"You might develop synesthesia later in life due to brain injury" Brb gonna go bang my head against the wall

rational time signatures: 4.01/4 irrational time signatures: sqrt(2)/4 transcendental time signatures: e/4 imaginary time signatures: sqrt(-4)/4

Atonal music is just some hipster bullshit, just like those middle class hipster composers using irrational time signatures. I am a middle class composer by the way

Now that you have hair, do you feel like you should be playing more guitar and less bass?

*hair intensifies*

I like when he roasts those comments from toxic people

8:55 is the title question.

Feynman "I have a friend who's an artist and has sometimes taken a view which I don't agree with very well. He'll hold up a flower and say "look how beautiful it is," and I'll agree. Then he says "I as an artist can see how beautiful this is but you as a scientist take this all apart and it becomes a dull thing," and I think that he's kind of nutty. First of all, the beauty that he sees is available to other people and to me too, I believe. Although I may not be quite as refined aesthetically as he is ... I can appreciate the beauty of a flower. At the same time, I see much more about the flower than he sees. I could imagine the cells in there, the complicated actions inside, which also have a beauty. I mean it's not just beauty at this dimension, at one centimeter; there's also beauty at smaller dimensions, the inner structure, also the processes. The fact that the colors in the flower evolved in order to attract insects to pollinate it is interesting; it means that insects can see the color. It adds a question: does this aesthetic sense also exist in the lower forms? Why is it aesthetic? All kinds of interesting questions which the science knowledge only adds to the excitement, the mystery and the awe of a flower. It only adds. I don't understand how it subtracts." Richard Feynman

How do you know if you are talking to an engineer? They will tell you.

"congratulations, you're middle class" is easily the funniest phrase i've heard on youtube

You look nice with hair. You also look nice without hair, but you know what I mean

I did the whole avoiding theory because I didn't want to become soulless. Then I hit so many plateaus that I had to and the opposite happened. I think Mark Twain may have misidentified the cause of his disillusionment. It probably wasn't the gaining of knowledge about the river that soured it, but the experiences he had on that river.

This is a very interesting channel with an even more interesting comments section.

It's really nice to get an answer to the question of the length of pop songs that goes deeper than the trite "people's attention spans are getting shorter" spiel. Thanks for discussing that!

Learning music theory has enhanced my appreciation for music and broadened my horizons. I don't know much music theory, but the little I've learned has left me with quenching desire to learn more. Now almost any music I listen to intrigues me, because I can hear things I didn't before thanks to this new knowledge I've gained. I regret not learning music theory in my teens and 20s, because I feel like I've lost 40 years of music.

'classical music' is just like every other genre like rock or metal. its a general term to give people that aren't too deep into music a vague idea of what to expect. It's just like if you said 'green' to talk about all different hues of green. Technically wrong but it gives people a good baseline on what to expect

I always thought that learning about things made them more interesting, whether they be music or rivers or science. Not even necessarily learning so that I could use this knowledge in another context, just to know stuff.

Atonality has been a thread in metal music for some time now, starting as innocuously as use of the tritone and chromaticism. Currently, extreme atonality is on the rise in metal, with stellar examples such as Portal and Deathspell Omega leading the charge into the avant garde. Their music plays like intense journeys into insanity and I can't get enough.

Dude, this channel is awesome. Gold! I can’t believe anyone would hate you or the content. It is clear that the information you provide is well-researched. Gold!

The first 4 mins of this is so profound, some of your best work, something I will definitely remember and share with my students, thanks Adam!

ADAM, PLEASE READ THIS!! An ANSWER for your next Q&A ;) (regarding your Video about "NEGATIVE TIME SIGNATURES") As we know from your fantastic videos, harmony is Polypitch. Two or more evenly spaced pulses playing around each other and resolving every now and so often, depending on the frequency ratios involved. A time signature is only a construct within which rhythmic relationships can be portrayed. An event i n s i d e the bar of a given time signature can be regularly repeating, but the time signature itself is merely "hosting" said event. What I'm trying to say is the "signature" in "time signature" is not relevant, but the "time" aspect of it IS. So, I think the term "time signature" is misleading in this case, because it's missing the key variable: the bpm count. Or rather impulses per unit of time. Depending on where you're going with it, compositionally. So instead it's n e g a t i v e r h y t h m i c r e l a t i o n s h i p s we're looking for. Now: If Negative Harmony --> Undertone Series then Negative Rhythmic Relationships --> ?? How do we solve this? By saying frequency = tempo! Let's take a regular quarter note pulse for instance. An "overtone fifth" ( 3 : 2 ) would be an eighth-note-triplet against regular eighth-notes. An "undertone fifth" ( 0.5 : 0.33... ) would be a half the frequency (=tempo) against a third of the frequency (=tempo). So the fundamental = bpm count The weird thing is though, and this detail cannot be overstated: The slowest rhythmic pulses (up to a certain point (but of course you also have a video on that topic)) feel like the "main pulse". So the fundamental bpm might then feel like 4 over 3 polyrhythm when put into this kind of relationship. This is only logical, it happens when notes or chords are flipped into the negative (which is also something that intrigues me: What's a comparable axis, about which to flip?!), and the ear also latches on to lower frequencies, so bass notes are often "mistakenly" felt to be the roots of chords. BUT when you apply this to a groove, which was the motive of the original question, as far as I can tell, you can apply this usefully: Take a hi-hat pattern and let it play something with an eighth-note-triplet feel over a steady quarter-note-oriented groove of 4/4. The negative relationship of that hi-hat would simply be playing the hi-hat only on every third quarter note - resolving on the 1 of every third bar. (Or double or quadruple that frequency of hi-hat pulses, like you would double the frequencies of other negative harmony examples) Right? Apart from this lovely digression, I wanted to humbly recommend my bachelor's thesis to you, I really think you'd dig it. It's about Jacob Collier's microtonal modulations by his witty implementation of Just Intonation and (as he calls it) "gestural" voice-leading. I hope you enjoy it! Please let me know your thoughts on it! drive.google.com/file/d/13JGXJls6IWqOWam0xO84f-5iG3zSL1Xk/view Cheers from Hamburg, Germany, I love your videos, man, thank you so much for your amazing work. Rami

When Adam's Q&A's always feature him roasting some salty potato chip halfway through.

Can't believe it took me so long to discover this channel. You are absolutely amazing man.

Simply, Thank you for being here to set everyone on one page

Theory doesn't change what music is; it enhances it. It changes music from "oh, that's nice" to "oh, yes, I already know what I *should* do next to make it sound extra nice." Also, what's wrong with a white woman playing ukulele? What?

7:42 cat's reaction stealing the show. 😊

I love the way you argue or debate these points. It’s well done. I wish everyone could conduct themselves how you conduct yourself in a debate/argument. I would never get mad and blow my top if everyone could conduct themselves in this manner. Cool. Calm. Civilized.

Your response to the point from 6:47 onward about middle class female uke players is excellent! Thanks for that, it made me smile. Love your videos!

Next time try and make sure the time signature and the metronome are in the same key!

Question for the next Q&A: I've seen a few book recommendations watching your channel, could you provide a suggested reading list?

i just wanted to say how much i love your videos; theyre always interesting and engaging and theres not much of that on youtube

I always learn something from your videos. I'm a guitarist and your explanation on time signatures (5/8) was great. You're well spoken and easy to understand. I was undecided on how to feel about 432-vs-440 and your lesson on the subject was fantastic. Thank you for adding to my musical education.

That painting is the perfect presentation for my reaction of what I am seeing on this video that is not found on others. *hairline*

Y'all talking about not wanting to learn theory cause you don't want to learn the language, while i'm here dying to learn theory so I can actually write music but have no idea where to start or how to learn theory XD

You have a fine mind in answering questions about knowledge Adam and overall i love your broad-minded approach incorporating many fascinating things. To me Knowledge breeds questions- knowing more raises more questions revealing the vastness of what we don't know. No theory and we can explore things that are well known without knowing it. Synaesthesia- All senses have to overlap it's how nervous systems check so everyone has to have some slight overlap. Hypnotically synaesthesia can be induced. Keep up the Great Work!

I admire how much knowledge you share! tbh idk 60% of what you are talking about but i try to understand it while you explain it and i get an idea.

damn, THE SECOND ONE. i don’t read music very well, but i could’ve sight-read the second one for sure.

I won't lie, the answer to question #1 was broadening to me. I also lack a good amount of Musical Theory, and a good portion of reasoning for that is I feel like it's going to kill that exploring and mysterious mentality that music brings to me, and basically all of us at some given point in life (and probably because I'm lazy). I get the feeling it's going to make me robotic and less human to the gift and endless journey that is music.I would really take it less as a killing to the wonderful magic, but rather an expansion that makes you seem to know more now when indulging in Music Theory. Who knows, it might just make you a little more creative than before you knew music theory now that you would have a bigger arsenal of tricks up the sleeve... It's more liberating in a sense.

Dude I loved this video and I enjoy how you explain your reasoning instead of just stating your position.

Your channel is an awesome learning tool. Thanks so much for sharing. I sure enjoy it.

Excellent post Adam. I think it’s important to distinguish two overall forms of synesthesia: 'projective' synesthesia and 'associative' synesthesia. Projectors will see actual colors, forms, or shapes when stimulated; associators will feel a very strong and involuntary connection between the stimulus and the sense that it triggers. This article presents early research (2014) on the acquisition of synesthetic perception. This research explores the premise that associative synesthesia can be developed and refined in adults with training rather than being only something that an individual is born with. There are remarkable implications here for the perceptual/conceptual exploration and development of (pitch-color) synesthetic integration in musicians and listeners. www.nature.com/articles/srep07089

My synesthesia gets exacerbated hardcore when I take psychedelic drugs, and I think even people without synesthesia can have it on LSD, mescaline, mushrooms, DMT, etc.

That Irrational Time Signatures example was pretty amazing.. definitely made it (for me) easier to see, and "feel" how its supposed to sound with irrational time signatures.

you are a bright and warm guy, thx for inspiration every week ;)

Hey adam, im a musician in high school and, i love ur content. I was wondering what you think about Philipp Gerschlauer's microtonal jazz, i feel like the use of a microtonal scale makes the music have a really cool haunting feeling. Thanks, tamayo

QUESTION: Do you have any experience or any tips with tinnitus or hearing loss? Have you experienced any to some degree?

Magical thoughts and analogies about the first question!! I love it.

A benefit I've experienced via my chromesthesia is the ability to hear the changes in music and see them in real time. Most skilled musicians can hear the changes obviously but also being able to "see" the nuances and notice how elements in the music itself change is invaluable tbh. As someone who's largely self-taught as a result of not being able to afford to have proper instructors throughout my life, it has definitely helped me better understand music theory a lot better than I believe I would if I didn't have this perception.

What was the outro music? It was really cool!

*ADAM PLEASE READ THIS* Can you do a video on how to compose a march. I want to compose a piece for a few clarinets (because that's the instrument I play), and I want to compose it in the style of a concert march (2/4 time etc.) What things do traditional marches have that I should include?

Much appreciation for you answer to the loss of mystique that comes from learning. I've been in a slump related to this. The analogy you provided was refreshing!

ron....Just amazing.....how you just flow with all of these comments......thank you for all you do.

Hey Adam! Please for your next Q+A End off the video saying: *HAIR* instead of *BASS.* *PLEASE*

Note to (engineer) from another (engineer): Qualities is spelled q-u-a-l-i-t-i-e-s, not q-u-a-l-i-t-y-s.

Just to add to your answer to the last question, much of the music composed in the Baroque era was church music. Just as an example, all the cantatas Bach composed, which we gladly will listen to in a concert, were made just for church services. Actually, both in German-speaking countries and in countries where German is a rather well-known foreign language, like The Netherlands, Bach cantatas are still performed in church services, as well as in concerts. I love your videos and the clear and informed way you tackle all subjects. Congratulations and please do keep them coming. All the best!

I found a slip jig and it reminded me of the many rivers of knowledge. It changed some Irish tunes for me to listen to forever. Thank goodness for knowledge gathers. Thanks for this Q&A.

Where can I find the full length of this cool tune at the end of the video? As usual, interesting answers. Thanks.

For the next Q&A: Hello Adam, I just saw your comment from 10 months ago on one of Tolgahan Çoğulu's videos. What are your thoughts on maqam music (like Tolgahan plays) and microtonal music in general? Do you think it is going to be the fundemantal of new music? Also how can we combine our tonal system and microtonal tuning systems together in a classical music or jazz music concept? Thanks

Where I studied, (University of Tennessee) my double bass teacher was adamant about teaching both jazz and classical. He always referred to classical music as legit music. This led me to work more on my classical chops and leave the jazz out of the practice room and save the discovery for the band stand.I don't know if his terminology had a negative impact on my jazz studies, but it made me practice way more with a bow and that made my intonation and facility on the instrument improve a lot. That crossed over to my jazz playing pretty directly. Playing solo cello pieces on the bass gave me technics to improve my improvisation, versatility, and develope a better sense of melody and complex harmonic ideas. Clearly terminology matters and I think the terms he used pushed me away from intense study of Mingus, Ray Brown and Paul Chambers and pushed me towards Rachmaninoff, Koussevitzky and Bottesini. Who can say which is better? It certainly worked for me I'm a big fan of your work, Keep making excellent, informative content! BASS!

Music theory makes odd or 'difficult' music so much more magical than 'normal' music could ever be while it's still mysterious. It's how to me a rainbow only becomes more beautiful knowing the science behind it. You can appreciate the choices the musician made because you can hear the choices they made. You know the ingredients yet the taste is entirely new and you are amazed how they managed to do this. This music mystifies you when it steps out of line without making a mistake, and it makes your entire brain light up. Now that I know more about music theory myself, I have a far greater appreciation for listening to technical jazz. It also doesn't change music that I used to listen to because they still carry the nostalgia factor, and no amount of music theory would keep them from being guilty pleasures.

"(european) aristocratic music" sounds nice would you have an idea to replace "popular music" name ? the term implies that classical music (european aristocratic music) can't be popular (while orchestral music that could be called classical like film scores and Philip Glass music have obvious popular success). and I don't think every "popular music" style does have "popular success" (think about math rock for instance). but maybe "popular" refers to the ones who make the music, not the ones who listen to it -> in this case it's still inappropriate (nowadays, who can say he's not from the people ? specially among musicians ...) I've never find a good name for this (huge) category (I thought about "blues-based music" but I don't think every popular music originates from blues : particularly electronic music, and I think a part of folk music a la Bob Dylan, bluegrass music, and a majority of Tin Pan Alley songs)

I'm really digging that outro song. What is it?

Synesthesia... I've been developing connections between musical ideas like keys in the circle of fifths, tuning systems, intervals/chord compositions etc., and as a direct result my creativity has been sparked. For instance, when looking at pictures online of, say, a rosebush that's all greyed out except for a single red rose, I "translated" these colors to what understandings I had developed musically; for instance, to convey the grey bush idea, I used C as tonic, mostly quartal, quintal, nontriadic harmonies and melodies that did not jump more than two spaces left or right on the circle of fifths note to note, and notated for mutes and minimal vibrato to be used on the strings. In contrasting this with the "red rose," I associated red with A major, triadic harmonies melodies that jumped around the circle of fifths freely, and vibrato-happy unmuted strings. All this is just to note my personal experience of associating color with musical ideas and theory, and how I think there's still a whole world of untapped potential that could be realized in this mode of thinking; just some thoughts to chew on.

If anything, understanding WHY music sounds the way it does gives me a deeper appreciation for the music, and only enhances the beauty of it.

Hey Adam! I got a question for your next QnA if you don’t mind: Why do we associate certain key signatures or chords to a different feeling or theme? For example, playing the chord D minor with the structure of D A D, where D is an octave in the bass, has a very grimy, dark, and almost pirate-sounding tone, borderline “Pirates of the Caribbean”. Does this have to do with years of getting used to hearing these chords and keys, or is there an actual reason behind it?

Hey Adam! I'm 16. I can play the Violin, Ocarina, Ukulele and I've been playing the Bass for a year and a half right now. I'm very concerned with my future profession: I like learning languages, conversating with people; I can draw somewhat good(for a person with no art education), and, of cource, I like to study, play and listen to music. I have a problem with choice: when I'm doing anything but music I'm eventually bumping into it again. It's good and all, but it's sort of creeps me out: I would be happy, if I could do music for a living, but I also have a fear of burning out. Could you please tell me, as a professional musician, what's it like to be like you and what to do to get this fear out of the way? Like your music and videos very much! Looking forward to see new stuff from you! Thanks in advance! BASS!

A friend taught challenging kids guitar by getting them to chose the colours for the notes on a guitar. It gave those kids a sense of control over their environment and they became faster learners Painting coloured dots on their fretboards.. English used CDE Spanish and Italian uses Do Ray Me, sometimes using sustinado or bemol and sometimes using a variety of solfeggio names (or colours) can work too. It seems simpler for young adolescents who are challenged by the 'system' to use colours they chose rather than western conventional ways. That seemed to be a positive, both for those with synesthesia, and those kids who found colours easier to recall.

I loved your clarification of the usefulness of irrational time signatures. I admit I had a similar response when I saw that video though I could see from the examples in the main video that it was at least as easy to read and interpret as it would have been with other notation methods. In your example in this video though it really drove it home how impossible it would be (at least for me) to interpret that bassline example without using irrational time signatures. It's a great way to get across certain strange metric modulations, which I'm a huge fan of.

Who would you consider the most “advanced” drummer?

Are your sleeves getting tighter or is it just me?

I dunno why anyone ever thumbs down your videos. It's like being negative to someone who just wants to give you the ability to learn new things. "Well, he thinks he's smarter than Mark Twain" just isn't valid enough. Love ya dude.

Question for the next Q+A video: Hello Adam from San Francisco! I love your videos and enjoy binge watching them after finishing my homework. I've been playing piano on my own, virtually free from any lessons hold a few tips from local musicians, for around 4 years now. I have been described by my peers as "musically gifted" as I can play by ear decently well and make/improvise songs based on my emotions. I signed up for guitar 1 this year (11th grade), and have been playing for about 6 months now. I have picked it up pretty easily and am having fun bouncing between the two instruments. Then I joined the school band back in January and using my knowledge of the piano to play the mallet instruments, a role desperately needed in our tiny band of 25. I am picking up the mallets fairly easily as well. All of these instruments are fairly similar in my eyes. However, it is here where I need assistance. Despite what people claim about me, I feel as though I am nothing as my music theory is absolutely horrendous. I do of course know what the 2 main clefts are, and can identify notes on the staff, but I struggle to read and play at the same time(usually playing by ear and/or from muscle memory) and can hardly sight read at all. On guitar, I am okay as I am learning in a class, but on piano and mallets I have no instructor. Our concert is coming up in a month and I am expected to play mallets in the concert band, and then guitar and piano in the jazz group, with an improvised solo on piano. The solo is no problem, but there is so much I just don't understand on those pieces of paper the band teacher hands out. I can play triplets, go back an fourth between different time signatures, and change keys easily while just jamming out, but seeing three notes connected by a bar or seeing 5/4 then 3/3 and finally 4/4 in the span of 3 measures... REALLY trips me up man... So I have 2 questions. The first: How can I quickly improve my music theory and knowledge so that I can "progress musically?" and the second(related questions): Would you ever consider creating a Music Theory playlist, ranging from the basics to the very abstract? If you have, what are they titled? And if you haven't and will not, why not? Thank you so much for your channel! It has truly been a blessing of mine to "meet" you as a young 17 year-old musician.

Question for your next Q&A: What's the big deal with time signatures? If we for example have a 4/4 time signature does it sound any different to 5/4? It's obvious that it makes a difference to the musician reading it, but I simply don't understand how it should sound any different. If I wanted to have a longer note in 4/4 I'd simply make a tied note to the next bar. Would be glad if you could explain that.

BEIS

For that last question, my method is to use "common practice music" when describing baroque, classical, and romantic. And then use "modernist music" when describing Debussy, Scriabin, Stravinsky, 2nd Viennese school, and so forth.

I have various forms of synesthesia, some more significant than others, but in general, I find having multiple senses linked can really help with memory. If a reminder of one sense's memory is triggered, it also triggers the linked memory of another sense (ie. seeing something years later and suddenly remembering what I was hearing at the time I saw/made the visual, or vice versa). As far as more synesthetic sensory links, they can help with multitasking because I can use different parts of my brain to process multiple things simultaneously. For example, I experience guitar chords as colours, so one time when I was trying to learn a song, I wrote the lyrics and highlighted them in the chord's colour. One part of my brain processed reading and words, and another processed colour as sound/fingering, more on autopilot, and I was able to learn and memorize all aspects of performing the song much more quickly and easier than using methods that require reading for all parts of notation.

When you need some recognition for being middle class😂 6:56

Pigeon

Mankepoots question of fear of Musical Theory Is understandable, but at the same time knowing how the pieces fit together Is amazing to me. I just started studying film and knowing how certain things come together. It all amazes me to know how It works. How Its re-creatable. What came before It and was Improved, changed, and made a new product from It. I still see something as having mystery, but I understand what makes It up and how to create that for others. I have the same thought to Musical Theory. I only ever played guitar as a hobby, I never learned a lot of theory, but I am not opposed to learning It. I watch your channel, Rick Beato, Polyphonic, 12 Tones, and random videos here and there and It amazes me how this artist they talk about took their knowledge or lack of knowledge and created stuff. Even though the artist didn't know It, I personally love to know "well what did make their music so great In a theory sense?" even though the artist Instinctively did It opposed to It being because of their musical knowledge.

There is application for it but conditions have to be extremely precise for it to be applicable. Being able to see different letters as colours can help with in creating a new languages for a book series. Or since we play music with letters, you can try matching the colours of the letters of different harmonic scales to write new music based on how you want the coloured letters to flow. Being able to see sound as color very clearly. You would be able to learn how to play your favour songs by just picking up your favorite instrument & practicing. Being able to Echo locate is a kind of synesthesia. Where you can understand shapes with sound even if you're blind. Being able to see auras is suggested to be a form of synesthesia. You can determine ones emotions by their aura which uses your sense of smell to detect the pheromones & your eyes adding colour to the heat waves coming off of someones body. Being able to see 3D shapes or having a 3D mind palace is also a kind of synesthesia that would help people be good at being artist or engineers. Being able to taste things through thoughts & sight would help people be better cooks. Feeling something that someone else is feeling through pheromones or through seeing it is also one that would help doctors & others understand how to help people better. By god if you get the ability to overlap some of them you get essentially eagle vision. I wonder if we could willing get people with genetic synesthesia to start a family with each other & when their kids start a family find others with genetic synesthesia of similar levels on the scales of synesthesia & keep doing that if it would help humanity evolve further in a positive way? No one should be forced to do this. But it would be interesting if a 500 year long study was conducted to see how much synesthesia would develop & how it might differ from each person.

You mentioned cultural appropriation in this Q+A. Is that something you subscribe to? If so, how do you reconcile that with being a jazz musician? I understand that you should respect other cultures and tread carefully when crossing those boundaries. I think most people are on board with that. But cultural appropriation seems to extend beyond that. It seeks to make certain cultural practices out of bounds to people from the dominant culture (for example, the opinion that white Americans shouldn't wear their hair in dreadlocks).

I have aphantasia, so no, I probably can't learn synthesia like if you cri ebery time

My music history teacher like to refers to the western "classical" music as academic music because the term classical can mislead to think that is just referring to the Classicism. Love your content, thanks a lot for sharing.

You know, hearing about your synesthesia brings me some relief: I didn't know that there was even such a thing as *partial* synesthesia but now that I do it explains SO MUCH about my color associations for sounds, flavors, etc. I never *see* it (I also am aphantasic - one of those people who can't visualize clearly) like my friend in HS did, but that doesn't stop the unbidden association. Gives me food for thought and something to research.

Woah. Hair.

West african music isn't that different from American's By the way hello from mali :)

You are awesome Adam, big fan, keep it up!

Great vids! Love the outro music on this one too

>Which one sounds better to you? Neither, I think they're both awful. Sounds out of time and out of tune. :( Not educated enough.

Please stop answering the same questions over and over again for the sake of us who want to actually learn something. Maybe something like a FAQ would help you with this?

I probably shouldn't be surprised that all of your videos, are really good, but every time I watch a new one I'm reminded of how thoughtful and interesting your content is. I have a quick question for your next Q&A: I'm a tuba player in college and I've been interested in learning more about playing jazz for some time now. What would be some good ways to start getting into it and learning how to play jazz bass ideas? I already listen to jazz a lot and sort of have a concept of how things work, I just lack the knowledge to put this stuff into practice in real time effectively. My classical skills are already pretty strongly developed but I want to be able to do more than this so I can be as versatile as possible later in my musical career. Thanks!

The answer to the first question........ Bravo!!!

Hi Adam, Thanks for the amazing videos. Even though I play bass myself. I find your videos with a broader perspective on music a lot more interesting than your earliest videos. It seems like I can learn something new with each video, and really learn about music in general. When I hear bass players talking about the moment they picked up the instrument, it strikes me that a lot of bass players already played another instrument before switching to bass. Marcus Miller played saxophone before picking up bass. James Jamerson played piano before playing an upright bass. A lot of the bass greats have a story where they initially played another instrument before the bass. One exception that I know of is Victor Wooten who was forced to play the bass by his bigger brothers. The same can be said about bass players of all levels. It seems that a lot of bass players, including myself, were already playing music on another instrument before noticing the bass. Why is that? Why is it that people who end up being drawn to the role of a bass player need some familiarity with playing music before realising this? The function of the bass in music is pretty fundamental, IMHO. So why aren't a lot of us bass players drawn to the instrument right away? In my case, I caught myself listening more to the bass part at rehearsal than my own guitar parts. It only made sense to me to play the instrument that you're the most focussed on. What is your story? Thanks

I really do love these outros your videos!

Spot on response to that question about theory taking away the magic!

ive been a fan of your channel for a bit now. the content is incredibly interesting, enlightening and well explained. But i have to give you extra props over other channels for so calmly and intelligently tearing comments troll dickheads a new one. literally don't stop doing anything your doing :P

hey adam, finding your channel has really opened my eyes to a new world of jazz music and I am really happy about that. I was hoping you could recommend albums that you think are essential for the new jazz listener?

The 3 minute song goes even further back to the old Phonograph cylinders. When we, as humans, get used to something we tend to stick to those patterns out of comfort. This is part of why repetition is a musical principle, and - perhaps - seem doomed to repeat the stupid things we do. Great videos! Loved the DnB ending :D

The Sungazer song at the end is dope man. Love it!

great video. Great information, solid points.