So...what's the deal with BASS melodies? | Q+A
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- Опубліковано 12 сер 2021
- Answering your questions about bass and music theory, supported by my patrons!
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Peace,
Adam
People keep "asking" chords, and every time Adam just goes "nice".
Well yeah, a chord without a progression is really hard to just evaluate like that. There's no context or relationship to other notes.
I can ask you how the word "cumbersome" makes you feel, and you might not have much of an answer. But if I gauge your reaction to the phrase, "sex with your mother is very cumbersome," there's enough information there for you to have some stronger opinions on the matter.
I think we need a video of Adam going through all the chord asks, and do like a spice level tier list
@@beepboop4846 oh God yes that's a great idea
My favorite parts of these
@@davidjairala69 I can tell you exactly how the word cumbersome makes me feel
As someone who plays Irish music, I’ve found that people who come to it with a “classical foundation” have a lot of unlearning to do.
ooh where do I go to learn Irish music? That sounds fun.
@@mallninja9805 seconding :)
The problem is in how it's taught. There are a lot of things that are taught as "rules" in order to teach proper orchestration of voice-leading. These are ingrained as hard rules and not guidelines in the same way that in English you're taught not to end a phrase with a preposition while there are many examples of writers from all periods doing just that.
Would you mind specifying in what areas unlearning is needed? I'm learning classical music theory and style in school, and I'm curious about how the "classical foundation" relates to other genres.
@@ejipuh I think a good argument could be made that Irish music is on a branch of Western music that takes it's foundations from the "classical foundation" or 18th century european music and even its roots from chant music. Irish music is modal and maintains the same kinds of fundamental western harmonic resolutions, V to I, IV to I, etc. Its complexity is melodic but because of that the harmonic context doesn't get too complex. So called Celtic music often uses a drone which keeps the tonal center at the same key. Modulation is rare.
"Good artist borrow, great artist steal but don't be a dick about it" - Adam Neely, 2021
Well... repetition legitimize
@@akunekochan True, I had no idea "Lady Madonna" was legitimate until I heard Sublime
Stealing is a dick move by default. How is one great for stealing someone else's work?
@@joriankell1983 because no creation can happen in a vacuum. Even the most original idea in the world takes influence from something else.
@Tanmay Jain then it's a twisted phrase
When you're a tuba player, you treasure the melodies/counter melodies we are given. My personal favourite is the beginning of the third movement of Mahler's First Symphony.
I was a trombonist in a brass band for a while, and I was very happy to know that I had a soli in one of my pieces.
I really like John Williams’ tuba solo for Jabba the Hutt from Star Wars. I don’t know if that counts, but it’s what I think of when I hear bass solo.
But Adam is right, that Mahler 1 excerpt sounds "fragile" because of the register, and even more so when it is first played on solo double bass. The opening of Prokofiev 5 has great melodic lines for tuba (and double bass).
You've seen the "tuba virtuoso" TEDx show, right? It's pretty wild, even for me, as a former trumpet/guitar player. With enough practice, any instrument can be anything it needs to be.
@@sorak185 I disagree. Tuba and double bass soloists do not really exist as anything but gimmicks. You were amazed once, but will you look up other tuba music to listen to for your enjoyment? Øystein Baadsvik is a super talented tuba virituoso who tried his very best, but it is debatable if he succeeded in having a real solo career.
Adam you keep me playing the bass (among other instruments) even though I miss my index and middle finger on my right hand. You're incredibly motivational with all the theory and knowledge you keep throwing at me.
You know I have a friend that was a professional trumpet player and also a bassist and piano player that cut off the same two fingers with a cider saw. I don't know which knuckles you lost them on but there's definitely ways to work around it. If you don't mind me asking how did that happen?
nice, check out the sultans of swing guy picking without a pick, i kinda use it and it might fits you well. Django gypsy guitarrist is also a great great great reference, youtuber lucas (brär?) did a recent video explaining how his techinic is made in guitar!
One of the best saxophonists I've ever heard live (and even played with on one occasion) was missing a finger. His technique was incredible.
Keep playin!!! You’re a badass!!
Fuck yea! Keep on rocking, and keep on learning!
13:13 "A genius is a man, or a person, most like themself"
Wise words, Adam.
Hello
jeez, even here too? didn’t know you were a musician Mr. Mustache
Why do we watch all the same UA-camrs bro, I feel we'd be good friends
@@MidiMaze178 But you are here too. Many of us are. Silently. In the darkness. Watching.
'Sup bro
Ichika has an older album titled "He Never Fades" which is played entirely on bass afaik, and the melodies he's written for it are absolutely surreal
Hell yeah he does it still makes me envious of his skills from even back then
ichika does some really interesting things, hes been one of the pioneers of the neo-funk/soul japanese math rock aesthetic
thanks for recommending!
Is basically fingerstyle bass, Wich is more cooler to me at least
omg is he He
In high school, "Autumn Leaves" was the one song that we had our bass guitarist open with the melody in my jazz combo. Couldn't help but smile that you chose the same song to demonstrate a bass melody.
The chorale at my college is performing it this month, So I recognized it very quickly.
honestly that lower register bass melody was nice too, the two just felt very _different_
You took the words right out of my mouth
I was looking for this comment to upvote.
Yeah it was very nice. Didn’t hear it as awkward or comedic at all. Just more warm and cosy.
“Hard to play in the upper register” is hard on double bass but...electric bass has a huge range for an instrument (it does become somewhat comically huge with 6 strings) and sounds really sweet in the upper register.
Agreed! For me, it wasn't comical, it was like something - much bigger had come to play. Instead of a human generating human music, this was - a mammoth or a whale singing mammoth or whale music. It was a really nifty texture!
There is a really point to his argument I believe, but his example was maybe not the best. But there is another reason why you will less often hear melody in the lower registers: We typically percieve the melody in the highest part of the music. So if there are many instruments, the melody will typically not be in the bass. If you chose to have melody in the bass, the other instruments (or voices) will change pitch mush less often, and often be muted. The basses in a choir will typically not sing the melody, but if they do, they either sing solo, or the other parts sing long oooohs or aaaahs. I think melody in the lower registers often works great, but to pull it of takes care and knowhow.
I love how you totally make bass face, but when you played the higher melody in your bossa nova groove, you still made guitar face. Props.
Am I the only one who thinks the "absurd" bass melody section at 3:04 actually sounds really cool?
I totally agree!
Yea
I was hearing it the same way I would hear Paul Chambers take a bass solo, as a contrast against the high voices who've been playing all the time. I.E.: if you only have bass melodies it can be a bit daunting to listen to. If you like that sorta stuff 100% based but it's also somewhat taxing if all you have is super low frequencies. It can be kind of straining to listen to since you're more likely to be less attuned to those sorts of melodies in a western society, but definitely go for it if that's your thing!
The deeper sounds always set up a really different vibes
While playing musicals, I noticed an orchestration technique that I liked: doubling the melody in bass with a high register instrument, like glockenspiel. It fills in so many overtones that these two instruments alone can sound very rich and defined.
in b4 "IT'S NOT ACTUALLY THAT FAST"
It's true, you were in before it
I feel like that’s cheating
a not super fast instagram q+a
As we all know, music is a competition
I watch everything at 1,5x speed so joke's on you
A Perfect Circle did an incredible minor key cover of Imagine. It’s sick as hell
Thanks for mentioning this.
It is impressive also how the lyrics can attain a very different vibe.
"Imagine there's no Heaven" - sounds terrifying here, like there's no salvation/relief ever.
"No Hell below us" - immediately sounds like implying Hell is only here on Earth.
I love that version so much
I wholeheartedly agree
Controversial: I enjoy that version more than the original. Because, you know, cynicism…🤷♂️
best version so far, you're right!
“My low end brethren”
“Eugh, guitarists.”
Me, who is both: 😐😑😐
*Cries in Baritone Guitar*
I play tenor, standard, baritone, and bass guitars, so my face is all over the place.
I play guitar….but I’ve started on the bass. My Dad basically gave me his for accidentally losing my first guitar when moving….it was my first guitar yes. But not my first….love. That goes to my epiphone…..anyways. This bass has a fffricken aura around it bro. It’s some odyssey precursor made in the early 60’s or someshit for jazz. But it’s covered in skateboarding stickers from the eaaaaarly 80’s. It’s legit three pieces of straight up maple. Some dimarzio P cream pickups that came on it. And I recently had to change the strings cuz according to my dad, “you never have to change the strings on a bass. These strings are probably older than me.”….yeah. I’m all for using 60 years old strings. And keeping em on would have been the biggest bass player meme in history. But tryna use it to record into a mix was like not gonna happen. So yeah. Needa take it in for some dust cleaning and shit. But I gotta say. This thing is “the bass.” And it’s so much “the bass” that I’ve been learning it for the past year without even noticing. Because….its the most bass looking bass I have ever seen.
Update. Found what’s it’s called. It’s an Attila Balogh odyssey. Just sticker bombed. Shits glorious.
Adam also plays guitar lol
As a shit bassist, I was always like "Ah, when can i get my ripping bass soloi" when i was in my highschool rockband. I learned fast that it just doesn't work, we tried to do a cover of a song and the guitarist didnt know the solo, and I did, so i was like "I'll play it," it didn't sound good. There's people that are like "Well Royal Blood and Death From Above do it!" but the secret is, they treat their bass like a guitar, they use distortions with a lot of higher frequencies, they pitch the bass up. It's something that was done out of necessity that became their sound. I learned a bunch of this when I wanted to start recording music, I like that octave effect and I love the bass, and it's just nothing but learning from mistakes
The fuzz pedal was invented so that bass players can play melodies all over their instrument!!
To be honest DFA1979 dont pitch up. They're pretty good at have melody while also serving the bass. Royal Blood are more what youre saying.
I definitely second this. It is a very rewarding experience once you get to it, it's key to develop your own sound and playstyle, combined with your own composition style, and once you're there the basslines and even soli will come to you naturally
Charles Berthoud says hello.
gonna play a little bit of devil's advocate here: I have the feeling that you didn't put the same amount of effort and "groove" when you played the more low bass melody, it felt just like lonely notes played by a bored musician, while on high bass melody you seemed to include a lot of dynamics, vibratos and such.
Especially with how he kept making that face while playing it, almost like he's purposefully trying to put it down
While thats true its also just straight up harder to perceive those types of inflections in that register. There's plenty of great and catchy basslines, but they function differently in an arrangement than a melody, im not sure he really got that point across in the video tbh
I noticed it. That being said, it's still a bit harder for bass melodies to function as well on a lower register cause that's where you mostly expect the fundamental of the chord played to be. If you took a guitar solo/melody and lowered it 2 octaves, it would sound like a riff. Maybe it wouldn't sound awkward, but you wouldn't want any higher register melodies around it, if they didn't function as harmonies of the existing lowered melody, and its expected function would be rather rhythmic than melodic. Same thing applies to bass in my mind.
I find reggae bass lines to be quite melodic, while still holding down the low-end. Very hum-able!
Yes imo there are a lot of great melodic bass lines (in funk also). It juste has to still serve a rythmic purpose at the same time and stay quite simple.
As soon as I saw this my mind instantly went to Guns of Brixton lmao
Reggae has some really neat bass lines.
Aston Barrett, from the Wailers (that played with Bob Marley), said that the bass line had to be "Whistleable"
You played the low bass melody beautifully, even with the sour face! What would a Bach fugue be without bass melody? What would "Roundabout" be without Chris Squire's melodic bass? What would "Flashlight" be without that Moog bass. Bass players should stand out, just like violists! I always listen to the bass first. To heck with Fourier transforms, full speed ahead.
What?! Violists should stand out? If they learned to play actual notes, maybe.
"To hell with fourier transforms", me after barely passing with a degree in electronics engineering
I liked the lower bass melody more than when it was higher. I personally, in music I enjoy and make, love to have a large amount of diversity or distance in the highs and lows. In orchestra music I love when the super lows and super highs play at the same time, it creates an amazing effect and sound.
BOOOOOM!!!!! Your response to the second question is spot on. What we call things is so important.
As an African person who studied music, for a vast majority of my learning process there were only two options presented: studying “normal” or Classical music, and then there’s jazz for the “atypical” or “artsy” person. This logic was and still is extremely problematic because there are different styles of music and different ways in which it was notated. By virtue of what they’ve called these styles of music, it implies that one style of music is “superior” to the other(s) and as such, should you wish to pursue anything in the music industry (and be taken seriously at that), it is imperative you study one style of music which is MADNESS, ESPECIALLY considering we have indigenous music in my country.
Anyway. I say that to say thank you for delving into the nuances of certain topics. I for one feel seen and heard as compared to the constant feeling of being relegated as an African artist.
Good music is color-style-gender-blind . The fact Germans were more developed than rest of us doesn’t make a case against their approach
@@yurkellis The point is that they weren't ACTUALLY more developed than the rest of the world, it's just that their styles/innovations are held up as high art achievements while the styles/innovations of other cultures are ignored and valued less
@@sdw-hv5ko other cultures where not developed enough to systemize, record and share with it with brother humans. Fact.
@@yurkellis Other cultures obviously had systems or frameworks for understanding their music, just because you don't know them doesn't mean they didn't exist. And passing music traditions orally rather than writing them down is not indicative of a lack of development. Besides, other cultures did write down their music, they just had different notation, but that music still doesn't get taught in mainstream music programs in the US
As a stupid uneducated person, I would like to add my simple thoughts to this important discussion.
Nowadays both Jazz and Classical music have become rather niche and sophisticated. In music schools the rivalry may be Jazz vs Classical. Outside it's the elitist formal music education vs the pitiful/despicable normies. It's like the political compass avatars vs the centrists!
The low-bass version of autum leaves sounds actually good.
So as a Jazzist, one of my favorite times playing was when the bassist got to jam, like on So What. It's very punchy and very fun.
We also ended up arranging Summertime to have a Vibraphone/Bass counterpoint at the beginning that THEN went into the tune
I wonder whether one reason that melodies are rarely played in the bass register is that higher frequency melodies are free to linger on non-chord tones, where they can fit into the mix like chord extensions over the rest of the arrangement. Put those down an octave or two and there’s much more muddyness.
Whoever asked what note "hmmm" is, thanks, now it's all I can think about.
Hmm
Being from the global south, the way you highlight the political aspects of music education really helps me conceptualize the gap between mainstream music discourse and my own musical experience, and I couldn't be more grateful for that. You're an inspiration Adam. Thank you.
0:00 the way the keyboard pops out is so satisfying omg
"Why do basses never play melody?"
Edgar Meyer: "Hold my beer"
Or any second Japanese rock bassist, Tetsuya Ogawa (L’Arc-en-Ciel) easily being my favourite, often carrying the melodic aspects of the song with his highly catchy lines, while the guitar stays firmly in rhythm mode.
(Shreds in Cliff Burton)
11:03 Getting on the "but copyright is a thing" mentioned earlier, Bloop was legally fine for the audio... But the photograph on Blue (which they also did a pixelart cover of for Bloop) they got sued over (which is why it's missing in the sample that's being played here)
This is an interesting conversation around where the bass belongs in a song and in a mix. I always found it quite odd that the upper registers is what the ear gravitates to the most, however in an orchestra, or chorus those notes are typically more related to extensions, or harmonic components of the song not the "foundation". That seems rather backwards, but as you say human brains want to gravitate towards registers of the voice. -Chris
the reason why we hear higher frequencies better isn't just that, it's evolutionary. our ears are designed to hear high-pitched noises (rustling, screaming, etc.) to alert us to danger around us and allow us to hear human distress from very far away. play a pure tone without changing volume and slide its pitch upward. the perceived volume will change as the pitch increases, reaching its maximum in the thousands of Hertz
I think it's indeed the case that we expect the leading part in a song to be in a vocal register. Very high tones also often don't feel as making up the main melody.
I think another factor is that the harmonic overtones of the bass instruments often works to create the harmonic context in the same frequency range as the melody, creating a feeling of connection between bass and melody. Putting the melody in the bass and establishing the harmony in a higher register makes it often more disconnected because the overtones don't play in the same range as the melody. This is a similar effect to why a chord with the tonic as lowest note feels "stronger" than a chord with the tonic in a higher position.
The middle registers are the most comfortable to the ear. Upper registers can be annoying or overly compelling if they're too loud (like a baby crying) so I guess orchestras keep them relegated to a spice roll because otherwise it would be overstimulating to base the majority of a piece's primary melody in the high end. Your ears need a rest. And the low register is where the rhythm sits, probably because it's easier to feel them physically in other parts of your body besides your eardrums.
High registers are sounds of distress
Middle registers are sounds of casual conversation
Low registers are sounds of physicality
That's my theory.
Spectrum is maybe a better term than Fourier transform in this context
I swear to God Adam's bass collection grows each video
"You stand on the shoulders of giants everytime you make anything, nothing is original."
Nothing you can know that isn’t known
"If you play it, Louie already played it."
Your genetics and language aren't even original. It's all inherited from those who lived before you.
"rolling down the street in my katamari" is one of the best fusions of jazz and chiptunes
ua-cam.com/video/hzGmbwS_Drs/v-deo.html
Lovin' the new format!
I love the Insta Q&A’s, it’s always nice to hear these questions be answered
Uh oh. He's said "BASS" so many times that he's run out of the word and can't say it anymore.
I absolutely recommend the A Perfect Circle cover of Imagine
would love to hear your (acknowledged outsider) perspective on reggae bass some time, Adam. i've started trying to study it, because i think it's interesting how they create spaces for mini-melodies that still help drive the rhythm section. but i'm not a bassist, or trained in jazz or rhythm & blues or ska or other contextual genres on any instrument, so i feel unprepared to wrap my whole head around the subject. i always miss your Q&A announcements on socmedia but here you are talking about bass melodies. anyway, be of good cheer!
Wow. This Q&A is new since I started my journey from last to first of the Q&A's and it's crazy how much the Q&A has changed, and frankly, how much you have as a personality as well. Just bonkers! (good bonkers)
Thanks so much for your great content, Adam. I'm self taught / a hobbyist; your videos make the music theory arcaca wonderfully accessible. I don't always follow everything you're talking about, but I pick up bits and pieces over time. Hope you're having a lovely day.
Adam my man, you are absolutely glowing.
Probably pregnant
what a pleasure to watch, Adam, after a tough week at work. thanks.
Got goosebumps going all over my back only from a single Cm11 chord. Oh my, this is indeed beautiful
Surprised no mention of the garage substrain of dance music, thought to be conceptualized in NYC/NJ and from there re-alloyed with the Jamaican diaspora and related music forms in the UK to create Breakbeat Hardcore/Jungle/UKG/DnB/Speed Garage/Dubstep/UK Funky and on from there. An entire world of music in which the primary melody is infused in the baseline.
This needs to be higher up.
Same, really confused here, bass melodys usually don't have a high range because the sub is loudest aroud G to F but it certainly doesn't sound comical or bad.
+
Adam Neely is my iconic music queen.
Your studio is beautiful, it's goals man
This was a great 15 minutes of inspiration! Keep it up Adam 🙌🏻
As a contrabasoonist i appreciat the shoutout
That's cool!
Haha, it is a MIGHTY instrument. Makes the concert hall shake on the lowest notes. ;)
Yeah its the best haha
Me: improv spaghetti
No one: dude nice C9/Gb to Am7
I love these Q&As. I watch for the music theory nerdom, but I also often come out of it with great ideas for unique chords, obscure concepts, and musical combinations that I haven't even heard of yet. Keep doing what you do. It's awesome, brotha. Thank you.
The first melody that comes to mind that includes tuba is Holst's First Suite (1. Chaconne). I think it's great because it allows the rest of the band to build off of and expand on it.
Wow, didn't expect a Neely video on a friday
But some of the best bass lines in history have been melodic. Paul McCartney's bass lines in many Beatles songs are very melodic ("Something" is my personal favourite). Riffs are also essentially Bass melodies (take the famous bass riff behind the solo in Free's "All Right Now", or Pink Floyd's "Set the Controls for the Heart of the Sun"). And, of course, going back to early European music, the bass would normally have its own melody, alongside the other registers.
yeah red hot chili peppers comes to mind. you can absolutely make good melody on low-end notes
Right but the bass melody supplements the main melody of the music, so it's not really the melody of the song
I think the difference is in whether it's a melodic bass line or the main melody. Even when the bass line is melodic it's usually supporting a main melody, unlike in Adam's Autumn Leaves example where he played the main melody
I think hes just saying generally it's not designed for melody but definitely not impossible
"Melodic" is not the same as "playing the melody"
hi bro! congrats on everything, i've been watching you for years and i love your content. i think "great artists steal" means making it your own, to absorb the knowledge.
thank you for your videos!
Great video as always Adam! 👍
I've always wondered what comes from writing a melody that deserves to be in the bass? Legit from the tempo to the length of the notes to the notes chosen and the accompaniment: who has ever written for bass? Taking a melody that was made for octaves above and moving it lower won't suit like long arms in a short suit. Having a mind in the lower register would lead to a different conception of the melody. Slam Stewart is a good example of this.
victor wooten's version isnt she lovely is great bass melody, but most non bass players dont really enjoy it i've found
Fun fact! When Wooten is doing his solo looped stuff, he's on a tenor bass, bumped up a fourth. Raises the register, and keeps everything from muddying up.
Bass melody reminds me of humming any song while at work or during any activity
I appreciate and enjoyed how much fun you had in this video.
This video feels like an old Adam video. Glad you are sticking with it!
Radiohead "How To Disappear Completely" 🤤
I learned jazz theory from my improvisation professor and bass private lessons teacher. When I finally took Theory I and II I was way ahead and had a much better grasp of the material because I understood context
@Adam Neely Thanks so much for demonstrating some wonderful and surprising cadences. Very accessible stuff, and simply gorgeous sounds. You have broadened my concept of "resolution".
Autumn Leaves is my FAVORITE standard. I have a playlist called "Autumn Leaves" which has over 200 variations of this song. I drove from Miami Fl. to Killington Vt playing nothing but this song. I don't think I heard the same version twice.
don't be shy, drop the link 👀
We live in an age where entire crowds memorize and sing whole songs by Joe Dart. Joe! Joe! Joe!
Kim taek Yong represent!😁
I dropped out of music school a few years ago and Adam helps keep me going as a musician.
14:00 Ooooh I was on another tab when you played that and I got super chills, love it.
13:57 is so beautiful. I once thought I had to always be modulating to write interesting progressions, but your videos have taught me how much colour and richness you can create just by using the upper extensions. 🙂
Loved your answer to the politics question. I’ve never heard it explained quite like that before but it’s a great, succinct way of expressing it
@LCL the real reason is "because i disagree with the way things are and i want to change these things by talking about them; especially given how much influence i have with a youtube channel this size, i feel like i can make a difference". there is no other reason to talk about politics unless you want to convince people of your ideas
@@ikbendusan So did he lie? Why didn't he just say that, assuming it is his real reason?
I don't want to come off as if I think you're wrong or that I know better, it's just that there's a lack of something for me to believe it.
@@ikbendusan But all art *is* political. Refusing to engage with the political place of art *is* also itself political, it's saying "I am comfortable and do not want to consider anything else." Willful ignorance of social context is an endorsement of the status quo.
@@hhoopplaa I believe it´s a mix between what Dusan said and what Adam said, which basically could be understood as everything you say or not say is making a statement, so if you analyze music and music history without mentioning the influence of politics behind it you´re still making a statement, so you might as well do it consciously and aware that you´re doing so.
@@BonnibelLecter welp, that´s just a smarter and more eloquent way of saying what I tried to say, so kudos to you sir
This was really quaint. Thank you, Adam, I enjoyed it.
I love how all the samples are of autumn leaves the song I was forced to learn by heart by my guitar teacher.
Cool facts about coffee:
-Dark and strong coffee doesn’t have more caffeine or wake you up more, in fact it has a third of the caffeine in a light roast coffee.
-A regular opened coffee cup is considered the worst way of serving coffee among baristas, it makes it taste bitter. Believe it or not, serving it in a wine glass with a wide bottom and a small opening makes it taste completely different and usually sweeter. Even the shape and size of the glass can change how sweet it is and how it smells.
Maybe next time try a wine glass Adam, you might like the experience :)
I knew about dark vs light roasts, but not that the shape of the glass affected things. I know what I’m trying later!
Yeah but the thermal conductivity of 3mm of glass is alot higher than ceramic so idk i guess wear gloves if you want to drink it?
@@NoTengoIdeaGuey or just grab it from the lower part, like you do on wine to avoid heating it
@@javixo1997 thank you for spreading the good word of our lord and Savior Joe, cup of
@@javixo1997 Is this a Portlandia sketch
Always wanted to see you play autumn leaves. Thanks :^)
When I was hearing "Autumn Leaves" for the 1st time I was like "Duuuude, that bass actually slaps as heck"
Thanks for the Gems Adam really appreciate it
Another great video Adam! Cheers Dave
I like to measure how strong a musical instrument is for soloing by how much of the band has to drop out for them to take a solo. It's not a perfect measure, but good to keep in mind if you're arranging music. For bass it's generally most of the band, though I remember my jazz improv teacher (a bass player) chiding us for leaving him unsupported because nobody knew how to play color notes and it was just him and the drummer. Good times.
13:28 that Cm11 is giving off some strong Halo ODST vibes.
Love the rendition of "Autumn Leaves" at 02:20
Adam, sincerely, thank you for making the videos that you do. You continue to help expand our understandings and philosophies/ideologies of music where I'd call you a new age Victor Wooten :D Keep up the great work and as we say in Wales: Cariad fawr o Gymru a iechyd da i chi a dy'n deulu! [Much love from Wales and good health to you and your family] x
Are we gonna see any Mercy Lounge footage from Nashville? Or did things not go as planned??? So curious! I thought it was yalls first concert back but it wasn't covered in the last video you posted :D Just curious
I feel kinda dirty now having transcribed some of janeks solos with the slow features without knowing he would be disappointed on me
I myself asked about crafting bass lines (I'm not a bass player) and I'm glad that at least you talked about melodies. Love your videos man
It's been fun watching Adam get better at piano over the years.
I'm going to be honest, I kinda fell out of this channel for a while. I used to feel like I was too stupid or at the very least, not educated enough to follow it, which would make me discouraged to play music. It really started to affect my self-esteem, so I had to step away 😅
Given that, this video only *kinda* did that to me today. I still feel stupid, but I don't feel sad about it, if that makes sense.
You don't need to understand all of it to enjoy it or learn from it. Sometimes just exposure to ideas is a good starting point.
I appreciate your humility, wiggimus. I often feel the same
Honestly that's one of the things I like about Adam - he'll keep it fun and light, and then he'll go into some much more technically involved thing if someone asks about it. Even if a lot of that's over my head, I appreciate that he doesn't shy away from it. He's a cool dude who knows a bunch of stuff and he'll share what he can
And I mean, he's a professional musician, his career path from school has been learning about this stuff. Don't feel bad if you don't get everything he talks about, most people won't! But there's always something that can pique your interest, or just some cool sounds to hear that might inspire you. You've got your own music path to follow, y'know?
I actually quite liked the melody played down lower on the bass, it felt very calming to me rather than comical
Your theory videos are incredibly motivating, Adam! I tried different instruments, but I keep coming back to bass (which I started on). I should get a teacher ASAP, so I can finally stop being awful at every instrument and become okay-ish at one!
I used the guitar version of your strings recommended to me by a fellow jazzer. Usually hate flat wounds but those strings sound and feel amazing! Very expensive indeed tho, great video Adam I love this series keep it up 🤘
3:05 after showing how bass playing a melody is too fragile, you show what happens when you play a bass melody in the bass register. What if bass got a snippet of the melody and the higher instrumentation took over for a bar, then the bass played another bar and so on? Like instruments dancing with the melody, passing them between eachother in song?
What about double taking bass melodies on differnt octaves?
Like the prominent higher octave layered with the low one playing melodies or even using fifths to spice it up idk.
Awesome content, thank you!
10:42
'Plant your flag, see who salutes it.'
-Lemmy
Famous quotes:
"The harmonic style of 18th century European musicians"
"You should study the musical theory that best reflects your practice" will there ever be music theory for rock that is held at the same credibility as jazz and classical? It seems like academia tends to put rock in a place of 'beginner's music', but I think the skills of a professional rock band go toe to toe with a jazz band, they are just a different set of skills.
I think part of the charm of rock is the simplicity (relative simplicity), not that it would be a bad thing - that's why it's popular. It's a wide genre too, so the theory you could apply to one artist (heck, even one song) might not apply to another. The origins of rock come from the fusion of "country and jazz" (according to my music lessons, can't really absolutely aggree with that definition), so maybe both classical harmony, blues harmony and so on could be applied to rock. Because it's been around for 60+ years, it also accumulated a lot of other influences. Which is the same problem contemporary jazz has, the harmony of different eras of jazz is not applicable to contemporary bands like Sungazer or Snarky Puppy. Hard to say what to do with this.
Is there such a thing a rock music theory though? I feel like with rock you can apply jazz, classical or blues music theory depending mostly on the piece. Maybe rock is seen as "beginner" theory because it can give you a foundation for many different styles
Nope Jazz is an upgrade
The question is: Are the analytical tools you have in other theories sufficient for understanding rock? You have an extensive theory of blues, which for a lot of rock music is pretty good at analyzing songs. And you have the tools of classical music to get at a lot of prog, which heavily borrowed concepts from there (or neoclassical metal for that matter) and the same holds true for Jazz. You don't build theory out of reverence for a style of music, you build additional theory, if you need additional theory to understand it. Now, I think you could make a case for looking at the use of feedback and the harmony of distortion (the non-linearity introduces intermodulation between notes that add frequency content that can be understood as notes not played - for instance a power chord played through an overdriven amp adds the fundamental of the root an octave below the played note) as two aspects of rock not covered by either.
@@massimovareschi1963 I think it's because it's such an insanely wide genre and has its roots as an anti-establishment art form of the people
That sketch you did was fantastic, however the whole time I kept thinking that this arrangement was calling for an electric guitar (or even acoustic or classical) for this part because you hear so much more nuance and dynamics in the attack of a guitar string. It’s possible to change the bass tone to hear more of the string attack but even then, you miss the small things like the subtleness of the vibrato with a lighter gauge string, and the ease of flowing through the octaves while maintaining that same snappy attack. As someone who’s very into arrangements, it sounds great on the bass, but I have to admit that the arrangement would be better served with a guitar.
Someone forgot to give Mikyung the memo about not playing melodies on the bass. She is the queen of tender, emotionally expressive melodies in high registers.
She is also probably the best Bottesini player in the world, if you want to hear how that music should sound. :) (Concerto no 2, Capriccio di Bravura, Elegies 1and 2, and her scorching La Sonnambula on UA-cam, as well as Bolero on SoundCloud).
9:57 WE NEED SOMEONE TO MILK THIS!
"It's a nice, frail, delicate texture"
Me, a primus fan who was at a primus show last night: "ah yes, frail and delicate"
One of my favourite riffs ever is "Loosen my strings" by deep purple. Such an underrated bass riffs in Rock.
It just boggles the mind that anyone would thumbs down a video like this
in your explanation about melodies being impractical in the lower register, you seem to be leaving certain orchestration tactics out of the equation. there are, in fact, several ways to make a low-register melody work really well in specific contexts, for example: if the harmonic accompaniment is in a high enough register, it's easier to distinguish the movement of the bass down below. a similar thing occurs when the harmonies become static. it's important to note though that tactics like these are more effective for composition than, say, arranging jazz standards. but i think they're still important to know
Yes to this so much! I think pop, rock and folk music can use bass melodies over static/ ostinato higher registers really well. Like Norwegian Wood - the “drone” chord is the highest guitar strings whilst the melody is below it.
@@haroldushawkinsi5804 well even Norwegian wood has a static bass line underneath the melody. I was thinking more classical music where certain moments have very prominent low-end melodies. Holst's Planets has plenty of moments like these