A Dom. 7th with a flat 9th and a natural 13th sounds to me like my music theory teacher asking me for my homework that I forgot to do and just then realized.
Notice how at the piece at the end, he starts off describing the song as a setting. Scenery with atmosphere and tone. Then it transitions into almost an internal dialogue. Cool how music can play both the scenery, the setting and the character in a piece
my understanding of intervals minor second - tense and bitter major second - bright and soft minor third - mild and dark major third - funky forth - punchy Triton - too tense and dark firth - neutral minor sixth - dark and sour but lose sixth - sweet and calm minor seventh - soft and sour major seventh - tense yet sweet octave - neutral but razor sharp
Speaking of subjectivity, a lady friend of mine once described a drum solo by a jazz musician at a venue where she worked as sounding like "a feckin drum kit falling down a stairs"
This is absolutely great... I really need to think more like this when writing music. Too often I just go on auto-pilot and do the 'musically logical next steps'.
You cut out right before the most interesting part of the Prelude. The sudden appearance of a joyful C major chord in measure 21 is one of my all time favorite chord progressions in any piece I've played.
As a freestyle dancer i do this excessively. Only when ive made a clear emotional score of the music do i even begin trying reinterpreting it kinesthetically. Thanks for sharing! You popped up in my rec vids
I am not a bass a player but I am a classical and jazz musician in my high school band and even though we don't play the same instrument you are really helping me with my thoughts about how I should see music and helping me form my own ideas on how I should sound on my clarinet and I thank you please keep doing what you are doing
In Chopin's Prelude #4 in E Minor, I never thought of those notes as sighs but that really hits the idea on the head. What beautiful minds think of music astounds me.
Today I learned that Prelude No. 4 is one of the most awesomely-analysable pieces out there. Your 'analysis' was hilarious and somehow also insightful, and Benjamin Zander's TED talk about the transformative power of classical music includes a sort of walkthrough on how to appreciate that same piece in a really amazing way.
Man you know what? Good job! Honestly I'm impressed of how you use your curiosity! Interesting topics always and I really like the way you present. Very inspiring! Good job!
You're like one of the best people to listen to about analysis I watched like 3 vids of yours and am blown away just by the concept analysis I feel I could learn more thanks sir
Simply genius. Relatable in so many levels, I've been noticing the complexities of emotional responses to different musical ideas for some time but never actually thought of you know... describing them. Nice video, love your work!
This is revolutionary... thank you for sharing and the effort you put into posting these videos online :) I will remember that piece of music much more now than I would have don't if I had listened to it.
Excellent stuff! That's why so many composers attending music school get frustrated, because their phenomenological development is neglected, which is arguably the most important "muscle" to build as a composer, because it's what produces emotionally compelling, original ideas. And it's especially important for the media composer who has to musically react to images.
Hi, Adam! I really enjoy your videos and discussions. I am a music therapist (board-certified) and getting my Master's. I miss the playing/performing aspects of music as I now work with people in a more therapeutically oriented way using music (playing and singing together mostly), and there is more focus on the relationship and the person. But, I consider your videos as great continuing ed/musical inspiration! Anyway, felt it was finally time for me to comment and say hi since this video was about emotion in music! There is so much to this topic area, of course! When I read your phenomenological take on Chopin, I thought it would be cool to take that all the way like some researchers have done, studying the phenomenology of one's experience of a piece. I think it would go much deeper than just the surface! Anyway, have you also heard of embodied music theory or something like this? I stumbled across it but of course, hope to find a book or just do it myself. I don't know how much you know about music therapy, but I think music therapists and musicians who perform for a living need to have alliances together! Thanks for sharing your passion and knowledge of music!
Hi Leah, thanks for writing, no I haven't heard anything about embodied music theory! A quick read through the wikipedia page tells me that it's quite a deep subject, and I'd love to dive into it at some point, so thanks for the heads up.
I wanna become a music therapist myself, but I've been force by destiny to do psychology first. I've read Musicophilia by Oliver Sacks and it was the enlightenment for myself to keep chasing the dream of becoming a music therapist, so I'm going to study psychology and music therapy. Are they really different or do they intertwine extremely, and compliment each other? also what kind of approaches do you use during a therapy session? I'm quite curious about the subject, many people see music therapists as weird people who chose a weird career without knowing what it really is about.
Lelouch ViBritania, there is a lot to say about music therapy. It definitely uses psychology, so it is good to have a base of that. You will also need a music therapy degree which is a full music degree with music therapy classes, practicum, and internship. I have worked with people with developmental disabilities for most of my career. Music therapists also work in hospitals, hospices, nursing homes, schools, and with mental health. If you know whom you want to work with, research schools which may have opportunities to study that because there is a lot to learn and your interests may get lost in the shuffle if you don't actively pursue them.
also, we use music listening experiences, imrpovisation, songwriting, and music performance experiences in our work, and music therapists can use any theoretical approach that they align with. there are music therapy specific methods and techniques like Nordoff-Robbins Creative Music Therapy, Bonny Method of Guided Imagery and Music, or Neurologic Music Therapy. Look them up! music therapy is an interesting mix of existing psychology and the use of music in therapy/psychology. it's not weird, but it can be tiring to explain to everyone! good luck on your search and career goals!
Your notes over that score gave me an idea for either a series or perhaps a whole other channel involving you creating stories over pieces of music. Just let the music inform your creativity like you did with this one. I enjoyed it and would watch more.
You should keep publishing these, it will help others build their 'taxonomy' when it comes to identifying what certain parts of the music makes one feel. Most of the are the same in this regard, albeit not identical.
When I went through my music history class in my community college experience, we had to do something along the lines of what Adam did in the end of the video except we had to write a story based on what we heard in the song and then compare it to what the composer had thought of when he wrote the song himself. We all had different scenes playing out and they were all contextually different than the composers view. It was fun and really sort of gave insight to the difference between emotional contexts and technical learned responses.
This sounds like a really fun way of analysing music! I always analyse the chord changes in terms of rules that are used. Satie =Pantonal, Phil Glass = Minimalism. Dominant 7#5 = Jimi Hendrix, Major 7 = Gymnopedies etc, Maroon 5 - Sunday Morning = ii -V - i, I will survive = circle of fourths,
That was awesome. My head was down during the Chopin and I created this whole scenario (sad Parisian standing on a bridge thinking of last year kissing his beloved who is now gone to another), and then I look up and read 'SIGH' and just cracked up. Digging these videos Adam, great job!
I love this phenomenology stuff Adam! There's so much out there about the science of music theory, but this part really enriches the music learning experience. Keep it up!
30 years ago I took piano lessons for 6 months or so, and learned that Prelude: now I must find the music and a piano! Oh, yeah, great stuff in the video and all that....
Goshhh. That Chopin 'analysis' is so great. You killed me with 'Oh God why' Lovin' the humour (&the memes :D ) (&everything else, obviously, as I'm binge-watching...)
Love what you did with Chopin's nocturne! I've been doing the similar thing of annotating my emotional responses to pieces, but always thought it was strange and unheard of.. I'm so glad I found your video! You inspire! Now I can continue in peace ;)
Short lessons like this in so valuable and I think your teaching style is available to entry level or experienced musicians and it's effective! Keep it up !! =)
Awsome Channel! I love the way you combine theory of language with theory of music. in language the meaning of a word (and its associations) depends a lot on the sentence or situation it is used in. (Speaking situation/context) The word "sun" might be a "happy" word but poets may use it differently so that the sun means something dark or evil. The same applies to Notes/chords: it always depends on the harmonic context they are used in! Composing rules are like grammar rules. Partwise they come from convention, partwise they come from logical deduction. But they have evolved historically. Just like a poet isnt bound to grammar a musician isnt bound to any rules. But that doesnt mean that grammar and composing rules are totally useless. (Sry if english is bad)
nice lesson Adam,it was interesting and piqued my interest in these disciplines.I will definitely look further into both of them and thought your comments thoughtful and amusing
Wow what a great video!! It might be also a good exercise to wright down what you feel like when different musicians play the same piece. It can sound very different
THIS IS EXACTLY WHAT I WAS LOOKING FOR ON THIS CHANNEL! D: I think phenomenology of music is what Kubrick abuse on A Clockwork Orange, specially on the Singing in the rain scene. To consider the emotional scope and present a contrasting environment to deliver a experience so powerful people never see Gene Kelly song again the same way. In emotional language, this experience is a juxtaposition of two: 1. The marvelous joy of falling in love and being corresponded, enough to not care about the flood (referring the original movie scene). Life's good, bright and beautiful because of pretty young love♥♥♥♥ This joy is what Alex feels. 2. The terror of having your house invaded by a gang and being sexually and physically abused, while your crippled husband is constrained and the gang take turns to rape you. You're not safe even in your own house. This horror is what the victim feels. The contrasting juxtaposition 'method' (which isn't) can be seen too in the Billy Boy fight scene, during the Ludovico process too, and even in 2001: A Space Odyssey star ship scenes while hearing The Blue Danube song. To join the uncertainty of the infinite universe with the carefree feeling of the music. I dare to take it further to address the psychological viewpoint of this phenomena. Since the brain is particularly sensitive toward Fear and Uncertainty, it has a built-in capacity to specially retain harmful memories to avoid them in the future, and pursue the pleasant ones. I think Kubrick achieves a diametrical balance throughout these 2 movies and is precisely THAT what people FEELS watching them. It's pleasant to the eye, but painful to imagination. Adam, thank you for this video. Do you know where do i can further study phenomenology of music?
Bruno Omar I am with you on this. absolutely on point and I am glad for you to have thought of Kubrick doing that. I think that David Chase is one of the contemporary directors to expend this idea in their work. I think that what he was trying to show the world with the way he used music (complementing the actual scenes) is that life is cruel, and the most gruesome things that you can think of usually happen in the most mundane settings, thus the post-traumatic stress of the ABSURDITY AND NIHILISM of life being of even larger proportions. car crashes, murders, robbings all happening at the backdrop of some radio, bubble-gum pop. the same thing Burroughs does with language and ready made semantical concepts.
Very nice perspectives there, Adam! I liked your story-telling approach on the end of the video. Your point though raises some very hard dilemmas: a chord's subjective "feel" tends to depend very much on context. Plus, chords can be changing all the time, in such a rush, that you don't even have time to search for the associated feeling. Most people are not changing their feelings that fast- there are some weirdos out there though. My hunch is that associating feelings and impressions can be much more useful in remembering pieces of music, and eventually creating links between them based on your personal perception of how those pieces "feel". Very good thoughts you have, you definitely should do more of these silent moments like on this video's ending :)
is so nice to hear other people studying music with this aproach thinking in emotional response and brain functions... I first was interested in this when I heard the first interviews by jacob collier. really mind broadening! what an interesting channel this is!
i couldnt remember. I think its the first interview he does. the interviewer goes to his house in london and he tell how his mother used to speak about music. its basically this, the emotional ear training, when he has 3 to 5 years old. so that. he has perfect pitch. haha
this took my interest towards how music affects us .....to another level. why do some sounds clearly feel universal. like dictating how to move through time (pace/atmosphere) and how to perceive an experience (emphasizing a lens in which to feel in a given situation).
Hey Adam, I really enjoyed watching your notes following along with the notation as it pertained to your perception of chord/harmonic qualities.I hope you’ll consider trying to incorporate this into some of your future lessons as well. -Sam
My music theory teacher also did an exercise where he would improvise a melody outlining a certain type of 7th chord for a couple of minutes and would have the class draw pictures of what they thought it sounded like. Now whenever I hear a chord that sounds like a lightning storm, I know it's a fully diminished 7th chord. Major 7s sound like watching the clouds, minor 7s sound like a film noir detective chillin' out in a back alley with a trench coat and a cigar, and dom 7s sound like a lively wild west saloon!
@@KevinTPLimI don't even remember writing this comment 6 years ago haha. But another fun idea for you anyway: you can remember triad groups just by sounding them out: ACE = ace BDF = booduf CEG = keg DFA = doofuh EGB = Eggabuh FAC = fahs (not f**k lol) GBD = goobudah 10 years later, I still refer to triads this way. He was a great teacher.
Hey! Ii think you're doing a great work with this channel. The material is so interesting and you have a king of humor that i like a lot. Keep it going dude, greetings from Barcelona!
That C7 b9 natural 13 seems like a melodramatic stage play opening that tries to pretend to be an opera at first but then realizes that opera singers don't dance, transitioning into a bright and cheery play. Great video, by the way!
Amazing video Adam Neely I'm a new subscriber studying at music school in Canada I especially enjoyed the part at the end with your own annotations Keep up the great work!
you are really awesome. Im guitar player. i have learned lot from these videos. What i would like to learn more is practice tips to how improve your hearing, how improve your ability to play what you hear.
that chopin piece sounds like I feel when I try to break up with a girlfriend but she keeps texting me and calling me and I keep responding, a process of a couple months of trying to get it going again with her, sprinkles of hope, but constant resignation and delusion to follow, all this compressed to this little prelude, nice one thanks!
Has anyone ever told you that your narration style is reminiscent of Bill Nye The Science Guy?? I loved that show for all its insightful quirkiness much like I enjoy your videos. This one particularly struck a chord 😜 with me. I have dozens of questions but will need some reflection time to ask them. Thanks for the great insights!
Hi Adam, I always have a good time when watching your videos. I like the academic vibe in the way you approach musical concepts. It might be the fact that I have an MA in Philosophy so these perspectives are somehow familiar to me. Anyway I just wanted to comment on the use you give to the term "ontology", cause it seems to me you're actually thinking of "ontic" these two concepts oppose to each other (since Kant, and more importantly since Hussel and Heidegger), also ontic might be closer to taxonomy. Reading Heideggers ZS or Husserl's Ideas you may come to look at ontology not simple as a study of being, but the study of being's conditions of possibility... pretty hard to explain here but I hope you get the point and maybe comment on your bibliography, since of course I find these subjects really interesting. Cheers
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A Dom. 7th with a flat 9th and a natural 13th sounds to me like my music theory teacher asking me for my homework that I forgot to do and just then realized.
i feel you. sounds to me like something about to fall over
If you prep it with iim9 and resolve the 13th down to 12 it's the sweetest sounding thing ever
3:23
huh the "a person speaking in french about the pointlessness of life" is pretty apparent tho
This show is the best thing on the internet.
and 24/7 world radio
Yes, yes it is :)
it still is
Notice how at the piece at the end, he starts off describing the song as a setting. Scenery with atmosphere and tone. Then it transitions into almost an internal dialogue. Cool how music can play both the scenery, the setting and the character in a piece
my understanding of intervals
minor second - tense and bitter
major second - bright and soft
minor third - mild and dark
major third - funky
forth - punchy
Triton - too tense and dark
firth - neutral
minor sixth - dark and sour but lose
sixth - sweet and calm
minor seventh - soft and sour
major seventh - tense yet sweet
octave - neutral but razor sharp
your descriptive of the major third as funky is interesting. I would call it pure whereas the minor seventh is funky for me.
The triton can be funky sometimes
I agree, it is used in blues after all.
Great stuff. As always.
+TalkingBass - Online Bass Lessons I noticed you mention emotions quite a bit in your lessons :)
Speaking of subjectivity, a lady friend of mine once described a drum solo by a jazz musician at a venue where she worked as sounding like "a feckin drum kit falling down a stairs"
I've actually heard people describe Ringo's drumming in the exact same way
Thats how Ginger Baker always sounded to me to be blunt, stumbling.
i love that sound though. :P
Two drums and a cymbal fall off a cliff.
Ba-dum-tss.
This is absolutely great... I really need to think more like this when writing music. Too often I just go on auto-pilot and do the 'musically logical next steps'.
@Mark Donald I got an error 404. I'm not kidding.
You cut out right before the most interesting part of the Prelude. The sudden appearance of a joyful C major chord in measure 21 is one of my all time favorite chord progressions in any piece I've played.
As a freestyle dancer i do this excessively. Only when ive made a clear emotional score of the music do i even begin trying reinterpreting it kinesthetically. Thanks for sharing! You popped up in my rec vids
I have never heard anything described as accurately as you did Chopin's Prélude No.4
nice breakdown of Chopin's piece.
This helps me immensely since I can't seem to learn music unless I internalize sounds/groups of sounds.
loved the analysis of Chopin's nocturne!
I teared up lmao
The Modern Shoe Prelude
Lol Chopin only wrote nocturnes brah
Dominic Gammon that's not true, he wrote nocturnes, preludes, etudes, polonaises, marzurka, impromptus, etc.
Ya but he only wrote music at NIGHT so therefor all his compositions are NOCTURNAL... Duhh... This is pretty friggin elementary stuff bud.
Today I learned I hear chords like an audio engineer.
Everyone is an audio engineer when you hear a bad snare.
Mark Donald a horrible snare drum can RUIN a song.
Thanks, Adam. This is an awesome video. It's almost like Bruce Lee instructed students that emotional content helps flow and rhythm in movement.
Just got assigned to watch this for my Aural Training class, really fun to look back at what this channel used to be!
I had no idea this is what the channel used to be, so crazy
"and on that note..." - genius. love you, Adam
I am not a bass a player but I am a classical and jazz musician in my high school band and even though we don't play the same instrument you are really helping me with my thoughts about how I should see music and helping me form my own ideas on how I should sound on my clarinet and I thank you please keep doing what you are doing
In Chopin's Prelude #4 in E Minor, I never thought of those notes as sighs but that really hits the idea on the head. What beautiful minds think of music astounds me.
Today I learned that Prelude No. 4 is one of the most awesomely-analysable pieces out there. Your 'analysis' was hilarious and somehow also insightful, and Benjamin Zander's TED talk about the transformative power of classical music includes a sort of walkthrough on how to appreciate that same piece in a really amazing way.
If there is any content as interesting, informative, stimulating and entertaining as Adam's I have yet to find it.
You're videos just get better and better bro! Thanks for the inspiration! What you say really affects my students and the way I think about music.
Man you know what? Good job! Honestly I'm impressed of how you use your curiosity! Interesting topics always and I really like the way you present. Very inspiring! Good job!
You're like one of the best people to listen to about analysis I watched like 3 vids of yours and am blown away just by the concept analysis I feel I could learn more thanks sir
Hilariously educational. Educilarious.
Simply genius. Relatable in so many levels, I've been noticing the complexities of emotional responses to different musical ideas for some time but never actually thought of you know... describing them. Nice video, love your work!
Chopin's prelude op 28 aka "le sigh"
This is revolutionary... thank you for sharing and the effort you put into posting these videos online :) I will remember that piece of music much more now than I would have don't if I had listened to it.
Excellent stuff! That's why so many composers attending music school get frustrated, because their phenomenological development is neglected, which is arguably the most important "muscle" to build as a composer, because it's what produces emotionally compelling, original ideas. And it's especially important for the media composer who has to musically react to images.
You must become a music professor. You are a natural at teaching.
Hmm in some ways, being a UA-camr might be better … Adam can probably reach way more students this way
Oh my God that narration thing of Chopin was brilliant
I would think the people who write music for television and movies would be very aware of this.
Hi, Adam! I really enjoy your videos and discussions. I am a music therapist (board-certified) and getting my Master's. I miss the playing/performing aspects of music as I now work with people in a more therapeutically oriented way using music (playing and singing together mostly), and there is more focus on the relationship and the person. But, I consider your videos as great continuing ed/musical inspiration! Anyway, felt it was finally time for me to comment and say hi since this video was about emotion in music! There is so much to this topic area, of course! When I read your phenomenological take on Chopin, I thought it would be cool to take that all the way like some researchers have done, studying the phenomenology of one's experience of a piece. I think it would go much deeper than just the surface! Anyway, have you also heard of embodied music theory or something like this? I stumbled across it but of course, hope to find a book or just do it myself. I don't know how much you know about music therapy, but I think music therapists and musicians who perform for a living need to have alliances together! Thanks for sharing your passion and knowledge of music!
Hi Leah, thanks for writing, no I haven't heard anything about embodied music theory! A quick read through the wikipedia page tells me that it's quite a deep subject, and I'd love to dive into it at some point, so thanks for the heads up.
I wanna become a music therapist myself, but I've been force by destiny to do psychology first. I've read Musicophilia by Oliver Sacks and it was the enlightenment for myself to keep chasing the dream of becoming a music therapist, so I'm going to study psychology and music therapy. Are they really different or do they intertwine extremely, and compliment each other? also what kind of approaches do you use during a therapy session? I'm quite curious about the subject, many people see music therapists as weird people who chose a weird career without knowing what it really is about.
Lelouch ViBritania, there is a lot to say about music therapy. It definitely uses psychology, so it is good to have a base of that. You will also need a music therapy degree which is a full music degree with music therapy classes, practicum, and internship. I have worked with people with developmental disabilities for most of my career. Music therapists also work in hospitals, hospices, nursing homes, schools, and with mental health. If you know whom you want to work with, research schools which may have opportunities to study that because there is a lot to learn and your interests may get lost in the shuffle if you don't actively pursue them.
also, we use music listening experiences, imrpovisation, songwriting, and music performance experiences in our work, and music therapists can use any theoretical approach that they align with. there are music therapy specific methods and techniques like Nordoff-Robbins Creative Music Therapy, Bonny Method of Guided Imagery and Music, or Neurologic Music Therapy. Look them up! music therapy is an interesting mix of existing psychology and the use of music in therapy/psychology. it's not weird, but it can be tiring to explain to everyone! good luck on your search and career goals!
Dude, your vids are great. Regardless of the content, the way you treat the subject and the way you schedule your videos is just great.
most useful music youtube channel ive seen so far
Your notes over that score gave me an idea for either a series or perhaps a whole other channel involving you creating stories over pieces of music. Just let the music inform your creativity like you did with this one. I enjoyed it and would watch more.
Thanks!. Even though I am a layman I'm learning a little bit about music each time I devote 5 minutes to your videos...
You should keep publishing these, it will help others build their 'taxonomy' when it comes to identifying what certain parts of the music makes one feel. Most of the are the same in this regard, albeit not identical.
Your introductions are becoming spectacular
You are an incredibly creative and talented teacher. Your content is top notch. Wow.
I love that this has 10k views and no dislikes.
Bass, Philosophy & Feels; finally something for everyone.
An interesting and probably more natural and instinctive way to percieve/create music. Good lesson!
If you did a podcast on this subject that was, say, an hour or two long, I'd watch it. Fascinating stuff. Thanks dude.
When I went through my music history class in my community college experience, we had to do something along the lines of what Adam did in the end of the video except we had to write a story based on what we heard in the song and then compare it to what the composer had thought of when he wrote the song himself. We all had different scenes playing out and they were all contextually different than the composers view. It was fun and really sort of gave insight to the difference between emotional contexts and technical learned responses.
This sounds like a really fun way of analysing music! I always analyse the chord changes in terms of rules that are used. Satie =Pantonal, Phil Glass = Minimalism. Dominant 7#5 = Jimi Hendrix, Major 7 = Gymnopedies etc, Maroon 5 - Sunday Morning = ii -V - i, I will survive = circle of fourths,
Your videos are always a delight. The ending had me in tears.
That was awesome. My head was down during the Chopin and I created this whole scenario (sad Parisian standing on a bridge thinking of last year kissing his beloved who is now gone to another), and then I look up and read 'SIGH' and just cracked up. Digging these videos Adam, great job!
I love this phenomenology stuff Adam! There's so much out there about the science of music theory, but this part really enriches the music learning experience. Keep it up!
Great topic! My grandmother emphasized this when teaching me at the beginning.
your Chopin annotations are amazing 10/10
dude you're killing it. Loving your content.
30 years ago I took piano lessons for 6 months or so, and learned that Prelude: now I must find the music and a piano! Oh, yeah, great stuff in the video and all that....
Goshhh. That Chopin 'analysis' is so great. You killed me with 'Oh God why'
Lovin' the humour (&the memes :D )
(&everything else, obviously, as I'm binge-watching...)
You just blew my mind. Keep up the good work!
your thoughts on Prelude was really GOOD, love it!
Love what you did with Chopin's nocturne! I've been doing the similar thing of annotating my emotional responses to pieces, but always thought it was strange and unheard of.. I'm so glad I found your video! You inspire! Now I can continue in peace ;)
Very interesting analysis of emotional response to music, very insightful.
you have the best musicians channel man, great videos and ideas
Adam, I like what you're doing!
Short lessons like this in so valuable and I think your teaching style is available to entry level or experienced musicians and it's effective! Keep it up !! =)
I see no reason why someone would dislike this video.
Awsome Channel! I love the way you combine theory of language with theory of music.
in language the meaning of a word (and its associations) depends a lot on the sentence or situation it is used in. (Speaking situation/context)
The word "sun" might be a "happy" word but poets may use it differently so that the sun means something dark or evil.
The same applies to Notes/chords: it always depends on the harmonic context they are used in!
Composing rules are like grammar rules. Partwise they come from convention, partwise they come from logical deduction. But they have evolved historically.
Just like a poet isnt bound to grammar a musician isnt bound to any rules.
But that doesnt mean that grammar and composing rules are totally useless.
(Sry if english is bad)
WTH, your english is perfect and your insight is beautiful
love the animation of music score explained while music playing
Man I am a sound engineer and a bass palyer and this channel is fucking awesome and sir you just got a subscriber.
Great Video. Never actually tried to do this on purpose, but I'll definitely try this soon!
You left out the best part from the prelude! The home chord at the end
nice lesson Adam,it was interesting and piqued my interest in these disciplines.I will definitely look further into both of them and thought your comments thoughtful and amusing
Adam, Amazing job, congrats on your channel. And it is way much more than bass.
Wow what a great video!! It might be also a good exercise to wright down what you feel like when different musicians play the same piece. It can sound very different
I was trying to find your channel to subscribe on UA-cam. I was like where is this guy. didn't knew your name. Finally found you. :)
Incredible again. Thanks a lot Adam
THIS IS EXACTLY WHAT I WAS LOOKING FOR ON THIS CHANNEL! D:
I think phenomenology of music is what Kubrick abuse on A Clockwork Orange, specially on the Singing in the rain scene. To consider the emotional scope and present a contrasting environment to deliver a experience so powerful people never see Gene Kelly song again the same way. In emotional language, this experience is a juxtaposition of two:
1. The marvelous joy of falling in love and being corresponded, enough to not care about the flood (referring the original movie scene). Life's good, bright and beautiful because of pretty young love♥♥♥♥ This joy is what Alex feels.
2. The terror of having your house invaded by a gang and being sexually and physically abused, while your crippled husband is constrained and the gang take turns to rape you. You're not safe even in your own house. This horror is what the victim feels.
The contrasting juxtaposition 'method' (which isn't) can be seen too in the Billy Boy fight scene, during the Ludovico process too, and even in 2001: A Space Odyssey star ship scenes while hearing The Blue Danube song. To join the uncertainty of the infinite universe with the carefree feeling of the music.
I dare to take it further to address the psychological viewpoint of this phenomena. Since the brain is particularly sensitive toward Fear and Uncertainty, it has a built-in capacity to specially retain harmful memories to avoid them in the future, and pursue the pleasant ones. I think Kubrick achieves a diametrical balance throughout these 2 movies and is precisely THAT what people FEELS watching them. It's pleasant to the eye, but painful to imagination.
Adam, thank you for this video. Do you know where do i can further study phenomenology of music?
Bruno Omar I am with you on this. absolutely on point and I am glad for you to have thought of Kubrick doing that.
I think that David Chase is one of the contemporary directors to expend this idea in their work. I think that what he was trying to show the world with the way he used music (complementing the actual scenes) is that life is cruel, and the most gruesome things that you can think of usually happen in the most mundane settings, thus the post-traumatic stress of the ABSURDITY AND NIHILISM of life being of even larger proportions. car crashes, murders, robbings all happening at the backdrop of some radio, bubble-gum pop.
the same thing Burroughs does with language and ready made semantical concepts.
Just watched this for the first time and the annotations are meaningful and hilarious!
This is awesome! I got addicted to your lessons. Even though I do not play bass.
Very nice perspectives there, Adam! I liked your story-telling approach on the end of the video. Your point though raises some very hard dilemmas: a chord's subjective "feel" tends to depend very much on context. Plus, chords can be changing all the time, in such a rush, that you don't even have time to search for the associated feeling. Most people are not changing their feelings that fast- there are some weirdos out there though. My hunch is that associating feelings and impressions can be much more useful in remembering pieces of music, and eventually creating links between them based on your personal perception of how those pieces "feel". Very good thoughts you have, you definitely should do more of these silent moments like on this video's ending :)
is so nice to hear other people studying music with this aproach thinking in emotional response and brain functions... I first was interested in this when I heard the first interviews by jacob collier. really mind broadening! what an interesting channel this is!
What Jacob interviews are you referring to?
i couldnt remember. I think its the first interview he does. the interviewer goes to his house in london and he tell how his mother used to speak about music. its basically this, the emotional ear training, when he has 3 to 5 years old. so that. he has perfect pitch. haha
this took my interest towards how music affects us .....to another level.
why do some sounds clearly feel universal. like dictating how to move through time (pace/atmosphere) and how to perceive an experience (emphasizing a lens in which to feel in a given situation).
Hey Adam,
I really enjoyed watching your notes following along with the notation as it pertained to your perception of chord/harmonic qualities.I hope you’ll consider trying to incorporate this into some of your future lessons as well.
-Sam
My music theory teacher also did an exercise where he would improvise a melody outlining a certain type of 7th chord for a couple of minutes and would have the class draw pictures of what they thought it sounded like.
Now whenever I hear a chord that sounds like a lightning storm, I know it's a fully diminished 7th chord. Major 7s sound like watching the clouds, minor 7s sound like a film noir detective chillin' out in a back alley with a trench coat and a cigar, and dom 7s sound like a lively wild west saloon!
that’s so cool! gonna file away that idea somewhere…
@@KevinTPLimI don't even remember writing this comment 6 years ago haha. But another fun idea for you anyway: you can remember triad groups just by sounding them out:
ACE = ace
BDF = booduf
CEG = keg
DFA = doofuh
EGB = Eggabuh
FAC = fahs (not f**k lol)
GBD = goobudah
10 years later, I still refer to triads this way. He was a great teacher.
@@zionjaymes4415 thanks, ace tip for a doofuh like me! goobudah for now ;)
Hey! Ii think you're doing a great work with this channel. The material is so interesting and you have a king of humor that i like a lot.
Keep it going dude, greetings from Barcelona!
Adam, thanks a lot for your videos.
Thanks, Really nice of you sharing this
That C7 b9 natural 13 seems like a melodramatic stage play opening that tries to pretend to be an opera at first but then realizes that opera singers don't dance, transitioning into a bright and cheery play. Great video, by the way!
Amazing video Adam Neely
I'm a new subscriber studying at music school in Canada
I especially enjoyed the part at the end with your own annotations
Keep up the great work!
you really should have more subscribers Adam. very interesting topics
love your comments! Also very useful - thanks!
Wow, just discovering your channel, really liked your approach on music. Thanks for the knowledge!
you are really awesome. Im guitar player. i have learned lot from these videos. What i would like to learn more is practice tips to how improve your hearing, how improve your ability to play what you hear.
I reaaaaalyyy like this channel! I loving the relation you make with music theory and philosophy!
This is the best channel on UA-cam.
Fantastic Adam
that chopin piece sounds like I feel when I try to break up with a girlfriend but she keeps texting me and calling me and I keep responding, a process of a couple months of trying to get it going again with her, sprinkles of hope, but constant resignation and delusion to follow, all this compressed to this little prelude, nice one thanks!
Has anyone ever told you that your narration style is reminiscent of Bill Nye The Science Guy?? I loved that show for all its insightful quirkiness much like I enjoy your videos. This one particularly struck a chord 😜 with me. I have dozens of questions but will need some reflection time to ask them. Thanks for the great insights!
Best video! This is my favorite part of music.
You should do a video about the genius and soul of James Jamerson, Technique, Choices, Feel:Groove, Rhythm+Harmony, Etc
This was great. Could you do another lesson and focus on the ontology?
Fantastic video's man. You are like the Nerdwriter1 of the music channels.
And on that note.... nice touch.
Really nice example choice!
Hi Adam, I always have a good time when watching your videos. I like the academic vibe in the way you approach musical concepts. It might be the fact that I have an MA in Philosophy so these perspectives are somehow familiar to me. Anyway I just wanted to comment on the use you give to the term "ontology", cause it seems to me you're actually thinking of "ontic" these two concepts oppose to each other (since Kant, and more importantly since Hussel and Heidegger), also ontic might be closer to taxonomy. Reading Heideggers ZS or Husserl's Ideas you may come to look at ontology not simple as a study of being, but the study of being's conditions of possibility... pretty hard to explain here but I hope you get the point and maybe comment on your bibliography, since of course I find these subjects really interesting. Cheers
you should do a chord melody lesson for bass! i follow scott’s bass lessons but he doesn’t have too much content on it