38 minutes of Jeff Schneider and me teaching you HOW TO NOT SUCK AT MUSIC
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- Опубликовано: 2 окт 2024
- Jeff’s amazing theory/jazz/performance channel:
• R&B CHORD THEORY EXPLA...
Many thanks to Cooper Cook, Mitchel Thatcher, Jonan Ulloa, Pietari Vuola and Tom Attard for their submissions!
Please send all submissions to...
howtonotsuckatmusic@gmail.com
Pietari Vuola - Itsy Bitsy Spider
• Itsy Bitsy Spider (Ins...
Tom Attard - Heist
• Heist (Original Funk)
(⌐■_■)
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⦿ Check out some of my music ⦿
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Peace,
Adam
Loved this Schneely experience. Happy to be your wingman any day, Adam. Thanks for having me on the show!
Jeff Schneider hey look who it is. One of my favorite RUclipsrs.😉
we want mooore lucious tasty jazzzz!!
Jeff you rock
Jeff Schneider we heart you schneidey
Come back soon!
Attention comments section. "38 minutes of Jeff Schneider and I teaching you..." is not proper English grammar, even though it kinda sounds better.
lucky me i never saw that on the title, nor cared about that. You still do a great job. Thank you for all the work. We all learn.
It should be jeff shneider's and my teaching you
Is this series continuing more regularly now? I would love to hear more critiques. My own inner critic must be satisfied.
Sure, but it's proper QUANTUM-LANGUAGE-PARSE-SYNTAX-GRAMMAR and that trumps your inferior English grammar.
Adam Neely it should be Jeff Shneider's and my teaching you because teaching is a gerund.
Holy crap! That first piece in 5/4 was composed by my friend (Cooper) and I! Of course, I did not even think that you guys were analysing it... (And I have the written score in my backpack right now...)
It was pretty catchy, I was still tapping along to the groove for a while after the music stopped. I do agree that you could do more to vary the texture and dynamics a bit but for me a good use of odd meter can replace the melody completely. Would be interested in hearing more songs along those lines whenever you guys get around to writing more.
Cyan Light Thank you so much! My friend and I also agree that it should have more dynamics, texture, etc. We might get around to composing soon. We both go to the same high school anyways... Thanks again!
So... how much do you love Darude's Sandstorm? xD
You did very well! One thing that I might do to develop the piece and bring up the intensity would be to change up the rhythm, similar to the key change you already have; not even necessarily a time sig change, but a change from the standard 3 + 3 + 2 + 2 to something more alien, such as 4 + 1 or even 3 + 4 + 3. Keep up the good work!
I liked it, it's cool that you did something in 5/4 that still manages to be accessible. The Mission Impossible rhythm probably helped. The repeated pattern kind of seemed like a riff to me, maybe something could go on top of it as the piece developed?
There is no shame in delivering Pizzas!
yes lol
I would but I can’t afford a motorcycle. Or a pushbike for that matter.
Must be really tough to know that the guy delivering pizza will bring the cute girl home at the end of the gig, while you'll sleep hugging your BASS :P
You sure about that Ivan? That might've been true back in the 1980s & earlier...Bygone Daze...
Notice me senpai!
♫♫♩♫‿♩
the musical equivalent of Loss
How did you even type this as a RUclips comment
@@vallentinlovstromwadell8950 Emojis. They're sometimes amazing.
I love that I can hear this comment.
seighart90 wait that’s Illegal
Is the first song just 5/4 sandstorm?
Ted Bartley I mean, it’s missing the VII at the end of the ostinato, but it’s similar.
That's what I was thinking.
I thunk this too
Mister Apple
YOU'RE EVERYWHERE
+Odd Bunsen Yep.
Video on terrorist dynamics pls
Preferably on the differences between various radical Islamic extremist groups
There's only one: Fortissississimo
Boomboom
*cue danger musician bulldozing concert hall*
That is pretty much just the low brass section forgetting its eponymous role and beginning to wail along with the sax group's inherent desire to burst into a deaf man's "Careless Whisper", whenever they are not in the spotlight.
Inshiallah
“Our final submission...”
*checks time, 15 minutes left*
Oh jeez I better sit down for this one.
Oh, I love “Google: Your password has changed!”
Adam Neely? And Jeff Schneider? In the same room? Is this a crossover episode?
Wait it literally is
Haha bojack joke
Question for your next Q&A:
When someone hears a recording of their voice, they are hearing what their voice actually sounds like, and it's normally a bit more high pitched than we're used to. The note at which we are actually talking is higher than the note that we hear due to the resonance in our heads and skulls and whatnot. But if I were to hear a C, and was then asked to sing that note, why do the pitch I actually create and the note that I hear in my head line up? Wouldn't it be reasonable to assume that, given the information in the voice-recording-head-resonance phenomena, that the note I sing when attempting to sing a C would actually be sharp to someone listening? And because we already know that this isn't the case, why can I sing the same note that I hear myself singing, but not speak at the same pitch at which I hear myself speaking? Thanks!
-Koby H
Koby H. this is a great question!
You can think of your voice as an instrument with a particular timbre. If you look at the frequencies produced by a guitar playing a C, for example, you'll see a big spike in the frequency that corresponds to that C, but you'll also see loads of harmonics above that, and those particular harmonics are basically what makes that note sound like a guitar, rather than just a sine wave. On electric guitars, there are tone knobs where you can "roll off" the treble frequencies (those higher harmonics), and you end up with a mellower sound, with those higher harmonics being muted.
This is basically what's happening in your head. When you speak, your voice box vibrates at some root frequency, and it produces harmonics above that root. When someone hears you speak, they hear all of those harmonics. However, you may have noticed that bassier frequencies pass through physical barriers better than treble frequencies (think of a concert from far away, or someone speaking from behind a window) - your head is a physical barrier between your voice box and your ears, so some of those higher frequency harmonics are blocked on the way. Basically, your head is the tone knob of your voice box, and it's always rolling off the treble frequencies for your own ears. That's why your voice sounds deeper to you than it does in recordings or to other people.
If the note produced was actually different, singing would be immensely difficult, as you'd need to try to sing out of key in order to actually be in key.
@@ronanmcintyre great explanation 👌😊
@Rónán McIntyre I've always wondered that, thank you for explaining !
The main difference between the voice in your head and the voice on the tape is the prominence of different harmonics.
You'll hear more of the fundamental and lower-order harmonics within your own head and more of the higher-order harmonics on the tape.
It's like the difference between playing the first string open-E on a guitar and playing the same note on the 21st fret of a bass guitar's G-string, if that makes it any clearer. It's the same note, in the same octave, but with a different timbre.
Adam, so good! The analysis of Thy Licc is one of the best explanations to how chords are built (and how they risk of being a constraint to creativity)
28:14 Because we all know as a general rule Mr. Neely, especially in this genre,
more Bari= more funk. Gotta love the Bari's!
At 12:20, were you wanting to "take exception" to his opinion?
Procrustean bed = Adam Neely's metaphors
OMG ADAM NEELY AND JEFF SCHNEIDER IN THE SAME VIDEO!!! BEST COLLAB ON THE INTERNET!!!
"38 minutes of I teaching you how to git gud" 10/10 grammar nazis. So glad that you're continuing this series.
38 minutes, I teach you how to GET DOWN TO DONKEY TOWN!
@@shitmandood tf lol
3:11
Jeff Schneider: "We're in trouble now."
Also Jeff Schneider: *drinks from vase*
Adam, do you think DJs are musicians? I mean, what is a musician anyways? Curious to hear your opinion on this.
Chromatic Swing not Adam, but I think musicians deal with combining individual notes into something that makes sense. DJs deal with combining tracks into something that makes sense.
It’s not always a hard divide though. Some musicians use samples, some DJs write a melody over an existing track etc.
I appreciate your reply nevertheless! It's strange to compare live performances of musicians and DJs. The execution is completely different, but both parties make music a living, breathing organism. There is a special dynamic between the audience and artist, where the energy feeds off each other, interacting in a colorful spectrum of ways.
I agree, there is plenty of overlap between the two. There is no doubt that both can be extremely creative, or completely dull.
I tend to to think of DJs and some producers as a sort of musician/technician crossover
IMO it's incredibly possible, but not inherent. Though it's certainly not _bad_ to only be able to switch between records/songs (in fact, that's often all that is required nowadays), it's definitely not musicianship. But I've seen DJs who play songs over one another, utilizing scratching, fading, etc. every function of the turntable to create live remixes and mashups that are so smooth you can't tell they've done it. Those are definitely musicians. Certainly you don't need that amount of impeccable skill to be considered a musician, but there is a line and it is between those two extremes.
No. They are not.
I love these videos. Most of the theory stuff is well above my pay grade, but as always I learn the lesson "Don't screw around so much, do the basics well before you attempt anything else".
SICK COLLAB MY DUDE. This was seriously a great video. Made me laugh alot and a learned a ton. I think that is the ultimate formula for good content lol. Bass.
My climax comes far sooner than 5/8ths in.
I hear there's a cream for that.
Hey Adam,
I'm a drummer, probably one of the worst kind of drummers. I like to think I have pretty good internal clock for keeping time while jamming and laying down tracks with a metronome. I can't however, for the life of me notate rhythms that I hear in my head, OR sight read any new rhythm unless I've heard it first. I overcomplicate almost every rhythm I try to notate; to compensate I spam 16th note rests and very roughly place down my notes until what I playback matches what I hear in my head. It's a slow process and gets tiring after awhile.
So Adam, is there a trick for reading and writing rhythm on paper? Is there such thing dyslexia, but for the language of music? I've been reading/playing music for over 8 years and I felt like I've haven't made a break through in 3.
Yannycakes - hey, dude. Drummer here. Been at it for 25 + years.
I hate to say it like this, but I've also heard Adam say it and I couldn't agree more. If you want to get better at notating rhythms, then you gotta practice reading rhythms. As you get more comfortable reading rhythms, you are also internalizing what rhythmic patterns look like when written out.
The easiest place to start when reading rhythmic notation is music written for snare drum. If you can't figure out rhythms without hearing them first, then I recommend starting from the beginning. I like Alfred's Drum Method for this.
Also, pick up a rudiments sheet. Start to internalize what the different rudiments look like on the page because you'll see them all over the place. The mechanics of a ratamacue are the same whether you're only playing snare or you're moving it between snare and toms on the kit. If you know what it looks like, then you have the shorthand figured out.
After you become more comfortable reading rhythms on a single line of the staff, then move to multi-timbral charts like drum set charts. Pick up a book on different groove styles. Learn what different grooves look like on the page. Same thing applies here as with the snare drum - start with something simple. Internalize what a simple 4 on the floor groove looks like on the page and move on from there.
Drum set charts can be confusing because for a lot of stuff, the composer/arranger assumes you already know the appropriate groove style, so you just get hash marks in the staff with licks the composer/arranger wants you to emphasize from the rest of the ensemble notated above the bar. The bitch is, not only do you have to know what you're doing and keeping up with your place, but you're expected to know what everyone else is doing so you can incorporate some of it in what you're doing, too. How many brass guys could do that in reverse?
The main thing is, like anything else, reading/writing rhythms is a skill. You only get good at it through practice. If youre having trouble doing it at all, then start at the beginning and work slowly and methodically. And keep up with it.
If it makes you feel any better, I haven't been in a situation where I needed to sight read a drum chart in several years. If you handed me one right now, I'd struggle for a bit trying to get the hang of working off one again, and I've been playing longer than the 18-24 year old crowd has been alive.
Also, I've found this book and its more advanced companions to be helpful for people trying to figure this stuff out:
www.amazon.com/gp/aw/d/0881884499/ref=pd_aw_sim_14_2?ie=UTF8&psc=1&refRID=531PNS6VR0HQ311D0X6H&dpPl=1&dpID=418ZQNSGEYL
Hell... In this day and age, I just program the part into a drum sequencer using a GM drum map, export it as a midi file, open it up in my notation software and let the software do the work, if I need to give someone else a chart. It's quick and dirty, and totally lazy of me, but it works in a pinch.
It's of note that dyslexia isn't about reading, per se. Lots of people have dyslexia affecting their ability to produce words/sentences properly. Like, I'll sometimes stutter by starting a word with the sound of the beginning of the next word I'm thinking of.
Something similar is definitely possible in music.
You guys have amazing chemistry. When's the wedding?
MorbidManMusic chill, it's a joke
Did you forget about Ben?
@MorbidManMusic Ling Ling practices 40 hours a day
Ritvik Karra my son has perfect pitch
I second this and agree
Holy shit what a crossover
Please make this a weekly thing!
Oh, that poor poor funk piece. So earnest, so positive. So... devoid of funk. :/
Andrew McRory i liked it. It was understated, but it was good as a backdrop to a singer melody. It's just missing that ingredient, lol. It's a total judgement call either way..
It needs more sass
Luke Wren and ass
Just... wow! Now I know I'm subscribed to quality stuff when two of my favorite channels come together. Now... if we can get Rick Beato to join as a trio...
Top ten anime crossovers
I genuinely loved the part of this video when you discussed the licc reharmonisation, because it showed that lots of music theory is just about interpretation which i feel is extremely important when trying to use theory.
:D Was just about to play guitar for a bit and try to write something new...in an inspirational mood today. Then I saw this....perfect viewing material as I try to get in the creative mindset. Thanks for the awesome content as always Adam!
What nice, polite, informative feedback. Really good stuff, guys.
Isn't terraced dynamics having forte and piano and not much in between, like baroque music? At least from what I understand a better word would be staggered entries. Great video though.
Yeah, this is definitely closer to correct. What he mentions in the video is absolutely _not_ terraced dynamics.
Yes, but in baroque music a part of terraced dynamics was also instrumentation. Tutti sections were played "forte", and "piano" sections had less instruments playing at the same time. The opposite of terraced dynamics would be using crescendo and diminuendo. Controlling dynamics by adding or taking away instruments is definitely part of terraced dynamics.
That's the melodic structure of Clocks, which I'm sure you would say has a melody.
I thought Terraced Dynamics was when the piece was only loud or quiet and didn't involve the middle ground?
Thanks for bringing this series back!
i am so glad this series is back.
I'm starting to take guitar playing (and songwriting) a little more serious these day and this was such an exciting video for me right now, thank you so much!
The first song sounds like video game music just like Adam said.
Thanks very much Adam and Jeff, some great stuff to think about for next time :)
I imagine that very often you consider that some people write certain things not because they are trying to make interesting stuff, but because they really have no clue of what they are doing (i.e. when you brought up your procrustean bed thing). As a teacher how do you deal with students that think they know what they are doing but in reality they just don't know that they don't know? (see Dunning Kruger effect).
@15:21 I thought it was just me! Growing up playing the trombone for years in band, all the flat keys like f, b flat, e flat, a flat, and d flat were so much fun to play in and easy to grasp. But the minute we started going into orchestral territory with the natural keys like E, A, D, and G my brain would go stupid 🙃😂
0:13 My first thought was actually "That's a really interesting username" XD
Hey Adam (and Jeff),
As a string player I gotta say, we do hate flats, but just when there are a bunch of them, and we can start to hate sharps when they come in groups of 6 or 7.
But a cool thing that happens with me is that I play the cello at the church orchestra, and sometimes we got to play som arrangements for a choir and when this happens it rain flats. Some arragements from the brilliant Brooklyn Tabernacle Choir are in crazy Gb, Db, and sudden they modulate to B, F#, C#, it is crazy. It can be really difficult (the acoustic doublebass guy suffer sometimes) for the string section and mostly for the more beginner guys, but it is a cool way to keep thumb position on point.
now kiss
Emilia Val ikr the tension is too high
KEEP IT SIMPLE STUPID...
But what about Ben?
Ben's a free spirit. (right?)
Nice profile pic
Adam, the last chord at 16:30 which is labelled as an EMaj9 chord can be read as a G# Dominant 7 in 2nd inversion, just without the 5th. I was told that if you had to leave out a note in a four voice piece, the 5th is the best note to leave out, since it doesn't have as much of a harmonic function as the 3rd or 7th, and only serves for stability. I know this isn't constrained to four voices, but I think the harmonic effect still stands
That guy has missed an opportunity to name his piece 'Ticc Licc'
Wow that piano piece came out of nowhere good job them! It sound great turned up CRAZY loud! The silence between the notes really rings
That's the least funky funk song I've ever heard.
Gotta work on that GROOVE, folks.
Question for next Q&A:
I’ve been a semi professional musician as a side job for around 10 years now. Because I’ve been a bassist for that entire time, I find myself struggling with applying my creativity to melodies and improvisations. My brain is locked in to improvising within the realm of bass lines and outlining chord changes from an accompaniment standpoint. When it comes time to solo I have a hard time creating standalone melodies, if that makes sense? What are some exercises or thought processes that a bass player can use to snap out of the rhythm section role mentality?
I would really love to see Adam elaborate on this idea of using Fibonacci to structure pieces of music, no joke, this seems to be reeeeally interesting. Great video!
I was waiting for the "if it sounds good to you..." but I thought it would come from Adam.❤️
Adam, if they ever do an Elon Musk biopic, you'd make a good likeness actor.
I love the videos you do with other great music channels.
You guys work well together on this. Great installment of this series!
That last funk piece sounded like a classical band approaching funk-like an awards show orchestra giving the feeling of a late 1970s prime time action-drama TV theme (like "Emergency!" for example). I liked it but agreed with your analysis.
For the second piece, (piano piece) one thing I noticed was, as nice as it was, there was not one repeated phrase in the entire piece. I kept wanting it to come back to basically the beginning but possibly with slight variations. Also, when Adam started putting a beat to it I chuckled because I was feeling that the exact same thing was needed. Repeating that first verse part with the addition of a rhythm track would make it sound great.
Closed position 7th chords were no problem for Allan Holdsworth ;)
Nothing was a problem for Allan Holdsworth
Kamil Kisiel but now it might be a bit of a problem
some lasaga
Ohhhhhhhhhhh shit
They are okay but a bit stretchy, and it's pretty hard to spread them over more than 4 strings (you can sometimes get a bass note with your thumb, like Frusciante). It's more idiomatic to guitar to invert them into easier fingerings, and have things a bit more spaced out. HHaving the *average* interval in your voicing be a 4th rather than stacked 3rds is more likely to be playable.
Two of my favorite RUclipsrs together? Yes please!
COPYRIGHT THE LICK
So, basically, you want everything to be claimed by UMG? That's basically the effect of such actions.
@@meowtherainbowx4163 R/WHOOSH
@@puregoldsword r/ihavereddit
@@YimboSlyce and so do you
@@puregoldsword r/foundthemobileuser
Please make this a daily thing!
When worlds collide
Robot: You can run
Cavey: But no can hide!
Robot: When worlds collide
You'll laugh so hard you'll swear you died
When worlds collide
Hold my hand and I'll be your guide
When worlds collide
Buckle…buckle
Buckle up for the sweetest ride
And prepare to have your mind blown wide
When worlds collide
Cavey: When worlds collide it's a curious thing
Bet you've never heard a robot and a caveman sing
In his metal chest are some working parts
How is that different from my beating heart?
Robot: I'm from the future
Cavey: And I'm from the past
Robot: But that don't mean this friendship wasn't built to last
Cavey: He was made in a lab and I was born in a cave
So let me hear you holler for this inter-era rave!
Robot: You... you... you... you can run...
Cavey: But no can hide!
Robot: When... when worlds collide
MeowTheRainbowX I love you so very much because of this
+David Jeffrey I don't know what to say. This is so sudden. Uh…Seinfeld is the best anime, I guess?
I've been watching you guys separately for years now but to see you together, riffing off of each others' ideas, is immensely satisfying, somehow... not in a terroristic way, of course. ;)
Its 5 am. I'm lying awake, in my head toiling over the bass lines for my latest musescore composition.
I really like the one Ive written, but I dont wanna just give it away. I wanna really impress the listener with my sick chord progression, and then! sparingly tease the listener with the fundamental components of the bassline before really fleshing it out and going all in.
Hmm, yes - I think I'll do that.
champion lemon lime iconic comment
The last composition is dope, ima borrow that flute line ;)
Jeff “show me your notes I’ll give you a show” schneider
wow Jeff Schneider and Adam Neeley I am glad you are colaberating on youtube. Where is Julian Bradley?
I really like the way Jeff talks to the camera, its very pleasant to listen to and engaging
.
Haha I’m totally with you about understanding flats with a band that will misspell chords as A# in the context of a Bb, and then they say “I don’t know flats”
At 15:15 you're talking about reading the second chord used as a G#m7/D#. By your usual argument of chords being made of 3rds (I agree), wouldn't it be a B major add6 chord? Taking the G# away for a second, there's B, D# and F#, a B major first inversion triad in the LH. Did you not come to this conclusion due to the context of the other chords around? Honestly just curious, you might have a very good reason for your reading/mine being less valid.
Fuck yes 38 straight minutes of this
I’m actually surprised. As a bassist with a diploma in jazz performance, I wasn’t expecting to see anything of value in these videos, but I fell down the rabbit hole and have truly enjoyed watching the advice you’ve given newer players.
Well done.
As a trombone player those chords with non stop A's and Bb's. Above the staff would get tiring. He didn't keep it in there for too long so most players could play it but playing that non stop does get exhausting. Especially if your not moving around a lot. And before anyone attacks me for just not being good at high notes. All I play is first bone (in most cases) my high range is fine but all I'm trying to say is it ls hard to play high notes non stop.
ive been waiting all day for this ADAm
I *loved* the "video game boss music" submission :D
Your collective musical intelligence is somewhat overwhelming. I smell burnt toast... Thx for doin' what you do!
Sooooooo great! I really got a lot out of this whole video. Thanks!
Great to hear Adam talk about his discomfort with the sharp side. I thought it was just me.
I went to a Moog seminair in 1980. They stressed that Moog is pronounced with along 'o' as in mode or boat.
IT'S BACK
All I could think of was Meshuggah for the first part of the video
The vox reference 😂
Where?
23:30 I loved that descending line
Greetings Great Adam, I bare a request of thee for thine's approaching Q&A (Okay enough of that)
Hi Adam, I've recently been doing quite an amount of research for what music program I want to switch to from MuseScore, and so far I have been able to narrow it down to 3 options: Finale, Sibelius, and the quickly-rising Dorico. I understand you personally use Sibelius and therefore may be a bit biased, but I am still curious for your thoughts, any info would be greatly appreciated.
Sincerely, Braden Blaze (yes that is my real name)
Just curious, why do you want to switch?
Thomas Boyko Well let me just say it has nothing to do with Musescore itself, it's just its reputation. Musescore is an amazing program that does everything that the big names can do, but there's only one problem, it's free. This causes many people (atleast in my personal experience) to roll their eyes and see me as no one more than someone just playing around with a free program online. In addition, the freemium model (if we can call it that) leaves it a bit lacking in the funding department, which of course results in only occasional support and updates. That, as well as the many strengths of actually owning a high-end notation software.
Braden Blaze of course. I'm sure other programs have more features than musescore, and that support there is better. My problem is with the cost of these products. I'm not trying to start an argument, but I think not using a program just because it's free doesn't really make sense.
Thomas Boyko I'm willing to make the intensive purchase so don't worry about that, and it's not just about Musescore's reputation (even though it is 15-20% of my reason), it's just the comfort in having a professional high-end experience, like having a Razer laptop versus a Dell, I'm sorry that I made it seem all about the reputation. Also, I appreciate your thoughts, I know this is just a friendly conversation so don't worry about it seeming like a debate
Braden Blaze absolutely. I totally understand. I just would rather spend money on FL studio or a new instrument. I guess it mostly depends on how much you are going to be using the thing you spend your money on.
Two of my 'level-upper-ers' in one video. Will be watching :)
I am a bass guitar, piano, soprano sax, and alto saxophone player and have been subscribed to both of you for a while now. This is perfect collab!
I believe I read somewhere that James Brown's test for guitarists used to be to make them play an Em7 chord for a half hour or so. If they could do that, then they could make it in funk.
(Or was it Em9?)
Really nice job guys! I watched the whole thing and it was really informative.
One question, what was that music that played at 21:11?
(The one that had a kind of "paid promotion" atmosphere)
I would like to represent string players; I disagree, flats are the evil ones
Is there a way of checking to see if a song you have written hasn’t accidentally / subconsciously copied someone else’s work?
You and Jeff made a helluva pairing! My favorite one of these vids yet.
15:07 The Tristan chord from Wagner's opera Tristan und Isolde
In regards to the "V/V/3", why don't you just use figured bass and call it a V6/V? (the 6 would be superscript)
Figured bass would be the classical way, but pop/jazz musicians have a bit different conventions. I have a classical training, but I kind of prefer the pop music way, especially for pop music analysis (because it's much closer to the chord symbols). In classical music chord symbols aren't that common and figured bass tells more about the voice leading, so for classical music (of a certain period at least) figured bass works well.
I don't know if you play video games or have heard it, but the main theme for Fallout 4 is AMAZING. You should break it down and explain why it gives the particular feels that it does.
FYI, a PDF can contain viruses. While it's unlikely your viewers would want to infect your computer, it's safer to ask for musescore project files instead.
Spectrally found the musecore representative
Adam Neely and Jeff Schneider?!? What is this, a crossover episode?
Love it btw!
Very enjoyable and informative, it's even usurped all of my Netflix watching options for the evening. I have to say you both seem like nice guys and are getting better at your youtube craft all the time - many thanks!
That itsy bitsy spider is sooo like the kind of music they used to play with the British "TV Test Card" when there was no daytime TV.
5:26 is nobody gonna talk about the way the rhythms are written? If you want to write music, please study music engraving!!!
I came here for this comment
8:10 This is very true. This submission brought me back to middle school when I was still in band and messing around with Finale Notepad. My stuff made me happy but didn't really carry over to other people enjoying it enthusiastically. That changed a lot when I switched to garage band and started to use my recorded vocals as a rough draft for different parts. I would make several tracks of me harmonizing and improvising with myself, keep the ones I liked, and gradually replace them with instruments until my voice was no longer in it. After that, my pieces started getting more popularity, like, people not just being impressed but actually listening to it in their own time. Maybe that's partially the instruments I used, but I'm sure the process had a lot to do with it. I don't say this to brag at all, I just want to concur that using your voice to feel out the flow to the music seems to be a really good method and I encourage others to use it too.
That’s a good idea to do it like that
Adam, I’m curious as to your reasoning for using V/V/3 to denote a secondary dominant in first inversion instead of the more classical V6/V. The former is definitely less confusing but the second is more commonly accepted as far as I know. Thoughts?