Did something go wrong at your Mercy Lounge/ Nashville performance or did the footage not come out as planned?? So curious. Only show I've been to of yours & I haven't seen footage. I feel like there's some big secret haha Also I'm so excited for the new album!! sorry I'm harassing you about this, I don't have Twitter to make my comments more direct lol. You're awesome!
Hey Adam! I’ve been watching your channel for a few years now and I’d love to be considered for your next “how to get good at music” video if you plan on doing another one soon. Let me know what you think! (Yes I’m kind of spamming you… sorry I just really want you to see this!) ua-cam.com/video/pdW_MEWriFU/v-deo.html
I think it's a fair response, it's one thing when you're legitimately curious about something like "how do you take very complicated chords and think about how to resolve them?" It's another to basically say "please be my music theory stuntman."
@@MeshuggahDave. I was thinking the same thing, but I'm pretty sure it's a fold out keyboard piano from a desk? At least my brain remembers it being that way. Either way, coasters exist, and are arguably more disposable than a phone.
All you Bach boys and girls should do yourselves a favor and watch this performance of the Partita in D Minor by Itzhak Perlman: ua-cam.com/video/qtyTaE7LvVs/v-deo.html Probably the most moving piece of music I've ever heard.
I can’t be the only one who thought the half second preview of every Sungazer song just ended up sounding like a regular Sungazer song in itself right? 😂
That whole bass frequency thing and key choice is why everything on the first Billie Eillish record hits so hard, literally the entire album is in G minor
I play bass in disco band where the singer (woman) sings naturally at a low register. So we need to transpose a lot. And even though I can technically easily do that with 5 string bass, it's not easy task.. because it doesn't always sound good. Infact it can be a pain to think which notes should be in higher octave and which sound ok in low register. It may also split the bassline in a way which sounds horrible. Sometimes you just have to play something different to make it sound better. And it may affect the whole song. It just sounds different in different pitch and may have another feel and even meaning then. Why the music always has to be so hard? Or am I overthinking (again)?
"Simple" chord progression with alternating major 7 and minor 7 chords in 31 equal divisions of the octave: F#m7, Fmaj7, Fm7, Fbmaj7, Fbm7, Fbbmaj7 = Dxmaj7, Dxm7, D#maj7, D#m7, Dmaj7, Dm7, Dbmaj7, Dbm7, Dbbmaj7 = Bxmaj7, Bxm7, B#maj7, B#m7, Bmaj7, Bm7, Bbmaj7, Bbm7, Bbbmaj7, Bbbm7, Gxmaj7, Gxm7, G#maj7, G#m7, Gmaj7, Gm7, Gbmaj7, Gbm7 Each adjacent pair of chords should have two notes in common if I didn't make a mistake writing this down. Gb is 38 cents higher than F#, so while we've wrapped fully around the circle of fifths, we're not back where we started, we could continue falling upward slowly in this limbo for a good while before getting back to where we began.
To quote a fellow Bach boy, Douglas Adams: “Beethoven tells you what it's like to be Beethoven and Mozart tells you what it's like to be human. Bach tells you what it's like to be the universe.”
As a musician, I'm noticing and nodding to the tiny detail that Adam is not resting his coffee cup on the piano. As a technician, I'm slightly cringing that he's using his phone as a coaster. I mean...
It reminded me of all the cringey times I thought I was being smart and clever, and in doing so revealed that I was too clueless to even make a proper joke.
To be fair, I think the person who asked it meant the chord to be F#Maj6m7b9 which can be alternatively voiced as the Viennese trichord E-A-D# over F# in the bass, and then with an additional b9 (G). It is a chord, but is it useful at all? I mean, the trichord E-A-D# over F# almost sounds like E-A#-D# over F# (which is a chord that resolves exactly in the same way and sounds similar to an augmented seventh chord), but a little bit more dissonant. Then the b9 introduces even more dissonance. I guess it could be used as a chord, and resolved as if it was a strange altered dominant chord, but it would still sound extremely out of place
I'm spending far more time than I should looking at that nonsense chess board. Things I've noticed so far: 1. Both kings are in check simultaneously. No matter whose move is next that's definitely illegal 2. Black has two pawns on the eighth rank, which makes no sense 3. White has a pawn on the eighth rank that hasn't promoted 4. Black has two bishops on the same colored square, but still has all 8 pawns so no promotion occured 5. For that matter, only one piece is missing--the second White knight--so at max one of Black's pawns could be doubled, and none of White's could be 6. How the hell did White's dark-squared bishop get in to that corner if the b pawn hasn't moved yet
Difference between blues and jazz: A blues band plays 3 chords in front of thousands of people, and a jazz band plays thousands of chords in front of 3 people.
J.S. Bach was the first composer to use a Maj7#5 chord, it was used in St. Mathew’s passion. It was used for the second time ever around 190 years later, in the early jazz of the 20th century and also in many modern classical concertos. I think that just showcases how useful this chord really is and how Bach is probably one of the most innovative composers of all time only compared to people like Miles Davis
are you firmly sure not a single composer has written a piece with the Maj7#5? It's not that hard to stumble across that chord, it's only 4 notes. If we're talking about add#5, it's a whole different story
When eminent biologist and author Lewis Thomas was asked what message he would choose to send from Earth into outer space in the Voyager spacecraft, he answered, "I would send the complete works of Johann Sebastian Bach." After a pause, he added, "But that would be boasting."
I think the way electric bass is used in pop today is very different. The “bass role” seems to be filled by sub-bass electronics while the bass-guitar seems to be more of a texture/color thing with more emphasis being placed on the sound of slap bass
All true. Also in many pop subgenres arrangements got more minimal, and often the drums and electric bass combo is used together with the vocals for the first intro/verse. In these cases a great tone in the electric bass and great drums do all the work. Some great examples of this in the finneas production for Billie eilish, Ian Kirkpatrick for dua lipa, and doja cat
Electric bass can sound like synth stuff if you run it through the right pedals though, or with very specific production, so sometimes it's a bit of both. But either way, I don't really feel like it's going away, it's a more versatile and ubiquitous instrument than guitar in that sense (which I feel like is having a bit of a revival in pop too, but that's another story!)
@@cactustactics I think using a bass guitar to get a synth sound is a lot like using samples on a keyboard to get a bass guitar sound. Both have their place, but neither really do the trick. If you want a mini-moog, use a mini moog. If you want a fender j-bass, use a fender j-bass.
@@bassman9261995 well imo it's easier for a bass to approximate the signal a keyboard produces to drive whatever synth gear, than for a keyboard to approximate the natural sound of a bass. But they ~are~ different sure, and it's hard for a bass to match the exact same playing characteristics of a keyboard, and sometimes that feel is really important But the general sound and texture can be very similar, that's what I'm getting at. And a ton of bass gear (and lots of people's bass pedalboards) are devoted to stuff like synth pedals, envelope filters, octave pedals that can do sub bass, gates and compressors, all kinds of fuzz... things that make a bass guitar sound like something else (or can be used for that effect). So you can get that kind of sound, and that's what a lot of people use their bass for in their music. It's pretty versatile!
@@cactustactics sure. I do that kind of stuff sometimes. You get diminishing returns with the complicated processing though. Why spend all the effort of making a bass guitar do wobble-bass when it’s so much easier to use one hand to play the note, and the other to control the filter cutoff on a synth. Even without that kind of manual modulation, you can try to quickly engage 5 pedals to sound like a synth patch, or you can just pull up a patch and play it on a keyboard.
11:09 Chessboard problems: -White has 9 pawns (not, learn to count, past me) -Both Black and White have pawns in the 8th row -Black bishops are on the same square (while all pawns are on the board) -Pawns are on the same column when no pieces have been taken -Black king is in check from two sources in such a way to imply that they were in check the previous turn -White king is in checkmate. -White bishops are both in impossible positions (forgot the corner, totally missed the other)
There's a song with over 60M listens in spotify that uses an Emaj7#5 but keeping the natural 5th on the bass, and it uses it in a very natural and smooth way. It's Bajan, by Pescado Rabioso (a L.A. Spinetta band, an artist you should definitely check out if you like interesting folk, rock or jazz rock music).
3:10: Oh, you don't know what you're missing! The very best movements in Bach's vocal repertoire are almost entirely in 6/8. The best dance grooves are in 6/8. With the possible exceptiin of 7/8, it's the best time signature you could imagine!
Agree on the ‘bass is not going away’ - if anything, pop music in the 80s started piling on synth bass, but fortunately 5 and 6 string basses allow us to cover that range … and I think people just love the sound of the bass (just me?).
I think that the average pop music listener struggles to hear the bassline in songs (it took a while to explain my mom what a bass even is), but when you get a bit more into listening music in general you can't deny how much a good bassline improves a song
Not sure if it's really significant, but many of the "electric bass" tracks on pop tunes these days are indeed synths or midi. Even on "Attention" which I could have sworn was a physical bass guitar is just a very well-designed plug-in. Learning about that was like Seinfeld all over again...
Organ music: the lowest note is a C, so anything in A/Bb/B can never sound as bassy as something in C/C#/D. Choral music: lowest note you can generally ask basses to sing is an E, but you'll get more volume with F, F#, G... so the most bassy keys are E-G. Music with choir+organ... you have to make an artistic choice. :-)
Same for symphonic music! For example, the bassoons/contrabassoons go down to a low Bb, so any music in A or G will have to do without those sweet, sweet fuzzy bass notes in the woodwind chorals (yes I'm a bassoonist). F, E, Eb are alright since you can make use of low C/B/Bb for fifths resolving upwards. D is tricky because low D is a really wonky note on most bassoons, not at all the same comforting sound quality as the rest of the lowest register. But this all clashes pretty heavily with the optimal keys for the string section!
I personally love his flute sonatas, maybe as flautist I'm a bit biased but I love to play them and to listen to them, it's just narrow range flute melodies over basic expectable harpsichord chord progressions and simple cello basslines, but I always find them beautiful in their simplicity. also, flute suit no. 2 is probably my favorite orchestral composition, I even have it on vinyl :]
The flat 9 minor chord (10:16) could work if you were playing in the Phrygian mode. Take an E minor flat 9 chord, for instance. That resolves inward to an Fmaj7 chord, which resolves inward to a G major triad, which resolves inward to a minor 3rd. Using careful voice leading, that creates a beautiful-sounding harmonic progression.
I don’t know music theory terms, but hearing it I could think of a couple ways to simply play your way out of it to resolve it to a more consonant chord, maybe even just the minor 7th without the sharp 9th. I don’t know if the term for it is voice leading, but it’s definitely possible
I got to meet Victor Wooten when I was 19 just as he walked to side of stage at a massive bluesfest in Aus in 2007/08. Asked if I could get a photo, and he handed me his bass like "Sure! Do you want to hold this?" and I've never frozen up that hard in my life. Such a kind and talented person.
100% Bach boy here. Growing up as a Protestant Christian in East Germany, there were several connections to his life and work. I remember enjoying the episode where you visited Leipzig very much! I think the Christmas Oratory (Weihnachtsoratorium) that my father used to play on his record player during Advent was probably one of the first Bach experiences I had. Oh, and playing Prelude in C Major on the piano at age 7.
“Beijo Partido” the amazing song by legendary guitarist Toninho Horta and Milton Nascimento begins with two alternating chords on the acoustic guitar, that includes a beautifully used Maj7#5 chord. The song is so amazing it was later covered by Earth, Wind and Fire
Wow! With his discussion of chord progressions Adam is just *on fire* in this video. He's just taking so much pleasure in these chord progressions that it is infectious!
This was timely! I typically play bass and guitar, but I was briefly in front of a piano and was reminded how much easier it is to “see” notes. C major in first inversion is kind of an E chord or E of C like you mention. I started to go down that black hole of “holy crap! All chords are the same!!!!!” -Chris
The point about key mattering because register matters is extremely important. I play alto sax and what key I play in determines what aspect of the horn comes out.
@@PlasticSinks alto sax has a very different sound in the lower notes vs higher notes, and a lot of melodies can't be moved and octave without being out of the range (saxophones have basically 2 and a half octaves). So if you have something that sounds a bit low or high you can move it a few steps.
4:25 "this note is way too low for most subs to recreate" My whole house then proceeds to rumble as I watch this at midnight with my family asleep. Thaaaanks ;)
I grew up with Bach's music, and he is and always will be my favourite composer of all times. I am convinced he was one of the first famous Jazz musicians, too.
Also a Bach Boy here! Random side thought: I would love to see a collab between you and Rob Scallon. I've been watching you for a while and just discovered and fell in love with him. It would be awesome.
They are both super knowledgeable but they generally play very different styles of music. It would be fun to see what kind of stuff they could come up with.
0:40 Michael Giacchino also uses minor9major7 chords, which if you remove the root (for example F), you'll get Vmajor7#5 (Cmaj7#5 in this case) as from the remains.
As people age, our brains actually become less open to new ideas (which I guess is related to a decrease in neuroplasticity, though I'm not sure, so it makes sense that as we get older, we will find ourselves negatively judging "new" things. But it's not the end of the world! We can use the fact that we *know* our brains are becoming less flexible, and in situations where we find ourselves thinking "new music sucks", let's decide to stop for a second and think "is this really the case, or am I giving in to my lack of cognitive flexibility?". I'll bet that if people do that, their brain will actually re-gain some neuroplasticity, or at least become more open to any new ideas we come across in the future :)
thanks for touching on my favorite chord, the major7#5, in this one. also I didnt know the thing about sub heavy songs sounding better in F-Ab keys, thank you!
Funny thing with dance music is that so many shows are played on specialist sound systems, so most of the heavy heavy bass guys are favouring low Db or E!
Bach yay, on so many levels. His music can be deeply human but also as detached as if written for aliens in outer space, for the heart and for the mind, both exuberant and meditative, and then those harmonies and dissonants... I love it all. Some of my best friends are Mozart boys though.
If you want to see this chord used in a more popular song, just search "Bajan" by Spinetta (an argentine rock idol). He uses a *Emaj7#5/B,* a very dissonant chord, in such a lovely way that it can be "digested" by the masses
I'm sure you get this a lot but you are a great content creator and seem like a great person. I really really really appreciate how you condense your knowledge and wisdom in an easily digestable way, without coming off elitist at all. It's rare to see somebody that's so well versed in music theory not be condescending or prescriptive with their ideas of music.
Talking about the tip for music transitions (5:55), the recent video from Paul Davids about The Beatles Penny Lane song is a great addition to that. McCartney certainly knew how to use contrast, sheesh. Btw, awesome video. You are looking greater everyday, Adam.
Regarding that "cringe chord"... I'm brushing up on Debussy's Clair de Lune on piano at the moment, and I'm reminded of the final few bars, in which there's a couple of arpeggios in Fb major! They then resolve to the Db tonic, so it all makes sense because it's a nice mediant change, but it hurts my eyes whenever I try to sight-read them, so I've developed a habit of simply ignoring the dots and thinking "E major" in my head :D
The M7#5 chord normally appears on the b3 scale degree of harmonic minor, where the #5 in the chord is actually the raised leading tone. So, it can be used as a substitute for the dominant chord in minor mode, built on scale degree b3 (ex: C-E-G#-B chord in the key of A minor).
I love that Adam also enjoys his coffee black. Cream in the coffee clouds creativity. Funny, I noticed the black coffee in his cup several minutes before it came up in the q&a. Hooray for attention to trivial details.
Your comment about integrating opposite or contrary ideas to form a unified whole is the best compositional advice I’ve heard in a long time.. it’s helping me finish up some old tunes that were 80% done.. Thank you!
Since it's the same producer as Don't Start Now I'd bet Levitating isn't either. Although getting a VST to sound that convincing is almost more impressive than just coming up with the same line on electric bass.
@@renoutlaw8371 Don't Start Now is produced by Ian Kirkpatrick and there is no mention of bass in the Personnel section on Wikipedia. Levitating is produced by Stephen Kozmeniuk and Stuart Price and they both are credited with playing bass on that song. Soooo.... I don't know what you trying to say.
I interpreted the Gb chord nonsense as attempting to transcribe a chord along the lines of F#m7b9add13, which is exceedingly rare but not impossible-it occurs both as extensions of the second in melodic minor and the home chord in Neapolitan major. Personally, I think it makes a fair amount of sense as a setup for C#m7, Dbmaj7, Em(maj7), or E6/9 with various extensions, but it's certainly a choice. It's a rather spooky chord in the high register of the piano but kind of turns to mud without the right phrasing in the low end. Actually, this is a nice progression: F#m7b9add13, Em6/9, Dbmaj9.
First I noticed the Maj7#5 was in the song "Outro" by Braxton Cook (off the album No Doubt). The piano plays it in a lower register before resolving to a Maj6 sound and it just spices up the song so perfectly, it immediately got me to transcribing.
Re: Bach boy question Mozart usually either wrote things that I like or things I find simply not super interesting or appealing to me. Bach usually either wrote things that I like or things that make me want to break a harpsicord (like some pieces are just an endless drone of perfect, fast counterpoint and im like DO SOMETHING)
0:30 Be like: "There is a fifth dimension beyond that which is known to man. It is a dimension as vast as space and timeless as infinity. It is the middle ground between light and shadow, between science and superstition, and it lies between the pit of man's fears and the summit of his knowledge."
5:06 I think part of the reason it's satisfying is that the Fm6 is the negative harmony equivalent to G7 so that while having a G in the base not makes a lot of tension but with a contrasting feel
The maj7#5 chord, especially 1st position, occurs fairly commonly in all 13#11 chords, with the root (or LH) one step up from the 1 of the maj7#5 chord (or RH). For example, I usually voice D13#11 as Cmaj7#5 (RH) over D (LH). And so on for the other eleven 13#11 chords. I hardly use it in other contexts.
I like using it as a dominant chord. For example. Try Cmaj7#5 resolving to C#-11. It sort of functions like an altered dominant chord with the third in the bass.
@@nomadfc4342 an Ab altered dominant 7th chord can be voiced like so: Ab Gb C E G# B. Notice that the top four notes played by themselves voice a C major7 #5 chord. Thus when resolving it to a C#-11 it has a similar pull although id argue that the C in the bass resolving to C# presents and even stronger pull than Ab to C#.
I too am a Bach boy. Also I really appreciated your response about music school and how to make it about what you want despite all the information that is given to you.
Bach! Mozart is not as bad as Brahms, but I’ve already heard enough Mozart to last a lifetime. I can listen to the same Bach piece repeatedly and still hear something new.
Oh, coincidence. I was reading Plato's republic the other day. His opinions on art are pretty funny: "oh yeah, theater is amazing... I love it... But we should stop citizens from watching it because it encourages non virtuous behaviors". Like, wtf Plato lol he's like and angry conservative father.
yeah the book is interesting, the way i interpret it is that he is just laying out a perfect ideal for a society, but i take it with the notion that utopias are inherently dystopian. he's a weird guy. also wasn't socrates the one doing all the talking? why does plato get credit? i have a very surface level understanding of everything i just typed.
@@armybirds For Plato, the supremacy of philosophy begins with a devaluation, or a destruction, of art. Art is imitation, and thrice removed from the truth (platonic forms). Artists are not any better than the ones making the shadows in the cave - in fact, that is exactly what the artist is doing, according to Plato. To Plato, art cannot instruct us on what is true. If you want to read an opposite take, I recommend Aristotle’s Poetics and then supplement that with the brilliant essay “How Can Tragedy Matter For Us?” by Charles Eldridge. It is such a compelling read and interpretation/commentary on the Poetics.
@@armybirds I'll start by answering your question. Plato started his writting career by making what we call "Socratic Dialogues" where Socrates (his master/teacher) was the main character. As far as we know, Plato's first works follow Socrates' adventures, so to speak. Either transcribing his conversations or making them up "in the style of". After Socrates' death, Plato kept writting dialogues where he was the main character, but he was used as a fictional character to carry Plato's ideas. So, even if Socrates is the one doing all the talking, Plato is the mind behind his words. Why did he write like that? We don't really know, but in his later works, like "Politikós", Socrates takes the backseat while everyone else is talking. Now, about the interpretation of The Republic. Some people argue about the actual subject of the text, because it looks like it depicts Plato's ideal political system, but at the same time he takles a bunch other subjects that have nothing to do with that. Besides, It's kinda hard to know if he actually thought it was posible to carry those thoughts into a real state. Still, It makes sense to think Plato was just thinking about his ideal society. But I think a big part of the book also revolves around pedagogy. He talks a lot about knowledge and education, like in the allegory of the cave. And then when divides society into hierarchies, he talks about the kind of education each should have in orter to fulfill their place in society (what kind of music they should listen too, what kind of art should they have access to, etc). Anyway, sorry for the long comment. The book is pretty dense in content, but to me, Plato sounds like a controling father being angry about the youth.
@@BATTIS94 no apology necessary, i appreciate how thoroughly you answered my questions. i'm too tired to understand it rn but after i take a nap i'm going to read this again. it's really funny to me how helpful and in depth your comment is, considering how youtube comment sections normally are. im not trying to suck our dicks like "we're so intellectual" it's really just comical to me.
So a maj7#5 is just an augmented chord with a major 7th added, right? I would say you can use it in most situations where you'd use an augmented chord.
Wow, I hope people realize how spot-on this piece of music school advice was: "Don't lose track of YOUR thing, the reason you chose Music in the first place." The is a risk for anyone in the academic world of a creative discipline (is that an oxymoron?). How about "the academic world of an artistic field"? Anyhow, make time every day if possible to just get lost in your own music. Er, we Engineering School graduates know this. Er, yeah, cause it's such an Artistic Discipline. No, seriously, life teaches you this. More than one potential Artist has gotten the fire snuffed out of her by the more "determinstic rigors" of Academia. Maybe just as bad, more than one has quit school because she could feel it starting to happen. The idea is to do neither. That's why Adam's advice is so good, as usual: "Find YOUR People" and "Don't Lose the Love." Awesome again, Adam.
@@Liskafm352 search persian belly dancing. Of course, that's the wrong term for it, but when did the british ever get cultural things right (deutsch vs german)
@@AdamNeely In fact I wrote "start from this fact" (to understand how to use it). The use of e.g. dominant 7 chords is derived from the fact that the dominant 7 chord appears on the V degree of the major (and minor with the sensible) scale, and is originally used in the V-I cadence. I think that a similar approach to the analysis can be used for the maj7#5 chord and the III degree of the melodic minor scale.
Regarding the C13b9, in F major, that Db is what you called the "nostalgia" note, right? I bet that contributes to the major/minor bittersweetness of that resolution. Really cool stuff.
if you like fancy fusion music, sungazer has our debut album out Oct. 11, presave it here bit.ly/2XHMUzc
Did something go wrong at your Mercy Lounge/ Nashville performance or did the footage not come out as planned?? So curious. Only show I've been to of yours & I haven't seen footage. I feel like there's some big secret haha
Also I'm so excited for the new album!! sorry I'm harassing you about this, I don't have Twitter to make my comments more direct lol. You're awesome!
Hey Adam! I’ve been watching your channel for a few years now and I’d love to be considered for your next “how to get good at music” video if you plan on doing another one soon. Let me know what you think! (Yes I’m kind of spamming you… sorry I just really want you to see this!)
ua-cam.com/video/pdW_MEWriFU/v-deo.html
Yee
I think there s a min7 flat 9 in the harmonisation of the melodic minor scale ?
A whole album! Proud of you, incredibly excited for this
Imagine asking a question and Adam Neely calls your chord "cringe" before God and everyone. I don't think I would ever recover
Some may call it cringe, but I consider it a BASSED chord
@Thor the Norwegian being cringe is cringe
i think someone just tried to troll adam by making him say a nonsense chord progression has some actual function
I think it's a fair response, it's one thing when you're legitimately curious about something like "how do you take very complicated chords and think about how to resolve them?" It's another to basically say "please be my music theory stuntman."
Well, it was obviously designed to be cringe (even I know you don't write Gbm) so I guess its' creator should be satisfied.
"This chord is cringe"
*Proceeds to place phone on desk and coffee mug on top of it*
this is delightfully cursed
Surely it's all a finely crafted "mise en scène"
I wouldn't put a coffee cup on my piano either
@@jonathanaubin4834 french ! classy
@@MeshuggahDave. I was thinking the same thing, but I'm pretty sure it's a fold out keyboard piano from a desk? At least my brain remembers it being that way. Either way, coasters exist, and are arguably more disposable than a phone.
@@reNINTENDO pah, maybe *youre* cheap grabage coasters lmao
Bach boys, Bach boys, whatcha gonna do? Whatcha gonna do when they write a fugue?
Bach boys, Bach boys, whatcha gonna do? Whatcha gonna do when they fugue for you?
Highly relatable. I literally have a simple fugue I wrote 3 days ago sitting within arms reach of me right now. As a Bach boi, I feel understood.
All you Bach boys and girls should do yourselves a favor and watch this performance of the Partita in D Minor by Itzhak Perlman: ua-cam.com/video/qtyTaE7LvVs/v-deo.html Probably the most moving piece of music I've ever heard.
*up a fifth* Bach boys, Bach boys, whatcha gonna do? ...
Bach Boys? Aren’t that General Bass and Counter Point?
I can’t be the only one who thought the half second preview of every Sungazer song just ended up sounding like a regular Sungazer song in itself right? 😂
It's a self-similar fractal album!
@@christopherheckman7957 "A genius is a man most self-similar" - Thelonious Monk
That whole bass frequency thing and key choice is why everything on the first Billie Eillish record hits so hard, literally the entire album is in G minor
Thats cool, I didnt actually know that. Thats why It sounds phenomenal on vinyl through big speakers!
Finneas is incredible. I'm not a pop fan at all, but their songs sound incredibly good and many are also very good in terms of sonwriting itself
I play bass in disco band where the singer (woman) sings naturally at a low register. So we need to transpose a lot. And even though I can technically easily do that with 5 string bass, it's not easy task.. because it doesn't always sound good. Infact it can be a pain to think which notes should be in higher octave and which sound ok in low register. It may also split the bassline in a way which sounds horrible. Sometimes you just have to play something different to make it sound better. And it may affect the whole song. It just sounds different in different pitch and may have another feel and even meaning then. Why the music always has to be so hard? Or am I overthinking (again)?
I enjoyed the dissection of the nonsense-chord way more than I should have.
That was almost definitely submitted as a troll 😂
Hearing that F#m7 chord over and over again made me want to hear the main loop from "Wonderwall"...
"Simple" chord progression with alternating major 7 and minor 7 chords in 31 equal divisions of the octave:
F#m7, Fmaj7, Fm7, Fbmaj7, Fbm7, Fbbmaj7 = Dxmaj7, Dxm7, D#maj7, D#m7, Dmaj7, Dm7, Dbmaj7, Dbm7, Dbbmaj7 = Bxmaj7, Bxm7, B#maj7, B#m7, Bmaj7, Bm7, Bbmaj7, Bbm7, Bbbmaj7, Bbbm7, Gxmaj7, Gxm7, G#maj7, G#m7, Gmaj7, Gm7, Gbmaj7, Gbm7
Each adjacent pair of chords should have two notes in common if I didn't make a mistake writing this down. Gb is 38 cents higher than F#, so while we've wrapped fully around the circle of fifths, we're not back where we started, we could continue falling upward slowly in this limbo for a good while before getting back to where we began.
I'm still replaying to learn the proper syntax 😂
lol
Half a second of all the sungazer songs on an album together just sounds a regular sungazer song
That’s actually the extra bonus/hidden song on the album!
Especially the song "Thicc"
Something tells me he selected specific excerpts to make it cohesive... the point still stands though
Adam putting his coffee on his phone stressed me out.
I couldn't even hear his explanation of chord syntax after that, just screaming inside my head.
Every muscle in my body just tensed when that happened. And then the zoom in to make it even worse. I am in anxiety hell right now.
Came here to leave the same comment 🤣
Why?
if he knocks it over it will fall off his phone instead of on it
To quote a fellow Bach boy, Douglas Adams: “Beethoven tells you what it's like to be Beethoven and Mozart tells you what it's like to be human. Bach tells you what it's like to be the universe.”
see, that's why i vibe more with Mozart. i do feel like a human! i do not feel like a tree
Mmm... Meh, very subjective
@@dang5874 you don’t say…
I've never disagreed more with Douglas Adams in my life. This is pure Beethoven slander.
@@BegtseMusic A Mitch Hedberg quote. I see you are a man of culture.
As a musician, I'm noticing and nodding to the tiny detail that Adam is not resting his coffee cup on the piano. As a technician, I'm slightly cringing that he's using his phone as a coaster. I mean...
"this chord is cringe" someone please clip it and meme it to heck and back
Dm7b5?
Anyone?
Wonder if I'd get a copy rite strike if I sample that one.
It reminded me of all the cringey times I thought I was being smart and clever, and in doing so revealed that I was too clueless to even make a proper joke.
@@roma540 sounds good on guitar when you voice it x-5-x-5-6-4
To be fair, I think the person who asked it meant the chord to be F#Maj6m7b9 which can be alternatively voiced as the Viennese trichord E-A-D# over F# in the bass, and then with an additional b9 (G). It is a chord, but is it useful at all? I mean, the trichord E-A-D# over F# almost sounds like E-A#-D# over F# (which is a chord that resolves exactly in the same way and sounds similar to an augmented seventh chord), but a little bit more dissonant. Then the b9 introduces even more dissonance. I guess it could be used as a chord, and resolved as if it was a strange altered dominant chord, but it would still sound extremely out of place
I'm spending far more time than I should looking at that nonsense chess board. Things I've noticed so far:
1. Both kings are in check simultaneously. No matter whose move is next that's definitely illegal
2. Black has two pawns on the eighth rank, which makes no sense
3. White has a pawn on the eighth rank that hasn't promoted
4. Black has two bishops on the same colored square, but still has all 8 pawns so no promotion occured
5. For that matter, only one piece is missing--the second White knight--so at max one of Black's pawns could be doubled, and none of White's could be
6. How the hell did White's dark-squared bishop get in to that corner if the b pawn hasn't moved yet
yeah, that board makes waay less sense than a #13 chord...
Found the chess nerd everybody
7. White's light-squared bishop can't have moved yet if the e and g pawns haven't moved.
8. How do black pawns get to row 8??
@@rillloudmother maybe he promoted to a pawn
@@itaytal6628 why would you promote a pawn to a bishop? that's dumb as shit...
Anyone else just want to listen to Adam talk about different chord progressions for like 48 hours straight?
Dunno how active he is, but he streams on twitch
yes
Don't do that to my man adam, he already streamed playing the licc for 5 hours AND made an entire album in a day
Whenever he gets to the sponsorship I get really sad because I know the video is about to end.
Yeah, love it. Although I haven't got a clue what he is on about.
Difference between blues and jazz: A blues band plays 3 chords in front of thousands of people, and a jazz band plays thousands of chords in front of 3 people.
J.S. Bach was the first composer to use a Maj7#5 chord, it was used in St. Mathew’s passion. It was used for the second time ever around 190 years later, in the early jazz of the 20th century and also in many modern classical concertos. I think that just showcases how useful this chord really is and how Bach is probably one of the most innovative composers of all time only compared to people like Miles Davis
are you firmly sure not a single composer has written a piece with the Maj7#5? It's not that hard to stumble across that chord, it's only 4 notes. If we're talking about add#5, it's a whole different story
When eminent biologist and author Lewis Thomas was asked what message he would choose to send from Earth into outer space in the Voyager spacecraft, he answered, "I would send the complete works of Johann Sebastian Bach." After a pause, he added, "But that would be boasting."
It's funny I have Bach chorals in my room somewhere lol I love them nuts how one would deny sending them to outset space
Man, I wish I could really 'get' Bach, but I don't. Perhaps someday.
@@SEGAClownboss I don't wanna sound pretentious, but you have to have a specific kind of brain I think. I'm autistic lmao
@@Nooticus nah u jus gotta forcefeed his music until u start getting the hang of it,,, same goes for any dense artist
I think the way electric bass is used in pop today is very different. The “bass role” seems to be filled by sub-bass electronics while the bass-guitar seems to be more of a texture/color thing with more emphasis being placed on the sound of slap bass
All true. Also in many pop subgenres arrangements got more minimal, and often the drums and electric bass combo is used together with the vocals for the first intro/verse. In these cases a great tone in the electric bass and great drums do all the work. Some great examples of this in the finneas production for Billie eilish, Ian Kirkpatrick for dua lipa, and doja cat
Electric bass can sound like synth stuff if you run it through the right pedals though, or with very specific production, so sometimes it's a bit of both. But either way, I don't really feel like it's going away, it's a more versatile and ubiquitous instrument than guitar in that sense (which I feel like is having a bit of a revival in pop too, but that's another story!)
@@cactustactics I think using a bass guitar to get a synth sound is a lot like using samples on a keyboard to get a bass guitar sound. Both have their place, but neither really do the trick. If you want a mini-moog, use a mini moog. If you want a fender j-bass, use a fender j-bass.
@@bassman9261995 well imo it's easier for a bass to approximate the signal a keyboard produces to drive whatever synth gear, than for a keyboard to approximate the natural sound of a bass. But they ~are~ different sure, and it's hard for a bass to match the exact same playing characteristics of a keyboard, and sometimes that feel is really important
But the general sound and texture can be very similar, that's what I'm getting at. And a ton of bass gear (and lots of people's bass pedalboards) are devoted to stuff like synth pedals, envelope filters, octave pedals that can do sub bass, gates and compressors, all kinds of fuzz... things that make a bass guitar sound like something else (or can be used for that effect). So you can get that kind of sound, and that's what a lot of people use their bass for in their music. It's pretty versatile!
@@cactustactics sure. I do that kind of stuff sometimes. You get diminishing returns with the complicated processing though. Why spend all the effort of making a bass guitar do wobble-bass when it’s so much easier to use one hand to play the note, and the other to control the filter cutoff on a synth.
Even without that kind of manual modulation, you can try to quickly engage 5 pedals to sound like a synth patch, or you can just pull up a patch and play it on a keyboard.
11:09 Chessboard problems:
-White has 9 pawns (not, learn to count, past me)
-Both Black and White have pawns in the 8th row
-Black bishops are on the same square (while all pawns are on the board)
-Pawns are on the same column when no pieces have been taken
-Black king is in check from two sources in such a way to imply that they were in check the previous turn
-White king is in checkmate.
-White bishops are both in impossible positions (forgot the corner, totally missed the other)
you just had to go there didn't you? 😂
White's dark-square bishop on a1.
white's light square bishop can't have gotten to d3 because the e2 and g2 pawns haven't moved
Both of white’s bishops are off their starting square, but none of the diagonals have been opened
@@Krieghandt Why wouldn't they? I'd've done the same thing honestly.
There's a song with over 60M listens in spotify that uses an Emaj7#5 but keeping the natural 5th on the bass, and it uses it in a very natural and smooth way. It's Bajan, by Pescado Rabioso (a L.A. Spinetta band, an artist you should definitely check out if you like interesting folk, rock or jazz rock music).
I LOVE that you introduce philosophy into your music theory lectures. It's refreshing.
Crazy how everytime that "BASS" graphic and sound pops up I immediately get sad because I think the video is over, shoutout to pavlov
You are a pavlover.
You love that pav.
Pavlovian effect is bussin
3:10: Oh, you don't know what you're missing! The very best movements in Bach's vocal repertoire are almost entirely in 6/8. The best dance grooves are in 6/8. With the possible exceptiin of 7/8, it's the best time signature you could imagine!
Thank you!!! 6/8 is my absolute favorite time signature
Okay, but consider: 19/16. Also known as 6/8 but just drunk enough to do wild things with drums.
@@lightspiritblix1423 Not very common in Bach's compositions, but that doesn't make it bad.
5/4 is better, fight me
many of chopins compositions are in 6/8 so i love it
Agree on the ‘bass is not going away’ - if anything, pop music in the 80s started piling on synth bass, but fortunately 5 and 6 string basses allow us to cover that range … and I think people just love the sound of the bass (just me?).
Bass does have a funky epicness to it imo
this is the correct take
I'm a bassist and I dislike heavy bass in music for the most part
Good Bass be Good Bass.
I think that the average pop music listener struggles to hear the bassline in songs (it took a while to explain my mom what a bass even is), but when you get a bit more into listening music in general you can't deny how much a good bassline improves a song
Not sure if it's really significant, but many of the "electric bass" tracks on pop tunes these days are indeed synths or midi. Even on "Attention" which I could have sworn was a physical bass guitar is just a very well-designed plug-in. Learning about that was like Seinfeld all over again...
Yep Trillian sure as hell sounds really damn good. Just like pretty much anything out from Spectrasonics :D
I suspected as much, thanks for the confirmation. So far the only one I have a perfect track record discerning so far is the saxophone.
"the way that I would resolve this chord is just by..getting rid of the flat 9" I found this way funnier than I should have😂
Organ music: the lowest note is a C, so anything in A/Bb/B can never sound as bassy as something in C/C#/D.
Choral music: lowest note you can generally ask basses to sing is an E, but you'll get more volume with F, F#, G... so the most bassy keys are E-G.
Music with choir+organ... you have to make an artistic choice. :-)
yes, register and tessitura are legitimate concerns on all music.
And that is why Bach's Toccata and Fugue in d is so potent on huge pipe organs.
I'd choose 32' contre bombarde C any day
Same for symphonic music! For example, the bassoons/contrabassoons go down to a low Bb, so any music in A or G will have to do without those sweet, sweet fuzzy bass notes in the woodwind chorals (yes I'm a bassoonist). F, E, Eb are alright since you can make use of low C/B/Bb for fifths resolving upwards. D is tricky because low D is a really wonky note on most bassoons, not at all the same comforting sound quality as the rest of the lowest register. But this all clashes pretty heavily with the optimal keys for the string section!
Bach has always been my go-to for orchestral music. His Brandenburg Concertos, especially No. 2, hit a part of my brain nothing else can.
His orchestration is very basic, I don't like it, he's a genius of counterpoint, but as orchestral composer his music is a bit poor
@@musicfriendly12 i think his orchestral composition has their unique point at the structural part.
I personally love his flute sonatas, maybe as flautist I'm a bit biased but I love to play them and to listen to them, it's just narrow range flute melodies over basic expectable harpsichord chord progressions and simple cello basslines, but I always find them beautiful in their simplicity. also, flute suit no. 2 is probably my favorite orchestral composition, I even have it on vinyl :]
Bach for sure. Been listening to the organ works recorded by Marie Claire Alain. 400 tracks. So much fun, and the sound is fantastic.
Have you heard the 5th concerto performed by Perahia?
"I am a Bach boi". Remember kids, always finish in the Bach, never in Debussy
That... is amazing
Wow.
bruh
In my heart of hearts I belive; That the internet was created solely for this coment. To give it a fertile womb in which to grow... The ultimate pun.
this quote was stuck in my head last week. thanks for reminding me again
The flat 9 minor chord (10:16) could work if you were playing in the Phrygian mode. Take an E minor flat 9 chord, for instance. That resolves inward to an Fmaj7 chord, which resolves inward to a G major triad, which resolves inward to a minor 3rd. Using careful voice leading, that creates a beautiful-sounding harmonic progression.
I don’t know music theory terms, but hearing it I could think of a couple ways to simply play your way out of it to resolve it to a more consonant chord, maybe even just the minor 7th without the sharp 9th. I don’t know if the term for it is voice leading, but it’s definitely possible
I got to meet Victor Wooten when I was 19 just as he walked to side of stage at a massive bluesfest in Aus in 2007/08. Asked if I could get a photo, and he handed me his bass like "Sure! Do you want to hold this?" and I've never frozen up that hard in my life. Such a kind and talented person.
100% Bach boy here. Growing up as a Protestant Christian in East Germany, there were several connections to his life and work. I remember enjoying the episode where you visited Leipzig very much! I think the Christmas Oratory (Weihnachtsoratorium) that my father used to play on his record player during Advent was probably one of the first Bach experiences I had. Oh, and playing Prelude in C Major on the piano at age 7.
100% Bach boy here too!
ua-cam.com/video/kcvUHdhROrk/v-deo.html
His background speaks for itself and his videos, this one included are quite the educational journey.
Every time someone--ANYONE--says something "does not sound good," my immediate goal is to use it somehow.
So my next song will have a m7b9 chord.
I like m7b9 chords, good for adding dark ambience in lower registers
One thing I’ve tried is using tone clusters in a harmonious and beautiful sense.
You could write it in phrygian. That way, if you build a 9th chord on the root note, it would be a m7b9!
Hey, I just listened to Perihelion. Good shit guys, I’m gonna be listening to this for years
Adam Neely is living proof that bassists are indeed musicians
The jury's still out on a lot of drummers, though.
KIDDING!
mostly
@@lysanamcmillan7972 LOL, I was gonna say that
@@lysanamcmillan7972 I said the same thing today too!
I don't think that's true. 😅
Every Irish persons' heart breaking when adam said he doesn't care for 6/8. A travesty
I thought he was going to say 4/4.
@@christopherheckman7957.
Adam: I’ve never really cared for 6/8
Me: TAKE THAT BACK RIGHT NOW
*cries in Chopin Ballade*
I guess we won't be seeing him at an Irish session (not that bass would be very welcome there)...
“Beijo Partido” the amazing song by legendary guitarist Toninho Horta and Milton Nascimento begins with two alternating chords on the acoustic guitar, that includes a beautifully used Maj7#5 chord. The song is so amazing it was later covered by Earth, Wind and Fire
That C7(b9,13) to the 1 progression is 100% the game over theme in Super Mario World.
Wow! With his discussion of chord progressions Adam is just *on fire* in this video. He's just taking so much pleasure in these chord progressions that it is infectious!
This was timely! I typically play bass and guitar, but I was briefly in front of a piano and was reminded how much easier it is to “see” notes. C major in first inversion is kind of an E chord or E of C like you mention. I started to go down that black hole of “holy crap! All chords are the same!!!!!” -Chris
Btw, also a Bach boy.
The point about key mattering because register matters is extremely important. I play alto sax and what key I play in determines what aspect of the horn comes out.
What do you mean?
@@PlasticSinks alto sax has a very different sound in the lower notes vs higher notes, and a lot of melodies can't be moved and octave without being out of the range (saxophones have basically 2 and a half octaves). So if you have something that sounds a bit low or high you can move it a few steps.
Absolutely! Same here! I know exactly what you're talking about. Me & the bone player have to do the "let's switch octaves" shuffle all the time
Verse: focus on one note, fast and chaotic
Chorus: wider range, simpler melody
Oh look, It's The End Of World As We Know It.
4:25 "this note is way too low for most subs to recreate"
My whole house then proceeds to rumble as I watch this at midnight with my family asleep.
Thaaaanks ;)
"in other words, the chord is cringe."
Laughed my ass off at that, gonna start using that term more
oh my you put a bit of ginger ale on them chords adam
I grew up with Bach's music, and he is and always will be my favourite composer of all times. I am convinced he was one of the first famous Jazz musicians, too.
Bach - jazz musician? 😂😂
Also a Bach Boy here!
Random side thought: I would love to see a collab between you and Rob Scallon. I've been watching you for a while and just discovered and fell in love with him. It would be awesome.
They are both super knowledgeable but they generally play very different styles of music. It would be fun to see what kind of stuff they could come up with.
0:40 Michael Giacchino also uses minor9major7 chords, which if you remove the root (for example F), you'll get Vmajor7#5 (Cmaj7#5 in this case) as from the remains.
As people age, our brains actually become less open to new ideas (which I guess is related to a decrease in neuroplasticity, though I'm not sure, so it makes sense that as we get older, we will find ourselves negatively judging "new" things. But it's not the end of the world! We can use the fact that we *know* our brains are becoming less flexible, and in situations where we find ourselves thinking "new music sucks", let's decide to stop for a second and think "is this really the case, or am I giving in to my lack of cognitive flexibility?". I'll bet that if people do that, their brain will actually re-gain some neuroplasticity, or at least become more open to any new ideas we come across in the future :)
The Gb chord discussion is absolutely amazing
thanks for touching on my favorite chord, the major7#5, in this one. also I didnt know the thing about sub heavy songs sounding better in F-Ab keys, thank you!
"Opposites are not unrelated"
Adam getting all dialectical and shit
i genuinely spit my drink a little at your name
Funny thing with dance music is that so many shows are played on specialist sound systems, so most of the heavy heavy bass guys are favouring low Db or E!
I bet that “cringe chord” was logics algorithm telling them what chord they were playing when the session was in a different key
you got so much better at this. Funnier, confident. But with the same great content. Thanks
Bach yay, on so many levels. His music can be deeply human but also as detached as if written for aliens in outer space, for the heart and for the mind, both exuberant and meditative, and then those harmonies and dissonants... I love it all. Some of my best friends are Mozart boys though.
If you want to see this chord used in a more popular song, just search "Bajan" by Spinetta (an argentine rock idol).
He uses a *Emaj7#5/B,* a very dissonant chord, in such a lovely way that it can be "digested" by the masses
I'm sure you get this a lot but you are a great content creator and seem like a great person. I really really really appreciate how you condense your knowledge and wisdom in an easily digestable way, without coming off elitist at all. It's rare to see somebody that's so well versed in music theory not be condescending or prescriptive with their ideas of music.
Talking about the tip for music transitions (5:55), the recent video from Paul Davids about The Beatles Penny Lane song is a great addition to that. McCartney certainly knew how to use contrast, sheesh.
Btw, awesome video. You are looking greater everyday, Adam.
Regarding that "cringe chord"... I'm brushing up on Debussy's Clair de Lune on piano at the moment, and I'm reminded of the final few bars, in which there's a couple of arpeggios in Fb major! They then resolve to the Db tonic, so it all makes sense because it's a nice mediant change, but it hurts my eyes whenever I try to sight-read them, so I've developed a habit of simply ignoring the dots and thinking "E major" in my head :D
The M7#5 chord normally appears on the b3 scale degree of harmonic minor, where the #5 in the chord is actually the raised leading tone. So, it can be used as a substitute for the dominant chord in minor mode, built on scale degree b3 (ex: C-E-G#-B chord in the key of A minor).
Honestly maj7#5 is one of my fav chords along with maj7b5 and mM9#11
I love that Adam also enjoys his coffee black. Cream in the coffee clouds creativity.
Funny, I noticed the black coffee in his cup several minutes before it came up in the q&a. Hooray for attention to trivial details.
Your comment about integrating opposite or contrary ideas to form a unified whole is the best compositional advice I’ve heard in a long time.. it’s helping me finish up some old tunes that were 80% done.. Thank you!
It feels like it's been forever since you did one of these. I was getting restless.
Just wanted to point out that the Bass on Attention is "not a real bass" since its played on a keyboard.
Since it's the same producer as Don't Start Now I'd bet Levitating isn't either. Although getting a VST to sound that convincing is almost more impressive than just coming up with the same line on electric bass.
@@renoutlaw8371 Don't Start Now is produced by Ian Kirkpatrick and there is no mention of bass in the Personnel section on Wikipedia. Levitating is produced by Stephen Kozmeniuk and Stuart Price and they both are credited with playing bass on that song. Soooo.... I don't know what you trying to say.
@@samueltornberg Huh I thought he produced or co-produced the whole album.
That's beside the point though.
@@samueltornberg it’s pretty clear what he was trying to say (he wasn’t being vague or anything), he was just mistaken about it
"never cared for 6/8"
6/8 being the most important and acceptable time signature in our culture: bruh
yea 6/8 is my favorite I don't know how someone could dislike it
agreed 6/8 is so nice, lovely sway to it
For extra spice try putting your Maj7#5 on top of a bass note unrelated to the chord, such as CMaj7#5/Bb
4:20 I now understand why Dubstep songs are usually in F minor
I interpreted the Gb chord nonsense as attempting to transcribe a chord along the lines of F#m7b9add13, which is exceedingly rare but not impossible-it occurs both as extensions of the second in melodic minor and the home chord in Neapolitan major. Personally, I think it makes a fair amount of sense as a setup for C#m7, Dbmaj7, Em(maj7), or E6/9 with various extensions, but it's certainly a choice. It's a rather spooky chord in the high register of the piano but kind of turns to mud without the right phrasing in the low end.
Actually, this is a nice progression: F#m7b9add13, Em6/9, Dbmaj9.
aka its an A13#11/F#
@@foll789 Well, no, it's an A7#11/F#, but the principle remains.
@@ConvincingPeople I call it A13#11/F# so it doesnt take me a second to figure out what the bass note is
If current trends continue at this rate, in 10 years time, that half-second collage *is* going to be the album
Bach boy. Absolutely. IMO there is Bach and there's absolutely everyone else.
Reading the question on 2:05 is super groovey
First I noticed the Maj7#5 was in the song "Outro" by Braxton Cook (off the album No Doubt). The piano plays it in a lower register before resolving to a Maj6 sound and it just spices up the song so perfectly, it immediately got me to transcribing.
Re: Bach boy question
Mozart usually either wrote things that I like or things I find simply not super interesting or appealing to me. Bach usually either wrote things that I like or things that make me want to break a harpsicord (like some pieces are just an endless drone of perfect, fast counterpoint and im like DO SOMETHING)
oh yes, i feel exactly the same!
Besides, Mozart didn’t have enough children that his last one could been named PDQ Mozart!
0:30 Be like: "There is a fifth dimension beyond that which is known to man. It is a dimension as vast as space and timeless as infinity. It is the middle ground between light and shadow, between science and superstition, and it lies between the pit of man's fears and the summit of his knowledge."
That's what I was thinking, too. Except I didn't remember the actual phrasing of the whole opening monologue.
5:06 I think part of the reason it's satisfying is that the Fm6 is the negative harmony equivalent to G7 so that while having a G in the base not makes a lot of tension but with a contrasting feel
The maj7#5 chord, especially 1st position, occurs fairly commonly in all 13#11 chords, with the root (or LH) one step up from the 1 of the maj7#5 chord (or RH). For example, I usually voice D13#11 as Cmaj7#5 (RH) over D (LH). And so on for the other eleven 13#11 chords. I hardly use it in other contexts.
The half-second previews of each song sounded like a Bill Wurtz video.
"Picardy thirds are the Disney villains of music" - Adam Neely
But specifically the obvious-from-the-beginning villains, not the twist villains you saw coming from a mile away.
@@lightspiritblix1423 Maybe Adam is a double, super secret villain and he's just trying to trow us of guard?
I like using it as a dominant chord. For example. Try Cmaj7#5 resolving to C#-11. It sort of functions like an altered dominant chord with the third in the bass.
what do you mean exactly by this?
@@nomadfc4342 an Ab altered dominant 7th chord can be voiced like so: Ab Gb C E G# B. Notice that the top four notes played by themselves voice a C major7 #5 chord. Thus when resolving it to a C#-11 it has a similar pull although id argue that the C in the bass resolving to C# presents and even stronger pull than Ab to C#.
@@_buttonmasher i see, i was testing at the piano and i can definitely see that strong pull, you can even use a "so what" type voicing.
I too am a Bach boy. Also I really appreciated your response about music school and how to make it about what you want despite all the information that is given to you.
TIL half a second of every song from an album is a great way to get a feel for a band's sound
Adam: "You'd never write it like this, this cord is ~~Cringe~~"
Me, knows nothing about music syntax: 😬😬 uh oh besties😬😬
Bach! Mozart is not as bad as Brahms, but I’ve already heard enough Mozart to last a lifetime. I can listen to the same Bach piece repeatedly and still hear something new.
Brahms isn’t bad
Mozart is not as bad as Brahms? What the hell that supposed to mean?!
$50 says the cringe chord was an epic troll.
You're Berklee / music school advice is advice I wish I had many years ago.
Thanks for all your videos.
Adam, thank YOU so much for all the info in every single post. whenever i feel complacent or stuck, your videos inspire me
Oh, coincidence. I was reading Plato's republic the other day. His opinions on art are pretty funny: "oh yeah, theater is amazing... I love it... But we should stop citizens from watching it because it encourages non virtuous behaviors". Like, wtf Plato lol he's like and angry conservative father.
yeah the book is interesting, the way i interpret it is that he is just laying out a perfect ideal for a society, but i take it with the notion that utopias are inherently dystopian. he's a weird guy. also wasn't socrates the one doing all the talking? why does plato get credit?
i have a very surface level understanding of everything i just typed.
@@armybirds For Plato, the supremacy of philosophy begins with a devaluation, or a destruction, of art. Art is imitation, and thrice removed from the truth (platonic forms). Artists are not any better than the ones making the shadows in the cave - in fact, that is exactly what the artist is doing, according to Plato. To Plato, art cannot instruct us on what is true.
If you want to read an opposite take, I recommend Aristotle’s Poetics and then supplement that with the brilliant essay “How Can Tragedy Matter For Us?” by Charles Eldridge. It is such a compelling read and interpretation/commentary on the Poetics.
@@kylestevensanders wow, you reignited my interest for philosophy from my one semester class years ago. ill have to check that out, thanks man :)
@@armybirds I'll start by answering your question. Plato started his writting career by making what we call "Socratic Dialogues" where Socrates (his master/teacher) was the main character. As far as we know, Plato's first works follow Socrates' adventures, so to speak. Either transcribing his conversations or making them up "in the style of".
After Socrates' death, Plato kept writting dialogues where he was the main character, but he was used as a fictional character to carry Plato's ideas. So, even if Socrates is the one doing all the talking, Plato is the mind behind his words. Why did he write like that? We don't really know, but in his later works, like "Politikós", Socrates takes the backseat while everyone else is talking.
Now, about the interpretation of The Republic. Some people argue about the actual subject of the text, because it looks like it depicts Plato's ideal political system, but at the same time he takles a bunch other subjects that have nothing to do with that. Besides, It's kinda hard to know if he actually thought it was posible to carry those thoughts into a real state.
Still, It makes sense to think Plato was just thinking about his ideal society. But I think a big part of the book also revolves around pedagogy. He talks a lot about knowledge and education, like in the allegory of the cave. And then when divides society into hierarchies, he talks about the kind of education each should have in orter to fulfill their place in society (what kind of music they should listen too, what kind of art should they have access to, etc).
Anyway, sorry for the long comment. The book is pretty dense in content, but to me, Plato sounds like a controling father being angry about the youth.
@@BATTIS94 no apology necessary, i appreciate how thoroughly you answered my questions. i'm too tired to understand it rn but after i take a nap i'm going to read this again.
it's really funny to me how helpful and in depth your comment is, considering how youtube comment sections normally are. im not trying to suck our dicks like "we're so intellectual" it's really just comical to me.
I am a Bach boi as well. How did my mans write so much incredible music? He couldn't miss.
Bach credited God with the notes he wrote and dedicated his works to the glory of God alone (Soli Deo Gloria).
So a maj7#5 is just an augmented chord with a major 7th added, right? I would say you can use it in most situations where you'd use an augmented chord.
I was really surprised he didn't use the word "augmented" at all.
Wow, I hope people realize how spot-on this piece of music school advice was: "Don't lose track of YOUR thing, the reason you chose Music in the first place." The is a risk for anyone in the academic world of a creative discipline (is that an oxymoron?). How about "the academic world of an artistic field"? Anyhow, make time every day if possible to just get lost in your own music.
Er, we Engineering School graduates know this. Er, yeah, cause it's such an Artistic Discipline. No, seriously, life teaches you this. More than one potential Artist has gotten the fire snuffed out of her by the more "determinstic rigors" of Academia. Maybe just as bad, more than one has quit school because she could feel it starting to happen. The idea is to do neither. That's why Adam's advice is so good, as usual: "Find YOUR People" and "Don't Lose the Love." Awesome again, Adam.
Happy to have you back Adam!
The entire persian dance music is in 6/8 to a point where we say put on some 6/8 instead of put on some dance music.
Is there something specific you would recommend? I’m not sure if I’ve ever heard any Persian dance music but would love to discover
@@Liskafm352 search persian belly dancing. Of course, that's the wrong term for it, but when did the british ever get cultural things right (deutsch vs german)
@@Liskafm352 ua-cam.com/play/PL0vBULgAqR554__v97I4PIA6sTLb8mhPv.html
"Where can I use a maj7#5 chord?"
The maj7#5 chord appears on the III degree of the melodic minor scale. Start from this fact.
I could go off on how to derive the chord, or what chord scale to use on it, but doesn’t answer the question at all.
The question was how to use it.
L bozo
@@AdamNeely In fact I wrote "start from this fact" (to understand how to use it).
The use of e.g. dominant 7 chords is derived from the fact that the dominant 7 chord appears on the V degree of the major (and minor with the sensible) scale, and is originally used in the V-I cadence.
I think that a similar approach to the analysis can be used for the maj7#5 chord and the III degree of the melodic minor scale.
Regarding the C13b9, in F major, that Db is what you called the "nostalgia" note, right? I bet that contributes to the major/minor bittersweetness of that resolution. Really cool stuff.
I like your examinations of harmony better than most of the other keyboard-related channels here on YT.
I love that you use your phone as a coaster throughout this entire thing. You're really playing with fate bringing liquid this close to electronics