Hey, all, a comment about a submission that was deleted from this video. There was a guy who played some nice bossa nova chords, but for Shubh and I, they didn't seem to relate too well to each other, because they seemed to imitate the surface level harmony of jazz progressions, without any of the deeper harmonic logic. In retrospect, we didn't elaborate enough on this concept of "harmonic logic", so it kinda looked like us saying "listen to us, we know better, your chords suck." There is a lot more we could have said, and just didn't, which isn't very helpful to anybody. We DID eventually get to the point we wanted to make by a later submission, and that is chords in jazz are in service of melody, and without melody to guide a progression, it can feel aimless. It's extremely important to improvise and/or write melodies over chord progressions, because they give harmony context. Harmony originally was different voices singing different melodies together, chord progressions literally are just different melodies smushed together. If the individual melodies of the voices don't make sense, it's hard to make the chord progression make sense in our ears. Or at least my ear. The original is still on Nebula, if you want to watch it, but in the interest of clarity, that submission was removed from this video. Sorry about that!
Oh right that explains why it seemingly disappeared for me on a second watch. I went crazy for ten minutes opening it in different browsers and shit trying to work out what was wrong.
I totally agree with this. The first listen I was like nice chords, but the cadences were weak. No sense of resolution. Having said that, I suspect you could make it work 100% if you reharmonize it with new roots \ bass.
While I did disagree with your criticism, I think this is an interesting grey area about how people hear things and make creative choices. I would love to see a whole video dedicated to this one submission, and highlight the chords some thought were okay and some thought lacked context...plus I just want to hear those chords more clearly
I did see it, before it was removed. I recall you saying that they sound nice but didn't have much connection to each other. Which is closer to harmonic logic, than these chords suck. So, I don't see why it was removed. I got rid of nebula. Most of the videos were not really more in depth, but just shorter because the sponsored content was removed.
I'm the one from 12:05 onwards!!! Thank you so much Adam Neely and Shubh Saran for the valuable critique, I'm gonna watch it a few more times so I absorb it completely! I love this video series! Also I'm so glad you both liked the chord progression, thank you so much 🙏
I really liked what you were playing there, but you know what? The whole piece sounded a little bit flat, monotonous. Add some dynamics to your playing! Have some of the notes pop out a little, play them louder and have them stand out.
Yeah that's the feeling I got from it too. Instead of being a happy la la land time portrayed in the original, it's the more real time of "oh god...christmas is just 2 weeks away? god, I didn't go shopping yet...what? I thought you said your inlaws are going to your sister's this year? Wait...your BROTHER is coming too? isn't he still in jail? ugh....shoot me"
The downpicky guitarist reminds me of the story that when Flea joined the punk band Fear, they told him to play downstrokes only (because alternating/upstrokes were "weak"), but the music was super fast and he had to learn to move his hand at double the speed 😆
They also told him to play with a pick because they preferred the tone of a picked bass, but he would instead play with his fingers closer to the bridge to get a similar tone.
𝕊𝕡𝕖𝕔𝕚𝕒𝕝 𝕕𝕒𝕥𝕚𝕟𝕘 𝕗𝕠𝕣 𝕪𝕠𝕦 ➺ BEAUTYZONE.CAM/Anna Anna is a beautiful girl. He's the person I love, he's my light day. The way the music flows and sounds is extravagant and fun. Anna is icon, legend, beautiful girl, princess, inspiration, a star. I could go on and on, understand this. I love NBA Anna.#垃圾
Hey Adam! Thanks so much for the feature! At the beginning-ish of the pandemic we moved our rehearsal space into a small room in a home and got the electric kit for practical reasons - and you are absolutely right! There is absolutely an adjustment period to the lack of acoustic drums. We are knee deep into our sophomore release and we absolutely love the feedback, all tips have been noted! We are all pretty big fans of your channel and have been for years. And we likely will sample your pronunciation of our band name, as long as we have permission to (credits will be applied). Cheers!
@@irissagar1080 thank you so much! If you wanna check out more of our material, feel free to check out our debut release from 2017! We also have an official music video out too!
Thank you Adam and Shubh for the objective critique! Yep the recording aspect was not entirely in our hands, however on the album version the drums are dry (if you ever wanna check it out haha). Thanks again, love both of y'alls music, and always learn something new about music from your videos, have a great day!
The musician's craft is a lifelong journey! > Pablo Casals, who performed at the UN recently, is 81. He agreed to have Robert Snyder make a movie short, “A Day in the Life of Pablo Casals.” Snyder asked Casals, the world’s foremost cellist, why he continues to practice four and five hours a day. Casals answered: “Because I think I am making progress.”
Hey that was me and my roommates playing casually at 3 AM, it’s not available for sale anywhere and we’re not a real band… But I think I’m going to have to put that track on Bandcamp
@@jacksonstein8866 PLEASE put the track on Bandcamp, I've been having this on loop for a while now. Can you let me know also of other bluegrass songs that have that sort of vibe as well? I know nothing about the genre but this sounded great, would like to listen more of this!
@@jacksonstein8866 great! I also heard past the stereotypical bluegrass, same instruments but a very original style. Similar to punch bros but with gang vox
This reminds me of when I was in collage and the music theory professor would come up when we were jamming and say "Now, whistle the melody" My answer, "I don't have one yet." His reply, "I know" Great video.....
21:00 Thanks Adam! I love writing melodies these days. For a while, I was dead set on making super laid-back odd-time cafe music, basically. I appreciate everything you said about my playing.
This is going to sound so silly but I think I avoid writing melody because I’m scared it’s going to sound like something that’s been made already or it’s going to sound “too diatonic.” It’s seemingly easier to throw a bunch of “jazz” chords together than write a unique melody
What I always try to do is create a melody that sounds like it's something I'd sing. I even have instrumentals with "secret lyrics" that never get sung but my instrument plays the melody line the vocals would sing. Try it!
I would say actually a nice, strong diatonic melody is a good thing. It will more likely be memorable and easier to catch on to too for the listener. And like @aliensporebomb said, you probably want something that is memorable and singable. To add interest and some different notes/non diatonic notes, maybe apply diatonic chords over the diatonic melody and then after that substitute some of these chords for outside chords (borrowed chords, secondary dominants ect...). Then change the melody accordingly to the new chords to fit their chord tones. Then after that you'll basically have a mostly diatonic but strong melody, but with some nice outside chords and melody notes thrown in there to make it more interesting. For an example of this, take something like 'Fly Me to the Moon'. That has mostly diatonic chords but there's some secondary dominants in there, dominant 7 altered chords etc... Then the melody fits around these non-diatonic chords to make sure the melody works over each chord. But as a result a more "interesting" melody is achieved.
I absolutely love how you guys are so polite with your criticism, even with beginner musicians that don´t seem to have interest in further musical training. Most people would just throw hate and you manage to keep things objectively and kind, thanks for another great video!
The quintuplet bass groove with the bell arpeggios was giving me Boards of Canada vibes, I could hear a very floaty melody forming in my head already as I listened.
re: that first progression, I don't think it's fair to say that there's "no logic" in the chord changes, they just don't move the way they would in a typical jazz standard. It doesn't have that really strong 5ths movement but it's got this nice kinda wandering feel to it. What it needs is a good melody to clarify the movement a bit (which is funny because you use that critique for a different submission, but it applies to this one as well)
I feel the same, to be honest. I like the wandering feel but there clearly is a motion, it's just not very prominent likely due to the fact that there are only two or three chords
I agree! Not everything needs to be viewed through functional jazz harmony glasses. This piece needs something to make it make sense, whether that's a melody or other harmonic information. I don't think a progression an sich could be rated without context.
100% agree, really enjoyed that D# dominant to the C#13 with the 5 to the 13 pivot note. I like that it catches me off guard. But I do agree it needs a good melody to go along with it!
The problem with that chord progression is that it doesn't have any drama to it. The way the chords are chosen do not form nice combinations of tension and release. I think the reason these guys suggested using standard Jazz progressions was to learn standard ways to create tension and release - then you can get creative and use non-functional harmony. But it's the pitch content that creates tension and release, and I don't think most people like to think in pitch groups.
Reminder that 1 foot is about 1 sound-millisecond, so even the slight offset of sound source between electric drums and their speakers can create a substantial difference in perceived time! You're not going to hit the 100ms inter-onset interval requires to perceive the hit and sample as separate sounds, but a few ms can still be very meaningful for instruments with transients as sharp as drums.
I really thought I had fun playing in a Dead/jam band, until I started playing bluegrass. It's just so much fun, and even with the heavily-regimented structure, there's still a lot of room to maneuver.
I know it's hard to play like a guitarist and sing like a singer at the same time, but I feel Second Sight would really benefit from the guitarist/backing singer working of his vocal tone specifically. Rhythm and pitch were fine, but he really squashed all his vowels by not varying how he was opening his mouth much...I get that he's trying to sound quiet and casual but his very dry, biting, angular tone took away from how smooth the main singer is sometimes, particularly on all those long 'eyes' where his sounded almost more like "airs"
These are great. I love how you taylor your comments to what looks like the skill level of each contributor, to really make the feedback useful to them. This makes this come off as instructive, I'm sure everyone will want to hire you guys for lessons, rather than as a just criticizem. The point about playing to electronic drum pads reflects the issue engineers face in where to place everyone in a studio for a live band recording. The phyisical distance from the drum kit introduces delays that are completely audible (roughly 1 msec/foot), while the electric kit through headphones can have far less delay. Your channel is amazing.
@14:39 Thank you so much for critiquing our submission! My brother (the guitarist) said he'll be careful not to mess up classic jazz songs too much next time :) Please come tour in Japan, you two!
𝕊𝕡𝕖𝕔𝕚𝕒𝕝 𝕕𝕒𝕥𝕚𝕟𝕘 𝕗𝕠𝕣 𝕪𝕠𝕦 ➺ BEAUTYZONE.CAM/Anna Anna is a beautiful girl. He's the person I love, he's my light day. The way the music flows and sounds is extravagant and fun. Anna is icon, legend, beautiful girl, princess, inspiration, a star. I could go on and on, understand this. I love NBA Anna.#垃圾
If anyone wants add thier own version of a melody, they can remix the reel on Instagram‼️they can find the link for the reel in the latest post of mine :)
This is a really cool format and as a musician myself, I could really learn a lot from your comments! Looking forward to a next episode. Maybe sort submissions by instruments and get someone playing that instrument on board for specific episodes?
I honestly really like the "sungazer but needs melody" one, precisely because of the strange chord progression - I personally really like the disorienting feel they have that then gets added upon in a more coherent way with the other things that get added in
Mr. Dudes! Your ears are so smart! Your hearts are so generous! Your words are so kind! You are making life better (harmonizing?) for everyone! 2-19-2022
𝕊𝕡𝕖𝕔𝕚𝕒𝕝 𝕕𝕒𝕥𝕚𝕟𝕘 𝕗𝕠𝕣 𝕪𝕠𝕦 ➺ BEAUTYZONE.CAM/Anna Anna is a beautiful girl. He's the person I love, he's my light day. The way the music flows and sounds is extravagant and fun. Anna is icon, legend, beautiful girl, princess, inspiration, a star. I could go on and on, understand this. I love NBA Anna.#垃圾
Some of my takeaways from the video. -The bass controls the harmonic and percussive parts of a song -Follow a melody to help create a chord bass -Checkout artist: lau noah, to understand the beauty and importance of following a melody -Feel the music In your hole body -Repetition legitimizes** -But learn how to leave the shape or change the idea (transitions) -Pitch Bend to a specific note. Not a random bend -Reharmonization should follow a feel, I suppose all melodies really. Use emotion as the base for writing music -Exaggerate music elements. NEvr toO much?
When it comes to mixing and trying to create, or re-create the feel of a live band in a same room mix also the reverbs. Let the vocal bleed to drum reverb, bass to vocal (hipass) and finally use one master reverb to tie it all together. You can give each element in the mix their own space but let each element be a guest in those space, so that there is something from everyone in each of those spaces. It tends to bring it all together more. And once you have dialed in all the reverbs, lower each of them... It is a trick i've learned that always works, dial in the reverbs, make it lush and then turn their gain down. Like magic, the sound just jumps back to the room and you get the balance you were looking for, with good mix of reverbs. That approach kind of resembles the journey of a beginning engineer. First you learn how to do anything at all, it is dry as hell but there is some beeb boob sounds coming, great. Then you discover reverbs and learn how to use em and everything becomes dreamy mess. Then you scale down and use reverb only sparingly, in few channels. It is better than the dreamy hell but not quite what you want. And then you learn that you start from dry, making it a dreamy mess along the way and then scale down everything. With experience there is less of a mess to get rid off, and you get that magical, subtle reverb that is both dreamy and keeps the music in your face, it does not sound like 5 elements from different sources, it becomes 5 elements of the same song.
The thing that separates good musicians from great musicians is intent. Great musicians play with intention. A lot of people write music that sounds different for the sake of being different or simply to be contrary to the "norm" but those reasons are outside the confines of the music. Find reasons for the music to be different and your music will shine.
We got you! If you are into progressive hard rock, feel free to check us out! Our sophomore release is just around the corner, previewed here in Adam Neely's video! th-cam.com/video/RaJMbxDiaaQ/w-d-xo.html
On the subject of the importance of movement in music, I’m primarily a sound engineer & I’ve found that when I move while engineering for live sound it ends up “better”
Elliott Smith enjoyed making the melody within his chord structure/progressions. I prefer that way as well. In a simplistic song I’ll just use my voice.
Hey I'm glad ur still doing thsse! I remember awhile back you were saying you weren't sure if you'd keep doing them cuz people were being rude to you about it. Someday I will have the courage to submit something of mine lmao
I really like this formate for How to get good at music episodes. Would it be possible to start using this formate for gusts and collabs? (Even if the other person/people are in a call) Because I think this would be interesting to see different people’s opinions. (Part of me does want to see how you would do this with classical musicians in discussions of music, like Two Set or others in the same musical field).
The first submission here is more old-time-adjacent than bluegrass. Scruggs style/ 3 finger banjo is a really distinctive part of the sound of bluegrass, whereas the submission had a clawhammer banjo part, which to me roots it more to the old-time tradition (which is bluegrass's parent tradition)
Man I really love watching Adam and getting all of this music knowledge and ideas then going and making electronic beats in fl. Really makes me feel like a real musician.
Guitar players have terrible time is so true. When I started playing bass as a teen, having moved from 5 years or so with guitar, I hit a huge with tempo and internalizing rhythm.
𝕊𝕡𝕖𝕔𝕚𝕒𝕝 𝕕𝕒𝕥𝕚𝕟𝕘 𝕗𝕠𝕣 𝕪𝕠𝕦 ➺ BEAUTYZONE.CAM/Anna Anna is a beautiful girl. He's the person I love, he's my light day. The way the music flows and sounds is extravagant and fun. Anna is icon, legend, beautiful girl, princess, inspiration, a star. I could go on and on, understand this. I love NBA Anna.#垃圾
Thank you sooo much 😀 check out our album Coral! We'll also be putting up a bunch of our live videos from this series, soon. Thank you for listening ❤️
@@martybyrnemusic always happy to hear that about the album! We did the whole thing during the pandemic, and most of the album was done remotely, complete DIY project.
𝕊𝕡𝕖𝕔𝕚𝕒𝕝 𝕕𝕒𝕥𝕚𝕟𝕘 𝕗𝕠𝕣 𝕪𝕠𝕦 ➺ BEAUTYZONE.CAM/Anna Anna is a beautiful girl. He's the person I love, he's my light day. The way the music flows and sounds is extravagant and fun. Anna is icon, legend, beautiful girl, princess, inspiration, a star. I could go on and on, understand this. I love NBA Anna.#垃圾
Awww yeah! Shubh Saran! I've been listening Hmayra, inglish and (Becoming EP too) these last few months pretty much on repeat! Great video, great guest! Oh Sungazer slaps too! And huge thanks to Adam Neely for exposing me to Shubh Saran in the first place!
4:26 It's kind of fascinating that you said that about musicians being afraid of melodies, because I grew up playing music but didn't _compose_ anything until the past few years when I got a copy of PICO-8 ... and the thing that made it possible for me to make any original music that I at all liked was thinking melodically. I wonder if it's a side effect of music theory training - I don't think I was taught _any_ melodic theory in the freshman and sophomore theory classes I took.
I remember on of the first couple of lessons i had in music theory (before we finally started with the Jazz stuff) was how to find the right chords for a simple melody, JS Bach style (without parallels). I don't pay much attention to that stuff anymore, but it definitely showed me how closely related melody and harmony is, especially in classical music from my understanding.
Inspires to me the idea of composing melody free of chords, then later harmonising it. As a basic composition principle.. This idea, inspired by you, is not new, but it is maybe a way out of the boxes of harmonic logic - rememberin Debussy...
𝕊𝕡𝕖𝕔𝕚𝕒𝕝 𝕕𝕒𝕥𝕚𝕟𝕘 𝕗𝕠𝕣 𝕪𝕠𝕦 ➺ BEAUTYZONE.CAM/Anna Anna is a beautiful girl. He's the person I love, he's my light day. The way the music flows and sounds is extravagant and fun. Anna is icon, legend, beautiful girl, princess, inspiration, a star. I could go on and on, understand this. I love NBA Anna.#垃圾
For electric drums, you really should have your own monitoring system that is beefy enough to produce the needed SPL. Subwoofer becomes a must. You can still have a use for e drums, you don't have to have drums at pain threshold and it gives more options when it comes to rehearsal space but what Adam said about the drum sound in the room.. that is important, for the band and the drummer. Each sound source in the room needs to be optimized like that, make the room sound like it is one of the band members. Funnily enough, this makes you also focus on finding the same balance on stage, which in turn makes sound engineer love you, you know what sound you want and can make it sound like you want on stage and i will be happy cause those bands are really easy to mix.
Haha, in the spirit of the season, i'm quite pleased to see a chinese new year song in there ! All great submissions, i mean the level of musicianship is already so high, some of them are way beyond what I hope to acheive for myself,. It's amazing how this series has progressed and evolved (i've been bingeing these videos, so I think i'm going to run out soon, ha!). What i love is that the discussion and critiques continue in the comments by many people way more knowledgeable than I. Last thing, to the question at 26:11 , the answer is yes.
21:25 Hammer-on and pull-off timing... Learn some Tool songs. lol They have a bunch of riffs that require VERY precise hammer-ons and pull-offs to sound even remotely decent. lol The one I like to play (cause it's easy and instantly recognizable lol) is Schism. If you don't want to learn the whole song, just the solo version of the main riff sounds great and is great practice. It's just 0h3h5 on the A, followed by 3D-0A-2D-0A, but those three first three notes have to be spaced out pretty precisely to sound right (I'd actually be interested in seeing an analysis of that, and Tool in general. They do weird shit lol).
I didn't recognize the Casiopea tune at first, until Adam mention it (I didn't watch at first, only listening). Even when she play the melody part I still not recognize. That's how bad a Casiopea fan I am!
9:12 the part about when rhythm guitars are often slightly ahead when recording to a click track resonates with me a lot a someone who's had just over a decade of classical piano training because one of the artistic decisions you have to make when encountering long runs that are supposed to fit into a short amount of time (i.e Chopin in almost any and all of his nocturnes) is choosing what note to play on the beat: do you play the first note or last note of the run? Whatever choice you make, you then have to anticipate and start the run what would technically be considered early or fit it into the short amount of time and be potentially forced to apply rubato to catch back up. While I know this example is more about just playing in time with a rhythm section, if you slow it down it's whether the strike of the first note lands on beat or the last high E string lands on beat. I guess it's a matter of taste but it's almost always a deliberate decision to make stylistically. Anyways, love the content!
Loved this collab- Shubh brings insightful and gentle critiques along with Adam's. And to get the obvious out of the way- both are super handsome! Not being thirsty- both too young for me! Haha! Just saying facts! Anyhow, even though metal isn't my thing, I really quite enjoyed the headbanger's piece. Even this old lady was banging her head! Lol My only advice for them is when the drummer starts banging his head, the guitarist and bass player ought to do the same. Fun video- great advice, Adam and Shubh!
To tack on to the comments about the electric kit, no matter how faster your synth or midi system processes the sound, there's always gonna be at least a slight delay between the hit on the physical drum and the sound coming through the speaker so that may also be affecting the feeling of time etc.
25:37 Duquak dak daquak ka dwak ! YES loving it, do more of these plz ! this was amazing wish my music was worthy enought to be destroyed by critic xD chugchug same scale relax the meshugah bru
Awesome episode and collab with Shubh! Editing is also great, repeating video during comments is beautiful idea. Maybe I’ll find courage to send some of my own ideas. Repetition legitimizes.
So excited to see Shubh here! I've been binge listening to Inglish these couple of weeks and it's been such a treat, as Adam mentioned he writes such amazing melodies and embellished them with so much interesting stuff (I am still learning how to explain music lol) Amazing video!
Adam (or anyone with perspective), coming from someone with very little music knowledge, I would appreciate some help reconciling some ideas I have heard from you. When for example is deviating from a certain musical standard "good/different/spicy" and when it is just "strange". I think I get this impression from the different ways it seems to me that you have talked about for example popular Jazz music (e.g. you seem to push a few of the musicians in this video in the direction of certian jazz standards), vs the harmonic style of 18th century european music (where you seem to push against people who call music that adheres to those standards "good music"). There are these other ideas, like harmonic story telling, and intuitive feeling of what sounds good that I'm sure play in to this analysis, but could you help me clarify by what principles you advise people trying to improve their music?
If you're going to try and speak a musical language, it's important to learn the vocabulary of that language, to be able to connect more to the cultural expression of the music, and access the deep history of music. There are many, beautiful musical languages around the world, including the harmonic style of 18th century Europeans, but that's just one language, and it shouldn't be the singular yardstick against which other musics are measured. When we give critiques like this, we're experienced in the vocabulary of jazz, pop, rock and live electronic, music, and so we're trying to give young musicians the tools necessary to speak that language as eloquently, beautifully and effectively as possible, with an understanding of the history and the culture from which that vocabulary comes. It's hard to give one "unifying principle" which guides every critique, because I'm a human and so I can be complicated and contradictory, but I try and give critique as honestly as I can. I do so with the idea that everybody can improve, and everybody can deepen their experience through connecting their craft to those who came before.
@@AdamNeely Thank you for the response! That makes a lot of sense. I appreciate the honest approach you take, it inspires me to be critical like this in other aspects of life as well. Thank you for the work you do!
I think what they meant by "strange" is when a certain aspect of the music doesn't feel intentional, like when the harmony doesn't seem to have an internal logic or a sense of tension and resolution. When making a chord progression based on functional chords like tonic and dominant, you have to be aware of how they're used in the musical tradition you're playing in, so when you play something different it sounds convincing or satisfying.
@@AdamNeely One time, I was hit up to play in a hip hop group with a couple of pro jazz kids, and an MC with very little theory background. All of the beats we were asked to play were based on short loops from bebop tunes, and the jazz guys in the group absolutely threw fits because "these chords don't make sense out of context". It was one of the most pretentious, unprofessional things I've ever seen and I started off playing fuckin indie rock. Bunch of white kids with no background in hip hop telling someone who'd fairly successfully been doing it for a decade that they were doing it wrong, because it didn't follow the rules of jazz harmony. To be fair, none of them were used to smoking that much weed while trying to work, but it was still very cringe. My point is that jazz is a very beautiful language that almost no one speaks fluently, and therefore it can be very useful to know how to graft bits of jazz vocabulary onto other grammars. Probably even more useful than being fluent in jazz, unless jazz is specifically what you want to do.
I think I've heard it said well that you need to know the rules to know when and how to break them. I think a lot of it comes down to intentionality. If you're going to deviate from the "standard" way of doing things you should probably have a reason to do so, and if you're just doing random stuff then that reason, that intention isn't really there. That can be increasingly bad when you are doing something more complex like a piece of music with many parts, like if you are playing chords with one instrument and throw in a weird chord, but isn't changing the melody with another instrument to accomodate that chord. You need to know what you're doing and why you're doing it so the rest of the music can follow accordingly with that.
Hey, all, a comment about a submission that was deleted from this video. There was a guy who played some nice bossa nova chords, but for Shubh and I, they didn't seem to relate too well to each other, because they seemed to imitate the surface level harmony of jazz progressions, without any of the deeper harmonic logic. In retrospect, we didn't elaborate enough on this concept of "harmonic logic", so it kinda looked like us saying "listen to us, we know better, your chords suck." There is a lot more we could have said, and just didn't, which isn't very helpful to anybody.
We DID eventually get to the point we wanted to make by a later submission, and that is chords in jazz are in service of melody, and without melody to guide a progression, it can feel aimless. It's extremely important to improvise and/or write melodies over chord progressions, because they give harmony context. Harmony originally was different voices singing different melodies together, chord progressions literally are just different melodies smushed together. If the individual melodies of the voices don't make sense, it's hard to make the chord progression make sense in our ears. Or at least my ear.
The original is still on Nebula, if you want to watch it, but in the interest of clarity, that submission was removed from this video. Sorry about that!
Oh right that explains why it seemingly disappeared for me on a second watch. I went crazy for ten minutes opening it in different browsers and shit trying to work out what was wrong.
I totally agree with this. The first listen I was like nice chords, but the cadences were weak. No sense of resolution. Having said that, I suspect you could make it work 100% if you reharmonize it with new roots \ bass.
Thanks dad
While I did disagree with your criticism, I think this is an interesting grey area about how people hear things and make creative choices. I would love to see a whole video dedicated to this one submission, and highlight the chords some thought were okay and some thought lacked context...plus I just want to hear those chords more clearly
I did see it, before it was removed. I recall you saying that they sound nice but didn't have much connection to each other. Which is closer to harmonic logic, than these chords suck. So, I don't see why it was removed. I got rid of nebula. Most of the videos were not really more in depth, but just shorter because the sponsored content was removed.
Professional music critiques:
- That's a chord!
- That's a note!
- That's guitar!
At least we're certain they're honest.
We are all now gooder at music. Thanks, guys.
I feel gooder
Adenosine MonoPhosphate
Same here amp
It’s a beautiful thing
lol yes..
I'm the one from 12:05 onwards!!! Thank you so much Adam Neely and Shubh Saran for the valuable critique, I'm gonna watch it a few more times so I absorb it completely! I love this video series!
Also I'm so glad you both liked the chord progression, thank you so much 🙏
You got the blues alright
I really liked what you were playing there, but you know what? The whole piece sounded a little bit flat, monotonous. Add some dynamics to your playing! Have some of the notes pop out a little, play them louder and have them stand out.
I like your music. It reminds me to Julie Driscoll's Road to Cairo (which is good, I suppose :-) )
This may help with bending -- enjoy -- th-cam.com/video/VuS_tDepLJY/w-d-xo.html
@@BenPrevo People like you are the real reason I check TH-cam replies. Thank you for being a kind person!
That reharmonization of the Christmas song was so tense, it's like coming back home for the holidays knowing there will be arguments and fights
Yeah that's the feeling I got from it too. Instead of being a happy la la land time portrayed in the original, it's the more real time of "oh god...christmas is just 2 weeks away? god, I didn't go shopping yet...what? I thought you said your inlaws are going to your sister's this year? Wait...your BROTHER is coming too? isn't he still in jail? ugh....shoot me"
The downpicky guitarist reminds me of the story that when Flea joined the punk band Fear, they told him to play downstrokes only (because alternating/upstrokes were "weak"), but the music was super fast and he had to learn to move his hand at double the speed 😆
They also told him to play with a pick because they preferred the tone of a picked bass, but he would instead play with his fingers closer to the bridge to get a similar tone.
I spent my teenage years training for just such a situation
Man, punk rockers suck sometimes. I get the vibe that the scene is really cool, but some of the musicians are kinda bullheaded
@Punch Down King totally happened
@@bradoliver9324 The most honest and nicest people you'll ever meet, no matter where ever you are in the world ♥
"This era of music really does have a sound, chill and complicated"
Hit different
I can’t believe I got choosen !! I was not expecting that to happen😂 thanks for the advices adam and Shubn!!
You were soo good‼️You deserve to be up there💯
I like your playing - keep up the good work!
𝕊𝕡𝕖𝕔𝕚𝕒𝕝 𝕕𝕒𝕥𝕚𝕟𝕘 𝕗𝕠𝕣 𝕪𝕠𝕦 ➺ BEAUTYZONE.CAM/Anna
Anna is a beautiful girl.
He's the person I love, he's my light
day. The way the music flows and sounds
is extravagant and fun. Anna is
icon, legend, beautiful girl, princess, inspiration,
a star. I could go on and on, understand this.
I love NBA Anna.#垃圾
Did you ever adopt alternate picking?
Hey Adam! Thanks so much for the feature! At the beginning-ish of the pandemic we moved our rehearsal space into a small room in a home and got the electric kit for practical reasons - and you are absolutely right! There is absolutely an adjustment period to the lack of acoustic drums. We are knee deep into our sophomore release and we absolutely love the feedback, all tips have been noted!
We are all pretty big fans of your channel and have been for years. And we likely will sample your pronunciation of our band name, as long as we have permission to (credits will be applied).
Cheers!
Thank you Adam!
You guys sounded great!
@@irissagar1080 thank you so much! If you wanna check out more of our material, feel free to check out our debut release from 2017! We also have an official music video out too!
th-cam.com/video/RaJMbxDiaaQ/w-d-xo.html
The romantic tension in this video was Oscar worthy
lmao wth
New level of simp
Right?!
guitarists and bassists always have a similar dynamic to the hero of a story and the villain's sexy sidekick
Ayo
Thank you Adam and Shubh for the objective critique! Yep the recording aspect was not entirely in our hands, however on the album version the drums are dry (if you ever wanna check it out haha). Thanks again, love both of y'alls music, and always learn something new about music from your videos, have a great day!
You were the highlight in the video for me! I'll listen to all your stuff now.
@@drakonyanazkar that's awesome thank you so much! ♥️
So happy to have discovered your music via this channel. Lovely stuff!
I like how Subh talks just about the stuff he's practice and working on. Even though he's a music genius already
The musician's craft is a lifelong journey!
> Pablo Casals, who performed at the UN recently, is 81. He agreed to have Robert Snyder make a movie short, “A Day in the Life of Pablo Casals.” Snyder asked Casals, the world’s foremost cellist, why he continues to practice four and five hours a day. Casals answered: “Because I think I am making progress.”
Shubh seems so humble and warm. Love the addition of him to this format!
That bluegrass was SICK. Gonna hunt it down and BUY it if possible.
Get em and bring them here
Hey that was me and my roommates playing casually at 3 AM, it’s not available for sale anywhere and we’re not a real band… But I think I’m going to have to put that track on Bandcamp
@@jacksonstein8866 PLEASE put the track on Bandcamp, I've been having this on loop for a while now. Can you let me know also of other bluegrass songs that have that sort of vibe as well? I know nothing about the genre but this sounded great, would like to listen more of this!
@@jacksonstein8866 great! I also heard past the stereotypical bluegrass, same instruments but a very original style. Similar to punch bros but with gang vox
@@alexciceu you like that sound check out Pharis&Jason Romero, álbum ñame “a wanderer I’ll stay”
This reminds me of when I was in collage and the music theory professor would come up when we were jamming and say "Now, whistle the melody"
My answer, "I don't have one yet."
His reply, "I know"
Great video.....
Shubh is a beautiful soul. Love his gentle critiques and real life advice.
21:00 Thanks Adam! I love writing melodies these days. For a while, I was dead set on making super laid-back odd-time cafe music, basically. I appreciate everything you said about my playing.
Sounded great dude!
This is going to sound so silly but I think I avoid writing melody because I’m scared it’s going to sound like something that’s been made already or it’s going to sound “too diatonic.” It’s seemingly easier to throw a bunch of “jazz” chords together than write a unique melody
What I always try to do is create a melody that sounds like it's something I'd sing. I even have instrumentals with "secret lyrics" that never get sung but my instrument plays the melody line the vocals would sing. Try it!
@@aliensporebomb that’s a good tip!
I would say actually a nice, strong diatonic melody is a good thing. It will more likely be memorable and easier to catch on to too for the listener. And like @aliensporebomb said, you probably want something that is memorable and singable.
To add interest and some different notes/non diatonic notes, maybe apply diatonic chords over the diatonic melody and then after that substitute some of these chords for outside chords (borrowed chords, secondary dominants ect...). Then change the melody accordingly to the new chords to fit their chord tones.
Then after that you'll basically have a mostly diatonic but strong melody, but with some nice outside chords and melody notes thrown in there to make it more interesting.
For an example of this, take something like 'Fly Me to the Moon'. That has mostly diatonic chords but there's some secondary dominants in there, dominant 7 altered chords etc... Then the melody fits around these non-diatonic chords to make sure the melody works over each chord. But as a result a more "interesting" melody is achieved.
@@joegriffithsmusic good advice
That doesnt sound silly AT ALL. I think its safe to say many many people (including myself) share that same feeling.
I absolutely love how you guys are so polite with your criticism, even with beginner musicians that don´t seem to have interest in further musical training. Most people would just throw hate and you manage to keep things objectively and kind, thanks for another great video!
The quintuplet bass groove with the bell arpeggios was giving me Boards of Canada vibes, I could hear a very floaty melody forming in my head already as I listened.
Always appreciate these episodes. Helps to put your mind in a “what can I still work on” kick which helps to reignite the want to practice!
re: that first progression, I don't think it's fair to say that there's "no logic" in the chord changes, they just don't move the way they would in a typical jazz standard. It doesn't have that really strong 5ths movement but it's got this nice kinda wandering feel to it. What it needs is a good melody to clarify the movement a bit (which is funny because you use that critique for a different submission, but it applies to this one as well)
I feel the same, to be honest. I like the wandering feel but there clearly is a motion, it's just not very prominent likely due to the fact that there are only two or three chords
I agree! Not everything needs to be viewed through functional jazz harmony glasses. This piece needs something to make it make sense, whether that's a melody or other harmonic information. I don't think a progression an sich could be rated without context.
100% agree, really enjoyed that D# dominant to the C#13 with the 5 to the 13 pivot note. I like that it catches me off guard. But I do agree it needs a good melody to go along with it!
The problem with that chord progression is that it doesn't have any drama to it. The way the chords are chosen do not form nice combinations of tension and release. I think the reason these guys suggested using standard Jazz progressions was to learn standard ways to create tension and release - then you can get creative and use non-functional harmony. But it's the pitch content that creates tension and release, and I don't think most people like to think in pitch groups.
Especially with the argument that it HAS to fit into those standards just because it uses jazz chords.
Always loved this series, now with the Shubhs’ perspective it’s even better 🔥 please do this together more often 🙏🏼
that band from India was sweet. What a cool mix of styles/groove.
Thank you so much! Give a listen to our album Coral 😀
Reminder that 1 foot is about 1 sound-millisecond, so even the slight offset of sound source between electric drums and their speakers can create a substantial difference in perceived time! You're not going to hit the 100ms inter-onset interval requires to perceive the hit and sample as separate sounds, but a few ms can still be very meaningful for instruments with transients as sharp as drums.
I really thought I had fun playing in a Dead/jam band, until I started playing bluegrass. It's just so much fun, and even with the heavily-regimented structure, there's still a lot of room to maneuver.
I know it's hard to play like a guitarist and sing like a singer at the same time, but I feel Second Sight would really benefit from the guitarist/backing singer working of his vocal tone specifically. Rhythm and pitch were fine, but he really squashed all his vowels by not varying how he was opening his mouth much...I get that he's trying to sound quiet and casual but his very dry, biting, angular tone took away from how smooth the main singer is sometimes, particularly on all those long 'eyes' where his sounded almost more like "airs"
Definitely
captioning your low volume remarks, expressions, utterances demonstrate great caring and value! GO go go!
These are great. I love how you taylor your comments to what looks like the skill level of each contributor, to really make the feedback useful to them. This makes this come off as instructive, I'm sure everyone will want to hire you guys for lessons, rather than as a just criticizem. The point about playing to electronic drum pads reflects the issue engineers face in where to place everyone in a studio for a live band recording. The phyisical distance from the drum kit introduces delays that are completely audible (roughly 1 msec/foot), while the electric kit through headphones can have far less delay. Your channel is amazing.
@14:39 Thank you so much for critiquing our submission! My brother (the guitarist) said he'll be careful not to mess up classic jazz songs too much next time :) Please come tour in Japan, you two!
i love both songs so much
Unrelated but I met Adam at a show last night and man was he cool and really nice.
That point about being afraid of writing melodies is so true in my music right now. Thanks for the motivation to be fearless. 👍
Lmao hey adam, I shall work on that melody and get back to you on that 😭👏. Thanks for the feature‼️ Really love the content you post :)
𝕊𝕡𝕖𝕔𝕚𝕒𝕝 𝕕𝕒𝕥𝕚𝕟𝕘 𝕗𝕠𝕣 𝕪𝕠𝕦 ➺ BEAUTYZONE.CAM/Anna
Anna is a beautiful girl.
He's the person I love, he's my light
day. The way the music flows and sounds
is extravagant and fun. Anna is
icon, legend, beautiful girl, princess, inspiration,
a star. I could go on and on, understand this.
I love NBA Anna.#垃圾
If anyone wants add thier own version of a melody, they can remix the reel on Instagram‼️they can find the link for the reel in the latest post of mine :)
@@Baccfire_Official I know they don't always talk about it but the production felt really nice and fuzzy
This is a really cool format and as a musician myself, I could really learn a lot from your comments! Looking forward to a next episode. Maybe sort submissions by instruments and get someone playing that instrument on board for specific episodes?
I’m the one from 9:35! Thank you for the input! I’ll try to move more and pay attention to the note length too! Cheers!!!
Hey man, what's the original song?
@@MrBradylicious It’s called 賀新年(He Xin Nian) and it’s actually a common song played during Lunar New Year hahaha
I want more of this, really fun
The last submission, from India, has such a Steely Dannish vibe to it. Very cool.
I honestly really like the "sungazer but needs melody" one, precisely because of the strange chord progression - I personally really like the disorienting feel they have that then gets added upon in a more coherent way with the other things that get added in
Mr. Dudes! Your ears are so smart! Your hearts are so generous! Your words are so kind! You are making life better (harmonizing?) for everyone! 2-19-2022
Honestly just great seeing the friendship vibes happening. Also great to hear music stuff whatever. Love the dynamic. Would watch this any day
𝕊𝕡𝕖𝕔𝕚𝕒𝕝 𝕕𝕒𝕥𝕚𝕟𝕘 𝕗𝕠𝕣 𝕪𝕠𝕦 ➺ BEAUTYZONE.CAM/Anna
Anna is a beautiful girl.
He's the person I love, he's my light
day. The way the music flows and sounds
is extravagant and fun. Anna is
icon, legend, beautiful girl, princess, inspiration,
a star. I could go on and on, understand this.
I love NBA Anna.#垃圾
Some of my takeaways from the video.
-The bass controls the harmonic and percussive parts of a song
-Follow a melody to help create a chord bass
-Checkout artist: lau noah, to understand the beauty and importance of following a melody
-Feel the music In your hole body
-Repetition legitimizes** -But learn how to leave the shape or change the idea (transitions)
-Pitch Bend to a specific note. Not a random bend
-Reharmonization should follow a feel, I suppose all melodies really. Use emotion as the base for writing music
-Exaggerate music elements. NEvr toO much?
7:36 well it is a Casiopea song! In fact, the down picking technique is used by the guitarist, Issei Noro
What’s the name of it? Casiopea has billions of songs I’ll never be able to find it
@@derpmanTV Continental Way
@@derpmanTV it might be continental way but I’m not 100% sure
@@battlewatch3531 It’s written on the email seen below her while playing.
When it comes to mixing and trying to create, or re-create the feel of a live band in a same room mix also the reverbs. Let the vocal bleed to drum reverb, bass to vocal (hipass) and finally use one master reverb to tie it all together. You can give each element in the mix their own space but let each element be a guest in those space, so that there is something from everyone in each of those spaces. It tends to bring it all together more. And once you have dialed in all the reverbs, lower each of them... It is a trick i've learned that always works, dial in the reverbs, make it lush and then turn their gain down. Like magic, the sound just jumps back to the room and you get the balance you were looking for, with good mix of reverbs.
That approach kind of resembles the journey of a beginning engineer. First you learn how to do anything at all, it is dry as hell but there is some beeb boob sounds coming, great. Then you discover reverbs and learn how to use em and everything becomes dreamy mess. Then you scale down and use reverb only sparingly, in few channels. It is better than the dreamy hell but not quite what you want. And then you learn that you start from dry, making it a dreamy mess along the way and then scale down everything. With experience there is less of a mess to get rid off, and you get that magical, subtle reverb that is both dreamy and keeps the music in your face, it does not sound like 5 elements from different sources, it becomes 5 elements of the same song.
I once knew a pretty good thrash metal guitarist who only did upstrokes. I don't know how or why and probably no one will believe me but it's true
You knew Dave Mustaine!?
Can't believe you got Shubh Saran on, I just discovered his ep "Becoming" and have been listening to it on repeat.
Wild timing for a crossover
FINALLY casiopea on adam's channel. it's been a long time coming folks
The thing that separates good musicians from great musicians is intent. Great musicians play with intention.
A lot of people write music that sounds different for the sake of being different or simply to be contrary to the "norm" but those reasons are outside the confines of the music. Find reasons for the music to be different and your music will shine.
love your critique videos, always feels like i end up getting something out of it
Ah, another episode of “wow I suck” XD Seriously though, amazing musicianship, I loved the first entry so much!
ahhh wish there were links to all this beautiful music
We got you! If you are into progressive hard rock, feel free to check us out! Our sophomore release is just around the corner, previewed here in Adam Neely's video!
th-cam.com/video/RaJMbxDiaaQ/w-d-xo.html
i like when adam puts his hand on his chin and makes his berkley face
These viewer critiques are my favorite hope you do more of them?
On the subject of the importance of movement in music, I’m primarily a sound engineer & I’ve found that when I move while engineering for live sound it ends up “better”
That one with the bass/keys in 5s would sound great with some sort of brass playing a really floaty/loose melody over it.
Elliott Smith enjoyed making the melody within his chord structure/progressions. I prefer that way as well. In a simplistic song I’ll just use my voice.
Hey I'm glad ur still doing thsse! I remember awhile back you were saying you weren't sure if you'd keep doing them cuz people were being rude to you about it. Someday I will have the courage to submit something of mine lmao
I really like this formate for How to get good at music episodes. Would it be possible to start using this formate for gusts and collabs? (Even if the other person/people are in a call) Because I think this would be interesting to see different people’s opinions. (Part of me does want to see how you would do this with classical musicians in discussions of music, like Two Set or others in the same musical field).
Super cool you had Shubh Saran on for this one!
Also, more people should listen to Casiopea :)
The first submission here is more old-time-adjacent than bluegrass. Scruggs style/ 3 finger banjo is a really distinctive part of the sound of bluegrass, whereas the submission had a clawhammer banjo part, which to me roots it more to the old-time tradition (which is bluegrass's parent tradition)
Man I really love watching Adam and getting all of this music knowledge and ideas then going and making electronic beats in fl. Really makes me feel like a real musician.
Pretty sure we could all dig more of the Adam Neely extended universe.
Guitar players have terrible time is so true. When I started playing bass as a teen, having moved from 5 years or so with guitar, I hit a huge with tempo and internalizing rhythm.
𝕊𝕡𝕖𝕔𝕚𝕒𝕝 𝕕𝕒𝕥𝕚𝕟𝕘 𝕗𝕠𝕣 𝕪𝕠𝕦 ➺ BEAUTYZONE.CAM/Anna
Anna is a beautiful girl.
He's the person I love, he's my light
day. The way the music flows and sounds
is extravagant and fun. Anna is
icon, legend, beautiful girl, princess, inspiration,
a star. I could go on and on, understand this.
I love NBA Anna.#垃圾
I loved Dim Lights my gosh, that was such a cool sound!!! definitely following Second Sight to see what they're up to, really really nice!
Thank you sooo much 😀 check out our album Coral! We'll also be putting up a bunch of our live videos from this series, soon. Thank you for listening ❤️
@@SecondSightMusic oh yeah i just found coral on spotify yesterday after watching the video and i'm really enjoying it! very nice sound y'all have ^^
I stopped the video immediately and looked them up. Listening to it right now!
Yeah! Loved this music. Listening to Coral now: And it's recorded beautifully.
@@martybyrnemusic always happy to hear that about the album! We did the whole thing during the pandemic, and most of the album was done remotely, complete DIY project.
Love Shub and Adam together! Great duo🏄🏻♂️
"Is this the point where we make out" caught me totally off guard 😂
Your commentary is priceless. I especially appreciate being told when "something happened"
Same. I appreciate a good listening cue, it keeps me from missing anything!
𝕊𝕡𝕖𝕔𝕚𝕒𝕝 𝕕𝕒𝕥𝕚𝕟𝕘 𝕗𝕠𝕣 𝕪𝕠𝕦 ➺ BEAUTYZONE.CAM/Anna
Anna is a beautiful girl.
He's the person I love, he's my light
day. The way the music flows and sounds
is extravagant and fun. Anna is
icon, legend, beautiful girl, princess, inspiration,
a star. I could go on and on, understand this.
I love NBA Anna.#垃圾
what about "that was a note"?
Awww yeah! Shubh Saran! I've been listening Hmayra, inglish and (Becoming EP too) these last few months pretty much on repeat! Great video, great guest!
Oh Sungazer slaps too! And huge thanks to Adam Neely for exposing me to Shubh Saran in the first place!
I think this is my favorite series of yours. Just analyzing different musicians making music. Gotta love it
I dig the quiet commentary with built-in subs. Thanks!
4:26 It's kind of fascinating that you said that about musicians being afraid of melodies, because I grew up playing music but didn't _compose_ anything until the past few years when I got a copy of PICO-8 ... and the thing that made it possible for me to make any original music that I at all liked was thinking melodically.
I wonder if it's a side effect of music theory training - I don't think I was taught _any_ melodic theory in the freshman and sophomore theory classes I took.
I remember on of the first couple of lessons i had in music theory (before we finally started with the Jazz stuff) was how to find the right chords for a simple melody, JS Bach style (without parallels). I don't pay much attention to that stuff anymore, but it definitely showed me how closely related melody and harmony is, especially in classical music from my understanding.
You guys are really great - your criticisms are very constructively worded without being harsh.
Inspires to me the idea of composing melody free of chords, then later harmonising it. As a basic composition principle.. This idea, inspired by you, is not new, but it is maybe a way out of the boxes of harmonic logic - rememberin Debussy...
𝕊𝕡𝕖𝕔𝕚𝕒𝕝 𝕕𝕒𝕥𝕚𝕟𝕘 𝕗𝕠𝕣 𝕪𝕠𝕦 ➺ BEAUTYZONE.CAM/Anna
Anna is a beautiful girl.
He's the person I love, he's my light
day. The way the music flows and sounds
is extravagant and fun. Anna is
icon, legend, beautiful girl, princess, inspiration,
a star. I could go on and on, understand this.
I love NBA Anna.#垃圾
It's not necessarily out of the box of harmonic logic, depends what chords you choose
I am the master of aheadiveness. You and Shubh used it best.
Great teachers! Managed to give positive and constructive feedback regardless of the performance. :)
Shub is such a cool and chill guy! Loved this!
Wow. This was so fun and pleasant to watch. Great chemistry in this duo :-)
That's a note = ouch my ear hurt. This would work well as one of the Adam Neely - JAZZ tshirts.
adam, another great episode. just hard for us laypeople to understand with all the jargon and technical terms!
Melody to me is like... the plot of a story. If it's not there, you're kinda just reading a non-fiction book or something.
For electric drums, you really should have your own monitoring system that is beefy enough to produce the needed SPL. Subwoofer becomes a must. You can still have a use for e drums, you don't have to have drums at pain threshold and it gives more options when it comes to rehearsal space but what Adam said about the drum sound in the room.. that is important, for the band and the drummer. Each sound source in the room needs to be optimized like that, make the room sound like it is one of the band members. Funnily enough, this makes you also focus on finding the same balance on stage, which in turn makes sound engineer love you, you know what sound you want and can make it sound like you want on stage and i will be happy cause those bands are really easy to mix.
You are SO right about tightening up the bass o # 2!
Haha, in the spirit of the season, i'm quite pleased to see a chinese new year song in there ! All great submissions, i mean the level of musicianship is already so high, some of them are way beyond what I hope to acheive for myself,. It's amazing how this series has progressed and evolved (i've been bingeing these videos, so I think i'm going to run out soon, ha!). What i love is that the discussion and critiques continue in the comments by many people way more knowledgeable than I. Last thing, to the question at 26:11 , the answer is yes.
Definitely one of my favorite types of video from you, love these!
Love the two person format, but can we get Shub a guitar for the next :)
hahahaha i really like this vibe of two friends just having fun
21:25 Hammer-on and pull-off timing... Learn some Tool songs. lol They have a bunch of riffs that require VERY precise hammer-ons and pull-offs to sound even remotely decent. lol
The one I like to play (cause it's easy and instantly recognizable lol) is Schism. If you don't want to learn the whole song, just the solo version of the main riff sounds great and is great practice. It's just 0h3h5 on the A, followed by 3D-0A-2D-0A, but those three first three notes have to be spaced out pretty precisely to sound right (I'd actually be interested in seeing an analysis of that, and Tool in general. They do weird shit lol).
I didn't recognize the Casiopea tune at first, until Adam mention it (I didn't watch at first, only listening). Even when she play the melody part I still not recognize. That's how bad a Casiopea fan I am!
gotta say i quite liked the electro jazz thing, its interesting and the beat is pretty catchy
9:12 the part about when rhythm guitars are often slightly ahead when recording to a click track resonates with me a lot a someone who's had just over a decade of classical piano training because one of the artistic decisions you have to make when encountering long runs that are supposed to fit into a short amount of time (i.e Chopin in almost any and all of his nocturnes) is choosing what note to play on the beat: do you play the first note or last note of the run? Whatever choice you make, you then have to anticipate and start the run what would technically be considered early or fit it into the short amount of time and be potentially forced to apply rubato to catch back up. While I know this example is more about just playing in time with a rhythm section, if you slow it down it's whether the strike of the first note lands on beat or the last high E string lands on beat. I guess it's a matter of taste but it's almost always a deliberate decision to make stylistically.
Anyways, love the content!
Loved this collab- Shubh brings insightful and gentle critiques along with Adam's. And to get the obvious out of the way- both are super handsome! Not being thirsty- both too young for me! Haha! Just saying facts!
Anyhow, even though metal isn't my thing, I really quite enjoyed the headbanger's piece. Even this old lady was banging her head! Lol My only advice for them is when the drummer starts banging his head, the guitarist and bass player ought to do the same. Fun video- great advice, Adam and Shubh!
Awesome video!
Quick recommendation, A band called moonchild, a kinda neosoul jazzhop type group. I'd specifically listen to the album voyage
Yeah I love them, their main singer’s voice is annoying tho
awesome to have Shubh on! thanks for sharing
To tack on to the comments about the electric kit, no matter how faster your synth or midi system processes the sound, there's always gonna be at least a slight delay between the hit on the physical drum and the sound coming through the speaker so that may also be affecting the feeling of time etc.
25:37 Duquak dak daquak ka dwak ! YES
loving it, do more of these plz ! this was amazing
wish my music was worthy enought to be destroyed by critic xD
chugchug same scale relax the meshugah bru
Not so sure about the chord comments in the second submission. Found the changes interesting and pleasantly fresh sounding! Another great vid tho 🥳
Awesome episode and collab with Shubh! Editing is also great, repeating video during comments is beautiful idea. Maybe I’ll find courage to send some of my own ideas.
Repetition legitimizes.
So excited to see Shubh here! I've been binge listening to Inglish these couple of weeks and it's been such a treat, as Adam mentioned he writes such amazing melodies and embellished them with so much interesting stuff (I am still learning how to explain music lol)
Amazing video!
Adam (or anyone with perspective), coming from someone with very little music knowledge, I would appreciate some help reconciling some ideas I have heard from you. When for example is deviating from a certain musical standard "good/different/spicy" and when it is just "strange". I think I get this impression from the different ways it seems to me that you have talked about for example popular Jazz music (e.g. you seem to push a few of the musicians in this video in the direction of certian jazz standards), vs the harmonic style of 18th century european music (where you seem to push against people who call music that adheres to those standards "good music"). There are these other ideas, like harmonic story telling, and intuitive feeling of what sounds good that I'm sure play in to this analysis, but could you help me clarify by what principles you advise people trying to improve their music?
If you're going to try and speak a musical language, it's important to learn the vocabulary of that language, to be able to connect more to the cultural expression of the music, and access the deep history of music. There are many, beautiful musical languages around the world, including the harmonic style of 18th century Europeans, but that's just one language, and it shouldn't be the singular yardstick against which other musics are measured.
When we give critiques like this, we're experienced in the vocabulary of jazz, pop, rock and live electronic, music, and so we're trying to give young musicians the tools necessary to speak that language as eloquently, beautifully and effectively as possible, with an understanding of the history and the culture from which that vocabulary comes.
It's hard to give one "unifying principle" which guides every critique, because I'm a human and so I can be complicated and contradictory, but I try and give critique as honestly as I can. I do so with the idea that everybody can improve, and everybody can deepen their experience through connecting their craft to those who came before.
@@AdamNeely Thank you for the response! That makes a lot of sense. I appreciate the honest approach you take, it inspires me to be critical like this in other aspects of life as well. Thank you for the work you do!
I think what they meant by "strange" is when a certain aspect of the music doesn't feel intentional, like when the harmony doesn't seem to have an internal logic or a sense of tension and resolution. When making a chord progression based on functional chords like tonic and dominant, you have to be aware of how they're used in the musical tradition you're playing in, so when you play something different it sounds convincing or satisfying.
@@AdamNeely One time, I was hit up to play in a hip hop group with a couple of pro jazz kids, and an MC with very little theory background. All of the beats we were asked to play were based on short loops from bebop tunes, and the jazz guys in the group absolutely threw fits because "these chords don't make sense out of context". It was one of the most pretentious, unprofessional things I've ever seen and I started off playing fuckin indie rock. Bunch of white kids with no background in hip hop telling someone who'd fairly successfully been doing it for a decade that they were doing it wrong, because it didn't follow the rules of jazz harmony. To be fair, none of them were used to smoking that much weed while trying to work, but it was still very cringe.
My point is that jazz is a very beautiful language that almost no one speaks fluently, and therefore it can be very useful to know how to graft bits of jazz vocabulary onto other grammars. Probably even more useful than being fluent in jazz, unless jazz is specifically what you want to do.
I think I've heard it said well that you need to know the rules to know when and how to break them. I think a lot of it comes down to intentionality. If you're going to deviate from the "standard" way of doing things you should probably have a reason to do so, and if you're just doing random stuff then that reason, that intention isn't really there. That can be increasingly bad when you are doing something more complex like a piece of music with many parts, like if you are playing chords with one instrument and throw in a weird chord, but isn't changing the melody with another instrument to accomodate that chord.
You need to know what you're doing and why you're doing it so the rest of the music can follow accordingly with that.
Please keep the duo going! Was fun with the both of you together…and informative.