Q+A #38 - Who made you an authority to speak on anything?!
ฝัง
- เผยแพร่เมื่อ 10 ก.ย. 2017
- Many thanks to Drazon spielt, Tom Korchak, jt33396, John Daniel, shrapnel, Cuix, Chris Kalos, reg4321, SANTIAGO RESTREPO, ThomasAleksanderVEVO, Ibrahim Hassan, Antonio Rivera Torres and Felipe Monteiro for their insightful questions!
Groove: A Phenomenology of Rhythmic Nuance
amzn.to/2wTNCsZ
0:14 Do you need to keep up on pop music if you’re going to me a musician?
2:51 What is groove? Can you define it?
4:58 Are capos cheating? Why would you ever need to use a capo?
6:46 What is Pitch Axis Theory?
9:07 What are your thoughts on collective cadenza?
9:54 How does tension/release apply to things like lo-fi hip hop?
11:47 I forgot Adam Neely is a musician
12:07 Who made you an authority to speak on anything?
13:49 Incoherant mumbling about 432hz
14:34 Is it better to use different keys or the same key a majority of the time on an album?
15:35 How did you recover from your RSI?
16:52 How do you sound “authentically” jazzy? What sort of musical “accent” is required?
18:50 What do you think about the sideman mentality in jazz music?
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Adam - เพลง
I tuned my guitar to A=432Hz and six octaves fell out. Now I have octaves all over the floor. Someone help me.
Mickey Burns You can't believe how much I laughed with your comment.
Did you try turning it off and on again?
Keep the octaves safely in a sealed box so they won't degrade. It is really important to do so if you want to go back to 440Hz
What do?
tune 440 and you sound more in tune with humans who play POPULAR music that humans want to listen to.
Honestly, 90% of the time I have no idea what Adam is talking about. But something about how he explains music theory and shit is pretty dope.
I believe it also comes from his voice that is really soothing
Metoo
Same here, I've been playing various instruments/making music for 10 years, and I literally could not tell you what the notes on a keyboard are without thinking it through... pretty sure music theory and math use similar parts of the brain. I still count on my fingers at times... age 29.. mind you, when something is unreasonably hard to learn for someone, there’s an element of laziness and “fuck this shit” too.
But yeah, Adam is a really interesting person to listen to, and (along with a bit of "growing the fuck up" as a musician, for lack of a better term), I’m using his videos to work out what parts of music theory are worth my time struggling to learn! A lot of music theory is so stupidly hard for my brain to pick up that it's not worth me learning until I'm sure of how useful it will be... I will quite probably never benefit from being able to read music, but I'm starting to understand how insanely valuable many other areas are. Plus Adam does unleash some life-changing burns from time to time, with hilarious video editing... the word "SUNSTINANCE....." will be something I chortle at on my deathbed or some shit.
He sounds like wikipedia sounds in my head
"Capos (capoes?) are cheating, bruh." *kicks on distortion*
Don't forget to let your EQ have a big smile.
A happy EQ is a heavy EQ
Scoop the mids? HA! I turn all the knobs to 0. It's so heavy you can't hear that shit. Imperceptible to the human ear. HEEEEEAVYYYYYYYYY!
lol
NO MIDS!
ALL THE GAIN!
METAL ZONE!
SLAYER!
Hey Adam, a question.
Are you aware that your channel is great for non native English speakers for learning English? I mean, the way you speak is fast paced yet clearly articulated, and - what's more important - you're using quite tricky vocabulary and phrases (sometimes I even write it down and remember - hope it doesn't make you feel awkward). Yeah, I know it's about music but do you have some kind of lingustic skills yourself? Hace you ever tried to learn some foreign language ? A musical ear is really helpful at it. Greets from Warsaw.
Noticed the same. Greets from Bytom, also Poland as above. ;D
Its one of the few channels that I dont use the automatic subtitles. Greets from Brazil!
Konifer Hey K, i agree thats its easier to decifer accents and foreign languages through being Musical! I've proven it to myself many times! Peace 😁
You're so right about musicality being good for learning languages. My experience with music helps me so much when I study languages. Greets from Japan!
I agree! From the Philippines!!
Great work again Adam. I'm self taught and your videos help a lot in filling in the academic gaps.
13:49 lol I sent the 432 guy to your channel, I found him him on Instagram going on some crazy rant. He also thinks the earth is flat lol
It makes sense that a flat earther would also be a 432 believer. That is the same kind of stupidity-- being proud of ignorance.
I can’t even.
Jeremy Anderson but you can odd
@@QS1597 Dad, how many times do I have to tell you to stop commenting puns on Adam Neely videos?
Nick, my dude, why are you sending idiots to taunt poor Adam? New rule: idiots are to be ignored. If you give them attention, they feel validated and their idiocy multiplies. It's internet cancer.
:)
Your responses to 432 rants amuse me immensely :D
Damn, it had me laughing too, spot on. Wish I could hear Adam do the same in private regarding all the BS that's been emanating for months from La Casa Blanca.
I say we drop both 432 and 440, and start tuning at A=420
@Maj. Peppers: ~coughs~ Already there dude.... Pfffss... this shit is sharp. ^o^
+Aylbdr Madison
I think you mean flat.
Badumtsh.
That particular rant, and its lack of grounding in objective reality, is what is sometimes called "not even wrong".
en.wikipedia.org/wiki/Not_even_wrong
Jorge Borges' advice for a young writer on the topic of "How do I write modern literature?": "Let him not try to be modern, because he already is; let him not try to be a man of a different epoch, to be a classical writer, because, indubitably, he cannot be this, since he is irreparably a young man of the twentieth century."
Which makes "Pierre Menard" such an interesting story.
yeah, I love that story!
Jorge Luis Borges!! The last thing I thought would happen is finding one of his quotes on an adam neely video lol. Viva luisito!
$40 for a three hour gig in New York. Wow, I thought my earnings were meager. My typical Saturday night in Minnesota is as follows. I load $5000 worth of gear into a $500 car and drive 200 miles for a $100 gig. It never occurred to me that I might be making New York musicians jealous.
Jeff Johansen I load a $2000 bass into a $30k car every week to play for free. The perils of playing in a church band 😁
Also, currently jobless, so I can relate to the pain.
Jeff Johansen I get two 150€ instruments on my shoulders and take a 15€ train to play three hours, get home 12 hours later, and get paid 50€.
those are heavy instruments mate.
Compared to Brazil, you guys are in heaven (just kidding, each with its own pains haha). It's inconcievable for us to drive 200 miles, or even 30. It would make any gig unviable. We can take the train for 3 bucks but only if your instruments are made of paper and you have A LOT of time available.
As a musician, composer, sound engineer, and recording engineer, I have many gigs. One of my gigs is at a major cathedral in the Pacific Northwest. I sing in the choir, ring handbells in the Bell Choir, record all the anthems for broadcast on the local public radio station, and manage the sound reinforcement systems. I don’t get paid for any of these efforts. However, they do pay me $50 a week to duck out of the service and play guitar for the Sunday School lessons. You know, “This Little Light of Mine” and such. I also get payed to be the Stage Manager for the occasional classical music concert.
So I rehearse a lot, perform a lot, and spend hours mixing live recordings in Pro Tools; for no pay. However, these efforts have guided me to many other gigs as an engineer, performer and composer. And I do love playing for the kids! “Let it Shine.”
nowadays the phrase "you're the best" is hugely devalued, but I still want you to know, Adam, that you - you, not anyone else - are the single best go-to person for amateur musicians today. You should be proud (and inspired to do even more of your amazing stuff, but I guess you got that covered)
>2017
>Doesn't use Pineal gland
What are you even doing with your life?
Being dead
I, too, enjoy sleep.
en.m.wikipedia.org/wiki/Pineal_gland
I want to be adamistic. Honestly, I've never seen anyone handle trolls in such a mature and convincing manner.
Adam Neely (probably, haven't watched the video yet):
"I did. I made myself an authority by studying for years and dedicating my life to music."
End of video.
Seriously though, I hate this kind of behaviour. By now it's a common fact where AN got all this knowledge (Berkley and NYC scene) so what's with these arrogant questions? We all know (and love) how he puts things into perspective by mentioning (when necessary) that certain things are his opinion, related to his experience or one of multiple viable solutions. I somehow doubt that question cane from someone who could be considered an intellectual peer.
This is because people need certifications to "trust" someone's knowledge, intead of just checking their facts. This is very common among academics (which sometimes have an elitist, exclusivist and exclusionist atitude towards non-academics) and non-academics (which sometimes look at academics with scorn because of the atitude described earlier).
That actually makes a *lot* of sense, damn. I guess I was subconsciously pandering to the first kind of group then, wasn't I? Thanks for the input my dude!
I was going to answer something similar but you nailed the point. Haha
Totally agree, Dunk
Don't forget, Adam also has a master's from the Manhattan School of Music.
And he's a pretty badass dude overall.
Adam, thank you so much for speaking to us. I personally really like the analytic aspect of your videos. Hope you continue making them!
You really have lots of philosophical insights into music! I have tons of respect for you as a musician and a philosopher.
I look forward to your videos every monday! Keep up the good work!
Jeez! Your uploads are relentless … but brilliant … so much stuff to take in …. all bear re-watching and re-listening. Your collaborations with other channels are excellent also.
WOW! Well said Adam...came only for the question on the title! You said it very well!
You're the best Adam! Got motivated into learning theory which was previously the worst part for me.
Love your takes on process and art. Love listening to you while I paint and play.
Thank you Adam! Great video, great answers =)
I've been binging your videos. Love what you do mate, keep it up.
Informative and entertaining, as always. Keep sharing the knowledge man, I've been more inspired and motivated to compose and play since I started watching this channel.
Just discovered your channel and it's freaking amazing. Love your stuff!!!!
interesting perspectives as always Adam! Thanks again
Thanks for the thoughtful reply. Exactly what I was hoping for.
Love your first answer! So many people get disillusioned, thinking their going to be the next Beatles. It's always important to know what came before you but to always look toward the future
You and Beato are my music gods.
Thanks for the videos. I really appreciate what you do.
you're awesome man, I love the way you respond to certain negative comments. love ya, amazing content!
You really make me wish I stuck with piano after 5th grade. But I can honestly say- taking up the bass more than three decades later, the things I learned as a child about reading music, and indeed, my ear for music has always stayed with me, and now that I'm older and more mature, I have the patience to really appreciate and study music theory in a way that ten-year-old me never could.
Dude your videos are so informative and entertained. You have help me a Lot in my musical Journey! Keep it up
lobe your work man, thanks
Totally agree with your capo comments. I find it really inspirational when using one. I have written lots with a capo on 2, 3 or 5 that I would never that written without one. The open strings just sound different. Would nt leave home without one!
I get so into that lo-fi no tension and release stuff. I don't know why, but it speaks to me on a deep level. Something about how even and calm it is just makes my brain happy.
Hey Adam, i love yr channel, very informative and u have the perfect personality for it: not overly friendly, but hardly unfriendly either! Great ballance! ☺ I've been playing Piano for 46 years this year and teaching about 36. Ive been playing in a restaurant/ supper club in NJ for a little over a year now. I get $100 for 3 & 1/2 hours + tips, so i guess by standards, I'm doing well! :-) Good to know! Thx! Peace always ern ☺🎹🎤
Hey Adam, I think I asked you about groove in another video. I haven't watched this one yet, so now I feel answered! Thanks, by your way!
One thing about drawing inspiration/studying from the past (at least for me) is that it feels a little clearer, a little bit less chaotic. That's probably because we've had time to reflect on it.
Not to say you're wrong I 100% agree with you on being aware of your contemporary musical surroundings.
So cool to see you reference Dr. Roholt - he was my professor at Montclair State! Very cool, very brilliant dude. His Philosophy of Art class was one of my favorites as a philosophy major. Maybe you could interview him for a future video! I feel like you two would have a very rich conversation.
Hey Adam! Saw you have a record player on the table in the background. What really caught my attention was the fact that your record player was sitting on the same table as the speakers. I know this may be the only way you can set your rig up, but having your speakers on separate stands or just on a surface other than the one which record player sits on makes a good difference for your listening experience. You'll avoid a fair bit of problems by doing it that way. Amazing video as always! :)
Pssh.... I watch this TH-cam channel because of the awesome animation intro.
Adam, I know you love talking about really complicated music theory, but it would be awesome if you could do a video on more basic music theory (specifically what are chords, why are they named funny things, etc). Thanks and keep up the awesome channel!
The pineal gland was a big part of philosophy of mind during the renaissance. Philosophers like Descartes considered the mind to be separate to the body, but the problem was the question about how something outside the universe could influence the body. As medicine couldn't explain the pineal gland at the time, many made the jump to using it as an explanation of how this happened.
The thing with that though is the pineal gland doesn't work that way. Sounds like 432ers have heard something along the lines of the above but don't realise music doesn't work that way either.
About authority, you gave such a great answer. Yes, it's about trust. Your answers when about things I know are the same as mine, so I trust that would be the case about things that I do not know anything about. However, if I'm not sure about your answer, I still do my own research.
I got RSI in my forearms from drumming. It wasn't until I switched majors and stopped playing that it went away. So you're completely right about that.
music is a dynamic creature that is constantly changing. it helps to know what the current trends are if you, the musician, is either making or attempting to make a living performing music in various ventures such as events and parties. if you don't change with current trends, it is very easy to get passed up by someone who does keep up. i observed this back in the 70's in the club scene. as music being performed transitioned from the rock music to the dance music (disco) many of the local bands in our circuit either wouldn't or couldn't make the transition and thus became extinct. that's not to say that if musicians find a niche market they shouldn't pressure it. but what i have found that works for me is not living in a bubble where only one genre exists. along with being an art, the ugly truth is that music is also a business. a business must have a product that is in demand and sells. this is why i try to keep up with trends no matter how nauseating i think the music is.
According to Glen Campbell, he was sought after as a session musician because of his use of a capo. With the capo, he was able to play the standard "rock n roll surf" rhythm patterns in different keys, and he famously contributed the beautiful guitar part on Sinatra's Strangers in the Night with the help of a capo.
My brother (a guitarist) held the belief that capos were for people that couldn't play barre chords, and I shared that belief until a few years ago when I realized there were some things on guitar that just sounded better using open strings.
Thanks for explaining the capo thing - if you had been making these videos 5-7 years sooner, I may not have gone on so long with that misconception!
i n e e d t h a t d r a m a
I love your channel and watch your videos at all opportunities. Thank you and keep up the excellent work! Composer that wasn't a product of his time: I can only think of one. J. S. Bach. His style was passé and everyone else had moved on. His music was unpopular in its time (though always recognized for its virtuosity) and languished in obscurity until another famous musician, Felix Mendelssohn re-discovered it 80 years after Bach's death. I suppose it could be argued that Bach was still a product of his time (i.e. he was a devout Lutheran) but his music was *by contemporary acconts* rooted in another era, perhaps a century earlier.
You've mentioned a lot a times how it's best not to fetishize the past. How to move on and all. I completely agree, and honestly hearing you put it that way has helped me break out some crappy habits; however, there are a lot of modern artistic endeavors that utilize mindsets and practices from the past (take for instance the resurgence of analog synths and drum machines, or recording to tape) that yield some pretty satisfying developments. How would we know to strike a balance? Aren't there things that weren't fully explored before they fell out of style?
Thanks for the left hand technique video Adam, it's an old one but it was very useful in helping me adjust my technique when I started developing signs of RSI, you should link to it more often tbh
We do really appreciate you talking on this camera 👍🏿
I started this video up explicitly to hear how Adam would answer the question in the title, and to my great pleasure, he recited the answer I'd already drawn up in my head pretty much verbatim. Of course, the piece of paper I got was an English degree, and subjects like, "What is authority, and who has it?" were pretty much the first year or two of classes.
tl;dr: nailed it.
In regards to your comments on the economics of sideman and jazz gigs - when I was in college The Bad Plus played a concert at my university and then gave a talk/class. The problem of making money vs. keeping a band together came up. In their case it required committing to the trio in the long term at the expense of some better paying gigs. I even remember one of them saying that they took a part time job at a grocery store or something like that. Obviously these 3 musicians believed they had something worthwhile and together chose to make some sacrifices in order to nurture it. Lucky us for us, it paid off!
I watch this channel for the paper. I've been waiting 2 years to see it. Today my dreams are fulfilled.
hahaha this whole 432 thing has become a meme for your Q/As lol love ittt
Loved the point about different tonalities helping to create a dynamic arc on an album. As a metal musician playing in drop tunings with an occasional chug, it's always been in my mind to write in different keys for variety and to make the songs (especially on one record) have their own world.
Too often Metal records are in 1 key and a whole album becomes a harmonic snoozefest.
I enjoy the fact that Adam shitting on 432 is slowly becoming a meme
wow, 432hz people, YOU NEED TO LET GO!
dot0 is a shill for the illuminati
agreed, it should be 450 ray.tomes.biz/alex.htm ;)
Tho' I kinda scoff, I do find resonance - sympathetic, harmonic, beats etc - as a subject to be really interesting... throw in some Tesla & a few pyramid tales and I'll bite that bait :D
OH GOD IM SO ENLIGHTED NOW GUESS ILL TUNE MY BUTTHOLE PROPERLY SO I FART IN A SPIRAL HARMONIOUS FREQUENCE
now seriously (just couldn't resist the above post), show us please a song written in this pitch? i have nothing against changing pitch, one of my favorite tunes was writen in 432 (blackhole sun by soundgarden), i like the way it sounds, i feel it's a recourse, soundgarden have always played with different tunnings this was one of them, period. it won't enlighten you or hinder your ~spiritual progress or chain you to agenda of the meanies of the YLLUMINATYSHH
Ehh, just record at 440 and slow it down a tad in playback if its that important to you.
Can you give a rough layout of what percentage of your income comes from where? Example: 20% patreon, 10% online album sales, 20% gigs, 20% teaching, 10% session work, 20% Walmart greeter/meth dealer
nice try, fbi
@@Fruitysfaction *IRS.
I know I'm late to the game on this, but capos are also the best thing ever for laying different chord voicing during recording.
Say the first chord of a chorus is a Gmajor on an acoustic ballad and the chord is played open in a progression. Layering guitars over the top just playing the same open G is fine, but capoing at the third fret and playing the chord as an open G will create a deeper, wider sound that will create a level of seperation that your mix engineer will love working with.
Eloquently said Adam, as always. In A Perfect Union of Contrary Things Maynard talks about how he's sitting around at shows bitterly and saying how they're doing it all wrong and someone tells him "Well if you can do better do it." well he did in my opinion he did. All I'm saying is I'm glad you're an authority in music theory on youtube. Thanks for sharing knowledge man.
I never viewed the capo as a crutch, but never saw it as a useful tool until recently. I don't use it that often, but it sure comes in handy for certain things.
Robert Fripp, completely original and at least on the Discpline album very much timeless, sounds as fresh today as it did on 1973.
Groove is not simply playing on the beat. Groove is a feeling. Groove is in the heart!
Question for the next Q&A:
What happens after postmodern music? I just really wonder a lot of times about how varied and abundant music is today, I mean there's a sub-genre to this sub-genre to this sub-genre (and so on) pointing down to this genre and what any more kind of music do we have "to innovate" to sound fresh and original (borrow some elements from influences)? How much more in the future? Will we ever run out of combinations? What does 50 years later sound like? It is very interesting to know what sort of route you're foreseeing.
As for changing keys throughout an album. I try to use different modes when I have multiple songs relying on the same "chug" note. I let that change in tonality keep the album interesting and it's enough of a change in feel to disregard the need for a new key as it can still convey a harmonic narrative throughout the album.
I'd say questions of authority are largely beside the point, since you present material in a way that rests not on authority, but on facts that are presented in an insightful manner, as well as stories that people find compelling. There's an insightfulness in the way questions are explored that seeks to go a bit deeper than the easy answers. I don't come here so much because I find the content agreeable, it's because it passes the "tell-me-something-I-don't-know" test.
The thing about different keys used to drive me nuts -- some of the early thrash metal bands were so badly wed to open-string riffing that at the time I derided them as "open-string-thumpers". The more notable bands would move the key around for a bridge or modulate it for solo passages (metallica, slayer, and death who would more or less change key with each riff) but there were many wannabes that leaned a bit too hard on the E string (or D or C# or even B ... ). It's one thing to have every song resolve to E (or D or C# or B ... ) but yet another to be pinned to that key for an entire album
Adam! Love your videos, big fan.
I haven't been exposed to much Jazz at all, but what I do hear really fascinates me. Of the stuff that I've listened to of my own accord, not a lot has really "stuck" with me. I'll listen to Jazz playlists and things like that, but the only artist I've found that I keep coming back to is Ryo Fukui. I guess my question is if I'm a stupid, uneducated rock guitarist, where do I start with listening to Jazz?
Holy shite! Already at 260k subs. I remember watching the livestream you did at 100k
It helps to understand what repetitive strain injury is doing to your tendons.
We used to think of tendinitis as an inflammation of the tendons. What we now know is that tendinitis is a disorganisation of the tendon fibres. Normally they are all laid down in neat parallel lines. All the cells in you body are constantly dying off and being replaced. Overuse causes the tendon fibres to be replaced in a disorganised way. The *only* cure for this is to allow them to grow back outside of the conditions that caused them to grown in all jumbled up.
I suspect that with corrected technique you could heal from mild repetitive strain injuries. But the quickest and surest way is to stop playing until you heal. And then get good instruction to prevent re-occurrence.
A big caveat here: this is only for tendinitis. I'm sure that there are other RSI's that have different mechanisms and treatments. I haven't researched any of those, and really, don't take advice from a youtube commenter. Go to a RSI specialist and ask lots of questions to make sure that they are up to date on the latest research. General practitioners often are behind in the latest science so a specialist is a must.
Love you Adam
100% correct on the capo.
Hey Adam! First of all I'm a big fan, and I hope you'd consider this for you next Q&A. I was watching a past Q&A where you were talking about musicians who start out later in their life, and you said something along the lines of "It's a little easier to learn when you're younger because we have more time when we're younger." As a high school musician, my initial response was "HAHAHAHAHAHA!" I don't wanna come off as rude, but at least in my school, balancing music groups and classes, along with academic courses and still having time to explore music on my own can be a big challenge. I'm aware that my scope of reference is small as a high school student, but at the same time it can feel overwhelming finding time for music. Any tips for balancing music with rigorous academics?
About the capo / transpose thing:
I'm a keyboard player and I find myself playing different keys in different ways. I play C for "happy" or jazzy pieces, my organ tunes are all in E, Eb when playing clavi sounds (mainly from too many Superstition jams) and so on. I often use the bad habit of the (and here i'll get the hate) transpose button so I can get the ~feel~ of those shapes I'm already used to in other keys. I know it is a bad thing but in the end it helps my brain going through different styles.
I just am so grateful of being the 6th guy to watch this. Keep it up!
Bor Cobritas grateful? Seriously?
I think he meant something else
I think so. Grammar wasn't on point
Thanks for answering my question! Let me know next time you are in Puerto Rico so we can hang out at the Nuyorican Cafe
I had really bad tendonitis for months..I couldn't play with out pain I adjusted my technique to relax more but what helped a lot was quitting caffeine. hope it helps
at the question halfway through minute 15, i think you meant to say repetitive strain injury. anyway, love your content and i hope you will never get bored of creating!
After many years of playing in bands with the same members all of the time, I have found myself doing the occasional sub gigs with people I don't usually or have never played with. Perhaps having hosted open mikes for a few years has given me more comfort with playing with "strangers".
What is also happening is some of my regular bandmates will have outside gigs and need to be absent from some jobs. There have been many instances when we threw a band together for a gig, with some of the players having never played together before but rely on our common experience of having played a lot of the same music over the years. 30 or 40 years ago I would have not felt comfortable with this.
Hey Adam!
I like what you said about musicians being products of their time, but I think that's misleading since history has such a selective memory. Couldn't it be argued that the musicians of the era originated ideas that became the voice of their time period, rather than the other way around?
The point he is making is that if I were to compose classical music as if I was Bach right now, even if I was as good or better than Bach I would not be nearly as famous because It is not of my time. People will say "Oh well Bach already did that". Being a product of your time means contributing to the innovation that defines the style of your era. You have to do something unique, but not so unique that it alienates your generation who has their own musical biases if you want to be remembered or famous.
About 14:34 "Is it better to use different keys or the same key a majority of the time on an album?"
Have you listened to Dream Theater's Octavarium album? Each song is in a tonality, and the transitions between them have the sharp tonalities. The first song, "The ROOT of All Evil", is in F, and the last "OCTAVarium", is also in F.
what is your general opinion on the progressive rock of the 70s, so the likes of (early) Genesis, King Crimson, Yes, and the others?
Cornelius Fastie Also influences and comparison between ProgRock and Neoclassical Metal
Hey Adam, my uncle is a veteran jazz musician (he jammed with Bird and Lester Young in the 40’s, played with Chet Baker and was a first call session musician as well) and he has a critique of contemporary musicians’ articulation. According to him the rise of microphones and amplification led to a deterioration of articulation as it has been increasingly less critical to articulate sharply to be heard. For example, during his era, double bass player tended to set the bridge higher than today and to attack the string closer to the bridge and stronger than today. Note that this is not about loudness but really articulation, a comparison he often makes is that a seasoned stage actor can be heard whispering from the back of the room, thanks to a proper articulation.
I feel that I can notice the difference between a contemporary jazz player and one from the 50’s in a record. 50’s players seem to articulate sharper and cleaner. Do you think it’s true? If so how come don’t musicians try to fix this problem (for example by training themselves to play without amplification?). Thanks in advance.
The groove resides in Plato's world of forms. We only approximate it when we play. It eludes analysis but must rather be felt, as in meditation.
You are my favorite bassist
I have written a pitch-axis piece, on A actually. I did write it for an organ guitar drums trio. I did not think of it in these technical terms. MBB
I think I remember Pitch Axis Theory being described something like this: if your axis is the tones of the mother major scale, then as soon as you shift your root note some degree along that axis, still playing "major scale shapes" but continue to drone the major root under your first note, you'll be playing the according modal sounds of the major scale instead, because it's all about the way the ear hears the first interval, the contrast that sets the "rhyme and reason" for what follows; with the same starting point, you'd otherwise just sound major with that scale shape. Similarly I think if you start playing, say, Dorian scale shapes in A but play a B first note of the A Dorian shape over a lower A, now it sounds Phyrgian. The idea is that, ultimately, it's a "scale shape" way to play any sound anywhere on the neck, because the neck is just a finite part of an infinite set of notes where a limited set of shapes keep popping up in all the different modes in different places. So perhaps it's quite useful for those like Joe Satriani who like to compose his style of music in modes. You've got most strings of course to your shapes when the low E is your appropriate "underneath" note.
Question for the next Q&A
Hey Adam, out of all the cover songs you have learned in your musical career what was the one that surprised you the most and gave you a newfound respect for the artist/band? The one for me was Mr Brightside by the killers.
props on how you handle snarky criticism
tension and release, I guess I've been expamenting with that in my music. But I never really identited it externally. This could be useful posibily... thanks Adam
According to a very large Lo Fi Hip Hop playlist on Spotify, the tracks are all very short ~1min 30 each. There's your tension and release!
The ghost cat at 13:33 gave me The Fear.
On a serious note, Adam, I'm a guitarist (I know, I know) and now that I'm teaching and playing guitar full-time, I'm concerned about the possibility of developing a repetitive stress injury. What kind of warning signs should I look out for? Thanks again for your hard work and amazing channel.
Q&A Question:
What is the difference between scales and scales?
I mean if we have the 12edo scale we can play those 12 notes and that is the chromatic scale, but we can also play a subset of those notes, say the C major scale and that is then also called a scale. When I see microtonal scales being mentioned you always see them discuss the scale in the same context as 12edo, but I guess you could might as well play the C major scale on 19edo or 31edo? So how do you distinguish from your "musical universe", that is all the notes available to you and the subset of notes you choose to use in your scale?
Also how much better can we do than an equally divided octave scale if we arrange the scale according to the root and only play with that scale in one key?
With modern electronic instruments, this shouldn't pose a major obstacle, so can we do much better?
Any tips for literature that goes into detail in the use of microtonal scales and the history of why and how they where constructed?
I think it is important for a complete guitarist to be able to play with or without a capo - Saying that I own several, one per guitar as I've found all capos intonate differently on different guitars. Some tunes I wrote to use the blasted thing. Can I transpose tho? yes. Sometimes it is simply faster, sometimes it sounds better, sometimes I like the guitar neck bling.
Hey Adam!
It seems a lot of people have strain injuries because of poor technique, myself occasionally included. I've seen your videos "Developing Safe Left/Right Hand Technique for Bass Guitar". However, that was 7 years ago and I'm sure you learned more on that subject. Perhaps you could revisit safe technique in a newer video, or add a guitar technique as well, I'm sure a lot of people could benefit from that.
Keep up the good work!
groove is just feeling it.
Hi Adam! (LOVE your channel, etc) For a while I've been meaning to ask you _Do You Know Squarepusher?_ :-) , but then I saw your interview with Rick Beato where you named him one of your big (electronic) influences, so there's that question answered.
I'm a big fan too, and I suppose a relatively laid-back album like _Hard Normal Daddy_ would be right up your alley ( _E8 Boogie_ is one of my favourite tracks). But on his other albums, while I do enjoy glitchy electronic IDM music, some of it gets really abstract real quick. So much, I sometimes get the feeling I'm missing out because I can't quite grasp what the "idea" is that he's going for, amidst all the chaos.
I've always found that once I learn/experience more about the "idea" the artist is aiming at, my ability to enjoy a particular piece of music expands *greatly*.
So my question is, can you some time discuss a "hard" or complex Squarepusher track (that you feel you have something interesting to say about, maybe one from _Ultravisitor_ ?) and pick it apart and talk about (what you feel) the artist is going for?
(sorry for the long comment, feel free to leave some bits out if you read it during a Q&A)
I don't remember where I have heard/read these "definitions", but I find them amusing, so hereby I share the knowledge:
"Groove" - The reason why guitarists feel bad about not choosing the bass or the drums.
"Riff" - The thing which you want to play Instantly after you have heard it, and you will be angry if you can't.
(not a native speaker, please be kind about grammar, thank you)
man the intimacy problem is so huge except in high school jazz bands/wind ensembles. we play together every single weekday. makes me wonder if adam, as a bassist, was ever a part of a school orchestra/wind ensemble
Shared on OpenMusicMalta on facebook. Love your take on Authority by Indoctrination and Authority by Concensus.
You have authority partly because TH-cam wants to give you authority because they've found an arrangement that's good for them, good for you and good for viewers. Your existing viewers give you the authority which you earn with your quality content.