thatmatter) running and out of reach, helps to keep me angry and just sub catastrophe Crazy. "why is everything all shit just now? oh, that GD THING is still going"
This guy is a national treasure. I've never known a music teacher who is so clear and concise in his explanations. I could build a whole curriculum of Adam Neely videos.
you don’t know what you don’t know is a true statement. But so is you don’t know what you do know. And also, you do know what you do know. And of course, you do know what you don’t know
Not sure if someone's already pointed this out, but many people do sleep with a metronome at 60bpm every night: the clock on the wall! Very interesting to think that it might have actually improved some skills. Guess I need to get a louder clock :P
My alarm clock was 90 bpm. (Or say 180 if you don't hear the subtle difference in its forward and backward tick.) I used it for basically my entire youth and I suck at music.
It's makes it so that we don't have to click on the video if that's the only question we care about. I also assume that he has enough self confidence that people are still gonna watch it.
I think he actually explained this one once (can't remember when) - basically people kept complaining that he didn't give a straightforward answer to the question in the title (usually because there isn't one), so he started putting the basic answer in the thumbnail so those people would leave him alone and the rest of us could listen to the actual answer.
I think for a random passer by, it also gives them an idea that he's got other cool questions he has answers for and will answer. It's like, a clickbait but for valuable information being there. But anti-clickbait in a sense that you DO get what you click for, and it couldn't be more honest. And on the flip side, if you hate that, there's no weakness you can attack. It's almost... flawless.
I almost didn't find this channel, even though TH-cam kept suggesting his videos, because so many of the titles seem like things I'm not interested in, but it turns out there's a ton of other cool stuff he talks about that I am interested in. Even though I'm subscribed now, I initially skipped this video, 'cause I didn't realize it was a Q&A video, haha. :P
That last answer! I decided a long time ago that anything I learn is something that could be useful one day, and I like the person it's made me. Also, I've got a specialized metronome that plays 1 Hz quietly, 24 hours a day. I've heard it called a "clock."
When I was a working musician I parlayed my really strong relative pitch into absolute pitch by waking up every morning, singing what I thought C was, and checking it against my piano. Took a month or so.
I’m Italian and of course the notion of movable Do had always confused me, as explained by English-speakers, here on the internet. Now I actually understand why 😂 thanks!!
Live vs Recorded music as you mentioned big band music. The way it was explained to me back in the Jurassic era when I was a recording engineer. That recording gear, mic's, consoles, tape (yes, I'm old) and so on for the most part only handle the range of the human ear 20 hz to 20K hz. But in real world of live sound and music there are sounds up to 100K hz being generated, we can't hear those sounds, but they do bounce around in the club, room, concert hall affecting the sounds we do hear canceling (phase cancelation) and emphasizing different frequencies we do hear. Thats why when recording there are some many tracks doubling, other instruments, and other things that get mix low to try and fill up the recorded sound. One album I worked on the artist recorded the tracks in his home studio that was so dead it sucked the life out of everything recorded. To get some life back into his tracks we put a PA speaker under a piano with speaker close to the soundboard, Then we put a weight on the sustain pedal and mic the strings of the piano. Then we made a rough mix and sent that out to the PA speaker and recorded the sympathetic vibration of the piano's strings. That got us some overtones and life back into the dead sounding tracks. that we mixed into the song underneath everything.
I like how your reason for choosing bass is exactly what I discovered I love about bass playing. I enjoy having a harmonic structure in place and throwing it out the window as soon as I get to bass.
You're like my musical soul mate. Everything you teach I either agree completely, or I learn something new that makes so much sense and complete what I already knew. Example: the reason you gave for why you liked bass, it made me realize I that it's the reason why I like it too, yet I could never fully put my finger on it. Thanks for that!
Hi Adam, I have a question for your next Q+A: Does naming a music piece improve or harm the whole musical experience? i.e will it add more "clarity" to the piece or will it just force a perspective onto the listener? Keep up the good work.
Not unlike adding a title to a painting, or a (literal) frame to a photograph - it provides context, which might be desirable or undesirable on a case-by-case basis. Many paintings are purposely left "untitled", and many photographs unframed. I guess not adding a title might be more of a "purist" approach (and as an amateur photographer I dislike fancy frames), but I don't think having one is necessarily a negative. After all, *all art* gets interpreted within context... Interesting question.
I feel that adding a title should never hamper the interpretation of the piece itself. There's been plenty of songs I've listened to that I felt the name had little connection to the song. On the other hand, it gives good insight into what the artist was thinking at the time. Even classical composers that used mainly opus numbers at least labeled their pieces with a style, like "waltz" or "sonata", to describe it. Having no title at all seems like it would be a pain to sort if you start writing a lot of untitled works, and a pain for listeners trying to find your work.
It depends. It's basically about "absolute music" vs "program music". If the music is about something concrete and not just music for the sake of music, then it's usually supposed to be interpreted in a certain way, and adding a description makes it much easier to understand the piece of music. And I would argue that listening to the piece of music without understanding what it's about may be pretty confusing. But if it's not about anything concrete and it's just music for the sake of music, then naming the piece doesn't really mean much. Of course not all music is 100% absolute music or 100% program music. I'm pretty sure most pieces of music are somewhere in between. But there are some clear examples of program music where not mentioning what it's about would just be confusing. It's kind of the same as naming a piece a "symphony" or a "sonata" - when you know it's a symphony or a sonata, you have certain expectations from the piece and you know "how" to listen to it. The same goes with knowing that something is a jazz tune or whatever - you approach listening to different styles of music differently. If you don't understand the "point" of jazz music (basically improvised variations of a theme), you will probably not get much out of it and it will just sound like different instruments playing random stuff. I think the same applies to listening to any kind of music. Being informed about what the music is about makes it a lot easier to approach it, and certain musical choices start making a lot more sense.
Mina Bahig I think you should always interpret music in your own way but I think that by having a title it can help you interpret how the composer feels about the price and wants the listener to feel about it.
Adam, I love the answer to the last question in this. As a drummer, I find that I learn so much from you that while not directly applicable to the drums is completely applicable to me as a musician and an artist. I find that understanding the concepts and music theory that you share has helped me better understand how to best support the other musicians in the group with the drums. I find that it has helped me in choosing and developing grooves and fills that fit the music, and the situation rather than simply showcase chops. I have learned so much from you, Rick Beato, and 12 tone, and it has opened up so much musical potential, understanding, and tools for me that have helped me to get the music that I hear in my head out into a form I can share with others. Thank you so much for your careful attention to detail, and your in-depth presentations of all things music.
I like the idea of transposing and capo analogy and relation. I also always did have the weird feeling in which I would ask why someone calls a C Chord a C chord when it sounds like a C# Chord with a C shape. then I remember it's either F Standard tuning or 1 fret capo lmao
4:40 … that moment ,when you think you are in a Veritasium channel ,... lol Hi Adam, I love all your videos!!! Greatest content to learn music in a scientific way, as you mentioned in your interview with Tyler Larson from Music is Win, that you like the Vsauce approach of explaining things..... I still watch the scale practice routine, and play along …. it somehow makes me a bit more versatile ...
9:01 “If it hadn't been for Cotton-Eye Joe I'd been married a long time ago Where did you come from, where did you go? Where did you come from, Cotton-Eye Joe?…” yeeeha!
If you want to improve your time, add hip hop drums to all the songs you hear on the radio druming with your hands against a table, wall, or whatever. Just try to synchronize your drums to the song, that's how I improved my timing.
Literally did shit like this my entire life before I even drummed or played an instrument, was always dissecting rhythm in my head as well, making beats and figuring out how to get them sounding like beats. Thinking about music does more than most people will ever know.
I find myself tapping out a rhythm in idle moments, especially if I am in a good mood. It doesn't have to be loud. Tapping different rhythms on each hand is good. I'll do the same thing sometimes when walking or cycling, syncing to the rhythm of my feet. I suspect listening to music whilst sleeping would be better than just a metronome.
Hip-hop drums, really? So weak, I am insulted. (Sri goes back to a conversation on the programming of most hip-hop songs when it comes to drumming in the studio. - Real drummers unite - destroy your computers! Wait, no, that's not what I meant.)
As a math teacher, you have no idea how much I love your last response. The tired refrain I always heard from students, "When am I ever going to use this?" was very frustrating. Just learn for its own sake and knowledge is its own reward. Thank you!
The transposing part took me back to the time I was just learning piano and I used to take a simple song, like twinkle twinkle little star, and play it in altered tones, it sounded weird but cool and I had a lot of fun doing it, man I miss my piano...
Soumadip's question is pretty much like saying "I don't need to read the driver's manual to know how to drive a car." It's true that anyone older than about 2 or 3 years old can turn a car on, put it in drive, and go. But if you put a little effort into reading up on it and maybe go to the extent of signing up for actual driving lessons, you'll be someone who is very good at driving. Even if you never use the knowledge of allowing your car to continue to slide in ice until you can regain control of it. He is clearly one of the very few people in the world who doesn't understand that knowledge is power.
Alot of people dont learn things just by being talked at. Being able to apply it in a real world constant and work on it physically rather than mentally helps understanding. Learning how to drive a car isn’t just turn on and go vroom, there is learning the basics like how the gas responds and the breaks. Then comes steering, if you start talking about how the crankshaft works in relation right off the bat, it doesnt neccesarily help someone drive
@@agua414 There's another way to think about it. Hobbyist musicians are like people who drive on a daily basis. Actual skilled musicians are like race car drivers. A lot of musicians want to go pro but they don't know what it actually takes to be a 'real' pro, because generic people who drive on a daily basis usually don't know how much race car drivers need to know to win their competitions and make a living out of that... Hint: not just their skills and training.
Some people have a thirst for knowledge, and some don't. A majority of your content isn't really applicable to me. But I still watch it, because it is interesting and entertaining. Need to know knowledge vs want to know knowledge. Sometimes, they intertwine in ways we don't expect.
That last question and answer ("too much information")... if I'd get dollar every time I meet someone with that frame of mind... it's also nice to hear your taka on it Adam, I think being open-minded about what you learn, without a too rigid set of expectations around usefulness of the knowledge makes a lot of difference, we really don't know all that we don't know...
Your channel is a great source of information. Ive been a classical pianist for many years now but always come across new info when tuning ur channel. Keep up the great work!
IMHO/as a singer, MOVABLE DO IS FAR BETTER. I find it helps me understand the relationship of tonic/dominant/etc. to the key, and intervals within that key. This is especially true if you don't have perfect pitch. Deriving notes from the tonic/key using intervals is far more accurate & efficient
Hey Adam, I have a cool fun story for you. A few weeks ago my friend came across one of your videos (I think it was the Eb 11 chord q&a) and took a screenshot of it and showed it to me and was like "haha this looks like something nerdy music people like you would be into" (nicely, of course) and I told her "yeah I watch pretty much all of his videos they're really interesting" and she was genuinely shocked when she realized I wasn't deadpanning, but I was totally serious. Keep up the good work, your videos are always a highlight of my day
Hey Adam :) one question for your next q+a: Is there any math / scientific explanation / theoretical reason why some songs are extremely catchy (earworm)? And thank you for your awesome work! I really love your channel!
Hi Adam, a question for the next q&a: Why sometimes it just FEELS right (feels absolutely necessary) to play outside a scale/mode/key? I don't mean cases where playing outside is some sort of a decoration or adds some "spice", "color", whatever. I'm talking about such cases when a melody really LEADS you to a note or a chord outside. To such extent that a change of this note/chord for an inside one sounds dissonant and WRONG. So why does this happen and what are the tools to analyze these cases? I know about modal exchange, but I thought that it is a conscious CHOICE to move away to another mode. And in these cases you just have no choice, a melody doesn't give it to you.
damn these q&a's fucking rock. ig i should think of a question okay so im really interested in timbre as a compositional tool, specifically it's use in electronic music, where the composer's ability to create expressive sounds is equivalent to their willingness to interrogate their instrument to find the sound they want, or some sound they never could have conceived. as a listener, the use of evocative and novel timbres and combinations of timbres has always been the aspect of music that impacts me most, and i want to learn how this apparent harmony of timbre is (or could) be formally defined and studied as an aspect of music theory. is this something you've thought about or seen any literature on? maybe it could be considered some kind of applied psychoacoustics?
Thanks very much for the recorded woodwind part. It would frustrate the hell out of me that I always had an extremely hard time of recording the sound I hear myself playing.
'Too much information'. I live in Mexico and go to my local 'cultural center' for guitar lessons. My instructor is a very talented university-trained young man. His problem is he has so much stuff in his head, he provides too much information to simple questions. i.e. He gets ahead of his students and loses them. On the other hand, learning music theory is absolutely necessary to move past 'camp fire strumming'. You just have to take it in order and in small bites. Many Will point to flamenco music as an example of the irrelavence of music to music mastery. Like blues and jazz, flamenco comes from an informal musical tradition, where most flamencos were poor and couldn't read or write Spanish, let alone compose music with standard music notation. Teaching was by demonstration. Papa taught son the chords and rhythms. Mama taught daughter the dance steps and rhythms. And the kids were reinforced during the constant round of fiestas that was the only bright spot in a very hard existence. As the young ones began to practice and participate, the elders would constantly correct. AND, each student was expected to embellish upon what they learned. So, even though they had no idea about classical music theory, they were well grounded in their own musical tradition. i.e. They were experts in the music theory of their genre. It just wasn't the music theory taught in consrvatories -- but it was the music theory of a very structured music form.
i notice this channel puts a lot of emphasis on rhythmic and harmonic complexity but rarely explores and codified tambral complexity. in general, there doesn't seem to be a lot of work put into the codification of texture. do you think there is a reason for this beyond just "oh synthesizers were only invented recently so we haven't had time to put work into it"
this is particularly striking when making genres like dubstep, dnb, psytrance, ect. where it's common to have long sections where the 'chord progression' is just the root note over and over again (sometimes in different octaves), making it interesting or tense using rapidly changing and/or aggressive textures. in fact, i can think of a few songs where many parts do not even contain notes, just rapid percussive textures and atonal alien glitchy junk.
I think it sort of is that synthesizers are recent. That stuff is hard to do the math for and make sense of, there's not a lot of already done math that's tested and sturdy or universal. And it's hard to explain or turn those results useful, that are informative but not also super blatantly obvious or too complex with almost no pay off. Probably most that applies to that music is already out there. Scattered across as advanced knowledge for lots of other genre specifics.
Yes, please analyze something by the psytrance artist Psykovsky! I am not a musician and I merely watch Adam's videos to broaden my music listening experience. I would love some analytical insight into some more "far out" music.
Question for a Q&A: How did wonderwall go from being most beloved song from when I was a kid to the most hated song? What did I miss? What happen culturally in america and UK for the change in everyone opinion. I'm not from either of those countries. We got internet only in the 2000's. So I missed the change public opinion. It can't be just because it is easy to play and played a lot. Lots of songs are easy to play and are overplayed.
You have transcended the norm of being a music teacher with this vid. To me you've become a guru, a young musical chaman, way beyond any equivalent out there. I've been a music teacher myself for more than 30 years and I can honestly say I've never seen such amount of energy, curiosity, humility and geniality embodied in a single musician. As for being a bass bully.......spot on , that's why we love you guys ! Maestro di maestri bro, God bless !
Hey Adam, I really enjoy your channel. I love hearing you talk about interesting topics in music, and it's great to hear about music from a different perspective. I think your explanation of syncopation was great-both approachable and mostly accurate. I would dispute your claim that it is an innovation of the last hundred years, though. I'm a bit of an early music guy, and syncopation was definitely in use as early as the Renaissance and Baroque. You can also find it in the music of Haydn, Mozart, Beethoven, Brahms, etc. It certainly has been more extensively used in the last hundred years, but it is by no means new.
Question for your next Q&A my dude: I am a young musical artist and am starting to teach myself Chord theory and other more advanced music theory for a high schooler. I talk to my Band Director about music theory from time to time (my school doesn't have a music theory class other than basic rhythm and reading sheet music for people just wanting to get a fine arts credit to graduate). Would you have any tips for me to self teach myself? I already have an decent understanding of basic music theory (Clarinetist and drummer for five years). My director already taught me the Circle of Fifths and how to make a minor chord out of a major chord, and how minors can share relative major keys (i.e. the circle of fifths). My Director also of which has given me a book upon music theory, "Music In Theory and Practice: Vol. 1 Sixth Edition by Bruce Benward and Gary White) which is the book they teach most theory classes with in my area. By the way love the videos dude, keep up the work. Your videos are great for learning new things! Anyways, thanks!
Question for a Q&A: I know "a lot" about chords, scales, and all the good stuff... but when I want to write a piece of music all that information is against me, I mean, it's really difficult to me to choose what tool to use in an actual piece, how to structure it and how to arrange it too.. (I'm a composition student and I'm used to do composition excersises to apply the theory, but I don't have a lot of practice in the real composition proccess, I think structure and balancing are my major problems) do you have any advice, personal experience or any book recommendation for me?
Yeah, I use my piano to come up with ideas aaand later I jump to ableton live or sibelius (depending on what I want to do), maybe is an overthinking problem, idk
Yeah my comp teacher always said forget theory and go with what sounds good. Theory gives you the building blocks but you have to trust your ears.Good luck!
Can I get worse if I hear or watch worse musicians perform? I've been training my ear a lot and I'm scared of losing it if I hear my little brother sing songs out of key and rythm, or losing my guitar technique if I watch someone play guitar that doesn't really know how to play it. Maybe this seems really OCD, but man it's driving me crazy. Adam pls respond i love you
Interesting comment. I have improved my ear a lot over the last couple of years, and I find that I now can identify more easily when someone is singing or playing out of tune. So if anything I think this a good thing, because you can help people with that. Also, just the fact that you can hear those things mean that you have improved.
Well, that's a really good way of seeing it I guess,you made my day, thanks! But I'm curious, have you ever lose any ear-training? Or gotten worse? Or is it like riding a bike, you never forget it? (Sorry if I expressed myself poorly here)
I don't think you will ever lose it completely, but you have to keep working at it imo. Just like with your instrument: when you don't play for a while, you will get rusty, but you will still be able to play to a certain level.
What might happen is that you temporarily forget they are off pitch because you are paying attention to something else you like about their song, and I think that is good. I found that off pitch stuff could have more things going for it than I thought at first. In Justin Stoney's NY vocal coaching videos, sometimes you are advised to forget about the pitch while you work on one thing at a time. Could be where your brother is in his development, depending on his age? You could play some music for him and help his pitch, too. (My kids also sing along with the above videos, although some of the instruction gets technical. Actually same for Adam Neely's videos, they like him, whereas I bore the crap out of them.)
Yo, I love the way you closed this episode of the Q+A. Tied it alllll together. I can barely remember the major scale on the guitar after owning one for like ten years but I love watching this stuff because it makes all the music I love so much more wonderful, and there's some stuff I can apply the logic of in my study. I hope one day I will have the time to actually explore what all of your content means in its proper context.
Last year, we had a hard rhythm in our music that percussion had a hard time with. Our teacher told them to sing, "Drummers talk too much" in their heads when they played it, and it helped. A few months ago, I got a piece of music that had a really hard rhythm, but once I counted it out I realized it was the Drummers talk too much rhythm. Once I informed the rest of my section that it was the same rhythm, we had no more problems (or they were playing too quietly for anyone to hear). Edit: I can't grammar
Hey Adam, great video! Love your stuff! Question for your next Q&A. I play guitar in a heavy rock band and whilst I am proud of the songs that I have written, I have this annoying tendency to get stuck only writing in D or C drop tunings. While I may start off with a cool riff I tend to always resolve the progression in a combination of the open D or C, and third and fifth fret power chords. How do I train myself to get away from this and start writing some resolutions that are more complex and interesting?
compose a riff in that tonality and then transpose it somewhere else ;) that and thinking different keys, modes or scales helped me a lot. hope it helps you too
As a multi-instrumentalist with a soft spot for bass (first instrument) your bit about the bass determining what chord is really being played has blown my mind. When recording or writing, I always got so stuck on the bass just blindly playing the root that I forget its true power. Thanks!
_In this episode of "people keep complaining about the science/academia/technicality of music"..._ One day you won't have to answer those comments Dadam, but that day is not today.
12:04 mate how does transposing instruments relate to drums i always feel left out as a drummer cuz while everyone’s busy talking about melody and chord studies and scales and the lick i’m just busy sitting there like “BuT i CaN dO a pArAdiDLe”
Don't worry man, you can still learn weird time signature, interesting rhythms, good fills, etc. You can still learn some theory. You can learn lots of skills. And most importantly, you can use your skills, and control the rest of the band. If you don't understand this stuff, just ignore it ,and learn something related to drums.
I play bassoon, do you think that kind of instrument has any place is the JAZZZ world? I've played in a big band before and it was really fun and very good for my rhythm but honestly I don't think anyone could hear me at all. I think exploring other areas of music is really important (that's partly why I subscribe to your channel) even if I prefer classical music in the end, but in terms of making music for other people to experience do you think there could ever be such a thing as a "jazz bassoon"?
I forget the musicians name but there is Bela Fleck and the Flecktones concert DVD with an improvising bassoon player. Also, check out Ben Wendell. He's the saxophonist of Kneebody but he's posted him playing jazz bassoon on instagram and I'm there's similar videos of him posted to youtube.
I know Yusef Lateef used to play some jazz oboe, so a bassoon is not too far off. I think there's a place for every instrument in every genre - if nobody's done it before, then you can be the trail-blazer.
There is a place for anything anywhere. If the music doesn't exist yet go make it, if the internet has taught us anything it's that every niche has an audience.
I was in a course of Silva Method and it is of sessions of meditation. Well, at that day i had no idea of what a metrónome was, but the most profound, relaxing, vivid session was one where the monitor used a metronome and it was decreasing the beats in order to create the effect. Believe me, i highly reccomend to meditate using a metronome. I just found three apps for this. Look for them with the name "sleep metronome" I ignore if it specifically helps with musical skills but for meditation was incredible. I just install the three in my phone but have no tried yet. Not the same life as before. Thanks for making me remember and thanks that it was an app for that
Hi, Adam! What do you think is the best practice of writing down a piece of music in standard notation, which is performed in an unusual tuning on a guitar. I mainly compose my songs in open tunings such as AEAEAE, ADADAD and AbDbAbDbAbDb, but I find writing the music down in standard notation to be somewhat tricky. The range of the tuning is quite large (comparable with a 7-string guitar) and if I happen to play a song a ½ step up or down, I probably would be better of transposing it like standard tuning is often transposed (Dm would be notated as Em). In that case, what would be a reasonable "home" for the tuning? AEAEAE is an obvious "home" but what about inverting that fifth-fourth pattern AD, BE or something else entirely? It feels like I'm on an uninhabited island with this problem. Would I actually be better of writing the music down in tabulature? I would love to hear your thoughts.
Hey Adam! I was looking at the sheet music of Chopin Prelude Op.28 No.1 in C-major. The time signature in given 2/8 but in the measures he is placing 3*2 sixteenth notes. This doesn't make sense to me. And why would Chopin do this? Is it something related to the fact that the fur elise(3/8) in double tempo couldn't be in 3/4? Thanks!
Yo. I uploaded this video 2 hours ago, but there was a strange encoding error on TH-cam's side that made it impossible to playback on desktop, so I had to re-upload. I suspect it's because I've started experimenting with 4k uploads. Sorry about that! Let me know if the 4k is even worth it to you guys.
I slept with a metronome once, and nine months later there was a little stopwatch.
I came here just for the “sleep with metronome” jokes…
SO GOOD
This is one of the funniest comments I've ever read.
oooooof!
EXACTLY nine months
I wouldn't recommend sleeping with a metronome. They aren't capable of emotions, making the lovemaking process much less pleasurable. 0/10 wouldn't metrobone
OliviaPi strokin da dic at 120bpm
Luckily I like emo girls, where do I find a sexy metronome?
OliviaPi well, a fast-swing metrobone would be a welcome idea
What about using some sincopation once in a while??
This is the best comment on the internet.
does sleeping with a frying pan help your cooking?
might be good for the patina
Ok
lol
@@ContentConfessional why you tune your hands and not your instrument
I guess you learned about this in Cherklee, huh?
a metronome with 60bpm is a clock hahaha.
people used to sleep with loudish clocks decades ago.
Holy shit this blew my mind.
Wolarski - Every time I visited my Grandparents as a kid I would have irregular dreams and wake 30 seconds before my alarm went off. Now Im wondering if it was because of the clocks! Looks like im going clock shopping tomorrow.....For science. And for once, "Clock shopping" wont be a euphemism for something dirty 😁.
I'm still sleeping with one of these. Now I know what influenced my whole music career. My achievements are rather poor, so sleeping with a metronome is definitely not enough 😃
Most of my childhood lmao.
Best comment!
Does sleeping with a metronome help you go insane? Yes
It will not last very long because it will go flying against the wall
Leaving a metronome (or drum machine for thatmatter) running and out of reach, helps to keep me angry and just sub catastrophe Crazy. "why is everything all shit just now? oh, that GD THING is still going"
my heart sync with beats so it would make me jump.
Does going insane make you ask complete questions and then answer them yourself? Yes.
240bpm or death
This guy is a national treasure. I've never known a music teacher who is so clear and concise in his explanations. I could build a whole curriculum of Adam Neely videos.
10:30", harmonic control. As Sting said: "A chord is not a chord until the bass player decides what to play". Don't we love it? 😎 👍
so well put (evil laugh)
sting knows more than any musician how to dominate
So what your saying is, I’m not playing wrong notes on bass, everyone else is putting the wrong notes on top of my chord?
Step up guys!
They're playing the right notes. You just don't like jazz.
"You don't know what you don't know."
Hell, I don't know what I know.
yupp
Bruh lmao
you don’t know what you don’t know is a true statement. But so is you don’t know what you do know. And also, you do know what you do know. And of course, you do know what you don’t know
Not sure if someone's already pointed this out, but many people do sleep with a metronome at 60bpm every night: the clock on the wall! Very interesting to think that it might have actually improved some skills. Guess I need to get a louder clock :P
I was glad to see your comment: I'd been looking for someone else saying that.
My alarm clock was 90 bpm. (Or say 180 if you don't hear the subtle difference in its forward and backward tick.) I used it for basically my entire youth and I suck at music.
Oh yeahhh
As long as the metronome is pitched to A432
meme i hate your picture
Dear lord
Insert eyeroll here
Oh, fuck you.
meme acount But I love it!
You keep answering yourself in the thumbnail, love it
its like anti-clickbait
It's makes it so that we don't have to click on the video if that's the only question we care about. I also assume that he has enough self confidence that people are still gonna watch it.
I think he actually explained this one once (can't remember when) - basically people kept complaining that he didn't give a straightforward answer to the question in the title (usually because there isn't one), so he started putting the basic answer in the thumbnail so those people would leave him alone and the rest of us could listen to the actual answer.
I think for a random passer by, it also gives them an idea that he's got other cool questions he has answers for and will answer. It's like, a clickbait but for valuable information being there. But anti-clickbait in a sense that you DO get what you click for, and it couldn't be more honest. And on the flip side, if you hate that, there's no weakness you can attack. It's almost... flawless.
I almost didn't find this channel, even though TH-cam kept suggesting his videos, because so many of the titles seem like things I'm not interested in, but it turns out there's a ton of other cool stuff he talks about that I am interested in. Even though I'm subscribed now, I initially skipped this video, 'cause I didn't realize it was a Q&A video, haha. :P
That last answer! I decided a long time ago that anything I learn is something that could be useful one day, and I like the person it's made me.
Also, I've got a specialized metronome that plays 1 Hz quietly, 24 hours a day. I've heard it called a "clock."
When I was a working musician I parlayed my really strong relative pitch into absolute pitch by waking up every morning, singing what I thought C was, and checking it against my piano. Took a month or so.
I’m Italian and of course the notion of movable Do had always confused me, as explained by English-speakers, here on the internet. Now I actually understand why 😂 thanks!!
I'm Portuguese, and same, I was always like where the fuck is the Do? 😂
Live vs Recorded music as you mentioned big band music. The way it was explained to me back in the Jurassic era when I was a recording engineer. That recording gear, mic's, consoles, tape (yes, I'm old) and so on for the most part only handle the range of the human ear 20 hz to 20K hz. But in real world of live sound and music there are sounds up to 100K hz being generated, we can't hear those sounds, but they do bounce around in the club, room, concert hall affecting the sounds we do hear canceling (phase cancelation) and emphasizing different frequencies we do hear. Thats why when recording there are some many tracks doubling, other instruments, and other things that get mix low to try and fill up the recorded sound. One album I worked on the artist recorded the tracks in his home studio that was so dead it sucked the life out of everything recorded. To get some life back into his tracks we put a PA speaker under a piano with speaker close to the soundboard, Then we put a weight on the sustain pedal and mic the strings of the piano. Then we made a rough mix and sent that out to the PA speaker and recorded the sympathetic vibration of the piano's strings. That got us some overtones and life back into the dead sounding tracks. that we mixed into the song underneath everything.
Thats a very interesting story. Thank you for sharing. Have a nice day.
I like how your reason for choosing bass is exactly what I discovered I love about bass playing. I enjoy having a harmonic structure in place and throwing it out the window as soon as I get to bass.
5:12 diphthong*
Thom Avella nicely spotted
hello thom
thom what are you doin here this aint politics get outta heeeeeeeeeeeee
Now now, it's not nice to comment about the quality of one's undergarments...
*shipping intensifies*
You're like my musical soul mate. Everything you teach I either agree completely, or I learn something new that makes so much sense and complete what I already knew. Example: the reason you gave for why you liked bass, it made me realize I that it's the reason why I like it too, yet I could never fully put my finger on it. Thanks for that!
I like the new chords with the lick
I love the subtitles sometimes: movable dough instead of fixed dough…
*sees the E*
oh u cheeky little bastard XD
Your answer to the last question was phenomenal. Well done Adam.
I totally agree. Really inspiring!
Ive never even seen your vids but I wanted to tell you you're a real one for putting the answer to the question in the thumbnail what a fucking legend
Hi Adam, I have a question for your next Q+A:
Does naming a music piece improve or harm the whole musical experience? i.e will it add more "clarity" to the piece or will it just force a perspective onto the listener?
Keep up the good work.
Not unlike adding a title to a painting, or a (literal) frame to a photograph - it provides context, which might be desirable or undesirable on a case-by-case basis. Many paintings are purposely left "untitled", and many photographs unframed.
I guess not adding a title might be more of a "purist" approach (and as an amateur photographer I dislike fancy frames), but I don't think having one is necessarily a negative. After all, *all art* gets interpreted within context...
Interesting question.
I feel that adding a title should never hamper the interpretation of the piece itself. There's been plenty of songs I've listened to that I felt the name had little connection to the song. On the other hand, it gives good insight into what the artist was thinking at the time. Even classical composers that used mainly opus numbers at least labeled their pieces with a style, like "waltz" or "sonata", to describe it. Having no title at all seems like it would be a pain to sort if you start writing a lot of untitled works, and a pain for listeners trying to find your work.
It depends. It's basically about "absolute music" vs "program music". If the music is about something concrete and not just music for the sake of music, then it's usually supposed to be interpreted in a certain way, and adding a description makes it much easier to understand the piece of music. And I would argue that listening to the piece of music without understanding what it's about may be pretty confusing. But if it's not about anything concrete and it's just music for the sake of music, then naming the piece doesn't really mean much. Of course not all music is 100% absolute music or 100% program music. I'm pretty sure most pieces of music are somewhere in between. But there are some clear examples of program music where not mentioning what it's about would just be confusing.
It's kind of the same as naming a piece a "symphony" or a "sonata" - when you know it's a symphony or a sonata, you have certain expectations from the piece and you know "how" to listen to it. The same goes with knowing that something is a jazz tune or whatever - you approach listening to different styles of music differently. If you don't understand the "point" of jazz music (basically improvised variations of a theme), you will probably not get much out of it and it will just sound like different instruments playing random stuff. I think the same applies to listening to any kind of music. Being informed about what the music is about makes it a lot easier to approach it, and certain musical choices start making a lot more sense.
Mina Bahig I think you should always interpret music in your own way but I think that by having a title it can help you interpret how the composer feels about the price and wants the listener to feel about it.
Great video Adam. Even if I don't internalize a good bit of what you teach right away, it still enriches me.
This channel seems like the musical equivalent of Vsauce to me. Great job!
"I once fell asleep in a metronome factory and now I have no more rhythm"
Really appreciated you calling out arrogance. This is true in every area of life.
The problem with your paper steak is that it is monochrome; try it in color.
Maybe that would be like listening to it in stereo.
That lick tho...
S1NGULAR1TY Yeah idd, with the augmented chord, gettin' some jazz vibes here
Learned a new augmented lick today...
The somber lick
turning into some Llamas with hats shit
Adam needs to write a "The Lick" fugue.
"You don't know what you don't know"
YES
Adam, I love the answer to the last question in this. As a drummer, I find that I learn so much from you that while not directly applicable to the drums is completely applicable to me as a musician and an artist. I find that understanding the concepts and music theory that you share has helped me better understand how to best support the other musicians in the group with the drums. I find that it has helped me in choosing and developing grooves and fills that fit the music, and the situation rather than simply showcase chops. I have learned so much from you, Rick Beato, and 12 tone, and it has opened up so much musical potential, understanding, and tools for me that have helped me to get the music that I hear in my head out into a form I can share with others. Thank you so much for your careful attention to detail, and your in-depth presentations of all things music.
The way you answered that last question and finished the video...just perfect. Thanks, Adam!
I like the idea of transposing and capo analogy and relation. I also always did have the weird feeling in which I would ask why someone calls a C Chord a C chord when it sounds like a C# Chord with a C shape.
then I remember it's either F Standard tuning or 1 fret capo lmao
Ye the way he related it to transposing was really helpful
4:40 … that moment ,when you think you are in a Veritasium channel ,... lol
Hi Adam, I love all your videos!!! Greatest content to learn music in a scientific way, as you mentioned in your interview with Tyler Larson from Music is Win, that you like the Vsauce approach of explaining things..... I still watch the scale practice routine, and play along …. it somehow makes me a bit more versatile ...
yep.
I was actively looking for this comment
I didn’t notice this before in previous q/a’s, but I love the creepy harmony under the lick that you’re using when the question comes up
Fabulous explanation and illustration of syncopation. The best I've seen.
9:01 “If it hadn't been for Cotton-Eye Joe
I'd been married a long time ago
Where did you come from, where did you go?
Where did you come from, Cotton-Eye Joe?…” yeeeha!
Just don’t fall asleep in a metronome factory.
Everything about this comment makes me laugh
Because then you ain't got rhythm
Harry Brown yeah literally everything
Everything's gonna be not quite my tempo
If you want to improve your time, add hip hop drums to all the songs you hear on the radio druming with your hands against a table, wall, or whatever. Just try to synchronize your drums to the song, that's how I improved my timing.
Literally did shit like this my entire life before I even drummed or played an instrument, was always dissecting rhythm in my head as well, making beats and figuring out how to get them sounding like beats. Thinking about music does more than most people will ever know.
I do that sometimes, even beatboxing as well
I find myself tapping out a rhythm in idle moments, especially if I am in a good mood. It doesn't have to be loud. Tapping different rhythms on each hand is good. I'll do the same thing sometimes when walking or cycling, syncing to the rhythm of my feet.
I suspect listening to music whilst sleeping would be better than just a metronome.
Hip-hop drums is just a layman's term for swing/shuffle rhythms in general.
Hip-hop drums, really? So weak, I am insulted. (Sri goes back to a conversation on the programming of most hip-hop songs when it comes to drumming in the studio. - Real drummers unite - destroy your computers! Wait, no, that's not what I meant.)
10:38 how you make your point while still developing an harmony is pure genius. No better way to explain. Great vid Adam !
As a math teacher, you have no idea how much I love your last response. The tired refrain I always heard from students, "When am I ever going to use this?" was very frustrating.
Just learn for its own sake and knowledge is its own reward. Thank you!
The transposing part took me back to the time I was just learning piano and I used to take a simple song, like twinkle twinkle little star, and play it in altered tones, it sounded weird but cool and I had a lot of fun doing it, man I miss my piano...
This title reminds me:
"Did you sleep well."
"I made a few mistakes." -Stephen Wright-
Soumadip's question is pretty much like saying "I don't need to read the driver's manual to know how to drive a car." It's true that anyone older than about 2 or 3 years old can turn a car on, put it in drive, and go. But if you put a little effort into reading up on it and maybe go to the extent of signing up for actual driving lessons, you'll be someone who is very good at driving. Even if you never use the knowledge of allowing your car to continue to slide in ice until you can regain control of it. He is clearly one of the very few people in the world who doesn't understand that knowledge is power.
Alot of people dont learn things just by being talked at. Being able to apply it in a real world constant and work on it physically rather than mentally helps understanding.
Learning how to drive a car isn’t just turn on and go vroom, there is learning the basics like how the gas responds and the breaks. Then comes steering, if you start talking about how the crankshaft works in relation right off the bat, it doesnt neccesarily help someone drive
@@agua414 There's another way to think about it. Hobbyist musicians are like people who drive on a daily basis. Actual skilled musicians are like race car drivers. A lot of musicians want to go pro but they don't know what it actually takes to be a 'real' pro, because generic people who drive on a daily basis usually don't know how much race car drivers need to know to win their competitions and make a living out of that... Hint: not just their skills and training.
Some people have a thirst for knowledge, and some don't. A majority of your content isn't really applicable to me. But I still watch it, because it is interesting and entertaining. Need to know knowledge vs want to know knowledge. Sometimes, they intertwine in ways we don't expect.
Can we all just take a moment to appreciate the transition into the end card and how satisfying it looked?
you got a new camera haven't you.
it's... crisp
PROTIP Make sure the Synth and Vocals are out of the frame at all times. AAAAAAAH!
Yeah what did the shirt say, I was wondering that the whole video.
PROTIP Make sure the Synth and Vocals are in the same key
somerandomdudeable thank you
That last question and answer ("too much information")... if I'd get dollar every time I meet someone with that frame of mind... it's also nice to hear your taka on it Adam, I think being open-minded about what you learn, without a too rigid set of expectations around usefulness of the knowledge makes a lot of difference, we really don't know all that we don't know...
Your channel is a great source of information. Ive been a classical pianist for many years now but always come across new info when tuning ur channel. Keep up the great work!
IMHO/as a singer, MOVABLE DO IS FAR BETTER. I find it helps me understand the relationship of tonic/dominant/etc. to the key, and intervals within that key. This is especially true if you don't have perfect pitch. Deriving notes from the tonic/key using intervals is far more accurate & efficient
Oh Adam, I just love those. So inspiring, every time !
Hey Adam, I have a cool fun story for you. A few weeks ago my friend came across one of your videos (I think it was the Eb 11 chord q&a) and took a screenshot of it and showed it to me and was like "haha this looks like something nerdy music people like you would be into" (nicely, of course) and I told her "yeah I watch pretty much all of his videos they're really interesting" and she was genuinely shocked when she realized I wasn't deadpanning, but I was totally serious. Keep up the good work, your videos are always a highlight of my day
Just FYI, only cos it's quite a common last name, Choudhury is usually pronounced Chowd-ery
11:17, yeah, go off on him Adam
Playing the piano for only two, I feel ‘I don’t know much about music yet. But when I listen to you, I feel that I can understand a lot. Thank you.
I now realize that I've *never* heard a big band live. That's something I should rectify one day.
I lowkey got upset when you referenced Jim McNeely but didn't make the classic 'no relation' joke :/
Hey Adam :) one question for your next q+a:
Is there any math / scientific explanation / theoretical reason why some songs are extremely catchy (earworm)?
And thank you for your awesome work! I really love your channel!
4:41 that sounds veritasium to me.
Tonhüb That’s where it’s from!
Actually, I'm pretty certain that's a sound in Garageband.
yeah, probably just a stock sound effect, that both Adam and Derek use in their videos.
YES! Thank you! I knew I recognized it but i couldn't remember where from
I learn so much with these q&a videos that I always look forward to them! Knowledge, just like music, is a pure pleasure on its own. Thanks, Adam!
Instantly one of my fav videos from you
Holy shit 3:41 made me CHORTLE
Totally
E
Total”e”
Boom
do rE mi
Ay it's back. Was about 10 minutes away from rioting
Hi Adam, a question for the next q&a:
Why sometimes it just FEELS right (feels absolutely necessary) to play outside a scale/mode/key? I don't mean cases where playing outside is some sort of a decoration or adds some "spice", "color", whatever. I'm talking about such cases when a melody really LEADS you to a note or a chord outside. To such extent that a change of this note/chord for an inside one sounds dissonant and WRONG.
So why does this happen and what are the tools to analyze these cases? I know about modal exchange, but I thought that it is a conscious CHOICE to move away to another mode. And in these cases you just have no choice, a melody doesn't give it to you.
I'm always so pleasantly surprised by how much I get out of your videos. Thank you so much.
Your answer at 11:17 to the end is just excellent. I wish that everyone would listen to that again and take it to heart.
"kay pow"
thanks for enlightening me about its proper English pronounciation (capo)
damn these q&a's fucking rock. ig i should think of a question
okay so im really interested in timbre as a compositional tool, specifically it's use in electronic music, where the composer's ability to create expressive sounds is equivalent to their willingness to interrogate their instrument to find the sound they want, or some sound they never could have conceived. as a listener, the use of evocative and novel timbres and combinations of timbres has always been the aspect of music that impacts me most, and i want to learn how this apparent harmony of timbre is (or could) be formally defined and studied as an aspect of music theory. is this something you've thought about or seen any literature on? maybe it could be considered some kind of applied psychoacoustics?
Holy crap, that capo analogy makes too much sense. I can't believe I never thought of that.
Thanks very much for the recorded woodwind part. It would frustrate the hell out of me that I always had an extremely hard time of recording the sound I hear myself playing.
4:32 Subscribed. Just because you said so..
432? coincidence? i think not
432 Hz illuminato conformerd
12 tone is dope!!
Steven Martin yeah. His face though..
A = 432 is the best system
'Too much information'. I live in Mexico and go to my local 'cultural center' for guitar lessons. My instructor is a very talented university-trained young man. His problem is he has so much stuff in his head, he provides too much information to simple questions. i.e. He gets ahead of his students and loses them. On the other hand, learning music theory is absolutely necessary to move past 'camp fire strumming'. You just have to take it in order and in small bites.
Many Will point to flamenco music as an example of the irrelavence of music to music mastery. Like blues and jazz, flamenco comes from an informal musical tradition, where most flamencos were poor and couldn't read or write Spanish, let alone compose music with standard music notation.
Teaching was by demonstration. Papa taught son the chords and rhythms. Mama taught daughter the dance steps and rhythms. And the kids were reinforced during the constant round of fiestas that was the only bright spot in a very hard existence.
As the young ones began to practice and participate, the elders would constantly correct. AND, each student was expected to embellish upon what they learned. So, even though they had no idea about classical music theory, they were well grounded in their own musical tradition. i.e. They were experts in the music theory of their genre. It just wasn't the music theory taught in consrvatories -- but it was the music theory of a very structured music form.
nothing special, I'm sleeping wit a blast beat on 240 bpm.
Retain *AGGRESSIVELY*
sleep, but fast
These Q&A are shorts, but extremely didactic!
You end the video with a perfect reference to the Dunning-Krueger effect, and it's so right on. Great advice, thank you.
i notice this channel puts a lot of emphasis on rhythmic and harmonic complexity but rarely explores and codified tambral complexity. in general, there doesn't seem to be a lot of work put into the codification of texture.
do you think there is a reason for this beyond just "oh synthesizers were only invented recently so we haven't had time to put work into it"
this is particularly striking when making genres like dubstep, dnb, psytrance, ect. where it's common to have long sections where the 'chord progression' is just the root note over and over again (sometimes in different octaves), making it interesting or tense using rapidly changing and/or aggressive textures.
in fact, i can think of a few songs where many parts do not even contain notes, just rapid percussive textures and atonal alien glitchy junk.
I think it sort of is that synthesizers are recent. That stuff is hard to do the math for and make sense of, there's not a lot of already done math that's tested and sturdy or universal. And it's hard to explain or turn those results useful, that are informative but not also super blatantly obvious or too complex with almost no pay off. Probably most that applies to that music is already out there. Scattered across as advanced knowledge for lots of other genre specifics.
Yes, please analyze something by the psytrance artist Psykovsky! I am not a musician and I merely watch Adam's videos to broaden my music listening experience. I would love some analytical insight into some more "far out" music.
That's because those tambral differences are studied in the field of acoustics, which I assume Adam Neely hasn't studied a lot.
Question for a Q&A: How did wonderwall go from being most beloved song from when I was a kid to the most hated song? What did I miss? What happen culturally in america and UK for the change in everyone opinion. I'm not from either of those countries. We got internet only in the 2000's. So I missed the change public opinion. It can't be just because it is easy to play and played a lot. Lots of songs are easy to play and are overplayed.
Probably because its a meme. Dont worry people still love it deep down
The fact that it was overplayed trough the years
Hi Adam, is that a Yamaha NTX700 you got there?
You have transcended the norm of being a music teacher with this vid. To me you've become a guru, a young musical chaman, way beyond any equivalent out there. I've been a music teacher myself for more than 30 years and I can honestly say I've never seen such amount of energy, curiosity, humility and geniality embodied in a single musician. As for being a bass bully.......spot on , that's why we love you guys ! Maestro di maestri bro, God bless !
Hey Adam, I really enjoy your channel. I love hearing you talk about interesting topics in music, and it's great to hear about music from a different perspective.
I think your explanation of syncopation was great-both approachable and mostly accurate. I would dispute your claim that it is an innovation of the last hundred years, though. I'm a bit of an early music guy, and syncopation was definitely in use as early as the Renaissance and Baroque. You can also find it in the music of Haydn, Mozart, Beethoven, Brahms, etc. It certainly has been more extensively used in the last hundred years, but it is by no means new.
Question for your next Q&A my dude:
I am a young musical artist and am starting to teach myself Chord theory and other more advanced music theory for a high schooler. I talk to my Band Director about music theory from time to time (my school doesn't have a music theory class other than basic rhythm and reading sheet music for people just wanting to get a fine arts credit to graduate). Would you have any tips for me to self teach myself? I already have an decent understanding of basic music theory (Clarinetist and drummer for five years). My director already taught me the Circle of Fifths and how to make a minor chord out of a major chord, and how minors can share relative major keys (i.e. the circle of fifths). My Director also of which has given me a book upon music theory, "Music In Theory and Practice: Vol. 1 Sixth Edition by Bruce Benward and Gary White) which is the book they teach most theory classes with in my area. By the way love the videos dude, keep up the work. Your videos are great for learning new things!
Anyways, thanks!
Question for a Q&A: I know "a lot" about chords, scales, and all the good stuff... but when I want to write a piece of music all that information is against me, I mean, it's really difficult to me to choose what tool to use in an actual piece, how to structure it and how to arrange it too.. (I'm a composition student and I'm used to do composition excersises to apply the theory, but I don't have a lot of practice in the real composition proccess, I think structure and balancing are my major problems) do you have any advice, personal experience or any book recommendation for me?
Maybe you're trying to "THINK" your composition out instead of "FEELING" it out.
Yeah, I use my piano to come up with ideas aaand later I jump to ableton live or sibelius (depending on what I want to do), maybe is an overthinking problem, idk
Yeah my comp teacher always said forget theory and go with what sounds good. Theory gives you the building blocks but you have to trust your ears.Good luck!
Can I get worse if I hear or watch worse musicians perform? I've been training my ear a lot and I'm scared of losing it if I hear my little brother sing songs out of key and rythm, or losing my guitar technique if I watch someone play guitar that doesn't really know how to play it. Maybe this seems really OCD, but man it's driving me crazy. Adam pls respond i love you
Interesting comment. I have improved my ear a lot over the last couple of years, and I find that I now can identify more easily when someone is singing or playing out of tune. So if anything I think this a good thing, because you can help people with that. Also, just the fact that you can hear those things mean that you have improved.
Well, that's a really good way of seeing it I guess,you made my day, thanks! But I'm curious, have you ever lose any ear-training? Or gotten worse? Or is it like riding a bike, you never forget it?
(Sorry if I expressed myself poorly here)
I don't think you will ever lose it completely, but you have to keep working at it imo. Just like with your instrument: when you don't play for a while, you will get rusty, but you will still be able to play to a certain level.
TSgitaar And what if I suddenly can’t tell if someone is out of key because I hear them too much?
What might happen is that you temporarily forget they are off pitch because you are paying attention to something else you like about their song, and I think that is good. I found that off pitch stuff could have more things going for it than I thought at first. In Justin Stoney's NY vocal coaching videos, sometimes you are advised to forget about the pitch while you work on one thing at a time. Could be where your brother is in his development, depending on his age? You could play some music for him and help his pitch, too. (My kids also sing along with the above videos, although some of the instruction gets technical. Actually same for Adam Neely's videos, they like him, whereas I bore the crap out of them.)
Yo, I love the way you closed this episode of the Q+A. Tied it alllll together.
I can barely remember the major scale on the guitar after owning one for like ten years but I love watching this stuff because it makes all the music I love so much more wonderful, and there's some stuff I can apply the logic of in my study. I hope one day I will have the time to actually explore what all of your content means in its proper context.
Last year, we had a hard rhythm in our music that percussion had a hard time with. Our teacher told them to sing, "Drummers talk too much" in their heads when they played it, and it helped. A few months ago, I got a piece of music that had a really hard rhythm, but once I counted it out I realized it was the Drummers talk too much rhythm. Once I informed the rest of my section that it was the same rhythm, we had no more problems (or they were playing too quietly for anyone to hear).
Edit: I can't grammar
Hey Adam, great video! Love your stuff! Question for your next Q&A. I play guitar in a heavy rock band and whilst I am proud of the songs that I have written, I have this annoying tendency to get stuck only writing in D or C drop tunings. While I may start off with a cool riff I tend to always resolve the progression in a combination of the open D or C, and third and fifth fret power chords. How do I train myself to get away from this and start writing some resolutions that are more complex and interesting?
compose a riff in that tonality and then transpose it somewhere else ;) that and thinking different keys, modes or scales helped me a lot. hope it helps you too
Reupload gang
As a multi-instrumentalist with a soft spot for bass (first instrument) your bit about the bass determining what chord is really being played has blown my mind. When recording or writing, I always got so stuck on the bass just blindly playing the root that I forget its true power. Thanks!
Another brilliantly engrossing clip!
_In this episode of "people keep complaining about the science/academia/technicality of music"..._ One day you won't have to answer those comments Dadam, but that day is not today.
Adam's your dad too?! You must be my long lost brother or something
12:04 mate how does transposing instruments relate to drums
i always feel left out as a drummer cuz while everyone’s busy talking about melody and chord studies and scales and the lick i’m just busy sitting there like “BuT i CaN dO a pArAdiDLe”
Don't worry man, you can still learn weird time signature, interesting rhythms, good fills, etc. You can still learn some theory. You can learn lots of skills. And most importantly, you can use your skills, and control the rest of the band. If you don't understand this stuff, just ignore it ,and learn something related to drums.
I play bassoon, do you think that kind of instrument has any place is the JAZZZ world? I've played in a big band before and it was really fun and very good for my rhythm but honestly I don't think anyone could hear me at all. I think exploring other areas of music is really important (that's partly why I subscribe to your channel) even if I prefer classical music in the end, but in terms of making music for other people to experience do you think there could ever be such a thing as a "jazz bassoon"?
The world needs more jazz bassoon, trust me. If there isn't a place for bassoon in jazz, MAKE ONE!!!
I forget the musicians name but there is Bela Fleck and the Flecktones concert DVD with an improvising bassoon player. Also, check out Ben Wendell. He's the saxophonist of Kneebody but he's posted him playing jazz bassoon on instagram and I'm there's similar videos of him posted to youtube.
I know Yusef Lateef used to play some jazz oboe, so a bassoon is not too far off. I think there's a place for every instrument in every genre - if nobody's done it before, then you can be the trail-blazer.
one of my favourite versions of Billie's Bounce is from a bassoon player named Daniel Smith, check it out, the whole record is pretty good!
There is a place for anything anywhere. If the music doesn't exist yet go make it, if the internet has taught us anything it's that every niche has an audience.
Finally!!!! Finally I understood how the tuned brass instrument thing works 😄
I was in a course of Silva Method and it is of sessions of meditation. Well, at that day i had no idea of what a metrónome was, but the most profound, relaxing, vivid session was one where the monitor used a metronome and it was decreasing the beats in order to create the effect. Believe me, i highly reccomend to meditate using a metronome. I just found three apps for this. Look for them with the name "sleep metronome" I ignore if it specifically helps with musical skills but for meditation was incredible. I just install the three in my phone but have no tried yet. Not the same life as before. Thanks for making me remember and thanks that it was an app for that
Hi, Adam! What do you think is the best practice of writing down a piece of music in standard notation, which is performed in an unusual tuning on a guitar. I mainly compose my songs in open tunings such as AEAEAE, ADADAD and AbDbAbDbAbDb, but I find writing the music down in standard notation to be somewhat tricky.
The range of the tuning is quite large (comparable with a 7-string guitar) and if I happen to play a song a ½ step up or down, I probably would be better of transposing it like standard tuning is often transposed (Dm would be notated as Em). In that case, what would be a reasonable "home" for the tuning? AEAEAE is an obvious "home" but what about inverting that fifth-fourth pattern AD, BE or something else entirely?
It feels like I'm on an uninhabited island with this problem. Would I actually be better of writing the music down in tabulature? I would love to hear your thoughts.
Hey Adam!
I was looking at the sheet music of Chopin Prelude Op.28 No.1 in C-major. The time signature in given 2/8 but in the measures he is placing 3*2 sixteenth notes. This doesn't make sense to me. And why would Chopin do this? Is it something related to the fact that the fur elise(3/8) in double tempo couldn't be in 3/4?
Thanks!
Yo. I uploaded this video 2 hours ago, but there was a strange encoding error on TH-cam's side that made it impossible to playback on desktop, so I had to re-upload.
I suspect it's because I've started experimenting with 4k uploads. Sorry about that! Let me know if the 4k is even worth it to you guys.
no, no at all
thanks my dude
From my past experiences, 4k usually crashes graphics cards. It might be because my computer is pretty ass.
thanks dad
I thought it was the Copystrike hammer that had hit you.